tag:blogger.com,1999:blog-28418783003509539432024-03-14T09:50:29.790-07:00Lorna M. Hughes Lorna Hugheshttp://www.blogger.com/profile/15124964457124389133noreply@blogger.comBlogger11125tag:blogger.com,1999:blog-2841878300350953943.post-70042759672758072302016-07-22T08:31:00.002-07:002016-07-22T08:31:17.596-07:00The Manuscript Laboratory: The role of digital imaging in constructing the photographic biography of a manuscript<div class="MsoNormal">
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span lang="EN-US">The following is the text of a talk given at a workshop organised by Professor Dr. Claudine Moulin and colleagues at the University of Trier Centre for Digital Humanities (the workshop was called </span><b><a href="http://www.ecodicology.org/index.php?id=39">Möglichkeiten der automatischen Manuskriptanalyse</a>) </b><span lang="EN-US">on Feb 24th 2014. At the time, I was University of Wales Chair in Digital collections at The National Library of Wales (NLW), running a collaborative research programme on the digital collections of Wales. I was interested in questions of how cultural heritage organisations which hold</span> cohesive national
digital collections, and collaborative frameworks to support interdisciplinary
and collaborative research, can create new opportunities to
build a digital workspace that can effect the sort of transformative research
that has been the promise of digital humanities for many years. In the talk, I looked at the history of 'copying' at NLW, and looked at how the digital dissemination of knowledge is part of a long tradition of copying and distributing manuscripts in Libraries. In the talk, I looked at the ways that some of NLW's most iconic material, including the Hengwrt Chaucer manuscripts, have been copied and disseminated over the past hundred years. As new methods of manuscript digitisation are developed (including RTI and hyperspectral imaging) are developed, I make the argument that we should be moving away from 'mass digitisation' towards 'slow digitisation': that we can learn more from looking at all the copied versions of a manuscript than a form of 'distant reading' of whole collections. Libraries should spend effort on bringing together all existing copies of a manuscript (rotograph, photostat, photograph) and bring them together with images gathered using new technologies, making the complete 'biography' of a manuscript available to scholars. I've also written about some of the preparatory work for this an article taken from a <a href="http://www.hrionline.ac.uk/openbook/chapter/dhc-hughes">keynote</a> I gave at the Sheffield HRI Digital Humanities Conference in 2012. As this talk was written to be read, it's a little rough in places but I do hope to continue this research now I am at Glasgow University and write this up as a fuller article in the near future. Some of these themes were also taken up at<a href="https://talkinghumanities.blogs.sas.ac.uk/tag/nedimah/"> a workshop </a>I organised with Andrew Prescott at NLW in 2015, and we hope to run a follow on event next year. </span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">As ever, I am enormously grateful to my former colleagues at NLW for their help with developing this research. </span></div>
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<b><span lang="EN-US"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Digitization at the National Library
of Wales</span></span></b></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The National Library of Wales is a legal deposit library, established by
Royal charter in 1907. It is the preeminent repository of information
for Wales, offering a world class collection of documentary heritage, including
numerous rare, valuable and significant works. The foundation collections of NLW are its manuscript collections: t<span lang="EN-US">he Peniarth, Llanstephan and Cwrtmawr collections. The Peniarth
Collection is listed in </span><span lang="EN-US">UNESCO’s Memory of the World register.</span></span></div>
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<span lang="EN-US"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The Library has always had an appreciation of the importance of
state-of-the-art technologies for access to its collections for education and
research, and infrastructures in Wales support connected communities linked to
library and archive resources: since devolution, the Welsh Government has made cooperation,
collaboration and digital delivery key areas of focus. <o:p></o:p></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span lang="EN-US">As a result, NLW created <span style="font-style: italic;">A National Digital Public Library of Wales:</span> a distinct, unified national collection
that is freely available to users as the “research data” for all
disciplines. Most of our content is licensed through creative commons licenses
for free use and re-use. The Library has built</span> internal expertise and capacity in the entire digital lifecycle: selection, conservation, capture, management and preservation. Copyright and other intellectual property rights are cleared as a managed part of digitisation process: where material is on deposit and/or the current rights holders are known, permission is requested, and where declined, materials are not used; when a current rights holder is unknown, reasonable efforts are made to identify and/or contact them. Digitised resources are licensed for re-use and re-purposing under an open license (ideally, BY-NC-SA: Creative Commons Attribution-Non Commercial-Sharealike license). A fundamental principle is that free access is key to realising the potential community, social, research and economic benefits of digitised resources. </span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN-US">There are several strategic objectives for digitizing NLW collections. The most paramount is <b>a</b></span><b><span lang="EN-US">ccess</span></b><span lang="EN-US">: The library has approx 85,000 physical user per year, but over 2 million online users. </span></span><span lang="EN-US" style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The remote location of the Library a primary driver for making resources
accessible digitally – not everyone can get to Aberystwyth to work with the
original materials! Online access ensures the material reaches researchers, students, and the public (especially the </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Welsh diaspora) worldwide. </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Digitization also offers enhanced access to primary sources, building in functionalities including the ability to search, browse, collate and annotate sources. Digitisation also supports p</span><b style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span lang="EN-US">reservation</span></b><span lang="EN-US" style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> – while not a preservation medium, digital access protects rare and fragile materials from handling, and also identifies
conservation needs, as digitization selection is an opportunity for carrying out an inventory of material that is not in circulation, or uncatalogued. Another key reason for digitisation is c</span><b style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span lang="EN-US">ollections
enhancement and reunification</span></b><span lang="EN-US" style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> – digitization is an opportunity to bring
materials together – for example,<i> t</i>he AHRC funded research project <a href="http://imagingthebible.llgc.org.uk/">I<i>maging the Bible in Wales</i></a> brought together a collection of manuscripts from
archives and special collections all around Wales. And finally, there is the potential for digital collections to effect a t</span><b style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><span lang="EN-US">ransformation of
scholarship</span></b><span lang="EN-US" style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">: The traditional library is now a digital research
infrastructure, with reading rooms replaced by Internet browsers, and primary
sources accessible for new types of analysis using computer tools and methods.</span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">NLW Research Programme in Digital
Collections<o:p></o:p></span></span></b></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span lang="EN-US"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">In 2011, in recognition of these developments in digital scholarship, the Library set
up a research programme in Digital Collections with the establishment of my
post, a research Chair funded by the University of Wales. We’ve developed a
fairly large portfolio of projects with two main areas of focus:</span></span><span style="text-indent: -18pt;"><span style="font-stretch: normal;"> </span></span><span style="text-indent: -18pt;">Better and increased use of our existing
digital content for research, and c</span><span style="text-indent: -18pt;">reating new digital resources that address
specific research challenges across the disciplines. </span><span style="text-indent: -18pt;">We are
building the programme on the principle of digital humanities: using digital
humanities methods and tools to foster scholarship across the disciplines, and
to act as a bridge between content and curators, building essential
collaborative relationships that integrate research into all aspects of our
collections. </span><span style="text-indent: -18pt;"> </span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN-US">It’s also built
on the assumption that digital humanities is about</span><span lang="EN-US"> </span><span lang="EN-US">working
with digital content, using and methods for the analysis and interpretation of
this content, and communicating the results of this work to the widest possible
audience using traditional and non-traditional publishing methods, allowing
greater engagement with research and research data than was previously possible: this </span></span><span lang="EN-US" style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">binds </span><span lang="EN-US" style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">scholarship
to research infrastructures in ways that are deeper and more explicit than we
are generally accustomed to in scholarship, and makes it dependent on networks
of people (<a href="https://mkirschenbaum.files.wordpress.com/2011/01/kirschenbaum_ade150.pdf">Kirschenbaum</a>, 2011)</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span lang="EN-US">This
transforms </span><span lang="EN-US">humanities research in two
ways: </span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">- Firstly, by facilitating
and enhancing existing research, by making research processes easier via the
use of computational tools and methods, <o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">- And secondly, by enabling
research that would be impossible to undertake without digital resources and
methods, and asking new research questions that are driven by insights only
achievable through the use of new tools and methods.<o:p></o:p></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span lang="EN-US">Greg Crane, Humbolt Professor of the University of Leipzig
has referred to this work as <i style="mso-bidi-font-style: normal;">e-</i></span><em><span lang="EN-US">Wissenschaft</span></em><span lang="EN-US"> reflecting that the best
examples of digital humanities are a new intellectual practice with elements
that distinguish qualitatively the practices of intellectual life in this
emergent digital environment from print-based practices (<a href="http://www.digitalhumanities.org/dhq/vol/003/1/000023/000023.html#N10167">Crane</a>, 2009). </span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span lang="EN-US"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">One of the
key elements of diversion from traditional scholarly practice is that the
digital humanities is collaborative: as the field matures, it is becoming
recognized as one in which the best research is created through partnerships
between different aspects of research, and indeed, between researchers from
multiple disciplines and stakeholder communities – researchers across the arts
and humanities and scientific disciplines, librarians, archivists, cultural
heritage staff, funders, technical experts, data scientists…In many ways, the library is the ideal locus for digital humanities, as a place </span></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">where all this comes together around the original source materials.</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span lang="EN-US"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">In order to
think through some of these questions, and to see how the research library is
becoming a digital research infrastructure, it’s useful to look at some of the
National Library’s work with manuscripts. </span></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The next few images show examples of some of the things that happen to a manuscript in a Library,
some of the conversations around its use, and the way that information about a
Library’s manuscripts are collected and used.</span></span></div>
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<span lang="EN-US"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Copying is,
of course, part of this documentation and information gathering, and going back
to the early histories of reproduction of manuscripts allows us to see
digitization as a continuum of the use of current technologies to <i style="mso-bidi-font-style: normal;">construct knowledge</i> about specific
manuscripts. <o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">In 1919, the
Library acquired a Photostat machine, and began advertising the possibility of
making reproduction copies available of its manuscripts, advertising in the Journal <i>Welsh Outlook</i>, from January 1920: "The National Library of Wales: By means of the Photostat recently installed the National Library can supply at very reasonable rates facsimile reproductions from manuscripts, books, maps, prints, drawings, etc., for the use of students and others. Enquiries should be addressed to the Librarian, National Library of Wales, Aberystwyth". </span></span></div>
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was the ability to make copies of manuscripts and to send them to schools in
Wales for education purposes. The image below is a negative photostat print of NLW Peniarth 610 MS 191: </span></span></span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"> </span></div>
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<span lang="EN-US"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Photostats
were also popular with scholars who used them for research, and to illustrate
journal articles. Foreshadowing creative commons licenses – the library didn’t
restrict re-use of these images, seeing getting its content out there as part
of its mission. .</span></span></div>
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<span lang="EN-US"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The
Library’s archive of correspondence shows who requested these images – and what
they did with them. By 1926, a Professor John M. Manly in Chicago was writing to the
Librarian for a Photostat of Peniarth 1926, the Hengwrt Chaucer….<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">…Which the
Library promptly sent, but for some reason sent the positive copy to Chicago, keeping
the negative:<o:p></o:p></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Manley and
the Librarian kept up a lively correspondence over the years, which forms an interesting
record of ‘technology transfer” – when Manley observed the use of fluorescence
technology in use at the Huntington in 1930, he wrote to NLW to suggest this
was a new technology that could be used. NLW were equally enthusiastic about the new technology, and had invested in fluorescence cabinet. Ballinger reported to Manly to report that staff and readers reported good results with the cabinets, with some readers spending 'a whole day' reading 'difficult' manuscripts under the lights:</span></div>
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<span lang="EN-US"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Manly and Edith Rickert’s research on Hengwrt found its way back to the Library – in 1939, their
research into the Hengwrt Chaucer to was published in the NLW Journal, illustrated
with a new photograph of the manuscript (a record of the order for the
photograph can be found in the Library's archives). <o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL_p38A8MDzhNy2bzzrJdvXVT_KknAE4DtPdfPl_CvGqUZylG9NHjIBtc3L0MqKf9avll9K8Rr-XcpHbNX_bW80-V0Wx-GoEZA86i1lZ2iIgWQOo_dP_YUNz6Y6czB92C72BB-4c9w9sA/s1600/Screen+Shot+2016-07-22+at+15.20.03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL_p38A8MDzhNy2bzzrJdvXVT_KknAE4DtPdfPl_CvGqUZylG9NHjIBtc3L0MqKf9avll9K8Rr-XcpHbNX_bW80-V0Wx-GoEZA86i1lZ2iIgWQOo_dP_YUNz6Y6czB92C72BB-4c9w9sA/s320/Screen+Shot+2016-07-22+at+15.20.03.jpg" width="320" /></span></a></div>
