"2013","10","archive","394",,,"disk0/00/00/20/13","2019-01-11 14:14:02","2019-01-11 14:14:02","2019-01-11 14:14:02","conference_item",,,"show","","",,,,"Garduño Freeman","Cristina","","","","",,,,,"","","Outnumbered 16:1. Evaluating the global online communities of the Sydney Opera House","pub","E09","","participatory culture",,"The exponential growth of social media platforms over the last decade has brought digital
culture and public participation to the fore in the field of heritage. Initially, social media promised to be
a panacea for democracy; enabling global communities to use digital technologies to engage with World
Heritage properties. However, the reality has turned out to be much more complex and nuanced:
challenging established national narratives; potentially infringing on copyright; blurring notions of
communities and audiences; and revealing the entanglement of tangible and intangible forms of cultural
heritage.

World Heritage is increasingly mediated by the digital sphere. In 2013 the Sydney Opera House had a
global online community of 128 million. These digital engagements outnumber in-person visits 16:1 and
have been estimated to have an economic value of $59 million AuD (Deloitte, 2013). Using the Sydney
Opera House as a case study, the paper describes public forms of participation with this place via
platforms such as YouTube, Pinterest, Wikipedia, Facebook and Flickr. Then it reflects on their
implications for the World Heritage program’s strategic objectives of ‘increasing public awareness
through communication’ and ‘enhancing the role of communities’ in its implementation. There is a
growing imperative to evaluate the digital engagements of global online communities, especially when
many of these ‘visitors’ will likely never physically set foot in the Sydney Opera House itself.","2018","published",,,,,,,,"",,,,,"",,,,,"",,,,,"","",,"","","","ICOMOS","",,"scientific_symposium","19th General Assembly, New Delhi, 2017",,"en",,,,,"public",,"paper",,,,,,,,,"ICOMOS 19th General Assembly and Scientific Symposium ""Heritage and Democracy""","New Delhi, India","13-14th December 2017","other",,,,,,"TRUE",,,,,,,,,"","","","Appadurai, A. (1996). Modernity at Large: Cultural Dimensions of Globalization. Minneapolis:
University of Minnesota Press.
Carvalho, L., and Goodyear, P. (2014). The Architecture of Productive Learning Networks. NY:
Routledge.
Garduño Freeman, C. (2018). Participatory Culture and the Social Value of an Architectural Icon:
Sydney Opera House. UK: Routledge. 
Harrison, R. (2015). The Palgrave Handbook of Contemporary Heritage Research: Heritage and
Globalization. NY: Palgrave Macmillan. p. 297-312.
Holtorf, C., and Högberg, A. (2015). The Palgrave Handbook of Contemporary Heritage Research:
Contemporary Heritage and the Future. NY: Palgrave Macmillan. p. 509-23.
Jenkins, H. (1988). “Star Trek Reread, Rerun, Rewritten: Fan Writing as Textual Poaching.” Critical
Studies in Mass Communications 5 (2):85-107. Accessed 21/01/2010. doi: 10.1080/15295038809366691.
Schofield, J. (2015). The Palgrave Handbook of Contemporary Heritage Research: ‘Thinkers and
Feelers’: A Psychological Perspective on Heritage and Society. NY: Palgrave Macmillan. p. 416-25.
Simes, R., O'Mahony, J., Farrall, F., Huggins, K., and Redhill, D. (2013). “How Do You Value an Icon?
The Sydney Opera House: Economic, Cultural and Digital Value.” Deloitte. Accessed 15/09/2017.
https://www2.deloitte.com/content/dam/Deloitte/au/Documents/Economics/deloitte-au-economics-howdo-you-value-icon-2013.pdf.
Sydney Opera House. (2007). “Sydney Opera House Annual Report 2006/07: Living Place for the
World.” Accessed 07/06/2012. https://www.sydneyoperahouse.com/content/dam/pdfs/annualreports/Annual-Report-2006-2007.pdf.
——— (2010). “Sydney Opera House Annual Report 2009/10: Your House.” Accessed 07/06/2012.
https://www.sydneyoperahouse.com/content/dam/pdfs/annual-reports/SOH-annual-report-2009-2010.pdf.
——— (2016). “Sydney Opera House Annual Report 2015/16.” Accessed 07/06/2012.
https://www.sydneyoperahouse.com/content/dam/pdfs/annualreports/Sydney_Opera_House_Annual_Report_2015-16.pdf.
UNESCO. (2002). “Decisions Adopted by the 26th Session of the World Heritage Committee (WHC02/Conf.202/25).” World Heritage Centre. Accessed 21/03/2017.
http://whc.unesco.org/archive/2002/whc-02-conf202-25e.pdf.
——— (2007). “Item 13 of the Provisional Agenda: Evaluation of the Results of the Implementation of
the Committee’s Strategic Objectives. Proposal for a ‘Fifth C’ to Be Added to the Strategic Objectives
(WHC-07/31.Com/13b).” World Heritage Centre. Accessed 23/09/2017.
http://whc.unesco.org/archive/2007/whc07-31com-13be.pdf.
——— (2011). “Item 11 of the Provisional Agenda: Future of the World Heritage Convention.” Accessed
02/11/2017. http://whc.unesco.org/document/115441.
——— (2017). “Item 5 of the Provisional Agenda: Reports of the World Heritage Centre and the
Advisory Bodies.” World Heritage Centre. Accessed 22/10/2017.
http://whc.unesco.org/archive/2017/whc17-41com-5A-en.pdf.
Waterton, E. (2010). “The Advent of Digital Technologies and the Idea of Community.” Museum
Management and Curatorship 25 (1):5-11. Accessed 03/05/2012. doi: 10.1080/09647770903529038.
“YouTube Dancer Hits Centre Stage.” (26 September, 2009). Sydney Morning Herald. Accessed
20/10/2017. http://www.smh.com.au/news/entertainment/arts/youtube-dancer-hits-centrestage/2009/09/26/1253813653488.html.","","",,,,,,,"",,,,
"2013",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"L04",,"social media",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
"2013",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"L05",,"world heritage",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
"2013",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"P04",,"Australia",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
"2013",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"public participation",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
"2013",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"digital culture",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
"2013",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"community",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
"2013",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"public awareness",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
"2013",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,"communication",,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,