Situating Digital Curation: DRHA2020 Book of Abstracts
Toni Sant2020, DRHA2020 Book of Abstracts
Sign up for access to the world's latest research
checkGet notified about relevant papers
checkSave papers to use in your research
checkJoin the discussion with peers
checkTrack your impact
Abstract
This is the Book Of Abstracts from the DRHA2020 conference, convened by Toni Sant through the Digital Curation Lab at MediaCityUK in September 2020. The theme of this conference was Situating Digital Curation between Humanities and Arts. Information about the conference can be found at http://www.drha.uk/salford2020
Key takeaways
- And this paper will reconstruct this VR film in three parts to demonstrate the new digital curation and archiving of memory, imagination and daily lives:
- This paper presents a perspective on the development of virtual reality and digital exhibitions practice in Chinese museums through: an overview of the development of virtual reality and digital museum curation; a case study of the functions of 3D and online exhibitions in the period of emergency of public health threatens people's lives; and a discussion of trends in digital exhibition in museums that could help the public reach and engage more online service.
- Which begs to question the infrastructure of museums collections and their notions of ownership.
- Digital curation has become an inclusive umbrella concept (Yakel, 2007) for collecting, curating, managing and preserving digital assets for personal or institutional use.
- (Jeon, Fishwick, & Environments, 2017) As an advanced digital technology, VR is likely to be a significant way to preserve cultural heritage and create new segments of cultural consumption.
Related papers
Book Of Abstracts Situating Digital Curation
Digital Resources in Humanities and the Arts) continues to be a key gathering for all those are influenced by the digitization of cultural activity, recourses and heritage in the UK and beyond. A series of annual conferences whose goal is to bring together the creators, users, distributors, and custodians of digital research and resources in the arts, design and humanities to explore the capture, archiving and communication of complex and creative research processes. This includes: Scholars, teachers, artists, publishers, librarians, curators or archivists who all wish to extend and develop access and preservation regarding digitized information rendered from contemporary culture and scholarship; the information scientist seeking to apply new scientific and technical developments to the creation, exploitation and management of digital resources. DRHA provides intellectual and physical space for cross-disciplinary discussion and the generation of new ideas, resulting in many new networks and productive research relationships. The DRHA conference started at Dartington, and it was a development from the DRH conference series which began at Oxford in 1997.
A Talk for the DH2015, the Alliance of Digital Humanities Organizations (ADHO) Conference, in Sydney, Australia (July 3rd, 2015)
"‘Nothing That Is Not There and The Nothing That Is’: Tracking the Digital Echoes between Churchyard and Theatre in Shakespeare’s London" This talk considers one of the ways in which various digital tools can be used in an integrated fashion to map the public reception of new print and drama during the Elizabethan period. Using the final line from Wallace Stevens’ “The Snow Man” as a prompt, the paper extolls the virtue of using digital technology to make new assumptions about human consciousness in historic times and places that were once ‘there’ even if they are currently or ostensibly ‘not there.’ This paper also acknowledges the limits of digital reconstruction and its use in interrogating the past. Indeed, finding nothing may mean that there is nothing to be found.
Review of Oliver Grau, Janina Hoth, & Eveline Wandl-Vogt (Eds.) (2019). Digital Art through the Looking Glass: New strategies for archiving, collecting and preserving in digital humanities
Postdigit Sci Educ (2020) , 2020
Now is the Future Now? The Urgency of Digital Curation in the Digital Humanities
Digital Humanities Quarterly, 2013
In their seminal report, Our Cultural Commonwealth (2006), the American Council of Learned Societies underscored the need for scholars engaged in digital humanities work to leverage their access to data both to expand their audience to the general public and to generate new research questions. "Now is the Future Now?" argues that the progress made in digital humanities toward these goals has depended and will depend not only on digital data, but also on their appropriate curation. The article defines digital humanities, data, so-called Big Data, and digital curation. Next it examines digital curation initiatives in the sciences and in the humanities that occurred before the release of Our Cultural Commonwealth. It then considers and evaluates the digital curation work undertaken in the sciences and in the humanities after the report’s publication. In theory and in practice digital curation has benefited substantially from practices developed and tested first in the natural sciences and subsequently adapted for and extended in the humanities. Finally, the piece explores the future work necessary to facilitate symbiosis between digital curation and digital humanities. Collaboration and cooperation, transcending geographical, disciplinary, and institutional boundaries, data sharing, policies and planning, education and training, sustainability — all remain pressing issues.
