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Abstract

LIS genre studies have suggested that representing the genre of a resource could provide better knowledge representation, organization and retrieval (e.g., Andersen, 2008; Crowston & Kwasnik, 2003). Beghtol (2001) argues that genre analysis could be a useful tool for creating a "framework of analysis for a domain ... [to] structure and interpret texts, events, ideas, decisions, explanations and every other human activity in that domain" (p. 19). Although some studies of user-generated tagging vocabularies have found a preponderance of content-related tags (e.g., Munk & Mork, 2007), Lamere's (2008) study of the most frequently applied tags at Last.fm found that tags representing musical genres were favored by taggers. Studies of user-generated genre tags suggest that, unlike traditional indexing, which generally assigns a single genre, users' assignments of genre-related tags provide better representation of the fuzziness at the boundaries of genre categories (Inskip, 2009). In this way, user-generated genre tags are more in line with Bakhtin's (Bakhtin & Medvedev, 1928/1985) conceptualization of genre as an "aggregate of the means for seeing and conceptualizin reality" (p. 137). For Bakhtin (1986), genres are kinds of practice characterized by their "addressivity" (p. 95): Different genres correspond to different "conceptions of the addressee" and are "determined by that area of human activity and everyday life to which the given utterance is related" (p.95). Miller (1984) argues that genre refers to a "conventional category of discourse based in large-scale typification of rhetorical action; as action, it acquires meaning from situation and from the social context in which that situation arose" (p. 163). Genre is part of a social context that produces, reproduces, modifies and ultimately represents a particular text, but how to reunite genre and situation (or text and context) in systems of knowledge organization has not been addressed. Based on Devitt's (1993) argument suggesting that "our construction of genre is what helps us to construct a situation" (p. 577), one way to represent genre as "typified rhetorical actions based in recurrent situations" (Miller, 1984, p. 159) would be to employ genre tags generated by a particular group or community of users. This study suggests application of social network analysis to detect communities (Newman, 2006) of genre taggers and argues that communities of genre taggers can better define the nature and constitution of a discourse community while simultaneously shedding light on multifaceted representations of the resource genres.

Source

Knowledge organization in the 21st century: between historical patterns and future prospects. Proceedings of the Thirteenth International ISKO Conference 19-22 May 2014, Kraków, Poland. Ed.: Wieslaw Babik

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Abstract

Museum crowdsourcing projects have drastically changed the ways in which individuals engage with cultural objects. In particular, individuals' participation in representation of cultural objects through creating, sharing, and curating museum cultural objects contributes to the creation of multifaceted and rich representation of cultural objects as well as transgression of institutional boundaries between cultural heritage institutions. Applying Bourdieu's (2010) conceptualization of cultural capital to museum crowdsourcing initiatives, this study suggests that cultural objects should be considered not only in relation to other objects, but also in relation to the social structure of the world and suggests that successful engagement with the crowd is grounded on an understanding of engaged individuals' cultural capital and habitus. This approach will facilitate creation of not only multifaceted and multivalent representation of cultural objects but also ensure sustainable and meaningful engagement of individuals.

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Date

5. 9.2014 16:22:27

Source

Knowledge organization in the 21st century: between historical patterns and future prospects. Proceedings of the Thirteenth International ISKO Conference 19-22 May 2014, Kraków, Poland. Ed.: Wieslaw Babik