文化遗产与文化技术：在图书馆和博物馆中启蒙的本质
Martin R. Kalfatovic
（美国史密森图书馆）

摘要  科技在其创造和传播过程中，驱动了我们共同的人类文化。在不同的时间和文化中以不同的形式和形态存在图书馆、档案馆、画廊和博物馆（GLAMs），已被证明是在时间和空间上传播文化的最佳载体，但这些载体往往也十分脆弱。史密森学会提供了GLAM世界的一个缩影。史密森学会和史密森学会图书馆通过大规模数字化、学术交流、社交媒体，吸引不同受众、公立或私营合作伙伴，以数字学术、馆藏保存、实习、研修和教育等方式参与，以访问馆藏的例子，将说明图书馆和更广泛的GLAM社区在这些领域可以大有作为。在过去的二十年里，新技术扩大了我们这些记忆保存机构的服务范围，促成了图书馆的跨界合作。与此同时，这些技术对整个世界的相关性构成挑战。与此同时，围绕GLAM馆藏的选择与使用的长期实践也正在经历这些机构内部和外部参与者的质疑。技术为GLAM机构提供了越来越多的将彼此紧密结合在一起的手段，将分散的馆藏联合起来，让更多的新受众参与其中，从而增强GLAM机构对这些馆藏的了解和知识。数字人文（或更广泛的数字学术领域）和新设想的图书馆服务为今天的图书馆员和其他文化遗产专业人员创造了新的机会。未来图书馆员，既需要对技术有深入和广泛的理解，也需要在特定学科领域拥有坚实的基础。对历史使命的调整，新受众的期望以及技术创新貌似毫不留情的扫荡，不应该被视为现存的威胁，而应该被视为这些人类自然延伸的演化以及在未来得以生存的机会。
关键词  数字图书馆，博物馆，图书馆，档案馆。史密森学会，文化遗产

Cultural Heritage and the Technology of Culture: Finding the Nature of Illumination in Libraries and Museums
Martin R. Kalfatovic
（Smithsonian Libraries）

Abstract In both its creation and transmission, technology has driven our shared human culture. Libraries, archives, galleries, and museums (GLAMs), in varying forms and modalities across time and culture, have proven to be the best, though too often fragile, vessels for the transmission of culture through both time and space. The Smithsonian Institution provides a microcosm of the GLAM world. Examples of the Smithsonian and Smithsonian Libraries' programs in access to collections through mass digitization, scholarly communications, Social Media, engaging diverse audiences, public/private partnerships, digital scholarship, preservation of collections, and internships, fellowships, & education will illustrate these areas in libraries and the wider GLAM communities. Over the past twenty years, new technologies have expanded the reach of our “memory institutions” and enabled the cross-border cooperation of libraries. At the same time time, these technologies pose challenges to their relevance from the world at large. At the same time, long held practices around curation, selection, and use of 

Keywords Digital Libraries； Museums； Libraries； Archives. Smithsonian Institution； Cultural Heritage

1 Overview

In both its creation and transmission, technology has driven our shared hum； Museums； Libraries； Archives. Smithsonian Institution； Cultural Heritage