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<span lang="EN-US"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">In the
archive of correspondence, we see the original draft of the article, and the
editorial comments by Manly and Rickert. Interestingly, the Chaucer “workshop” was
originally called the “Chaucer Laboratory” – I like to think that this use was
over-ruled as an unnecessarily scientific nomenclature, but it's an interesting way of conceptualising the ways that the research was dependent on early imaging technologies. <o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnmBcseRtxP6A_EC_imZiWlQp5u245uUHMgPxW7qv1-549DjzzEEPl1WbvcGuzglLEaMRbWYqe7JFwG3noNjDD4i2VeQQFT2nC5xxQL6KItAMw4yXLML4gzKYaS5DzM3nAkZagTKds3VM/s1600/Screen+Shot+2016-07-22+at+15.22.33.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnmBcseRtxP6A_EC_imZiWlQp5u245uUHMgPxW7qv1-549DjzzEEPl1WbvcGuzglLEaMRbWYqe7JFwG3noNjDD4i2VeQQFT2nC5xxQL6KItAMw4yXLML4gzKYaS5DzM3nAkZagTKds3VM/s320/Screen+Shot+2016-07-22+at+15.22.33.jpg" width="320" /></span></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Other documents in the NLW archives of correspondence between Ballinger and his successor as Librarian, </span><a href="https://en.wikipedia.org/wiki/William_Llewelyn_Davies" style="background: none rgb(255, 255, 255); color: #0b0080; line-height: 22.4px;" title="William Llewelyn Davies">William Llewelyn Davies</a><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> and Manly show that the connection between the University of Chicago and Aberystwyth was a mutually beneficial collaboration over many years. Manly and Rickert came to Wales to authenticate the '<a href="http://welshjournals.llgc.org.uk/browse/viewpage/llgc-id:1277425/llgc-id:1287912/llgc-id:1288036/getText">Merthyr fragment</a>’ in 1936, and also to advise on the re-binding of Hengwrt, showing how fluid
the relationship between library and scholar was around these manuscripts.</span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span lang="EN-US"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The next
major technology to be adopted by the Library was, of course microfilming, and
the existence of the photographic section made it possible for the Library to
adopt this technology. From 1941-45, <span style="mso-spacerun: yes;"> </span>the
Library was the home of many of the treasures of the British Library and the
British Museum, which were moved to Aberystwyth for safekeeping, and stored in
the Library “Cave” for the duration of the war. During this time, many of these
materials were microfilmed – partly as an insurance against the possible loss
of the originals, but again, for access, preservation and as an attempt to
better represent the information in collections to scholars. </span></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">These microfilms
found their way to the Library of Congress British Manuscripts Project, <a href="https://archive.org/details/britishmanuscrip00libr">A Checklist of the Microfilms Prepared in England and Wales for the AmericanCouncil of Learned Societies, 1941-1945</a>, promoting Welsh manuscripts to an even
wider audience.</span></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvbuA5LXD1tP9NsuDlEEo6bP4OfZMYLCxziMj6bDmev4D0Cz2i_Ifk3sD1yU1FlhwV4neK60d0mztYHW9sLKx0FX1PX_huvj7iw6yEvCY_AeWqc7tj9ds97PGpzaNR6RpZiqJzN2GNXBg/s1600/Screen+Shot+2016-07-22+at+15.36.45.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvbuA5LXD1tP9NsuDlEEo6bP4OfZMYLCxziMj6bDmev4D0Cz2i_Ifk3sD1yU1FlhwV4neK60d0mztYHW9sLKx0FX1PX_huvj7iw6yEvCY_AeWqc7tj9ds97PGpzaNR6RpZiqJzN2GNXBg/s1600/Screen+Shot+2016-07-22+at+15.36.45.jpg" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: small;">The 'Cave' at NLW today</span></td></tr>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqMx1mw19Wb2Zqsy73Fjxoaz5H3b6Y-ECMdqYMU6m30P6mXmnrBMbDL7_ifw54C-L9yVHtQ0l4dcG6HnTaSFl6w_N9LFFbf5F8HhlhSHN7R6hn9KKTMFGIlvmqT-URqUUnBTnrJJ5gs_Q/s1600/Screen+Shot+2016-07-22+at+15.36.33.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqMx1mw19Wb2Zqsy73Fjxoaz5H3b6Y-ECMdqYMU6m30P6mXmnrBMbDL7_ifw54C-L9yVHtQ0l4dcG6HnTaSFl6w_N9LFFbf5F8HhlhSHN7R6hn9KKTMFGIlvmqT-URqUUnBTnrJJ5gs_Q/s1600/Screen+Shot+2016-07-22+at+15.36.33.jpg" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: small;">The 'Cave at NLW during the Second World War</span></td></tr>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The use of
digitization technologies to increase and enhance access to the collections of
Wales can be seen as a continuum of the enthusiasm and innovation attached to
the adoption of new technologies – be they Photostat or microfilm – throughout
the history of the National Library of Wales, and as a pragmatic response to
particular issues associated with the Library’s mission, collections, history,
and location. The National Library has been slowly digitizing the manuscript collection and
putting it online, and exploring the use of emerging imaging technologies for analysis of manuscripts. </span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span lang="EN-US">In 2013, a
team from Mellon-funded ‘</span><span lang="EN-US"><a href="http://ydc2.yale.edu/research-support/digitally-enabled-scholarship-medieval-manuscripts" title="Digitally Enabled Scholarship with Medieval Manuscripts"><span style="color: windowtext;">Digitally Enabled
Scholarship with Medieval Manuscripts</span></a></span><span lang="EN-US">’ project at Yale </span><span lang="EN-US">came to NLW to carry out
photospectral imaging of our three Chaucer manuscripts. This method of capture enables
imaging across the colour spectrum, to highlight different aspects of an image.
<o:p></o:p></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span lang="EN-US">A <b style="mso-bidi-font-weight: normal;">multispectral image</b> is one that captures image data at specific
frequencies across the </span><span lang="EN-US"><a href="http://en.wikipedia.org/wiki/Electromagnetic_spectrum"><span style="color: windowtext;">electromagnetic spectrum</span></a></span><span lang="EN-US">. The wavelengths may be
separated by </span><span lang="EN-US"><a href="http://en.wikipedia.org/wiki/Filter_%28optics%29"><span style="color: windowtext;">filters</span></a></span><span lang="EN-US"> or by the use of instruments that are
sensitive to particular wavelengths, including light from </span><span lang="EN-US"><a href="http://en.wikipedia.org/wiki/Electromagnetic_spectrum"><span style="color: windowtext;">frequencies beyond the
visible light range</span></a></span><span lang="EN-US">,
such as </span><span lang="EN-US"><a href="http://en.wikipedia.org/wiki/Infrared"><span style="color: windowtext;">infrared</span></a></span><span lang="EN-US">. </span><span lang="EN-US"><a href="http://en.wikipedia.org/wiki/Spectral_imaging"><span style="color: windowtext;">Spectral imaging</span></a></span><span lang="EN-US"> can allow extraction of
additional information the human eye fails to capture with its receptors for </span><span lang="EN-US"><a href="http://en.wikipedia.org/wiki/Trichromacy"><span style="color: windowtext;">red, green and blue</span></a></span><span lang="EN-US">. It was originally developed for
space-based imaging.<o:p></o:p></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span lang="EN-US">Multispectral imaging divides the
spectrum into bands – in our case, seven. Each one acquires one digital image
(in remote sensing, called a 'scene') in a small band of visible spectra,
ranging from 0.7 </span><span lang="EN-US"><a href="http://en.wikipedia.org/wiki/%CE%9Cm"><span style="color: windowtext;">µm</span></a></span><span lang="EN-US">
to 0.4 µm, called red-green-blue (RGB) region, and going to infrared
wavelengths of 0.7 µm to 10 or more µm, classified as near infrared (NIR),
middle infrared (MIR) and far infrared (FIR or thermal). The scenes are
combined to comprise a seven-band multispectral image. <o:p></o:p></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span lang="EN-US">This technology has also assisted
in the interpretation of </span><span lang="EN-US"><a href="http://en.wikipedia.org/wiki/Herculaneum_papyri"><span style="color: windowtext;">ancient papyri</span></a></span><span lang="EN-US">, such as those found at </span><span lang="EN-US"><a href="http://en.wikipedia.org/wiki/Herculaneum"><span style="color: windowtext;">Herculaneum</span></a></span><span lang="EN-US">, by imaging the fragments in the
infrared range (1000 nm). Often, the text on the documents appears to be
as black ink on black paper to the naked eye. At 1000 nm, the difference
in light reflectivity makes the text clearly readable. It has also been used to
image the </span><span lang="EN-US"><a href="http://en.wikipedia.org/wiki/Archimedes_palimpsest"><span style="color: windowtext;">Archimedes palimpsest</span></a></span><span lang="EN-US"> by imaging the parchment leaves
in bandwidths from 365-870 nm, and then using advanced digital image
processing techniques to reveal the undertext of Archimedes work.</span></span></div>
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see the outline of different captures at each level of the spectrum, a</span></span><span style="font-family: 'helvetica neue', arial, helvetica, sans-serif;">nd the composite
image, incorporating all seven captures: </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT1d8QS3X2UpjUSqX14NO0MxnXMTc_RU1-3sldGWnr67uW0B1D5p9U4chrb1el8HKABg2r2iH5FXVFbNGyjLPLNiHiED-BKdnd9EXFRhvhsWl_5Fy3Vy-WQ0CsjXNPtFTVNlny5jH6Cbo/s1600/Screen+Shot+2016-07-22+at+15.47.42.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgT1d8QS3X2UpjUSqX14NO0MxnXMTc_RU1-3sldGWnr67uW0B1D5p9U4chrb1el8HKABg2r2iH5FXVFbNGyjLPLNiHiED-BKdnd9EXFRhvhsWl_5Fy3Vy-WQ0CsjXNPtFTVNlny5jH6Cbo/s320/Screen+Shot+2016-07-22+at+15.47.42.jpg" width="292" /></span></a></div>
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<span lang="EN-US"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">For the Yale
project, ultimately, these images will be presented alongside related
manuscripts from other Libraries, like the Huntington Ellesmere Chaucer, using
a ‘shared canvas’ for annotation. <o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The
following images show how important the early captures are in the history of a
manuscript. This is a mss from the Llanstephan collection. The 1941 microfilm
shows a fairly legible text – but a recent 2013 digital capture shows text
loss, probably due to a conservation incident in the 1950s. <o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">NLW imaging experts carried out
ultraviolet imaging to see if some of the text elsewhere in the manuscript could
be made legible again, but with very limited success. This is a case where the 1940's microfilm image is the only record of some of the intellectual content in a manuscripts: showing the importance of keeping all copies of images of manuscripts taken over the years. Information can be captured by some processes (especially rotograph or even photostats) that are not to be seen in more recent images. <o:p></o:p></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">This shows how all types of image capture (not just digital imaging) become part
of the biography of a manuscript. Photostats, microfilms and digital captures
all tell us new things about a manuscript and what has happened to it over the years. We can’t anticipate what will happen to
manuscripts in the future, and we also can’t predict if new technology will
give us new ways to read and understand manuscripts that we may have captured
digitally: one of the great benefits of digital content is its use for rare and
unforeseen purposes, which again is an argument for retaining all historic image captures and making them available to scholars for analysis .</span></div>
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<span lang="EN-US"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Many
different methods for digital capture and presentation of manuscripts are now
becoming part of a manuscript Library’s documentation and dissemination of
manuscripts.<span style="mso-spacerun: yes;"> The </span></span></span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">ease of access to a large body of manuscripts from a collection enables the manuscript scholar to work in different ways – to take a more 'archival approach', working through large quantities of manuscripts, captured in many ways, and ideally also using the related documentary materials, such as the correspondence between Manly and the Librarians of Wales documented above. </span><br />
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<span lang="EN-US"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">However, if a Library is
to be more than just a digital photocopy service, publishing pretty pictures on its website, there must be direct engagement with scholars who can use these
images for analysis and interpretation. Libraries also need scholars to be involved
in the dialogue of encouraging the adoption of new technologies – it is the
researchers that can advise on candidate manuscripts for this sort of
imaging and presentation, and provide annotations and shared texts. This way,
all the data that we gather digitally about manuscripts can become integrated
into the scholars’ toolkit, part of the digital ecosystem that supports
research. <o:p></o:p></span></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span lang="EN-US"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Once manuscripts
are available as digital images – especially those that capture different
aspects of the image through photospectral and other technologies – a range of
methods is available to support scholars who wish to ask new questions, or
explore old questions in new ways. </span></span>For example,
the systematic analysis of similarities and distinctions in hands can be
measured and calculated, enabling analysis on the number of scribes, processed
used in creating manuscripts, etc. It’s also possible to analyse fragments for
the purpose of reconstruction, as well as
using hyperspectral and UV images to recover text. All this requires access to the full collection of images of a manuscript, including those developed in the early era of photographic reproduction. This calls for a more integrated approach to digital dissemination by libraries, and a focus on 'slow digitization' as opposed to 'mass digitisation': deploying the time and cooperation of manuscript libraries to work slowly and acquire all available photographic documentation of a manuscript, allowing for the establishment of 'layers' of data that can be added to add information about an archive. This sort of work requires digitisation in depth rather than mass: it will take more time, but ultimately provide a richer archive for scholars. </span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span lang="EN-US"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">One of the
great advantages of basing a DH programme in a Library is the ability to seamlessly build these bridges between expertise required to explore the potential of digital imaging; scholars who are
experts on the manuscripts; and expertise in digital methods that are used
across the disciplines as they become familiar from other projects, in a
sustainable way over the long term. This sort of collaboration</span></span> will contribute to the resources available to manuscript scholars in the
digital age, which ideally should not just be about a use of static tools and methods, but about
fostering a more fluid environment of interdisciplinary co-production. The digital
research infrastructures infrastructure to support this sounds a bit like the
‘manuscript laboratory’ envisaged back in 1939. We can see this envisaging as prescient or optimistic but regrettably, more likely (given the lack of resources and institutional will for such partnerships) wishful thinking. </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br /></span>
</div>
Lorna Hugheshttp://www.blogger.com/profile/15124964457124389133noreply@blogger.com0tag:blogger.com,1999:blog-2841878300350953943.post-68019822772188420892015-07-28T11:42:00.000-07:002015-07-29T03:56:58.247-07:00<div class="MsoNormal">
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<b><span lang="EN-US" style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">NeMO: NeDiMAH Methods
Ontology launched!</span></b><span style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><o:p></o:p></span></div>
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<span lang="EN-US" style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">I’m delighted to announce the launch of NeMO,
The NeDiMAH Methods Ontology, a major new component of the international
digital humanities research infrastructure.</span><span style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">NeMO is the final research output of the <a href="http://www.esf.org/">European Science Foundation</a> Network for
Digital Methods in the Arts and Humanities (<a href="http://www.nedimah.eu/">NeDiMAH</a>).
