Digital Collections and Archives

Bu çalışma, Koç Üniversitesi Suna Kıraç Kütüphanesi Nadir Eserler Koleksiyonu’nda yer alan ve 1922-1949 yılları arasında yayımlanan illüstrasyonlu hiciv dergilerinin dijitalleştirme projesi üzerine yazılmıştır. 19. yy sonunda ile 20. yy başında roman, şiir, mecmua/dergi/magazin gibi yayınlarda, oldukça rastlanan ve ünlü ressamların, sanatçılarının illüstrasyonlarının ve resimlerinin kullanıldığı yayınlar göze çarpar. Bu tür “resimli” “betimlemeli” yayınların ortaya çıkmasında Londra ve Paris başı çekmektedir. Türk ressamların ve sanatçıların da bu akımdan en çok etkilendiği merkez, şüphesiz Paris olmuştur. Suna Kıraç Kütüphanesi’ndeki illüstrasyonlu mecmualar da, bu akımdan etkilenen sanatçıların eserlerini içerir ve Türk Karikatür Basımları Koleksiyonu olarak bir araya getirilmiştir.

Ao longo de uma trajetória de quase duas décadas entre a prática como gestor, curador e pesquisador de arte digital e tecnológica, me deparo constantemente com as instabilidades do campo. Seja do ponto
de vista tecnológico, das condições envolvidas de pessoas e instituições, ou do sentido conceitual e abrangente do tema da arte por meio da vida digital.

Ser, viver e experienciar a arte no digital não é tarefa fácil, ainda que pareça, a partir da geração dos nativos digitais. Artistas, instituições, curadores e demais profissionais como museólogos, arquivistas, biblioteconomistas e gestores lidam com descontinuidades diversas que ultrapassam o limite entre intenção e realidade concreta de conservar, preservar a memória coletiva e cultural de uma sociedade cada vez mais pós-digital.

Digitalisierung macht Geschichte: Öffentliche Institutionen übernehmen vermehrt Fotobestände von Bildagenturen und codieren sie zu historischen Kulturgütern um. Doch das ist bloss das vorläufige Ende eines vielschichtigen historischen Prozesses. Basierend auf einer historischen Ethnografie des Fotoarchivs des Schweizer Ringier-Verlags geraten Akteuren, archivarische Praktiken und institutionelle Logiken unter die Lupe. Sie geben den mannigfaltigen Digitalisierungsprozessen von Fotografien seit den 1970er-Jahren Kontur. Dabei wird in verschiedenen historisch-medialen Konstellationen deutlich, wie und mit welchen Beweggründen Bilder an Geschichte geknüpft worden sind. Der Fall Ringier ermöglicht so zugleich eine praxeologische Reflexion über das Verhältnis von Fotografie, Archiv und Geschichte.

Koç Üniversitesi Suna Kıraç Kütüphanesi'nin, 2019’da açılan koleksiyonu "Hüseyin Hilmi Paşa Belgeleri" yüzyıl sonundaki Osmanlı İmparatorluğu'nun siyasi, ekonomik ve sosyo-kültürel ortamını tasvir eder. İşleme ve dijitalleştirme projesine geçen yaz başlanan koleksiyonun baş kahramanı Hüseyin Hilmi Paşa (1855-1922), II. Meşrutiyet Dönemi'nde II. Abdülhamid saltanatında (31 Mart Ayaklanması sırasında, 14 Şubat 1909-13 Nisan 1909 tarihleri arasında) ve V. Mehmed saltanatında (5 Mayıs 1909-28 Aralık 1909 tarihleri arasında) iki kez sadrazamlık yapmış Osmanlı devlet adamı ve yöneticidir. Koleksiyonda Hüseyin Hilmi Paşa'nın kendi kişisel arşivi için sakladığı yazışmalar ve gazete kupürleri yer almakta… Projeyle ilgili bilgiler yer alır.

According to scholars, the Hackable City model is replacing the Smart City one. The participatory approach in the digital revolution is a fundamental element of this new city and society model, which is much more inclusive than the previous one. This model is also perfectly applicable to the co-creative, inclusive and bottom-up participation in culture.
Here, presenting the case study project #iziTRAVELSicilia, we can demonstrate how a creative and participatory involvement in co-creation of cultural digital content could have positive impacts on a museum management also in terms of costs of implementation and updating; maintenance; conservation; long-term social and economic revenues; and, finally, quantitative performances.
According to the evolution from the smart city model to the kaching one, this project offers insights both to policy makers, on the possibility for defining territorial promotion strategies, and to museums’ and cultural institutions’ staffs, on the possibility of defining sustainable communication and participatory strategies about their collections, such as the case of the Ursino Castle Civic Museum in Catania, which staff since 3 years is involving many High School and University of Catania students in communicating their collection.