1 Overview

In both its creation and transmission, technology has driven our shared human culture. Galleries, libraries, archives, and museum (GLAMs), in varying forms and modalities, across time and culture, have proven to be the best, though too often fragile, vessels for the transmission of culture through both time and space. Over the past thirty years, new technologies, specifically the suite of technologies, based on and around the Internet, have expanded the reach of our “memory institutions” while at the same time posing challenThe digital world that all institutions live in today, from the smallest public library or local history museum to the Library of Congress, the Smithsonian Institution, or the other great national, academic, and public libraries of the world, places them in a position of trust for all inquisitive minds across the globe. In the library context, little did Thomas Jefferson imagine when creating his personal library that it would later became the core of the Library of Congress; that his model of knowledge would one day encompass not just nascent United States, but, connected by technologies undreamt, it would allow a child in Egypt or a scholar in Japan to be changed by these collections and create a model for global libraries. As Librarian of Congress Carla Hayden noted in her inaugural speech, 
Today, through the power of technology, thousands around the country are able to watch this ceremony live. This is the opportunity to build on the contributions of the Librarians who have come before, to realize a vision of a national library that reaches outside the limits of Washington (2016)
Today’s environment presents opportunities and challenges. National and global collaborations are increasingly necessary and institutions large and small must join when relevant and lead those same collaborations when called upon. The challenges are great. The successful institution must explore and test the boundaries of curation, librarianship, and scholarship.
More and more, technology is providing the means to bring GLAMs, both through their public programs and their traditional research components, closer together, to unite dispersed yet related collections, and to engage a new and wider audience that can enhance the diffusion of institutional and broader cultural knowledge. Cultural heritage professionals, and their peers in the sciences, of today and the future will need not only a firm grounding in their areas of expertise, but also be broadly conversant in the capabilities and pitfalls of technology. 
As the cyberpace novelist William Gibson has noted, “Time moves in one direction, memory in another. We are that strange species that constructs artifacts intended to counter the natural flow of forgetting” (Gibson 2012, 45). Having constructed these artifacts, these memory institutions, it remains our mission to provide the vision and resources to maintain their relevance for the future. 
In fulfilling this mission, we must reconcile our valuable legacy, new audience expectations, and a relentless deluge of technological innovation. This reconciliation must be looked on not as an existential threat, but as a call to evolve these institutions, these artifacts as Gibson terms them, these natural extensions of humanity in ways that will guarantee their survival in ages to come.

2 Increasing and Diffusing

Plato had a mistrust of writing. In his Phaedrus, Plato has Socrates say: 
For this invention will produce forgetfulness in the minds of those who learn to use it, because they will not practice their memory. Their trust in writing, produced by external characters which are no part of themselves, will discourage the use of their own memory within them. You have invented an elixir not of memory, but of reminding; and you offer your pupils the appearance of wisdom, not true wisdom, for they will read many things without instruction and will therefore seem to know many things, when they are for the most part ignorant and hard to get along with, since they are not wise, but only appear wise (Plato 1925 275a-275b). 
What might Plato's Socrates make of today’s Internet which is the ultimate replacement for memory, or our memory institutions that make congruent claims for wisdom and knowledge? Indeed, many of our great cultural institutions are based on creating elixirs of wisdom and engines of knowledge. The Smithsonian Institution was founded on the principle of the “increase and diffusion of knowledge” (Smithsonian Institution 2016). Likewise, the Fitzwilliam Museum of Cambridge University was founded on the principle of "the Increase of Learning and other great Objects of that Noble Foundation" (Fitzwilliam Museum 2016). More recently, in the twentieth century, the J. Paul Getty Trust mobilizes human, technological, and financial resources towards goals that build on existing initiatives and create new opportunities to advance the Getty's founding precept of “diffusion of artistic and general knowledge” (Cuno 2014). 
The role of GLAMs has expanded beyond being repositories for their local communities to cultural trusts for inquisitive minds across the globe. As custodians of a living trust that nourishes the collective human spirit and an engine of change in the increase of knowledge, libraries can both embrace their long legacy and heritage and transform their collections and services for the benefit of current communities and future generations. 

