The document summarizes digital projects from the University of Oxford related to World War 1. It describes resources like drafts of poems by Wilfred Owen and Siegfried Sassoon, correspondence, photographs, and service records that provide new perspectives on the war. It highlights tools for exploring timelines and creating paths through the materials. The goal is to represent the digital content about WWI in innovative ways and use open resources to further academic discussion.
The document summarizes the key causes and events of World War I. The main causes included militarism, alliances, imperialism, and nationalism in Europe. The assassination of Archduke Franz Ferdinand led to an escalating series of events where countries honored their alliances, leading Germany and the Allied powers into war. New weapons like machine guns, poison gas, tanks, airplanes and trench warfare led to military stalemate and over 8.5 million deaths. The Treaty of Versailles after the war assigned guilt to Germany and imposed harsh reparations.
An overview of the digital resources available from the University of Oxford to support new directions in teaching the First World War. All are available under open licenses to allow download, reuse, adaptation and redistribution in education worldwide.
This presentation was given as a keynote at the Midlands History Forum, University of Birmingham on the 19th October 2013.
Oxford’s Digital Projects: Rethinking the First World War (or 'can technolog...Kate Lindsay
This document discusses using digital tools and open educational resources to rethink how the First World War is studied and commemorated. It describes several Oxford University projects that aim to collect, create and remix open content about the war to engage a broader audience and seed new academic discussions. These projects include an open resource library, a crowdsourced Twitter archive of the Battle of Arras, an open collaborative blog, and tools to remix digital content about the war in innovative ways. The goal is to use technology to move beyond traditional approaches and advance understanding of this global conflict.
Presentació d'Alun Edwards (University of Oxford) a les jornades "Biblioteques patrimonials: conservant el futur, construint el passat" organitzades per la Biblioteca de l’Ateneu Barcelonès el 24 de novembre de 2010
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The document discusses the future of medieval studies and possibilities in the digital humanities. It describes how digital technologies could enhance medieval scholarship by allowing researchers to more richly annotate and interact with primary sources. However, it also notes concerns that online publishing and curation may become more commercialized and restricted, limiting the exploratory nature of medieval research.
University of Oxford: Digital resources & Community CollectionEmma Banks
The document discusses the University of Oxford's digital resources and community collection related to World War 1. It started with a poetry collection website and expanded to include over 65,000 contributed items like manuscripts, photographs, records, and diaries. Through outreach programs, the collection grew to include over 20,000 stories from around the world. The resources are freely available online and the collection remains open for further contributions as commemorations of World War 1 continue through 2014.
This document summarizes several emerging technologies being used in academic libraries in 2015. It describes projects using 3D imaging of historical manuscripts, interactive maps created with conductive ink, musical instruments that tell their own life story through recorded audio, and interactive life history books for elderly residents created with a tangible memories app. It also mentions projects using physical charts to display real-time data, marginalia machines to analyze archival materials, and 3D wearable library cards.
The document summarizes the key causes and events of World War I. The main causes included militarism, alliances, imperialism, and nationalism in Europe. The assassination of Archduke Franz Ferdinand led to an escalating series of events where countries honored their alliances, leading Germany and the Allied powers into war. New weapons like machine guns, poison gas, tanks, airplanes and trench warfare led to military stalemate and over 8.5 million deaths. The Treaty of Versailles after the war assigned guilt to Germany and imposed harsh reparations.
An overview of the digital resources available from the University of Oxford to support new directions in teaching the First World War. All are available under open licenses to allow download, reuse, adaptation and redistribution in education worldwide.
This presentation was given as a keynote at the Midlands History Forum, University of Birmingham on the 19th October 2013.
Oxford’s Digital Projects: Rethinking the First World War (or 'can technolog...Kate Lindsay
This document discusses using digital tools and open educational resources to rethink how the First World War is studied and commemorated. It describes several Oxford University projects that aim to collect, create and remix open content about the war to engage a broader audience and seed new academic discussions. These projects include an open resource library, a crowdsourced Twitter archive of the Battle of Arras, an open collaborative blog, and tools to remix digital content about the war in innovative ways. The goal is to use technology to move beyond traditional approaches and advance understanding of this global conflict.
Presentació d'Alun Edwards (University of Oxford) a les jornades "Biblioteques patrimonials: conservant el futur, construint el passat" organitzades per la Biblioteca de l’Ateneu Barcelonès el 24 de novembre de 2010
The Future of Medieval Studies: Hopes and FearsAndrew Prescott
The document discusses the future of medieval studies and possibilities in the digital humanities. It describes how digital technologies could enhance medieval scholarship by allowing researchers to more richly annotate and interact with primary sources. However, it also notes concerns that online publishing and curation may become more commercialized and restricted, limiting the exploratory nature of medieval research.
