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Building Research Environments Online

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Presentation at the Australasian Consortium of Humanities Research Centres (ACHRC), July 2013. Panel description:
The Digital Humanities offers not only new tools to support what we do in the Humanities, but also new ways of thinking about what it is that we do. This panel will build upon Alan Liu’s keynote discussion of ideas for digital tools for humanities advocacy and speak to the way non-digital centres can benefit from digital humanities initiatives.

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Building Research Environments Online

  1. 1. CRICOS Provider Code: 00113B BUILDING RESEARCH ENVIRONMENTS The 2013 ACHRC Annual Meeting Deb Verhoeven @bestqualitycrab
  2. 2. CRICOS Provider Code: 00113B + $ - + BENEFIT - HuNI Research My World (pozible)
  3. 3. the HuNI Project – a virtual laboratory for the humanities Humanities Network Infrastructure http://huni.net.au/
  4. 4. • One of the Virtual Laboratories funded by the National eResearch Collaboration Tools and Resources (NeCTAR) project • Integrating humanities data at a national level • Deploying a Virtual Laboratory (or vLab) for researchers to search for (discover), and work with (analyse), the large-scale aggregations of HuNI data. about HuNI
  5. 5. a partnership … a Deakin led consortium • Cultural data providers (10) – project co-operators • Humanities software developer (1) – project co- developers • eResearch organisations (2) – lead development agencies
  6. 6. HuNI partner datasets AMHD MAP CAARP Bonza AFIRC Circus Oz AusStage Media: film, cinema, theatre, newspapers, magazines, advertising, music, live performances DAAO AustLit AWR ADB DoS Biographical: artists, designers, writers, significant people, scientists, Sydney demographics EOAS AUSTLANG Mura Indigenous languages
  7. 7. AustLit
  8. 8. ADB
  9. 9. DAAO
  10. 10. AUSTLANG
  11. 11. bonza
  12. 12. AusStage
  13. 13. EOAS
  14. 14. TUGG
  15. 15. Welcome to the Cinema and Audiences Research Project (CAARP) database: An online encyclopaedia of cinema-going in Australia. Data This site contains information on film screenings and venues in Australia. 311,137 screenings 10,256 films 1,978 cinemas 1,649 companies From 1846 to now
  16. 16. • NeCTAR investment of $1.329M • Partner contributions of $480,000 • Partner in-kind contributions amounting to >$1M a fiscal collaboration
  17. 17. a project • project director/ community liaison lead (20%) • project manager (100%) • technical coordinator (100%) • information services coordinator (90%) • community liaison (20%) • communication coordinator (20%) • administrative support (20%) • software developer(s) The HuNI project began in June 2012 and runs until December 2013 (possibly June 2014).
  18. 18. overall data architecture Data harvest, transform and ingest Data update and publish ADB DAAO CAARP AFIRC AusStage Solr Search Server [HuNI Data] RDF Triple Store [HuNI Linked Data] Data analysis and mapping HuNI Ontology HuNI Virtual Laboratory Scholarly researcher workflow tasks Registration and login Profile management History recording Project management Admin tasks Public web interface Public and citizen researcher workflow tasks Data discovery Data analysis Data sharing Simple search Advanced search Save search results as private collection Refine / expand collection Analyse and annotate collection Export collection Share collection and analysis Simple search Advanced search Share search results Deep (SPARQL-based) search Corbicula Data integration HuNI side Partner side
  19. 19. Virtual Laboratory Researcher Workflow – Discovery (part 1)
  20. 20. Virtual Laboratory Researcher Workflow – Discovery (part 2)
  21. 21. Virtual Laboratory Researcher Workflow – Discovery (part 3)
  22. 22. Virtual Laboratory Researcher Workflow – Analysis (part 1)
  23. 23. Virtual Laboratory Researcher Workflow – Analysis (part 2)
  24. 24. Virtual Laboratory Researcher Workflow – Sharing
  25. 25. HuNI project website – huni.net.au
  26. 26. HuNI project wiki – apidictor.huni.net.au
