Showing posts with label Cultura Digitale. Show all posts
Showing posts with label Cultura Digitale. Show all posts

Monday, 29 June 2015

Définir le champ de l’Histoire Publique Numérique, un atelier à THATCamp Paris 2015

Un atelier proposé pour THATCamp Paris a été voté par les participants à la "unconference" et s'est donc tenu le mercredi 10 Juin 2015 à 9 heures du matin. J’avais proposé -en mon nom et au nom de Mark Tebeau- l'atelier que Frédéric Clavert, un des organisateurs de THATcamp Paris, membre du THATCamp Council, a présenté en notre nom, mardi 9 juin au public quand, ni Mark ni moi n’étions encore à Paris. L'atelier portait sur la définition du champ de la Digital Public History (DPH) ou, en français, Histoire Publique Numérique.
Quelles en étaient les motivations ?
En décembre 2016, l’éditeur De Gruyter – Oldenbourg à Munich publiera un Handbook of Digital Public History dans la série "De Gruyter Reference" en langue anglaise. Mark Tebeau (Arizona State University) et moi-même coordonnerons cet ouvrage de référence international.
Nous avons défini un projet d'index détaillé de chapitres et de thèmes et voudrions aussi choisir les projets d’histoire numérique publique les plus importants internationalement pour qualifier la discipline, ses pratiques et, justement, certaines de ses meilleurs réalisations et objets numériques à l'échelle internationale.
La proposition scientifique du Handbook (abstract) acceptée par l'éditeur est la suivante en anglais.
Aims and Scope for an Handbook on Digital Public History
This handbook will provide a systematic overview of the present state of international research in digital public history. Detailed individual studies by internationally renowned public historians, digital humanists and digital historians will elucidate central issues in the field and present a critical account of the major public history accomplishments, research activities, practices with the public and of their digital context; the handbook will apply an international and comparative public history approach, look at its historical development, focus on technical background and on the use specific digital media, software’s and digital tools; it will offer a glossary of common terms, software’s, practices in the field together with a multi-lingual bibliography adapted to each chapter. The Handbook will analyse connection with local communities and different publics worldwide when engaging in digital activities with the past, and indicate directions for future research, practices and teaching activities. The Handbook will delimit the field extension between digital humanities, digital history and public history through its main theoretical chapters connected with smaller descriptive sub-chapters describing and comparing specific projects internationally.
 Coordinateurs:
mark-tebeau
Mark Tebeau, Associate Professor in the School of History, Philosophy, & Religious Studies at Arizona State University, Director of Arizona State University Public History Program, (Phoenix, AR, USA)
Contact information:
Email: Mark.Tebeau@asu.edu,
Serge Noiret, History Information Specialist (PhD) at the European University Institute, Florence, Italy
Contact Information:
Email: Serge.Noiret@eui.eu
thatcamp2015_vignette_10x10cmQuestions posées aux participants de l'atelier de THATcamp Paris 2015 #tcp2015 :   
  • What should be here which isn’t there
  • What is there and should not be there
  • Key examples for each entry (what do you think each entry should be about)
  • Good authors, volunteers to contact us and suggesting who we should contact
  • This is an International program so essays truly international should come from all around the world
Résultats de l'Atelier de THATcamp du Jeudi 10 Juin 2015
L'atelier "Définir le champ de l’Histoire Publique Numérique" a suscite des questions différentes autour des chapitres, des projets et des acteurs de la DPH. Il a permis aussi de susciter des collaborateurs potentiels pour le Handbook vu que nous sommes, Mark et moi, dans la phase d’attribution de chapitres et de recherche de collaborateurs.
Toutefois, la définition de ce qu'est la "Publi History" a été au centre de la discussion avent même d'entrer dans une interaction histoire numérique, histoire publique.
La question fondamentale, liée a l'architecture du Handbook, a été la suivante: en quoi de nombreux chapitres se différentient-ils de ce qu'un humaniste numérique pourrait écrire ? Quel est la spécificité de l'Histoire Publique Numérique dans chacun de ces chapitres?
Les résultats du FramePAD sur cet atelier et de la discussion à laquelle ont participé: Martin Grandjean, Frédéric Clavert, Sébastien Poublanc, Vincent Auzas, Nathalie Casanova, Léonard Laborie, Lyriane Bonnet sont les suivants. Ils touchent a la fois les demandes des participants et les informations données par les participants eux-mêmes, des participation potentielle au Handbook.
Question qui touche la langue anglaise de l'ouvrage et la relecture des articles ecrit par les auteurs internationaux:  Oui, l'ouvrage sera entièrement en anglais, mais l'editeur financera la relecture des chapitres.
Quelle est la distinction entre humanités numériques et histoire publique numérique ?
Quelle est la relation avec une communauté d'utilisateurs. 
Existe-t-il une histoire publique non numérique ?
 Serge Noiret rappelle l'origine britannique de l'histoire publique: enregistrement des mémoires des mineurs britanniques au moment des grandes crises sous Thatcher: enregistrement de leur mémoire AVEC eux.
Cite l'exemple des commémorations comme celle du 200e. de la bataille de Waterloo les 18-20 Juin 2015, sur le site même de la bataille avec une reconstitution de ses phases avec plus de 5.000 "reenactors".
 Il n'y a pas d'histoire publique sans historiens académiques.
Léonard Laborie: inclure des exemples de projets qui ont été mis en échec? Frédéric Clavert, la question complémentaire étant gestion de la fin d'un projet, la "sustainability" des projets ajoute Serge Noiret.
Voir si on peut inclure un chapitre sur les commémorations du centenaire de la Première Guerre mondiale: avec comparaison France / Royaume Uni. Avec Frédéric Clavert mais pas seul et Marie-Christine Bonneau se portent volontaires. Il faudrait des participants de la Mission du Centenaire scientifiques et de l'Imperial War Museum pour evaluer les projets d'histoire publique plus large.
 Contacter: luccianomelanie@yahoo.fr - talie - Traces de l'Antiquité à Lille et en Eurorégion
 Voir NYC Memory. Équivalent à Londres. Projet Marseille.
 Voir Base de données sur les Monuments aux Morts.
Martin Grandjean à disposition pour l'aspect "Social Media" (Rewriting history in 140 characters http://www.martingrandjean.ch/rewriting-history-140-characters/)
Frederic Clavert demande s'il y a des différences entre DH e DPH dans le domaine des langages numériques. Comment le Handbook fera ressortir la spécificité de l’histoire publique. Dans l’index (TOCs) des éléments sont spécifiquement DPH, d'autres pourraient être autant histoire numérique / DH que DPH. Comment faire ressortir les spécificités.
 On suggère d’avoir des chapitres qui sont écrits par des amateurs historiens directement (généalogie notamment).
Comment justifie-t-on un Handbook sur l'histoire publique NUMÉRIQUE?
Serge Noiret répond que la révolution numérique se retrouve dans les pratiques et objets des historiens publics. cf. Roy Rosenzweig Center for History and New Media: forts développements autour et donc avec les utilisateurs - centre de l'histoire publique. L'historien.ne publique travaille avec des communautés et pour ces communautés. 
 
