2024-03-29T01:34:04Z
https://zenodo.org/oai2d
oai:zenodo.org:7147645
2023-02-23T12:53:19Z
user-dariahannualevent2022storytelling
Søren Pold
2022-10-05
<p>According to the project application, the project plan is to 1) collect, organize and map the material<br>
into genres and approaches and 2) supplement with in-depth interviews in order to produce a) a<br>
publicly available research collection at the ELMCIP Knowledge Base, b) an online exhibition and<br>
c) a critical research study.</p>
https://doi.org/10.5281/zenodo.7147645
oai:zenodo.org:7147645
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.7147644
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
electronic literature
digital art
covid 19
Electronic Literature (e-lit) and Covid 19 – Final technical report
info:eu-repo/semantics/report
oai:zenodo.org:6597181
2022-06-01T01:51:11Z
openaire
user-dariahannualevent2022storytelling
Manuela Hrvatin
2022-05-31
<p>Istra Inspirit – cultural tourism product / project<br>
Travel through time; A sea of sensations, a myriad of flavors, nine experiences, one Istria.<br>
Istra Inspirit is a multi-awarded tourism project in Istria that enriches the cultural and tourist offer of the peninsula with the revival of historical events on authentic locations, through staged Istrian legends and myths.<br>
Istra Inspirit united the 7 Istrian clusters, over 200 artists, volunteers and sponsors through 9 experiences in the beginning.<br>
The project has been active since 2012 with more than 900 performances and numerous national and international awards.</p>
https://doi.org/10.5281/zenodo.6597181
oai:zenodo.org:6597181
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6597180
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
A different perspective of storytelling
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:6574443
2022-05-24T11:37:11Z
openaire
user-dariahannualevent2022storytelling
Szemes Botond
2022-05-23
<p>The cultural use of the concept of the Anthropocene usually includes the problem that climate, unlike weather, is not organized in an event-like manner and not directly perceptible, so human imagination is facing a serious challenge when it tries to think about climate change. This problem mostly leads to the question of the performance of narrative art: the debate is shaped by the positions of the parties on whether they see the non-eventual character of the climate change as an obstacle to be overcome. If so, narrative arts (especially film and literature) will play a prominent role, precisely because they can help to make the intangible global phenomena tangible and imaginable. If, on the other hand, we realize, that climate change simply lacks any narrative, moral or emotional component, and is a far too complex phenomenon to be organized into a chain of causality, then it seems to be a misleading concept to rely on the power of storytelling. This latter approach, in turn, raises the question of why and how could/should we read fiction at all in the Anthropocene if not for experiencing stories? This question is also specific to the Digital Humanities, which is often defined as a particular way of reading (machine, distant etc.) The poster shows how new ways of reading, all connected to digital media, can help us to redefine what we think about the reception and analysis of literary works in the Anthropocene era. These practices are: 1. mobile contextualization (or hyper-reading, surface reading, scale framing); 2. reading for mood, 3. machine reading of texts. The focus on reading is further motivated by the realization that understanding our world has traditionally been associated with its 'readability', but that this metaphor may no longer be able to describe our relationship to culture and the world.</p>
https://doi.org/10.5281/zenodo.6574443
oai:zenodo.org:6574443
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6574442
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Climate change
Hyper-reading
Scale-framing
Surface reading
Diagrammatic reasoning
Mood
Machine reading
Reading Beyond Stories. How Digital Reading Practices Can Help Doing Ecocriticism?
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:6602988
2022-06-02T01:51:11Z
openaire
user-dariahannualevent2022storytelling
user-dariah
Marta Fioravanti
Iulianna van der Lek
Anna Woldrich
2022-05-30
<p>Since the turn of the millennium, the digital humanities (DH) have gained more and more momentum, and digital methods, specialised software, new research standards and methodological approaches emerged. Hence, the need for new skill sets and alternative pedagogies arose, which led to an increased offer of digital humanities courses, training events, programmes and degrees with different focus areas. “This expansion [...] has also made it increasingly difficult to maintain an overview, or to feel confident as a potential student of DH that one has found the optimal programme for one’s needs.” Consequently, the DH Course Registry was developed as a central hub to collect information on DH courses to increase the visibility of DH training activities.</p>
<p>In collaboration with a visual storyteller and creative technologist, we want to create a poster that will focus on the actors, who tell the story of the DH Course Registry: the users, the database and the API. Additionally, we aim to showcase recent developments via a live demo.</p>
<p>1. The user story</p>
<p>The DHCR users can be classified into: (a) Internal users, e.g. the lecturers who feed the registry with course data, the National Moderators who monitor and curate the course entries in their country, and the (user) administrators who maintain the development of the registry; and (b) external users, e.g. students, programme administrators or policymakers, who can make use of the registry for different purposes.</p>
<p>2. The database & API story</p>
<p>The registry offers access to a Digital Humanities course database: Users can browse the platform and use filters (e.g. country, city, language, ECTS credits, degrees, TaDiRAH, etc.) to narrow down their search results. The API enables access to the (meta)data collected (see fig. 1): interested entities can undertake diachronic research and develop various web applications to tell the DH Course Registry data’s story, see the ACDH-CH Hackathon as an example. Depending on the point of view and the researchers’ interest, various other research scenarios and questions can be elaborated.</p>
<p>3. Challenges in the narrative</p>
<p>The initiative is a nutrient medium inspiring its actors to embrace shared values when reaching out to other digital humanists, but it bears some limitations. If a country is not monitored by a national moderator and there are no contributors feeding data into the registry, there is no DH data story to tell. Hence, the four pillars of dissemination (website, notification, social media, events) play an important role in keeping existing users engaged and attracting new ones.</p>
<p>Consequently, the platform could never tell the story of the establishment of DH-training activities as a stand-alone resource, it is amplified in a reciprocal process, enhanced by its users curating the platform. The more users are attracted, the more data can be collected, and the more stories can be told.</p>
https://doi.org/10.5281/zenodo.6602988
oai:zenodo.org:6602988
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://zenodo.org/communities/dariah
https://doi.org/10.5281/zenodo.6594122
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
DARIAH Annual Event 2022, Athens, Greece, 31 May - 3 June 2022
digital humanities
higher education
registry
Put Yourself on the Map! The DH Course Registry Story & its Actors
info:eu-repo/semantics/lecture
oai:zenodo.org:6631664
2022-06-10T18:36:37Z
openaire
user-dariahannualevent2022storytelling
Chiara Zuanni
2022-06-10
<p>Presentation in the Panel dedicated to the DARIAH Theme projects.</p>
https://doi.org/10.5281/zenodo.6631664
oai:zenodo.org:6631664
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6631663
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece and online, May 31 to June 3, 2022
contemporary collecting
digital curation
digital preservation
Contemporary Collecting and COVID 19: Barriers, bottlenecks, and perspectives in digital curation
info:eu-repo/semantics/lecture
oai:zenodo.org:6576511
2022-05-24T13:50:43Z
openaire
user-dariahannualevent2022storytelling
Barbot, Laure
Scharnhorst, Andrea
Gray, Edward
Edmond, Jennifer
Morselli, Francesca
Roi, Arnaud
Admiraal, Femmy
2022-05-24
<p> </p>
<p> In Digital Humanities we are accustomed to think about tools as a means to tell a story, whether it be a story about artefacts, events, or patterns in the past. This paper looks at it from the other end, namely that each tool comes with its own story. When we group tools together for means of dissemination, re-use, and accountability in the coordination of an infrastructure we are also telling a story. Certain selected ensembles of tools, which encompass and supersede the individual stories of the tools, create a story of their own. </p>
<p>In this paper we take as a case various tools reporting efforts in DARIAH (from the DARIAH contribution website (IKCT), to the Key Performance Indicators (KPIs) to the SSH Marketplace (MP)). We reflect which story is told by whom, for whom, and for what purpose. </p>
<p>Doing so, we build on the fact that the stories that tools tell not only shape the (DH) field in which they are built, but are also products and artefacts reflecting the priorities and the technological choices made by the communities building them. (Barbot, 2019; Scharnhorst et al., 2019; König and Uytvanck, 2020; Ďurčo et al. 2021) </p>
<p>Reflecting about tools and their lifecycle is not new: some are success stories, some are encompassing failures (Dombrowski, 2014); some are collective stories, while others are more personal ones. </p>
<p>Interestingly, and maybe increasingly so, we see a growing emphasis on the need to provide context to tools, particularly in their documentation and registration - not in the least as a means to encourage sustainability and re-use. Still, in practice, we see a co-existence of various ‘documentation streams’. </p>
<p>In this paper, we articulate the stories behind various documentation streams that have been designed and are now being executed in DARIAH. With the IKCT, administrative and technical descriptions are centralized; the more recent KPIs put emphasis on DARIAH’s outreach and impact and the even fresher MP targets the functioning of DARIAH-related tools as part of the EOSC landscape. By making the stories around those specific ensembles of tools visible, we shed light on the different communities, stakeholders and their interests, relying on earlier debates around DARIAH’s reference architecture (Barbot et al, 2021, De Leeuw et al, 2017). We also reflect how the different stories mimic the changing strategies of DARIAH and the maturity of tools and services in it. In practice, we see sometimes the same tools figure in different stories, or even making a ‘career’ between different types of storytelling, but we also see new types of tools emerging. </p>
<p>Documentation is never a pure administrative act (Hackman 2009, Smiraglia 2014). By unravelling the ‘secret stories tools whisper in the infrastructure’ when being documented, we raise further awareness why we document what in which form. Ultimately, the reflective layer contributes to a more effective documentation. Therefore, we hope to give guidance to the storytellers, to those which tell the story of one tool, and those which tell the stories of ensembles of them.</p>
<p>References: <br>
Barbot, L., Roi, A., Scharnhorst, A., Durco, M., Fischer, F., Kalman, T., Moranville, Y., Parkola, T., Garnett, V., Edmond, J., & Toth-Czifra, E. (2021). <em>Towards a concise DARIAH service strategy: 2020 Reflections - White Paper</em>. https://doi.org/10.5281/ZENODO.4621287 Barbot, L., Fischer, F., Moranville, Y., & Pozdniakov, I. (2019). <em>Which DH tools are actually used in research?</em>Https://Weltliteratur.Net/Dh-Tools-Used-in-Research/ Permalink Https://Web.Archive.Org/Web/20220222114745/Https://Weltliteratur.Net/Dh-Tools-Used-in-Research/. <br>
De Leeuw, L. Admiraal, F., Ďurčo, M., Larousse, N., Mertens, M., Morselli, F., Priddy, M., Ribbe, P., Thiel, C., Wieneke, L. (2017) <em>D5.1 Report on Integrated Service!Needs: DARIAH (in kind) contributions - Concept and Procedures</em>. DARIAH. Humanities at Scale project. ⟨hal-01628733v2⟩ <br>
Dombrowski, Q. (2014). What Ever Happened to Project Bamboo? <em>Literary and Linguistic Computing</em>, <em>29</em>(3), 326–339. https://doi.org/10.1093/llc/fqu026 <br>
Ďurčo, M., Barbot, L., Illmayer, K., Karampatakis, S., Fischer, F., Moranville, Y., Ocansey, J. T., Probst, S., Kozak, M., Buddenbohm, S., & Yim, S.-B. (2021). <em>7.2 Marketplace – Implementation</em>. https://doi.org/10.5281/zenodo.5749465 <br>
Hackman, L. (2009). The Origins of Documentation Strategies in Context: Recollections and Reflections. <em>The American Archivist</em>, <em>72</em>(2), 436–459. https://doi.org/10.17723/aarc.72.2.g401052h82h12pm3 <br>
König, A., & Uytvanck, D. V. (2020). <em>D7.3 Marketplace—Interoperability. </em>https://doi.org/10.5281/zenodo.5871651 <br>
Scharnhorst, A., Admiraal, F., Roorda, D. (2019) <em>DARIAH (in-kind) contributions: a visual walk-through</em>. DARIAH Annual Event 2019: Humanities Data, May 2019, Warsaw, Poland. ⟨hal-02196707⟩ <br>
Smiraglia, R. P. (2014). <em>Cultural Synergy in Information Institutions</em>. Springer New York. https://doi.org/10.1007/978-1-4939-1249-0</p>
https://doi.org/10.5281/zenodo.6576511
oai:zenodo.org:6576511
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6576510
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece and online, May 31 to June 3, 2022
ERIC
knowledge organisation
accountability
digital humanities
Stories the collection of tools tells
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:6596125
2022-05-31T04:50:31Z
openaire
user-dariahannualevent2022storytelling
Ackermann Rahel C.
