Europeana Food and Drink have launched their second innovation challenge. The Challenge competitors are requested to submit a storytelling video, aimed at supporting sustainability of the production of traditional food and the cultural heritage (tangible, intangible, natural) connected to it.
The challenge has been developed in collaboration with Slow Food who are actively involved in preserving sustainable food/agriculture and the associated cultural heritage.
Full details can be found at http://foodanddrinkeurope.eu/challengetwo
Saturday, 18 April 2015
Friday, 10 April 2015
Two Articles - Flanders and Abreu
'The Literary, the Humanistic, the Digital: Toward a Research Agenda for Digital Literary Studies' by Julia Flanders, available here: https://dlsanthology.commons.mla.org/the-literary-the-humanistic-the-digital/
'The Collection and the Cloud' by Amelia Abreu, available here: http://thenewinquiry.com/essays/the-collection-and-the-cloud
'The Collection and the Cloud' by Amelia Abreu, available here: http://thenewinquiry.com/essays/the-collection-and-the-cloud
Pararchive Conference Notes - 27 & 28 March 2015
Fred Garnet and Andrew Whitworth (London Knowledge Lab) gave a presentation on 'Participatory Curation: A Model for Integrating Curation and the Story-telling of Communities'. One model they discussed was 'aggregate then curate', which reflects the approach of a project like Europeana. How far do open source platforms like Scalar, Yarn and the DPS vision do those two things simultaneously?
In the presentation for the launch of Yarn, designers Imran Ali, Tom Morgan and Dean Vipond (Carbon Imagineering) explained that they had wanted to create a technology that was reflective of the relationships between those individuals and community groups they'd worked with to develop it. In the 'All and Each' project, the interest lies in how those technologies can also shape relationships, inclining or disinclining the capacity to do certain things or work in certain ways.
Jake Berger (BBC Archives) talked more on the idea of a DPS that would be a secure, accessible platform, available for anyone to use, regardless of age, gender, ability or disability. He acknowledged the difficulty of achieving this (with licensing and copyright restrictions), and therefore the concept he described sounded more like a best case scenario than something that was close on the horizon. Listening to him speak, I was reminded of a Wendy Chun article I'd read, where she writes that 'new-media scholars’ blindness to the similarities between new media and TV is ideological; it stems from an overriding belief in digital media as memory - and thus possibly memorable - and TV as liveness' (p. 153). It struck me that something like the archives has, for the BBC, only become important relatively recently. Prior to that, the ideology of 'liveness' led to a lot of tapes being wiped, and episodes of programmes lost. Undoubtedly, the DPS forms a part of the BBC's ongoing mission to deliver public value but it is also the idea of digital media as memory that informs the context for the emergence of a DPS.
Andrew Prescott's (University of Glasgow) keynote address was on the topic of big data, and he touched on several interesting themes. He suggested that big data approaches have been around for a long time, using the example of the Domesday book (see Mirzoeff on visuality) but that, whereas this was a record of the past, contemporary big datasets are future oriented and based on predictive analytics. He also referenced an influential article in Wired by Chris Anderson from 2008, which addressed the implications of big data, cautioning, 'this is a world where massive amounts of data and applied mathematics replace every other tool that might be brought to bear'. Finally, he mentioned some recent literature by Huggett (2014) and Kitchen & Lauriault on the idea that big data must be situated. He ended by positing that the future work of the humanities might be critical studies of data.
Paul Wilson (University of Leeds) gave a presentation about his project to co-produce stories of the volunteer experience, influenced theoretically by Markusson (on designerly intervention) and Mark Fuad (on the strangeness of design). He also mentioned the idea of technology as solicitation and talked about how participatory design might solicit more effective engagement.
In the presentation for the launch of Yarn, designers Imran Ali, Tom Morgan and Dean Vipond (Carbon Imagineering) explained that they had wanted to create a technology that was reflective of the relationships between those individuals and community groups they'd worked with to develop it. In the 'All and Each' project, the interest lies in how those technologies can also shape relationships, inclining or disinclining the capacity to do certain things or work in certain ways.
Jake Berger (BBC Archives) talked more on the idea of a DPS that would be a secure, accessible platform, available for anyone to use, regardless of age, gender, ability or disability. He acknowledged the difficulty of achieving this (with licensing and copyright restrictions), and therefore the concept he described sounded more like a best case scenario than something that was close on the horizon. Listening to him speak, I was reminded of a Wendy Chun article I'd read, where she writes that 'new-media scholars’ blindness to the similarities between new media and TV is ideological; it stems from an overriding belief in digital media as memory - and thus possibly memorable - and TV as liveness' (p. 153). It struck me that something like the archives has, for the BBC, only become important relatively recently. Prior to that, the ideology of 'liveness' led to a lot of tapes being wiped, and episodes of programmes lost. Undoubtedly, the DPS forms a part of the BBC's ongoing mission to deliver public value but it is also the idea of digital media as memory that informs the context for the emergence of a DPS.
Andrew Prescott's (University of Glasgow) keynote address was on the topic of big data, and he touched on several interesting themes. He suggested that big data approaches have been around for a long time, using the example of the Domesday book (see Mirzoeff on visuality) but that, whereas this was a record of the past, contemporary big datasets are future oriented and based on predictive analytics. He also referenced an influential article in Wired by Chris Anderson from 2008, which addressed the implications of big data, cautioning, 'this is a world where massive amounts of data and applied mathematics replace every other tool that might be brought to bear'. Finally, he mentioned some recent literature by Huggett (2014) and Kitchen & Lauriault on the idea that big data must be situated. He ended by positing that the future work of the humanities might be critical studies of data.
Paul Wilson (University of Leeds) gave a presentation about his project to co-produce stories of the volunteer experience, influenced theoretically by Markusson (on designerly intervention) and Mark Fuad (on the strangeness of design). He also mentioned the idea of technology as solicitation and talked about how participatory design might solicit more effective engagement.
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