Introducing Eryk Salvaggio, 2024 Research Fellow

Eryk Salvaggio is a researcher and new media artist interested in the social and cultural impacts of artificial intelligence. His work, which is centered in creative misuse and the right to refuse, critiques the mythologies and ideologies of tech design that ignore the gaps between datasets and the world they claim to represent. A blend of hacker, policy researcher, designer and artist, he has been published in academic journals, spoken at music and film festivals, and consulted on tech policy at the national level.

Ghosts in the Archives Become Ghosts in the Machines

I’m honored to be joining the Flickr Foundation to imagine  the next 100 years of Flickr, thinking critically about the relationships between datasets, history, and archives in the age of generative AI. 

AI is thick with stories, but we tend to only focus on one of them. The big AI story is that, with enough data and enough computing power, we might someday build a new caretaker for the human race: a so-called “superintelligence.” While this story drives human dreams and fears—and dominates the media sphere and policy imagination—it obscures the more realistic story about AI: what it is, what it means, and how it was built.

The invisible stories of AI are hidden in its training data. They are human: photographs of loved ones, favorite places, things meant to be looked at and shared. Some of them are tragic or traumatic. When we look at the output of a large language model (LLM), or the images made by a diffusion model, we’re seeing a reanimation of thousands of points of visual data — data that was generated by people like you and me, posting experiences and art to other people over the World Wide Web. It’s the story of our heritage, archives and the vast body of human visual culture. 

I approach generated images as a kind of seance, a reanimation of these archives and data points which serve as the techno-social debris of our past. These images are broken down — diffused — into new images by machine learning models. But what ghosts from the past move into the images these models make? What haunts the generated image from within the training data? 

In “Seance of the Digital Image” I began to seek out the “ghosts” that haunt the material that machines use to make new images. In my residency with the Flickr Foundation, I’ll continue to dig into training data — particularly, the Flickr Commons collection — to see the ways it shapes AI-generated images. These will not be one to one correlations, because that’s not how these models work.

So how do these diffusion models work? How do we make an image with AI? The answer to this question is often technical: a system of diffusion, in which training images are broken down into noise and reassembled. But this answer ignores the cultural component of the generated image. Generative AI is a product of training datasets scraped from the web, and entangled in these datasets are vast troves of cultural heritage data and photographic archives. When training data-driven AI tools, we are diffusing data, but we are also diffusing visual culture. 


Eryk Salvaggio: Flowers Blooming Backward Into Noise (2023) from ARRG! on Vimeo.


In my research, I have developed a methodology for “reading” AI-generated images as the products of these datasets, as a way of interrogating the biases that underwrite them. Since then, I have taken an interest in this way of reading for understanding the lineage, or genealogy, of generated images: what stew do these images make with our archives? Where does it learn the concept of what represents a person, or a tree, or even an archive? Again, we know the technical answer. But what is the cultural answer to this question? 

By looking at generated images and the prompts used to make them, we’ll build a way to map their lineages: the history that shapes and defines key concepts and words for image models. My hope is that this endeavor shows us new ways of looking at generated images, and to surface new stories about what such images mean.

As the tech industry continues building new infrastructures on this training data, our window of opportunity for deciding what we give away to these machines is closing, and understanding what is in those datasets is difficult, if not impossible. Much of the training data is proprietary, or has been taken offline. While we cannot map generated images to their true training data, massive online archives like Flickr give us insight into what they might be. Through my work with the Flickr Foundation, I’ll look at the images from institutions and users to think about what these images mean in this generated era. 

In this sense, I will interrogate what haunts a generated image, but also what haunts the original archives: what stories do we tell, and which do we lose? I hope to reverse the generated image in a meaningful way: to break the resulting image apart, tackling correlations between the datasets that train them, the archives that built those datasets, and the images that emerge from those entanglements.

Welcome, Susan!

Introducing Susan Mernit, Our New Development Lead

Hello, Flickr family and friends! I’m Susan Mernit, stepping into the role of Development Lead for the Flickr Foundation. My journey with Flickr began in 2004, the vibrant early days of digital photography. With nearly 5,000 snapshots—capturing everything from adventurous trips to China, Korea, and Peru to countless moments at tech gatherings—Flickr has been my digital photo album. Reflecting on those days, it’s not only the images that resonate, it’s the stories they tell and the community they’ve fostered.