Gautschy Rita
2022-05-30
<p>The most common approach to present objects in a museum context is to group several thematically connected archaeological artefacts within one showcase, with very short basic information about each object, and a poster with slightly more background information on the wall next to it. A similar perspective is taken by books that sketch history or a myth and back their versions of the story with images of different objects for illustration purposes. Another approach is to select one site or one object and tell its story through time, giving additional information for specific time slices – a method well established in literature. But story telling in the digital age can be so much more. A growing amount of background information is available and can be linked to tell the object‘s history.</p>
https://doi.org/10.5281/zenodo.6596125
oai:zenodo.org:6596125
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6596124
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Simple Image Presentation Interface (SIPI)
DaSCH Service Platform (DSP)
LOD Numismatics
Archaeology
Stories that an archaeological object may tell: a use case
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:6573693
2022-05-24T13:50:34Z
openaire
user-dariahannualevent2022storytelling
Tomasz Parkoła
Ewa Kuśmierek
Dominik Purchała
2022-05-23
<p>Dariah.lab is a large scale infrastructure built for digital arts and humanities in Poland by members of the DARIAH-PL consortium. Its objective is to support data acquisition, storage and integration of research data of various forms and provenances, and to enable data processing, visualization and access to digital assets. The project is funded under the Smart Growth Operational Programme in the area "Development of modern research infrastructure of the science sector”.<br>
Dariah.lab implements an idea represented by a new research and development model which removes boundaries between development activities in the ICT area and research in digital arts and humanities. It follows in the footsteps of the Time Machine project and its ambitious goal to develop a large scale digital information system that enables integration of numerous archives, museum collections and other cultural and historical assets.<br>
During the Annual Event in 2021 we have introduced the DARIAH-PL project. This year we want to continue the story by describing Dariah.lab components and presenting how they are used to implement innovative research scenarios identified in the project.<br>
Our presentation will have a form of a story about data and its journey through the Dariah.lab e-infrastructure. We focus on data, because it is one of the most important assets in many DARIAH-PL research scenarios. The concept of a journey helps us to deliver an easy to follow story about complex processing pipelines implemented in the e-infrastructure. Our intention is to present how data is created, identified, exposed, enriched, interlinked, analyzed and visualized by various Dariah.lab components. The aforementioned stages of data processing correspond to the steps of various research scenarios and at the same time determine the data’s journey through the e-infrastructure. In order to illustrate that processes we use an analogy to traveling from one place to another, with data being processed at each stop and with the final destination representing the desired outcome.<br>
There are stages of the journey that are common for all data, even though they may be implemented in different ways for various data types. There are also components that are dedicated to specific types of data. Our presentation will cover these aspects by explaining how specific laboratories of the Dariah.lab e-infrastructure contribute to creation, enrichment or delivery of high quality FAIR-enabled data. Our main actor in the story - the data - is born, educated, kept safe and secure, and can collaborate with peers. We believe this metaphor will facilitate an understanding how Dariah.lab improves access to the DH research data.<br>
The Dariah.lab functional components are grouped into five interconnected virtual laboratories for data acquisition, enrichment, semantic supervised discovery, analysis and interpretation, and visualization. Each of them constitutes a land with many stops on the infrastructure’s map that can be included on the data’s itinerary. The ultimate goal is to assist the DH scientists in conducting quality research. The variety of services provided by Dariah.lab allow for implementation of miscellaneous interdisciplinary scenarios involving various types of data, offering large research capacity and potential for conducting development projects.</p>
https://doi.org/10.5281/zenodo.6573693
oai:zenodo.org:6573693
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6573692
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece and online, May 31 to June 3, 2022
digitial arts and humanities research infrastructure
Data journey through the DARIAH-PL e-infrastructure
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:6598348
2022-06-01T01:51:13Z
openaire
user-dariahannualevent2022storytelling
user-eu
Marta Świetlik
Magdalena Wnuk
2022-05-31
<p>Humanities are often perceived through the prism of STEM (Science, Technology, Engineering, Mathematics) paradigms and methods of measuring impact (<a href="https://doi.org/10.5281/zenodo.3824839">Vienni-Babtista et al. 2020</a>). However, as humanities have different traditions of knowledge production, comparisons to STEM are often misplaced and inadequate. There is a need for advocacy for humanities to show their impact on social life (<a href="https://www.fulcrum.org/concern/monographs/cv43nz67c?locale=en">Henseler 2020</a>, <a href="https://doi.org/10.5281/zenodo.3824839">Vienni-Babtista et al. 2020</a>). How to tell the story about humanities as the essence of understanding humankind in its all aspects and bring it back to the table as an equal partner of science? Seeking an answer to this question, the poster presents the scope and dissemination of the Queens of Humanities campaign run by OPERAS-PL. Its purpose is to promote innovative humanistic approaches and show their relevance in today’s world. The posts are an occasion to bring up important problems of humanities research, such as the underestimation of publications that do not fit with the strict academic criteria, e.g. “born digital” monographs, data visualisations, web applications, podcasts or vlogs. as an experimental initiative aimed at telling the story of humanities as an innovative, creative and ubiquitous way of expanding human knowledge about the world. The case is a simple, yet inspiring advocacy project which can be implemented among different audiences. It also reflects on Facebook, which despite increasing competition in the area of social media, still offers unsophisticated yet sufficient solutions for storytelling targeted at specific local audiences.</p>
<p>Link to the poster: <a href="https://bit.ly/Queens_of_Humanities">https://bit.ly/Queens_of_Humanities</a></p>
<p> </p>
https://doi.org/10.5281/zenodo.6598348
oai:zenodo.org:6598348
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://zenodo.org/communities/eu
https://doi.org/10.5281/zenodo.6598347
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece and online, May 31st - June 3rd 2022
storytelling, social media, humanities, advocacy, multilingualism
Queens of Humanities: Stories to attract and engage
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:6598311
2022-06-01T01:51:14Z
openaire
user-dariahannualevent2022storytelling
Coradeschi, Francesco
Degl'Innocenti, Emiliano
Di Meo, Carmen
Sanesi, Maurizio
Spadi, Alessia
Spinelli, Federica
Canova, Leonardo
2022-05-31
<p>In the context of sharing knowledge, “stories” have long played an important role, especially in the field of cultural heritage, where available collections can tell endless stories to their audiences. Nowadays, an enormous amount of information is accessible to everyone and in every moment. It is therefore necessary to optimize the use of tools made available by technological innovation and to set up systems for the transmission of knowledge that can get people closer to the world of culture, too often seen as antiquated and specialized, and that can provide additional value to any artistic and cultural initiative. With the advent of the Semantic Web, large amounts of structured and interconnected data related to various and different kinds of resources in scientific domains have become freely available. Cultural heritage institutions also produce great quantities of data, generating links and therefore enabling connections in a linked open data context. Linked Open Data are the sources from which data scientists can extract the relevant knowledge to engine stories and create visual representation of copious amounts of information to be presented to the public. However, this process should involve both CH/SSH specialists and data analysts. In fact, data without context can’t tell any story and result neither understandable nor interesting; both the theoretical knowledge of the resources and the mathematical introspection are required to create a successful and truthful story. </p>
<p>The RESTORE (smart access for digital heritage and memory) project will be presented in this contribution to demonstrate the approach used to manage data from multiple contexts for application in an integrated environment.The aim of the project is to develop good praxis and contents for the innovative use of historical documentation in a multidisciplinary environment, promoting understanding and encouraging its re-use by researchers, operators active on cultural and creative industries and citizens (citizen science). The data management methods implemented by the project make it possible to enable collections of data to describe a story, only through these processes it is possible to tell stories that otherwise would not be told. </p>
<p>The project consortium, coordinated by the Istituto Opera del Vocabolario Italiano of the Italian CNR (National Research Council of Italy), includes national Cultural Heritage institutes, such as the State Archives and the Museum of Palazzo Pretorio in Prato and the Archival and Bibliographic Superintendency of Tuscany, and the SPACE SpA software company. The project - co-financed by the Regione Toscana - has its main purpose in the recovery, integration and accessibility of data and digital objects collected by partner, in order to build a knowledge base made of information regarding the history of the city and of its civic institutions, the development of its economic and entrepreneurial system, the role of women in the development of a welfare state and network. Starting a local history approach, it is nonetheless possible to broaden the focus from the local dimension to reconstruct a significant part of the history of European and Mediterranean cities of the 14th century, including commercial and economical aspects.</p>
https://doi.org/10.5281/zenodo.6598311
oai:zenodo.org:6598311
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6598310
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece and online, May 31 to June 3, 2022
Interoperability
Storytelling
Data communities
DARIAH
SSHOC
Ontologies
Cultural Heritage
RESTORE
Semantic Storytelling: the RESTORE project vision
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:6720075
2022-06-28T01:48:36Z
user-dariahannualevent2022storytelling
Edmond, Jennifer
Scharnhorst, Andrea
Morselli, Francesca
Benardou, Agiatis
Papaki, Eliza
Ferguson, Kim B.
2022-06-24
<p>Compiled book of abstracts from presentations, posters, and demos that took place online and in-person in Athens, Greece at the 2022 DARIAH Annual Event.</p>
https://doi.org/10.5281/zenodo.6720075
oai:zenodo.org:6720075
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6720074
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
DARIAH Annual Event 2022 - Storytelling
DARIAH Annual Event 2022 - Storytelling - Book of Abstracts
info:eu-repo/semantics/report
oai:zenodo.org:6595040
2022-05-31T01:50:31Z
openaire
user-dariahannualevent2022storytelling
CHRYSOVITSANOS GERASIMOS
FALIEROU ANASTASIA
GOULIS HELEN
IAKOVIDOU ATHINA
KALAFATA PATRITSIA
KARASIMOS ATHANASIOS
KATSIADAKIS HELEN
POTIROPOULOS PARASKEVAS
SAVAIDOU EIRINI
SPILIOTOPOULOU MARIA
TZEDOPOULOS GEORGE
VERNARDAKI ELENI
2022-05-30
<p>Digital storytelling exemplifies how scholars and educators can utilise technology to enrich research questions and to introduce innovative knowledge-sharing methods. Digital storytelling converts the oldest medium of communication into a new medium, in which storytelling techniques are combined with digital media/technologies to produce captivating narrative experiences. Oral and aural material provides ready resources for DH research and knowledge communication/presentation, invaluable for describing, reviving, and interpreting significant events. Besides, public history practice, deeply rooted in historic preservation, archival science, oral history, and museum curatorship, uses digital storytelling as a creative way for accessing digital cultural heritage and knowledge dissemination. Public history presentations are often combined with collecting the memories of site visitors and witnesses, so they are involved in a co-creation process.</p>
<p>This paper draws on experience gained from a project focused on the history of the <a href="https://dyas-net.gr/1807/">1940s </a>in Greece. It involved the collection and restructuring of metadata of digitised historical sources from five major Greek archival institutions. The aim was to offer a digital platform for effective data recovery based on principles of interoperability. The project provided the opportunity to observe the function of storytelling on two distinct but interrelated levels.</p>
<p>First, narrations linked to life experience (accounts featuring the memories of exiled people and of survivors of war, genocide, or dictatorship and the experience of Axis occupation and resistance). They are a specific kind of historical sources modelled on personal experience and narrative; these ego-documents constitute important instances of storytelling that reveal individual agency, emotion, and mnemonic reworkings of history.</p>
<p>Secondly, storytelling strategies adopted by institutions that preserve and publish archival sources, in order to form specific narratives of the history of the 1940s in Greece. The role and functions of traditional memory institutions is undergoing a conceptual shift from a focus on the object to a focus on the person, that presents new challenges and allows new audiences to be reached. According to Bruner, one of the ways in which people understand their world is through the "narrative mode" of thought, which is concerned with the meaning ascribed to experiences through stories, a procedure that triggers the mechanism of empathy (Bruner 1990).</p>
<p>This paper explores both these aspects of digitised and digital storytelling and investigates to what extent storytelling methods have been adopted in order to produce narratives that are both cognitively and emotionally compelling. This analysis is a case study on the function of storytelling in Digital Humanities, and particularly on its importance in the presentation and reception of history and culture.</p>
<p>References</p>
<p>Barber, J.F. (2016). Digital storytelling: New opportunities for humanities scholarship and pedagogy. Cogent Arts & Humanities 3 (1), 1-14.</p>
<p>Bruner, J. (1990). Acts of Meaning. Cambridge, MA: Harvard University Press.</p>
<p>Clarke, R., Clarke, H. & S. Thomas (2012). Digital Narrative and the Humanities: An Evaluation of the Use of Digital Storytelling in an Australian Undergraduate Literary Studies Program. Higher Education Studies 2(3), 30-43.</p>
<p>Levinson, P. (1999). Digital McLuhan: A guide to the information millennium. New York, NY: Routledge.</p>
<p><a href="https://korai4.gr/">https://korai4.gr/</a></p>
<p><a href="https://www.makronissos.org/">https://www.makronissos.org/</a></p>
<p><a href="https://www.askiweb.eu/index.php/en/">https://www.askiweb.eu/index.php/en/</a></p>
<p><a href="https://www.jewishmuseum.gr/en/">https://www.jewishmuseum.gr/en/</a></p>
https://doi.org/10.5281/zenodo.6595040
oai:zenodo.org:6595040
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6595039
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece and online, 1-3 June 2022
World War II And Occupation
Greece
Digital Storytelling
Memory Institutions
Narratives
World War II and Occupied Europe: Stories from Greece
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:6623347
2022-06-08T13:50:44Z
openaire
user-dariahannualevent2022storytelling
Dimitra Petousi
Akrivi Katifori
Katerina Servi
Maria Boile
Vera Kriezi
Valia Vraka
Fotini Venieri
Stefania Merakos
Alexandros Charkilolakis
Lori Kougioumtzian
Marina Stergiou
Katerina El Raheb
Yannis Ioannidis
2022-05-30
<p>poster & demos: 156 </p>
<p>13 Interviews - A journey in search of Nikos Skalkotas</p>
<p>Digital storytelling has long been recognized as an effective method for the interpretation, communication, and reflection about the past, using both traditional and media-based resources. In this prototype demo and poster, we present the concept of an interactive digital storytelling experience in the context of the ARIA project (Augmenting the Reception of Music Through Innovative Solutions and Archive) (aria-project.gr), which aims to create an engaging visitor experience for the archives of musical cultural heritage for the wider public. Digital storytelling, even in its basic form, can become an essential tool for meaningful communication and dialogue; we can apply this concept for the project to engage users in a meaningful and interesting way. In the form of a collaborative experience on mobile phones, the story involves the journalist Andreas Zeppos, who’s writing a tribute to Nikos Skalkotas in “Evoikos Kiryx”, an existing newspaper. Users follow the journalist in his journey and are called to discover the professional and personal aspects of Skalkotas’ life, while they get acquainted with his music, as well as the time he lived in. The journalist travels to Chalkida, Athens and Berlin, the places where Skalkotas lived and worked, and interviews real and fictional people, trying to reconstruct the portrait of the composer and the era that shaped not only his compositions and works, but also his character. The central story unfolds linearly, through a series of successive episodes, inspired by the periods of Skalkotas’ adventurous life. The aim of the digital storytelling experience is to evoke users’ interest and enrich their knowledge about the life and works of the Greek composer and musician Nikos Skalkotas and the historical period he lived, utilizing facts and fiction, interactive narratives, and collaborative learning activities. The narrative moves on two different levels. One concerns the "microcosm" of Skalkotas, which are the real people who have met the composer and refer to him through their experiences. The second concerns the "macrocosm" of the composer, which is expressed through fictional people, which however, Skalkotas could have possibly met, and which help compose the picture of that historical period and transfer the atmosphere from the past. Users can listen to the story unfold, while some/ specific scenes of the story are also shown in illustration forms in the style of "noir” graphic novel, with frames. The experience includes selected musical pieces from the works of Nikos Skalkottas and incorporates suggestions for the group of users to reflect on and discuss relevant topics, encouraging them to find connections with the elements that unfold the story such as the role of music in our life etc. The title "13 Interviews'' is inspired by the 36 Greek Dances, one of the most widely known works of the composer. </p>
https://doi.org/10.5281/zenodo.6623347
oai:zenodo.org:6623347
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6594750
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece and online, May 31 to June 3, 2022
digital storytelling, mobile, music archives, Skalkotas, composer
13 Interviews - A journey in search of Nikos Skalkotas
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:6585477
2022-05-28T20:30:44Z
openaire
user-dariahannualevent2022storytelling
Elina Paliichuk
2022-05-26
<p>Stories have always structured our experience stored as scenarios and retrieved from our memory to cope with challenges we face. The awareness of the human ability to adjust new information to familiar narratives is intensely used by media in an extremely subtle way. Instantly recognizing the “once upon a time” cliché, we get transported into other worlds living through a hero’s life path and hoping for the best. With digital environments, messages are delivered far quicker than ever before, whereas social behaviours are traditionally driven by collective unconscious principle.</p>
<p>This research focuses on storytelling in the context of human trafficking. Exposed to pandemic, military threats, intolerance, migration, etc., no country is immune to modern day slavery. The objective is to establish the mechanism for mitigating human trafficking risks through stories. The stages include identifying the structure of human trafficking media scenarios, narrative perspectives, and messages in terms of their attitudinal perceptions of victims. The study is augmented with an empirical sleuth for verifying whether the readers believe in the positive outcome of the human trafficking situation.</p>
<p>The objective is achieved due to narrative perspective for identifying plot parameters and human trafficking scenario and with the help of the methods of empirical studies. The effect of the stories is evaluated based on the results of the survey conducted among 38 Ukrainian humanity students representing the youth as a vulnerable category. The <em>Paired Samples Test</em> is used to measure the differences in perceptions of human trafficking before and after they are exposed to human trafficking media narratives.</p>
<p>The material for narrative analysis embraces 35 media stories highlighted in anti-trafficking campaigns. Four texts selected by random choice were used as case studies in the questionnaire. The hypothesis assumes that survival human trafficking stories transmit supportive messages to the audiences that 1) survival is possible; 2) it is worth of struggling if anyone gets into slavery conditions; 3) social reintegration is possible. These variables are measured statistically.</p>
<p>The results of the narrative analysis revealed the features of human trafficking stories: 1) the stories are based on simple narrative monomyth structure and reiterated cyclic construal representing departure, initiation, multiple actions victims are exposed to, and return; 2) the stories are predominantly told from the 1<sup>st</sup> person, i.e. from a victim’s point of view, so the narrative perspective is partially limited but not fixed; sometimes journalists/content writers act as narrators to direct readers’ perceptions; 3) the scenario is verbalised with connotative and figurative language for dramatic effect, as well as active voice verbs for traffickers’ actions and passive voice for dependent state of victims; 4) most of the survival stories end with a focus on the social value of the job performed by former victims, so the stories are charged with the potential to shape positive attitudes to former victims.</p>
<p>The empirical study findings speak for that “social reintegration is possible” is the only statistically valid variable (p<0.29 for Pair 5 and p<0.015 for Pair 6 by nominal and ordinal scales, respectively). The collected data on such variables as “survival is possible” and “it is worth struggling if anyone gets into slavery conditions” prove insignificant. The respondents also say they are impressed with Fragment 1 and Fragment 3 and evaluate media stories as emotional, depressive, sad, and realistic. The prospective studies will focus on the differences in perceptions of video vs textual human trafficking storytelling in digital discourse and on the social value of a former victim's mission.</p>
<p> </p>
https://doi.org/10.5281/zenodo.6585477
oai:zenodo.org:6585477
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6585476
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
DARIAH ANNUAL EVENT 2022: STORYTELLING, Athens, Greece, May 31 – June 3 2022
human trafficking, media storytelling, monomyth, empirical study, survival stories
ONCE UPON A TIME: IS THERE A HAPPY END IN A HUMAN TRAFFICKING MEDIA STORY?
