Rethinking the participatory web: A history of HotWired’s “new publishing paradigm,” 1994–1997

This article critically interrogates key assumptions in popular web discourse by revisiting an early example of web ‘participation.’ Against the claim that Web 2.0 technologies ushered in a new paradigm of participatory media, I turn to the history of HotWired, Wired magazine’s ambitious web-only publication launched in 1994. The case shows how debates about the value of amateur participation vis-à-vis editorial control have long been fundamental to the imagination of the web’s difference from existing media. It also demonstrates how participation may be conceptualized and designed in ways that extend (rather than oppose) 'old media' values like branding and a distinctive editorial voice. In this way, HotWired's history challenges the technology-centric change narrative underlying Web 2.0 in two ways: first, by revealing historical continuity in place of rupture, and, second, showing that 'participation' is not a uniform effect of technology, but rather something constructed within specific social, cultural and economic contexts

Touching the void: affective history and the impossible

In order to understand the persistence of History, we need to understand the appeal of historical work, its pleasures. Without such an understanding, theory and research will continue to talk at cross purposes, the one insisting that the past is unknowable; the other unable to ignore the vitality of its sources. The contention of this essay is that historical research is an affective experience of such intensity that it has been able to withstand the challenges of post-structuralism and postmodernism and so continue with ‘business as usual’ (Jenkins 2003, 15). While the intensity of the archival encounter is not often admitted in print, it continues to motivate the efforts of individual historians. The abstractions of theory cannot intrude upon the physical experience of holding a piece of the past. It demands our attention. But the intellectual consequences of the physicality of the archival encounter need to be effectively theorised: what is the role of touching and feeling in the pursuit of knowing? The archive is the place where historians can literally touch the past, but in doing so are simultaneously made aware of its unreachability. In a maddening paradox, concrete presence conveys unfathomable absence. In the archive, researchers are both confronted with the absolute alterity of the past and tempted by the challenge of trying to overcome it. It is suggested that this impossibility underpins the powerful attraction of the historical endeavour

Appraisal and the Future of Archives in the Digital Era

Discussion of the implications of new technologies, changing public policies, and transformation of culture for how archivists practice and think about appraisal

Creative Archiving: A Case Study from the John Latham Archive

This article looks at the history of the archive profession and emphasises the perceived role of the archivist as the keeper of truth. It focuses on the recent developments in archival practice with the adoption of post-modern thinking and its implementation with open-access archives online. Following a discussion of that approach, it introduces the concept of creative archiving as an alternative approach to archival practice and continues with the presentation of a case study from the John Latham Archive. It concludes with a discussion of the main pros and cons of creative archiving

Digital Curation and the Citizen Archivist

The increasing array and power of personal digital recordkeeping systems promises both to make it more difficult for established archives to acquire personal and family archives and less likely that individuals might wish to donate personal and family digital archives to archives, libraries, museums, and other institutions serving as documentary repositories. This paper provides a conceptual argument for how projects such as the Digital Curation one ought to consider developing spinoffs for archivists training private citizens how to preserve, manage, and use digital personal and family archives. Rethinking how we approach the public, which will increasingly face difficult challenges in caring for their digital archives, also brings with it substantial promise in informing them about the nature and importance of the archival mission. Can the Digital Curation project provide tools that canbe used for working with the public

A Framework for Aggregating Private and Public Web Archives

Personal and private Web archives are proliferating due to the increase in the tools to create them and the realization that Internet Archive and other public Web archives are unable to capture personalized (e.g., Facebook) and private (e.g., banking) Web pages. We introduce a framework to mitigate issues of aggregation in private, personal, and public Web archives without compromising potential sensitive information contained in private captures. We amend Memento syntax and semantics to allow TimeMap enrichment to account for additional attributes to be expressed inclusive of the requirements for dereferencing private Web archive captures. We provide a method to involve the user further in the negotiation of archival captures in dimensions beyond time. We introduce a model for archival querying precedence and short-circuiting, as needed when aggregating private and personal Web archive captures with those from public Web archives through Memento. Negotiation of this sort is novel to Web archiving and allows for the more seamless aggregation of various types of Web archives to convey a more accurate picture of the past Web.Comment: Preprint version of the ACM/IEEE Joint Conference on Digital Libraries (JCDL 2018) full paper, accessible at the DO

The Passing of Print

This paper argues that ephemera is a key instrument of cultural memory, marking the things intended to be forgotten. This important role means that when ephemera survives, whether accidentally or deliberately, it does so despite itself. These survivals, because they evoke all those other objects that have necessarily been forgotten, can be described as uncanny. The paper is divided into three main sections. The first situates ephemera within an uncanny economy of memory and forgetting. The second focuses on ephemera at a particular historical moment, the industrialization of print in the nineteenth century. This section considers the liminal place of newspapers and periodicals in this period, positioned as both provisional media for information as well as objects of record. The third section introduces a new configuration of technologies – scanners, computers, hard disks, monitors, the various connections between them – and considers the conditions under which born-digital ephemera can linger and return. Through this analysis, the paper concludes by considering digital technologies as an apparatus of memory, setting out what is required if we are not to be doubly haunted by the printed ephemera within the digital archive

CURIOS: Connecting Community Heritage through Linked Data

Peer reviewedPostprin