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During the pandemic, the idea that digital adoption would revolutionise audience engagement became widespread in the museum sector. This paper explores whether this is true, utilising tools and debates from the digital humanities to analyse the online content and audiences of a representative sample of 315 museums in the UK.

This document reflects the distributed administrative structure to be put into practice by the Implementing New Knowledge Environments (INKE) group for the purpose of governing itself as it carries out work on its Major Collaborative Research Initiative (MCRI)-funded initiative. The INKE group consists of academic researchers, academic research partners (many invested as stakeholders as well), an international advisory board, a partners committee, individual research area groups (RAG) each with their own (co)leads who act as administrators for the group and form the overall RAG administrative group committee, and an executive committee (EC) that represents all areas of activity in the research endeavour and also includes an administrative/ management advisor (who carries out work and provides leadership on process, not research content) and a project manager. Taken as a whole, the structure of the group is an embodiment of the distributed administrative and authoritative principles that have evolved over the several years of the project's foundation, and the materials that follow have been assembled and authored by the entirety of the administrative team in that spirit. This document is also closely aligned with the processes outlined in two related documents: the annual calendar and the annual RAG planning process.

Digital project teams are by definition comprised of people with various skills, disciplines, and content knowledge. Collaboration within these teams is undertaken by librarians, academics, undergraduate and graduate students, research assistants, computer programmers and developers, content experts, and other individuals. While this diversity of people, skills and perspectives creates benefits for the teams, at the same time, it creates a series of challenges which must be minimized to ensure project success. Drawing upon interview and survey data, this paper explores the benefits, challenges, and patterns of interaction associated with these types of project teams. It will conclude with a series of recommendations focused on harnessing the advantages while minimizing the challenges.

Eötvös Loránd University&nbsp

It has now become commonplace to begin articles about the use and impact of digital resources with a bold statement about how much is being spent on their production. And it is a great deal, and seems to rise every year. What is less clear is exactly why we are doing this. We are often told that if it is not digital or digitised, it does not exist, and that this is especially true for our students. The corollary of this is the assumption that if things are digital, they not only exist, but ar...

How does technology impact research practices in the humanities? How does digitisation shape scholarly identity? How do we negotiate trust in the digital realm? What is scholarship, what forms can it take, and how does it acquire authority? This diverse set of essays demonstrate the importance of asking such questions, bringing together established and emerging scholars from a variety of disciplines, at a time when data is increasingly being incorporated as an input and output in humanities sources and publications. Major themes addressed include the changing nature of scholarly publishing in a digital age, the different kinds of ‘gate-keepers’ for scholarship, and the difficulties of effectively assessing the impact of digital resources. The essays bring theoretical and practical perspectives into conversation, offering readers not only comprehensive examinations of past and present discourse on digital scholarship, but tightly-focused case studies. This timely volume illuminates the different forces underlying the shifting practices in humanities research today, with especial focus on how humanists take ownership of, and are empowered by, technology in unexpected ways. Digital Technology and the Practices of Humanities Research is essential reading for scholars, students, and general readers interested in the changing culture of research practices in the humanities, and in the future of the digital humanities on the whole.

In this paper, we present the first year work of the INKE (Implementing New Knowledge Environments) research group, a large international, interdisciplinary research team studying reading and texts, both digital and printed. The INKE team is comprised of researchers and stakeholders at the forefront of fields relating to textual studies, user experience, interface design, and information management. We aim to contribute to the development of new digital information and knowledge environments that build on past textual practices. We discuss our research questions, methods, aims and research objectives, the rationale behind our work and its expected significance –specifically as it pertains to our first year goals of laying a research foundation for this endeavour. We thank the Social Sciences and Humanities Research Council of Canada (SSHRC) for funding a research cluster grant, which has made our research network possible, and the generous co-sponsorship of our institutions and research partners.

In this 2009 article, we present details of the first year work of the INKE (Implementing New Knowledge Environments) research group, a large international, interdisciplinary research team studying reading and texts, both digital and printed. The INKE team is comprised of researchers and stakeholders at the forefronts of fields relating to textual studies, user experience, interface design, and information management. We aim to contribute to the development of new digital information and knowledge environments that build on past textual practices. We discuss our research questions, methods, aims and research objectives, the rationale behind our work and its expected significance—specifically as it pertains to our first year goals of laying a research foundation for this endeavour.&nbsp

In most all things that exist at the intersection of several domains, domain-specific cultures have potential to collide, in useful ways as well as others. The book is such a thing—especially so, one might observe, in an age witnessing the book’s seeming redefinition in the midst of societal reconfiguration with respect to technologies and media of conveyance. As has been noted by many, Katherine Hales and Alan Galey among them, the advent of the electronic book, the e-book, has made the book itself visible to us as an object of study in new ways, ways that have, in quick succession, metaphorically and analogically fertilized and fomented our understanding of new forms of electronic-reader book-ishness and concomitant electronically-facilitated reading practices...