It is a comprehensive ontological model of scholarly practice in the arts and
humanities. NeMO was developed by the <a href="http://www.dcu.gr/">Digital
Curation Unit (DCU)</a>, ATHENA RC in collaboration with the <a href="http://www.nedimah.eu/workgroups/development-ict-methods-taxonomy">NeDiMAH
Ontology Working Group</a>. For more information, please see: <a href="http://www.nedimah.eu/content/nedimah-methods-ontology-nemo">http://www.nedimah.eu/content/nedimah-methods-ontology-nemo</a>.
The direct link to NeMo is <a href="http://nemo.dcu.gr/">http://nemo.dcu.gr</a>.</span><span style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<b><span lang="EN-US" style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">Background: NeDiMAH, and
understanding Digital Humanities in Practice</span></b><span style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><o:p></o:p></span></div>
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<span lang="EN-US" style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><a href="http://www.nedimah.eu/">NeDiMAH</a> was
a ESF Research Networking Programme (RNP) funded from May 2011-May 2015. It was
a collaboration of 16 ESF Member organisations, and was co-Chaired by myself, <a href="https://www.maynoothuniversity.ie/faculty-arts-celtic-studies-philosophy/our-people/susan-schreibman">Susan
Schreibman</a> (University of Maynooth, Ireland) and <a href="http://www.jannidis.de/">Fotis Jannidis</a> (University of Würzburg,
Germany, from 2011-14).</span><span style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">NeDiMAH brought into partnership the digital
humanities researchers of16 NeDiMAH <a href="http://www.nedimah.eu/Contributing-Organisations">Member countries</a> (Bulgaria,
Croatia, Denmark, Finland, France, Germany, Hungary, Ireland, Luxembourg, the
Netherlands, Norway, Portugal, Romania, Sweden, Switzerland, and the UK. The
Network built a collaborative forum to research </span><span style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">the practice of advanced digital methods
in the arts and humanities, via an extensive</span><span lang="EN-US" style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"> programme of activities. NeDiMAH explored key areas of
theory and practice in a number of methodological areas, via <a href="http://www.nedimah.eu/workgroups">Working Group</a>s. Areas of focus
included the analysis of time and space, visualization, </span><span style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">linked data, large scale data analysis,
editing, manuscript imaging, temporal modeling, and scholarly communications.
The reach of these activities has been documented visually in a series of maps
of digital humanities activities across Europe:<o:p></o:p></span></div>
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<span lang="EN-US" style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><a href="http://www.nedimah.eu/content/events-maps">http://www.nedimah.eu/content/events-maps</a>,
and <a href="http://www.nedimah.eu/content/map">http://www.nedimah.eu/content/map</a></span><span style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><o:p></o:p></span></div>
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<div class="MsoNormal">
<span lang="EN-US" style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">Through our activities, the Network was able to
get a sense of the diversity of practice of digital humanities around Europe,
and to understand and demonstrate the collaborative and trans-national nature
of digital humanities, and to demonstrate the integration of digital approaches
into all aspects of the research lifecycle. Our objective was to understand
better the impact that digital methods have had on transforming scholarship in
the arts and humanities, and the potential for extending the benefits of digital
research to the creative industries, the commercial sector, and public policy
and planning. Collaboration has been key: with scientific and technical
disciplines; with data science; with libraries, archives and museums; with
existing European research infrastructures including <a href="http://europeana.eu/">Europeana</a>, <a href="http://clarin.eu/">CLARIN<span style="color: blue; text-decoration: none; text-underline: none;"> </span></a>and <a href="http://daraiah.eu/">DARIAH</a>. The essential complexity of the digital
environment means that individual researchers and small groups are less able to
exploit it effectively, so collaborative models are emerging as the norm.</span><span style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><o:p></o:p></span></div>
<div class="MsoNormal">
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<div class="MsoNormal">
<span lang="EN-US" style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">The evidence gathered by NeDiMAH is an excellent
basis for understanding the impact of core elements of current digital
research: the seamless integration of data, and a critical engagement with its
management and preservation as part of the humanities research life-cycle; the
ability to scale up (and down) while working with heterogeneous data from
diverse sources; skills for the critical analysis and interpretation of data
created locally, and by commercial entities; and the experience of embedding
digital scholarship in cultural contents, and those that promote widest public
engagement.</span><span style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">At a time when attempts to define the digital
humanities can be contentious, NeDiMAH has provided a powerful example that the
digital humanities is essentially understood through practice, and that a
critical framework for digital research within the ‘big tent’ of digital
humanities must be based on a reflection of the diverse and rich work carried
out to date.</span><span style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><o:p></o:p></span></div>
<div class="MsoNormal">
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<div class="MsoNormal">
<span lang="EN-US" style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">This work will be the basis for future knowledge
production in the humanities that takes advantage of digital tools, methods and
content. It has been consolidated in NeMo, the main and final output of
NeDiMAH. NeMo is a formal expression of the practice of digital humanities that
explores this richness and complexity, and provides a valuable resource for
critical and peer review of digital outputs. It also demonstrates directly the
scholarly ecosystem that underlies digital research in the arts and humanities
as a distinctive intellectual practice with considerable impact within and
without the Academy</span><span lang="EN-US" style="color: white; font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">.</span><span style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-US" style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">About NeMO</span></b><span style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">NeMO is a unique
resource that brings together the digital content, tools and methods that are
at the heart of the digital humanities. It brings together work developed by
our partners at the DCU, ATHENA RC, including past and current empirical work
on scholarly practices (developed in the context of <a href="http://ieeexplore.ieee.org/xpl/login.jsp?tp=&arnumber=6123273&url=http%3A%2F%2Fieeexplore.ieee.org%2Fxpls%2Fabs_all.jsp%3Farnumber%3D6123273">Preparing
DARIAH,</a> <a href="http://www.ehri-project.eu/">EHRI</a>, and <a href="http://dariah.eu/">DARIAH-EU</a>); their <a href="https://www.ideals.illinois.edu/bitstream/handle/2142/14945/benardou.pdf?sequence=2">Scholarly
Research Activity <span style="color: blue; text-decoration: none; text-underline: none;"> </span>Model</a> (developed for <a href="http://www.dcu.gr/index.php?p=projects&lang=en&section=7">DARIAH-GR</a>);
and research into the need for expansion of existing digital humanities
taxonomies, such as the taxonomy underpinning arts-humanities.net and now the
basis for the classification of <a href="https://digital.humanities.ox.ac.uk/people-projects">Digital Humanities
at Oxford</a>. It was decided early on in the programme of NeDiMAH activities
that a taxonomy is not complex enough to explore the diversity of Digital
Humanities in practice, based on exemplars drawn from the NeDiMAH
Methodological Working Groups.<o:p></o:p></span></div>
<div class="MsoNormal">
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<div class="MsoNormal">
<span lang="EN-US" style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">NeMO is a <a href="http://www.cidoc-crm.org/">CIDOC CRM</a> - compliant ontology which
explicitly addresses the interplay of factors of agency (actors and goals),
process (activities and methods) and resources (information resources, tools,
concepts) manifest in the scholarly process. In addition to providing a formal
ontology for Digital Humanities, it includes methods for classification and a
shared vocabulary.</span><span style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><o:p></o:p></span></div>
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<div class="MsoNormal">
<b><span lang="EN-US" style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">Benefit of NeMO for the
Digital Research Community</span></b><span style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><o:p></o:p></span></div>
<div class="MsoNormal">
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<div class="MsoNormal">
<span lang="EN-US" style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">Despite an enormous investment in the creation
of digital collections for research, very little funding has been invested into
discovering what scholars actually do with ‘all this digital stuff’: digital
content, but also the methods that enable us to discover, annotate, compare,
and analyze digital content; and the tools that make this work possible. The
first initiative to do this in a comprehensive way was the <a href="http://www.methodsnetwork.ac.uk/">AHRC ICT Methods Network</a>, based at
King’s College London, which I ran from 2005-8. This developed the taxonomy
that was the basis of arts humanities.net as a first attempt to formally
classify the ‘methodological commons’ of digital humanities.</span><span style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><o:p></o:p></span></div>
<div class="MsoNormal">
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<span lang="EN-US" style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">NeDiMAH went beyond this, taking the research
into DH in practice into a European forum, and fostering the development of
NeMO. We hope this will help to formalize and codify the expression
of work in the digital arts and humanities, and make it possible to explore the
inter, multi, and trans disciplinarity that is at the heart of the most
exciting work in the digital humanities. It shows the human aspects of digital
infrastructure: the collaborations among people that make the integration of
content, tools and methods possible.</span><span style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><o:p></o:p></span></div>
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<div class="MsoNormal">
<span lang="EN-US" style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">Having a means to formally describe the practice
of digital humanities will contribute to the development of a commonly
agreed nomenclature in Digital Humanities: something that typically happens
with the maturing and consolidation of disciplines / research domains, so this
is an important stage in the history of Digital Humanities.</span><span style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">Next Steps</span></b><span style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><o:p></o:p></span></div>
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<div class="MsoNormal">
<span lang="EN-US" style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">The major next step is to populate the ontology
with more existing taxonomies, case studies and exemplars, and to develop the
community of researchers who use it.</span><span style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><o:p></o:p></span></div>
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<div class="MsoNormal">
<span lang="EN-US" style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">While NeDiMAH funding has ended, an activity
within the <a href="https://dariahre.hypotheses.org/about/dariah_vcc2">DARIAH.EU
Virtual Comptency Centre 2</a> will continue to develop NeMO through the
establishment of <a href="http://nedimah.eu/events/nemo-nedimah-methods-ontology-dg-digital-methods-and-practices-observatory-dimpo">the
Digital Methods and Projects Observatory (DiMPO</a>). DIMPO will develop
and provide an evidence-based, up-to-date, and pragmatically useful account of
the emerging information practices, needs and attitudes of arts and humanities
researchers in the evolving European digital scholarly environment, for the
benefit of the digital humanities research community. It seeks to achieve this
objective through the inception of a longitudinal mixed methods research and
monitoring programme on the information practices and scholarly methods
employed in digitally-enabled arts and humanities work across Europe, and
through the digital dissemination, validation and enrichment of research
outcomes by the scholarly community. </span><span style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><o:p></o:p></span></div>
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<span lang="EN-US" style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">Further to DiMPO, the NeMO team will seek to
collaborate with <a href="http://research.europeana.eu/">Europeana
Research</a>, the newly-launched research portal of <a href="http://www.europeana.eu/portal/">Europeana</a>, supports and fosters
research in the humanities and social sciences through the meaningful re-use of
Europeana content and metadata. The work will be taken forward at a series of
workshops and case studies orgnaised by Europeana Research to further scope the
best way of developing NeMO as a methodological layer for the international
e-research community. This will maximise </span><span style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;">the value of national and international e-research initiatives by
developing a methodological layer that allows arts and humanities researchers
to develop, refine and share research methods that allow them to create and
make best use of digital collections, as well as methods.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb72mnmjdnuJ8f6bdDCEK02jQbZFr51MR4cSRTTrKW7ie5ncgvY33O77aAuBAfQvP7Vgu92dCnZuERk30qRFlHF67da3DccDQVNwuQzjiYOBJ2R6aTURptLegXddTmU_vX3VGdsPoqvDs/s1600/nemo+image.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb72mnmjdnuJ8f6bdDCEK02jQbZFr51MR4cSRTTrKW7ie5ncgvY33O77aAuBAfQvP7Vgu92dCnZuERk30qRFlHF67da3DccDQVNwuQzjiYOBJ2R6aTURptLegXddTmU_vX3VGdsPoqvDs/s320/nemo+image.png" width="320" /></a></div>
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<span style="color: black; font-family: Calibri; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><o:p> </o:p></span><span style="font-family: Calibri; font-size: 11pt;"> </span></div>
