Libraries and the digital humanities: partnership, collaboration and shared agendas

Digital humanities is a rapidly growing global interdisciplinary field, reflected in a proliferation of conferences, events, journals, associations, research centres, grants, and courses. Digital humanities has a high profile because of its collaborative activity in building tools, developing services, carrying out projects, and producing ground- breaking research findings. There is a high level of interest from the library community in the digital humanities. This paper looks at the relationship between libraries and the digital humanities from an Australian perspective. The paper draws on the authors’ involvement within the digital humanities community, and especially their experience with developing HuNI: the Humanities Networked Infrastructure, a major digital infrastructure service for the humanities.

Colonial girls' literature and the politics of archives in the digital age

In this paper we examine the politics of print and digital archives and their implications for research in the field of historical children's literature. We use the specific example of our comparative, collaborative project 'From Colonial to Modern: Transnational Girlhood in Australian, New Zealand and Canadian Print Cultures, 1840-1940' to contrast the strengths and limitations of print and digital archives of young people's texts from these three nations. In particular, we consider how the failure of some print archives to collect ephemeral or non-canonical colonial texts may be reproduced in current digitising projects. Similarly, we examine how gaps in the newly forged digital "canon" are especially large for colonial children's texts because of the commercial imperatives of many large-scale digitisation projects. While we acknowledge the revolutionary applications of digital repositories for research on historical children's literature, we also argue that these projects may unintentionally marginalise or erase certain kinds of children's texts from scholarly view in the future.

HuNI: Helping humanities researchers get lucky

For the past three years a team of researchers have been working on ways to help people navigate a path through the expanding world of online information. The result is the Humanities Networked Infrastructure (HuNI) platform: huni.net.au

Aggregating cultural heritage data for research use: The humanities networked infrastructure (HuNI)

This paper looks at the Humanities Networked Infrastructure (HuNI), a service which aggregates data from thirty Australian data sources and makes them available for use by researchers across the humanities and creative arts. We discuss the methods used by HuNI to aggregate data, as well as the conceptual framework which has shaped the design of HuNI’s Data Model around six core entity types. Two of the key functions available to users of HuNI – building collections and creating links – are discussed, together with their design rationale.

Visualising data in digital cinema studies: more than just going through the motions?

This article examines the critical role visualisation plays for digital cinema studies and proposes that cinema studies has an equally critical role to play in evaluating and developing visualisation methods. The article reflects on work undertaken in the Kinomatics Project, a multidisciplinary study that explores, analyses and visualises the industrial geometry of motion pictures and which is one of the first “big data” studies of contemporary cultural diffusion. Its examination of global film flow rests on a large dataset of showtime information comprising more than 330 million records that describe every film screening in forty-eight countries over a thirty-month period as well as additional aggregated box-office data.

New cinema history and the computational turn

This paper outlines how the digitisation of both the film industry and contemporary research practices bear on the work of the new cinema historian. How might the opportunities presented by an unprecedented proliferation of data for example, also challenge the unspoken assumptions and ordinary practices of conventional film studies research? And how might the 'computational turn' present opportunities (and challenges) for a revisionist cinema history at the intersection of qualitative historiographies (focussed on the social experience of the cinema) and quantitative research approaches such as data mining, empirical analysis and digital visualisations?

The online identity : towards a hermeneutic phenomenological approach

In order to better understand how artists working in countercultural or ‘fringe’ creative practice use social media to create online persona I am using a hermeneutic phenomenological approach to investigate the lived experience of both online and offline persona creation by tattoo artists, street artists, craftivists, and slam poets. The use of phenomenology to investigate artists’ lived experience is particularly appropriate, as ‘artists are involved in giving shape to their lived experience, the products of art are, in a sense, lived experienced transformed into transcended configurations’ (Van Manen 2006: 74). This paper will outline the methodological underpinnings of this project, using these underpinnings to explore the benefits offered by phenomenology to internet studies.

Understanding how people use online social media sites to construct personas can benefit greatly from understanding the lived experience of those who use these technologies, the decisions they make in persona construction, and the online/offline, public/private continuums. A phenomenological approach ‘seeks to revel and richly portray the nature of human phenomena and the experiences of those who live through them’ (Grace & Ajjawi 2010: 197) and offers both the researchers and the participants a way to interrogate and interpret the experience of constructing online personas. A phenomenological approach allows for ‘an intimate awareness and deep understanding’ (Saldana, Leavy & Bertvas 2011: 8) of the experience of persona construction in online and offline spaces, and could equally be used to interrogate other aspects of internet use. 

