Définir le champ de l’Histoire Publique Numérique, un atelier à THATCamp Paris 2015

Un atelier proposé pour THATCamp Paris a été voté par les participants à la “unconference” et s’est donc tenu le mercredi 10 Juin 2015 à 9 heures du matin. J’avais proposé -en mon nom et au nom de Mark Tebeau- l’atelier que Frédéric Clavert, un des organisateurs de THATcamp Paris, membre du THATCamp Council, a présenté en notre nom, mardi 9 juin au public quand, ni Mark ni moi n’étions encore à Paris. L’atelier portait sur la définition du champ de la Digital Public History (DPH) ou, en français, Histoire Publique Numérique.

Quelles en étaient les motivations ?

En décembre 2016, l’éditeur De Gruyter – Oldenbourg à Munich publiera un Handbook of Digital Public History dans la série “De Gruyter Reference” en langue anglaise. Mark Tebeau (Arizona State University) et moi-même coordonnerons cet ouvrage de référence international.

Nous avons défini un projet d’index détaillé de chapitres et de thèmes et voudrions aussi choisir les projets d’histoire numérique publique les plus importants internationalement pour qualifier la discipline, ses pratiques et, justement, certaines de ses meilleurs réalisations et objets numériques à l’échelle internationale.

La proposition scientifique du Handbook (abstract) acceptée par l’éditeur est la suivante en anglais.

Aims and Scope for an Handbook on Digital Public History

This handbook will provide a systematic overview of the present state of international research in digital public history. Detailed individual studies by internationally renowned public historians, digital humanists and digital historians will elucidate central issues in the field and present a critical account of the major public history accomplishments, research activities, practices with the public and of their digital context; the handbook will apply an international and comparative public history approach, look at its historical development, focus on technical background and on the use specific digital media, software’s and digital tools; it will offer a glossary of common terms, software’s, practices in the field together with a multi-lingual bibliography adapted to each chapter. The Handbook will analyse connection with local communities and different publics worldwide when engaging in digital activities with the past, and indicate directions for future research, practices and teaching activities. The Handbook will delimit the field extension between digital humanities, digital history and public history through its main theoretical chapters connected with smaller descriptive sub-chapters describing and comparing specific projects internationally.

 Coordinateurs:

mark-tebeau

Mark Tebeau, Associate Professor in the School of History, Philosophy, & Religious Studies at Arizona State University, Director of Arizona State University Public History Program, (Phoenix, AR, USA)

Contact information:

Email: Mark.Tebeau@asu.edu,

Website: http://www.marktebeau.com,

Blog: http://urbanhumanist.org

Commercial: http://curatescape.org

Serge Noiret, History Information Specialist (PhD) at the European University Institute, Florence, Italy

Contact Information:

Email: Serge.Noiret@eui.eu

Blog: http://dph.hypotheses.org (http://sergenoiret.blogspot.it)

Project: http://primary-sources.eui.eu

thatcamp2015_vignette_10x10cmQuestions posées aux participants de l’atelier de THATcamp Paris 2015 #tcp2015 :   

  • What should be here which isn’t there
  • What is there and should not be there
  • Key examples for each entry (what do you think each entry should be about)
  • Good authors, volunteers to contact us and suggesting who we should contact
  • This is an International program so essays truly international should come from all around the world

Résultats de l’Atelier de THATcamp du Jeudi 10 Juin 2015

L’atelier “Définir le champ de l’Histoire Publique Numérique” a suscite des questions différentes autour des chapitres, des projets et des acteurs de la DPH. Il a permis aussi de susciter des collaborateurs potentiels pour le Handbook vu que nous sommes, Mark et moi, dans la phase d’attribution de chapitres et de recherche de collaborateurs.

Toutefois, la définition de ce qu’est la “Publi History” a été au centre de la discussion avent même d’entrer dans une interaction histoire numérique, histoire publique.

La question fondamentale, liée a l’architecture du Handbook, a été la suivante: en quoi de nombreux chapitres se différentient-ils de ce qu’un humaniste numérique pourrait écrire ? Quel est la spécificité de l’Histoire Publique Numérique dans chacun de ces chapitres?

Les résultats du FramePAD sur cet atelier et de la discussion à laquelle ont participé: Martin Grandjean, Frédéric Clavert, Sébastien Poublanc, Vincent Auzas, Nathalie Casanova, Léonard Laborie, Lyriane Bonnet sont les suivants. Ils touchent a la fois les demandes des participants et les informations données par les participants eux-mêmes, des participation potentielle au Handbook.

