Thinkering

During this conference digital history will be addressed through a triple spectrum: academic research, public history, and pedagogy, in order to trace continuities and transformations in history as a discipline; and contribute to explore the broader digital humanities field through this case study.

In the 2017 edition of the conference, arts and humanities students and early career researchers, regardless of their technical background, were invited to share their ideas and experiences in their creative and scientific encounters with visualisation as it is deployed in and for research across disciplines.

The challenge of this workshop on 'transcription and technology’, which took place from 10 to 12 May in Arezzo, consisted in turning recorded human speech into a textual representation that is as close as possible to what has been uttered.

In the course of the twentieth century, various generations have documented and materialized their family memories on film, video and digital media. But how have these changes in technologies of memory shaped new forms of recording and screening as family memory practices?

From 20th to 24th February, a winter school on “Skills in digital humanities” was organised at the University of Luxembourg, where the participants were introduced to the software Nodegoat and the development of databases. It was a possibility of tinkering with a digital tool that was completely new to me. In the following, I will give a personal account of my own experiences with Nodegoat, and present a critical reflection on the problems I encountered and the use of digital tools.

In this article, I will develop a first outline of my dissertation project on the history of cultural policy in Luxembourg, which would include a case study of a cultural institution.

During the workshop on digital source criticism that was held at the Humboldt University in Berlin on 23 June 2016, interesting reflections on the “digital turn” aroused.

Fabricating modern societies: Industries of reform as educational responses to societal challenges (FAMOSO and FAMOSO-2)

A whole range of digital tools exists nowadays to help historians in their daily work, but how to choose the “perfect” one for your needs? Should you lose time searching for the holy Grail, or take the risk to try out and study tools that, in the end, might not fit your needs?

Darstellung von Handel, Händler und Transport von Textilien in Mitteleuropa (Gallien, Germanien, Rätien) zur Zeit des Römischen Kaiserreiches bis 301.

Pompeian wall paintings as a source of inspiration for neo-classical domestic interior decorations; a digital approach to art history.

From the 1940s on the computer starts playing a prominent role, shaping the field of physics. The integration of the computer in this discipline was by no means a natural inclusion, but a process of debate and negotiation of what it meant to “do” physics and what kind of knowledge can be acquired using computers.

Data are not the same as sources and datasets need rigidly defined categories of information which does not allow for deviation and reinforces binary oppositions such as male and female.

The challenge of leading a workshop with the goal of bringing scholars together and teach them how to apply a number of basic digital tools on a dataset of military memoires.

In the last decade, the use of ‘all things digital’ has taken flight in historical studies, supporting new research with digital tools and platforms. But we also have to recognise the limitations when it comes to digitising, accessing and using digitised material.

'Staging the Amateur Film Dispositif' is a media archaeological experiment performed on March 31, 2014 at the 9th International Orphan Film Symposium at the EYE Film Institute Amsterdam. In three tableaux we explored how past media usages of film, video and digital media have altered the practices of home movie staging.