2020 International Multi-Conference on: “Organization of Knowledge and Advanced Technologies” (OCTA)

The Digital Anthropocene, Deep Mapping, and Environmental Humanities' Big Data Charles Travis (bio) Over the past two hundred years, the development of the steam engine, the mass burning of coal during the Industrial Revolution, the detonation of the atomic bomb in 1945, and global carbon dioxide emissions over the last half century are all manifestations of human-technological agencies that have culminated into a cultural crisis ushering us out of the Holocene and into the Anthropocene. As we advance into the twenty-first century, our use of social media, smartphones and smart-watches, X-Boxes, tablets, and laptops have transformed us into living, breathing remote sensors and unwitting environmental actors. We are now spawning digital wildfires; churning out oceans of big data; and in our quotidian existences, inaugurating what can be called the digital Anthropocene. This confluence of the digital revolution, the dilemma of climate change, and sociopolitical agency and violence has us reconsidering human-environmental relations by raising questions about the interplay between digital, social, psychological, built, and natural landscapes. As Finn Arne Jørgensen notes, the "idea of nature is becoming very hard to separate from the digital tools and media we use to observe, interpret, and manage it" (2014, 109). The intermeshing of analogue, digital, and natural environments captures this new human dispensation and was presciently anticipated by political theorist Hannah Arendt in Between Past and Future: "The world we have come to live in, however, is much more determined by man acting into nature, creating [End Page 172] natural processes and directing them into the human artifice and the realm of human affairs" (1961, 59). Arendt's phenomenological thought resonates with the "wicked problems," "humanities innovations," and "interdependencies" articulated by the "Common Threads" page of the Andrew W. Mellon–funded Humanities for the Environment project. This essay will discuss a technophenomenological deep mapping of James Joyce's Ulysses (1922) to explore how the novel and its traces of the Odyssey and the Inferno, when scripted digitally, enabled big-data social media performances at Bloomsday in contemporary Dublin. Spanning the classical, medieval, and modern eras, the arc of works composed by Homer, Dante, and Joyce, approximate the "three humanisms" of occidental history posited by Claude Lévi-Strauss in the 1950s (the rediscovery of the Greco-Roman, the repurposing of the humanistic perspective, and the discovery of everyday experience). Currently, digital humanism, coined by Milad Doueihi (2013), acts as a fourth convergence of the world's complex cultural heritage and technology and is changing relations between territory, knowledge, and habitat. This underscores the salience of Bethany Nowviskie's observation that the "rhetorical, technological, aesthetic, and deeply personal, sometimes even sentimental, struggles brought into focus by the Anthropocene […] prompt us to position the work of the digital humanities in time" (2014). The digital humanities' first wave (1980s–2010) witnessed the digitization of historical, cultural, literary, and artistic collections, facilitating online research methods and pedagogy, which dovetailed with a second wave (2002–2012) of humanities-computing quantification exercises, digital parsing, analysis, and visualization projects. Currently, a third wave (2012–2020) is cresting with the ontological tide turning, as humanities discourses and tropes are now beginning to shape emerging coding and software applications. The digital and environmental humanities are coming into league with smartphone applications, gaming platforms, tablets, and the visual and performing arts to force trans-disciplinary encounters between fields as diverse as human cognition, environmental studies, genetics, bioinformatics, linguistics, gaming, architecture, philosophy, social media, literature, painting, and history (MacTavish and Rockwell 2006; Liu and Thomas 2012; Travis 2015). Influenced by narrative, storytelling, cinematic, gaming, and network analysis techniques, these digital and environmental humanities practices represent the fluidity of human-environmental symbiosis captured [End Page 173] by the concept of the Anthropocene, in contrast to the static snapshots of human-environmental binaries portrayed within the frame of the Holocene. Nowviskie states that there is a strong possibility for connecting such "technologies and patterns of work in the humanities to deep time: both to times long past and very far in prospect" (2014). Similar lessons in how to plumb the depths of the Anthropocene can be learned from the Native American writer William Least Heat-Moon, who first employed deep...