Importance des "Environmental Humanities" pour la DPH: Digital Environmental Humanities, McGill : http://dig-eh.org/projects/ ; pour la partie Européenne : http://eseh.org/ (émanation française : RUCHE : https://leruche.hypotheses.org/)
 
 

Handbook Draft Structure for THATCamp Paris 2015

Introduction

  1. Introduction & Definitions
  1. A Digital Public History of DPH
  1. The Historiographical Foundations of DPH
  1. Manifesto (5000-word culmination): Appendix that gets published separately

 Section 1: Historiography

 Section 1 explores the themes, disciplines, linkages to other fields, as well as the context of public history practice.  In each essay, the writers take on key aspects of the topic, with attention to how the intersection of the digital & public has transformed these fields/themes. It especially considers the theoretical aspects of the fields.
 
  1. Digital Humanities & History In what ways has public history shaped the digital humanities and digital history?
  1. Public History  In what ways has the digital revolution reshaped public history theory, practice, and training? 
  1. International Public History Movement (Local-Global-International)
  1. How has digital public history shape the spread of public history from the United States through the globe.
  1. Oral History  In what ways has the emergence of digital public history reshaped oral history practice?
  1. Public Archeology
  1. Politics (of the past)
  1. Nostalgia (memory today) 
  1. Heritage
  1. Violent Pasts Our ability to document and represent conflict, war, social unrest, inequality, and genocides has grown more sophisticated. 
  1.  Identities The studies of identify formation in terms of class, race, gender, and indigenous cultures remains central to historical work; how has this work been transformed by digital and public history?
  1.  Realm of Memory Memory sites, including monuments and commemorations, have become more accessible in the digital age, producing wider understandings.
  1.  Environment Environmental humanities and sustainability have emerged as central concerns in digital public history in recent years. The NICHE (Canadian Network) as well as projects such as the environment & society portal from the Rachel Carson Center are examples of that work.
  1.  Museums Museums have opened significantly as a result of the digital revolution, providing new modes of engaging public audiences, as well as imagining their function in an increasingly device-driven world.
  1.  Archives/Library Archives & libraries face extraordinary challenges as books slowly disappear and our engagement with them becomes more and more digitally mediated. 
  1.  Communication
  1.  How digital public history has blurred past & present?     How digital public history is confronting periods and periodization?

