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Nele Noppe

Dan Cohen's Digital Humanities Blog » Blog Archive » Digital Ephemera and the... - 0 views

www.dancohen.org/...and-the-calculus-of-importance

twitter archiving libraries phd

shared by Nele Noppe on 19 May 10 - Cached
  • How important are small written ephemera such as notes, especially now that we create an almost incalculable number of them on digital services such as Twitter? Ever since the Library of Congress surprised many with its announcement that it would accession the billions of public tweets since 2006, the subject has been one of significant debate. Critics lamented what they felt was a lowering of standards by the library—a trendy, presentist diversion from its national mission of saving historically valuable knowledge. In their minds, Twitter is a mass of worthless and mundane musings by the unimportant, and thus obviously unworthy of an archivist’s attention.
  • As any practicing historian knows, some of the most critical collections of primary sources are ephemera that someone luckily saved for the future.
  • But let me set aside for a moment my optimistic disposition about the Twitter archive and instead meet the critics halfway. Suppose that we really don’t know if the archive will be useful or not—or worse, perhaps we are relatively sure it will be utterly worthless. Does that necessarily mean that the Library or Congress should not have accessioned it?
  • ...1 more annotation...
  • What does this mean for the archiving of digital emphemera such as status updates—those little, seemingly worthless online notes? It means we should continue to expend the majority of resources on those documents and people of most likely future interest, but not to the exclusion of objects and figures that currently seem unimportant. In other words, if you believe that the notebooks of a known writer are likely to be 100 times more important to future historians and researchers than the blog of a nobody, you should spend 10, not 100, times the resources in preserving those notebooks over the blog. It’s still a considerable gap, but much less than the traditional (authoritarian) model would suggest. The calculus of importance thus implies that libraries and archives should consciously pursue contents such as those in the Cambridge University Library tower, even if they feel it runs counter to common sense.
Nele Noppe

Stuff Digital Humanists Like: Defining Digital Humanities by its Values - 1 views

www.foundhistory.org/...stuff-digital-humanists-like

digital_humanities academia humanities

shared by Nele Noppe on 06 Dec 10 - No Cached
  • there are different strains of digital humanities. Bethany might define those strains as “old” and “new.” I’d probably divide things along more disciplinary lines, looking to a tradition of digital humanities that comes out of literature and one that comes out of public history. If I had to place myself along these axes I’d probably land where the “new” and “history” strains meet. There are, of course, lots of other ways to slice the pie.
  • digital humanities starts to look a lot like a social network. Indeed, in some ways digital humanities increasingly is a social network built, for better or worse, on Twitter’s platform.
  • It takes its values from the Internet
  • ...9 more annotations...
  • The procrastination principle (or “end-to-end argument”) is a design principle that states that most features of a network should be left to users to invent and implement, that the network should should be as simple as possible and that complexity should be developed at its end points not at its core, that the network should be dumb and the terminals should be smart. This is precisely how the Internet works. T
  • There is an analogous value in digital humanities. Innovation in digital humanities frequently comes from the edges of the scholarly community rather than from its center—small institutions and even individual actors with few resources are able to make important innovations.
  • Digital humanities makes some similar assumptions in its commitments to open access, open source, and collaboration. As Bethany has said elsewhere, “how many other academic disciplines or interdisciplines work so hard to manifest as ‘a community of practice that is solidary, open, welcoming and freely accessible’ — a ‘collective experience,’ a ‘common good?’” We allow allow all comers, we assume that their contributions will be positive, and we expect that they will share their work for the benefit of the community at large.
  • It follows, therefore, that if digital humanities is a social network, then one of the things that will help us understand it better is looking at the things around which the network coalesces, the stuff digital humanists like
  • Like: Twitter / Don’t like: Facebook.
  • Like: Agile development / Dislike: long planning cycles
  • Like: DIY / Dislike: Outsourcing.
  • Like: PHP / Dislike: C++.
  • Like: Extramural funding / Dislike: Intramural funding.
Nele Noppe

Knock it off: Global treaty against media piracy won't work in Asia - 0 views

www.sfgate.com/...article.cgi

copyright dojinshi fanficforensics phd

shared by Nele Noppe on 23 Nov 09 - Cached
  • That partnership between content provider and consumer is exactly what's missing in the Western world's debate over intellectual property, where movie studios and record labels talk about their customers as potential criminals. In Asia, media companies have a much closer and more interactive relationship with fans, treating them as partners in evangelizing their products -- even when that means blurring the lines of copyright restrictions. Kai-Ming Cha, manga editor of Publishers Weekly, notes that Japan's media industry has "developed a detente" with fans. She points to the example of doujinshi -- amateur "homage" publications that depict popular anime and manga characters in original, sometimes pornographic storylines. "They realize these unauthorized spinoffs help to build the fandom, and ultimately drive sales of the original," she says.
  • Nele Noppe on 23 Nov 09
     
    "That partnership between content provider and consumer is exactly what's missing in the Western world's debate over intellectual property, where movie studios and record labels talk about their customers as potential criminals. In Asia, media companies have a much closer and more interactive relationship with fans, treating them as partners in evangelizing their products -- even when that means blurring the lines of copyright restrictions. Kai-Ming Cha, manga editor of Publishers Weekly, notes that Japan's media industry has "developed a detente" with fans. She points to the example of doujinshi -- amateur "homage" publications that depict popular anime and manga characters in original, sometimes pornographic storylines. "They realize these unauthorized spinoffs help to build the fandom, and ultimately drive sales of the original," she says. "
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