3 Evolving Collections, Services and Roles as the 21st Century Ages

In 1917, John Cotton Dana, one of the most original thinkers on museums and libraries wrote: 
A great city department store of the first class is perhaps more like a good museum of art than are any of the museums we have as yet established. It is centrally located; it is easily reached; it is open to all at all the hours when patrons wish to visit it; it receives all courteously and gives information freely; it displays its most attractive and interesting objects and shows countless others on request; its collections are classified according to the knowledge and needs of its patrons; it is well lighted; it has convenient and inexpensive rest rooms; it supplies guides free of charge; it advertises itself widely and continuously; and it changes its exhibits to meet daily changes in subjects of interest, changes of taste in art, and the progress of invention and discovery. A department store is not a good museum; but so far are museums from being the active and influential agencies they might be that they may be compared with department stores and not altogether to their advantage (Dana 1917, 23-24).
This statement, made early in the 20th century, could easily, with a simple alt-replace on the technologies, have appeared in yesterday's (online) version of the journal Museum. The idea of the museum, library, or research institute, perhaps because of their centrality in the scholarly endeavor, retains an air of fragility despite the marble, brick, or concrete structures built in the heart of cities around the world.
From the library world, long before the web, Dixon Wecter warned:  
The citadel of the printed word is under heavy siege by newer media of communications: cinema, microfilm, mini-print, telephoto, wire recordings, FM, television, and, in the offing, facsimile newspapers hot off the radio (Wecter 1950, 3).
This statement, made at the mid-point of the 20th century, could easily, with a simple alt-replace on the technologies, have appeared in yesterday's (online) version of the Chronicle of Higher Education. The idea of the library, perhaps because of its centrality in the scholarly endeavor, retains an air of fragility despite the marble, brick, or concrete structures built in the heart of campuses and city centers around the world.
Nearly sixty years after Wecter wrote, the Council on Library and Information Resources compiled, No Brief Candle: Reconceiving Research Libraries for the 21st Century.  The participants suggest (CLIR 2008, 8-9) that the 21st century research library will be more an “abstraction than a traditional presence” and that a re-envisioned library would turn “the organization inside out” moving formerly core activities to the periphery and new activities such as investment in the scholarly community's metadata, multimedia, and scholarly communication to the center. 
Paul Courant, in the same report, rightly notes, “The library will succeed (because it will have plenty of valuable work to do) if it continues to be the locus of expertise and innovation regarding scholarly information, how to find it, and how to use it” (Courant 2008, 27).
More recently, Bethany Nowviskie, Director of the Digital Library Federation at the Council on Library and Information Resources and Research Associate Professor of Digital Humanities, University of Virginia, at Harvard Library’s Hazen Memorial Symposium (2016), noted in the context of digitization collections, we must be aware:
are more likely to be taken by their users as memorializing, conservative, limited, and suggestive of a linear view of history than as problem-solving, branching, generative, non-teleological. This is a design problem. We’re building our digital libraries to be received by audiences as lenses for retrospect, rather than as stages to be leapt upon by performers, by co-creators (Nowviskie 2016).