Section 2: Contexts

Section 2 explores the places and contexts where digital public history is practices; it pays attention to scales of institution, locale (global, regional, national), and theoretical challenges faced in each domain.
  1. Museums What does it mean to practice in specific history contexts, based on scale—w/attention to national/international?
  1. Museum How has digital public history mattered in non-history contexts (such as natural history, art, or other museums, w/attention to international?
  1. Virtual Museum + Exhibitions The emergence of the digital has produced the possibility for the virtual museum and exhibition. 
  1. Archives How has archival practice been transformed? (Think: “what’s on the menu”)
  1. Born Digital Archives Born digital archives have emerged. What are the issues associated with these (for example SAADA.org)?
  1. Libraries (dp.la & europeana) The digital has raised the possibility of the virtual Library at Alexandria. What does digital public history tell us about the implications for large-scale library projects, such as dp.la or Europeana?
  1. Digital Libraries (no connection with real libraries) The Digital library has supplanted the physical library. Or has it?
  1. Technological  Devices matter in the digital age. How does the machine shape the delivery of public history? (Think the history and character of devices and technologies, from the CD to the DVD to floppy disks.)
  1. “Privatized” Public History (market driven PH). Consulting and marketing for a private enterprise, e.g. Getty Archive, Fratelli Alinari Archive; what are the philosophical and practical considerations?
  1. Publishing:  How we publish PH has changed. Consider twitter micro-blogging, open-access, peer review, evaluation, sharing, crowdsourcing, Hypothesis, PressForward. What’s happening to text?
  1. University History Teaching  How have digital & public history have altered the history classroom--both for the instructor and learner; includes emergence of digital humanities curriculum?
  1. Public History & Humanities Training: How do we alter public history curricula to confront the digital turn? What should the new public history curriculum look like, as it pertains to digital history, includes professional development for people in the field?
  1. The Digital Public History Course: What does this course look like?
  1. Pre-University Consider the context of High School, Primary & Secondary Education, perhaps Euroclio.org and project Historiana. How is the digital/public intersection changing & enhancing both approaches & engagement of schools with history, institutions, & publics?
  1. Grassroots Local communities have begun to document and produce their own historical knowledge; how does this transform the relation to the past?
  1. Federal Governments Policy (truly international: US, Canada, & EU)
  1. State & Local Governments (also international)
  1. National Parks & Historic Sites (is this in Federal Government)
  1. Landscape & Space: parks, gardens, cemeteries, monuments; emphasis on local 
  1. Historic Preservation & Cultural Resource Management The field of cultural resource management and preservation continue to focus attention on physical landscapes; how has emergence of a digital public history altered this work, in theory and practice?
  1. UNESCO  How has the digital & public revolution transformed the work of international bodies, such as UNESCO?

Section 3: Practices: Engagement, Communities, & Curation 

Section 3 explores how public history practice has changed and digital practice has emerged as a result of the intersection of digital public history. This section focuses on best practices and approaches, using case studies and examples where possible. The big ideas for this section include public engagement, community building, the evolution of curation, and emergence of big data.
  1. Strategies for the digital & public future (theoretical)
  1. Professional Policies (What are the best practices of digital public history: i.e. open/closed access; open sources; filtering, algorithms, sustainability, programs?)
  1. Law & Ethics (i.e. Ownership & Copyright)
  1. Visualization (a kind of narrative but through visual means) Blogging & Textual Narrative (also video blog, podcasts, micro-blogging, tumblr, twitter)
  1. Mapping
  1. Data Standards & Practice
  1. Collecting & Archiving (best practices)
  1. Exhibiting
  1. Conserving
  1. Funding for the Past in the Future (funding, sustainability, emergence of a field in the funding)
  1. Gaming (Playing and Fun) 
  1. Crowdsourcing
  1. Social Media  
  1. Shared Authority
  1. Community Building & Civic Engagement 
  1. Storytelling
  1. Living History 
  1. Activist History
  1. Narrative Practice: Popular, Fiction (Imagination – Imagined history), 
  1. Genealogy
  1. Curation
  1. Teaching & Training: classroom, pedagogy, and program organization
  1. Organizing/preserving the self
  1. Amateur/non-professional public digital history (everyone their own historian?)
  1. Commercial practice, DPH as Business, Market oriented DPH 