Summary form only given. Can you imagine working in a field of research where even practitioners argue if it exists as a field at all? 'Digital Arts and Humanities' is such a field and my role within it includes the task of further developing a classification system for resources, people and all sorts of activities in this 'field': a taxonomy (soon to be ontology) of digital methods for research. As a kind of meta-field, Digital Arts and Humanities spans across a broad range of disciplines, from History, Performing Arts and Archaeology to Theatre and Linguistics. While computational methods such as 'text mining', 'motion capture' or 'text encoding' are used across all these subject disciplines, it may only be a relatively small group of practitioners who actively define themselves as 'digital humanists/artists'. This huge diversity means that people working with the same methods are often not even aware that they could profit from lessons learned in other disciplines, leading to a duplication of work. Developing, and successfully promoting, a system that would span disciplines and facilitate knowledge transfer around digital methods could help prevent the re-inventing of the wheel, encourage re-use of resources and contribute to a greater awareness of the importance of digital research. To achieve that, it needs to be taken forward in a community approach to ensure that the classification can be used and kept up-to-date by not just one institution. For several years, the AHDS Methods Taxonomy (with associated vocabularies) has been used to structure the ICT Guides database that catalogues digital arts and humanities projects. It is organised around methods used for resource creation, divided into seven groups (such as 'Data Capture' or 'Data Analysis'), and does currently list and describe over a hundred methods used in the digital arts and humanities: Associated vocabularies list, for instance, funding bodies, software used and metadata standards. In its latest incarnation, ICT Guides is now part of the arts-humanities.net project, hosted by the Centre for e-Research (CeRch) at King's College London. At King's College, the taxonomy has also been used to structure content on the website of the AHRC ICT Methods Network. Recently, the taxonomy has also been implemented in DRAPIer (Database of Research and Projects in Ireland) by the Digital Humanities Observatory (DHO), and other projects and Universities, such as Oxford, have expressed an interest in using it. Starting with the collaboration between the DHO, Oxford and CeRch, we are developing a model for a shared usage and development of the taxonomy, with the view to build a larger consortium of project partners in the future. There is now a chance to develop the taxonomy into a shared ontology resource, to be updated and developed by the wider community. In this paper I will re-visit the background and rationale of the project, discuss the model and challenges of developing a shared taxonomy - including a planned transformation into a more flexible ontology -, and outline the shared use of the resource, including the development of a web service based on the Methods Taxonomy.

Poe in Cyberspace: Have Poe Websites Become an Endangered Species?

Academic libraries around the United States have been responding to an emerging style of research, the digital humanities, that promises to expand and revolutionize the humanities. Libraries are finding themselves to be generative sites of innovative partnerships and projects. Seeing a new opportunity to showcase cutting edge research and demonstrate value in an era of competitive demands for financial resources, there is significant incentive for libraries to quickly anticipate scholarly needs. Yet how do academic libraries best support a field of practice that is still developing? To address these issues, the University of Minnesota Libraries conducted a multi-year assessment of scholarly trends and practices, infrastructure needs, and roles of digital humanities centers and academic libraries, the University of Minnesota Libraries have designed and are in the process of implementing a service model as part of its Digital Arts Sciences + Humanities (DASH) program.