4 Challenges and Opportunities

The following are among the big issues that challenging GLAMs in both their broader public and research capacities as the mid-point of the 21st century rapidly approaches. Some of these are logical extensions the work done in GLAMs since the creation of the first collections from the late 18th century that would be recognized as the modern museum or library. Others are areas that GLAMs must take on to remain core to the scholarly endeavor as well as close to the hearts of the larger public. Researchers, scholars, post- and pre-graduates, and the often ill-defined “public” represent distinct communities, but all benefit from the GLAMs' ability to service in the following areas. 
4.1. Access to Collections
Access to Collections is the core service of GLAMs. The methods used by libraries, archives, museums will differ, but opening the vaults or stacks is key. For the research library and archives, it is imperative that the breadth and depth of its collections are available to customers in a timely and computable manner. Constrained by limited exhibition space, museums and galleries must share the bulk of their collection icebergs to wider audiences. Working within the boundaries of copyright or other intellectual property constraints, GLAMs are compelled to provide the same or great level of digital access to collections as they provide to physical content. Creation of appropriate metadata, building on the important legacy of traditional cataloging in both libraries/archives and museum, is vital, but using the contemporary tools of access such as linked data, is vital for GLAMs to provide the greatest access to their collections.
4.2. Preservation
Preservation of GLAM content now encompasses much more than tending to the physical artifacts that comprise their historical collections. Magnetic and optical media poses a great challenge and potential loss to the record of human creativity. An even more potential holocaust is at hand with the digital manifestations of culture. Initiatives such as the Academic Preservation Trust are key to extending the role of the library in the realm of digital preservation; the museum community lacks similar initiatives, a challenge that must be addressed in focused and broadly collaborative ways.
4.3. Scholarly Communications
Scholarly Communications remain the core of the Academy, both the degree granting and non-degree granting. GLAMs must play the central role in cycle of knowledge creation from the start, where scholars first begin their research, through the publication process (working with scholars to place research in the most appropriate publications for the broadest and most impactful outlets), to tracking both the traditional metrics of scholarly output as well as those metrics which provide indicators of the broader societal impact and influence. For museums, scholarly output needs revised metrics. Metrics that weigh the value of the curation of collections as well as the broader societal impact generated by the intellectual investment in the creation of exhibitions.
4.4. Digital Scholarship
Digital Scholarship, or Digital Humanities writ with broader strokes, is a growing area for direct collaboration of librarians and scholars. Important centers, such as the University of Virginia's Scholars' Lab, the Maryland Institute for Technology in the Humanities (MITH), and the Roy Rosenzweig Center for History and New Media (George Mason University) are three high profile, university-based centers that are modeling the future of scholarship. As Elizabeth Eisenstein noted in regards to print, “As an agent of change, printing altered methods of data collection, storage and retrieval systems, and communications networks used by learned communities throughout Europe” (Eisenstein 1983, xiv). Today, the centers for Digital Scholarship will allow both the seasoned faculty member and the incoming undergraduate to interact with GLAM content in new and transformative ways, becoming our contemporary agents of scholarly change.
4.5. Internships, Fellowships and Education
Internships, Fellowships, and Education. These are a key component of the cycle of scholarly communication, the use of interns to expose collections, fellows (pre- and post-doctoral) to explicate the same collections, and educators to translate this material into educational materials for younger audiences.
4.6. Social Media, Outreach, and Engaging Diverse Audiences
Social Media, Outreach, and Engaging Diverse Audiences. The now ubiquitous social media platforms (e.g. Facebook, Twitter, Tumblr, Pinterest, etc.), combined with more traditional press focused outreach, are key to expanding the audience for GLAM collections. It is also vital to not work with known and comfortable audiences, but to use outreach tools to increase the diversity (social, racial, economic, gender, etc.) demographics of the GLAM audience.
4.7. Product Development and Licensing
Product Development and Licensing.  The GLAM experience does not stop at the physical or virtual visit. GLAM content should be made as openly and freely as possible. However, an audiences' desire to interact with the content in more tangible ways should not be neglected. Product licensing, in the form of items sold online or in the shops of the GLAMs, will generate not only revenue, but goodwill in the form of tangible products (ranging from note cards to tea towels and beyond) that will serve to remind the purchaser of their GLAM experience. Products developed from GLAM content must fit inside a Tiffany box. An object from Tiffany’s will always be high quality, but the packaging adds an extra layer of value for the purchaser. GLAM products, with the addition of the institution logo and expert commentary in the form of label or “hang tag”, is the equivalent of the Tiffany Blue Box. Pantone Color Institute executive director Leatrice Eiseman said, “It evokes positive thoughts and reactions, and this, combined with the status that Tiffany has assigned to it, makes for perfect packaging” (Klara 2014).
An example of how GLAMs are rising to these challenges is the library at the University of Virginia. The 2015 report, The University Library: Entering its Third Century, clearly states this mission: 
Our vision for the future includes expert staff members who can develop and foster collaborative research and teaching partnerships across Grounds. The Library’s unique role in stewarding scholarship is growing from collecting materials to promoting access to materials, so that scholars can find and use the best resources in the form most conducive to their work. We will tackle the challenges surrounding the collection, use, and preservation of digital scholarship while ensuring access to analog materials. A flexible and sustainable approach to leveraging technology, facilities, and staffing resources will ensure that students and faculty have an engaging and satisfying experience when they visit the Library, whether in person or online (University of Virginia Library 2015, 1).