My thesis takes as its subject the poetry of Richard Crashaw. Crashaw aims to represent a mutual relationship of love between God and humanity, which is modelled on the discourses of earthly, erotic love. However, such a relationship, and its expression is highly problematic. Love, and this kind of mutuality are best expressed through suffering. This paradox is central to my thesis. The dissertation falls into three parts which discuss the early , middle and late periods of his life and writing. Section One: Epigrammata Sacra. In these epigrams, Crashaw attempted to forge a language in which to express his love of God. He adapted the conventions of Latin erotic poetry to represent sacred love. The first two chapters discuss Ovid and Prudentius who were important influences on Crashaw since they both adapted the language of Classical Latin poetry for their own purposes. Ovid used the language of Augustan public rituals to write erotic poetry. Prudentius also strove to adapt the language of Roman poetry to the Christian purpose of celebrating the sufferings of the manyrs. Since Crashaw also explores the way in which wounding can aid communication between humanity and God, Prudentius was also an imponant model for this aspect of his poetry. Section Two: Steps to the Temple (1646). The first chapter concerns Counter Reformation meditational writers. Louis Manz contends that such writers were highly influential on English Renaissance poetry. This chapter investigates their views of divine love and how humanity may achieve it. In Steps to the Temple , Crashaw celebrates those who, like St. Teresa, have achieved communion with God, but seems himself to require an intermediate agency through which to communicate his love for the divine. The poems discussed in this section were probably written in the 1630s and 1640s, while Crashaw was resident in Cambridge. The final chapter discusses the political and religious debates of the 1640s and argues that what some critics perceive as Crashaw's 'foreign' sensibility may be a reflection of the views of the 'Beauty of Holiness' movement. Section Three: Steps to the Temple (1648) and Carmen Deo Nostro. Crashaw fled to Europe in 1643 and convened to Catholicism. The two later editions of his poetry, published after his exile from England, contain several new poems and revisions of earlier ones. Poems in hymn form , appear for the first time in the 1648 edition of Steps to the Temple. These are full of images of pain and wounding. The opening chapter compares Crashaw's discussions of religious suffering with those of contemporary poets. The work of his close friend and coUeague at Peterhouse, Joseph Beaumont, is particularly va1uable, since his language and style are very similar to Crashaw's. Beaumont's poetry also offers an insight into the life of Laudians who remained in England during the Interregnum. Hymns of the Church were associated with Catholic ritual. The second chapter considers whether there is any evidence that these poems were written after Crashaw's conversion, and whether they exhibit any change of sensibility as a result . An account of Crashaw's years of exile contends that he may have encountered Catholic thought while still in England. Critics have assumed that once he convened, and particularly once he anived in Rome, he was finally content and at peace with God. I argue, however, there is no evidence for this view, and that Crashaw remained an excluded exile whose sense of isolation found expression in his poetry., Digitisation of this thesis was sponsored by Arcadia Fund, a charitable fund of Lisbet Rausing and Peter Baldwin

This paper discusses the need to preserve interfaces for early DH projects. It is a slightly expanded version of the abstract that will appear in the conference book of abstracts. The full version of the paper has been published by Digital Scholarship in the Humanities at https://academic.oup.com/dsh/articleabstract/ doi/10.1093/llc/fqz081/5670586. I am therefore not able to upload that paper to this repository, for copyright reasons. But please do read the full paper if you have access to it.

Emergent mobile technologies offer museum professionals new ways of engaging visitors with their collections. Museums are powerful learning environments and mobile technology can enable visitors to experience the narratives in museum objects and galleries and integrate them with their own personal reflections and interpretations. UCL‟s QRator project is exploring how handheld mobile devices and interactive digital labels can create new models for public engagement, personal meaning making and the construction of narrative opportunities inside museum spaces. The use of narrative in museums has long been recognised as a powerful communication technique to engage visitors and to explore the different kinds of learning and participation that result. Many museums make extensive use of narrative, or storytelling, as a learning, interpretive, and meaning making tool. This chapter discusses the potential for mobile technologies to connect museums to audiences through co-creation of narratives, taking the QRator project as a case study. The QRator project aims to stress the necessity of engaging visitors actively in the creation of their own interpretations of museum collections through the integration of QR codes, iPhone, iPad, and Android apps into UCL‟s Grant Museum of Zoology. Although this chapter will concentrate on mobile technology created for a natural history museum, issues of meaning making and narrative creation through mobile technology are applicable to any discipline. In the first instance, the concern is with the development of mobile media in museums followed by a discussion of the QRator project which stresses the opportunities and challenges in utilizing mobile technology to enhance visitor meaning making and narrative construction. Finally, this chapter discusses the extent to which mobile technologies might be used purposefully to transform institutional cultures, practices and relationships with visitors.