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:6594346
2022-05-30T13:50:41Z
openaire
user-dariahannualevent2022storytelling
Lombardo, Tiziana
Aiola, Chiara
2022-05-30
<p>Storytelling is the interactive art of using words and actions to reveal the elements and images of a story, while encouraging the listener’s imagination [1]. It is a powerful process that implies to build a bidirectional relation with the public, that is therefore elevated from the role of a mere viewer, to the one of engaged audience. Storytelling has gained a central role also in scientific communication, now that there is ample evidence that it can be a powerful way to nurture engagement with science too.[2]</p>
<p>Digital scholarly editions are scholarly editions that are guided by a digital paradigm in their theory, method and practice.[3]. But can digital scholarly editions be seen as a way to communicate to a larger public and engage with an audience that is not necessarily part of the research community? In our experience, the digital publication of a scholarly edition is not a mere digitization of a printed scholarly edition, but a specific publication made of a set of digital tools, specific contents and functionalities. It can become a powerful instrument for collaboration among researchers and practitioners and a sound dissemination medium.</p>
<p>We have developed a web solution called <a href="https://muruca.org">Muruca</a> that supports from one side the needs of research teams of collaborating together and delivering scholarly publications in digital format, and at the same time the need to increase visibility of the research outputs. Thanks to this demo we present how Muruca can enhance storytelling in scientific communication. In order to do so we are going to tell you a story: the tale of tales, that can be experienced by accessing Muruca Racconta <a href="http://murucaracconta.muruca.cloud/en">http://murucaracconta.muruca.cloud/en</a> </p>
<p>Muruca Racconta (<em>Muruca Tales</em>) is a digital edition related to fairy tales, that extends from Ancient Egypt to the present day, and geographically from the Euro-Asian to the South American area and has been developed to present all the possible functionalities of the Muruca framework. </p>
<p>The project includes a page dedicated to fairy tales, with the possibility to view the original and translated text (when present), one page dedicated to the reasons, or the morals contained in each fairy tale, and one to the paths that allow you to follow a particular narrative theme.</p>
<p>Moreover, the project offers the possibility to visualize chronologically and geographically the fairy tales with a dedicated timeline and an interactive map. Tales are defined according to metadata and morals classified in the Thompson index [4] to create correlations among them. </p>
<p>The main functionalities of the Muruca solution can be summarized as follow:</p>
<p>Data entry</p>
<ul>
<li>
<p>Create “records” for each work with its metadata, like in physical libraries</p>
</li>
</ul>
<ul>
<li>
<p>Associate transcriptions and images or other multimedia. </p>
</li>
</ul>
<p>Content publishing</p>
<ul>
<li>
<p>Possibility to add editorial contents to the public interface</p>
</li>
<li>
<p>Possibility to add bibliographic sources</p>
</li>
<li>
<p>User centered and scientifically valid data visualization tools</p>
</li>
</ul>
<p>Enhanced search functionalities</p>
<ul>
<li>
<p>Consultation tools allows to filter your data or make really refined searches</p>
</li>
</ul>
<p>Visualization of TEI transcriptions</p>
<ul>
<li>
<p>Integrated with TEI-Publisher </p>
</li>
<li>
<p>Fullsearch tool on texts</p>
</li>
</ul>
<p>Data model and Preservation</p>
<ul>
<li>
<p>Flexible data model definition</p>
</li>
<li>
<p>API in JSON-LD format</p>
</li>
<li>
<p>Integrated with Zenodo</p>
</li>
</ul>
<p> </p>
<p>REFERENCES</p>
<p>[1] National Storytelling Network <a href="https://storynet.org/what-is-storytelling/">https://storynet.org/what-is-storytelling/</a> </p>
<p>[2] Dahlstrom, M. F. (2014). ‘Using narratives and storytelling to communicate science with nonexpert audiences’. Proceedings of the National Academy of Sciences 111 (Supplement 4), pp. 13614–13620. <a href="https://doi.org/10.1073/pnas.1320645111">https://doi.org/10.1073/pnas.1320645111</a></p>
<p>[3] SAHLE, Patrick. 2. What is a Scholarly Digital Edition? In: Digital Scholarly Editing: Theories and Practices [online]. Cambridge: Open Book Publishers, 2016 (generated 25 février 2022). Available on the Internet: <http://books.openedition.org/obp/3397>. ISBN: 9782821884007</p>
<p>[4] <a href="https://sites.ualberta.ca/~urban/Projects/English/Motif_Index.htm">https://sites.ualberta.ca/~urban/Projects/English/Motif_Index.htm</a></p>
https://doi.org/10.5281/zenodo.6594346
oai:zenodo.org:6594346
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6594345
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
digital humanities
dse
digital scholarly editions
digital storytelling
Storytelling through Digital Scholarly Editions
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:6598823
2022-06-01T01:50:55Z
openaire
user-dariahannualevent2022storytelling
Galicich, Charlie
2022-05-31
<p>An abstract for my paper on the utility and versatility of a narrative approach to the ethical design of technology and a brief description of this theory in practice at the Computing Ethics Narratives website. Links to both are provided. </p>
https://doi.org/10.5281/zenodo.6598823
oai:zenodo.org:6598823
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6598822
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Lost Possible Worlds and Storytelling in the Computing Ethics Narratives Project
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:6592353
2022-05-30T13:50:38Z
openaire
user-dariahannualevent2022storytelling
Moers, Gerald
Jurman, Claus
2022-05-30
<p><strong>“The past is a foreign country: they tell stories differently there” could be an appropriate motto for the approach represented by this contribution. In our paper we aim to demonstrate that studying narrative communication of an ancient culture is not only a worthwhile enterprise, it can also contribute to our understanding of what it means to tell stories in non-conventional formats in the digital world.</strong></p>
<p><strong>With the growing impact of narratological perspectives on many fields of the humanities and the social sciences it has become received wisdom that narratives permeate our lives and social interactions. While the medium for relating and transmitting stories was for a long time associated almost exclusively with written and oral text, the technological developments of the past decades have helped to change our views on the relation between storytelling and media-related representation. Questions are increasingly focussing on the many different ways in which stories are manifesting themselves in different technological, social and cultural contexts, how they are shaped by different media and themselves influence the way in which the narrative potential of those media evolves. Modern technology – especially digital technology – is seen by many as forging new, unprecedented possibilities of creating complex, globally relatable stories, which are not infringed by the constraints of linear text production. But despite widespread acknowledgment of the ubiquity and universal appeal of storytelling our analytical toolkits and theoretical representations are still very much dependent on modern, primarily Western, understandings of what constitutes a narrative in the first place. From a historical and anthropological perspective there exists a real danger that narratological axioms derived from cultural products of the last 100 years are taken for granted without proper historization and then fed back into digital research environments where they become reified in linguistic corpora and other formats. This is precisely where our ongoing research project (Austria’s Central Bank Research Fund no. 17922) on ancient Egyptian narratives aims to make a difference. Through case studies we will illustrate the complex interplay between textual, visual and socio-pragmatic dimensions of narrative communication in ancient Egypt. No matter whether one looks at the biographical discourse in tomb decoration or the “single-image story cues” found on ancient “doodles”, there is ample evidence that ancient Egyptian logics of storytelling are not always compatible with our traditional expectations of the sequential presentation of tellable events. On the other hand, some of these “alien” modes of narration share many features with digital formats of today, where hypertextuality, associative pattering and multimodal communication are common features. It is therefore all the more regrettable that Egyptology and similar disciplines are still grappling with adequately representing the multidimensionality of ancient narrative production in digital repositories, which in the majority of cases still conform to the monomodal digital corpus type (cf., e.g., TLA).</strong></p>
https://doi.org/10.5281/zenodo.6592353
oai:zenodo.org:6592353
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6592352
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece, May 31 to June 3, 2022
Storytelling
Egyptology
narratology
Do Mummies Dream of Electric Sheep? What ancient Egyptian hypertexts can tell us about the cultural and technological modalities of storytelling
info:eu-repo/semantics/lecture
oai:zenodo.org:6593247
2022-05-30T13:50:49Z
openaire
user-dariahannualevent2022storytelling
user-eu
Paula Forbes
Stefano De Paoli
Eliza Papaki
Laure Barbot
2022-05-30
<p>This presentation explains how storytelling has been an important part of the user-centred design process for the development of the GoTriple platform, a discovery tool for Social Science & Humanities researchers. We describe the use of Personas and Scenarios to tell the user's story to developers and define the user requirements. We also introduce the Artifact Ecology Mapping method to explain how this can help convey the story of the researcher's discovery journey and compare it with more traditional user research methods. We have found that the artifact ecology method is particularly useful for describing longer-term interactions </p>
https://doi.org/10.5281/zenodo.6593247
oai:zenodo.org:6593247
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://zenodo.org/communities/eu
https://doi.org/10.5281/zenodo.6593246
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
DARIAH Annual Event 2022: Storytelling, Athens, Greece, May 31-June 3 2022
User Journey Mapping, User Experience, User centred Design, Artifact Ecology, UX, TRIPLE
Telling the Story of Researcher's Discovery Journeys with Artifact Ecology Mapping to aid Building a Discovery Platform for SSH Researchers
info:eu-repo/semantics/lecture
oai:zenodo.org:6601886
2022-06-02T01:51:00Z
openaire
user-dariahannualevent2022storytelling
Baunvig, Katrine F
Nielbo, Kristoffer L.
2022-06-01
<p>Entertainment is important. Stories and narration are constants in, if not a prerequisite for, human culture. Running on myths and their recitation in ritual settings, religions hinge on this fact. Nevertheless, this is a circumstance that has been sought glossed over within certain religious traditions dominated by intellectual guilds. Not least within specific Christian traditions. Christianity’s manyfold Protestant variations are, for instance, characterized by an intellectual proclivity for hermeneutically complex and challenging theories, while suppressing straightforwardly enjoyable stories. This proclivity could, further, be said to have fueled a so-called ‘disenchantment’ impetus imbued in processes going by the names of ‘secularization’ and ‘rationalization’. Such terms seek to catch the deep-rooted tendency among changing Christian clerisies to adapt to a naturalist worldview at the expense of stories about the fantastic. That is to say that myriads of theologians, pastors, and poets throughout history have aspired to prune and ‘demythologize’ the core Christian narratives. Though this trend is deep-rooted, it broadened and accelerated remarkably in Europe through the course of the eighteenth century.</p>
<p>But, seemingly, stories and storytelling will out. The rise of the narratively enthusiastic Romantic Movement appears to have run on this hydraulic logic. Affected by this current, the highly influential Danish poet, pastor, and politician N.F.S. Grundtvig (1783-1872) re-enchanted Danish Christianity. At least he aimed to re-introduce an appreciation of wonder and storytelling – of an oral, narrative, fantastical culture – within Danish church life. The manifold fantastic beasts roaming his works are the residue of this aspiration. Word embeddings of these creatures tell the tale of a man laboring to reintegrate agency, plotlines, and narrative engagement into Christianity.</p>
<p>This study combines simple neural embeddings and graph theory to represent the bestiary arising from Grundtvig’s 1073 publications in their tokenized, lemmatized, ‘algorithmifyed’ avatar. It is based on the digital scholarly edition Grundtvig’s Works. We have computed the distance between a set of so-called seed terms and the corpus lexicon. The catalogue of seed terms have been established following the 2538 entries of the so-called Mythological Register developed by Grundtvig’s Works. For each seed, the algorithm excerpted a pre-set number of primary associations of size m. These are the terms with the shortest distance to the seed term. For each of the m-terms the algorithm, furthermore, extracted a pre-set number of secondary associations. The next step was to compute the distance between these respective categories of terms; subsequently they were connected based on their distance under a threshold estimated from the distance variance structure. At the final stage, semantic clusters were unearthed by way of the Louvain method. These clusters are ripe with verbs, agents, and places whispering of glorious deeds and enchanting tales: of a revival of storytelling.</p>
https://doi.org/10.5281/zenodo.6601886
oai:zenodo.org:6601886
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6601885
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece and online, May 31 to June 3, 2022
Digital Humanities
Information Retrieval
Storytelling in the Tides of Enchantment Embedding Re-enchantment in Danish, Nineteenth-Century Christianity
info:eu-repo/semantics/lecture
oai:zenodo.org:6792915
2022-07-04T13:48:37Z
openaire
user-dariahannualevent2022storytelling
Melzer, Sylvia
2022-07-04
<p>Heurist is a data management platform for Humanities scholars, hosted at the University of Sydney since 2005 (Johnson 2008; Searle and Johnson 2014; “Home” n.d.). Using Heurist, researchers can create flexible, robust and sustainable research databases on the web. Though originally conceived as a data management tool, Heurist has evolved over the years into a platform for data-driven storytelling.</p>
<p>Heurist enables data-driven storytelling through its library of widgets. Heurist widgets can be embedded on a project’s website, allowing the researcher to present their data in an interactive and structured way. In the backend interface, the researcher can choose which records to make public, define ‘Filters’, ‘Rulesets’ and ‘Faceted Searches’ that enable visitors to navigate the database, and create ‘Custom Reports’ that determine how records are displayed. These Filters, RuleSets, Faceted Searches and Custom Reports can then be arranged on the website using Heurist widgets.</p>
<p>This talk comes from a panel on <em>Heurist as a Platform for Data-Driven Storytelling</em>. The speaker is Dr Sylvia Melzer, who introduces ‘databasing on demand’, a framework that allows users to rapidly convert their research data into a Heurist database for publication. </p>
<p>As Dr Melzer explains, currently, thousands of files have been created in the field of humanities in which research data are documented electronically using e.g. TEI or EpiDoc. Importing such files into Heurist allows them to be easily searched, analysed and published. The challenge is to import large numbers of such files into an appropriately structured database in a short time. In this talk, she demonstrates how to create database instances on demand with Heurist using a large dataset of TEI and EpiDoc documents as an example.</p>
<p>The databasing on demand paradigm changes the way stories can be told using Humanities data. It allows researchers to rapidly transform static research data into live, sharebale data on the web with an intuitive interface.</p>
https://doi.org/10.5281/zenodo.6792915
oai:zenodo.org:6792915
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6792914
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling – DARIAH Annual Event 2022, Athens, Greece and Online, May 31 to June 3, 2022
Storytelling with Heurist: Databasing on Demand
info:eu-repo/semantics/lecture
oai:zenodo.org:6583777
2022-05-31T06:22:47Z
openaire
user-dariahannualevent2022storytelling
CHRYSOVITSANOS GERASIMOS
FALIEROU ANASTASIA
GOULIS HELEN
IAKOVIDOU ATHINA
KALAFATA PATRITSIA
KARASIMOS ATHANASIOS
KATSIADAKIS HELEN
POTIROPOULOS PARASKEVAS
SAVAIDOU EIRINI
SPILIOTOPOULOU MARIA
TZEDOPOULOS GEORGE
VERNARDAKI ELENI
2022-05-26
<p>Digital storytelling exemplifies how scholars and educators can utilise technology to enrich research questions and to introduce innovative knowledge-sharing methods. Digital storytelling converts the oldest medium of communication into a new medium, in which storytelling techniques are combined with digital media/technologies to produce captivating narrative experiences. Oral and aural material provides ready resources for DH research and knowledge communication/presentation, invaluable for describing, reviving, and interpreting significant events. Besides, public history practice, deeply rooted in historic preservation, archival science, oral history, and museum curatorship, uses digital storytelling as a creative way for accessing digital cultural heritage and knowledge dissemination. Public history presentations are often combined with collecting the memories of site visitors and witnesses, so they are involved in a co-creation process.</p>
<p>This paper draws on experience gained from a project focused on the history of the <a href="https://dyas-net.gr/1807/">1940s </a>in Greece. It involved the collection and restructuring of metadata of digitised historical sources from five major Greek archival institutions. The aim was to offer a digital platform for effective data recovery based on principles of interoperability. The project provided the opportunity to observe the function of storytelling on two distinct but interrelated levels.</p>