5 Increasing and Diffusing: The Smithsonian Experiment

Since 1846, the Smithsonian has remained committed to the mission outlined in James Smithson's establishment of the Institution noted above: “the increase and diffusion of knowledge”  (Smithsonian Institution 2016).  The creation of the Smithsonian Libraries was part of the Act of Establishment of the Institution in 1846:
SEC 5. And be it further enacted, That, so soon as the board of regents shall have
selected the said site, they shall cause to be erected a suitable building … for the reception and arrangement, upon a liberal scale, of objects of natural history … also a chemical laboratory … , a library, a gallery of art, and the necessary lecture rooms (U.S. Congress 1846).
The Smithsonian, and Smithsonian Libraries, have embraced the seven challenges and opportunities outlined above. Following are selected responses by the Institution and Smithsonian Libraries to them.
5.1. Access to Collections
Smithsonian Libraries began digitization of collections in 1996 under the direction of then Associate Director Thomas Garnett. As part of the Smithsonian Libraries participation in the Biodiversity Heritage Library (BHL), mass digitization began in collaboration with the Internet Archive in 2007. In addition to nearly 26,000 items (9.9 million pages) digitized for the BHL, Smithsonian Libraries have digitized over 8,000 items (2 million pages) of additional cultural heritage materials that include trade literature, art (many available via the Getty Research Portal), history, and culture materials. Smithsonian Libraries dedicates 3 FTE to direct digitization using a variety of state of the art equipment.
5.2. Scholarly Communications
Smithsonian Research Online (SRO) was established in 2007 to track the scholarly output of the Institution. SRO currently contains over 84,000 bibliographic citations and access to over 21,000 full-text publications. In 2013, as part of the Smithsonian's compliance with the White House memorandum, “Increasing Access to the Results of Federally Funded Scientific Research”, SRO became a key component of the Smithsonian's compliance with the mandate. SRO also provides Smithsonian administrators with evidence-based metrics for the evaluation of staff and research. Currently in internal beta, Smithsonian Profiles will provide an expert locator services for staff and the public in search of Smithsonian research expertise. Smithsonian Profiles will also allow for tracking of additional metrics of social impact through the tracking of blog posts and other types of communication. 
5.3. Internships, Fellowships, and Education
In fiscal 2017 (1 October 2016-30 September 2017), the Smithsonian Office of Fellowships and Internships (OFI) hosted 1,748 interns, 42% of whom received some form of financial assistance. These interns came from 61 countries and all 50 states of the United States. Smithsonian Fellowships are an opportunity for independent research or study related to Smithsonian facilities, collections or experts, in FY 2017, 771 fellowships were awarded, 70% of which received financial assistance. Fellows came from 46 countries and 43 U.S. states. Smithsonian Research Associates maintain a scholarly affiliation with the Smithsonian and are appointed for fixed, but renewable terms. The 1,288 appointments in FY 2017 included associates from 245 different organizations or institutions. In total, the Smithsonian also supported 3,185 academic appointments (pre- and post-doctoral researchers) supported by over USD $12.5 million in stipends (Office of Fellowships and Internships 2018). 
Providing access to educational resources is a primary goal of the Smithsonian, as noted on the website: 
All facets of the Smithsonian ... are committed to reaching communities near and far. We connect with diverse audiences, including under-resourced communities and underserved individuals, to enrich programs, curriculum and exhibitions. We invite dialogue and exchange to inspire communities of learners to think critically about complex global challenges (Smithsonian Institution 2018).
Recognizing the importance of education in the library context, Nancy E. Gwinn, Director of Libraries, established the Smithsonian Libraries Education Department in 2015. 
5.4. Product Development and Licensing
The Smithsonian, as a Trust Instrument of the United States people, receives generous support from a Federal budget appropriation. In fiscal 2017, the Smithsonian received a Federal appropriate of USD $1,043,347,000 ($731,444,000 for staff and programs, and $311,903,000 for facilities and capital expenses) (U.S. House of Representatives 2018). Supplementing this Federal funding are grants, foundation support, private philanthropy, and revenue generated through business opportunities. Smithsonian Enterprises is the Smithsonian administrative unit with the mission to generate revenue and provide service to the Smithsonian museum shops, restaurants, Smithsonian Magazine, Air & Space Magazine, the Smithsonian Channel, and other revenue enhancing services. 
Smithsonian Libraries works closely with Smithsonian Enterprises to create an enhanced experience through products such as rugs, weather vanes, calendars, and other products that generate revenue while at the same time allowing free digital access to many Smithsonian Libraries collections.