Before joining this brilliant team, I led as Executive Director at The Crucible in Oakland, California, an innovative hub for artisan arts, and co-founded Hack the Hood, a nonprofit that helps low-income youth of color build skills for tech careers. My very first full-time job was as a community manager at a poetry organization, and I worked my way through college in the library.  With a history in the tech world—including time at Yahoo that overlapped with the Flickr acquisition—my career has been shaped around community engagement, open-source,  and product innovation.

So what am I going to do exactly?

Working alongside George, our visionary Executive Director, my goal is clear: to ensure the Flickr Foundation secures the resources to turn our 100-year plan into a 100-year reality. From cultivating relationships with foundations and corporate partners to reaching out to our global community of individual supporters, my job is to help build a sustainable future for the Foundation.

Beyond my professional life, I find balance and strength in weightlifting, Iyengar yoga, and hiking around the SF Bay area.  I am a compulsive reader, enjoying literary fiction, biographies, and books about tech, economics, and business.  My most used app on my phone is a US library platform called Libby. I welcome recommendations for great reads—let me know when you have one. 

Our plan for 2024: Flickr Commons & Data Lifeboat & the 100-year Plan

Find out more about our nefarious schemes for the coming year…


When I do planning, I usually carve it up along three axes: Projects, Pipeline, and People. I want to keep our project list very short in 2024. That allows us to focus more deeply, I think, and spend time thinking and waxing and wandering a bit as we map the new terrain of our mission, to keep Flickr images visible for 100 years.


There are three main flows of project work for the team:

  1. Flickr Commons nurturing and growing
  2. Start Data Lifeboat
  3. Continue 100-year plan ideation and workshopping

Flickr Commons

Flickr Commons turned 16 years old last week. To celebrate, we launched the first instantiation of a new front door which lives at The intent is to help Commons fans explore the different members’ collections more easily, and get a sense of recent activity across the aggregate. We hope to do another handful of releases over this year and beyond.

The other good news is that we’re nearly, finally, ready to welcome new members into the program. The software that supported new registrations and members had decayed a bit over the last decade, so, working with the company team—thanks Ruppel et al—we’ve co-designed a new set of Commons-specific APIs that will help the Foundation really lean into supporting Flickr Commons members from now on.

We are going to build: 1) a new registration form, 2) improved onboarding resources/workflow, 3) the new discovery layer you can now see at, and 4) better admin tools for the team to watch over the health of the program, and the happiness of our members. This will all be rolling out in the first half of this year. I don’t have a date for our first new tranche of members, but rest assured, we’ll let you know!

Later in the year, we want to find out a lot more about Flickr members interact with Flickr Commons and see if we can support them to more easily keep track of their input and progress. If you fit into this group, we’d like to know you!

Data Lifeboat

Last year, we applied to the National Endowment for the Humanities (NEH) to develop a first set of prototyping for our Data Lifeboat concept. That’s the idea that we should actually plan for a possible end of, developing “lifeboats” that can carry Flickr photos to other places if the big ship goes down. It was gratifying that the NEH decided to support this first block of work.

Our framing for the grant is to create two identical lifeboats containing Flickr pictures, “objective metadata” like EXIF, and a first crack at “social metadata”—the stuff that is only created on Flickr—because we think that’s essential for longer term contextual, archival framing of the existence of a Flickr photo. After all, on Flickr (and off) a photo is a social object, that is discussed, arranged, annotated, pointed at, and displayed, and EXIF data (the data that is created when a digital camera takes a photograph) falls short.

We’re planning to post NEH-grant-specific updates the blog at the end of each month, so stay tuned for that. (I’d better write that next!)

The 100-year plan

I don’t have a structure or plan written yet. But, I’ve really enjoyed all the discussions I’ve had about the idea, and especially the various workshops we’ve run in different groups about the idea. Basically, the workshop is called How to write a 100-year plan and my opening gambit is “I don’t know, what do you think” and conversation ensues.

We do hope to be able to at least get that workshop into a form where you might be able to run it without us. We’d let you know about that too.


We’re just over one year old, launching officially in November 2022. We’ve had an amazing start, thanks to support from SmugMug and our first cornerstone funder, Filecoin Foundation for the Decentralized Web. Since then, we’ve figured out how to accept donations of cash online via Stripe, and even stock donations! We’ve sketched out the grants we’re planning to apply for too.


Ewa Spohn, who also helped write the NEH grant for Data Lifeboat, has joined the crew to manage the project. With a background in mechanical engineering, program management, and people-arranging, we’re lucky to have her! Welcome, Ewa!