Section 4: Technology, Media, Data and Metadata

Section 4 explores various types of technologies, media, and metadata and how they’re being used in digital public history, with attention to the challenges in each of these domains--including the problems of engaging publics, the challenges of technological change, and modes of constructing historical argument.  This section also explores how the technological itself--both in its implementation and theoritization--is transforming digital public history.  The emphasis is on the emergence of both big ideas and categories of technology, as well as on the ways of organizing, dissemination, and sharing knowledge. With special attention to data and metadata, to hardware and software, as well as tool sets, essays in this section focuses not just on the present but suggests future direction.
  1. Book & Print
  1. Technological devices as mediators of media (also in technology)
  1. GIS (the use of GIS, mapping programs, open street maps, designing maps, interpreting maps, arc-gis, q-gis (web & separate)
  1. Mobile & Locative Media
  1. CMS (various strategies and approaches)
  1. Open Access (Theorizing, Application Programming Interfaces, Data Interoperability, Metadata standards, Licensing such as Creative Commons)
  1. Open Source (Theory, Challengenges, Tools, GitHub, Maintaining Community, examples: Omeka, Drupal, WordPress, etc.)
  1. Linked Open Data (Theory, challenges, taxonomies, ontologies, semantic web)
  1. Standards (Different types of standards: archival, library, data, metadata, etc.)
  1. Materiality and landscape in digital age (including soundscapes & 3-D modelling) Sensory history has gained currency as digital tools have emerged that allow for immersive experiences and multi-dimensional modeling. 
  1. 3D Visualization (prospective, what it means: new modes of presenting and representing past, Second Life, Occulus Rift)
  1.  3D Printing
  1. Game Technologies (Occulus Rift?, soundscapes, connections, implications)
  1. Programming (languages, approaches, should the historian be a programmer?, implications of the need for specialized programming skills--consider the public history context of the need for designers, exhibit developers, marketing specialists, etc.)
  1. Websites (I want a “website.” What does that mean? Consider the transition from web 1.0 to web 2.0 to web 3.0 technology; thinking about characteristics of public history web: participatory/not, open/not, types of content; public engagement/not, links; how web technologies are changing, such as HTML5, including device contexts)
  1. Video (video projects, streaming technologies, YouTube, Vimeo, portable devices, 
  1. Photography (technologies, i.e. phones as cameras, photoshop, FLICKR etc., re-photography, HistoryPin, merging past/present locations (mixing past/present), cinemagraphs, focus on how technologies (both of taking photos and of representing photos, as well as sharing photos) shape the intersection of digital/public history; is this a new form of narrative in its own right? selfies
  1. Audio (oral history in the digital age, transom http://transom.org/ for public radio, SoundCloud, streaming, podcasts, the emergence of sound studies, these three categories: focus on how technologies (both of taking photos/video/audio and of representing photos, as well as sharing photos) shape the intersection of digital/public history;
  1. Social Media (focus on technologies of social media)
  1. Reference/Management Tools (Zotero, Evernote, and other tools for building references, and links.)
  1. Metadata (What is it? and why you should care? archival/library standards and machine metadata.)
  1. Big Data (What this means for public engagement in history and cultural institutions; what does it mean for a digital data driven public history; what does proliferation of data mean for local institutions?)
  1. Aggregation (Wikipedia, but also tools for content Aggregation, in cultural realm this includes such as dp.la, Europeana, new modes of engaging public outside ...)
  1. Discovery & Connection (Connected Histories; Moving beyond Google: technologies for linking, connecting, & discovery of cultural information)
 
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Sunday, 31 May 2015

Digital public history: bringing the public back in


This post is a slightly different version of "Digital public history: bringing the public back in." In: Public History Weekly 3 (2015) 13, DOI:  dx.doi.org/10.1515/phw-2014-2647. (German and French translations also available in PHW).




Digital History has reshaped the documentation methods of historians, especially their means of accessing and storing history. However, this seismic shift has occurred without any thorough critical discussion of these digital tools and practices. Digital history aims to create new forms of scholarship and new digital objects for the web.[1] But we need to ask in which ways—if any—Digital Public History (DPH) is distinct from an innovative digital history?

From Digital Humanities to Digital History

"Digital historical culture" is part of the wider "digital culture" permeating our society through the Internet. The sociological concept of digital culture was developed by Manuel Castells[2] and Willard McCarty[3]. In Italy, Tito Orlandi theorized the emergence of a new Koine based on his further development of scientific and methodological concepts of humanities computing as web-based communication processes.[4] By contrast, the digital humanities provide methodologies and practices that, analogous to the sciences, are suitable for the humanities.[5] These practices and concepts are elaborated within the various disciplines.[6] Thus, after the digital turn, digital historians are confronted with new epistemological issues when analysing  the past.[7] They plan exhibitions with memory institutions (libraries, archives, museums, and galleries) dedicated to presenting artefacts and documents ; they collect, preserve, and curate digitised and  born digital documents for these institutions;[8] they create new tools and software to support their activities; they also use social media; following  the digital turn, moreover, they are not confined to analysing written materials, but also strive to devise new forms of text-mining for processing large amounts of data between “close and distant reading” activities .[9] Digitally connected historians do not perform their profession beyond the discipline: rather, they apply their methods, traditions, and skills to deal with primary sources in different contexts and to reconstruct the past using new types of narratives.[10] Technology facilitates what is still a recognizable history profession, although digital humanities technology is part of a new historian’s craft. Historians, that is, are involved deeply in technological transformations that affect the humanities as a whole.

