Oral History, audio-visual materials and Digital

Humanities: a new ‘grand challenge’?

Source: http://ssbkyh.com/works/captcha_tweet/

/

Dr Julianne Nyhan

Lecturer (assistant Professor) in Digital Information Studies, UCL: DIS

http://www.ucl.ac.uk/dis/people/juliannenyhan @juliannenyhan

Dr Andrew Flinn

Reader (associate Professor) in Archival Studies, UCL:DIS

http://www.ucl.ac.uk/dis/people/andrewflinn @Andyucl

Terras, Nyhan and Vanhoutte, 2014.

Defining Digital Humanities: A Reader.

Ashgate

Audio-visual materials in DH & Humanities …

Co-occurrence of DH2014 author-submitted keywords by Scott Weingart

Source: http://www.scottbot.net/HIAL/?p=39588

DH and tradition

“… about 30 of the 190 projects at Oxford are concerned with the period after 1850.

While these include some projects on major modern themes such as the First World

War archive and the Around 1968 project, the connection of other projects with the

modern world is more tangential, such as Translations of Classical Scholarship, which

just happens to extend to 1907. At Oxford, the centre of gravity of the digital

humanities is also firmly rooted in earlier periods, with about half of the projects being

concerned with the period before 1600. And again we are presented with an

extremely conservative view of the humanities, in which the classical world has an

elevated position, and names like Chaucer, Leonardo, Holinshed, John Foxe and

Jonathan Swift dominate. The smaller range of projects produced by the Humanities

Research Institute at Sheffield reflect a similar bias, with just over half dealing with the

period before 1700 … .”

Source: Andrew Prescott ‘Making the Digital Human: Anxieties, Possibilities,

Challenges’

http://digitalriffs.blogspot.co.uk/2012/07/making-digital-human-anxieties.html

Source: http://www.civicmediacenter.org/event/2012/07/28/oral-history-

mixtape

…..

From analogue to digital: the hegemony of

the word Oral history audio and video can now be placed in an

environment in which rich annotation, cross-referencing

codes, and other descriptive or analytic ‘meta-data’ can be

linked to specific passages of audio-visual content … This

will, of course, allow the audio-visual files themselves to be

‘searched, browsed, accessed, studied, and selected for use

at a high level of specificity’ (p.103) … On this software

frontier, audio and video documentation becomes as richly

and easily accessible as a well-organized text-based-

reference book, and far more easily accessible (Source

Frisch, M. ‘Oral History and the Digital Revolution: toward a

post-documentary sensibility’ in The Oral History Reader.

Perks, R and Thomson A. (Eds.) Routledge 1998 p.104).

Source: http://prisonsmemoryarchive.com/

Source: http://cadensa.bl.uk/uhtbin/cgisirsi/x/x/0/49/%20;%20charset=UTF-8

Source: http://www.oralhistoryonline.org/

Source: http://hiddenhistories.omeka.net/

Source: http://www.digitalhumanities.org/dhq/vol/6/3/index.html

See: http://dl.acm.org/citation.cfm?id=2070509

Source:

http://ieeexplore.ieee.org.libproxy.ucl.ac.uk/stamp/stamp.jsp?tp=&arnumber=6639321

Facial recognition?

Source: http://invisibleaustralians.org/faces/

S

Source: http://www.123dapp.com/

Source: http://www.cometogetherkids.com/2012/02/swirling-colors-milk-science-

experiment.html