Question qui touche la langue anglaise de l’ouvrage et la relecture des articles ecrit par les auteurs internationaux:  Oui, l’ouvrage sera entièrement en anglais, mais l’editeur financera la relecture des chapitres.

Quelle est la distinction entre humanités numériques et histoire publique numérique ?

Quelle est la relation avec une communauté d’utilisateurs. 

Existe-t-il une histoire publique non numérique ?

 Serge Noiret rappelle l’origine britannique de l’histoire publique: enregistrement des mémoires des mineurs britanniques au moment des grandes crises sous Thatcher: enregistrement de leur mémoire AVEC eux.

Cite l’exemple des commémorations comme celle du 200e. de la bataille de Waterloo les 18-20 Juin 2015, sur le site même de la bataille avec une reconstitution de ses phases avec plus de 5.000 “reenactors”.

 Il n’y a pas d’histoire publique sans historiens académiques.

Léonard Laborie: inclure des exemples de projets qui ont été mis en échec? Frédéric Clavert, la question complémentaire étant gestion de la fin d’un projet, la “sustainability” des projets ajoute Serge Noiret.

Voir si on peut inclure un chapitre sur les commémorations du centenaire de la Première Guerre mondiale: avec comparaison France / Royaume Uni. Avec Frédéric Clavert mais pas seul et Marie-Christine Bonneau se portent volontaires. Il faudrait des participants de la Mission du Centenaire scientifiques et de l’Imperial War Museum pour evaluer les projets d’histoire publique plus large.

 Contacter: luccianomelanie@yahoo.fr – talie – Traces de l’Antiquité à Lille et en Eurorégion

 Voir NYC Memory. Équivalent à Londres. Projet Marseille.

 Voir Base de données sur les Monuments aux Morts.

Martin Grandjean à disposition pour l’aspect “Social Media” (Rewriting history in 140 characters http://www.martingrandjean.ch/rewriting-history-140-characters/)

Frederic Clavert demande s’il y a des différences entre DH e DPH dans le domaine des langages numériques. Comment le Handbook fera ressortir la spécificité de l’histoire publique. Dans l’index (TOCs) des éléments sont spécifiquement DPH, d’autres pourraient être autant histoire numérique / DH que DPH. Comment faire ressortir les spécificités.

 On suggère d’avoir des chapitres qui sont écrits par des amateurs historiens directement (généalogie notamment).

Comment justifie-t-on un Handbook sur l’histoire publique NUMÉRIQUE?
Serge Noiret répond que la révolution numérique se retrouve dans les pratiques et objets des historiens publics. cf. Roy Rosenzweig Center for History and New Media: forts développements autour et donc avec les utilisateurs – centre de l’histoire publique. L’historien.ne publique travaille avec des communautés et pour ces communautés. 
 
Importance des “Environmental Humanities” pour la DPH: Digital Environmental Humanities, McGill : http://dig-eh.org/projects/ ; pour la partie Européenne : http://eseh.org/ (émanation française : RUCHE : https://leruche.hypotheses.org/)

Handbook Draft Structure for THATCamp Paris 2015

Introduction

  1. Introduction & Definitions
  1. A Digital Public History of DPH
  1. The Historiographical Foundations of DPH
  1. Manifesto (5000-word culmination): Appendix that gets published separately

 Section 1: Historiography

 Section 1 explores the themes, disciplines, linkages to other fields, as well as the context of public history practice.  In each essay, the writers take on key aspects of the topic, with attention to how the intersection of the digital & public has transformed these fields/themes. It especially considers the theoretical aspects of the fields.
  1. Digital Humanities & History In what ways has public history shaped the digital humanities and digital history?
  1. Public History  In what ways has the digital revolution reshaped public history theory, practice, and training? 
  1. International Public History Movement (Local-Global-International)
  1. How has digital public history shape the spread of public history from the United States through the globe.
  1. Oral History  In what ways has the emergence of digital public history reshaped oral history practice?
  1. Public Archeology
  1. Politics (of the past)
  1. Nostalgia (memory today) 
  1. Heritage
  1. Violent Pasts Our ability to document and represent conflict, war, social unrest, inequality, and genocides has grown more sophisticated. 
  1.  Identities The studies of identify formation in terms of class, race, gender, and indigenous cultures remains central to historical work; how has this work been transformed by digital and public history?
  1.  Realm of Memory Memory sites, including monuments and commemorations, have become more accessible in the digital age, producing wider understandings.
  1.  Environment Environmental humanities and sustainability have emerged as central concerns in digital public history in recent years. The NICHE (Canadian Network) as well as projects such as the environment & society portal from the Rachel Carson Center are examples of that work.
  1.  Museums Museums have opened significantly as a result of the digital revolution, providing new modes of engaging public audiences, as well as imagining their function in an increasingly device-driven world.
  1.  Archives/Library Archives & libraries face extraordinary challenges as books slowly disappear and our engagement with them becomes more and more digitally mediated. 
  1.  Communication
  1.  How digital public history has blurred past & present?     How digital public history is confronting periods and periodization?