We’ve brought on a new part-time team member to help wrangle our Pipeline work, Susan Mernit. (Check out her sledgehammer!!) A veteran of the tech industry, Susan changed gears to lead two non-profits in California, to great success. She’s now working with nonprofits to help shore up their development plans and strategy, and we’re very glad she’s come on board to support us.

And, in case you missed it, we’re hiring: Our first job ad for this year is Archivist. It’s live now, closing January 31st.

Research diary: long-term thinking and lots of reading

New Research Fellow Jenn Phillips-Bacher shares what she’s been working on at the Flickr Foundation

It’s hard to believe that it’s already been two months since I joined the Flickr Foundation as a Research Fellow. Now that I’m settled in at HQ, I’m ready to share what I’ve been working on.

My starting point for this fellowship was to explore the long-term implications of digital collections access. I wanted to spend some time on the idea of tending to an ‘end of life’ for a collection – whether that’s through intentional institutional policies like digital weeding, or catastrophic loss through climate change. 

One of the first pieces I read was Dr. Temi Odumosu’s article The Crying Child: On Colonial Archives, Digitization, and Ethics of Care in the Cultural Commons, where she writes:

“…the opportunities for intervening both in back-end collections practices and web user experience, which insists on a more conscientious data flow around the commons, feels like something approximating practical ethics.” 

The phrase conscientious data flow has become a generative force for my research so far—I might as well have it tattooed on my arm. It’s made me think about the whole lifecycle of a digital object: how a photo or other object is selected for digitization and public access, what happens to it when people view and interact with it, and what traces it leaves behind.

In focussing on the lifecycle of an object, my reading has coalesced around three main areas:

  • Ethics of care throughout the life of a digital object
  • Responsible data stewardship and radical transparency
  • Climate impacts of unconstrained digital collections

Alongside these themes, I’m also getting more familiar with AI (no, really, what have I missed?), the decentralized web and the indieweb, Personal Knowledge Management systems, and generally how to be a good, care-full citizen of the Web. 

Here are some highlights:

Ethics of care

Following on from Dr. Odumosu’s work, I delved into the brilliant work of The Shift Collective who work directly with small community-based archives and memory workers to explore the cultural, financial and technological systems in which they operate. Their extensive research demonstrates how those systems must change to enable autonomy, equity and sustainability for the communities they serve. 

I’ve also been digging into the CARE Principles for Indigenous Data Governance, principles that set out how, as researchers or institutions working with Indigenous or marginalized communities, we can put autonomy back into the hands of those whose data (or content, objects or cultural heritage) is in the public realm. 

These principles are crucial grounding for the Flickr Foundation. We need to be aware of potential imbalances of power as a non-profit tech company that builds software for Flickr Commons and its preservation. To embody the CARE Principles in Flickr Foundation’s work means to design interventions that allow community control over their digital heritage and its preservation. 

Responsible data stewardship 

Flickr Foundation’s mission to keep Flickr photos visible for 100 years implies that we need new mechanics to move content around the web (whatever the web looks like in 20, 50, 75 years) and keep it somewhere where people can find it. What contextual information needs to travel with the Flickr photos to enable future generations to use them? And are we at that point even now, given that there are Flickr APIs that allow programmatic access to the Flickr corpus? What documentation is needed to support the ethical use of any slice of Flickr’s content? 

My introduction to this topic was the hot-off-the-press Datasheets for Digital Cultural Heritage (October 2023) which proposes a standardized template for cultural institutions to collaboratively document their open data sets derived from the digitization process. I’ve been working my way back through the history of the datasheet as a method of transparency, looking at the work of Emily Bender, Timnit Gebru, Mahima Pushkarna and other significant researchers in academia and industry, and following it through to current uses by Hugging Face and the Smithsonian

I’ve been working on mocking up a datasheet specifically for Flickr Commons. I’ll be ready to make this available for feedback from the Flickr Commons community in January 2024. 

Climate impact of digital collections

Though perhaps not as directly connected to the work of the Flickr Foundation, I’m keen to find out what the GLAM sector is doing to understand and plan for the long-term preservation and short-term access to its digital collections in light of the climate crisis. My sense is that culture workers are in the early days of considering the carbon costs of digital activities. And while climate change is a systemic issue that must be addressed through global cooperation, government policy and regulation, every one of us will need to make changes in the future.