<p>First, narrations linked to life experience (accounts featuring the memories of exiled people and of survivors of war, genocide, or dictatorship and the experience of Axis occupation and resistance). They are a specific kind of historical sources modelled on personal experience and narrative; these ego-documents constitute important instances of storytelling that reveal individual agency, emotion, and mnemonic reworkings of history.</p>
<p>Secondly, storytelling strategies adopted by institutions that preserve and publish archival sources, in order to form specific narratives of the history of the 1940s in Greece. The role and functions of traditional memory institutions is undergoing a conceptual shift from a focus on the object to a focus on the person, that presents new challenges and allows new audiences to be reached. According to Bruner, one of the ways in which people understand their world is through the "narrative mode" of thought, which is concerned with the meaning ascribed to experiences through stories, a procedure that triggers the mechanism of empathy (Bruner 1990).</p>
<p>This paper explores both these aspects of digitised and digital storytelling and investigates to what extent storytelling methods have been adopted in order to produce narratives that are both cognitively and emotionally compelling. This analysis is a case study on the function of storytelling in Digital Humanities, and particularly on its importance in the presentation and reception of history and culture.</p>
<p>References</p>
<p>Barber, J.F. (2016). Digital storytelling: New opportunities for humanities scholarship and pedagogy. Cogent Arts & Humanities 3 (1), 1-14.</p>
<p>Bruner, J. (1990). Acts of Meaning. Cambridge, MA: Harvard University Press.</p>
<p>Clarke, R., Clarke, H. & S. Thomas (2012). Digital Narrative and the Humanities: An Evaluation of the Use of Digital Storytelling in an Australian Undergraduate Literary Studies Program. Higher Education Studies 2(3), 30-43.</p>
<p>Levinson, P. (1999). Digital McLuhan: A guide to the information millennium. New York, NY: Routledge.</p>
<p><a href="https://korai4.gr/">https://korai4.gr/</a></p>
<p><a href="https://www.makronissos.org/">https://www.makronissos.org/</a></p>
<p><a href="https://www.askiweb.eu/index.php/en/">https://www.askiweb.eu/index.php/en/</a></p>
<p><a href="https://www.jewishmuseum.gr/en/">https://www.jewishmuseum.gr/en/</a></p>
https://doi.org/10.5281/zenodo.6583777
oai:zenodo.org:6583777
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6583776
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
World War II and Occupation
Greece
memory institutions
digital storytelling
narratives
World War II and Occupied Europe: Stories from Greece
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:6584738
2022-05-31T06:22:49Z
openaire
user-dariahannualevent2022storytelling
CHRYSOVITSANOS GERASIMOS
FALIEROU ANASTASIA
GOULIS HELEN
IAKOVIDOU ATHINA
KALAFATA PATRITSIA
KARASIMOS ATHANASIOS
KATSIADAKIS HELEN
POTIROPOULOS PARASKEVAS
SAVAIDOU EIRINI
SPILIOTOPOULOU MARIA
TZEDOPOULOS GEORGE
VERNARDAKI ELENI
2022-05-26
<p>Digital storytelling exemplifies how scholars and educators can utilise technology to enrich research questions and to introduce innovative knowledge-sharing methods. Digital storytelling converts the oldest medium of communication into a new medium, in which storytelling techniques are combined with digital media/technologies to produce captivating narrative experiences. Oral and aural material provides ready resources for DH research and knowledge communication/presentation, invaluable for describing, reviving, and interpreting significant events. Besides, public history practice, deeply rooted in historic preservation, archival science, oral history, and museum curatorship, uses digital storytelling as a creative way for accessing digital cultural heritage and knowledge dissemination. Public history presentations are often combined with collecting the memories of site visitors and witnesses, so they are involved in a co-creation process.</p>
<p>This paper draws on experience gained from a project focused on the history of the <a href="https://dyas-net.gr/1807/">1940s </a>in Greece. It involved the collection and restructuring of metadata of digitised historical sources from five major Greek archival institutions. The aim was to offer a digital platform for effective data recovery based on principles of interoperability. The project provided the opportunity to observe the function of storytelling on two distinct but interrelated levels.</p>
<p>First, narrations linked to life experience (accounts featuring the memories of exiled people and of survivors of war, genocide, or dictatorship and the experience of Axis occupation and resistance). They are a specific kind of historical sources modelled on personal experience and narrative; these ego-documents constitute important instances of storytelling that reveal individual agency, emotion, and mnemonic reworkings of history.</p>
<p>Secondly, storytelling strategies adopted by institutions that preserve and publish archival sources, in order to form specific narratives of the history of the 1940s in Greece. The role and functions of traditional memory institutions is undergoing a conceptual shift from a focus on the object to a focus on the person, that presents new challenges and allows new audiences to be reached. According to Bruner, one of the ways in which people understand their world is through the "narrative mode" of thought, which is concerned with the meaning ascribed to experiences through stories, a procedure that triggers the mechanism of empathy (Bruner 1990).</p>
<p>This paper explores both these aspects of digitised and digital storytelling and investigates to what extent storytelling methods have been adopted in order to produce narratives that are both cognitively and emotionally compelling. This analysis is a case study on the function of storytelling in Digital Humanities, and particularly on its importance in the presentation and reception of history and culture.</p>
<p>References</p>
<p>Barber, J.F. (2016). Digital storytelling: New opportunities for humanities scholarship and pedagogy. Cogent Arts & Humanities 3 (1), 1-14.</p>
<p>Bruner, J. (1990). Acts of Meaning. Cambridge, MA: Harvard University Press.</p>
<p>Clarke, R., Clarke, H. & S. Thomas (2012). Digital Narrative and the Humanities: An Evaluation of the Use of Digital Storytelling in an Australian Undergraduate Literary Studies Program. Higher Education Studies 2(3), 30-43.</p>
<p>Levinson, P. (1999). Digital McLuhan: A guide to the information millennium. New York, NY: Routledge.</p>
<p><a href="https://korai4.gr/">https://korai4.gr/</a></p>
<p><a href="https://www.makronissos.org/">https://www.makronissos.org/</a></p>
<p><a href="https://www.askiweb.eu/index.php/en/">https://www.askiweb.eu/index.php/en/</a></p>
<p><a href="https://www.jewishmuseum.gr/en/">https://www.jewishmuseum.gr/en/</a></p>
https://doi.org/10.5281/zenodo.6584738
oai:zenodo.org:6584738
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6583776
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece and online, 1-3 June 2022
World War II and Occupation
Greece
memory institutions
digital storytelling
narratives
World War II and Occupied Europe: Stories from Greece
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:6606075
2022-06-07T07:53:35Z
openaire
user-textplus_nfdi
user-dariahannualevent2022storytelling
user-dariah
Rißler-Pipka, Nanette
Jander, Melina
Weimer, Lukas
2022-06-02
<p>One of the best known but still not really solved problems in Research Infrastructures (RI) is how to understand and meet the needs and requirements of its users. At the national and European level, the most common method is to invite individual researchers into boards of RI consortia. However, this method seems to be insufficient for communities with a wide range of heterogeneous sub-disciplines. Collecting user stories serves as an additional method to align planned services in RI with the researchers’ needs, i.e. making sure that existing tools and services match the users’ expectations. We take a look at the different kinds of user stories in several scientific communities and the ability of the Humanities to listen and analyse stories in a mixture of qualitative, hermeneutic and quantitative methods.</p>
https://doi.org/10.5281/zenodo.6606075
oai:zenodo.org:6606075
eng
Zenodo
https://zenodo.org/communities/textplus_nfdi
https://zenodo.org/communities/dariahannualevent2022storytelling
https://zenodo.org/communities/dariah
https://doi.org/10.5281/zenodo.6601159
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece and online, May 31 to June 3, 2022
Research Infrastructures
User Stories
NFDI
Text+
Storytelling
Listen to Their Stories. Researchers as Users of Research Infrastructures in the Arts and Humanities
info:eu-repo/semantics/lecture
oai:zenodo.org:6601160
2022-06-07T07:53:35Z
openaire
user-textplus_nfdi
user-dariahannualevent2022storytelling
user-dariah
Rißler-Pipka, Nanette
Jander, Melina
Weimer, Lukas
2022-06-02
<p>One of the best known but still not really solved problems in Research Infrastructures (RI) is how to understand and meet the needs and requirements of its users. At the national and European level, the most common method is to invite individual researchers into boards of RI consortia. However, this method seems to be insufficient for communities with a wide range of heterogeneous sub-disciplines. Collecting user stories serves as an additional method to align planned services in RI with the researchers’ needs, i.e. making sure that existing tools and services match the users’ expectations. We take a look at the different kinds of user stories in several scientific communities and the ability of the Humanities to listen and analyse stories in a mixture of qualitative, hermeneutic and quantitative methods.</p>
https://doi.org/10.5281/zenodo.6601160
oai:zenodo.org:6601160
eng
Zenodo
https://zenodo.org/communities/textplus_nfdi
https://zenodo.org/communities/dariahannualevent2022storytelling
https://zenodo.org/communities/dariah
https://doi.org/10.5281/zenodo.6601159
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece and online, May 31 to June 3, 2022
Research Infrastructures
User Stories
NFDI
Text+
Storytelling
Listen to Their Stories. Researchers as Users of Research Infrastructures in the Arts and Humanities
info:eu-repo/semantics/lecture
oai:zenodo.org:6594763
2022-05-31T01:50:24Z
openaire
user-dariahannualevent2022storytelling
Katerina Servi
Akrivi Katifori
Maria Boile
Dimitra Petousi
Myrto Koukouli
Yannis Ioannidis
Despoina Tsiafaki
Natasa Michailidou
Melpomeni Karta
Ioanna Antoniou-Kritikou
Varvara Papadopoulou
Lamprini Papastratou
Aristidis Vassios
Kalliopi Papaggeli
Chrysanthi Tzavali
Christina Kazazaki
Pari Kalamara
Pemy Galiatsatou
2022-05-30
<p>Storytelling serves as a timeless method of communication in archaeological contexts. Cultural Heritage stakeholders are interested in raising awareness to the public for the findings of their research in an effective and engaging way using both traditional and media-based resources.This is also the case of three research projects, myEleusis, Voeska and Periplous, where archaeologists collaborate with authors, designers andtechnology providers to develop digital storytelling experiences with the scope to interpret, communicate and reflect about the past and the discoveries of the archaeological sites of Eleusis, Arta and Epidaurus accordingly.</p>
https://doi.org/10.5281/zenodo.6594763
oai:zenodo.org:6594763
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6594762
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Digital Storytelling
myEleusis
Voeska
Periplous
Digital Storytelling and archaeological sites: shedding light on a multidimensional relationship
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:6597195
2022-06-01T01:51:11Z
openaire
user-dariahannualevent2022storytelling
Kevin Pijpers
Stefan Bastholm Andrade
Anneke Sools
Erik Tjong Kim Sang
Gerben Westerhof
Malte Lüken
2022-05-31
<p><strong>Introduction</strong></p>
<p>In this paper, we present the project Navigating Stories in Times of Transition, a collaboration between the University of Twente and the Netherlands eScience Center. The project aims to make state-of-the-art tools for natural language processing available to researchers in the social sciences and humanities (SSH). The tools we develop advance multidisciplinary approaches to analyzing stories across different media and time. We are particularly interested in further developing digital story grammar, a computational method for narrative analysis (Andrade & Andersen, 2020). We want to show how an analysis of personal narratives collected in the times of COVID-19 pandemic with our computerized narrative tools will help researchers to chart how people make sense of the pandemic and respond to its socio-political framings in uncertain times (Murray & Sools, 2014). We will embed our tools in relevant infrastructures to make them sustainable for future use (such as CLARIAH or the SSH Open Marketplace). As a platform for integrating the tools, we use Orange, a modular data mining toolkit (Demšar et al., 2013).</p>
<p><strong>Current practices</strong></p>
<p>Narrative researchers already use several software programs, such as Atlas.ti and NVivo for qualitative data analysis, LIWC for automatic text analysis, and Excel, R, SPSS, and Stata for statistical analysis. In the past decade, automated natural language analysis tools have become available that could be useful for narrative analysis. Whereas several methods for natural language analysis (e.g., named entity recognition and sentiment analysis) have already been integrated into various tools used for narrative research studying textual data in English, the situation is direr for other languages. In addition, the application of more advanced approaches such as semantic role labelling and digital story grammar requires programming ability, which prevents broad application.</p>
<p><strong>Goals</strong></p>
<p>We aim at making digital story grammar available for other languages than English. In our initial work, we have developed crude versions of digital story grammar based on semantic role labelling for Dutch, Danish and German. Our next work has two objectives. First, inspired by narrative methodology, we want to extend our tools to advance the analysis from the level of sentences to the story level. Second, to register changes in narratives in response to societal events, we intend to enable comparative analyses across time and space with computational methods. Initially, we will focus on analyzing the dynamic relationship between narratives and societal conditions during the COVID-19 pandemic.</p>
<p><strong>Concluding remarks</strong></p>
<p>Our project aims at making state-of-the-art tools for natural language processing and data visualization available to SSH researchers. In our initial work, we have developed a new version of digital story grammar for the languages of Dutch, Danish and German. Our project will extend the digital toolbox for narrative analysis and thus support researchers in studying larger volumes of digital texts. All software produced by the project will be open source and we strive to balance usability and complexity when developing our tools for narrative research.</p>
https://doi.org/10.5281/zenodo.6597195
oai:zenodo.org:6597195
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6597194
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece and online, May 31 to June 3, 2022
Navigating Stories in Times of Transition
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:6580326
2022-05-25T13:50:10Z
openaire
user-dariahannualevent2022storytelling
Giacomo Alliata
Yuchen Yang
2022-05-25
<p>Audiovisual archives are the mnemonic records of the 20th and 21st centuries, the immense complexity of the past happenings, preserving individual and collective histories, memories, feelings, cultures and aesthetics. These collections have, in the past decades, dramatically increased in size, with, on one hand, an emergence of online video sharing services like Youtube and Vimeo, and important institutions digitising their archives, such as the BBC with its 1 million hours of footage.</p>
<p>However, these large archives remain mostly inaccessible, due to copyright issues and to the sheer amount of content combined with the lack of a compelling system to explore them. Only 20% of the 200000 hours of the RTS audiovisual archive are accessible online for instance. Moreover, archival scholars have stressed the importance of innovative forms of engagement through compelling frameworks for the exploration of these large collections.</p>
<p>Within this context, the Sinergia project <em>Narratives From the Long Tail: Transforming Access to Audiovisual Archives</em> aims to reexamine the relationship between archives, memory institutions, and general audiences through cutting edge computational and immersive technologies. We argue that, faced with the extensive amount of content available, meaningful storytelling frameworks are necessary for understanding and exploring an audiovisual collection. Thus, this paper will examine the formation of such a conceptual framework on the archival content and digital interface level.</p>
<p>There is an increasing trend for transforming archives to be big data organisations through digitisation and state-of-art computational methods. The transformation not only enhances the management and accessibility for archives, but also unlocks the semantics in multimodal archival content as well as the potential use of domain knowledge. Such an upgrade should in theory surfacing the hidden structure, revealing and building connections between contents, allowing fast and effective curation of the archive to serve a variety of purposes. In this part of the paper, we will map different approaches used for current practises on digitally transforming archives for various storytelling purposes, and aim at identifying and addressing the opportunities, issues and challenges laying ahead brought by the methodological shift.</p>
<p>Similarly, at the interface level, various approaches are taken to propose an immersive installation in which users can explore a large collection in a compelling way, driving their own storytelling experience. In this section, the ideas of embodiment will be leveraged to review meaningful digital installations, revealing how narrative can emerge in such frameworks. Multiple interactions and visualisations approaches can be employed to explore the semantics discovered through computational methods, using data as a sculpting material in the creation of a virtual world. Furthermore, in multi-users environments, social interactions place users as actors of the storytelling rather than mere spectators, with clear benefits in terms of enjoyment of the experience and understanding of the cultural aspect.</p>
