Classifying Tweet Level Judgements of Rumours in Social Media

Social media is a rich source of rumours and corresponding community reactions. Rumours reflect different characteristics, some shared and some individual. We formulate the problem of classifying tweet level judgements of rumours as a supervised learning task. Both supervised and unsupervised domain adaptation are considered, in which tweets from a rumour are classified on the basis of other annotated rumours. We demonstrate how multi-task learning helps achieve good results on rumours from the 2011 England riots

Film archives and digital humanities – an impossible match? New job descriptions and the challenges of the digital era

This article seeks to prompt a re-evaluation of the fi lm archive's role within the current digital humanities debate as a logical, yet underrated, partner. The article invokes Jeffrey Schnapp’s and Todd Presner's plea from 2009 for digital humanities to create as its core aim a more democratic view of knowledge-producing institutions by including non university research institutions as well as archives and museums. Archives, on the other hand, currently face the crucial challenge of how to digitise and present their collections online while struggling with rising related costs and having to redefi ne their mission as heritage keepers for often unique analogue material. The potential options for future collaboration between fi lm archives and digital humanists as well as fi lm scholars will also be discussed in this paper through an examination of the current situation

Film archives and digital humanities – an impossible match? New job descriptions and the challenges of the digital era

Th is article seeks to prompt a re-evaluation of the film archive's role within the current digital humanities debate as a logical, yet underrated, partner. The article invokes Jeffrey Schnapp’s and Todd Presner's plea from 2009 for digital humanities to create as its core aim a more democratic view of knowledge-producing institutions by including non-university research institutions as well as archives and museums. Archives, on the other hand, currently face the crucial challenge of how to digitise and present their collections online while struggling with rising related costs and having to redefi ne their mission as heritage keepers for often unique analogue material. The potential options for future collaboration between film archives and digital humanists as well as film scholars will also be discussed in this paper through an examination of the current situation

Adam Scriveyn in Cyberspace: Loss, Labour, Ideology, and Infrastructure in Interoperable Reuse of Digital Manuscript Metadata

This chapter seeks to demystify invisible work at the heart of manuscript digitization. Descriptive metadata and its curation are the unseen elements upon which image discoverability—and later reuse—depends. Seeing and taking seriously that labor, I contend, is fundamental to developing a more rigorous understanding of medieval manuscripts in our increasingly digital age. The chapter begins by connecting major challenges facing manuscript interoperability to the deeper disciplinary histories of codicology, library studies, and digital humanities. Next, it progresses through three case studies, each of which illustrates different challenges in digital manuscript studies. Studying the Walters Art Museum metadata, I emphasize how change (mouvance, variance) is inevitable in digital manuscripts. Working with Parker on the Web, I reveal how and why data curation is a process not just of preservation, but also of loss. Finally, in ecodices, the Virtual Manuscript Library of Switzerland, I connect individual curatorial choices to larger debates about access, audience, and the problematic monolingualism of the digital humanities. Throughout, I argue that creation and curation are not neutral acts. I repeatedly highlight how my medievalist roots shaped specific curatorial practices and use medieval poets to theorize my work on digital manuscripts. By foregrounding my own narrative of growth as a digital humanist, I seek to show how often-unseen laborers profoundly influence digitizations--and, through them, digital humanities more broadly. Ultimately, I argue that a more just digital humanities must include digitizers in its histories, presents, and futures

To share or not to share: Publication and quality assurance of research data outputs. A report commissioned by the Research Information Network

A study on current practices with respect to data creation, use, sharing and publication in eight research disciplines (systems biology, genomics, astronomy, chemical crystallography, rural economy and land use, classics, climate science and social and public health science). The study looked at data creation and care, motivations for sharing data, discovery, access and usability of datasets and quality assurance of data in each discipline

The rise of the citizen curator : participation as curation on the web

From jazz clubs to cheese plates, the term curation has become a signifier of the growing need to organise and prioritise the seemingly endless possibilities of the digital sphere. The issue addressed here is in the associated meanings of the word curation and what it means to be a curator by examining the experience of the curatorial within a discrete context: the Irish curatorial landscape. The word curation comes from the Latin curare, to care for, and has long been associated with the professional duties of those selected as custodians for objects and knowledge deemed to be important to communities, nations, countries or even the world. However, as objects move from being purely physical to the digital, and knowledge changes from being transmitted through similarly physical media to digital formats that can be set free on the Web, what it means to curate has also changed. Curators are no longer necessarily identified as employed within museums or galleries; the word is now also applied to those who engage with and aid in the management and presentation of digital assets online. Curators have emerged in the online space much like their forerunners, bloggers or citizen journalists. We are now seeing the rise of citizen curators on the Web, which has not created these individually motivated curators, but has made their curatorial activities visible. Citizen journalists no longer need to have a printing press or publishing house to communicate with their audience; similarly, citizen curators do not need a private cabinet of curiosities or a job in a museum to allow them to curate or exhibit to an audience.The aims of this research are threefold: to examine the current terminology related to curation by those who identify as curators or engage in curation in Ireland; to define what it means to be a curator or a citizen curator within the Irish context; and to investigate the changing nature of exhibition spaces contained in the Irish context in light of the Web and digital spaces. The study will take the form of an autoethnography, exploiting my unique position within the museum and open knowledge community in Ireland to examine current understandings of curation and the phenomenon of the citizen curator. The focus will be on my work within Wikimedia Community Ireland (WCI), a branch of the Wikimedia Foundation which promotes the use of Wikipedia in Ireland in education, culture, and open knowledge. As an autoethnographer, I can act as an intermediary, part way between those working in cultural organisations and the public involved in knowledge building projects. The study will look at how those engaged in curation articulate the work they do by means of interviews and participant observation. These sources will allow for the development of a spectrum of curatorial practice.The spectrum will arise from the participants’ (both citizen curators and those working in Irish cultural institutions) own understanding and definitions of curation and what it means to curate. In placing these definitions of curation within a spectrum that takes in broader understandings of curatorial practice, the newer forms of digital curation, and a picture of how the citizen curator relates to these methods, will emerge. The disruptive effect which the digital, and in particular the concept of the Long Tail, has brought to bear upon understanding of the assembling, storing, and using of collections will be examined. It will answer many of the issues surrounding the discipline-specific definitions of curation and the curator while informing their relationship with each other. By drawing out curation into a spectrum, what unfolds is the movement of curation from a traditional and closed system of learnt practices, to one which is formed around more open and accessible conventions of curation. In identifying the citizen curator, their role in the larger curatorial debate can be acknowledged and better incorporated into the multitude of online curated projects. This hinges on the emergence of the Do It With Others ethos which pervades both online and offline creative communities, and it redefines curation from a solitary practice, to one which is demarcated by its participatory nature

Archives, Access and Artificial Intelligence: Working with Born-Digital and Digitized Archival Collections

Digital archives are transforming the Humanities and the Sciences. Digitized collections of newspapers and books have pushed scholars to develop new, data-rich methods. Born-digital archives are now better preserved and managed thanks to the development of open-access and commercial software. Digital Humanities have moved from the fringe to the center of academia. Yet, the path from the appraisal of records to their analysis is far from smooth. This book explores crossovers between various disciplines to improve the discoverability, accessibility, and use of born-digital archives and other cultural assets