Last summer, during a roadtrip from Toronto to New Orleans and back, I took my family on a Memphis mini-adventure, to shoot a Commons “then-and-now”. After the Gibson guitar factory tour, after the tornado warning had ended (it missed us), after a relaxing beer and snacks at a Beale Street bar, where we chatted with the manager about MGMT and the kids signed the wall, we walked up the street in the drizzle to find #318 – or at least where #318 must have been. There’s no jitterbugging here anymore.

New York Public Library	Lú_ (Stephanie Fysh)
THEN	NOW

Ted Hood
Peggy Bacon in mid-air backflip, Bondi Beach, Sydney, February 6, 1937
State Library of New South Wales: 19451

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Nina Kuriloff is a New York-based painter whose selections from the Commons have enlivened our Best of the Commons posts recently. Many of our Across the Commons posts recently have drawn on her selections in themed topics in the Flickr Commons group, which this blog grew out of. This one, though, is special, because whether Nina knows it or not, many of the trees she’s discovered in the Commons, wherever they were found, echo her own paintings – Nina’s Trees:

Acacia tree and vegetation – Kenya, 1906

Field Museum

Large fig tree and native vine growing in the middle of sugar cane in the Logan district – Queensland, Australia, 1870

State Library of Queensland, Australia

Passaic River, below the falls (etching) – New Jersey, 1920

New York Public Library

Kembla fig tree – New South Wales, Australia, circa 1900

Powerhouse Museum

Baobab tree – Kenya, 1906

Field Museum

Clarence S. Darrow (center) standing near Rhea County Courthouse with unidentified man (left) and Arthur Garfield Hays (right), Dayton, Tennessee, probably July 20, 1925.

The Smithsonian Institution has uploaded 10 more photos to its Tennessee v. John Thomas Scopes Trial set, and is looking for some help identifying some of the people shown. Are they locals from Dayton, Tennessee? Visitors there for the trial?

The Smithsonian adds,

The donor, Henrietta Silverman, gave us the photos that her father, William Silverman, took on a trip with his high school science teacher. It’s kind of a nice story. She wanted them to be part of an archive that values making their collections accessible to the public. Go Commons!

Thank you, Henrietta Silverman!

As well as the Ansel Adams set belonging to new Commons member the U.S. National Archives, this week’s highlights include:

The Swedish National Heritage Board has uploaded more of Carl Curman’s honeymoon photos, including another unidentified site in Spain.

Unidentified town, Spain

The Field Museum brings us new (to the Commons) photographs from British Guiana in the 1920s.

Two women with buckets seated at waterside

It’s fishing season at State Library and Archives of Florida – for big fish.

Mr. John Hachmeister and Mrs. Earl Baum admiring a 1,200 lb manta ray caught by Forrest Walker

The Library of Congress’s Friday upload this week is a set of illustrated newspaper covers of 1910 – one hundred years ago.

How much can Gotham afford to give thirsty neighbors?

It’s winter in the Netherlands – time for winter sports at Nationaal Archief!

Bobsleeën, skeleton / Bobsleigh, skeleton

LIGC ~ NLW brings us portraits and people outdoors from Wales, including a dog that’s far too happy for the shutter speed of the camera.

Girl with a dog, Llansanffraid [Glynceiriog?]

The State Library of Queensland, Australia has a set of colourful postcards of Queensland.

Band Rotunda in Queen’s Park, Maryborough, ca. 1930

Ansel Adams, Boulder with hill in background, "Rocks at Silver Gate, Yellowstone National Park," Wyoming

New to the Commons today – but with months of uploads to contribute – is the U.S. National Archives. Thanks to President Franklin Roosevelt’s foresightedness and the Archives’ persistence in the difficult job of selecting from the vast quantity of material produced by the U.S. Government every year that portion which will be “of continuing value“, the U.S. National Archives’ Commons collection is already almost 4,000 images strong.

And what a collection it is – nearly 500 photographs by the great Civil War photographer Mathew Brady; a wide-ranging selection of photographs from the Environmental Protection Agency’s 1970s photography project DOCUMERICA, organized by photographer; 220 photographs, made available today, by the incomparable Ansel Adams; and so much more.

Don’t want to miss what’s next? Add the U.S. National Archives to your Flickr contacts, or the RSS feed of their photostream page to your feed reader.

Among Oliver Flores‘ wonderful range of illustrations are several based on Commons photographs. In this one, linked to by Penny in the Flickr Commons group, he isolated the main figures from the background, and brought out their infectious joy:

Library of Congress	Oliver.
ORIGINAL	REMIX

creator: E. Djupdræt
[Edvard Grieg with hat and coat], April 1907
Bergen Public Library

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I am a co-founder of Indicommons.

That sentence feels full of hubris, since many people ‘co-founded’ Indicommons; the position, if any, that Indicommons holds in promoting and supporting The Commons on Flickr is the result of many people’s efforts, all of whom can claim, rightly, to be co-founders of this blog and community. That sense of ‘community’ is exactly what makes The Commons vital, virile, virtual and viral.

The GLAM community this week (art galleries, libraries, archives and museums) was lit afire this week when the news spread that Flickr has disabled the registration page through 2010 for The Commons:

Due to the current backlog of requests, we will not be accepting new registrations or requests to join the Commons through 2010.