<p>In conclusion, this paper will propose a conceptual framework to explore a large collection of audiovisual items through the idea of storytelling in an immersive installation.</p>
<p> </p>
<p>Submission ID: 1032</p>
https://doi.org/10.5281/zenodo.6580326
oai:zenodo.org:6580326
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6580325
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece and online, May 31 to June 3, 2022
Audiovisual archives
Computational approaches
Immersive Environments
Embodied narrative
Exploring large audiovisual archives through storytelling in an immersive environment: a conceptual framework
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:6594751
2022-06-08T10:00:25Z
openaire
user-dariahannualevent2022storytelling
Dimitra Petousi
Akrivi Katifori
Katerina Servi
Maria Boile
Vera Kriezi
Valia Vraka
Fotini Venieri
Stefania Merakos
Alexandros Charkilolakis
Lori Kougioumtzian
Marina Stergiou
Katerina El Raheb
Yannis Ioannidis
2022-05-30
<p>poster & demos: 156 </p>
<p>13 Interviews - A journey in search of Nikos Skalkotas</p>
<p>Digital storytelling has long been recognized as an effective method for the interpretation, communication, and reflection about the past, using both traditional and media-based resources. In this prototype demo and poster, we present the concept of an interactive digital storytelling experience in the context of the ARIA project (Augmenting the Reception of Music Through Innovative Solutions and Archive) (aria-project.gr), which aims to create an engaging visitor experience for the archives of musical cultural heritage for the wider public. Digital storytelling, even in its basic form, can become an essential tool for meaningful communication and dialogue; we can apply this concept for the project to engage users in a meaningful and interesting way. In the form of a collaborative experience on mobile phones, the story involves the journalist Andreas Zeppos, who’s writing a tribute to Nikos Skalkotas in “Evoikos Kiryx”, an existing newspaper. Users follow the journalist in his journey and are called to discover the professional and personal aspects of Skalkotas’ life, while they get acquainted with his music, as well as the time he lived in. The journalist travels to Chalkida, Athens and Berlin, the places where Skalkotas lived and worked, and interviews real and fictional people, trying to reconstruct the portrait of the composer and the era that shaped not only his compositions and works, but also his character. The central story unfolds linearly, through a series of successive episodes, inspired by the periods of Skalkotas’ adventurous life. The aim of the digital storytelling experience is to evoke users’ interest and enrich their knowledge about the life and works of the Greek composer and musician Nikos Skalkotas and the historical period he lived, utilizing facts and fiction, interactive narratives, and collaborative learning activities. The narrative moves on two different levels. One concerns the "microcosm" of Skalkotas, which are the real people who have met the composer and refer to him through their experiences. The second concerns the "macrocosm" of the composer, which is expressed through fictional people, which however, Skalkotas could have possibly met, and which help compose the picture of that historical period and transfer the atmosphere from the past. Users can listen to the story unfold, while some/ specific scenes of the story are also shown in illustration forms in the style of "noir” graphic novel, with frames. The experience includes selected musical pieces from the works of Nikos Skalkottas and incorporates suggestions for the group of users to reflect on and discuss relevant topics, encouraging them to find connections with the elements that unfold the story such as the role of music in our life etc. The title "13 Interviews'' is inspired by the 36 Greek Dances, one of the most widely known works of the composer. </p>
https://doi.org/10.5281/zenodo.6594751
oai:zenodo.org:6594751
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6594750
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece and online, May 31 to June 3, 2022
digital storytelling, mobile, music archives, Skalkotas, composer
13 Interviews - A journey in search of Nikos Skalkotas
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:6590504
2022-05-30T10:57:23Z
openaire
user-dariahannualevent2022storytelling
user-dariah
Radoslaw Komuda
2022-06-02
<p>From a science-fiction play that introduced the word “robot” over a century ago to a dystopian sci-fi story written by a Nobel Prize winner, the advancement of technology and our relationship with it have inspired generations of authors. In this paper I discuss books, novels and stories that narrated some of the moral dilemmas raised along the way. Secondly, this paper explores some of the examples on how we have already managed “to put science into fiction” and present state of the art technologies and solutions behind that. Finally, I talk about how romanticized visions on human-level AI capabilities and stories that do not only portrait an ut- or dystopian version of the future but often make us reflect on modern times and what actually it means to be human.</p>
https://doi.org/10.5281/zenodo.6590504
oai:zenodo.org:6590504
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://zenodo.org/communities/dariah
https://doi.org/10.5281/zenodo.6590503
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Machine Ethics
philosophy
anthropology
Machine Ethics. Science inspired by stories
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:6631648
2022-06-10T18:36:39Z
openaire
user-dariahannualevent2022storytelling
Chiara Zuanni
2022-06-10
<p>This paper will present the project “Contemporary collecting and COVID-19: barriers, bottlenecks, and perspectives in digital curation”, funded by a DARIAH Theme grant (2020-2021), and its results. During 2020 and 2021, there has been a notable number of projects aiming to document the COVID-19 pandemic, and consequently an increased attention to the themes and challenges of contemporary collecting and born-digital collections. The project presented in this paper aimed first to survey these projects; secondly, to research practices in relation to the data management and public dissemination of such collections; and thirdly, to foster dialogue across research and memory organisations interested in collecting memories and witnesses of the pandemic.</p>
<p>This paper will summarise the main findings, especially in relation to storytelling.</p>
https://doi.org/10.5281/zenodo.6631648
oai:zenodo.org:6631648
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6631647
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece and online, May 31 to June 3, 2022
contemporary collecting
digital curation
digital preservation
Contemporary collecting and COVID 19: preserving memories of the pandemic
info:eu-repo/semantics/lecture
oai:zenodo.org:6594123
2022-06-01T12:55:14Z
openaire
user-dariahannualevent2022storytelling
user-dariah
Marta Fioravanti
Iulianna van der Lek
Anna Woldrich
2022-05-30
<p>Since the turn of the millennium, the digital humanities (DH) have gained more and more momentum, and digital methods, specialised software, new research standards and methodological approaches emerged. Hence, the need for new skill sets and alternative pedagogies arose, which led to an increased offer of digital humanities courses, training events, programmes and degrees with different focus areas. “This expansion [...] has also made it increasingly difficult to maintain an overview, or to feel confident as a potential student of DH that one has found the optimal programme for one’s needs.” Consequently, the DH Course Registry was developed as a central hub to collect information on DH courses to increase the visibility of DH training activities.</p>
<p>In collaboration with a visual storyteller and creative technologist, we want to create a poster that will focus on the actors, who tell the story of the DH Course Registry: the users, the database and the API. Additionally, we aim to showcase recent developments via a live demo.</p>
<p>1. The user story</p>
<p>The DHCR users can be classified into: (a) Internal users, e.g. the lecturers who feed the registry with course data, the National Moderators who monitor and curate the course entries in their country, and the (user) administrators who maintain the development of the registry; and (b) external users, e.g. students, programme administrators or policymakers, who can make use of the registry for different purposes.</p>
<p>2. The database & API story</p>
<p>The registry offers access to a Digital Humanities course database: Users can browse the platform and use filters (e.g. country, city, language, ECTS credits, degrees, TaDiRAH, etc.) to narrow down their search results. The API enables access to the (meta)data collected (see fig. 1): interested entities can undertake diachronic research and develop various web applications to tell the DH Course Registry data’s story, see the ACDH-CH Hackathon as an example. Depending on the point of view and the researchers’ interest, various other research scenarios and questions can be elaborated.</p>
<p>3. Challenges in the narrative</p>
<p>The initiative is a nutrient medium inspiring its actors to embrace shared values when reaching out to other digital humanists, but it bears some limitations. If a country is not monitored by a national moderator and there are no contributors feeding data into the registry, there is no DH data story to tell. Hence, the four pillars of dissemination (website, notification, social media, events) play an important role in keeping existing users engaged and attracting new ones.</p>
<p>Consequently, the platform could never tell the story of the establishment of DH-training activities as a stand-alone resource, it is amplified in a reciprocal process, enhanced by its users curating the platform. The more users are attracted, the more data can be collected, and the more stories can be told.</p>
https://doi.org/10.5281/zenodo.6594123
oai:zenodo.org:6594123
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://zenodo.org/communities/dariah
https://doi.org/10.5281/zenodo.6594122
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
DARIAH Annual Event 2022, Athens, Greece, 31 May - 3 June 2022
digital humanities
higher education
registry
Put Yourself on the Map! The DH Course Registry Story & its Actors
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:6578265
2022-05-31T04:50:41Z
openaire
user-dariahannualevent2022storytelling
Tasiopoulou Aikaterini
2022-05-24
<p>Due to the pandemic cultural organizations, such as museums, have begun a digital transformation. Representative examples of museums around the world using digital applications will show that the search for new, creative, digital ways of presenting the history is the most appropriate. In this way, the museum community is significantly upgraded and museums are an incentive for learning and entertainment.</p>
<p>My research was based on theoretical and empirical study through bibliographic references and quantitative research that also included on-site observation of the interaction of a small group of visitors with the exhibit itself to be evaluated. Therefore, the research was mixed and concerned the National History Museum and the Museum of the City of Athens located in the center of Athens.</p>
<p>The desired result was to show the importance of digital storytelling and digital applications as learning and entertainment strategies in the modern museum environment.</p>
https://doi.org/10.5281/zenodo.6578265
oai:zenodo.org:6578265
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6578264
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece and online, May 31 to June 3, 2022
digital storytelling, museums, multimedia
Digital storytelling and digital applications as learning and entertainment strategies in museums of Athens-Critical review and evaluation of public experiences
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:6573065
2022-05-23T13:50:27Z
openaire
user-dariahannualevent2022storytelling
user-eu
Camilo Leon-Quijano
2022-06-01
<p>The intervention focuses on visual research in anthropology based on a double case study. First, it explores a narrative experimentation of a visual project that took place in a Parisian suburb. It focuses on the story building of a critical narrative of female rugby team. Based on the collaboration we had in creating a storyboard, this presentation explores the way participants contribute to create a critical multimedia narrative through participatory methods.</p>
<p>Second, a dialogue on the multimodal spatialization of an ongoing visual ethnography regarding the impact of tourism in Lisbon. It is conceived as a collective discussion on how multimodal collaborations might reframe the visual presentation of an ethnographic research. Based on the Pilot 1 experience of the COESO project, the discussion raises questions about the challenges of creating a story within an interactive presentation of ethnographic research on the web.</p>
-
https://doi.org/10.5281/zenodo.6573065
oai:zenodo.org:6573065
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://zenodo.org/communities/eu
https://doi.org/10.5281/zenodo.6573064
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athenes
visual
mutlimodal
collaboration
Multimodal collaborations: materials, strategies, and visual narratives
info:eu-repo/semantics/lecture
oai:zenodo.org:6584269
2022-05-27T09:18:57Z
openaire
user-dariahannualevent2022storytelling
Clivaz, Claire
2022-05-26
<p>Humanities is in all its tasks and activities a storytelling. In her 1958 essay <em>The Modern Concept of History</em>, Hannah Arendt was recognizing the first face-to-face meeting between history and poetics in a scene told by Homer: Ulysses, the witness, cries by listening the blind bard Demodocos narrating his own deeds during the war of Troy (Arendt, 1958). But Ulysses stops Demodocos’ storytelling as a “too perfect” song, <em>liên kata kosmon</em> (Hartog, 2003; <em>Odysseus</em>8.487-491). If Humanities has been since centuries written as <em>storytelling</em>, from literature to philosophy passing through history, this paper argues that research infrastructures are nowadays the necessary and unperfect witnesses that keep the Humanities storytelling anchoraged in the physical and real world. Research infrastructures (RIs) are anonymous Ulysses standing up and claiming attention, efforts and sweat, whereas scholars would like to just sing a brilliant storytelling. <em>RIs are Humanities storytellers</em>, as illustrated by the three following examples. </p>
<p>The first one is the Sisyphus temptation for Humanist scholars to publish <em>corpora</em> on virtual research environments (VREs). As well argued (Pierazzo, 2015), the notion of printed edition is evolving towards digital <em>collections</em>, that remain open-ended but stop when time and/or resources are missing (Mombert, 2014). Leadings to the creation of collections, the VREs are deeply reshaping the established textual categories (Clivaz, 2016). Morevoer, VREs are producing Humanities stories often before the proper scholarly narration ((Strackpole, 2020), whereas in printed books, authors can and have to choose the starting point, the conclusion, and the intermediate steps. <em>RIs are open-ended and efficient storytellers</em>.</p>
<p>Secondly, the knowledge hierarchies of the modern <em>episteme</em> are also largely reshaped by the VREs. Until the fifties at least, the study of Latin and Greek was mandatory even in the studies of medicine, a phenomenon entitled in French <em>faire ses humanities</em> (Berra, 2012). The spreading of research infrastructures has apparently sealed the reign of English, but this phenomenon also brings benefits. The beloved Latin and Greek heritage are now accessible to a non-elitist public, thanks to the web serendipity, or in crowd-sourcing projects. Moreover, other ancient languages, often let aside in Humanities, are raising up: forgotten words, rare languages can be read online. <em>RIs are Open Science storytellers</em>, as promoted by the EOSC-A spirit.</p>
<p>Finally, big research infrastructures are reshaping Humanities storytelling by creating narrative human networks: the lonely work of the 19<sup>th</sup> century scholar at the desk is definitively over. DARIAH is in this regard a clear example of the emergence of Humanities communities: designed in summer 2013 around four Virtual Competence Centers (VCCs), – according to a repartition between “hardware” infrastructure (VCC1), teaching (VCC2), research (VCC3) and community (VCC4) –, DARIAH is evolving since the last years in plural living networks – the working groups (WGs). They all include elements from the 4 VCCs. Through its WGs, DARIAH demonstrates that <em>RIs can reshape Humanities scholarship in storytelling communities</em>.</p>
<p><strong>References of the abstract</strong></p>
<p>H. Arendt, “The Modern Concept of History”, <em>The Review of Politics</em> 20 (1958), p. 570-590.</p>
<p>A. Berra, “Faire des Humanités Numériques”, in P. Mounier (ed.), <em>Read/Write Book 2</em>, Paris: OpenEdition Press, 2012, p. 25-43.</p>
<p>C. Clivaz, “Categories of Ancient Christian texts and writing materials: ‘Taking once again a fresh starting point’”, in C. Clivaz – P. Dilley – D. Hamidović (eds.), with A. Thromas, <em>Ancient Worlds in Digital Culture</em> (DBS 1), Leiden: Brill, 2016, p. 35-58.</p>
<p>DARIAH, <a href="https://dariah.eu/">https://dariah.eu</a>.</p>
<p>EOSC-A, <a href="https://eosc.eu/">https://eosc.eu</a></p>
<p>F. Hartog, <em>Régimes d’historicité. Présentisme et expérience du temps</em>, Paris: Seuil, 2003.</p>
<p>Homer, <em>L’Odyssée</em>, trad. P. Jaccottet, Paris : La Découvert, 2016.</p>
<p>S. Mombert “From Books to Collections. Critical Editions of Heterogeneous Documents”, in D. Apollon – C. B lisle – P. Régnier (eds.), <em>Digital Critical Editions</em> (<em>Topics in the Digital Humanities</em>), Chicago: University of Illinois Press, 2014, Kindle Edition.</p>
<p>E. Pierazzo, <em>Digital Scholarly Editing. Theories, Models and Methods</em> (<em>Digital Research in the Humanities</em>), New York: Routledge Press, 2015.</p>