  27. 27. • Ensure that Australian cultural datasets and the research associated with them become part of the emerging international Linked Open Data environment. • Enable research enquiries to move easily from: what is? to where is? • Support the role of annotation and metadata in discovery of new knowledge or the means to elucidate new knowledge • Position the idea of data as both a subject and object of analysis in humanities • Contribute to debates around standards for development and implementation Broad Benefits
  28. 28. • Enable humanities researchers to work with cultural datasets more efficiently and effectively, and on a larger scale than is presently possible; • Encourage the systematic sharing of research data between humanities researchers (including the cultural dataset curators themselves), the community and cultural institutions; • Encourage a higher level of cross-disciplinary and interdisciplinary research, both within the humanities/creative arts and between the humanities/creative arts and other disciplines, and the wider public; • Support innovative methodologies such as network analysis, game theory and ‘virtual history’ that rely on large-scale datasets Specific Benefits
  29. 29. 1. Organisational level: the goals and processes of the institutions involved 2. The semantic level: meaning of the exchanged digital resources 3. Technical level: implementing data interoperability requires both data integration and data exchange processes as well as enabling effective use of the data that becomes available Pasquale Pagano, ‘Data Interoperability’ (GRDI2020) 4. Project level: The advent of more complex ‘big humanities’ projects requires multiple and multi-disciplinary personnel which in turn entails the organization of different workflows and expectations: e.g. challenge of developing a comprehensive or consortial approach, common definition of project method and so on. Challenges - interoperability
  30. 30. pozible.com/ResearchMyWorld CROWDFUNDING UNIVERSITY RESEARCH ...because it takes a village to fund the answers
  31. 31. CRICOS Provider Code: 00113B Research My World Deb Verhoeven, ACHRC, July 2013 „Research My World‟ launched in April 2013: • eight projects • spanning a range of discipline areas and project types • Aiming for $5,000-$20,000 • One admin assistant at 0.2
  32. 32. CRICOS Provider Code: 00113B Research My World Deb Verhoeven, ACHRC, July 2013 Pilot completed June 2013: • six successful • $50,000 of new research funding • more than 200 media stories • more than 3,600 specific tweets (incl. Stephen Fry to 5.5m followers)
  33. 33. CRICOS Provider Code: 00113B Research My World Deb Verhoeven, ACHRC, July 2013
  34. 34. CRICOS Provider Code: 00113B Broad benefits Deb Verhoeven, ACHRC, July 2013 • Disintermediation of research funding • Reduction of “compliance burden” for researchers (and universities) • Digital “presence building” for the researchers and their work including capacity building in digital culture/skills for the researchers
  35. 35. CRICOS Provider Code: 00113B Specific benefits Deb Verhoeven, ACHRC, July 2013 • Provide a unique opportunity to promote research in terms of its meaning to communities and not just other academics („to bring research home‟). Successful funding campaigns relied on clear communication of projects and social and traditional media engagement. • Shift the way universities promote research in an increasingly networked environment • Provide an additional funding stream for researchers, particularly those at the start of their career
  36. 36. CRICOS Provider Code: 00113B Specific benefits Deb Verhoeven, ACHRC, July 2013 • Focus effort on communicating with the public rather than labour-intensive, highly competitive, blind reviewed funding applications with diminishing success rates • Provide „discipline-neutral‟ opportunity; both science and humanities-creative arts were able to generate funds if community relevance was demonstrated
  37. 37. CRICOS Provider Code: 00113B Challenges Deb Verhoeven, ACHRC, July 2013 • the „digital capacity‟ of individual academics • the „digital capacity‟ of academic institutions • expectations arising from the difference between existing campaigns for crowdfunding and those specific to a projects with „research‟ focus • the public‟s response to projects from different research disciplines

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