Lists and Social MediaLists have long been an ordering mechanism for computer-mediated social interaction. While far from being the first such mechanism, blogrolls offered an opportunity for bloggers to provide a list of their peers; the present generation of social media environments similarly provide lists of friends and followers. Where blogrolls and other earlier lists may have been user-generated, the social media lists of today are more likely to have been produced by the platforms themselves, and are of intrinsic value to the platform providers at least as much as to the users themselves; both Facebook and Twitter have highlighted the importance of their respective “social graphs” (their databases of user connections) as fundamental elements of their fledgling business models. This represents what Mejias describes as “nodocentrism,” which “renders all human interaction in terms of network dynamics (not just any network, but a digital network with a profit-driven infrastructure).”The communicative content of social media spaces is also frequently rendered in the form of lists. Famously, blogs are defined in the first place by their reverse-chronological listing of posts (Walker Rettberg), but the same is true for current social media platforms: Twitter, Facebook, and other social media platforms are inherently centred around an infinite, constantly updated and extended list of posts made by individual users and their connections.The concept of the list implies a certain degree of order, and the orderliness of content lists as provided through the latest generation of centralised social media platforms has also led to the development of more comprehensive and powerful, commercial as well as scholarly, research approaches to the study of social media. Using the example of Twitter, this article discusses the challenges of such “big data” research as it draws on the content lists provided by proprietary social media platforms.Twitter Archives for ResearchTwitter is a particularly useful source of social media data: using the Twitter API (the Application Programming Interface, which provides structured access to communication data in standardised formats) it is possible, with a little effort and sufficient technical resources, for researchers to gather very large archives of public tweets concerned with a particular topic, theme or event. Essentially, the API delivers very long lists of hundreds, thousands, or millions of tweets, and metadata about those tweets; such data can then be sliced, diced and visualised in a wide range of ways, in order to understand the dynamics of social media communication. Such research is frequently oriented around pre-existing research questions, but is typically conducted at unprecedented scale. The projects of media and communication researchers such as Papacharissi and de Fatima Oliveira, Wood and Baughman, or Lotan, et al.—to name just a handful of recent examples—rely fundamentally on Twitter datasets which now routinely comprise millions of tweets and associated metadata, collected according to a wide range of criteria. What is common to all such cases, however, is the need to make new methodological choices in the processing and analysis of such large datasets on mediated social interaction.Our own work is broadly concerned with understanding the role of social media in the contemporary media ecology, with a focus on the formation and dynamics of interest- and issues-based publics. We have mined and analysed large archives of Twitter data to understand contemporary crisis communication (Bruns et al), the role of social media in elections (Burgess and Bruns), and the nature of contemporary audience engagement with television entertainment and news media (Harrington, Highfield, and Bruns). Using a custom installation of the open source Twitter archiving tool yourTwapperkeeper, we capture and archive all the available tweets (and their associated metadata) containing a specified keyword (like “Olympics” or “dubstep”), name (Gillard, Bieber, Obama) or hashtag (#ausvotes, #royalwedding, #qldfloods). In their simplest form, such Twitter archives are commonly stored as delimited (e.g. comma- or tab-separated) text files, with each of the following values in a separate column: text: contents of the tweet itself, in 140 characters or less to_user_id: numerical ID of the tweet recipient (for @replies) from_user: screen name of the tweet sender id: numerical ID of the tweet itself from_user_id: numerical ID of the tweet sender iso_language_code: code (e.g. en, de, fr, ...) of the sender’s default language source: client software used to tweet (e.g. Web, Tweetdeck, ...) profile_image_url: URL of the tweet sender’s profile picture geo_type: format of the sender’s geographical coordinates geo_coordinates_0: first element of the geographical coordinates geo_coordinates_1: second element of the geographical coordinates created_at: tweet timestamp in human-readable format time: tweet timestamp as a numerical Unix timestampIn order to process the data, we typically run a number of our own scripts (written in the programming language Gawk) which manipulate or filter the records in various ways, and apply a series of temporal, qualitative and categorical metrics to the data, enabling us to discern patterns of activity over time, as well as to identify topics and themes, key actors, and the relations among them; in some circumstances we may also undertake further processes of filtering and close textual analysis of the content of the tweets. Network analysis (of the relationships among actors in a discussion; or among key themes) is undertaken using the open source application Gephi. While a detailed methodological discussion is beyond the scope of this article, further details and examples of our methods and tools for data analysis and visualisation, including copies of our Gawk scripts, are available on our comprehensive project website, Mapping Online Publics.In this article, we reflect on the technical, epistemological and political challenges of such uses of large-scale Twitter archives within media and communication studies research, positioning this work in the context of the phenomenon that Lev Manovich has called “big social data.” In doing so, we recognise that our empirical work on Twitter is concerned with a complex research site that is itself shaped by a complex range of human and non-human actors, within a dynamic, indeed volatile media ecology (Fuller), and using data collection and analysis methods that are in themselves deeply embedded in this ecology. “Big Social Data”As Manovich’s term implies, the Big Data paradigm has recently arrived in media, communication and cultural studies—significantly later than it did in the hard sciences, in more traditionally computational branches of social science, and perhaps even in the first wave of digital humanities research (which largely applied computational methods to pre-existing, historical “big data” corpora)—and this shift has been provoked in large part by the dramatic quantitative growth and apparently increased cultural importance of social media—hence, “big social data.” As Manovich puts it: For the first time, we can follow [the] imaginations, opinions, ideas, and feelings of hundreds of millions of people. We can see the images and the videos they create and comment on, monitor the conversations they are engaged in, read their blog posts and tweets, navigate their maps, listen to their track lists, and follow their trajectories in physical space. (Manovich 461) This moment has arrived in media, communication and cultural studies because of the increased scale of social media participation and the textual traces that this participation leaves behind—allowing researchers, equipped with digital tools and methods, to “study social and cultural processes and dynamics in new ways” (Manovich 461). However, and crucially for our purposes in this article, many of these scholarly possibilities would remain latent if it were not for the widespread availability of Open APIs for social software (including social media) platforms. APIs are technical specifications of how one software application should access another, thereby allowing the embedding or cross-publishing of social content across Websites (so that your tweets can appear in your Facebook timeline, for example), or allowing third-party developers to build additional applications on social media platforms (like the Twitter user ranking service Klout), while also allowing platform owners to impose de facto regulation on such third-party uses via the same code. While platform providers do not necessarily have scholarship in mind, the data access affordances of APIs are also available for research purposes. As Manovich notes, until very recently almost all truly “big data” approaches to social media research had been undertaken by computer scientists (464). But as part of a broader “computational turn” in the digital humanities (Berry), and because of the increased availability to non-specialists of data access and analysis tools, media, communication and cultural studies scholars are beginning to catch up. Many of the new, large-scale research projects examining the societal uses and impacts of social media—including our own—which have been initiated by various media, communication, and cultural studies research leaders around the world have begun their work by taking stock of, and often substantially extending through new development, the range of available tools and methods for data analysis. The research infrastructure developed by such projects, therefore, now reflects their own disciplinary backgrounds at least as much as it does the fundamental principles of computer science. In turn, such new and often experimental tools and methods necessarily also provoke new epistemological and methodological challenges. The Twitter API and Twitter ArchivesThe Open