Digital technologies and their uses within museum collections have until recently been explored primarily from a technical viewpoint. Increasingly, museum professionals are moving beyond technologically-driven reasoning to entertain new ways of conceptualizing both collections and information. This is leading to knowledge models beyond those already imagined. This paper considers the synergy between theoretical ideas in the academy and the computer ontologies that have been brought to bear on collections information. Drawing on user research findings from the Themescaping Virtual Collections project and the work of leading literary and media theorists, the paper examines how user needs and digital technologies are reformulating our understanding of museum collections and the relationships between museums and audiences. The knowledge connection—Media theorist Marshall McLuhan (1964, xi) challenged technologically deterministic arguments to account for the emergence of new technologies (notably print, and, more recently, television). McLuhan stated: " We become what we behold that we shape our tools and thereafter our tools shape us. " Viewing the world in terms of embedded knowledge structures, he argued, enables the development of tools that emulate new social and theoretical ideas. New ways of perceiving encourage social transformation. These tools—and the technological innovations they reflect—offer possibilities beyond those originally imagined. In the current technological context, poststructuralism and postmodernism are the theoretical structures that enabled multimedia and the Internet to emerge as forms of information architecture. Multimedia, hypertext, hypermedia and the Internet might be described as the ultimate postmodern media set. The intellectual characteristics of post-325 Fiona Cameron (fiona.cameron@arts.usyd.edu.au) is a research fellow in history in the

We are pleased to announce a call for papers for a special session on ** Artificial Intelligence & Digital Heritage: Challenges and Opportunities **. The ARTIDIGH 2020 special session is a very small and specialized event to be held during the 12th International Conference on Agents and Artificial Intelligence (ICAART 2020) in Malta, 22 – 24 February 2020. Our goal is to select a consistent set of papers which provides the audience with a focused discussion on the special session’s theme. For more information and paper submission click see here: http://www.icaart.org/ARTIDIGH.aspx

In an interview published in a recent anthology of essays concerned with the ‘archive’, Beatrice von Bismarck and Irmgard Christa Becker proffered two connected yet competing views. While both agreed that ‘there are institutional similarities between archives and museums with regard to their basic idea, their administration and their reception’1 for Becker, a trained archivist, the public archive is bound by rules that do not obtain for museums.

Paris'te yaşayan Hititolog Prof. Dr. Hatice Gonnet Bağana tüm kariyeri boyunca bir araya getirdiği kişisel kitaplığını, belge ve görsel arşivini 2014 yılında Koç Üniversitesi Suna Kıraç Kütüphanesi'ne bağışlamıştır. Gonnet Bağana Paris'te Prof. Emmanuel Laroche'un öğrencisi olmuş, Emmanuel Laroche'un emekli olmasının ardından Hititoloji bölümünün sorumlusu olarak Ecole Pratique des Hautes Etudes V. Seksiyon'una seçilmiştir. Gonnet Bağana'nın bağışladığı arşivin temelini kitaplar, ayrı basımlar, transkripsiyonlar, notlar, görseller ve mimari planlar oluşturmaktadır. Bu makalede, arşivin Koç Üniversitesi'ne bağışçı tarafından teklif edilmesi, Paris'ten İstanbul Suna Kıraç Kütüphanesi'ne getirilmesi, kütüphanede tasnif edilmesi, envanterinin çıkarılması, uygun saklama koşullarının sağlanması ve dijitalleştirilmesi işlemleri tartışılmaktadır. Bu çalışmada özgün olarak bir Hititoloğa ait arşivin ilk defa dijitalleştirilip çevrim içi olması ve araştırmacılara açılması incelenmektedir.