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Lorna Hughes (Chair of the NeDiMAH Methods Ontology Working Group), or Panos </span>Constantopoulos, Agiatis<span style="background-color: white; color: #6a6a6a; font-family: arial, sans-serif; font-size: x-small; font-weight: bold; line-height: 14.5600004196167px;"> </span>Benardou, Costis Dallas (Digital Curation Unit,
ATHENA RC, who developed NeMo), via the <a href="http://nedimah.dcu.gr/index.php?p=contact">contact form.</a> </div>
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Lorna Hugheshttp://www.blogger.com/profile/15124964457124389133noreply@blogger.com0tag:blogger.com,1999:blog-2841878300350953943.post-82683242548453885822015-05-09T11:00:00.003-07:002015-05-09T12:04:55.943-07:00Genres of scholarly knowledge and production: The Snows of Yesteryear<span style="font-family: inherit;">What follows was my contribution to the panel session on genres of scholarly knowledge and production at the NeDiMAH/AHRC Digital Transformations event, <a href="http://www.nedimah.eu/events/beyond-digital-humanities-final-network-event">Beyond the Digital Humanities</a>, which took place at the School of Advanced Study, University of London, on May 5th 2015. </span><span style="font-family: inherit;">I talked about a project called </span><span lang="EN-US" style="font-family: inherit;"><i style="font-weight: bold;"><a href="http://eira.llgc.org.uk/">The Snows of Yesteryear: Narrating Extreme Weather</a></i>, which I felt exemplified </span>a lot of issues around the production and uses of scholarly knowledge, <span style="font-family: inherit;">and which also typifies what 'Digital Humanities' really looks like these days. </span><br />
<i style="font-family: inherit;"><span lang="EN-US"><br /></span></i>
<i style="font-family: inherit;"><span lang="EN-US">The Snows
of Yesteryear: Narrating Extreme Weather</span></i><b style="font-family: inherit;"><span lang="EN-US"> </span></b><span lang="EN-US" style="font-family: inherit;">started in 2011 and
finished in 2013, and was a very small project in terms of funding and
activities (we had a total of around £100k from the Landscape and Environment
programme of the AHRC, which due to re-election purdah I referred to as the Research Council that Dare Not Speak Its Name). </span><span style="font-family: inherit;">The
project was collaboration between humanities research, the archives of the
National Library of Wales, and the ACRE Project at the Met Office, which seeks to reconstruct
and visualize historic weather for analysis and visualization of climate change
over time.</span><br />
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<span style="font-family: inherit;"><br /></span></div>
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<span lang="EN-US" style="font-family: inherit;">Focusing
on Wales, we worked with archives from the pre-weather instrument period (approx. pre
1800) to find instances of extreme weather events and people’s response to
them: in letters, diaries, ballads, manuscripts, exploring digital capture of
archives to uncover narratives of extreme weather. </span><span style="font-family: inherit;">We
then took an ethnographic approach: we conducted interview with people to develop
narratives of impact of extreme weather: then worked with archival resources
and interview data to come up with a paradigm for making sense of all this
stuff for research into climate, identifying narrative markers (a vocabulary)
for extreme weather events.</span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span lang="EN-US" style="font-family: inherit;">So
the project really focused on data, and its re-use, and new types of
collaboration, through a dialogue between the sciences and the arts and humanities. </span><span style="font-family: inherit;">As
a means of demonstrating this, the material was the inspiration for a public performance
piece, </span><i style="font-family: inherit;"><a href="http://www.eddieladd.com/Ghost-Dance.html">Ghost Dance</a></i><span style="font-family: inherit;"><a href="http://www.eddieladd.com/Ghost-Dance.html">,</a> created by artist
<a href="http://www.eddieladd.com/">Eddie Ladd</a>, which drew on disparate narratives as a piece describing events of
the winter of 1963 in an allegorical, not didactic way.</span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span lang="EN-US" style="font-family: inherit;">Our
aims in developing the performance were:</span></div>
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<li><span style="font-family: inherit;">to inform, enhance and stimulate public awareness, understanding and
appreciation through accounts and representations of extreme weather events;
and how responses to such historical occurrences might inform contemporary
experiences, strengthening local and regional regard for adaptability and
resilience;</span></li>
<li><span lang="EN-US" style="font-family: inherit;">methodologically, to devise modes of performance appropriate for the
dramaturgical assemblage of diverse materials – including scientific data – and
for their public </span><span style="font-family: inherit;">exposition
in live situations;</span></li>
<li><span style="font-family: inherit;">to develop procedures to help illuminate, explicate and problematise the multiplicity of meanings that resonate within extreme
climatic experiences;</span></li>
<li><span lang="EN-US" style="font-family: inherit;">to evoke past events and the immediate responses to them: of both trauma
and resilience; bridging a linguistic as well as a historical and cultural gap
between texts and modern audiences.</span></li>
</ul>
</div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: inherit;">So,
this is a pretty good exemplar of DH in practice:
working with humanities research questions to uncover data that’s then reused by
scientists and performers. This sort of co-curation and re-use is often the
goal of DH projects.</span><br />
<span lang="EN-US" style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><i><span lang="EN-US">But:</span></i><span lang="EN-US"> think about these outputs (climate visualisations, and performance), and
think about the publication and sustainability issues they raise. <o:p></o:p></span>We are creating research, and research outputs, that go beyond the traditional publication model.</span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: inherit;">As
a researcher working with data, working on the project highlighted for me some of the issues
associated with this emerging digital research life cycle:</span></div>
<div class="MsoListParagraphCxSpFirst" style="mso-layout-grid-align: none; mso-list: l0 level1 lfo1; mso-pagination: none; text-autospace: none; text-indent: -18.0pt;">
<ul>
<li><span lang="EN-US" style="font-family: inherit;">Data is being created in
silos: the sustainability mechanisms we use, like institutional repositories, mitigate against sharing.</span></li>
</ul>
<ul>
<li><span style="text-indent: -18pt;"><span style="font-family: inherit;">Trans-national, and trans
disciplinary collaboration are needed for this sort of work, but how do we sustain this sort of engagement over time? </span></span></li>
</ul>
<ul>
<li><span lang="EN-US" style="font-family: inherit; text-indent: -18pt;">Collaboration with
archives and libraries is key to much of this work: but how can we engage them critically
in exposing data for re-use that is currently unforeseen? </span></li>
</ul>
<ul>
<li><span lang="EN-US" style="font-family: inherit; text-indent: -18pt;">How do you share and
document this sort of research, and it's outputs? How do you publish this? How can we reconcile this sort of work
with traditional, peer reward publication models?</span></li>
</ul>
<ul>
<li><span style="text-indent: -18pt;"><span style="font-family: inherit;">How do you reflect the
provenance of data embedded in a visualization, or a performance? When our
publishing models focus on end results, how should we communicate complexity,
ambiguity, and interpretation, in work that’s open for re-purposing? How do you
represent the analysis inherent in the data?</span></span></li>
</ul>
<ul>
<li><span style="text-indent: -18pt;"><span style="font-family: inherit;">And how does this fit into traditional reward cultures? How do we assess work in disciplines that are not our own? </span></span></li>
</ul>
</div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: inherit;">What
was clear from the <i>Snows of Yesteryear </i>was that the impact of the data we create, and the
critical engagement with that data, will be greater if we can share this
material effectively across networks, disciplines and communities, which can
also in turn share this work and its outputs. </span><span lang="EN-US" style="font-family: inherit;">We’ve
become very good at managing data: the data for Snows won’t go anywhere: but we
still haven’t given enough thought to its re-use and publishing. Our w</span><span style="font-family: inherit;">ork is beautifully digitally curated, but it's still locked in
silos: How to embed outputs into other communities, research?</span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span lang="EN-US">But
individual researchers and projects – especially short term projects - won't be
able to change modes of scholarly production: we need networks and
collaboration, such as those effected by transnational infrastructures like DARIAH
and CLARIN, which are starting to discuss the human and collaborative aspects
of Research Infrastructure. <o:p></o:p></span>Sharing data within humanities research is difficult, as humanities researchers are not yet completely open to sharing. Yet visibility is a full part of the scientific process: w<span lang="EN-US">e need more </span><span lang="EN-US">visibility for digitally based research and for the products of this research.</span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: inherit;">The crux of these challenges is that there is a huge potential impact of DH. But current structures and
scholarly communication modes mean that often, transformative work is not visible.</span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span lang="EN-US">When
projects like the Snows of Yesteryear are building resources that address </span><span lang="EN-US">social, cultural, economical, ecological and political
issues, these are significant challenges we must start to address: Our ideas
could be lost or ignored if we do get better at creating </span><span lang="EN-US">shared
laboratories or sandpits, and methods for sharing data for use and re-use: it’s a
contradiction but still the case that digital research and sources are often
less visible than analogue outputs. </span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: inherit;">A
cultural shift is needed. One way to start on that path </span><span lang="EN-US"><span style="font-family: inherit;"><span style="font-family: inherit;">is to be more reflective about existing DH outputs, and integrate this into the way that we think about creating scholarly knowledge, and collaborate
to effect cultural change around sharing and using data.</span> </span><span style="font-family: Arial; font-size: 11pt;"><o:p></o:p></span></span><br />
<span lang="EN-US"><span style="font-family: inherit;"><br /></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinEX4Bkcqxkuwgy5VIGAqx5XsMrftxew9KDVvkHtBV6vpG563x_BUHNApnWtR8fl9JbDkFChFjUT7uDVBUnbNPJA_BeQWtKH-YbOBf7mViA8B3SVuc0aAMxkCITZCfcIKIyfhDHD3i6WE/s1600/Screen+Shot+2015-05-09+at+19.34.10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinEX4Bkcqxkuwgy5VIGAqx5XsMrftxew9KDVvkHtBV6vpG563x_BUHNApnWtR8fl9JbDkFChFjUT7uDVBUnbNPJA_BeQWtKH-YbOBf7mViA8B3SVuc0aAMxkCITZCfcIKIyfhDHD3i6WE/s200/Screen+Shot+2015-05-09+at+19.34.10.jpg" width="145" /></a></div>
<span lang="EN-US"><span style="font-family: inherit;"><br /></span></span></div>
<!--EndFragment-->Lorna Hugheshttp://www.blogger.com/profile/15124964457124389133noreply@blogger.com1tag:blogger.com,1999:blog-2841878300350953943.post-74186237966982576442015-02-18T15:24:00.001-08:002015-02-24T09:34:41.414-08:00Cymru1914.org nominated for a Digital Humanities 2014 Award: “Best Use of DH for Public Engagement”<br />
<br />
<a href="http://cymru1914.org/">The Welsh Experience of the First World War</a>, or <a href="http://cymru1914.org/">cymru1914.org,</a> a digital archive of material relating to the First World War from the archives and special collections of Wales, has been nominated for a <a href="http://dhawards.org/dhawards2014/voting/">Digital Humanities award 2014</a>, in the category “Best Use of DH for Public Engagement”. <a href="https://docs.google.com/forms/d/1jELMglW4EGnqgxOXJdA-lYc5qAPqnMK7-IvHCutzCSM/viewform?usp=send_form">Voting</a> closes on February 28th, 2015!<br />
<br />
Hurrah! This is very exciting, and also very rewarding for the large number of people who put a lot of hard work into the delivery of the project (most of whom are acknowledged in a <a href="http://cymruww1.llgc.org.uk/2013/11/24/thanksgiving/">blog post</a> I wrote when the project launched).<br />
<br />
I was the PI on this <a href="https://www.blogger.com/jisc.ac.uk">Jisc</a> funded project, and led its development at the National Library of Wales from January 2012-November 2013. I consider it one of my better DH achievements, as Cymru1914,org, as the resource exemplifies many of my personal beliefs about digital resources in the humanities.<br />
<br />
First of all, it’s all free and easily accessible. The content isn’t behind a paywall, subscription service, or tucked away in an institutional repository. The material is free for use and re-use using an open license, in this case a Creative Commons Attribution-Non Commercial-Sharealike license (<a href="http://creativecommons.org/licenses/by-nc-sa/2.5/">BY-NC-SA</a>). We were able to do this as the National Library of Wales policy is for copyright and intellectual rights to be cleared as a managed part of the digitization process. This is because of a belief that free access is the key to realizing the potential community, social, research and economic benefits of digitized resources: the value of making content freely accessible for use and re-use is far greater than any economic value to be released by licensing (which has been shown to be minimal, anyway, in a number of studies, <a href="http://www.kdcs.kcl.ac.uk/fileadmin/documents/USMuseum_SimonTanner.pdf">including one by Simon Tanner</a> of King’s College London, based on licensing Museum images).<br />
<br />
Secondly, every aspect of the development of cymru1914.org has been collaborative: developed under the umbrella of the <a href="https://whelf.wordpress.com/">Welsh Higher Education Libraries Forum,</a> cymru1914.org brings together content from NLW, Welsh University archives and special collections, and local records offices. It’s a much stronger resource for integrating (and in some cases, digitally re-unifying) content from so many physical archives, and stands as a cohesive, national collection. Putting the project was a collaborative effort of partners and many departments at NLW: Collections, IT, Systems and other units all worked together on delivering the project.<br />
<br />