New practices and new tools

In the field of digital history, we are what we do and what we create. New practices and new tools define the nature and the scope of the field. Importantly, digital history corresponds not only with the tradition of the digital humanities. The question of the originality of our methods, tasks, and ultimate goals within the digital realm was raised already at an early stage in Italy; it was always clear that our priorities were quite different from those of other digital humanists.[11] Digital history, then, is about a proper epistemological dimension, one specific to historians.[12] As historians, we need to create contents, to control those contents, and to use tools in the digital realm that are different from those needed by other digital humanists confronted with literary and linguistic computing, text analysis, text encoding, and annotation. Stephen Robertson, director of the Center for History and New Media has argued, perhaps for the first time ever in the English speaking world, that digital history is different from literary studies and might be considered another discipline. His reflections influenced the 20th anniversary celebrations of the Center[13], held in the autumn of 2014,  which highlighted the importance of digital media for the history profession.[14] Robertson emphasised two points: “First, the collection, presentation, and dissemination of material online is a more central part of digital history. […] Second, in regards to digital analysis, digital history has seen more work in the area of digital mapping than has digital literary studies, where text mining and topic modeling are the predominant practices.”[15]

Digital History vs. Digital Public history

In parallel with what they write professionally about the past, historians have always queried the usefulness of their own practices in reconstructing the past. In so doing, they have explored which (other) methods or techniques might illuminate the past. Which new tools or techniques, when applied to reconstructing the past, could help transform primary sources into narratives? We first need to consider whether the historiographical process has always been communicated fruitfully to the public, not only through the written forms of scholarship typical of academic historians, but also through a differentiation between forms of communication adapted to different audiences using different media, or what Sharon M. Leon calls User-Centered Digital History.[16] Being able to translate the past into history and being able to communicate with an identified audience are essential skills for public historians, who must ask themselves “why do history if it is not for the public?” As a research field, DPH invites us to interpret the past and to prepare it for the future using technology, experiences, practices, methods, and social communication processes that underscore the need to consider what public history has already highlighted, namely, to think about audiences so as to enhance interpretation and communication processes.
Should we go further back in the genealogy of humanities computing (to the 1980s, for instance), which became the digital humanities following the rise of the Internet in the early 1990s? Perhaps not, but what is part of the conversation is to understand whether DPH differs not only from the Digital Humanities, as argued, but also from Digital History. What distinguishes DPH or what I have elsewhere called digital history 2.0 (participative, crowdsourced, networked, socially mediated history)[17] from so-called “academic“ forms of Digital History?

