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This article focuses on memories of the past and moral values in the video game Metro 2033: Redux (4A Games / Deep Silver, UA/AT 2014). The game, situated in a postapocalyptic Moscow and based on a book by the Russian author Dmitry Glukhovsky, is focused on the adventures of Artyom, with whom the player identifies, in the metro system. On their journeys, players face different situations and decisions, to which they can choose how to react. Furthermore, in this dystopian world the player not only travels through different tunnels, but also encounters memories of a lost past and different belief systems. Unbeknownst to the gamer, almost every segment of this journey holds an invisible moral evaluation, which will grant the player “moral points” if passed. The balance of moral points then defines the possible endings of the game. Drawing on approaches in the study of historical narratives in video games, this article analyses the romanticisation and criticism of the past shown in the game as well as the various categories and situations in which moral points are awarded, exploring how they are related to moral values and how they affect the gaming experience. In addition, characters with different belief systems are present both in the book and, to a limited extent, in the game, and this article will reflect on the representations and role of beliefs throughout the Metro series., JRFM, 9, 1 p. 133-153

For almost 20 years, the digital repository GAMS (Geisteswissenschaftliches Asset Management System) has been providing long-term preservation of Humanities’ resources offering both a technical solution and a way of achieving sustainability in the handling of research data. Such domain-specific digital repositories rely on specialised design principles and a strategic orientation to balance the need for long-term sustainability and the use of advanced technologies. The repository solely relies on open source software due to its commitment to open access and open science. Its design principles intend to foster compliance with international best practices like the COAR Community Framework for Good Practices in Repositories (COAR 2020) and the certification guidelines of the CoreTrustSeal, and following the FAIR principles of findability, accessibility, interoperability and reusability. Long-term preservation entails migration to new software versions and reflecting advancements in technology as well as responding to security issues; increase in projects and services require a more elaborate and stable system architecture. This submission describes the conceptual framework and architecture of a large digital repository infrastructure that specialises in the preservation, management and presentation of research data in the Humanities, as well as the maintenance and migration of this exemplary research data ecosystem.

The editorial provides a broad contextualization of recent and developing theoretical and empirical examinations of digital materiality in museums. This Special Issue includes seven papers, which cover a range of theorizations, issues and challenges that arise in the intersection of digital and materiality in museum and heritage contexts.

(VLID)5552067

Through this White Paper, which gathers contributions from experts of 3D data as well as professionals concerned with the interoperability and sustainability of 3D research data, the PARTHENOS project aims at highlighting some of the current issues they have to face, with possible specific points according to the discipline, and potential practices and methodologies to deal with these issues.During the workshop, several tools to deal with these issues have been introduced and confronted with the participants experiences, this White Paper now intends to go further by also integrating participants feedbacks and suggestions of potential improvements.Therefore, even if the focus is put on specific tools, the main goal is to contribute to the development of standardized good practices related to the sharing, publication, storage and long-term preservation of 3D data.