THE ROUTLEDGE COMPANION TO DIGITAL HUMANITIES AND ART HISTORY
Chapter title: Approaching Aby Warburg and Digital Art History Thinking Through Images, 2020
The Routledge Companion to Digital Humanities and Art History offers a broad survey of cutting-edge intersections between digital technologies and the study of art history, museum practices, and cultural heritage. The volume focuses not only on new computational tools that have been developed for the study of artworks and their histories but also debates the disciplinary opportunities and challenges that have emerged in response to the use of digital resources and methodologies. Chapters cover a wide range of technical and conceptual themes that define the current state of the field and outline strategies for future development. This book offers a timely perspective on transdisciplinary developments that are reshaping art historical research, conservation, and teaching. This book will be of interest to scholars in art history, historical theory, method and historiography, and research methods in education. Kathryn Brown is a lecturer in art history and visual culture at Loughborough University, UK.
Digital Curation beyond the 'Wild Frontier': a Pragmatic Approach
Archival Science, 2016
This paper advocates the necessity of developing a pragmatic alternative to the dominant custodial theorization of digital curation as an "umbrella concept for digital preservation, data curation, electronic records, and digital asset management". Starting from a historical account and an examination of prevalent definitions, it points to the current dependence of digital curation on a prescriptive approach rooted in its cognate field of digital preservation, and aiming to serve the needs of professional stewardship. It demonstrates the disconnect of this theorization with the rich historical traditions of museum curatorship where the notion of curation originated, and its inability to act as a framework for understanding the diversity and pervasiveness of contemporary digital curation practices "in the wild" (such as content curation, personal archiving, and pro-am digitization), and its dependence on a "wild frontier" ideology dissonant with contemporary critical cultural heritage scholarship. The alternative, pragmatic approach proposed views digital curation as a "contact zone" practice, routinely performed by a broad range of actors including researchers, artists, users and communities, on dynamically evolving objects, domain knowledge representations and interactions, beyond the curation lifecycle prescribed for custodial environments. On this basis, it calls for a formal re-conceptualization of digital curation, adequate knowledge representation of its objects, evidence-based research on curation practices, and establishment of curation-enabled digital infrastructures suitable for curation in the continuum. Reaching beyond a custodial view, this approach aims to establish digital curation as a field of intellectual inquiry relevant to emerging pervasive curation practices in the digital environment.
Digital Humanities Foundations
New Publication Cultures in the Humanities, 2014
Digitisation and Digital Resources in the Humanities
Digitisation - the conversion of an analogue signal or code into a digital signal or code – is the bedrock of both Digital Library holdings and Digital Humanities research. It is now commonplace for most memory institutions to create and deliver digital representations of cultural and historical documents, artefacts, and images to improve access to and foster greater understanding of the material. This chapter focuses on the developing role of digitisation to provide resources for research within the humanities, highlighting issues of cost, purpose, longevity, use, and value, and providing a roundup of sources for guidelines and standards. The recent interest from and investment by commercial information providers is juxtaposed with institutional concerns about the creation of digital resources for the humanities, and two case studies - one succinct and focussed, one federated and large scale - are provided regarding specific projects which have undertaken a digitisation program in order to provide digital resources predominantly for use by humanities scholars. In: Warwick, C., Terras, M., Nyhan, J. (eds) (2012). "Digital Humanities in Practice". Facet.
Related papers
Digital Humanities 2006: When Two Became Many
Literary and Linguistic Computing, 2007
From Preservation to Publication: A Digital Humanities Workshop
Digital humanities are not just an intersection of technology and history, but an opportunity to preserve history for future generations and to engage more voices in historical conversation. In this Unconventional Session, the presenters will offer a workshop that brings together their collective experience in creating digital humanities projects to inspire and empower SHOT attendees to create their own. We will provide a brief introduction to digital humanities literature, theory, and method, highlighting established paradigms such as material culture as well as emerging frameworks such as ritual economy. We will then take an in-depth, behind-the- scenes look at several innovative digital humanities projects. Project genres to be discussed include digital exhibitions, podcasts, documentary films, graphic novels, and walking tours utilizing mobile and augmented reality (AR), as well as cutting-edge archival preservation techniques driven by high resolution optical character recognition (OCR), artificial intelligence (AI), and machine learning (ML). Attention will also be paid to relevant considerations such as grant-funding, best practices for planning the goals and scope of a project, initiating cross- departmental collaboration at your institution, copyright and reproduction guidelines, and how to incorporate digital humanities into graduate and undergraduate classrooms. Textual and technological resources for researching, planning, creating, and exhibiting digital humanities projects will be covered, with the needs of low budget and no budget projects given special consideration.
