As always, I should have done this sooner and tidied them up more, but better rough notes than nothing, so here goes… The Australasian Association for Digital Humanities held their inaugural conference in Canberra in March, 2012. You can get an overall sense of the conference from the #DHA2012 tweets (I've put a CSV archive of #DHA2012 tweets from searchhash.com here, but note it's not on Australian time) and from the keynotes.
In his opening keynote on the movements between close and distant reading, Alan Liu observed that the crux of the 'reading' issue depends on the field, and further, that 'history is on a different evolutionary branch of digital humanities to literary studies'. This is something I've been wondering about since finding myself back in digital humanities, and was possibly reflected in the variety of papers in the overall programme. I was generally following sessions on digital history, geospatial themes and crowdsourcing, but there was so much in the programme that you could have followed a literary studies line and had a totally different conference experience.
In the next session I went to a panel on 'Connecting Australia's Cultural Datasets: A Vision for Collaboration' with various people from the new 'Humanities Networked Infrastructure' (HuNI) (more background) presenting. It started with Deb Verhoeven on 'jailbreaking cultural data' and the tension identified by Brand: "information wants to be expensive because it's so valuable. The right information in the right place just changes your life. On the other hand, information wants to be free, because the cost of getting it out is lower and lower all the time. So you have these two things fighting against each other". 'Information wants to be social': she discussed the need to understand the value of research in terms of community engagement, not just as academically ranked output, and to return research to the communities they're investigating in meaningful ways.
Other statements that resonated were the need for organisational, semantic and technical interoperability in datasets to create collaborative environments. Collaboration requires data integration and exchange as well as dealing with different ideas about what 'data' is in different disciplines in the humanities. Collaboration in the cultural datasets community can follow unmet needs: discover data that's currently hidden, make connections between disparate data sources, publish and share connections.
Ross Harley talked about how interoperability facilitates serendipity and trying to find new ways for data to collide. In the questions, Ingrid Mason asked about parallels with the GLAM (galleries, libraries, archives and museums) community, but it was also pointed out that GLAMs are behind in publishing their data – not everything HuNI wants to use is available yet. I pointed out (on the twitter back channel) that requests for GLAM information from intensive users (e.g. researchers) helps memory institutions make the case for publishing more data – it's still all a bit chicken-or-the-egg.
After lunch I went to the crowdsourcing session (not least cos I was presenting early results from my PhD in it). The first presentation was on 'crowdsourcing semantic tags on 3D museum artefacts' which could have amazing applications for teaching material culture and criticism as well as source communities because it lets people annotate specific locations on a 3D model. Interestingly, during the questions someone reported people visiting campus classics museum who said they were enjoying seeing the objects in person but also wanted access to electronic versions – it's fascinating watching audience expectations change.
The next presentation was on 'Optimising crowdsourcing websites to increase volunteer participation' which was a case study of NYPL's What's on the menu by Donelle McKinley who was using MECLAB/Flint McGlaughlin's Conversion Sequence heuristic (clarity of value proposition, motivation, incentive, friction, anxiety) to assess how the project's design was optimised to motivate audience participation. Donelle's analysis is really useful for people thinking about designing for crowdsourcing, but I'm not sure my notes do it justice, and I'm afraid I didn't get many notes for Pauline Cockrill's 'Using Web 2.0 to make new connections in community history' as I was on just afterwards. One point I tweeted was about a quick win for crowdsourcing in using real-world communities as pointers to successful online collaborations, but I'm not sure now who said it.
One comment I noted during the discussion was "a real pain about Old Weather was that you'd get into working on a ship and it would just sail off on you" – interfaces that work for the organisation doesn't always work for the audience. This session was generally useful for clarifying my thoughts on the tension between optimising for efficiency or engagement in cultural heritage crowdsourcing projects.
In the interests of getting this posted I'll stop here and call this 'day 1'. I'm not sure if any of the slides are available yet, but I'll update and link to any presentations or other write-ups I find. There's a live blog of many sessions at http://snurb.info/taxonomy/term/137.
[Update: I've posted about Day 2 at Quick and dirty Digital Humanities Australasia notes: day 2 and Slow and still dirty Digital Humanities Australasia notes: day 3.]