Digital Public History and the Civic Dimension of the Past

Web 2.0 technologies enable us to engage with different communities and their knowledge and memories worldwide, thereby adding a digital dimension to traditional public history practices. After the birth of a participatory web 2.0 around 2004, different communities started to share their past globally without the mediation of historians. On the contrary, after the digital turn oral historians-cum-mediators applied their skills as historians to conveying oral memories.[18] In the digital realm, archivists keep track of civil memories using their specific skills.[19] Might we then conclude that DPH is about how a community of people shares experiences about the past via the web, experiences that are mediated through public historians’ digital skills and expertise, in the capacities as oral historians, archivists, museum staff, etc.? Is this the dimension that defines the field as bottom-up (often crowdsourced), top-down (creation of digital multi/media forms of communicating the past), user-oriented, interactive, and shared? DPH interrelates a public, its past, and public historians whereas digital history offers new digital scholarship without requiring epistemological interaction with the public as an essential condition. Digital History “enriches” the web with new forms of narratives and findings. Unlike 2.0 crowdsourced and connected web, DH is not used primarily to engage with specific publics and to reach specific social targets. DPH instead is above all about producing history in the public sphere through interactive digital means. Taking advantage of the digital turn, DPH aims to bring new voices from the past into the present because those pasts matter and because digital technologies are suited to communicating history via and in the web.
_____________________
[1] Franziska, Heimburger and Émilien Ruiz: «Has the Historian’s craft gone digital? Some observations from France», Diacronie. Studi di Storia Contemporanea, n. 10/2, 2012,
[2] Manuel Castells: The Internet Galaxy: Reflections on the Internet, Business, and Society. New York, Oxford University Press, 2001.
[3] Willard Mccarty: Humanities Computing. Basingstoke, Palgrave Macmillan, 2005.
[4] Tito Orlandi: Informatica Umanistica. Roma, La Nuova Italia Scientifica, 1990.
[5] Susan Schreibman, Ray Siemens, John Unsworth (eds.): A Companion to Digital Humanities, Oxford, Blackwell, 2004; see (last accessed 09.04.15). Clare Warwick: Digital Humanities in Practice., London, Facet Publishing, 2012; Melissa Terras, Julianne Nyhan, and Edward Vanhoutte: Defining Digital Humanities: A Reader. London, Ashgate, 2013; Pierre Mounier (ed.), Read/Write Book 2. Une introduction aux humanités numériques, Marseille, OpenEdition Press, 2012,  <http://books.openedition.org/oep/226>, (last accessed  09.04.15).
[6] Statistics, geo-location, the mapping of the past, visual studies, 3D reconstructions, the creation, management and analysis of big series of data’s and of digital primary sources , all these specific elements, part of a "datification" process of the world, are defining the field of digital history v. the broader area of digital humanities. (See Peter Haber: Digital Past: Geschichtswissenschaft im digitalen Zeitalter. München, Oldenbourg Verlag, 2011.)
[7] Philippe Rygiel “L’inchiesta storica in epoca digitale”, in Memoria e Ricerca, n.35, 2010, pp. 185-197.
[8] A recent Canadian report on the impact of the digital revolution has universal value when it says: “Memory institutions are a window to the past. Through stories, physical objects, records, and other documentary heritage, they provide Canadians with a sense of history, a sense of place, a sense of identity, and a feeling of connectedness — who we are as a people […].” “Why Memory Institutions Matter”, in Council of Canadians Academies: Leading in the Digital World: Opportunities for Canada’s Memory Institutions. The Expert Panel on Memory Institutions and the Digital Revolution., February 2015, pp. 4-6. http://www.scienceadvice.ca/uploads/eng/assessments%20and%20publications%20and%20news%20releases/memory/CofCA_14-377_MemoryInstitutions_WEB_E.PDF (last accessed 09.04.15)
[9] Franco Moretti: Distant Reading. London: Verso, 2013.
[10] See, for example, different projects (like Digital Humanities Now, http://digitalhumanitiesnow.org/ ) that curate the integration of selected blog posts worldwide into new forms of digital scholarship using the PressForward plugin for WordPress http://pressforward.org/ (last accessed 09.04.15).
[11] “Storia e Internet: la ricerca storica all’alba del terzo millennio”, in Serge Noiret (ed.): Linguaggi e Siti: la Storia On Line, in Memoria e Ricerca, n.3, January-June 1999, pp. 7-20.
[12] Daniel J. Cohen, Max Frisch, P.Gallagher, Steven. Mintz, Kirsten Sword, A.Murrell Taylor, William G. Thomas III, and William J Turkel: “Interchange: The Promise of Digital History”, in The Journal of American History, 2, 2008, pp. 452-91,  .(last accessed 09.04.15).
[13] RRCHNM: 20th Anniversary Conference, . (last accessed 09.04.15).
[14] Daniel .J. Cohen and Roy Rosenzweig: Digital history: a guide to gathering, preserving, and presenting the past on the Web., Philadelphia, University of Pennsylvania Press, 2005 and Clio Wired. The future of the past in the digital age. New York, Columbia University Press, 2011.
[15] Stephen Robertson: The Differences between Digital History and Digital Humanities. May 23, 2014 ; http://drstephenrobertson.com/blog-post/the-differences-between-digital-history-and-digital-humanities/ (last accessed 09.04.15).
[16] http://digitalpublichistory.org/ (last accessed 09.04.15).
[17] «Y a t-il une Histoire Numérique 2.0 ? » in Jean-Philippe Genet and Andrea Zorzi (eds.) Les historiens et l’informatique. Un métier à réinventer., Rome: Ecole Française de Rome, 2011, pp. 235-288.
[18] In her keynote lecture at the 2nd Brazilian Public History Conference (September 2014), Linda Shopes said that digital history—added to social history and the presence of a targeted audience—is now central to oral history practices. Digital techniques have given back “orality” to oral history. A digital dimension has integrated online histories into web site projects, opened up public history internationally by extending traditional oral history projects, and enhanced the capacity to share interviews in audio/video formats globally and through open access. These practices enable communities to interact in their own language. A deeper understanding of local cultures differentiates international DPH from digital history and, even more, from digital humanities activities, the latter all too often being confined to the English language. See Rede Brasileira de Historia Publica: http://historiapublica.com.br/ (last accessed 09.04.15).
[19] “The materials in them hold us to our values and nourish our debates on civil society. By ensuring preservation, authenticity, and access to their holdings […]  memory institutions help guarantee transparency and accountability. Indeed, authentic records and their availability are at the heart of civil governance. Archives in particular are essential for  addressing human rights concerns, often because these concerns are not identified until well after an injustice has occurred.” “Why Memory Institutions Matter”, cit.
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Saturday, 31 January 2015