Editorial Commentary

Purpose/Thesis: The article presents the concept of university course in digital humanities for future
 information professionals.
 Approach/Methods: The concept of university course in digital humanities draws on the author’s deep knowledge of digital humanities as well as the particular models of research project lifecycle. The concept consists of three elements: the description of educational aims, the graduate’s profile, and the learning outcomes.
 Results and conclusions: The author proposes that university course in digital humanities should be provided as a part of specialization within a Master program for information professionals. Classes will give students a basic knowledge of a given discipline in the humanities and the theoretical aspects of digital humanities, as well as its structure and history. Students will also learn about information and knowledge organization, digital sources used in humanities, information systems, digital collections, research data management, and scholarly editions. Graduates would be equipped to work at research
 institutions running digital humanities projects or providing research infrastructure for digital humanists, e.g. academic libraries, museums, archives, digital humanities centers and laboratories.
 Practical implications: The concept may be used to prepare a detailed program of specialization by faculties offering information science programs. Although the concept has been developed in the context of Polish higher education, it can be modified and adapted successfully in other countries, especially in the EU countries which, like Poland, need to meet the European Qualifications Framework.
 Originality/Value: Formal university course in digital humanities for information professionals is not very common. The concept of a specialization within a Master program proposed in this article fills this gap so that a new generation of librarians and other information professionals will become more proficient intermediaries between humanists and information.

The relevance of this research topic lies in the evolving nature of digital humanism, a multifaceted and complex process aimed at achieving an optimal balance between the advancement of digital technologies and the preservation of human values and dignity. The study seeks to identify the conditions necessary for the conceptualisation of digital humanism in the era of artificial intelligence, and to analyse the challenges and opportunities associated with its development. The following research objectives are proposed: firstly, to clarify the essence, characteristics, and developmental trajectories of the concept of digital humanism; secondly, to examine the transformation of digital humanism in the context of the internet and artificial intelligence; thirdly, to establish the concept of digital humanism as a framework for harmonising technological advancement with the preservation of human potential; and finally, to explore cultural diversity as an embodiment of digital humanism and human values. Methodology. The study uses systemic, cross-cultural, axiological, anthropological and interdisciplinary approaches to provide a comprehensive analysis of digital humanism, facilitating an understanding of the interaction between digital technologies and humanity. A review of the literature shows that in the age of the Internet and artificial intelligence, digital humanism needs to be integrated into practical domains. This interdisciplinary research brings together philosophical, sociological, ethical and computer science perspectives to examine digital humanism in this transformative era. Artificial intelligence has opened up groundbreaking possibilities in fields such as medicine, education, transport and commerce. The study also highlights the European Digital Humanism Initiative and the methodology of informationalism, which illuminate the challenges and opportunities of digital humanism. Anthropological and socio-axiological approaches are used to analyse the value dimensions of the digital society, focusing on its impact on education, knowledge diffusion and innovation. Findings and implications. The results obtained provide a more profound comprehension of the genesis and pertinence of digital humanism in the context of societal transformation. This research underscores its capacity to address contemporary challenges while ensuring a harmonious coexistence of technological progress and human-centric values.