This paper describes the current status and the future outlook for KE EMu, a system for museum collection documentation and management that is capable of monitoring collections and exporting data to websites. Although KE EMu is a collections management system for all museums and collections, it has great potential for natural history collections, especially geological collections that have been relatively neglected. KE EMu Software has been active in supporting efforts to standardize documentation, encompassing all kinds of information (e.g., images, bibliography, exhibition history) that are associated with the item and its management. Information is the future, and the Internet is the main means of communicating this information. Museums are repositories of a wide variety of information about collections (Bižić-Omčikus, et al., 2005; Gavrilović, 2007). A museum object is a source of scienti c and/or cultural data, forming a basis for research. erefore, it is important to nd ways to facilitate access to this data, as well as to organize the data systematically. In the early days of museums, the object and its associated bibliographical information were paramount, and processes such as treatment techniques, type cataloguing and heritage conservation were of secondary importance. e use of objects for teaching purposes (pedagogy) developed subsequently in museums. Increasingly , the stakeholder is choosing the information they require from the museum. Museums disseminate information about the objects in their collections, including catalogues, bibliographical and documentary data, that is useful to the researcher. Standardizing so ware used in museums and related institutions helps both curators and the users of the information, ranging from members of the public to specialist researchers. Any citizen can bene t from the availability of information in today's society of knowledge. In an environment allowing the user remote access to large amounts of information, the consolidation of information management systems has two advantages: (1) it facilitates the future construction of collective

In September 2018, Brazil witnessed a fire that devastated the National Museum, one of the most important in Latin America, with a collection of over 20 million artifacts (Alessi, 2018).

This  episode,  in  addition  to  provoking  debates  about  the  administration  and  allocation  of  public  resources,  also  brought  to  light  the  importance  of  policies  to  preserve  historical  and  cultural heritage.In  this  context,  technology  emerges  as  an  important  tool  to  preserve  these  documents,  enabling digitization and prevention in light of accidents and natural degradation processes.

Furthermore, digitization allows for remote access to content, representing a key instrument in the democratization of knowledge, especially considering the great geographic disparities in  the  distribution  of  museums,  libraries  and  cultural  venues  as  a  whole  (Brazilian  Internet  Steering Committee [CGI.br], 2017).However,  even  though  it  is  a  very  important  instrument  for  preserving  memory  and  culture,  the  digitization  of  collections  still  faces  several  barriers  to  implementation,  such  as  lack  of  resources  and  qualified  workforce,  in  addition  to  limitations  of  legal  nature,  such  as  those  imposed by copyrights. A significant part of collections in Brazilian museums contain works protected by copyright, which makes them subject to the provisions set forth in the Copyright Law for digital reproduction (Law no. 9.610, 1998).

This  article  outlines  laws  regarding  reproduction  included  in  the  Brazilian  Copyright  Law  in  terms  of  the  digitization  of  collections,  seeking  to  identify  legal  difficulties  imposed  on  the  production and distribution of digital copies of works by cultural facilities in the country.

In terms of methodology, this analysis is based on a literature review and an examination of the results of the survey on the use of information and communication technologies (ICT) in Brazilian cultural facilities: ICT Culture 2016, conducted by the Regional Center for Studies on the Development of the Information Society (Cetic.br), a department of the Brazilian Network Information Center (NIC.br), linked to the Brazilian Internet Steering Committee (CGI.br).

Digitisations are viewed as immaterial, informational replicants of their parent, the ‘real object’, and as networked human and machine subjectivities. While material heritage is founded on an artefactual notion of identity, the digitisation is founded on an informational one. Digitisations are coupled to their material parent through their semblance, but they and indeed other copies rarely if ever are the same as each other; they appear on different platforms, browsers, monitors and according to different resolutions. The conceptualisation of heritage objects and digital heritage objects as entangled relations and interactions, as pluri-modal transvisual experiences, as polysemic heritage representational systems and as non-representational dynamic processes signals the demise of the virtual terrorist. Millions of collections of digitisations and three-dimensional visualisations of heritage objects and sites inhabit and circulate in global computational infrastructures. Digitisations as thingness comprise the interoperability of their immediate technicities and locales, but their coordinates are extended through their addressability across multiple, multivalent layers in global computational infrastructures

The technological progress of the past decades has had a transformative effect on both cultural institutions and academic research. It is generally accepted that mass digitization projects led by museums, libraries and archives have allowed institutions to reach new audiences and increase the impact of their collections, while the emergence of digital libraries and other types of digital resources has opened up new opportunities for scholars in terms of accessing diverse types of information. Yet, our knowledge of the impact of these resources on the scholarly workflow beyond the stage of discovery remains limited; this paper argues for the importance of understanding user behavior and needs for building digital resources that have a positive effect on the whole scholarly workflow. By employing an ethnographic approach to the study of art historians’ habits we get a detailed view of the effect that digitization and digital resource design can have on scholars’ work, from the seeking...

