ABSTRACT
This chapter concerns predominantly with the rhetorics associated with the user-generated content' (UGC) movement and the rise in remix' culture. There are a number of claims made about the potentials of UGC for media and journalism that are no doubt familiar to those working in the heritage sector. In 2012 the National Media Museum in Bradford, England, opened its permanent gallery dedicated to the internet. As a part of the gallery, and its associated temporary gallery space, the museum hosted a series of collaborative artistic works, one of which was Ross Phillips' Read Aloud. In the museum studies and heritage literature a more nuanced discussion about what visitors' content looks like and how it might best be incorporated is beginning to emerge. The chapter focuses on public curation and the amateur/professional binary, crowd-sourcing and the grassroots/top-down binary, participatory art and the authenticity/quality binary and lastly photo sharing sites and the open/closed binary.