The advent of the digital age has given new forms and new connotations to artistic creation, and more and more digital media technologies have entered the stage of artistic creation and exhibitions. At present, holographic projection technology has become a hot application technology in the field of digital media art. The purpose of this paper is to explore the technical principles of holographic projection technology and its application in the field of digital media art, so as to provide suggestions for the application and promotion of holographic projection technology and the development and innovation of digital media art. First of all, this article understands the technical principles of holographic projection and its application status in various fields, especially in the field of digital media art, through relevant literature research. Then, this article introduces the digital holographic technology, virtual imaging technology, and computer simulation technology used in the realization of holographic projection technology. Then, based on the advantages of holographic projection technology in three‐dimensional image recording and reproduction, this paper proposes to introduce holographic projection technology to digital art museums, digital art exhibitions, and other digital media art applications and to study the effect of holographic projection technology on art through simulation experiments, the effect of recording and reproducing the image of the work. Finally, the three‐dimensional reconstruction image of the digital holographic projection experiment on the artwork is compared with the simulated image of the Contour GT profiler to verify the feasibility of applying the holographic projection technology to art exhibitions and the effect of three‐dimensional image recording and reproduction. Research shows that the holographic projection technology can achieve 93.34% of the simulation effect of recording and reproducing 3D images of artworks. It is also found that 59.86% of the audience who pay attention to the art experience strongly support the application of holographic projection technology in digital media art fields such as digital art gallery. This fully proves the feasibility of applying holographic projection technology to digital art exhibitions and provides a full range of artistic experience for audiences who cannot be present.

The TOI – International Conference on Technology and Information Organization – is an initiative of the “Observatory of the Labor Market in Information and Documentation” research group (OMTID – CNPq) of the School of Communications and Arts of the University of São Paulo. The 4th TOI will take place in May 2018, in academic and scientific collaboration with the 15th CONTECSI FEA-USP, bringing together Information Science researchers, students and professionals - Librarianship, Archival Science and Museology, with the goal of promoting reflection and dialogue about relevant topics, as well as contributing to the integration of the academic and the professional environments, strengthening the interest in research, and sharing knowledge about the most innovative practices in this area. The program of this event covers the following fields of knowledge: Information and Knowledge Management; Technology and Information Systems; Digital Libraries and Repositories; Document Digitization, Knowledge Organization, Conservation and the Preservation of Information; Metadata; Digital Curation; Information Ethics; Digital Humanities; Labor Market and Entrepreneurship; Big Data; Data Science; Internet of Things; Artificial Intelligence.

Note from the Section Editor Michelle DiMeo The history of medicine discipline in the twenty-first century does not—and should not—look the same as it did in the past. Technological advances have changed the way we read, teach, research, and interact with each other. New opportunities in the digital humanities and related "alt-ac" jobs provide viable alternatives to tenure-track historian positions, just as these traditional academic appointments increasingly encourage the integration of new methods inside (or even outside) the classroom. The products that emerge from these initiatives are rarely monographs, but instead may take the form of an online resource, interactive exhibition, digital tool, or other type of nonbook media. After a two-year hiatus, the BHM is relaunching its Digital Media and Humanities section as the Digital Humanities and Public History section. Published twice per year, this section will review these important new resources in our field, applying the same level of critical assessment expected of our Book Reviews section. Reviewers will consider what the intended goals are and how the chosen format helped the creator achieve these. They may also reflect on how the project engaged with existing debates in the history of medicine, asked us to think differently about something, or communicated a challenging topic in a new way. Overall, our reviewers will consider how these sources could benefit readers of the BHM. Historians will learn about new digital methodologies with the potential to enhance their research and discover online resources that could be incorporated in their classrooms. Curators and public historians may find inspiration for their next engaging visitor experience, while library and digital humanities professionals may find ideas for interpreting their collections and building strategic collaborations across repositories. While we will aim to be timely, using similar criteria as that employed in our Book Reviews section, our academic journal publication timeline may result in some reviews being published after the physical exhibition has closed. Conscious of this, we prioritize reviews of physical exhibitions that have a lasting online presence that may be accessed by readers everywhere. That said, we have found that reviews of innovative physical exhibits and ephemeral experiences—even those that are geographically restricted or have recently closed—are still helpful for collections and public history professionals. They may not be able to physically travel to these spaces, but reading a critical appraisal of their colleagues' ideas can stimulate their own creativity concerning a future project. [End Page 125] If you would like to nominate a work in the digital humanities or public history for review, or if you would be interested in serving as a reviewer, we encourage you to contact our series editor, Michelle DiMeo, or our managing editor, Carolyn McLaughlin. Both can be reached at bhm@jhmi.edu. Michelle DiMeo Science History Institute, Philadelphia Copyright © 2020 Johns Hopkins University Press