Phenomenology and the online : the importance of studying experience

 Phenomenological research into the online experience offers real value to Internet Studies and Digital Humanities scholars for three key reasons. Firstly, as an explicitly qualitative approach, it offers a way to gain insights into the experience of going online that are not identified by those who study behaviour alone. Secondly, as phenomenological studies focus on the individual rather than the collective, the resulting small sample size means that the investment required in terms of time spent with participants is minimised. Finally, the interpretation that emerges through the phenomenological research process produces categorisations that could form the basis on which larger scale, Big Data, quantitative research projects could be built.
This paper will explore the above ideas through the lens of my doctoral research, which uses hermeneutic phenomenology to investigate the experience of persona construction by artists on the fringes of the traditional art world, specifically craftivists, tattoo artists, street artists, and performance poets. By incorporating the interpretive categorisations that have come from my early discussions, I will demonstrate the strength of a phenomenological approach to investigating the experience of using the world and social media to present the self to the world.

What is a cinema? Death, closure and the database

This chapter explores the possible ontological questions and epistemological propositions that arise from detailed empirical research into cinema closures. Repeated pronouncements of the ‘Death of Cinema’ in the wake of technological, social and industrial change serve to reinforce the coincidence of ‘death’ with a type of ‘closure’. The evocation of a ‘crisis’ in the cinema is ordinarily articulated within the terms of specific cultural concerns around transience and transformation in the social experience of the cinema. However, rather than adding another chapter to the apocalyptic historiography of the cinema this paper proposes instead the constitutive importance of ‘closure’ as a critical tool for rethinking our defining assumptions about cinema(s). Specifically, the chapter will demonstrate how the conceptual granularity entailed in the development of a detailed database of venue openings and closings (the Cinema and Audiences in Australia Project database) can in turn lead to a fundamental reconsideration of the ontology of the cinema itself.

Mapping the ill disciplined? Spatial analyses and historical change in the post-war film industry

As part of a broad disciplinary shift, from a focus on measuring the value and meaning of cultural artefacts to understanding the import of cultural flows, humanities researchers are increasingly turning to other disciplines and disciplinary practices to inform their research. For film scholars, rather than providing a reading of specific media texts and their qualities there is an increasing focus on the contextual events that shape and formulate cinema practice. This chapter is an example of how cross-disciplinary relationships, for example between Cinema Studies, Geospatial Science, Statistics and the Creative Arts can uncover new research questions and test methodologies across uncharted disciplinary terrain. It also offers an opportunity to reflect on some of the key assumptions around collaborative research, through its reorganization of academic spaces and “sites” of knowledge.

Kinomatics: a global study into cinema data

This paper describes a creative industries research project that has applied quantitative approaches commonly used in scientific research to the study of international cinema performance. Using film screening data collected over a two year period, this paper discusses analysis of a global dataset using Appadurai's "-scapes" framework. We have identified several of these "-scapes" that help us investigate film industry behaviour. Concentrating on Appadurai's "Technoscape" an investigation into the geographic spread and distribution of a new and emerging technology, High Frame Rate cinema, has been made. HFR films have screened around the world to mixed reviews. Geographic distribution of HFR technologies and change in this distribution has also been uneven.

Virtual villages: networking the global archipelago

In today’s changing economy, moving rapidly beyond industrial and information priorities, the creative arts, industries and enterprises have a powerful capacity for transforming a society’s cultural and economic capabilities and growth. One of the greatest challenges for present and future workplace participants in the context of this rapid change is the need to adapt to changing roles within a capitalism which has moved beyond a focus on the production of commodities to a greater social and economic flexibility. Gee talks of the ‘new capitalism’ requiring ‘shape-shifting portfolio people’ , creative and entrepreneurial individuals who can take on multiple identities. The key to managing this change is to focus on building a capacity to design new identities, affinity groups and networks. The virtual villages project described in this paper is a creative response to building ‘shape-shifting’ skills, focusing on the power of narrative immersion through virtual world environments to explore issues for rural and regional communities. The project aims to assist local communities in geographically diverse regions to develop their capacities for designing new identities through participating in the creation of digital storylines and characters for problem-solving. This will also have the outcome of an expanded affinity group (the project participants and their digital audiences) and potentially global networks (the archipelago). The concept of virtual villages utilizes associational narrative techniques, exploring portals of virtual worlds, thresholds of community discovery and fragments of narrative as the framework. Developing associational narratives which explore and share creative problem solving across diverse virtual villages will provide both individuals and the community with the ‘shape-shifting’ capacity to situate themselves beyond current community networks and identities.