And finally, the project had public engagement at the very core of its development. We put together a very inclusive advisory group to advise on content selection, interface development, and use cases throughout form the start (even at the grant writing stage). Representatives from academia, the arts and creative industries, cultural heritage, teaching, government, the military and other commemorative organisations provided input throughout the development, and have also helped with its promotion and interpretation since it was launched. We were very fortunate to also have the support of <a href="https://www.blogger.com/walesremembers.org">Wales Remembers</a>, the Welsh Government Programme Board for the Commemoration of the First World War, which has meant that it’s been a central focus of centenary events in Wales.<br />
<br />
Because of these three themes: freely accessible content, collaboration, and community engagement, the digital content resource has been widely used (and re-used) since its launch, living up to <a href="https://twitter.com/willnoel/status/393707461385129984">William Noel’s assertion</a> that for owners of cultural heritage, the task “is not to get your stuff up on your website. It is to get it up on other peoples, freely and fully”. The whole point of digitization is to get content out there for re-use for new, innovative, and unforeseen purposes by many different communities for research, teaching, and public engagement. Here are two examples:<br />
<br />
- Data from Cymru1914.org formed part of the <a href="http://www.1418now.org.uk/">14-18-NOW</a> project to create public artworks in Scotland, Wales, Northern Ireland and England as part of the <a href="http://www.1418now.org.uk/lights-out/">LIGHTS OUT</a> event on 4 August 2014. In Wales, Bedwyr Williams created the sound and video installation <a href="http://www.1418now.org.uk/lights-out/artist/bedwyr-williams/">Traw,</a> integrating images of unknown recruits and conscripts from Wales that he found in Cymru1914.org into an integrated artwork that was projected onto the North Wales Memorial Arch, Bangor. I'm very grateful to Bedwyr for allowing me to include an image of the installation below. <br />
<br />
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<tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="background-color: white; font-family: Calibri; font-size: 11pt; text-align: start;">(image credit <o:p></o:p></span><span class="irc_ho" dir="ltr" style="-webkit-tap-highlight-color: rgba(255, 255, 255, 0.2); background-color: #f1f1f1; color: #7d7d7d; cursor: pointer; font-family: arial, sans-serif; font-size: 13px; line-height: 16px; margin-right: -2px; overflow: hidden; padding-right: 2px; text-align: start; text-overflow: ellipsis; unicode-bidi: -webkit-isolate;"><a class="_ZR irc_hol" data-ved="0CAYQjB0" href="http://www.1418now.org.uk/lights-out/artist/bedwyr-williams/" jsaction="mousedown:irc.rl;keydown:irc.rlk" style="-webkit-tap-highlight-color: rgba(255, 255, 255, 0.2); color: #7d7d7d; cursor: pointer; text-decoration: none;">www.1418now.org.uk</a>). </span></td></tr>
</tbody></table>
<br />
<br />
The images in Traw are from the <a href="http://www.llgc.org.uk/collections/learn-more/photographs/dc-harris/">D.C. Harries collection</a> of glass plate negatives held by the National Library of Wales. The Library digitized around 200 images from this collection, thought to be First World War recruits or conscripts from Llandeilo and Ammanford (Rhydaman), where D. C. Harries operated photographic studios. The images in Cymru1914 are a very small sample of over 2,000 First World War portraits in the D. C. Harries archive. Next year, NLW will digitise more and launch a crowdsourcing experiment, inviting digital community engagement to help identify people in the images.<br />
<br />
- Cymru1914.org is also the basis of the <a href="https://www.blogger.com/walesatwar.org">Wales at War</a> project, funded by the Heritage Lottery Fund, the Armed Forces Covenant Fund, and the Welsh Government Department of Education and Skills. Wales at War helping <a href="http://wales.gov.uk/newsroom/firstminister/2014/140627-wales-at-war/?lang=en">schoolchildren in Wales</a> to develop digital skills and literacy by using the digital archive via an app to help them develop biographies of the names on local War memorials in Wales. <br />
<br />
We also ran community content workshops with the People’s Collection Wales, with a focus on what we called ‘targeted crowdsourcing’, asking people to bring materials (like chapel records) that would compliment official materials held by archives and records’ offices. This was a very successful approach, uncovering lots of new material that belonged to members of the communities we visited, including a fascinating lost <a href="http://cymruww1.llgc.org.uk/2013/05/03/mi7b-archive-draws-attention/">propaganda archive with a link to A.A. Milne</a>.<br />
<br />
This project was possible because of funding from Jisc and the partner organisations, but it was successful because it built on an existing strong digital infrastructure in Wales. The National Library has been digitizing content since 1998, and has built up a tremendous amount of internal experience in all aspects of the entire digital lifecycle (selection, conservation, capture, management and preservation), building digital expertise and skills into staff development at the institution. Because of this, all digitization could be supported in house, satisfying conservation and collections care requirements.<br />
<br />
The technical infrastructure for the project built on the robust FEDORA-based digital architecture at the National Library of Wales, which is open and extensible, and has supported the re-use and repurposing of the content. The technical architecture for the project enabled integrating content from all partner organisations into a trusted digital repository at NLW. This approach also enabled the integration of content from four local archive and record offices in Wales: None of these archives currently have access to a digital platform, so integrating their content to Cymru1914.org has opened the material to a much wider audience. <br />
<br />
The extensible nature of the digital platform, and the integration of the project into existing workflows, also means that NLW will be able to add resources to this archive throughout the commemoration period, including additional newspapers; the Cardiganshire Great War Tribunal (Appeals) Records; Saunders Lewis Letters; the Welsh Horse Lancers Research Papers Archive; as well as books (including novels), periodicals, diaries and letters. We hope to also add materials from other organisations based on the availability of additional funding.<br />
<br />
All in all, cymru1914.org is an institutional asset that will be sustained over the long term because of its importance to a wider range of communities. This was always the intention in developing the resource as a freely accessible, collaborative project, with community engagement as its primary motivation. </div>
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Lorna Hugheshttp://www.blogger.com/profile/15124964457124389133noreply@blogger.com0tag:blogger.com,1999:blog-2841878300350953943.post-12333444039042271112015-01-30T09:34:00.001-08:002015-01-30T09:34:27.510-08:00On REF 2014: Why nobody wins unless everybody wins. <div class="MsoNormal">
<span lang="EN-US">As a slightly obsessive<a href="https://www.blogger.com/blogger.g?blogID=2841878300350953943#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[1]</span></span><!--[endif]--></span></span></a>
Bruce Springsteen fan, I’m familiar with the phrase “nobody wins unless
everybody wins”. It was used by Mr. Springsteen at the conclusion of many of
his concerts in the 70’s and 80’s, and from time to time he still uses it as a
valediction (there is almost certainly a web site that cross-references all
instances of his use of the phrase in concert with performances of ‘Prove it
all night’ with the 78 intro the phrase, and if not there should be). What it
means is that we really are all in this together, and that winning
(financially, professionally) is only truly meaningful if it also brings about
good for others: if a company makes lots of money, it should pay its workers
better, rather than giving the CEO a bonus, sort of thing. For a good analysis
of its use in a business context, see <a href="https://hbr.org/2010/12/why-nobody-wins-unless-everybo">Bill Taylor’s
article</a> in the Harvard Business Review on Dec 7<sup>th</sup> 2010. <o:p></o:p></span></div>
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<span lang="EN-US">So what has this to do with the Research Excellence Framework (REF)? First
of all, I don’t believe that research is about ‘winning’. Setting aside the
comparative impossibility of that concept - the idea that researching the
origins of cancer can be compared to researching the end of the Roman Empire -
it’s incredibly difficult to adequately compare research within the same area
of study, let alone the same discipline. Yet this is what the REF has set out
to do. Much has been written about the sheer scale of the task of the REF
research panels (and I unconditionally applaud these panels, who have worked
tirelessly to peer-review submitted work in their panels, for a small stipend that
works out at about 2p an hour). It must be extremely difficult to assess 4938
outputs (the total for the sub-panel which my work went into this time) and
grade them on a scale of 1-4. It’s harder when also being asked to assess
impact and environment: without adequate background information, how can this
be really scored? <o:p></o:p></span></div>
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<span lang="EN-US">There were problems with the process:
reports of manipulation of the rules, including <a href="http://www.timeshighereducation.co.uk/421623.article">Premiership-level
moves of key researchers</a> in the final REF transfer window of September
2014, and even more controversially the <a href="http://www.timeshighereducation.co.uk/features/one-scholars-crusade-against-the-ref/2017405.article">exclusion
of researchers from the whole process.</a> <span style="mso-spacerun: yes;"> </span>The criteria meant that smaller units or
departments were vulnerable without developing strategic alignments (for an
excellent overview of the whole REF process, see the LSE Impact blog piece by <a href="http://blogs.lse.ac.uk/impactofsocialsciences/2014/10/06/perceptions-and-impacts-of-the-ref/">Tony
Murphy and Daniel Sage</a>)<o:p></o:p></span></div>
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<span lang="EN-US">These issues made the REF a
complicated process, but are essentially a distraction from the main problem,
which is that the UK’s Higher Education sector is a functioning and effective
ecosystem of a huge range of skills and strengths, and that a ranking system of
assessment like the REF fails to acknowledge the fact that research is part of
a wider educational system with mutual dependencies. Researchers also teach,
supervise students, engage with the public, and create new knowledge in partnerships with with other public or private sector organisations:
a successful ‘unit of assessment’ does all these things in a balance that works
for their host organization and <i style="mso-bidi-font-style: normal;">the
communities they serve</i>, whether undergraduates, postgraduates, colleagues
in their own discipline, or researchers and students in other disciplines, the
creative industries, the heritage sector... To single out research publications
as the primary means of evaluating worth is to fail to understand the nature of
scholarship and higher education generally. Some departments (or centres) are
simply more effective at teaching, or interdisciplinary research, or
experimental research that is hard to assess. Other departments benefit from
this, whether in the form of receiving students that have received an excellent
undergraduate education as postgraduates, or integrating outputs of research
into new work, or in in benefiting from policy developed as a result of service
on committees and related activities. Similarly, many academics liaise with museums, libraries and archives in two-way collaborations that create new knowledge around cultural heritage: these outputs, and their tangible and in</span><span lang="EN-US"><span lang="EN-US">tangible</span> benefits a</span><span lang="EN-US"><span lang="EN-US">re hard to define, let alone evaluate</span>. And these dependencies are more necessary
now that we all have to do more with less: in higher education, we really are
all in it together. <o:p></o:p></span></div>
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<span lang="EN-US">I should have this said at the start that of course, I offer warmest congratulations to those who did well in the REF. To have one’s research recognized in this way is gratifying, and I hope that the departments and universities who
achieved success in the REF will be rewarded for their achievements. But that
there is a finite pot of resources, and <a href="https://telescoper.wordpress.com/2013/04/20/counting-for-the-ref/">rewarding
the highest rated outputs</a> will be to the detriment the many. <o:p></o:p></span></div>
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<span lang="EN-US">There is already concern that the <a href="http://www.timeshighereducation.co.uk/news/funding-plea-for-humanities-as-life-sciences-crowned-ref-2014-champion/2017667.article">strong
showing of the sciences will be at the expense of the humanities</a>. Again, the
ecosystem is important: the study of the humanities is strong in the UK, and
expertise in the humanities brings <a href="http://www.britac.ac.uk/policy/contribution/chap5.cfm">benefits</a> to
business, medicine, and other disciplines. <a href="http://www.socialsciencespace.com/2014/12/leiden-statement-ephasizes-importance-of-social-science-humanities/">Science</a>
and <a href="http://mh.bmj.com/content/26/1/23.full">medicine</a> also benefit
from collaborative work with humanists. Rewarding the sciences at the expense
of the humanities will disrupt this balance. <o:p></o:p></span></div>
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<span lang="EN-US">Another concern is the widening of the gap
in research outputs between <a href="http://www.mediafhe.com/ref2014-results-comments-debates-and-media">South
East and the rest of England</a>. The balance of funding going to Those Who
Have Done Well will exacerbate this divide. I’m not going to have a political
rant, but this does reflect a general condition of the post-credit crunch UK
economy. <o:p></o:p></span></div>
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<span lang="EN-US">The UK has a fantastic Higher Education
sector, which routinely punches above its weight internationally, despite a
lack of investment compared to its global competitors, especially the
US Ivy League.<span style="mso-spacerun: yes;"> </span>The rankings that really
matter are where we
compete internationally: seeing UK Universities in the world top 10 is far more
meaningful than saying that History at University X ranks higher than history
at University Y.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span lang="EN-US">Concerns are now being voiced that REF
‘winners’ will be rewarded at the expense of the <a href="http://www.timeshighereducation.co.uk/419474.article">losers</a>. To me,
this reflects a wider malaise where all the gains in society seem to be going
to a smaller segment of the population, with the rest of us struggling to hold
ground. We need to defend Higher Education as a sector, and to help it flourish by recognising that .