<p>B. Strackpole, “The next chapter in analytics: data storyteller”, <em>MIT Management Sloan School</em>, 20.05.2020, <a href="https://mitsloan.mit.edu/ideas-made-to-matter/next-chapter-analytics-data-storytelling">https://mitsloan.mit.edu/ideas-made-to-matter/next-chapter-analytics-data-storytelling</a></p>
https://doi.org/10.5281/zenodo.6584269
oai:zenodo.org:6584269
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6584268
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece and online, 1-3 June 2022
DARIAH
EOSC
Humanities
Storytelling
Research Infrastructures
Research Infrastructures are reshaping Humanities storytelling
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:6580207
2022-05-25T13:50:11Z
openaire
user-dariahannualevent2022storytelling
Pold, Søren
Nacher, Anna
Rettberg, Scott
2022-05-25
<p>A Pandemic Crisis Seen from the Screen - <em>Digital art and electronic literature as reflection on pandemic platform culture.</em></p>
<p>How is the COVID-19 pandemic, resulting measures, and movement of cultural life online reflected in electronic literature and other digital narrative practices online? With this project we will develop an analytical research study, an open-access research collection, an online exhibition and a critical study of electronic literature and digital art produced during this time of COVID 19.</p>
https://doi.org/10.5281/zenodo.6580207
oai:zenodo.org:6580207
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6580206
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
DARIAH Theme Panel Presentations: Electronic Literature and Covid-19
info:eu-repo/semantics/lecture
oai:zenodo.org:6595433
2022-05-31T04:50:34Z
user-dariahannualevent2022storytelling
Galicich, Charlie
2022-05-30
<p>Rather than an “a posteriori'' approach to addressing the ethics of developing digital technologies, in which movement toward more ethical practice or deployment of technology occurs only after a certain technology negatively impacts certain populations, technological development must take an a priori approach in which multiple ethical ramifications of the technology are considered beforehand. This paper illuminates the power that narratives can provide to such an a priori approach, providing imaginative variations of potential technologies that those seated at the development table may consider. Using Paul Ricœur’s view of narratives as “ethical laboratories,” I argue that narratives, whether fictions or case studies, effectively provide good ethical deliberation at technology development tables through offering specific, contextual possibilities of how technology can affect or fail certain groups or populations. The narrative approach suggests a method of embedding ethical principles through viewing predictive narratives as imaginative variations of technologies that are distanced from such ethical principles. I dissect the short story “Burning Chrome” by William Gibson as a narrative that successfully predicted ethical and social discussions of digital networks and their impacts to prove the value of narratives in making a more informed developmental decision and serving as a crucial method for an a priori approach to technological development. I then discuss Gibson’s predictions in the context of the “Metaverse” to demonstrate how this narrative can serve as a crucial component of a priori deliberation in the development of this new networked environment.</p>
https://doi.org/10.5281/zenodo.6595433
oai:zenodo.org:6595433
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6595432
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Lost Possible Worlds: Toward a Narrative Approach to Computing Ethics
info:eu-repo/semantics/conferencePaper
oai:zenodo.org:6603049
2022-06-02T06:56:23Z
openaire
user-dariahannualevent2022storytelling
Agathi Papanoti
Elena Lagoudi
Haris Georgiadis
Georgia Angelaki
2022-06-01
<p>SearchCulture.gr is the greek national cultural aggregator, providing access to over 800k items. Being hesitantly excited about big cultural data and the creative possibilities for humanities research and public engagement this presents, the SearchCulture.gr scientific team developed a brand new tool for curating and showcasing content. </p>
<p>The Exhibitions Query Form is a smart tool for storymaking and presenting curated content on the aggregator. Storymaking through the Exhibitions Query Form fully exploits recently completed semantic enrichment iterations on the aggregator. The enrichment workflows ensure that each collection added and all retrospectively undergo semantic enrichment in types, persons, chonologies and themes, resulting in homogenization of metadata, which in turn allows for more efficient searches and relevant results. </p>
<p>Making smart use of the meaning-making dynamic of linked data, the exhibitions produced via the Query Form are deployed to showcase curated content. Through a sophisticated interface, the Query Form allows editors to produce thematic exhibitions by grouping together items which are retrieved via targeted queries. The exhibitions are designed in a billingual interface and also include a key image, title and subtitle, an interpretative text, other resources and bibliography and are all presented through an elegant interface on a dedicated Εxhibitions page. </p>
<p>Each group of retrieved items is in reality a thematically connected primary source palimpsest, providing teaching and learning contexts based on primary sources, for formal and informal learning. Primary source teaching has been known to cultivate critical thinking, develop reasoning and investigative skills and ultimately, support practice-based pedagogy and active learning. Digital storytelling through linked metadata can be also appealing to those seeking new approaches to cross-disciplinary humanities scholarship. </p>
<p>The paper will present the Exhibitions Query Form and the developed virtual exhibitions, explain our content selection methodologies and rationale and discuss the overarching strategy for showcasing the richness, width and depth of content aggregated in SearchCulture.gr. </p>
<p>A key inspiration for developing this new feature on the aggregator was the fact that, while performing the enrichment workflows, we could notice various stories emerging. Having the the chance to deeply engage with the items’ metadata we came across unexpected connections and links to other content and collections. Finding i.e. a series of beautiful late 19th-early 20thc staged photographs of children prompted us to research for more related material which tells the story of the middle and upper class fascination with <a href="https://www.searchculture.gr/aggregator/portal/thematicCollections/childrenportraits">child </a>portraiture a century ago. </p>
<p>These exhibitions are an easy-access entry point to the more complex search functions of the aggregator. They can challenge end-users to come up with their own storymaking enquiries and create their own exhibitions, which is a feature we will look at in the next phase of development. Search and retrieval skills are core components of enquiry-based and primary source based research methodologies. End-users would probably greatly benefit from being able to save and share their query results with others, making interactivity one the foci of the aggregator’s future developements, in an efford to foster deeper and wider community engagement with digital cultural heritage. To this end, we have already started piloting user-generated exhibitions by collaborating with individual researchers. </p>
https://doi.org/10.5281/zenodo.6603049
oai:zenodo.org:6603049
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6603048
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece and online, May 31 to June 3, 2022
Aggragators
CHOs
Metadata
Semantic enrichment
Digital culture
Storymaking by design: curating querybased virtual exhibitions on the greek national cultural aggregator
info:eu-repo/semantics/lecture
oai:zenodo.org:6572903
2022-05-23T13:50:29Z
openaire
user-dariahannualevent2022storytelling
Hrvatin Maluela
Domijanic Dravec Sandra
2022-05-23
<p>Storytelling has existed since the oldest times. It was and still is a way of connecting people, creating communities and evoking emotions. Storytelling represents the intangible heritage, while locations related to a particular legend, myth or story represent the tangible heritage.</p>
<p>Storytelling is a fundamental part of being human. Stories let us share information in a way that creates an emotional connection. They help us understand that information and each other, making the information memorable.</p>
<p>Storytelling can encourage the development of society by making them aware of heritage, valuing traditions and customs, encouraging some further thinking, and inspiring them with new development ideas for a particular area. Today's social challenges are marked by daily, frequent changes imposed on us by the environment. The possibilities of storytelling lead to the release of negativity and encourage the development of society through a different prism.</p>
<p>Istra Inspirit team the creative team of numerous actors, performers, entertainers, experts for culture and history, academics, and many others created a unique experience for each location. Every experience was different, but they all had some things in common: they were based on storytelling, included guests to the ‘show’ actively, and included thematic lunch or dinner that also had a story to tell.</p>
<p> </p>
<p> </p>
https://doi.org/10.5281/zenodo.6572903
oai:zenodo.org:6572903
aig
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6572902
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece, May 31 to June 3, 2022
torytelling, story doing, interactive multilingual performance, stakeholder networking, live interpretation, experiences and community
CONNECTING COMMUNITY AND CULTURE THROUGH INNOVATIVE STORYTELLING
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:6598261
2022-06-01T06:22:22Z
user-dariahannualevent2022storytelling
EMMANUELLE CORNE
2022-05-31
<p>In February 2020, Emmanuelle Corne was in Veracruz, Mexico, as a documentary photographer, along with anthropologist Sabrina Melenotte, to follow the 5<sup>th</sup> National Brigade for the Search of Disappeared Persons. The number of people missing in Mexico is officially up to 100,000, mostly due to narco-trafficking. Two hundred family members meet every year to search together for their loved ones as the state official forces do not.</p>
<p>Between 2006, starting point of the war against drug cartels, it is said that around 250,000 persons died violently, in context of organized crime.</p>
<p>The talks of the 3 Presidents of the Republic of Mexico you hear are public datas.</p>
<p>The persons on the photographs are family members of the disappeared. They search by themselves for their loved one, mostly with shovel for digging up the earth, but also by making their case visible in the streets. Those photographs were taken in February 2020.</p>
The sounds, audios, and interviews were recorded by Emmanuelle Corne on field.
All photographs are by Emmanuelle Corne.
FMSH, Médias & sciences production, 2022
https://doi.org/10.5281/zenodo.6598261
oai:zenodo.org:6598261
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6598260
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
missing persons
Mexico
violence
family's search
forced disappearances
MEXICAN GHOSTS A Tension between Governmental Talks and Disappearances
info:eu-repo/semantics/other
oai:zenodo.org:6599384
2022-06-01T06:22:23Z
user-dariahannualevent2022storytelling
Ackermann, Rahel C.
Gautschy, Rita
2022-05-31
<p>Demo accompanying the poster.</p>
https://doi.org/10.5281/zenodo.6599384
oai:zenodo.org:6599384
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6599383
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
demo
Simple Image Presentation Interface (SIPI)
DaSCH Service Platform (DSP)
LOD Numismatics
Archaeology
Stories that an archaeological object may tell: a use case
info:eu-repo/semantics/other
oai:zenodo.org:6600363
2022-06-01T06:22:24Z
openaire
user-dariahannualevent2022storytelling
Schweder Max
Henderickx Wim
Beck Janna
Studio Plankton
Hieda Naoto
Overdulve Kristof
Spriet Lowie
Du Four Olivier
Yoncalik Arafa
Nijssen Wes
Dietvorst Tom
Tamminga Jorrit
Kristof Timmerman
Ine Vanoeveren
2022-05-31
<p>Empty Mind is an audiovisual live performance that takes place in a virtual environment and is meant to be viewed online. It is inspired by the works and ideas of the American artist Agnes Martin. The work consists of 6 large movements (5 + 1), which can be performed in any order. The spectator decides this order and is able to interfere with the performance through an interactive UI-layer on top of a livestream.</p>
<p>Empty Mind is a composition by Wim Henderickx for flutes (piccolo, flute, alto flute and bass flute) and live electronics. In each movement there is a strictly composed passage that represents a continuity between the parts and a number of free passages where the material is allowed to make its own trajectory - chosen by the soloist at that moment - creating a discontinuity.</p>
<p>Flutist Ine Vanoeveren performs in a motion capture suit with which she controls the virtual environment. The performance in the virtual spaces is being filmed by a virtual camera and directly streamed onto Twitch. This livestream is the live feed for the audience, with the interactive layer on top of the video.</p>
https://doi.org/10.5281/zenodo.6600363
oai:zenodo.org:6600363
eng
Zenodo
https://doi.org/10.1145/3490149
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6600362
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece and online, May 31 to June 3, 2022
Virtual performance
user interaction
real-time audio-visualization
motion capturing
Empty Mind: an exploration towards an autonomous digital experience and aesthetics within a virtual live performance
info:eu-repo/semantics/lecture
oai:zenodo.org:6600040
2022-06-01T06:22:22Z
openaire
user-dariahannualevent2022storytelling
Varvara Arzt
2022-05-31
<p>Rebetiko is a Greek popular music genre, which due to the similarities in the genres’ formations is commonly seen as Greek blues. The roots of the genre go back at least to the second half of the 19th century, and while it had its heyday between the 1920s and the 1950s, rebetiko continues to flourish to this day. Although or maybe because rebetiko is often associated with the urban underworld and marginal groups, rebetiko had and still has an immense influence on the Greek culture and language.</p>
<p>Rebetiko songs are valuable sources of oral history that allow a view at the history of 20th century Greece from a different angle, through the lens of rebetiko. Songs are an important part of a community’s storytelling tradition, which is passed down from generation to generation. They may also reveal narratives of social groups (e.g. refugees and migrants) at the fringes of society that are underrepresented in the official historiography.</p>
<p>While there exists a number of popular and well-known rebetiko songs, like “Cloudy Sunday” by Vasilis Tsitsanis or “The Catholic Girl from Syros” by Markos Vamvakaris, these represent only a fraction of the diversity of narratives and stories of the genre. To capture this diversity, the Rebetiko Corpus was created, which contains 5,165 songs, of which 3,772 songs are provided with song lyrics. This corpus is publicly available for non-commercial purposes (<a href="https://doi.org/10.5281/zenodo.6211555">https://doi.org/10.5281/zenodo.6211555</a>) and is intended as a source for studies in diverse areas such as history, sociology, linguistics, and musicology.</p>
<p>This paper aims to showcase approaches for finding narratives in rebetiko with the help of the Rebetiko Corpus and computer-assisted analysis. The analysis of the corpus data with the help of data science methods can contribute to a broader and more objective way of storytelling, and at least partly provide answers to many relevant questions. For instance, which topics are prevailing in rebetiko and how are they influenced by the history of Greece and its people? Is rebetiko mostly influenced by the underworld, as it has been assumed for a long time? What does rebetiko tell us about the struggles of everyday life in 20th century Greece? And what is the connection of rebetiko to Hawaii?</p>
https://doi.org/10.5281/zenodo.6600040
oai:zenodo.org:6600040
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6600039
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece and online, May 31 - June 3 2022
rebetiko
rebetiko corpus
narratives in rebetiko
Greek music
Exploring the Narratives of Rebetiko via Corpus-based Analysis
info:eu-repo/semantics/lecture
oai:zenodo.org:6792912
2022-07-04T13:48:37Z
openaire
user-dariahannualevent2022storytelling
Johnson, Ian
2022-07-04
<p>Heurist is a data management platform for Humanities scholars, hosted at the University of Sydney since 2005 (Johnson 2008; Searle and Johnson 2014; “Home” n.d.). Using Heurist, researchers can create flexible, robust and sustainable research databases on the web. Though originally conceived as a data management tool, Heurist has evolved over the years into a platform for data-driven storytelling.</p>
<p>Heurist enables data-driven storytelling through its library of widgets. Heurist widgets can be embedded on a project’s website, allowing the researcher to present their data in an interactive and structured way. In the backend interface, the researcher can choose which records to make public, define ‘Filters’, ‘Rulesets’ and ‘Faceted Searches’ that enable visitors to navigate the database, and create ‘Custom Reports’ that determine how records are displayed. These Filters, RuleSets, Faceted Searches and Custom Reports can then be arranged on the website using Heurist widgets.</p>
<p>This talk was the opening talk from a panel devoted to digital storytelling in Heurist. The speaker is Dr Ian Johnson, Heurist’s designer, who explains the philosophy of Heurist’s ‘widgets’ and describe our new work on multi-channel StoryMaps. His talk was followed by talks from three Heurist users, who presented their experience on data-driven storytelling in Heurist at all stages of the project life-cycle.</p>
<p>As Dr Johnson explains, research in Digital Humanities is often stymied by the lack of general-purpose tools. Many projects develop specific tools or websites, which become moribund when project funding runs out and developers move on to new positions. At Heurist, we redress this problem with our philosophy of mutualised development. When a project requests a particular feature, we implement it as a general-purpose tool, integrated with existing widgets that do the heavy lifting (facet search, result set, map, timeline, custom report). The mutualised development philosophy reduces development time, makes it easy to integrate new features into existing webpages, and allows all Heurist users to benefit from the contributions of a particular project.</p>