We live in the age of big data, wherein production and analysis of the massive amounts of data in relation to the various interactions of humans, objects and technologies have become a new everyday common. It comes with no surprise that knowledge organization community has also embraced the data-driven inquiry to advance representation, organization and discovery of the knowledge. In particular, semantic technologies allowed to connect knowledge across institutions, platforms and cultures, bringing a new dimension to representation and organization of knowledge. This paper presents analysis of the knowledge organization research that employed a large-scale or big data analysis techniques to find what are methodologies, research questions, and implications of big data approaches are. Analysis of over 500 scholarly works indexed in Library and Information Science Full text and Google Scholar databases suggests advantages of a large-scale data integration approaches. For instance, Baca and Gill (2015) paper presents how semantic technologies have allowed multilingual and cross-cultural representation of Getty Art & Architecture Thesaurus (AAT), the Getty Thesaurus of Geographic Names (TGN) and the Union List of Artist Names (ULAN). Mayr and Zeng (2017) argue that the semantic web standards, such as SKOS, OWL, RDFS, and SPARQL allowes to publish knowledge organization systems (KOS) as Linked Open Data (LOD). Mayr and Zeng proposes the following outcomes of LOD application: transformation of KOS vocabulary into the lightweight OWL ontologies or SKOS vocabulary datasets, and accessibility of the data by means of SPARQL endpoints. However, the data-driven knowledge organization initiatives raise significant questions on whether data-driven access to the knowledge would facilitate and/or transform the use and accessibility of the knowledge organization systems, whether it would help us to understand humans’ knowledge representation, organization and discovery behavior, or whether it would usher new forms of biases, limitations and privacy incursions. A large corpus of knowledge representation and organization research have discussed various biases of knowledge organization systems, such as representation of marginalized and indigenous populations. For instance, indigenous scholars have demonstrated lack of understanding of indigenous epistemologies in representation of indigenous cultures that resulted in limited and partial representation of indigenous knowledge (Doyle, 2006; Metoyer & Doyle, 2015) . Moreover, algorithmic biases that are built-in in platforms and systems, such as Google search engine, are another major concern when it comes to such issues as utilization of user-generated content to complement traditional representation of resources. The data-driven approach also raises ethical issues related to incorporation of user-generated content without users’ consent. In this regard, Ibekwe-SanJuan and Bowker (2017) confront the relevance of universal bibliographic classification and thesaurus, arguing that big data will not remove the need for human constructed systems. Authors also suggest a shift from purely universalist and top-down approach to more descriptive bottom-up approaches that could potentially include diverse viewpoints. Taking into consideration the complexity of the process of representation of knowledge, we argue that data-drive approach would have little to no effect on eliminating limitations and biases of existing knowledge organization and discovery systems. This study suggests that it is necessary to critically interrogate the advantages of big data approach to knowledge representation and organization to spark conversations about the cultural, technological, scholarly, societal and ethical implications of data driven approach to the knowledge representation, organization and discovery. This study argues that while a data-driven approach would certainly be valuable in provision of a large-scale representation of knowledge, only human- and community- centered approaches to knowledge representation and organization would enhance and ensure multifaceted and rich representation of the knowledge. References Baca, M., & Gill, M. (2015). Encoding multilingual knowledge systems in the digital age: The Getty vocabularies. The fifth North American Symposium on Knowledge Organization ( NASKO 2015), June 18-19, 2015, Los Angeles, California. Retrieved from http://www.iskocus.org/NASKO2015proceedings/Gill%20.pdf Doyle, A. M. (2006). Naming and reclaiming indigenous knowledge: Intersections of landscape and experience. In G. Budin, C. Swertz & K.Mitgutsch (Eds.) Advances in knowledge organization (10), Knowledge Organization for a Global Learning Society: Proceedings of the Ninth International ISKO Conference in Vienna, Austria, 2006, Ergon Verlag, Wurzburg, pp. 435-442. Ibekwe-SanJuan, F., & Bowker, G.C. (2017). Implications of big data for knowledge organization. Knowledge Organization, 44 (3) , 187-198. Mayr, P., & Zeng, M. (2017). Knowledge organization systems in the semantic web. International Society for Knowledge Organization (ISKO), UK Conference 2017, September 11-12. 2017, London, UK. Retrieved from http://www.iskouk.org/content/knowledge-organization-systems-kos-semantic-web Metoyer, C. A., & Doyle, A.M. (2015). Introduction. Cataloging & Classification Quarterly,53 (5-6), 475-478.