Let’s hope that faith will be rewarded. <o:p></o:p></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=2841878300350953943#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[1]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US"> Fanatical and deranged. <o:p></o:p></span></div>
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Lorna Hugheshttp://www.blogger.com/profile/15124964457124389133noreply@blogger.com0tag:blogger.com,1999:blog-2841878300350953943.post-84358376314778378692015-01-20T10:12:00.002-08:002015-01-28T05:32:10.192-08:00Thoughts on public libraries<div class="MsoNormal">
<span style="font-family: inherit;">Just before Christmas, my Twitter stream
was dominated by two themes. The first
was the 2014 Research Excellence Framework (REF), which had finally concluded a
process of evaluating the research outputs of the UK’s Higher Education
institutions, and announced its rankings of the winners and losers in this
curious 6-yearly academic beauty contest. The euphoria, disappointment and
schadenfreude were palpable through the ether. Fortunately, the passive
aggressive swiping reached its nadir just at the point where everyone decided
it was time to shut up shop for the holidays. It’s almost as though they
planned it that way.</span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;"><span lang="EN-US">The second was the announcement of cuts to
local libraries, as the tail end of the credit crunch began to really kick public
services in England and Wales. Cardiff announced a series of significant cuts
to Library services, including budget cuts for the wonderful <a href="http://www.jackiemorris.co.uk/blog/future-libraries/">Central Library</a>,
and the loss of seven branch libraries; Birmingham announced a consultation on
cuts to public services that included worrying developments for the City’s libraries,
including the magnificent <a href="https://www.change.org/p/birmingham-city-council-reverse-the-cuts-to-the-library-of-birmingham">Library
of Birmingham</a> (which the City recently invested £188 million in developing
). For a wonderful eulogy to Birmingham’s Libraries, see this <a href="http://fuckyeahtownplanning.tumblr.com/post/107345026892/no-you-do-it-for-the-piece-of-sky-we-are-stealing">passionate
lament</a> by <a href="https://www.blogger.com/@RobMcNicol">Robert McNichol</a>. </span><span lang="EN-US" style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: inherit;">The stories are, of course, linked. How
many REF superstars got their start in their local library? How many people who
went on the research the arts, sciences, or medicine passed their O-level exams
because they were able to work in their local library after school or on
weekends? I’m no academic star, but the local library was an absolutely central
part of my education. I was the first in my family to go to University, and the
library was where I went when I needed to do to work on homework or projects.
When I was at primary school, I was enormously fortunate to have a decent
public library near our house in Essex – I could even go there myself on the
bus. I also used the magnificent Mitchell Library on holidays in Glasgow, and
the Hamburg central library for High School research. This experience enabled
me to develop what we now call information literacy: the understanding that no
matter how daunting the task at hand, there was a starting point. This could be
in the form of a book with references to other books; a cataloguing system that
enabled you to find them; or when all else failed (ok, let’s be honest, quite
often the starting point), asking a librarian for help. There was also peace
and quiet, a space to think and work, and the idea that there was a physical
and intellectual place for work, and study, and thought. There was also the
idea that working, reading, and studying was a good thing to do: Taking the bus
to the Hamburg Central Library and spending a rainy Saturday researching Acid
Rain (yes, I am that old) for a school project, was, well, kind of cool<span style="font-family: inherit;">. And so I discovere<span style="font-family: inherit;"><span style="font-size: small;">d<span style="font-family: inherit;"> <span style="font-family: inherit;">what <span style="font-family: inherit;">Betty Smith <span style="font-family: inherit;">called '<a href="http://en.wikipedia.org/wiki/A_Tree_Grows_in_Brooklyn_%28novel%29">t</a></span></span></span></span></span></span></span></span><span lang="EN-US" style="font-family: inherit;"><span style="font-size: small;"><a href="http://en.wikipedia.org/wiki/A_Tree_Grows_in_Brooklyn_%28novel%29">he magic of learning things</a>.'</span> </span><br />
<br />
<span lang="EN-US" style="font-family: inherit;">Those of us who owe a lot to public libraries need to defend them.
The best way to do this is to use them – take your kids to the local library.
Borrow books rather than buying them. And while you are at it, meet your
neighbors and find out what’s going on locally. We need to defend libraries,
but the best way to do this is to develop a better understanding of how they
serve users: they provide services that you may not even know about, like
electronic resources (subscription-only genealogy services, and electronic resources,
are available in <a href="http://welshlibraries.org/e-resources/">public
libraries in Wales</a>, for example) and journals. They are still training
people in information literacy, but now they are also many people’s best
opportunity for developing digital literacy and navigating online sources. This
matters when information is increasingly digital by default. </span></div>
<br />
<span lang="EN-US"><span style="font-family: inherit;">But we need also to develop better evidence about the <span style="font-family: inherit;">deeper</span> impact of public libraries. Again, think of all the
world-class research internationally carried out by scholars who got started in
their local library. Multiply this over time. One of my PhD students, Calista
Williams <a href="https://twitter.com/ca7ista">(</a></span></span><span lang="EN-US"><span style="font-family: inherit;"><a href="https://twitter.com/ca7ista"><span class="st">@Ca7ista)</span></a>, is working on an AHRC-funded <a href="http://www.ahrc.ac.uk/Funding-Opportunities/Pages/Collaborative-Doctoral-Awards.aspx">collaborative
doctoral award</a> with the Open University and the National Library of Wales.
Her project includes analysis of the early readers of the National Library of
Wales, and their subsequent publications and research. Historical Network
Analysis of the<span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;">se</span> <span style="font-family: inherit;">library patrons, their publications, and their</span></span></span> connections and influence, is showing some
interesting patterns. <span style="font-family: inherit;">Adopting <span style="font-family: inherit;">a similar </span>approach<span style="font-family: inherit;"> to assess the glo<span style="font-family: inherit;">bal impact of</span></span> the research <span style="font-family: inherit;">by</span> those who started out as </span>readers
of public libraries<span style="font-family: inherit;"> would start to <span style="font-family: inherit;">create an<span style="font-family: inherit;"> </span></span></span>insight into <span style="font-family: inherit;">incredible value of <span style="font-family: inherit;">these institutions, and their services</span></span>. This would also make a fascinating research project, and provide
concrete evidence <span style="font-family: inherit;">of the risk we will face as a society <span style="font-family: inherit;">if we lose our public libraries. </span></span></span><o:p></o:p></span>Lorna Hugheshttp://www.blogger.com/profile/15124964457124389133noreply@blogger.com0tag:blogger.com,1999:blog-2841878300350953943.post-17008894174049269882014-09-10T05:06:00.000-07:002015-01-20T12:49:20.245-08:00Finding Belgian refugees in cymru1914.org: Keynote at 'Responses to Belgian refugees in Britain during the First World War: a Symposium'. <div class="MsoNormal">
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<span style="font-family: inherit;"><span lang="EN-US">I was really pleased to be asked to give a
keynote at the Stirling Symposium on Belgian Refugees in the British Isles in
the First World War, which took place on September 2nd 2014. The event was
organized by my old friend Jacqueline Jenkinson. Jacqueline has had a long
interest in the history of refugees in Britain, and is the author of an
excellent book on the topic of the <a href="http://www.amazon.co.uk/Black-1919-Resistance-Postcolonialism-Disciplines/dp/1846312000/ref=sr_1_1?ie=UTF8&qid=1420719073&sr=8-1&keywords=jacqueline+jenkinson">1919
riots</a>. The <a href="http://events.history.ac.uk/event/show/12948">Symposium</a> on
Belgian Refugees was funded through a larger research grant from the Leverhume,
and the proceedings will be prepared as a special issue of ‘Immigrants and
Minorities’ called <i>Soon Gone, Long Forgotten – uncovering British
responses to Belgian refugees during the First World War</i>.</span><o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;"><span lang="EN-US">The title of my paper was ‘Finding the Belgian
Refugees in Cymru1914.org’, and the slides are available <a href="http://www.slideshare.net/lorna_hughes/finding-belgian-refugees-in-cymru1914org-using-digital-resources-to-uncover-hidden-histories-of-the-first-world-war">online</a>.