Workshop Public History and the Media, February 2015

The IFPH-FIHP,  together with the NCPH and other associations and cultural institutions, sponsors an important workshop on Public History which will take place at the History and Civilisation Department, European University Institute, in Florence-Fiesole, Italy, 11th, 12th and 13th February 2015. The goals of the workshop, the name of the participants and the full programme are published below. Two professors in the History and Civilization Department at the EUI shared the scientific organisation with the responsible of this blog: Prof. Luca Molà and Prof. Lucy Riall. Sandra Toffolo, project manager for  European History Primary Sources coordinates the administration of the workshop.  Who is, in general, interested by Public History, the interconnection between the discipline and the media, the differences between academic and public history, the public history job market and digital public history issues, is warmly encouraged to attend this workshop open  freely to everybody.
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Public History and the Media

Photography by Serge Noiret for the Workshop "Public History and the Media" (San Francisco - March 2014)
Photography by Serge Noiret for the Workshop "Public History and the Media" (San Francisco - March 2014)
In recent decades, public enthusiasm for history and popular engagement with the past has grown dramatically. The popularity of history is manifested most visibly in the proliferation of television documentaries and historical dramas but it is also discernible in the rebirth of the historical novel, the organization of large-scale commemorations of historical anniversaries, the development of new historical museums and exhibitions, re-enactments and living history activities and the emergence of public history as a separate field of academic study. Digitization has also brought history and historical research to the broader public in hitherto unconceivable ways. Yet, for the most part, and with some notable exceptions, academic historians have remained extraneous to these developments, and their relationship to the public is different from that of public historians.
Is this difference between academic and public historians only about different professional ambitions, separate audiences and a different use of communication media? While it is not possible to become a public historian without an academic background, it is possible to be an academic historian without engaging in public history. Both are professional historians working with the past: their roles and their audiences are complementary although their practices are different in terms of methodology and forms of communication. Moreover, the development of public history raises questions about historical interpretation and the political use of the past that concern all historians, and should provoke a debate about ownership of the past in which both academic and public historians have much to contribute.
This workshop will take place at the European University Institute in Florence, Italy and is organised by the History and Civilisation Department, The Historical Archives of the European Union and the Max Weber Programme’s Academic Careers Observatory. The scientific organizers, Luca Molà, Serge Noiret and Lucy Riall, brought together a number of leading practitioners in the field of public history and the media to discuss the current state of the field and in order to explore the relationship between public history and academic history. The first day of the workshop will be given over to exploring the relationship between history and media culture, with panels on oral history, publishing and teaching, films and the phenomenon of so-called ‘media dons’. The second day will focus on digital public history tools, practices and narratives. The third day will deal with the history of public history in the USA, discuss public history as an alternative career and look at public history in museums and exhibitions.
Florence
Photography by Serge Noiret: Florence from the Badia Fiesolana, European University Institute
Day 1 - Wednesday 11 February 2015 – Villa Schifanoia, Sala Europa
8.30-9.00        Registration (Sala Bandiere)
9.00-9.30         Welcome and Introduction
9.30-11.00      Session 1 - Oral History
Chair: Luisa Passerini (EUI)
‘L’Archivio degli Iblei’ and ‘Terramatta’: Sharing Memories Publically - Chiara Ottaviano (Cliomedia Officina, Turin)
Oral History and Video Performance - Giovanni Contini Bonacossi (Associazione Italiana Storia Orale)
‘Italy in a Day’ by Gabriele Salvatores: The First Italian User Generated Film - Ilaria Castiglioni (Indiana Production, Milan)
 11.00-11.30    Coffee Break
 11.30-13.00    Session 2 - Publishing
Chair: Lucy Riall (EUI)
Big History: Making New History Books into Major Events - Simon Winder (Penguin)
From Written to Live History: A Publisher’s Experience - Giuseppe Laterza (Laterza Editore)
13.00-14.30    Lunch