Section 2: Contexts

Section 2 explores the places and contexts where digital public history is practices; it pays attention to scales of institution, locale (global, regional, national), and theoretical challenges faced in each domain.

  1. Museums What does it mean to practice in specific history contexts, based on scale—w/attention to national/international?
  1. Museum How has digital public history mattered in non-history contexts (such as natural history, art, or other museums, w/attention to international?
  1. Virtual Museum + Exhibitions The emergence of the digital has produced the possibility for the virtual museum and exhibition. 
  1. Archives How has archival practice been transformed? (Think: “what’s on the menu”)
  1. Born Digital Archives Born digital archives have emerged. What are the issues associated with these (for example SAADA.org)?
  1. Libraries (dp.la & europeana) The digital has raised the possibility of the virtual Library at Alexandria. What does digital public history tell us about the implications for large-scale library projects, such as dp.la or Europeana?
  1. Digital Libraries (no connection with real libraries) The Digital library has supplanted the physical library. Or has it?
  1. Technological  Devices matter in the digital age. How does the machine shape the delivery of public history? (Think the history and character of devices and technologies, from the CD to the DVD to floppy disks.)
  1. Privatized” Public History (market driven PH). Consulting and marketing for a private enterprise, e.g. Getty Archive, Fratelli Alinari Archive; what are the philosophical and practical considerations?
  1. Publishing:  How we publish PH has changed. Consider twitter micro-blogging, open-access, peer review, evaluation, sharing, crowdsourcing, Hypothesis, PressForward. What’s happening to text?
  1. University History Teaching  How have digital & public history have altered the history classroom–both for the instructor and learner; includes emergence of digital humanities curriculum?
  1. Public History & Humanities Training: How do we alter public history curricula to confront the digital turn? What should the new public history curriculum look like, as it pertains to digital history, includes professional development for people in the field?
  1. The Digital Public History Course: What does this course look like?
  1. Pre-University Consider the context of High School, Primary & Secondary Education, perhaps Euroclio.org and project Historiana. How is the digital/public intersection changing & enhancing both approaches & engagement of schools with history, institutions, & publics?
  1. Grassroots Local communities have begun to document and produce their own historical knowledge; how does this transform the relation to the past?
  1. Federal Governments Policy (truly international: US, Canada, & EU)
  1. State & Local Governments (also international)
  1. National Parks & Historic Sites (is this in Federal Government)
  1. Landscape & Space: parks, gardens, cemeteries, monuments; emphasis on local 
  1. Historic Preservation & Cultural Resource Management The field of cultural resource management and preservation continue to focus attention on physical landscapes; how has emergence of a digital public history altered this work, in theory and practice?
  1. UNESCO  How has the digital & public revolution transformed the work of international bodies, such as UNESCO?

Section 3: Practices: Engagement, Communities, & Curation 

Section 3 explores how public history practice has changed and digital practice has emerged as a result of the intersection of digital public history. This section focuses on best practices and approaches, using case studies and examples where possible. The big ideas for this section include public engagement, community building, the evolution of curation, and emergence of big data.