I’ve been asked to prepare a full version of the talk for the proceedings, which I will do
sometime in early 2014. However, I wanted to highlight some of the key points
from my talk here, as they are issues I want to give a lot more thought to over
the coming months.</span><o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;"><span lang="EN-US">The starting point of my paper was searching
through the the NLW digital Archive, <i>The Welsh Experience of the First World War</i>, <a href="https://www.blogger.com/cymru1914.org">cymru1914.org</a>, looking for
references to the Belgian Refugees in Wales in the archives, manuscripts and
newspapers of 1914-19. This was an opportunity to have a really good hunt for
material </span>about Belgian refugees
in Wales, their experience, the official response to their presence, and even
their own voices. It was an opportunity to combine material from disparate
sources and differing formats, and to properly test the archive as a resource for
examining a specific historical topic. <o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;">The issue of Belgian Refugees in Wales is
surrounded by commonly received myths: of a hearty welcome, of refugees who
were artists and writers, of a philanthropic response, but there has been
little research. From a preliminary examination of the evidence in
cymru1914.org I was able to uncover some of the history, and also identify
limitations and next steps in working with, and developing digital archives.</span></div>
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</div>
<span style="font-family: inherit;"><br />
The first place I looked was the <a href="http://welshnewspapers.llgc.org.uk/en/home">newspapers</a>. Because they have been through a process of optical character recognition, it’s easy to do fast and accurate keyword searching of the 70,000 newspapers from 1914-19 in the archive. The OCR is generally of a pretty good quality (certainly compared to Google Books and other newspaper archives) but could still be enhanced (and we are investigating crowdsourcing methods to do this to enhance the archive).</span><br />
<span style="font-family: inherit;"><br />
</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYQKApxi68-4OlRVltKMaSKKqZLpIeNZnNoa0Y3eOmXd3nUZL_F64s-2m9li38kpri26eJ1S0b63unuKPf8aFdjh_MKhNIgKzS7hfiJzpiosLsJKWQ2jUteaNs4JzU5w8J-VTo19m7txw/s1600/Screen+Shot+2015-01-08+at+12.30.20.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYQKApxi68-4OlRVltKMaSKKqZLpIeNZnNoa0Y3eOmXd3nUZL_F64s-2m9li38kpri26eJ1S0b63unuKPf8aFdjh_MKhNIgKzS7hfiJzpiosLsJKWQ2jUteaNs4JzU5w8J-VTo19m7txw/s1600/Screen+Shot+2015-01-08+at+12.30.20.jpg" height="204" width="320" /></span></a><br />
<span style="font-family: inherit;">Shortly after the start of the War, there were a lot of accounts of Belgian refugees coming to Wales, and the newspapers support the perception of an initially enthusiastic welcome in rural and urban areas. This account, of the arrival of a small group of refugees to Aberystwyth in 1914, is fairly typical. It was reported on 9th October in the <a href="http://welshnewspapers.llgc.org.uk/en/page/view/3412515/ART61">Cambrian News and Merionethshire Standard</a>.</span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;"><br /></span>
<div class="MsoNormal">
<span style="font-family: inherit;"><o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgELtE4-OpA-Sp_ZwSxZSMbh1yedw7TTmockYP8fowCGl4C9EIU2FYON7lWZaq4RrsGJ0dFq2UwwuPS5jASDZg3lyWMaLFEAW2Lj6WjzhynVPYK2M8gL1NAxMcPUec9xMyZYSKQRv1G3A0/s1600/Screen+Shot+2015-01-08+at+12.53.24.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: black; font-family: inherit;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgELtE4-OpA-Sp_ZwSxZSMbh1yedw7TTmockYP8fowCGl4C9EIU2FYON7lWZaq4RrsGJ0dFq2UwwuPS5jASDZg3lyWMaLFEAW2Lj6WjzhynVPYK2M8gL1NAxMcPUec9xMyZYSKQRv1G3A0/s1600/Screen+Shot+2015-01-08+at+12.53.24.jpg" height="202" width="320" /></span></a><span style="font-family: inherit;">Digitised Newspapers are a great resource,
and incredibly convenient for scholars, they present issues of scale – it’s
difficult to meaningfully engage with keyword searches of 70,000 pages, let
alone the two million that will eventually be in Welsh Newspapers
Online. You can’t search and browse. <span lang="EN-US">We’ve
been exploring new ways to visualize the newspaper dataset through
time and space, using tools based on Google’s NGram. </span></span><br />
<span style="font-family: inherit;"><br /></span>
<div class="MsoNormal">
<span style="font-family: inherit;"><o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;"><span style="background: white;">Using this, it’s possible
to find clusters and patterns in the whole corpus of newspaper data, </span><span lang="EN-US">and to track their use over time. Subsequent analysis, which we
are working on at the moment, will enable better visulisation of this data in a
more spatial and temporal form, enabling better pattern searching in the
data. </span>This graph shows the use of the term
"Belgian Refugees" in the Welsh Newspapers in Cymru1914.org from
1914-19. <o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;">I have to admit that when I showed this
graph at the Symposium, there was a gratifying murmur of recognition from those
present, who had found almost exactly the same spike in newspaper reports from
other parts of the UK during the period. unfortunately, none of them had had
the benefit of digitised newspapers to work from doing this work manually
represented a significant amount of effort! <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;">There are of course qualifications to
using tools like N-Gram: the results are just a snapshot, and any results are only meaningful as the underlying data. But as a starting point for evidence gathering on a large scale,
they are helpful. </span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><o:p></o:p></span></div>
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<span style="font-family: inherit;">These tools are no substitute for a
close reading of the archives. At the local level, the most obvious record of the impact of Belgian refugees were the records of local Belgian Refugee Committees. <span lang="EN-US">Cymru1914.org contains papers in Welsh and English from the library of <a href="http://cymru1914.org/en/view/archive/3988263">William David Roberts,<span style="color: blue; text-decoration: none;"> </span></a><a href="http://cymru1914.org/en/view/archive/3988263">Rector of Llanfair, Harlech in North Wales</a>, </span>NLW MS 9982E (and I'm very grateful to my colleague at NLW Rhys Davies, for working through the Welsh with me). </span></div>
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<span style="font-family: inherit;">Working through this material the story
unfolds of the formation in Llanfair of <a href="http://cymru1914.org/en/view/archive_file/3988264/63">“A Committee.. in
the parish to help the Belgian refugees…”</a>, and local activity to prepare for them. In December, they arrive: <a href="http://cymru1914.org/en/view/archive_file/3988264/93">“a
party of six Belgian refugees</a>": Joanne Lienknecht 45,
her children Julia Gubel, 21 Charles Gubel, 17 and Caroline
Lienknecht (6). There are a number of items relating to the Belgians, and even
a charming <a href="http://cymru1914.org/en/view/archive_file/3988264/117">"thank you" card, dated June 9th 1915:</a></span></div>
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<span lang="EN-US" style="font-family: inherit;">“To the Llanfair Belgian refugees Committee: I beg to write to you on the behalf of us Belgians at Frondirion. We all thank you and all the inhabitants of Llanfair for your great kindness towards us all these months. <i>We shall never forget Llanfair nor the people for what they have done for us".</i> – signed “From Lienknecht for all the Belgians”. </span></div>
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<span style="font-family: inherit;"><span lang="EN-US">However, subsequent reading shows that the refugees
became more of a burden on the local community as the war continued. Roberts’ collection gathers many <a href="http://cymru1914.org/en/view/archive_file/3988264/183">official demands on the agricultural produce </a>of the area, especially the urgent
need for <a href="http://cymru1914.org/en/view/archive_file/3988264/255">“farm produce for his Majesty’s forces”</a>. The war effort
squeezed the local community, and subsequent returns issued from the parish, included in the archive, show that there wasn’t a great deal of produce to
spare.</span><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: inherit;">By April 13<sup>th</sup> 1916, the local Committee funds were exhausted. Correspondence with the War Refugees Committee about their support ultimately leads to arrangements for the six Belgians to <a href="http://cymru1914.org/en/view/archive_file/3988264/211">leave Llanfair on the Cambrian Railway, on May 4th, 1916</a>. </span></div>
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<span style="font-family: inherit;"><span lang="EN-US">The story of the Belgians of Llanfair is an example of the value of two kinds of digital engagement:</span> macro analysis and pattern matching within large text archives like newspapers, and <span lang="EN-US">close reading of archives for </span>detailed analysis of individual records. The<span lang="EN-US"> impact that six Belgians had on an agricultural Welsh-speaking
community in North Wales is a way to understand the 'spike' and tailing off, of interest in Belgian refugees in the seen in the N-gram: of
initial interest that fades as the War does not end quickly, and the
refugees become a burden on a population dealing with shortages and other
stresses of a long conflict that affected all sections of society. An</span><span style="background: white;"> initial enthusiasm soon was
replaced by indifference and a realisation that there was a long-term cost
to hosting refugees. </span></span></div>
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<span style="font-family: inherit;"><span lang="EN-US">But this process of discovery also highlights the drawbacks of digital archives. The story of Charles Wens and his
five Belgian compatriots becomes invisible as soon as he leaves Llanfair on the
Cambrian line to London on May 4<sup>th</sup> 1916. The data in
<a href="http://cymru1914.org/">Cymru1914.org</a> is currently a digital silo – while open, and freely
accessible, it is not currently linked to related archives from elsewhere.
Ideally, we want to connect this data with other official archives and records from elsewhere,
and develop new ways of tracking digital identities of historical figures.</span><o:p></o:p></span></div>
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Nonetheless, this piece of research has been an
interesting opportunity to test the effectiveness of Cymru1914.og for testing First World War myths against reality, integrating sources from disparate collections, working with
materials in variety of formats, and therefore giving a voice to those on the margins of
the past. </span></div>
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Lorna Hugheshttp://www.blogger.com/profile/15124964457124389133noreply@blogger.com0tag:blogger.com,1999:blog-2841878300350953943.post-83251103557681647152013-11-23T03:29:00.000-08:002015-01-20T12:50:46.452-08:00The Welsh Experience of the First World War (Cymru1914.org) launched!<div class="MsoNormal">
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I’m really delighted to announce the launch
of <a href="http://cymru1914.org/">Cymru1914.org</a>. This digital archive is an integrated collection of materials
relating to the impact of the First world War on all aspects of Welsh life,
from the archives and special collections of Wales. The project was funded by
the Jisc e-content programme as a mass digitization initiative.</span></div>
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<span lang="EN-US" style="font-family: inherit;">Lots of wonderful people said nice things
about the project at its launch (you can read their remarks <a href="http://cymruww1.llgc.org.uk/tag/cymruww1/">here</a>), and we were
especially please that John Griffiths, the Welsh Minister of Culture, was able
to attend, but here are the key things that I think are really important about
this project:</span></div>
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<li><span style="font-family: inherit;"><span lang="EN-US" style="text-indent: -18pt;">Although the project was led by NLW, this was an important partnership, fostered by the <a href="http://whelf.wordpress.com/">Welsh Higher Education Libraries Forum</a>. Our <a href="http://cymru1914.org/en/home/about">partners </a>were the
special collections of </span><span lang="EN-US" style="text-indent: -18pt;">Bangor
University; Cardiff University; Aberystwyth University; Swansea University;
University of Wales Trinity Saint David, the National Library of Wales, and BBC
Cymru Wales, as well as 5 archives and local records offices: Conway,
Flintshire, Glamorgan, and Gwent.</span></span></li>
<li><span style="font-family: inherit; text-indent: -18pt;">Most of the funding (£500k)
came from <a href="http://jisc.ac.uk/">Jisc</a>, but the balance came from the partners in the form of in-kind
contributions. This shows how the project was regarded by those involved</span></li>
<li><span style="font-family: inherit; text-indent: -18pt;">Cymru1914.org is NLW’s first mass digitization of
archives, making accessible some of the most significant and iconic archives in
Wales. NLW was able to develop a workflow for digitisation or archival content that built on its existing expertise and investment in digitisation of print, photographic, and audio-visual materials. </span></li>
<li><span style="font-family: inherit;"><span style="text-indent: -18pt;">Although the project was led by memory
institutions, it had scholarly collaboration at its core. We had an </span><a href="http://cymruww1.llgc.org.uk/2012/04/19/academic-enagement-workshop-at-nlw-april-19th-2012/" style="text-indent: -18pt;">academic
advisory group</a><span style="text-indent: -18pt;"> of some of the foremost researchers working on topics
related to the First World War and its impact on Wales, and their advice and
input at all stages of the project (especially selection of content and user
design) was invaluable</span></span></li>
<li><span style="font-family: inherit;"><span style="text-indent: -18pt;">The People’s Collection Wales led a series of
community generated content </span><a href="http://cymruww1.llgc.org.uk/2013/08/08/947/" style="text-indent: -18pt;">workshops</a><span style="text-indent: -18pt;"> around Wales,
which followed a principle of “targeted crowdsourcing” of content, enabling us
to ask for specific types of content. </span></span></li>
<li><span style="font-family: inherit;"><span style="text-indent: -18pt;">The project has uncovered a lot of ‘hidden
histories’: material that was either to </span><a href="http://cymru1914.org/en/search?query=hedd+wynn&filter%5Bcollection_title%5D%5B%5D=Arwr%27+by+Hedd+Wyn%2C+1917" style="text-indent: -18pt;">fragile</a><span style="text-indent: -18pt;">
to consult, </span><a href="http://cymru1914.org/en/search?query=wlesh+army+corps&filter%5Bcollection_title%5D%5B%5D=Welsh+Army+Corps+Records%2C" style="text-indent: -18pt;">too
vast</a><span style="text-indent: -18pt;"> to work through without visiting the archives, </span><a href="http://cymruww1.llgc.org.uk/2013/05/03/mi7b-archive-draws-attention/" style="text-indent: -18pt;">or
in private hands</a><span style="text-indent: -18pt;"> but of significance to scholarship. This will allow greater
exploration of a number of research themes.</span></span></li>
<li><span style="font-family: inherit;"><span style="text-indent: -18pt;">The project has followed principles of user led
design, and brought digital humanities principles to the creation of a digital
archive. I’ve written </span><a href="http://link.springer.com/chapter/10.1007%2F978-3-642-40501-3_51" style="text-indent: -18pt;">elsewhere</a><span style="text-indent: -18pt;">
about how this will increase the impact of the resource. </span></span></li>
<li><span style="font-family: inherit;"><span style="text-indent: -18pt;">The potential for re-use of the content is