14.30-16.00    Session 3 - Teaching Public History and the Use of Textbooks
Chair: Stéphane Van Damme (EUI)
Inventing Europe: Teaching Europe Through the Lens of Technology - Suzanne Lommers (Foundation for the History of Technology)
 Master Narratives and History Education: Wasn’t the Spanish Reconquest Actually a Conquest? - Mario Carretero (EUI & Universidad Autonoma Madrid)
Teaching Digital Public History - Enrica Salvatori (Università degli Studi di Pisa)
16.00-16.15    Break
16.15-17.15    Session 4 - TV and Radio
Chair: Youssef Cassis (EUI)
Broadcasting History: The Constraints and Possibilities of the Medium - Luca Molà (EUI) and Lucy Riall (EUI) in conversation with Amanda Vickery (Queen Mary University of London)
17.15-17.45    Coffee Break
17.45-20.15     Rai Fiction Film: Un mondo nuovo - Altiero Spinelli
Introduction
Pier Virgilio Dastoli (Consiglio Italiano del Movimento Europeo) and Alberto Negrin (Director)
Projection of the Film (with English subtitles)
Q & A
 Day 2 - Thursday 12 February 2015 – Historical Archives of the  European Union, Villa Salviati
9.00-9.45        Keynote Lecture - What is Digital Public History? - Mark Tebeau (Arizona State University)
9.45-11.15      Session 5 - Digital Public History Narratives
Chair: Rebecca Conard (Middle Tennessee State University)
Urban Media Archive in the City of Lviv: From Collecting to Engaging - Bohdan  Shumylovych (EUI & Center for Urban History of East-Central Europe)
CENDARI: The Collaborative European Digital Archive Infrastructure for the Study of WW1 and Medieval Culture - Andrea Buchner (University of Birmingham)
From the War to the Web: Crossing Borders with the Europeana 1914-1918 Project - Ad Pollé (Europeana)
11.15-11.45    Coffee Break
11.45-13.15    Session 6 - Digital Archives
Chair: Dieter Schlenker (EUI-Historical Archives of the European Union)
The Medici Archive: Private Collection and Public Use - Alessio Assonitis (The Medici Archive Project)
The Venice Time Machine Project - Frédéric Kaplan (École Polytechnique Fédérale de Lausanne)
13.15-15.00    Lunch
15.00-16.30    Session 7 - Mobile and Time-Based History
Chair: Mark Tebeau (Arizona State University)
Memory Sharing and the New Media in Exhibiting Florence 1940-1944 - Valeria Galimi (Università della Tuscia)
Oral History Contents in the Web: The Memoro Archive - Luca Novarino (Memoro Project)
 In Susan Horner’s Florence - Alyson Price (The British Institute of Florence)
16.30-17.00    Coffee Break
17.00-18.30    Session 8 - European Narratives
Chair: Federico Romero (EUI)
Writing a New History of Europe - Frédéric Clavert (Labex EHNE, Paris)
Using EU Websites for the History of European Integration - Dieter Schlenker (EUI-Historical Archives of the European Union)
HistoGraph: Human and Machine Computation for European Integration Studies - Lars Wieneke (CVCE Luxembourg)
 Day 3 - Friday 13 February 2015 – Badia Fiesolana, Refectory
9.00-10.30      Session 9 - Public History in the USA
Chair: Serge Noiret (EUI)
The Pragmatic Turn in American Historical Thought and Public History Education in the United States - Rebecca Conard (Middle Tennessee State University)
Reflective Practice: Public History’s Signature Pedagogy - Patricia Mooney-Melvin (Loyola University Chicago)
Public History in the 21st Century: Entrepreneurial Practice within a Shifting Professional Market - Patrick Moore (President National Council on Public History; University of West Florida, Pensacola; Historical Research Associates)
10.30-11.00    Coffee Break
Florence
Photography by Serge Noiret, Florence from Bagno a Ripoli
11.00-13.00     Session 10 - EUI HEC Alumni Roundtable
Which Kind of Public Historians Are We? Public History as an Alternative Job Market for EUI Alumni - 
Chair: Thomas Cauvin (University of Louisiana at Lafayette)
Speakers:
  • Dan H. Andersen (Freelance Historian, Reenactor, and Writer, Copenhagen)
  • Jozefien De Bock (Curator Project Migration, STAM -City Museum Ghent)
  • Christine Dupont (European Parliament-House of History)
  • Torsten Feys (Public History Programme Ghent University)
  • Ciaran O’Scea (Curator, Irish and the Spanish Monarchy Exhibition, Archivo General de Simancas)
  • Sven Mesinovic (Museumspädagoge (freelance) Stiftung Deutsches Technikmuseum Berlin)
  • Markus J. Prutsch (European Parliament)
  • Aurora Savelli (Portale ‘Storia di Firenze’)
  • Sandra Toffolo (EUI-European History Primary Sources)
  • Gerben Zaagsma (Project Anne Frank, Lichtenberg-Kolleg - the Göttingen Institute of Advanced Study)
13.00-14.30    Lunch
14.30-17.00     Session 11 - Museums and Exhibitions
Chair: Luca Molà (EUI)
Narrating Europe in a Museum? The House of European History - Étienne Deschamps (European Parliament)
Origins and Evolution of a Private Museum - Stefania Ricci (Museo Salvatore Ferragamo, Florence)
Museum-Based Research: The View from the Victoria & Albert - Bill Sherman (Victoria & Albert Museum) & Marta Ajmar (Victoria & Albert Museum)
17.00-17.30     Concluding Remarks and Coffee
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