The Necessity of Linked Data alias Thinking Big in Computational History

In this paper we will demonstrate the urgent necessity of a linked data policy that includes a normative framework and implementation technique for research projects in computa- tional history and, more generally, in computational humanities. Rather than discussing the subject on an abstract level, we will instead apply examples from own experiences linking data located in different repositories. We will primarily focus on the repository of the long-term research project «Repertorium academicum germanicum» (RAG)1. To begin, we will explain our motivation to build connections between different datasets, followed by a discussion of our methodology in navigating other repositories. In the conclu- sion, we will offer suggestions concerning future research and policy in computational history

Visualising Cultural Data: Exploring Digital Collections Through Timeline Visualisations

This thesis explores the ability of data visualisation to enable knowl-edge discovery in digital collections. Its emphasis lies on time-based visualisations, such as timelines. Although timelines are among the earliest examples of graphical renderings of data, they are often used merely as devices for linear storytelling and not as tools for visual analysis. Investigating this type of visualisation reveals the particular challenges of digital timelines for scholarly research. In addition, the intersection between the key issues of time-wise visualisation and digital collections acts as a focal point. Departing from authored temporal descriptions in collections data, the research examines how curatorial decisions influence collec-tions data and how these decisions may be made manifest in timeline visualisations. The thesis contributes a new understanding of the knowledge embedded in digital collections and provides practical and conceptual means for making this knowledge accessible and usable. The case is made that digital collections are not simply represen-tations of physical archives. Digital collections record not only what is known about the content of an archive. Collections data contains traces of institutional decisions and curatorial biases, as well as data related to administrative procedures. Such ‘hidden data’ – information that has not been explicitly recorded, but is nevertheless present in the dataset – is crucial for drawing informed conclusions from dig-itised cultural collections and can be exposed through appropriately designed visualisation tools. The research takes a practice-led and collaborative approach, work-ing closely with cultural institutions and their curators. Functional prototypes address issues of visualising large cultural datasets and the representation of uncertain and multiple temporal descriptions that are typically found in digital collections. The prototypes act as means towards an improved understanding of and a critical engagement with the time-wise visualisation of col-lections data. Two example implementations put the design principles that have emerged into practice and demonstrate how such tools may assist in knowledge discovery in cultural collections. Calls for new visualisation tools that are suitable for the purposes of humanities research are widespread in the scholarly community. However, the present thesis shows that gaining new insights into digital collections does not only require technological advancement, but also an epistemological shift in working with digital collections. This shift is expressed in the kind of questions that curators have started seeking to answer through visualisation. Digitisation requires and affords new ways of interrogating collections that depart from putting the collected artefact and its creator at the centre of human-istic enquiry. Instead, digital collections need to be seen as artefacts themselves. Recognising this leads curators to address self-reflective research questions that seek to study the history of an institution and the influence that individuals have had on the holdings of a collection; questions that so far escaped their areas of research

Time in Perspective: a visual approach to models of time

Geographical representations of topographical space come in many shapes and are a regular topic of discussion. The depiction of the invisible and maybe even illusory concept of time on the other hand, remains largely unchanged and undisputed. A uniform and arithmetic model of time fits well with the rigid structure of digital data, which might be why it has been widely adopted within HCI. In our proposal, we will present historic and contemporary approaches that offer alternative perspectives on the visual representation of time. Keywords: timeline, chronographic

Revealing Cultural Collections Over Time

We present a novel timeline visualisation tool designed for visual analysis of digital cultural collections. We evaluated our prototype in use with a number of different collections, such as the digital catalogue of the art collection of the Tate and Cooper Hewitt’s object collection. Through our research, we explore the particular challenges for visualisation of digital collections data and, in close collaboration with museum professionals, identify the potential of visual analytics of cultural data in a humanities context

Scholarly chronographics: can a timeline be useful in historiography?

Our paper is concerned with the visualisation of historical events and artefacts in the context of time. It arises from a project bringing together expertise in visualisation, historiography and software engineering. The work is the result of an extended enquiry over several years which has included investigation of the prior history of such chronographics and their grounding in the temporal ontology of the Enlightenment. Timelines - visual, spatial presentations of chronology - are generally regarded as being too simple, perhaps too childish, to be worthy of academic attention, yet such chronographics should be capable of supporting sophisticated thinking about history and historiography, especially if they take full advantage of the capabilities of digital technologies. They should enable even professional academic historians to 'make sense' of history in new ways, allowing them insights they would not otherwise have achieved. In our paper we highlight key findings from the history of such representations, principally from the eighteenth and nineteenth centuries, and show how, in a project to develop new digital chronographics for collections of cultural objects and events, we have explored new implementations of the important ideas we have extracted about timewise presentation and interaction. This includes the representation of uncertainty, of relations between events, and the epistemology of time as a 'space' for history. We present developed examples, in particular a chronographic presentation of a large database of works by a single author, a composer, and discuss the extent to which our ambitions for chronographics have been realised in practice. Keywords: timeline, chronographic

Digital Humanities Research Through Design

Humanities Computing gave rise to the Digital Humanities, which brought considerations of a wider scope of the digital turn to humanities research. Increasingly, the area is understood to include the field of design, exemplified by definitions that describe the Digital Humanities as a “generative enterprise”. We suggest that design contributes not only to the making of digital artefacts. Design practiced with the aim to generate new knowledge constitues a research method. Design research contributes to the Digital Humanities expertise in addressing complex problems and methods for making the knowledge that is generated during a design process explicit

Using Data Visualisation to tell Stories about Collections

The paper explores visualisation of “big data” from digitised museum collections and archives, focusing on the relationship between data, visualisation and narrative. A contrast is presented between visualisations that show “just the data” and those that present the information in such a way as to tell a story using visual rhetorical devices; such devices have historically included trees, streams, chains, geometric shapes and other forms. The contrast is explored through historical examples and a survey of current practice. A discussion centred on visualising datasets from the British Library, Science Museum and Wellcome Library is used to outline key research questions

Known Unknowns: representing uncertainty in historical time

Historic time is inherently uncertain, with missing, disputed, doubtful or ill-defined dates for objects and events. Yet digital timeline visualisations tend to represent it as exact and of undisputed confidence. This is partly due to a lack of awareness, partly due to a lack of support for ambiguities in digital data types and modes of representation. We outline some of the issues around uncertainty in timeline visualisation and ways of addressing them

Can I believe what I see? Data visualisation and trust in the humanities

Questions of trust are increasingly important in relation to data and its use. The authors focus on humanities data and its visualisation, through analysis of their own recent projects with museums, archives and libraries internationally. Their account connects the specifics of hands-on digital humanities work to larger epistemological questions. They discuss the sources of potential mistrust, and examine how different expectations and assumptions emerge depending on the use and user of the data; they offer a simple schema through which the implications may be traced. It is argued that vital issues of trust can be engaged with through design, which, rather than being conceived as a cosmetic finish, is seen as contributing insights and questions that affect the whole process. The article concludes with recommendations intended to be useful in both theory and practice