Artefacts and Errors: Acknowledging Issues of Representation in the Digital: Imaging of Ancient Texts

It is assumed, in palaeography, papyrology and epigraphy, that a certain amount of uncertainty is inherent in the reading of damaged and abraded texts. Yet we have not really grappled with the fact that, nowadays, as many scholars tend to deal with digital images of texts, rather than handling the texts themselves, the procedures for creating digital images of texts can insert further uncertainty into the representation of the text created. Technical distortions can lead to the unintentional introduction of ‘artefacts’ into images, which can have an effect on the resulting representation. If we cannot trust our digital surrogates of texts, can we trust the readings from them? How do scholars acknowledge the quality of digitised images of texts? Furthermore, this leads us to the type of discussions of representation that have been present in Classical texts since Plato: digitisation can be considered as an alternative form of representation, bringing to the modern debate of the use of digital technology in Classics the familiar theories of mimesis (imitation) and ekphrasis (description): the conversion of visual evidence into explicit descriptions of that information, stored in computer files in distinct linguistic terms, with all the difficulties of conversion understood in the ekphratic process. The community has not yet considered what becoming dependent on digital texts means for the field, both in practical and theoretical terms. Issues of quality, copying, representation, and substance should be part of our dialogue when we consult digital surrogates of documentary material, yet we are just constructing understandings of what it means to rely on virtual representations of artefacts. It is necessary to relate our understandings of uncertainty in palaeography and epigraphy to our understanding of the mechanics of visualization employed by digital imaging techniques, if we are to fully understand the impact that these will have

Crowdsourcing in the Digital Humanities

As Web 2.0 technologies changed the World Wide Web from a read-only to a co-creative digital experience, a range of commercial and non-commercial platforms emerged to allow online users to contribute to discussions and use their knowledge, experience, and time to build online content. Alongside the widespread success of collaboratively produced resources such as Wikipedia came a movement in the cultural and heritage sectors to trial crowdsourcing - the harnessing of online activities and behaviour to aid in large-scale ventures such as tagging, commenting, rating, reviewing, text correcting, and the creation and uploading of content in a methodical, task-based fashion (Holley 2010) - to improve the quality of, and widen access to, online collections. Building on this, within Digital Humanities there have been attempts to crowdsource more complex tasks traditionally assumed to be carried out by academic scholars: such as the accurate transcription of manuscript material. This chapter aims to survey the growth and uptake of crowdsourcing for culture and heritage, and more specifically, within Digital Humanities. It raises issues of public engagement and asks how the use of technology to involve and engage a wider audience with tasks that have been the traditional purview of academics can broaden the scope and appreciation of humanistic enquiry. Finally, it asks what this increasingly common public-facing activity means for Digital Humanities itself, as the success of these projects demonstrates the effectiveness of building projects for, and involving, a wide online audience

Cultural Heritage Information: Artefacts and Digitization Technologies

Since the 1970s, the gallery, library, archive, and museum sector has promoted and encouraged digitization - the conversion of analog into digital information - to increase access to cultural heritage material through various incarnations of digital media. Indeed, it is now expected by both users and professionals that institutions should be undertaking digitization programs, and best practices in this area are now well documented and understood. This chapter scopes out the background to the current digitization environment, giving an overview of the methods and approaches involved. It points to current developments, highlighting the use of both two and three dimensional capture methods for the creation of digital surrogates of objects and artefacts, indicating the potential for further development in the sector, whilst drawing attention to current issues faced when digitizing objects and artefacts including cost, sustainability, impact evaluation, and expectation management in the changing information environment. The affordances of previously prohibitively expensive techniques – such as multi-spectral imaging and 3D scanning – are now available at relatively inexpensive rates, which also raises questions about digital literacy and our understanding of what it means, for both the end user and information professional, to create digital versions of our cultural inheritance

Reclaiming histories with feminist digitisation practices: researching Millicent Garrett Fawcett: selected writings

In 2018, to mark the centenary of partial suffrage in Britain, the Towers at Clement’s Inn on LSE campus were renamed Pankhurst House, Fawcett House and Pethick-Lawrence House after three key suffrage campaigners with specific connections to LSE. In this post, Melissa Terras and Elizabeth Crawford reflect on the importance of feminist digitisation practices for editing Millicent Garrett Fawcett – available open access from UCL Press – a new collection of writings by this leading UK suffragist and campaigner

Legal Deposit Web Archives and the Digital Humanities: a Universe of Lost Opportunity?

Legal deposit libraries have archived the web for over a decade. Several nations, supported by legal deposit regu-lations, have introduced comprehensive national domain web crawling, an essential part of the national library re-mit to collect, preserve and make accessible a nation’s intellectual and cultural heritage (Brazier, 2016). Scholars have traditionally been the chief beneficiaries of legal de-posit collections: in the case of web archives, the poten-tial for research extends to contemporary materials, and to Digital Humanities text and data mining approaches. To date, however, little work has evaluated whether legal deposit regulations support computational approaches to research using national web archive data (Brügger, 2012; Hockx-Yu, 2014; Black, 2016). This paper examines the impact of electronic legal deposit (ELD) in the United Kingdom, particularly how the 2013 regulations influence innovative scholarship using the Legal Deposit UK Web Archive. As the first major case study to analyse the implementation of ELD, it will ad-dress the following key research questions:• • Is legal deposit, a concept defined and refined for print materials, the most suitable vehicle for suppor-ting DH research using web archives? • How does the current framing of ELD affect digital in-novation in the UK library sector? • How does the current information ecology, including not for-profit archives, influence the relationship between DH researchers and legal deposit libraries