<p>A key example of this philosophy is Heurist's new Story Map widget. Story Maps are a simple way of visualising a narrative which evolves across time and space. Our challenge was to build multi-channel Story Maps into a rich web-based database of people built by the Géo-Récits project (https://georecits.hypotheses.org/). allowing facet selection of individuals from the database and simultaneous visualisation of their lives on a coordinated map, timeline and content-rich narrative in order to reveal their parallelism and intersections.</p>
https://doi.org/10.5281/zenodo.6792912
oai:zenodo.org:6792912
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6792910
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling – DARIAH Annual Event 2022, Athens, Greece and Online, May 31 to June 3, 2022
digital humanities
databasing
storymaps
GIS
Integrated Storymaps: a new paradigm of visual storytelling in Heurist
info:eu-repo/semantics/lecture
oai:zenodo.org:6592666
2022-05-30T13:50:38Z
openaire
user-dariahannualevent2022storytelling
Lydia Fytraki
2022-05-30
<p>It was May 1941 when the 28th Battalion of New Zealand Maori fighters arrived in Crete to fight alongside British and Greek forces against the Germans. Although the Maori presence in far-flung Crete lasted only a few weeks, the bond between the two cultures remains alive to this day and the shared memories have been transformed into shared sites of collective remembrance. The most important part of a story is how it is structured and tied into a single narrative. Regarding this specific story that took place on the island of Crete, its data is quite scattered and fragmented. Therefore, the aim of this research is to be able to collect the separate pieces of the story and to bring them out through an integrated narrative process. The digital archival material for this particular historical event is wide,it can be found in different sources and in different formats. In particular it was retrieved from the digital collections hosted at the Alexander Turnbull National Library, from the 28th Māori Battalion Association website, from the Victoria University of Wellington Library, from the Army History Directorate of Greece, the Directorate of the Hellenic Army General Staff and some records from the Bundesarchivs Digital Bildarchiv. The maps that are used come from the Hellenic Army General Staff and the New Zealand Electronic Text Centre. The digital archival material used in order to synthesise the historical event consists of photographs, oral testimonies, audio-visual material, topographical and cartographic material. The use of a variety of archival sources and quality materials can help to recover the stories and daily experiences of these people. (Ulrich 1990; Cope 1998; Sparke 1998; Smith 2000). In order for all this diverse digital archival material to be synthesized and eventually form a digital narrative,the ArcGIS Pro software by ESRI, which is part of Geographical Information Systems (GIS), was used. The spatial processing of the historical information through the creation of points, their connection to the archival material, the georeferencing of the cartographic material and the creation of several time layers in a common space, gives a clearer understanding of the historical event of the Battle of Crete. At the same time, GIS offers a framework that can present historical information without having to be set in strict time frames. For this alone, they are ideal for representing abstract concepts such as collective memory. This is, after all, what the process of collective memory (commemoration) itself seeks to do, to "get away" and escape from the conventions of time.The storytelling stage of the narrative is implemented through ESRI's online geographic story development platform called Story Maps. The platform combines the ability to tell stories with the help of the cartographic background and the ability to tell mapped stories for analytical purposes (Caquard & Dimitrovas, 2017). The result of the above process is the creation of a rich and interactive digital narrative, whose narrators are the digital maps that comprise most of the digital archival material used that is open to be viewed in Story Maps (https://arcg.is/1mPWiG0).</p>
https://doi.org/10.5281/zenodo.6592666
oai:zenodo.org:6592666
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6592665
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece and online, May 31 to June 3, 2022
collective memory
Crete
digital storytelling
Spatial Humanities
Geographic Information Systems
Maori
Spatial History
Maori in Crete: The unexpected meeting of two cultures
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:6586675
2022-05-31T04:50:39Z
openaire
user-dariahannualevent2022storytelling
user-eu
Javier Rodrigo
Ainhoa Flecha
Dominika Kasprowicz
Karolina Hess
Marc Hernández Güell
Elena Ananiadou
Nikolaos Kortessis
Magda Fytili
2022-05-30
<p>Storytelling tools aim to leverage the technological restraints of creating and sharing digital narratives, allowing non-expert users to deploy projects and populate them with custom-made content. In other words, storytelling tools aim at giving space for diverse narratives to emerge and spread in the digital sphere. As facilitators of imagining and communicating ideas, they may also be considered incubators of rethinking societal challenges.</p>
<p>The three storytelling tools developed in the framework of the HORIZON2020 SO-CLOSE project allow users to create and publish multimedia, multilingual and accessible digital cultural heritage projects. In this demonstration, we present the three tools: the interactive story map, the immersive web doc and the participatory virtual exhibition. We showcase the publishing interfaces (front-end), the authoring and content management system (back-end) and a use-case application (project). The present prototypes will be publicly released by the end of the project (December 2022).</p>
<p>SO-CLOSE is a three-year project that aims at enhancing social cohesion through sharing the cultural heritage of forced migrations. Based on theories of cultural heritage-making, the project works towards exposing the commonalities of past and present experiences with the mediation of innovative digital tools and collaborative approaches. The act of storytelling becomes a premise for the potential of a better understanding between local communities and newcomers.</p>
<p>In this context, the three tools are conceived and developed to empower cultural institutions and communities in building and publishing their digital stories. To achieve this, end-users were intensively involved in the design process, through participatory methodologies. Starting from a state-of-the-art tools analysis, the project collaborated with cultural institutions, NGOs, refugees and asylum seekers, local communities, researchers and policy makers in the requirements elicitation process (interviews and focus groups), co-design workshops and validation surveys.</p>
<p>Overall, the users of the storytelling tools can create projects based on journeys, chapters or exhibitions, use modules that can be selected, shuffled and repeated, populate them with their own content – including 360 videos and images and 3D models – and carry out crowdsourcing calls. The projects are published online, with integrated features for accessibility, interactivity and data interoperability with other repositories.</p>
<p>The use-case that will illustrate the tools application will be a pilot project of Greek Forum of Refugees, co-created together with three different refugee communities living in Greece and the Contemporary Social History Archives.</p>
posters & demos: 142
https://doi.org/10.5281/zenodo.6586675
oai:zenodo.org:6586675
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://zenodo.org/communities/eu
https://doi.org/10.5281/zenodo.6586674
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece and online, May 31 to June 3, 2022
storytelling
digital cultural heritage
forced displacements
co-creation
story map
webdoc
virtual exhibition
The SO-CLOSE storytelling tools for digital cultural heritage
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:6597110
2022-06-01T01:51:22Z
openaire
user-dariahannualevent2022storytelling
Ordelman, Roeland
Sanders, Willemien
Zijdeman, Richard
Klein, Rana
Noordegraaf, Julia
Van Gorp, Jasmijn
Wigham, Mari
Windhouwer, Menzo
2022-05-31
<p>Having experimented successfully with various types and uses of data stories in the CLARIAH project, we are working towards a more generic, stable and sustainable infrastructure to create, publish, and archive data stories.</p>
https://doi.org/10.5281/zenodo.6597110
oai:zenodo.org:6597110
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6597109
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece and online, May 31 to June 3, 2022
Data Stories in CLARIAH — Developing a Research Infrastructure for Storytelling with Heritage and Culture Data
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:6588450
2022-06-28T08:31:13Z
openaire
user-dariahannualevent2022storytelling
carlos utrilla guerrero
vincent emonet
2022-06-07
<p>Like almost all research disciplines, digital humanities is poised to enter an era of unprecedented large scale analysis powered by massive amounts of (public) digital collections and hundreds of millions of records on the web. However, this rising amount of humanities data is largely unstructured, making it nearly impossible to connect to other datasets for better analysis, and in some cases even a shortage of usefulness or reusability.</p>
<p>An often invisible, but crucial part of the data storytelling lifecycle is the transformation of digital rudimentary data into intelligible information, namely data modeling. Historians, academics and data scientists are stymied in their ability to find, access and reuse this digital gold to produce statistical analyses and visualisations. Several studies have proposed semantic web technologies and FAIR approaches as a set of recommended solutions supporting better computational approaches, data storytelling and reuse. PLAYFAIR is concerned with how semantic web technologies can facilitate statistical analysis and visualisations on traditional games from various available sources and formats, in a universal and FAIR manner, and subsequently enhance data published on the Web in digital humanities for data storytelling.</p>
<p>This paper aims to present our chosen methodology and the challenges we faced when building a Knowledge Graph (KG) from the ERC-Digital Ludeme Project (DLP) using semantic tools such as CLARIAH public services. The DLP is constructing a unique database of historical evidence for traditional games, which can be used to model the evolution of games throughout history. The games within this database are described in terms of distinct ludemes, alongside auxiliary information such as rulesets, periods, evidences, regions and categories.</p>
<p>We specifically describe the process of building an online resource to explore the historical context of traditional games. We introduce the data model using established standards, in particular CIDOC-CRM and schema.org ontologies, for supporting data interoperability and longevity, as well as providing stable digital representations of traditional games. We then present the design and implementation of the KG using CLARIAH tools, which allow historians to transform source data into computable representation as well as link these to other resources (i.e. British Museum digital collection). We also present the online visualisation tool utilised to analyse and visualise clusters of ancient games. Entirely based on semantic web technologies, this tool is used to publish, access, and visualise research outputs. It also exposes a SPARQL endpoint and several other services to generate and share queries(e.g. data exploration and visualising high-dimensional data), enabling the ‘data storytelling’ to be FAIR. The KG and related visualisation tool turned data into a online storytelling resource that can be located by the community and thus maximise reusability. We conclude with a discussion of challenges we are facing at each step of the process and related methodology implementation. We propose design recommendations for effective methods for data modeling and visualisation, which can be used to facilitate FAIR storytelling and subsequent data reuse. We believe that this paper will be of interest to humanities projects that use visual analytics as part of their research process.</p>
https://doi.org/10.5281/zenodo.6588450
oai:zenodo.org:6588450
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6588449
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece and online, May 31 to June 3, 2022
fair
PLAYFAIR Project: Challenges and solutions towards building and visualising FAIR data for traditional games
info:eu-repo/semantics/lecture
oai:zenodo.org:6604598
2022-06-02T06:56:24Z
openaire
user-dariahannualevent2022storytelling
Anamarija Žugić Borić
2022-06-01
<p>Bearing in mind the potential of theatre collections, both building-based archives, museums, in-house theatre archives, privately owned collections and digital repositories, databases and collections, in shaping or manufacturing national theatre memory, the paper explores the relationship of selected Croatian digital theatre collections and virtual exhibitions and their possible roles in creating or (re)defining national theatre history/histories.</p>
<p>The paper focuses on the mechanisms through which virtual exhibitions and digital theatrical repositories participate in shaping the narrative of the Croatian national theatre history based on selected examples of available national e-sources. In this sense, the paper will try to review the criteria for deciding which material will be published or aggregated to a larger international repository and how it will be described using a specific metadata scheme. Criteria of copyright, visual/aural attractiveness and adaptability of material for digital infrastructures, availability of materials (archival records, documents and artefacts) or technical predispositions for digitization will be considered, together with the ideologies that often play a substantial role in selection and modes of material representation. Furthermore, the paper will address the issue of financial and human resources in order to point out inequalities between the capacity of mainstream and alternative theatres or individual artists, established theatre institutions and independent groups or individuals, professional and amateur troupes, etc. to digitally present materials that attest to their artistic work. It will also state the conceptual differences that arise from the aforementioned inequalities of these binary opposites, as well as from the (inter)nationally accepted story of what each of them should represent. The paper will then set out to answer two questions: first, the extent to which the availability of e-resources to domestic and international audiences is a favourable factor in disseminating, popularizing and understanding national discourse on theatre, and secondly, whether the availability of such unregulated infrastructures, in fact, fragments and limits the public perspective. Finally, the paper will try to offer guidelines on how to broaden this perspective through inclusive practices and a systematic approach to the treatment of theatrical records in digital resources, as well as in analogue collections.</p>
<p> </p>
https://doi.org/10.5281/zenodo.6604598
oai:zenodo.org:6604598
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6604597
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece and online, May 31 to June 3, 2022
theatre, performing arts, theatre archives, national identity, theatre historiography, national theatre
Digital Theatre Collections and Virtual Exhibitions as Storytellers of National Theatre History
info:eu-repo/semantics/lecture
oai:zenodo.org:6589728
2022-05-28T20:30:34Z
openaire
user-dariahannualevent2022storytelling
Kakouti, Georgia
Dritsou, Vicky
Benardou, Agiatis
2022-05-28
<p>Stories of the past should be told from multiple perspectives to make sure that memories are kept alive and vibrant. This paper traces difficult heritage in an attempt to restore historical information and shed light to stories of an inherently “difficult” historical period, the German Occupation in Greece. In our work we have focused on Block 15, an infamous site of the Haidari Concentration Camp, that served as isolation and torture area. To revive the stories and experiences from this camp, we have first studied historical resources, which were considered as our primary source. A secondary source we have worked with is the storyline of the interactive Block 15 scenario, i.e. the scenario of an immersive VR experience. This scenario, as a way of expressing the living experience, redefines memory by highlighting emotions, wounds and memories that are yet to be seen.</p>
<p>The documented information coming from both the primary and the secondary sources has been manually annotated and then organized into a knowledge base, which supports queries even of high complexity. For its development we have used the CIDOC CRM model, which has been extended to include specializations of classes and relationships, that explicitly capture the difficult heritage semantics of our digital stories, e.g. the concept of prisoner, of occupier, of a torture activity. By adding these specializations to our model, we are able to narrate the documented stories in detail and “narrates”, as accurately as possible, the historical storytelling of the scenario and the “stratopedic literature” by using classes and properties of a well defined ontology. This extended model has been encoded into RDF/S and the knowledge base has been successfully tested against complex SPARQL queries of historical interest. Such complex queries can serve as a basis to establish a different aspect to digital storytelling by stepping away from a linear, official, or idealized presentation of the past to “historical poetics”. Potential users are able to easily search and retrieve the historical information about Block 15 during 1943-1944, either by expressing their own SPARQL queries or by using one of the predefined that are already expressed. Our future plans include the expansion of the knowledge base, to test its applicability with respect to historical documentation coming from other concentration camps on one hand, while on the other hand to evaluate the extended model regarding the representation of digital stories concerning other aspects of difficult heritage.</p>