If every job is a climate job, what does that mean for people working in cultural heritage? Will energy considerations make their way into collection development and retention policies, for example? 

And that’s not all

I’m fortunate to be based in the London office with 2/3 of the permanent team. Being part of Flickr Foundation HQ gives me a well-rounded picture of the breadth of its activities, and gives me a chance to work on software projects. I’ve chipped in on some user interface design ideation, helped to test Flickypedia before its launch, and started working up some design ideas for a Flickr to IIIF toy to help Flickr Commons members make their Flickr photos interoperable with alternative platforms.

If you’re interested in following along with what I’m reading, I’m keeping a list on my Pinboard.

And if there’s something you think is a must-read, send it my way!

Image credit: Bedbril / Glasses for reading in bed. Nationaal Archief / Flickr Commons.

Welcome, Jenn!

Meet the Foundation’s first ever Research Fellow!

It is with great pleasure that I introduce you to the Flickr Foundation’s inaugural research fellow, Jenn. In her own words…

Hi I’m Jenn Phillips-Bacher, the Flickr Foundation’s first-ever Research Fellow. I’ve been a Flickr user since 2007 when my first public photos were taken on a point-and-shoot digital camera. Oh, how the quality of photos have improved since then! It’s an absolute marvel to be able to trawl decades worth of (ever-improving) photography, still, in one place.

Before joining Flickr Foundation, I was most recently a Product Manager at Wellcome Collection, working to make its library and archive collections accessible to as many people as possible. I’ve also recently been a content strategist at the UK’s Government Digital Service where I focussed on tagging and taxonomies to help people find stuff. I’ve also been a web editor, project manager, reference librarian and technology trainer, all within the GLAM (that’s galleries, libraries, archives and museums) world.

My modus operandi for the 20+ years of my career has been to 1) find interesting work to do with kind people and 2) labor for the public good. That’s why I am delighted and honored to be part of Flickr Foundation’s efforts to preserve and sustain our digital heritage.

So what does it mean to be a research fellow?

Given my career history, I’d never considered that I could be a Research Fellow. I used to think research fellowships were reserved for academics (“real” researchers), which I resolutely am not. I’m still figuring out what it does mean to be a research fellow, but here’s where I’ve settled for now: a research fellowship allows me to take time out of normal life for learning and thinking while offering a practical benefit to the Flickr Foundation. That means I’ll use my research skills honed as a librarian and product manager to seek out existing knowledge and expertise, connecting the dots along the way, in order to help shape the Flickr Foundation’s work.

As the fellowship progresses, I’ll write more about what it’s like to move from a digital practitioner role into a Research Fellow role.

My research focus

My research is aimed at the Content Mobility program where I’m specifically interested in how we might design a Data Lifeboat. Not only the logistics of creating a portable archive of any facet of Flickr, but also how to plan for a digital collection’s ‘good ending’. I’ve always been interested in the idea of digital weeding—removing digital collections that no longer serve their purpose, as librarians do with physical materials. As we become more aware of the environmental impact of any digital activity, including online access and long-term preservation, we need to be even more intentional with what we save and what we let go.

As a complementary bit of research, I’ll be digging into the carbon costs of digital collections. I’m curious to see whether there’s something useful to do here that would help the GLAM sector make carbon-conscious digital collection decisions. (If you or anyone you know is already doing this work, I’d love to meet you/them!)

What else? When not working, I can be found nosing around galleries and museums and perambulating around cities in search of human-friendly architecture and good cafes. And like anyone who’s ever lived in Chicago, I have Opinions on hot dogs.

Superdawg drive-in

Photo by jordanfischer, CC BY 2.0.

Welcome to the team, Alex!

I’m very excited to introduce you to Alex Chan, who joined us this week as the Foundation’s first Tech Lead.

We’ve known since Day 1 that we wanted the Flickr Foundation to make things, and not just talk about things. It’s an important way for us to express our mission and long term hope. We know it’s a huge challenge to make Flickr images visible for 100 years, and, while technology is certainly a big factor, meaningful future-proofing of our approaches and tools and documentation will also be key.

That’s why I was so excited when Alex Chan applied for the Tech Lead position. They’ve joined us from Wellcome Collection, where they have led software engineering for digital preservation efforts for several years. We knew we needed an engineer who actually enjoys documentation and creating code that’s clear, tested, and is designed to be re-run by someone else. The code we write today will become the foundational stones of our future approaches, and the Tech Lead must be very focused on that all the time.