6 The Dynamo in the Exhibition

At the Paris Exposition of 1900, Smithsonian Secretary Samuel P. Langley led historian Henry Adams through the halls of the exposition. Langley introduced Adams to the Dynamo, the electrical generator that would define our current era in its reliance on electrical power:
To him [Langley], the dynamo itself was but an ingenious channel for conveying somewhere the heat latent in a few tons of poor coal hidden in a dirty engine-house carefully kept out of sight … but to Adams the dynamo became a symbol of infinity (Adams 1918 [1907], 380).
Today, the lowly, dynamo, is one of the unseen movers that powers our innovation and the force behind our current information-based environment. For Adams, the Dynamo would replace the Cathedral, the electricity generated would create a light that shown on, and that lit up, not one that would illuminate, or show the inner light.
In the glow of our devices, of the computers in our pockets we still call quaintly “phones” (Naughton 2016) we see the light of Henry's Dynamo. But what will our cultural institutions use with this glow? Will it be just another “shiny thing” or will it be used to create true illumination and generate knowledge and foster wisdom? The philosopher Martin Heidegger noted: 
The closer we come to the danger, the more brightly do the ways into the saving power begin to shine and the more questioning we become.... Likewise, the essence of technology is by no means anything technological. Thus we shall never experience our relationship to the essence of technology so long as we merely represent and pursue the technological, put up with it, or evade it. Everywhere we remain unfree and chained to technology, whether we passionately affirm or deny it.  But we are delivered over to it in the worst possible way when we regard it as something neutral; for this Conception of it, to which today we particularly like to pay homage, makes us utterly blind to the essence of technology (Heidegger 1954, 287-88).
Cultural heritage institutions now have the power of technologies with vast reach at their disposal. The power of mass media first evidenced by printing in the 19th century and culminating in radio and television broadcasting throughout the 20th, is now available to a teenager with a keen eye and an Instagram account; there are fewer “mute, inglorious Miltons” (Gray 1751) with the advent of YouTube celebrities with millions of follower.
The cultural history professional of today must feel the angst of historian and cultural critic Walter Benjamin's Angel of History:
His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing in from Paradise; it has got caught in his wings with such a violence that the angel can no longer close them. The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress (Benjamin 1968).

7 In Closing

It is the duty of our cultural heritage institutions to unlock their collections, to share the knowledge of their scholars, to unlock our cultures which are shared across time, peoples, and geographies. As Heidegger notes above quote, our technology is neither neutral nor merely technological. Indeed, we have truly arrived in technologist Vannevar Bush's “age of cheap complex devices of great reliability” (Bush 1945) and it is our mission to make them conduits to all. We must embrace the storm of progress; we must not suffer wreckage like Benjamin's Angel, but rather revel in the fresh air the storm brings in its wake. 
To return to the Smithsonian, the first Secretary, Joseph Henry, was, in the first decade of the Smithsonian's existence, keenly aware that great institutions must reach outside of themselves: 
The worth and importance of the Institution is not to be estimated by what it accumulates within the walls of its building, but by what it sends forth to the world (Henry 1853, 20).
Speaking at a time of truly existential crisis for civilization, at a time when not just the light of knowledge but of the world itself was endangered, William Faulkner, in his Nobel acceptance speech (1949), noted that humanity would not “merely endure ... [but] prevail.” Galleries, libraries, archives, and museums are a touchstone of civilization. Though the challenges facing the bedrock of our cultural heritage institutions today are great, the strengths these institutions embody will ensure that they too, endure and prevail.

8 References

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