https://doi.org/10.5281/zenodo.6589728
oai:zenodo.org:6589728
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6589727
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece and online, May 31 to June 3, 2022
Storytelling, Block 15, Difficult Heritage, Conceptual Modeling, CIDOC CRM
Modeling historical storytelling
info:eu-repo/semantics/lecture
oai:zenodo.org:6579569
2022-05-25T13:50:11Z
openaire
user-dariahannualevent2022storytelling
Bouras Catherine
Franceschi Laure
Grandsagne Bertrand
Mulot Louis
Stahl Marie
2022-05-25
<p>Once upon a time…. The French School at Athens is one of the oldest archaeological institutes in Greece, promoting history, archaeology and culture of the country since 1846. It thus has certain long-standing traditions and favourite focus’s and sites, for the study of which the School’s Library and Archives have collected a great number of records and documents for studies and interpretations, or….stories. We propose a poster to illustrate the elements available to reveal or to tell a story and also how those elements can be reused to tell new stories. We use as a case study the research conducted at the forum of Philippoi by the École française d'Athènes in 2018.</p>
https://doi.org/10.5281/zenodo.6579569
oai:zenodo.org:6579569
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6579568
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
archaeology, archives, databases, publications, FAIR,
From archives to digital tools: the story of research of the EFA at Philippoi, Greece
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:6594716
2022-05-31T01:50:23Z
openaire
user-dariahannualevent2022storytelling
Lassen, Ida Marie Schytt
Bizzoni, Yuri
Peura, Telma
Thomsen, Mads Rosendhal
Nielbo, Kristoffer Laigaard
2022-05-30
<p>Narrative organization of information ties together storytelling in its many modalities. One archetypal expression of narratives we find in literary fiction. In this paper, we approach the elements of a successful narrative, and by extension storytelling, from the perspective of computational narratology. We are specifically interested in how to identify 'a good story'.</p>
<p>Quality assessment of literature is complicated by many factors. Literature is a complex linguistic phenomenon that conveys information indirectly, readers have different aesthetic preferences, and there is a lack of proper scientific instruments. One noisy, but ecologically valid measure is quantitative 'reader reviews.' On this account, a narrative is successful if readers rate it high. Such an 'extrinsic' success criterion is tempting because it is relatively easy to access, reflects readers' preferences in a natural setting, and its standardization appears trivial. A criterion that relies on reviews is however prone to several well-known biases, for instance, gender [1], ethnicity, and race [2], which point to fairness challenges in the classification of real-world data [3]. <br>
Instead of merely relying of review annotation of the success of a story, we suggest paying attention to the inner structure of a story, termed the 'intrinsic success'. </p>
<p>A recent theoretical paper has suggested that the affective coherence of a story, that is, the self-similarity of a sentiment story arc, functions as an index of a narrative's intrinsic success [4]. A complementary empirical study has shown that affective coherence can detect canonical literature [5].<br>
(something is missing here)<br>
While the use of computational narratology may seem compelling to minimize demographic disparities introduced by extrinsic success, it introduces less apparent and unknown biases. Genre, for instance, impacts a story arc and shows complex interactions with psychological propensities, aesthetic evaluation, and gender [1]. Socio-cultural norms may also play an important role in introducing unknown biases even at the methodological level.</p>
<p>In sum, there is no golden path to successful storytelling, that is, no single path that optimizes both quality and bias response. Instead, we see a multitude of possible trajectories, each of which implies different choices of known and unknown biases.</p>
<p>References</p>
<p>[1] S. Touileb, L. Øvrelid, E. Velldal, Gender and sentiment, critics and authors: a dataset ofNorwegian book reviews, in: Proceedings of the Second Workshop on Gender Bias inNatural Language Processing, Association for Computational Linguistics, Barcelona, Spain(Online), 2020, pp. 125-138.</p>
<p>[2] P. Chong, Reading difference: How race and ethnicity function as tools for critical appraisal, Poetics 39 (2011) 64-84.</p>
<p>[3] T. Miconi, The impossibility of "fairness": a generalized impossibility result for decisions,2017.arXiv:1707.01195.</p>
<p>[4] Q. Hu, B. Liu, M. R. Thomsen, J. Gao, K. L. Nielbo, Dynamic evolution of sentiments in Never Let Me Go: Insights from multifractal theory and its implications for literary analysis,Digital Scholarship in the Humanities 36 (2020) 322-332.</p>
<p>[5] Y. Bizzoni, T. Peura, M. R. Thomsen, K. L. Nielbo, Sentiment Dynamics of Success: Fractal Scaling of Story Arcs Predicts Reader Preferences, 2021. Proceedings of the First Workshop on Natural Language Processing for Digital Humanities (2021), 1-6.</p>
https://doi.org/10.5281/zenodo.6594716
oai:zenodo.org:6594716
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6594715
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece and online, May 31 to June 3, 2022
narrative
story arcs
quality assessment
bias analysis
No Golden Path - A Cautionary Tale of Quality and Bias
info:eu-repo/semantics/lecture
oai:zenodo.org:6609468
2022-06-07T09:26:40Z
openaire
user-dariahannualevent2022storytelling
Yaming Fu
Simon Mahony
Wei Liu
2022-06-01
<p>Since the 1990s digital storytelling, as an extension of the traditional narrative theory set against the backdrop of the “digital turn” (Noiret, 2018), has received significant attention in several fields that are concerned with human expression and experience, such as media research, public history, and education. Digital storytelling, understood here as a movement or method for creating, expressing, and sharing information using digital tools and new media forms, has been viewed as a “democratization of culture” (Clarke & Adam, 2011). It draws attention away from the mainstream and gives a voice to the marginalized, the minority, the overlooked and forgotten. Effective storytelling is based on the full participation of the both speaker and listener, providing a means of expression that can resonate both cognitively and emotionally (Chaitin, 2003). Despite ongoing discourse and practice in literary, education, and media research, its theory construction and practice in DH projects is still at an exploratory stage.</p>
<p>This presentation examines how digital storytelling has been used as a critical research method in the DH project <em>A Journey from Wukang Road</em> at Shanghai Library. Taking the site of Wukang Road and its associated buildings as the framework, this project uses knowledge organization methods and linked data to extract the relevant narrative elements and related details about people, events, activities, and historical changes from the appropriate library collection resources (including newspapers, old photos, books, maps, videos, etc.). In this way, the project reconstructs and restores the historical evolution of Wukang Road over more than 100 years by using the memories of the people connected with it (Xia et al., 2021). By organizing cultural resources based on their narrative elements, the evolutionary history can be reconstructed and decolonized with a more complete and clear storyline. It also engages citizens by having them upload photos and personal accounts of their memories and experiences of the road, restoring a rich picture of diverse voices from the community, challenging the established historiography and sociopolitical bias in the sources (Noble, 2018).</p>
<p>Using digital storytelling as a primary research method unlocks the diverse possibilities for reconstructing its history and the expression of existing narrative materials to meet the needs of different aims, contexts, and communities. It also supports inference from the resources to supplement and discover “new” knowledge that was always there but never before included in the story. Through the process of collecting, organizing, storing, linking, and displaying historical and cultural information, including the voices of the people, with the support of digital tools, this project is in essence a process of attaching consciousness and various perspectives on the past, retelling the story by rebuilding the complete picture.</p>
<p>Digital storytelling in this DH project emphasizes "reconstruction", a way to integrate, relate, and restore existing resources with the affordances of digital tools, thereby encouraging diverse expression, sharing, and even stimulating civil creativity. It is also collective behavior that discusses the perspectives on history and arouses public engagement, particularly in consideration of Shanghai cultural identity in this former home to the colonial powers.</p>
https://doi.org/10.5281/zenodo.6609468
oai:zenodo.org:6609468
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6609467
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece and online, May 31 to June 3, 2022
Digital Storytelling
Digital Humanities
History Reconstruction
Public Participation
Public History
Digital storytelling in DH practice to encourage civil participation and reconstruction of the historical narrative
info:eu-repo/semantics/lecture
oai:zenodo.org:6588716
2022-05-28T20:30:38Z
openaire
user-dariahannualevent2022storytelling
Elina Paliichuk
2022-05-27
<p>Stories have always structured our experience stored as scenarios and retrieved from our memory to cope with challenges we face. The awareness of the human ability to adjust new information to familiar narratives is intensely used by media in an extremely subtle way. Instantly recognizing the “once upon a time” cliché, we get transported into other worlds living through a hero’s life path and hoping for the best. With digital environments, messages are delivered far quicker than ever before, whereas social behaviours are traditionally driven by collective unconscious principle.</p>
<p>This research focuses on storytelling in the context of human trafficking. Exposed to pandemic, military threats, intolerance, migration, etc., no country is immune to modern day slavery. The objective is to establish the mechanism for mitigating human trafficking risks through stories. The stages include identifying the structure of human trafficking media scenarios, narrative perspectives, and messages in terms of their attitudinal perceptions of victims. The study is augmented with an empirical sleuth for verifying whether the readers believe in the positive outcome of the human trafficking situation.</p>
<p>The objective is achieved due to narrative perspective to identify plot parameters and establish human trafficking scenario, and the methods of empirical studies. The effect of the stories is evaluated based on the results of the survey conducted among 38 Ukrainian humanity students representing the youth as a vulnerable category. The <em>Paired Samples Test</em> is used to measure the differences in perceptions of human trafficking before and after being exposed to human trafficking media narratives.</p>
<p>The material for narrative analysis embraces 35 media stories highlighted by anti-trafficking campaigns. Four texts selected by random choice were used a case studies in the questionnaire. The hypothesis is that human trafficking stories transmit the supportive and encouraging messages to the audiences that 1) survival is possible; 2) it is worth of struggling if anyone gets into slavery conditions; 3) social reintegration is possible. These variables are measured statistically.</p>
<p>The results of narrative analysis shed light on the features of human trafficking stories: 1) the stories are based on simple narrative monomyth structure and reiterated cyclic construal representing departure, initiation, multiple actions victims are exposed to, and return; 2) the stories are predominantly told from the 1<sup>st</sup> person, i.e. from a victim’s point of view, so the narrative perspective is partially limited but not fixed; sometimes journalists/content writers act as narrators to direct readers’ perceptions; 3) the scenario is verbalised with connotative and figurative language for dramatic effect, as well as active voice verbs for traffickers’ actions and passive voice for dependent state of victims; 4) most of the survival stories end with a focus on the social value of the job performed by former victims, so the stories are charged with the potential to shape positive attitudes to former victims.</p>
<p>The empirical study findings speak for that “social reintegration is possible” is the only statistically valid variable (p<0.29 for Pair 5 and p<0.015 for Pair 6 by nominal and ordinal scales, respectively). The collected data on such variables as “survival is possible” and “it is worth of struggling if anyone gets into slavery conditions” prove insignificant. The respondents also say they are mostly impressed with Fragment 1 and Fragment 3 and evaluate media stories as emotional, depressive, sad, and realistic. The prospective studies will focus on the differences in perceptions of video vs textual formats of human trafficking storytelling in digital discourse and on the social value of the job performed by former victims.</p>
https://doi.org/10.5281/zenodo.6588716
oai:zenodo.org:6588716
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://doi.org/10.5281/zenodo.6588715
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
human trafficking, media storytelling, monomyth, empirical study, survival stories
ONCE UPON A TIME: IS THERE A HAPPY END IN A HUMAN TRAFFICKING MEDIA STORY?
info:eu-repo/semantics/conferencePoster
oai:zenodo.org:6580303
2022-07-01T13:02:56Z
openaire
user-sshoc
user-dariahannualevent2022storytelling
Laure Barbot
Edward Gray
Frank Fischer
Matej Ďurčo
Alexander König
Marie Puren
Stefan Buddenbohm
Cesare Concordia
Klaus Illmayer
2022-05-25
<p><em>Dating back to premodern times, marketplaces were community centres and hubs of activity. Merchants, officials, and regular citizens gathered not only to exchange goods, but stories - representing a multifaceted vision of what was going on in the community and the world at large.</em></p>
<p>Thanks to active contributions from its national nodes, DARIAH, together with CLARIN and CESSDA, has built the SSH Open Marketplace - <a href="https://marketplace.sshopencloud.eu/">marketplace.sshopencloud.eu/</a> -, a discovery portal which pools and contextualises resources for Social Sciences and Humanities research communities: tools, services, training materials, datasets, publications and workflows. As one of the flagship DARIAH services, the SSH Open Marketplace is the result of a vision long told by different actors of the DARIAH and DH communities. Its creation has been included in the DARIAH Strategic Plan 2019-2026 and funded under the SSHOC project - <a href="https://www.sshopencloud.eu/">sshopencloud.eu/</a> -, becoming as such a key component of the SSH branch of the European Open Science Cloud (EOSC) and involving partners beyond the initial scope. What kind of common story can we continue to collectively develop and tell now that the service is up and running? How can the SSH Open Marketplace support DARIAH research community storytelling and sharing while welcoming others? What are the technical choices behind the visible output that are supporting the initial vision, enabling discoverability and enhancing storytelling? These are some of the questions that the poster and demo of the SSH Open Marketplace would like to open and discuss with the DARIAH Annual Event audience. Our contribution will present how research communities can share, discover and re-use existing resources via the SSH Open Marketplace, and will demonstrate how research infrastructure services can support collective narratives.</p>
<p><strong>SSH Open Marketplace (meta)data</strong></p>
<p>With around 5 000 items at the time of its final release, the SSH Open Marketplace aggregates resources coming from or curated by the DARIAH, CLARIN and CESSDA networks and beyond. Thanks to this discovery portal, these three ERICs can showcase the productions of their national nodes, letting their story be seen in a new and contextualised way. DARIAH in-kind contributions, CLARIN Switchboard tools and Resource Families items, or CESSDA training resources are sources populating the Marketplace.</p>
<p><strong>Exploring, curating and re-using </strong></p>
<p>Thanks to its Application Programming Interface (API) and to a Python Library developed to complement its use - <a href="https://gitlab.gwdg.de/sshoc/marketplace-curation">gitlab.gwdg.de/sshoc/marketplace-curation</a> -, exploring, curating or re-using the SSH Open Marketplace (meta)data set takes another dimension. With a set of Jupyter notebooks accompanying the library, it is easy to analyse and to improve the data quality of the Marketplace.</p>
<p><strong>Context is queen!</strong></p>
<p>One of the added values of the SSH Open Marketplace is the contextualisation layer offered to create relations between the resources. One tool can easily be connected to a training material or a related publication. Furthermore, workflows can be used to showcase tools and standards use based on a step-by-step description of real research use-cases.</p>
<p>Event’s participants interested in bringing their voices into the SSH Open Marketplace will be guided during the poster and demo sessions. </p>
<p> </p>
<p><em>With many thanks to TRUST-IT for the initial design of the poster.</em></p>
https://doi.org/10.5281/zenodo.6580303
oai:zenodo.org:6580303
eng
Zenodo
https://zenodo.org/communities/dariahannualevent2022storytelling
https://zenodo.org/communities/sshoc
https://doi.org/10.5281/zenodo.6580302
info:eu-repo/semantics/openAccess
Creative Commons Attribution 4.0 International
https://creativecommons.org/licenses/by/4.0/legalcode
Storytelling - DARIAH Annual Event 2022, Athens, Greece and online, May 31 to June 3, 2022
Marketplace
EOSC
Digitial Humanities
Social Sciences and Humanities
discovery portal
tools
The SSH Open Marketplace: a multi-voiced story
info:eu-repo/semantics/conferencePoster