Apart from writing great code, Alex is also into noodling about with complex cross-stitching, and we’re already working on a first “toy” we’re hoping to publish very soon, but I’ll leave Alex to tell you about that.

Welcome, Alex!

Welcome to the team, Jessamyn!

It’s with a great sense of calm I introduce our newest team member, Jessamyn West. She’s joining us as the new Community Manager of the Flickr Commons program.

my favorite librarian

The Flickr Commons has been around since 2008, but hasn’t been looked after too well. There is still lots of activity, but the membership hasn’t grown for a few years, and there are no special tools for members, or for the volunteer researchers who help out by adding information about the photographs shared. We did a bunch of research in 2021 about how to turn things around, and I’m happy to say, bringing Jessamyn in to help is a fantastic power-up.

Essentially, the plan to resurrect the program has two main elements:

  1. Stabilise the current membership – support community cohesion and communication, develop  aggregate/activity baseline views, fix out-of-date stuff on, reconnect with “sleepy” members, and
  2. Grow the membership – we especially want to support small institutions who either cannot afford to pay for expensive collection management software, or don’t have enough staff to build out that kind of digital resource, help show/teach members about licensing, digitization, preservation techniques that we can support, build out partnerships and collaborations around the open web, open licensing, and, importantly, careful sharing (as opposed to batch throwing huge piles of cultural materials across the internet without appropriate care).

In her own words:

Hi I’m Jessamyn, and I’ve been a Flickr member since 2004. I’m the daughter of two serious hobby photographers (mom|dad) both of whom have legacy accounts on Flickr and I’ve put a few photos up there as well. I’ve really benefited, over the last two decades, from having a well-organized archive of at least some of my family’s digital heritage. Here’s my great great grandmother, and here’s my great great grandfather from the other side of the family.

I’m a big free culture fan, having done work for the Internet Archive and Wikipedia helping make more “stuff” available to more people online. I also help run MetaFilter, a large online community. My background is in librarianship and technology, so anything that combines those two things piques my interest and makes me happy. I write an irregular newsletter on the topic. I’ve been a huge fan of Flickr Commons since it launched in 2008, often using its images to illustrate Wikipedia or other digital projects.

When the Flickr Foundation came into view, I really wanted to help get more cultural heritage institutions get the tools they needed and wanted so that they could share their culture in a place geared towards longevity and community. I’m happy to be here.

You think you’re happy to be here, Jessamyn? YES! I’m so excited about it! We were on a zoom last week basically giggling at each other. I can’t wait to get started, so here’s a huge and happy welcome to you!

Oh, and while I have your attention, we’ve also just posted another position: Tech Lead. Please share in your networks, and apply if you’re interested!

Hello, World!


Short version:
Welcome to the new home of the Flickr Foundation! We are a new US 501(c)(3) nonprofit dedicated to keeping the wonderful Flickr collection around for 100 years. Big goals, little steps.

What’s the story?
In December 2020, Ben MacAskill (President and COO of SmugMug + Flickr) asked me to return to the fold to figure out how to revitalize the Flickr Commons program. It took me a very short while to consider it before I accepted. I proposed a research project to assess what had changed in the program and the wider sector in the last decade, so a new strategy for the Commons could reflect contemporary practice and the needs of current and future members in the program

The research consisted mainly of interviews, literature review, group discussion, and quantitative analysis, and it was a pleasure. I produced two documents which, for the curious, I’ve linked to here:

Here are a few of the highlights:

  • There was a very warm public reception to this research starting, with a lot of hope for Flickr Commons.
  • Current active members want better stats. Today they’re only able to access the past 31 days of activity, and some had labored in Excel to create comparisons they needed to justify their work.
  • Current members remain concerned about the total lack of governance the program has suffered under. Less active or dormant members we interviewed said lack of governance was the reason they drifted away. There was no communication about future plans or provision of a contact person, and no shared sense of direction or commitment for the program.
  • The digital cultural sector has kept moving forward with open licensing and accompanying technical, legal, and procedural practice, but many still struggle to nurture meaningful audience engagement and almost universal reports of no time in the workplace remain. 
  • We find ourselves in a particular zeitgeist; a constellation of #blacklivesmatter, #metoo, worker’s rights, epidemiology, and a rise of nationalism. We need space for more complex historical perspectives

A big part of the strategy proposed was to create a new organization, a foundation, to run alongside the company. This organization would  develop a longer-term outlook for the collection, and investigate preservation strategies that could last for the next century. Ben agreed! So here we are.