The main task of this doctoral dissertation is to ascertain how museums are practiced and defined through social practices. This has been done in three research articles, in which I have discussed how some people, various tasks and museums have been valued as more or less ‘museal’ than others in the Finnish museum field of the late 20th century. The empirical material included in this study consists of biographical interviews, in which museum professionals reminisced about their careers in the Finnish museum field, and responses to a questionnaire, in which museum visitors shared their museum memories. The former part is larger in size and has also been emphasised more in my analysis. Both parts of the material are products of a Finnish Museum History Project, carried out between 2005 and 2011. The questionnaire ‘Minun museomuistoni’ (My Museum Memories) was produced by the Finnish Literature Archive, and the interviews were carried out by various volunteers from the museum field. The material covers the last decades of the 20th century and the first years of the 21st century. The time period brought many changes to museum work practices and to the ways museums function in a society, the effects of which are still present in today’s museum field. For example, museums adopted marketing and different digital tools, which meant that the professional skills of those working in museums were challenged. The roles and responsibilities of museums were also subjected to new debates. The museum field has and needs shared standards and guidelines, but in this study I recognise the plurality of museum practices and interpret them within practice theory framework as things that people do that have shared meanings. Thus, the things that people do in museums are controlled by official rules, but they are also a part of tradition and have personal meaning in the lives of the people who carry them out. I discovered that the practices and their shared meanings can create hierarchies that define whose work is more ‘museal’, which in turn can influence the professional identity of their practitioners: the ‘real museum people’ are those who do ‘real museum work’. A change in everyday museum practices is also part of something bigger: a change in ideologies and museum views, and a change in the working community and its dynamics. Studying museum practices as social and cultural practices and lived phenomena allows us to examine more critically where our different ideas of museums come from and how they influence the way museums function. Tämän väitöskirjan päätehtävänä on selvittää, miten museoita harjoitetaan ja miten ne määritellään käytäntöjen kautta. Tämä tutkimustehtävä on jaettu kolmeen alatehtävään: miten jotkin ihmiset, työtehtävät ja museot on arvioitu enemmän tai vähemmän "museaalisiksi" kuin toiset 1900-luvun lopun suomalaisella museokentällä. Olen tarkastellut näitä kysymyksiä tähän väitöskirjaan sisällytetyissä kolmessa tutkimusartikkelissa. Tutkimukseni empiirinen aineisto koostuu elämänkerrallisista haastatteluista, joissa museoammattilaiset muistelevat uraansa suomalaisella museokentällä, sekä kyselyvastauksista, joissa museokävijät kertovat museomuistoistaan. Näistä ensimmäinen on määrällisesti suurempi ja tutkimukseni kannalta keskeisempi. Aineiston molemmat osat on tuotettu osana Suomen museohistoria -hanketta, joka toteutettiin vuosina 2005–2011. Minun museomuistoni -kyselyn toteutti Suomalaisen Kirjallisuuden Seuran Keruuarkisto. Museoammattilaisten puolistrukturoidut haastattelut on toteutettu vapaaehtoisvoimin ja ne on arkistoitu eri museoiden ja arkistojen toimesta. Tutkimusaineisto kattaa 1900-luvun viimeiset vuosikymmenet ja 2000-luvun vaihteen. Kyseinen ajanjakso toi monia muutoksia museoammattilaisten käytäntöihin ja työtapoihin sekä museoiden rooliin yhteiskunnassa. Museot esimerkiksi ottivat käyttöönsä markkinointiin ja tietotekniikkaan liittyviä työtapoja, mikä haastoi museoissa työskentelevien aiemman ammattitaidon. Museokentällä on yhteisiä, tarpeellisia standardeja ja ohjeita, jotka määrittävät miten museotyötä tehdään, mutta tässä tutkimuksessa painotan museokäytäntöjen moninaisuutta ja tulkitsen niitä käytäntöteorian viitekehyksessä ihmisten tekeminä asioina, joilla on jaettuja merkityksiä. Museokäytäntöjä rajoittavat viralliset ohjeistukset, mutta ne ovat myös osa työyhteisöjen perinteitä, ja niillä voi olla henkilökohtaista merkitystä niitä toteuttavien ihmisten elämässä. Tutkimuksessani havaitsin, että museokäytännöt ja niiden jaetut merkitykset muodostavat hierarkioita, jotka määrittelevät, kenen työ nähdään "museaalisempana" kuin toisten, mikä puolestaan voi vaikuttaa museoammattilaisten ammatti-identiteettiin: "aidot museoihmiset" ovat niitä, jotka tekevät "aitoa museotyötä". Muutos arkipäivän museokäytännöissä heijastelee myös muutosta museoita koskevissa ideologioissa sekä työyhteisöissä ja niiden dynamiikassa. Museokäytäntöjen tarkasteleminen sosiaalisina ja kulttuurisina käytäntöinä antaa mahdollisuuden tutkia kriittisemmin, mihin erilaiset museonäkemykset pohjautuvat ja miten ne vaikuttavat museoiden toimintaan.