It surprises me, as both a co-founder of Indicommons and as, more recently, a staff member of Flickr, that some have mistaken this statement to mean that Flickr is not supporting The Commons or is not adding new institutions to The Commons this year. The only thing this statement can mean is (a) that there is a backlog of registrations that need to be converted to accounts and (b) that the ability to register intent to join The Commons is temporarily disabled. The Commons page is live, the ability to limit searches to only Commons material is live, and (the most important piece to The Commons) the No Known Copyright Restriction license is live on Flickr.

At the heart of it all, this infrastructure is the foundation for The Commons – everything else that makes The Commons so vital is actually the community. This infrastructure is why every report made by The Commons’ institutions since the project began two years ago states that their goals have been met and expectations exceeded. I think the strongest evidence of the power of The Commons is well captured by Seb Chan, Courtney Johnston, and Kate Theimer (ArchivesNext) in recent blog posts regarding the ‘debate’ about The Commons.

The Commons is vital: we all know this.

The community is the sum of the institutions that hold accounts on The Commons, the members who leave folksonomic information on the content in The Commons, and the staff who work behind the scenes to support the infrastructure of The Commons. Vitality is the living, breathing soul of this community; if the infrastructure brings the content of public institutions, no matter where they are physically located in the world, to people anywhere in the world with an internet connection regardless of their economic or social status and if that infrastructure lends new insight to that content, then The Commons is very much not simply alive but also vital. It is vital since it transcends physicality and propels content to those who may otherwise not have access to history or who have the ‘missing link’ that fills in the gap for archivists and enthusiasts alike.

The Commons is virile: we all should know this.

The significance of this should not be underestimated. The community is a reiterative edifice which is spiral in structure. It begins with art or history, it goes through an archival process which is largely confined within the walls of an institution, then explodes onto the public stage where new information fills any lacunas of uncertainty, thus becoming stronger evidence which answers questions about who we are or where we are or what we are and what we can become. And so the spiral repeats itself and expands itself, for as new information is pushed into the world, it provides more opportunities for new information to be obtained. This is the virility of The Commons. Through the community, archival material strengthens who and what we are in the global and local communities.

The Commons is virtual: we need to embrace this.

The miracle of all of this is that The Commons is a global entity composed of local forms hosted on a virtual stage (or platform). This platform is Flickr. The platform exists: it is here, it is accessible despite rumors to the contrary, and it is constantly expanding. It expands every time an institution uploads a photo asking, “Where is this? What information do you have to help us identify this event?” and the community responds with rich anecdotal or scientific evidence that does identify the event.

The platform will continue to expand as long as the community contributes to it and the servers are running it.

But the platform, any platform, cannot be beholden or trapped within some one person’s personality. I am a very strong and very opinionated personality. I cannot be defined as the public face of Indicommons or The Commons, depending on which role you choose to view me in. The cult of personality is anathema to The Commons in any form, especially when you take the term at its most base meaning: public. This is very much a public phenomenon, one that is unique; there has never been a project like this hosted anywhere.

Now for two brief stories. The Commons exists not because of one person, but because one institution (the Library of Congress) contacted a social media website (Flickr) and suggested the idea. Of course strong personalities made it happen. But that doesn’t mean that the concept is solely one person’s child to raise by themselves and by themselves alone. Think: Village raising children. Better still, think: Common ground raising information for a global audience by a global network.

My second story is that for months, I carried this blog on my back, then I accepted a job offer which left me no time to blog at any of the five blogs I currently manage, including this one. In fact, a few of the original co-founders of Indicommons are doing other things with their time right now … but there are people in the community who stepped into the vacuum. So, back to the first story: there is a team at Flickr who provide support for The Commons. This team has people, some of whom like the limelight and others who do not, who are passionate, emphatic, opinionated, and in love with The Commons. Any time anyone says anywhere that The Commons is in a state of decay because one person is no longer on the team or there is no team or there is no public face of The Commons is actually backhanding the silent, quiet effort of those whose jobs entail the support of The Commons. Worse, they undermine the vitality of the project.

The Commons is viral and it depends on you.

One only needs to ask, “Does this work for me?”

Does it work for you as an institution that you can post images to The Commons asking, “What is this, please?” and receive commentary on Flickr, Twitter, blogs, email and Facebook and within a matter of hours get data in the form of links to maps or other supporting documentation, personal stories, and metadata that enhances the value of the artifact you uploaded? And from an audience not limited to geeks or scholars but that reaches the masses wherever it is that they choose to hang out on the internet? The viral nature of Flickr itself makes this possible.

Does it work for you as an audience that you have access to the biggest names in Australian, European and American institutions’ archives; content that has previously been locked away behind glass or in a basement or trapped on a glass plate negative? Does it work for you that you can easily step up to the mound with new information to pitch to … The Smithsonian Institution? The Library of Congress? The Nationaal Archief all the way over in The Netherlands?

As a developer, do you like having access to an API and content that you can use to create exciting new places for the internet traveler to enjoy?

Does the viral nature of the internet help this project achieve and exceed its goals?

Then The Commons is very much alive and well, thanks!

I’m very excited to see the new content that will be added to The Commons this year, from both the current institutions and the new ones that are, as you read this, signing contracts and setting up their accounts. My prediction is that 2010 will blow the doors off The Commons so long as people peruse the content, institutions continue uploading and promoting the content, and developers build cool toys that add new dimensions to the content. Do you really need a cult of personality to lead this charge?

No, because The Commons is everyone’s plot of land to sow and reap rewards in. There is no tragedy of The Commons because culture is not a finite resource by virtue of its vital, virile, virtual and viral attributes.