The foundation’s mission is to make sure Flickr will be preserved for future generations. We are already working on the idea of a very long-term outlook, while acknowledging we don’t have enough voices in the mix yet. A major project will be the 100-year plan, and we’ve held several research workshops to begin to shape what such a plan should look like. It’s been interesting to begin thinking about how the foundation can and should partner with the company too. 

People & Partners

A large group has been working together to establish the foundation for about a year now. 

There are two people on the Board of Directors so far: Ryan Merkley, long-time open advocate and former CEO at Creative Commons and Chief of Staff at the Wikimedia Foundation, now Managing Director at Aspen Digital; and Stephanie McVey, SmugMug + Flickr’s Chief Financial Officer. Both Ryan and Stephanie have been hugely helpful already, and are a great compliment to the foundation. We plan to recruit more people to join the board, so please reach out if you have any recommendations.

The first Executive Director of the foundation is… me! George Oates. What a thrill and a pleasure it is to be doing this; not only as a curious designer, but as someone who is very proud of Flickr, and passionate about making our shared histories more accessible to more people. I feel very strongly that It’s not OK to delete such a huge piece of our shared cultural heritage, and we must address that risk now that we’re pouring our cultural heritage into online corporate platforms. Creating a new foundation is new territory for me professionally too, so I am extra happy for Stephanie and Ryan’s expertise, support, and guidance, and I’m really keen to bring more people into the team.

SmugMug + Flickr Volunteers

We certainly couldn’t have come as far as we have without the medium-sized flotilla of SmugMug + Flickr, Inc. volunteers and collaborators who have contributed their time and minds to bringing this new organization to life, including Ben, Cabb, Seville, Dimi, Veronica, Jill, Erin, Shannon, Leticia, Ves, Emily, Liz, Christine, Sarah, Stads, Rode, Andrew, Shane, Sean, Nikki, Craig, Navnit, Phil, Nathan, and more!

Advisory board

We have already enjoyed valuable input from lots of people, and we have plans to build our advisory group gradually. We also expect to form an advisory committee from within the Flickr Commons membership. It’s important to have people from all kinds of backgrounds and ages thinking together about this 100-year challenge we’ve set ourselves.

Our first group of advisors includes:

Funding partners

Our work to date has been directly funded by SmugMug + Flickr. We could not have come this far without it, and look forward to continuing to build this central relationship in the coming years.

Research partners

We have begun building an intersectional scholarly group involved in researching history, library science, gender studies, critical race theory, digital humanities, and archival practice. The group is already meeting monthly online and cooking up our first in-person meeting.

Our academic partners are:

Our programs

It’s probably obvious but also important to note that these programs are nascent. They’re a first pass at what we think the key elements of a long-term piece of cultural infrastructure could and should be addressing. One of our first key hires will be a program manager to help develop these programs.

  1. Flickr Commons
    Our flagship program, and current priority, we will work to restore and then grow the Flickr Commons, stabilizing and reconnecting with the 100+ international member organizations, and then looking to expand membership, particularly inviting institutions from the Global South, the Majority World. What could a 21st century Commons be?
  2. Content Mobility
    Flickr is a huge image waypoint online, and has had interoperability at its heart since it first started in 2004. This program is about researching and showing the life of an image before it lands on Flickr, when it’s on the platform, and where it goes once it’s published elsewhere.
  3. Creative Archives
    Flickr can do things traditional archives cannot. It’s made by millions of people from across the world, and holds billions of things. Its cataloging is socially generated, not standards-based. The consumer-grade technology is robust and the user base is international. And finally, the Flickr API was one of the first public APIs ever. Discuss.
  4. New Curators
    Flickr is already full of curators. Its curatorial tools include albums, galleries, tags, groups, and more. It’s a great online place for conversation too, and we hope this program can gather new influences and knowledge around historical collections and future epistemologies.

We’ll hiring in early 2023

Yes, that’s right. We’re just finalising the job descriptions on four roles: Program Manager, Tech Lead, Producer (community & events), and Archivist. Our plan is to let this first crew of five people settle in together, and then decide as a group how we should grow the team after that. Do keep your eye on our mailing list or @flickrfdn on Twitter for announcements about when the jobs go live.