enormous. The project has already been used to develop a resource: Paul O’Leary
at Aberystwyth University has used the content to develop an Omeka-based
digital exhibition on the </span><a href="http://merthyrww1.llgc.org.uk/" style="text-indent: -18pt;">Great War
and the Valleys,</a><span style="text-indent: -18pt;"> exploring the impact on civilians of “Total War”.</span></span></li>
</ul>
<span style="font-family: inherit;">The most important thing is that the material is all freely accessible under a creative commons licence enabling use and re-use. We hope that it will become a major resource for scholars, educators, and the public as we start the centenary commemorations of the First Worlds War. On a personal note, given that my own research relates to the use of digital resources, I am really pleased to have led the development of a resource that I hope to revisit often as new uses of the content become possible. </span><br />
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<div>
<span style="font-family: inherit;">Oh yes, and there are lots and lots of people to thank, and I tried to list them all <a href="http://cymruww1.llgc.org.uk/2013/11/24/thanksgiving/">here. </a></span><br />
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Lorna Hugheshttp://www.blogger.com/profile/15124964457124389133noreply@blogger.com0tag:blogger.com,1999:blog-2841878300350953943.post-73841807146001137812013-06-08T02:26:00.000-07:002015-01-20T12:50:56.805-08:00This is not my beautiful house<b><span style="font-family: inherit;"><span style="background-color: white; color: #333333; line-height: 24px;"> </span><span style="background-color: white; color: #333333; line-height: 24px;">“So I ask myself, how did I get here?” Talking Heads</span></span></b><br />
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<span style="font-family: inherit;"><span lang="EN-US">This post is to say ‘hiya’, to</span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US"> explain
who I am and why I write about all kinds of digital stuff, especially in the
Humanities and Libraries (according to my all encompassing bio on</span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US"><a href="http://lornamhughes/">Twitter</a>).<o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><span lang="EN-US">Since 2011, I’ve held the most excellent
post of University of Wales Chair in Digital Collections, a five-year post
funded by the University of Wales, where I also hold a research fellowship in
the</span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US"><a href="http://www.wales.ac.uk/en/centreforadvancedwelshcelticstudies/staffpages/lornahughes.aspx">Centre for Advanced Welsh and
Celtic Studies</a>. I’m based in</span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US"><a href="https://www.blogger.com/Library/Application%20Support/Microsoft/Office/Office%202011%20AutoRecovery/llgc.org.uk">National Library of Wales</a>,
and the picture is the view from my office, overlooking Cardigan Bay. Not too
shabby.<o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><span lang="EN-US">My job is to carry out research on the use
and impact of the digital collections of the National Library, and to develop
projects in collaboration with academic and other partners to embed this
digital content into teaching, research, and public engagement.</span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US"> <o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><span lang="EN-US">Being located within NLW, and having access
to not only its collections but to the technical and collection expertise
within the organisation, means that the Library is essentially a laboratory for
my digital research.</span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US"> Most of this work is situated within the Research Programme in
Digital Collections, which I set up in 2011 under the direction of the
then-Librarian, Andrew Green. The programme has flourished, and I am now luck
enough to work with a team of talented staff and postgraduates (for more about
the PhD projects, see the Welsh Initiative for Digital Humanities blog,</span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US"><a href="https://www.blogger.com/Library/Application%20Support/Microsoft/Office/Office%202011%20AutoRecovery/widah.wordpress.com">here</a>).<o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><span lang="EN-US">The past few years have been a wonderful
opportunity to explore the reality of actually</span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><i style="mso-bidi-font-style: normal;"><span lang="EN-US">doing</span></i><span class="apple-converted-space"><i><span lang="EN-US" style="color: black;"> </span></i></span><span lang="EN-US">digital
humanities, building a much better understanding of how</span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US">scholarship
and pedagogy are bound to research infrastructures in “ways that are deeper and
more explicit than we are generally accustomed to in scholarship and depend on
networks of people”, to quote Matt Kirchenbaum’s excellent</span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US"><a href="http://mkirschenbaum.files.wordpress.com/2011/01/kirschenbaum_ade150.pdf">article</a></span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US">on
defining DH.<o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><span lang="EN-US">There are, of course,</span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US">many
successful Digital Humanities projects and programmes based in Libraries. To
cite just a few examples,</span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US"><a href="http://scholarslab.org/">Scholars’ Lab at the University of Virginia</a>,</span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US"><a href="http://mith.umd.edu/">Maryland
Institute for Technology in the Humanities (MITH) at the University of
Maryland,</a></span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US">and the</span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US"><a href="http://digitalscholarship.emory.edu/">Digital Scholarship Commons (DISC)
at Emory University</a></span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US">are all based in Libraries; at the University of Pennsylvania, staff
of the</span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US"><a href="http://schoenberginstitute.org/">Schoenberg Institute for Manuscript Studies</a></span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US">are
experimenting with the digital representation and communication of rare and
distinct materials. These examples provide important context, and</span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US">a model
for thinking about how DH can flourish in a Library setting. My experience has
been that the Library is a place where we can not only do ‘good’ digital humanities,
but foster ‘good’ scholarship, and develop a model from which there can be
lessons learned about fostering Digital Humanities elsewhere.<o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><span lang="EN-US">I’ve long held that digital humanities is
essentially a means of combining</span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US">digital content with tools and methods analysis and interpretation,
and communicating the results of this work to the widest possible audience
using traditional and non-traditional publishing methods, allowing greater
engagement with research and research data than was previously possible.<o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><span lang="EN-US">I like this characterization of digital
humanities as about</span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><i style="mso-bidi-font-style: normal;"><span lang="EN-US">content,
tools and methods</span></i><span class="apple-converted-space"><i><span lang="EN-US" style="color: black;"> </span></i></span><span lang="EN-US">as it creates a working environment with core elements. It sounds
like the kind of thing you’d find in a coal mine – raw materials, tools for
working with the raw material, and expertise in methods of accomplishing
results, both tried and tested and emerging. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: inherit;">The definition is also very inclusive: The
development, discovery and use of digital data, the use of ICT tools and
methods for its discovery and analysis, and digitally enabled communication and
collaboration around this work can be seen across the disciplines now thanks to
the proliferation of digital research content – journals, electronic texts,
social media…<o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;"><span lang="EN-US">But the definition presupposes more than
just use. What are we doing in our coal mine? What is the impact of this work? </span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US">As I see it, the use of
digital content, tools and methods are transforming humanities research in two
ways:<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: inherit;">- Firstly, by facilitating and enhancing
existing research, by making research processes easier via the use of
computational tools and methods,<o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span lang="EN-US" style="font-family: inherit;">- And secondly, by enabling research that
would be impossible to undertake without digital resources and methods, and
asking new research questions that are driven by insights only achievable
through the use of new tools and methods.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;"><span lang="EN-US">Greg Crane, Humbolt Professor of the
University of Leipzig has referred to this work as</span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><i style="mso-bidi-font-style: normal;"><span lang="EN-US"><a href="http://www.digitalhumanities.org/dhq/vol/003/1/000023/000023.html#crane2007">e-Wissenschaft</a></span></i><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US">reflecting
that the best examples of digital humanities are a new intellectual practice
with elements that distinguish qualitatively the practices of intellectual life
in this emergent digital environment from print-based practices. One of the key
elements of diversion from traditional scholarly practice is that the digital
humanities is collaborative: as the field matures, it is becoming recognized as
one in which the best research is created through partnerships between
different aspects of research, and indeed, between researchers from multiple
disciplines and stakeholder communities – researchers across the arts and
humanities and scientific disciplines, librarians, archivists, cultural
heritage staff, funders, technical experts, data scientists….<o:p></o:p></span></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span lang="EN-US" style="font-family: inherit;">At the core of all of this activity is
digital content – the digital ‘stuff’, the source materials for scholarship and
pedagogy that have been created through large scale digitisation initiatives in
libraries, archives, museums and universities, as well as by commercial
entities: large corpora in literary, linguistic, musicological, and television
and film studies domains, the digitization and digital-encoded representation
of materials in classics, history, literature and history of art, and the
creation of databases in archaeology and the performing arts. Scholarship is
already dependent on access to digitized and born digital material in all forms.<o:p></o:p></span></div>
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<span style="font-family: inherit;"><br /></span></div>
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<span style="font-family: inherit;"><span lang="EN-US">The National Library of Wales has
contributed to this mass of digital content, engaging in digitization since 1998.
The Library now offers a large amount of free digital content:</span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US"><a href="https://www.blogger.com/Library/Application%20Support/Microsoft/Office/Office%202011%20AutoRecovery/welshnewspapers.llgc.org.uk">newspapers</a>,</span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US"><a href="https://www.blogger.com/Library/Application%20Support/Microsoft/Office/Office%202011%20AutoRecovery/wleshjournals.llgc.org.uk">journals</a>,</span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US"><a href="http://www.llgc.org.uk/collections/digital-gallery/photographs0/">photographs</a>, and
artworks.<o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: inherit;">So my job is very much characterized by one
theme: What do we do with all this digital stuff? How do we integrate it into
scholarship? How do we make its use more seamless for researchers across the
disciplines? How do we address its re-use for purposes that are currently
unforeseen?<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: inherit;"><span lang="EN-US">We’ve now developed a large number of
projects around this theme. We have a large digital archive over 200,000 items
relating to the</span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US"><a href="https://www.blogger.com/cymru1914.org">Welsh Experience of the First
World War.<span class="apple-converted-space"><span style="color: blue;"> </span></span></a> We developed a
project that explored</span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US"><a href="https://www.blogger.com/eira.llgc.org.uk">archives relating to extreme
climate</a>, and community and artistic engagement with this material.
We are collaborating on a number of projects that will enable researchers to
create</span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US"><a href="http://www.kcl.ac.uk/artshums/depts/ddh/research/projects/current/welsh.aspx">manuscript editions,</a></span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US">and work
with new technologies for manuscript analysis. We’re collaborating with</span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US"><a href="http://pro.europeana.eu/web/europeana-cloud">Europeana Cloud</a></span><span class="apple-converted-space"><span lang="EN-US" style="color: black;"> </span></span><span lang="EN-US">to look
at exposing collections at the API level.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: inherit;">I’ll be
blogging about these (and other initiatives) over the next few months.</span><o:p></o:p></span></div>
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Lorna Hugheshttp://www.blogger.com/profile/15124964457124389133noreply@blogger.com0tag:blogger.com,1999:blog-2841878300350953943.post-47153687785433688432013-05-01T21:00:00.000-07:002015-01-20T12:51:06.676-08:00Digital Humanities is the New Black. <div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: inherit;"><br />
Welcome to my new blog. The title reflects a sense that digital humanities is becoming - dare I say it - trendy. At the very least, it is no longer marginalised. I've been working in digital humanities (as we now know it: it used to be called "humanities computing", before that it was "computers and texts" or "computing in history") for about 20 years, and I've been fascinated at the way in which digital humanities has been adopted by the mainstream humanities research community. The Wordle that I have used here was one I put together from the text of all the 'digital humanities' job adverts that were announced last year, to give an idea of what a big tent this is.</span><br />
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More anon. We live in exciting times. Although I personally have never been involved in anything trendy in my life, so I find this all a bit weird....</span><br />
<br />Lorna Hugheshttp://www.blogger.com/profile/15124964457124389133noreply@blogger.com0tag:blogger.com,1999:blog-2841878300350953943.post-49481999577654320582013-05-01T05:05:00.000-07:002015-01-20T12:51:15.375-08:00Hello and welcome. This blog is 10 years overdue. <span style="font-family: inherit;">Welcome to my blog. Having been involved in digital humanities since approx 1873 (ok, 1991), I think it's about time I started to post my thoughts on this here interwebnet. </span>Lorna Hugheshttp://www.blogger.com/profile/15124964457124389133noreply@blogger.com0