This paper looks at the art and philosophy of German fluxus artist Joseph Beuys (1921–1986) and relates this to current debates in the Digital Arts and Humanities. Beuys coined a number of grassroots concepts, such as the “social sculpture.” With this he referred to (a) the potential of art to transform society, (b) art as a social product, i.e., sculptures in which the onlookers are part of the artwork, and (c) the potential of every person to be an artist. His often misconstrued punchline of “everyone is an artist” is an extension of Marcel Duchamps’ “Ready Made” art, in which anything can be art; i.e., what Beuys proposed was rather that “anyone can be an artist.” This chapter looks at the similarities between Beuys’ work and Social Media and Digital Humanities, in how far his concept of the ‘Social Sculpture’ can inform the two.

As a part of the DiMPAH-project, the authors have developed an open educational resource (OER) on netnography. In this paper, the OER is presented and critically discussed as the broader problem identified during course-development is made explicit and explored through two research questions: 1) How can an OER be designed that positions netnography as a viable methodology for the digital humanities? 2) How can an OER be designed that theoretically and methodologically combines both quantitative and qualitative approaches for doing netnography? An up-to-date theoretical overview of netnography as a methodology for studying social experiences online is provided. Methodological considerations are presented, aimed for sensitizing students to nuances of active (participatory) and passive (non-participatory) netnography through two analytical concepts. The OER is presented through three case studies and a learning scenario offering flexible and authentic technology-integrated learning. Netnography is found to contribute to the digital humanities, overall characterized by method-driven and quantitative approaches, with reflexivity and a potential for critical research and pedagogy. The two analytical concepts community-based netnography and consociality-based netnography allow for a nuanced methodological understanding of how and when qualitative and quantitative approaches should be employed, and how they may complement each other.

The relevance of the digital transformation consists in the fact that it represents a continuous process of strategic renewal that uses advances in digital technologies to create opportunities that update or replace the educational process, approach to collaboration and culture. Digital humanities uses Big Data and analytical tools to study and analyse social, cultural and other phenomena. This can include the use of artificial intelligence, machine learning, and other technologies. Innovations are crucial for the development of digital competences in the context of teaching digital humanities. The digitalisation of society not only simplifies access to resources, but also creates new, previously impossible, opportunities for self-development and self-realisation of each individual. The purpose of the study is the theoretical and practical foundations of digital competence formation in the context of teaching digital humanities. Results of the study. The technological dimensions of the formation of digital competencies in the context of teaching “digital humanities” are revealed. The use of foreign experience elements in the formation of digital competences in the context of teaching “digital humanities” is clarified. The innovative possibilities of personal self-realisation in the formation of digital competences in the process of teaching “digital humanities” are substantiated. It is concluded that the formation of digital competencies in the context of digital humanities makes a significant contribution to the development of education, science and society as a whole, given the interaction of the humanities with modern technologies. Preparing students for a digital society requires the development of digital competences and allows students to adapt to a rapidly changing digital environment in which technology plays a key role in all aspects of life. Possession of digital skills focused on the humanities makes graduates more attractive to employers, as they can combine a deep understanding of society with technological knowledge.