"A Greatly Unexplored Area": Digital Curation and Innovation in Digital Humanities
Journal of the Association for Information Science and Technology, 2017
New types of digital data, tools, and methods, for instance those that cross academic disciplines and domains, those that feature teams instead of single scholars, and those that involve individuals from outside the academy, enables new forms of scholarship and teaching in digital humanities. Such scholarship promotes reuse of digital data, provokes new research questions, and cultivates new audiences. Digital curation, the process of managing a trusted body of information for current and future use, helps maximize the value of research in digital humanities. Predicated on semistructured interviews, this naturalistic case study explores the creation, use, storage, and planned reuse of data by 45 interviewees involved with 19 Office of Digital Humanities Start-Up Grant (SUG) projects. Interviewees grappled with challenges surrounding data, collaboration and communication, planning and project management, awareness and outreach, resources, and technology. Overall this study explores the existing digital curation practices and needs of scholars engaged in innovative digital humanities work and to discern how closely these practices and needs align with the digital curation literature.
Digital technologies: Help or hindrance for the humanities. In: Arts and Humanities in Higher Education 11 (2012) pp.185-200
Arts and Humanities in Higher Education, 2012
This article offers reflections arising from a recent colloquium at the Open University on the implications of the development of digital humanities for research in arts disciplines, and also for their interactions with computing and technology. Particular issues explored include the ways in which the digital turn in humanities research is also a spatial/visual one; the tension between analysis based on the extensive ‘hard’ data generated by digital methodologies and the more subtle evaluations of traditional humanities research; the advantages and disadvantages of online resources that distance the researcher from the actual archive, book, artefact or archaeological site under investigation; and the unrealized potential for applying to the humanities software tools designed for science and technology. Constructive responses to such challenges and opportunities require the full rigour of the critical thinking that is the essence of arts and humanities research.
DIGITAL CURATION: THEORISING THE DIGITAL OBJECT
2008
Digital cultural heritage collections can provide information about, and access to, material culture(s), but as culturally specific products themselves, they also illuminate the contextual relationships inherent in those productions. The nexus of the issues in these cultural heritage productions (e.g. the nature of the object that forms the basis of the digital object, namely the analogue photograph, and the nature of the relationship between the photograph and the digital object curated from the photograph, as well as issues like the development of the museums object record database, the thesauri, copyright, etc.) creates a framework and forms a system of governance related to representation and accessibility, which has huge implications for end- users. This paper will explore ideas and possibilities for reflexivity on the part of such digital collections by examining the relationship that digital curation has to cultural heritage institutions as places of remembering, forgetting and, in this instance, re-remembering.
University of Denver's Institute for the Digital Humanities
2017
This institute brings together 20 humanities scholars from a variety of disciplines with little or no technical expertise to collaborate with each other and with experts in the field of digital humanities who are at the forefront of developing tools and methods for using digital media in their scholarly work. Institute fellows participate in a series of 3 workshops over an 18-month period. The institute program is designed to introduce and train fellows in the use of cutting-edge technological tools and methods, and to offer support and guidance as they work in groups to carry out a research project that involves collaboration with the public. Focus will be on the use of digital tools to facilitate collaboration among humanities scholars across various disciplines, to present and consider new strategies of representation and knowledge in emerging digital literacies, and to forge more engaging relationships with the public.
25 Years of Curating Digital Art: 1993–2018
As digital art merges with contemporary art, there have been many fundamental changes in the creative process. New forms of art continue to emerge and a revolutionary change in the art experience is occurring in museums, galleries and on the Internet. As a digital art curator, I have been fortunate to be a part of this revolution and will share my experiences and thoughts about past, present and future developments in curating traditional, contemporary and digital art. After a few landmark exhibitions in the late 1960s, digital art found an early home in international organisations, such as Ars Electronica, ISEA, New York Digital Salon, and ZKM. The development of the World Wide Web in the mid-1990s gave digital art the additional exposure it needed. Artists could now sidestep the traditional art establishment and reach a global audience through their websites. The Internet also expanded the art experience beyond galleries and museums into homes, schools and portable devices. 2001 joined 1968 as a landmark year for major museum exposure of digital art with BitStreams and Data Dynamics at the Whitney Museum of American Art and 010101 at the San Francisco Museum of Modern Art. What transpired over these decades has reshaped contemporary art and presented new challenges to museum professionals faced with this new art form. When looking towards the future, we will see a continued merging of digital art with contemporary art. New ways of exhibiting and creative self-expression using VR and Augmented Reality, along with other new, yet to be invented, technologies will be developed as they continue to infuse our daily lives and art experiences. This paper will examine the evolution of curating digital art over the past twenty-five years.
Loading Preview
Sorry, preview is currently unavailable. You can download the paper by clicking the button above.