Student Librarians and Information Professionals Ireland Conference (SLIP Ireland 2018), Dublin City Library, 24 February 2018

“From the Archive to the Web: Dilemmas with Digital Scholarly Editions.”

Two longstanding activities associated with humanities computing/digital humanities (DH) are digital archiving and digital scholarly editing. Both activities can be traced to the pre-Web era and gained prominence from the mid-1990s due to advances in digitisation technologies, combined with the development of the Web in the public domain. While they have characteristics in common such as the digitisation of texts/documents and the provision of access to the digital surrogates in an online environment, it is worth noting that they are not the same thing.

Sahle defines scholarly editions as the “critical representation of historic documents” (23), with a digital scholarly edition (DSE) being a scholarly edition that is “guided by a digital paradigm in [its] theory, method and practice” (28). Characteristics of a DSE include the digitisation, transcription, and encoding of texts/documents for presentation in the HTML environment, with added contextualisation through hyperlink annotations and/or multimedia. While the tasks involved in producing a DSE seem relatively straightforward, nonetheless, DSE projects often run the risk of not being completed on time or within budget. For instance, problems arise from underestimating the length of time it will take to complete a task, a failure (at the start) to configure the parameters and constraints of the proposed web platform to be used, and a major dilemma is Scope Creep. Thus, the aim of this presentation is to provide some useful tips for early career information professionals on how to avoid some of the pitfalls in producing a quality DSE within time-frame and budget.

Observed from the "memory economy" perspective, digital archives of cultural heritage, besides the reliable memory function, have economic role in mapping local and global "cultural geography" as well. The mentioned economic role of digital archives is manifested in the long-term promotion of cultural heritage, thus turning archived content into the promoter of the cultural property itself, a place where it is located or with which the cultural property is connected with its origin, while a local community has economical, socials or historical links with this cultural property. The visibility of digital archives is closely related to the platform where the archival material is presented. This paper analyses archive collection of novel Vilijun as an example of open digital archives dedicated to one contemporary novel with heritage content. Topotheque digital platform uses interactive IT tools, it is based on a collaboration and engagement of heritage professionals, users and visitors, and descriptions of presented material go beyond the standardized rules of archival description. Topotheque Vilijun is private collection related to interactive novel Vilijun whose content promotes heritage. Promotion of the novel Vilijun is a new form of "memory economy" whose visibility, and thus promotional reach, transcends authors 'and publishers' activities. The presented content (the book-product of the publishing industry) through the reach and visibility of the Topotheque platform becomes a product of the cultural and creative industry whose promotion is happening and documenting on the long-term. It allows for long-time preservation and access to digital content and ensures it's promotion and is thus a "real" ar

Bird and Simons (2003), Johnson (2004), Nathan (2011), and Holton (2012) all emphasize the importance of archiving language artifacts. Woodbury (2003) suggests that lexical database resources should become part of the preserved documentary evidence - regardless of decisions to classify lexical datasets (which are often the foundational resources for dictionaries) as ‘language description’ or ‘language documentation’ materials. Language artifacts stewarded by archives are increasingly important in linguistic analysis, in peer review, and to minority language communities. This is in large part due to the impact of language documentation (Himmelmann 1998) on the linguistic sciences. However, as scientists and producers of language material artifacts, do archiving requirements come to us as linguists begrudgingly or do we embrace them? Paterson & Nordmoe (2013) suggests that among SIL staff there exist over 1 million unarchived minority language related artifacts including a substantial number of lexical databases. Lexical databases are complex resources potentially representing thousands of work-hours in data edits and curating and are valued by a wide variety of users including those who are interested in language revitalization and language descriptions.
[Author]’s claim that such a large quantity of resources are in danger of being lost thereby contributing to the “erosion of the base” within linguistics raises the question: is the volume of unarchived and endangered resources a localized behavioral attribute within a particular social network or is it a linguistics wide phenomenon?
In this presentation results are presented which test the hypothesis that quantitative rates of archiving lexical dataset resources are homogeneous between SIL linguists (84 respondents) and non-SIL linguists (78 respondents). Further, an analysis of questionnaire results sent to linguists who self-identified as FLEx or Toolbox users is presented. The results suggest that there is homogeneity between the two groups of respondents with respect to archiving practices and that archiving rates are low compared to the number of lexical databases created. The low ratio of archived lexical databases to unarchived lexical databases has the potential to impact the current and future capacity of linguists, especially where lexical database resources concern endangered languages.