  1. Strategies for the digital & public future (theoretical)
  1. Professional Policies (What are the best practices of digital public history: i.e. open/closed access; open sources; filtering, algorithms, sustainability, programs?)
  1. Law & Ethics (i.e. Ownership & Copyright)
  1. Visualization (a kind of narrative but through visual means) Blogging & Textual Narrative (also video blog, podcasts, micro-blogging, tumblr, twitter)
  1. Mapping
  1. Data Standards & Practice
  1. Collecting & Archiving (best practices)
  1. Exhibiting
  1. Conserving
  1. Funding for the Past in the Future (funding, sustainability, emergence of a field in the funding)
  1. Gaming (Playing and Fun) 
  1. Crowdsourcing
  1. Social Media  
  1. Shared Authority
  1. Community Building & Civic Engagement 
  1. Storytelling
  1. Living History 
  1. Activist History
  1. Narrative Practice: Popular, Fiction (Imagination – Imagined history), 
  1. Genealogy
  1. Curation
  1. Teaching & Training: classroom, pedagogy, and program organization
  1. Organizing/preserving the self
  1. Amateur/non-professional public digital history (everyone their own historian?)
  1. Commercial practice, DPH as Business, Market oriented DPH 

Section 4: Technology, Media, Data and Metadata

Section 4 explores various types of technologies, media, and metadata and how they’re being used in digital public history, with attention to the challenges in each of these domains–including the problems of engaging publics, the challenges of technological change, and modes of constructing historical argument.  This section also explores how the technological itself–both in its implementation and theoritization–is transforming digital public history.  The emphasis is on the emergence of both big ideas and categories of technology, as well as on the ways of organizing, dissemination, and sharing knowledge. With special attention to data and metadata, to hardware and software, as well as tool sets, essays in this section focuses not just on the present but suggests future direction.

  1. Book & Print
  1. Technological devices as mediators of media (also in technology)
  1. GIS (the use of GIS, mapping programs, open street maps, designing maps, interpreting maps, arc-gis, q-gis (web & separate)
  1. Mobile & Locative Media
  1. CMS (various strategies and approaches)
  1. Open Access (Theorizing, Application Programming Interfaces, Data Interoperability, Metadata standards, Licensing such as Creative Commons)
  1. Open Source (Theory, Challengenges, Tools, GitHub, Maintaining Community, examples: Omeka, Drupal, WordPress, etc.)
  1. Linked Open Data (Theory, challenges, taxonomies, ontologies, semantic web)
  1. Standards (Different types of standards: archival, library, data, metadata, etc.)
  1. Materiality and landscape in digital age (including soundscapes & 3-D modelling) Sensory history has gained currency as digital tools have emerged that allow for immersive experiences and multi-dimensional modeling. 
  1. 3D Visualization (prospective, what it means: new modes of presenting and representing past, Second Life, Occulus Rift)
  1.  3D Printing
  1. Game Technologies (Occulus Rift?, soundscapes, connections, implications)
  1. Programming (languages, approaches, should the historian be a programmer?, implications of the need for specialized programming skills–consider the public history context of the need for designers, exhibit developers, marketing specialists, etc.)
  1. Websites (I want a “website.” What does that mean? Consider the transition from web 1.0 to web 2.0 to web 3.0 technology; thinking about characteristics of public history web: participatory/not, open/not, types of content; public engagement/not, links; how web technologies are changing, such as HTML5, including device contexts)
  1. Video (video projects, streaming technologies, YouTube, Vimeo, portable devices, 
  1. Photography (technologies, i.e. phones as cameras, photoshop, FLICKR etc., re-photography, HistoryPin, merging past/present locations (mixing past/present), cinemagraphs, focus on how technologies (both of taking photos and of representing photos, as well as sharing photos) shape the intersection of digital/public history; is this a new form of narrative in its own right? selfies
  1. Audio (oral history in the digital age, transom http://transom.org/ for public radio, SoundCloud, streaming, podcasts, the emergence of sound studies, these three categories: focus on how technologies (both of taking photos/video/audio and of representing photos, as well as sharing photos) shape the intersection of digital/public history;
  1. Social Media (focus on technologies of social media)
  1. Reference/Management Tools (Zotero, Evernote, and other tools for building references, and links.)
  1. Metadata (What is it? and why you should care? archival/library standards and machine metadata.)
  1. Big Data (What this means for public engagement in history and cultural institutions; what does it mean for a digital data driven public history; what does proliferation of data mean for local institutions?)
  1. Aggregation (Wikipedia, but also tools for content Aggregation, in cultural realm this includes such as dp.la, Europeana, new modes of engaging public outside …)
  1. Discovery & Connection (Connected Histories; Moving beyond Google: technologies for linking, connecting, & discovery of cultural information)

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1 Response

  1. 01/10/2015

    […] proposé par Serge Noiret, Définir le champ de l’Histoire Publique Numérique, a fait l’objet d’un compte-rendu écrit par Serge Noiret sur le site Digital Public […]

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