University of Oxford: Digital resources & Community CollectionEmma Banks
The document discusses the University of Oxford's digital resources and community collection related to World War 1. It started with a poetry collection website and expanded to include over 65,000 contributed items like manuscripts, photographs, records, and diaries. Through outreach programs, the collection grew to include over 20,000 stories from around the world. The resources are freely available online and the collection remains open for further contributions as commemorations of World War 1 continue through 2014.
This document summarizes several emerging technologies being used in academic libraries in 2015. It describes projects using 3D imaging of historical manuscripts, interactive maps created with conductive ink, musical instruments that tell their own life story through recorded audio, and interactive life history books for elderly residents created with a tangible memories app. It also mentions projects using physical charts to display real-time data, marginalia machines to analyze archival materials, and 3D wearable library cards.
The document discusses the relationship between artistic practice and archives. It provides examples of how artistic works have been inspired by and engaged with archive materials in novel ways, such as altering the performativity and visualization of archives. The document also explores how artistic practice can contribute to understanding the impact of new technologies on archives and foster new visions of archives' roles in society and culture. It examines issues around cooperation between archivists and artists and developing interdisciplinary work while respecting different practices.
An overview of the First World War Digital Archive, including its aims and collections. Part of the "Electric Connections 2008: Collaborating on Content" conference.
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Twitter tactics to increase engagement at your eventKate Lindsay
Slides from my #OxEngage 2016 lunchtime talk, Academic IT Services, University of Oxford.
For delegates and organizers alike, the presence of Twitter and live-tweeting has become a fixture at most conferences, events, webinars, and even lectures. This lunchtime talk looked at how we can capitalise on this, and make sure everyone gets the most out of using Twitter during academic events.
1. The document provides guidance on using Twitter for academic purposes, including getting started, profile setup, following others, curating content, engaging in conversations, and measuring impact.
2. It recommends starting by building traction through regular, relevant tweets and interactions with others, then building momentum through community management tools and linking social media with other activities.
3. The document also provides ideas for using Twitter in teaching, conferences, departments, libraries and museums, and suggests developing a three-step strategy focusing on building traction, momentum, and expansion.
1. Twitter is a microblogging platform composed of 140-character messages ("tweets") answering the question "what's happening?".
2. Museums can take different approaches to their Twitter identity, including representing individual staff, the whole organization, or a character.
3. Content is key for museums on Twitter - they should share events, activities, videos, behind-the-scenes information, and get creative to build traction and momentum over time through regular engagement and interaction.
1. Twitter can be used by academics to connect with colleagues, curate content, and promote their work.
2. The document provides guidance on setting up a Twitter profile, engaging in conversations, and strategies for using Twitter in teaching, research, and departments.
3. Effective Twitter use involves regularly tweeting relevant content, interacting with others, and expanding one's network over time through blogs, profiles, and growing followers.
Online Presence: Developing your online presence Kate Lindsay
This document provides strategies for developing an online presence, including determining objectives, choosing target audiences, creating and sharing content, managing time, and measuring impact. It recommends knowing your objectives and making them measurable, monitoring your community, selecting topics and media for sharing, keeping content updated across profiles, and revisiting objectives regularly to evaluate impact using analytics and metrics.
Twitter for Academia (v2) provides an overview of how Twitter can be embedded within academic practice as well as considerations when creating an online profile, developing a tweeting tyle and
Collaborative histories and community contributed collections: reappraising ...Kate Lindsay
This document discusses using digital technologies and open licensing to transform learning about World War 1 through collaborative efforts between communities and academics. It explores using crowdsourcing to build openly accessible online archives and engaging the public on social media to commemorate historical events. While new approaches can exploit public interest, the author questions if this will truly move understanding beyond entrenched views or just be a fragmented discussion.
World War One: Continuations and Beginnings Kate Lindsay
This project aims to create Open Educational Resources (OERs) about World War 1 using a range of international content from both the UK and other countries. The OERs will be developed into learning materials across disciplines and embedded into teaching. Lessons learned from developing and using the OERs will be captured and shared.
This document provides guidance on using Twitter for academic purposes. It discusses building a Twitter identity and profile, engaging in conversations, using Twitter for research, departments/colleges, libraries and museums, and in the classroom. Tips are provided on live tweeting conferences, auto-tweeting, backing up tweets, and developing a Twitter strategy and measuring impact. Overall, the document argues that if used effectively, Twitter can enhance academic activities through timely communication, engagement, and relationships.
Web usability in practice: a case study from the First World War Poetry Digit...Kate Lindsay
This presentation goes through the background to the First World War Poetry Digital Archive, then proceeds to outline how a variety of different user engagement strategies informed the development and the sustainability of the web site.
A review of the growth of the Israel Genealogy Research Association Database Collection for the last 12 months. Our collection is now passed the 3 million mark and still growing. See which archives have contributed the most. See the different types of records we have, and which years have had records added. You can also see what we have for the future.
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The document discusses the relationship between artistic practice and archives. It provides examples of how artistic works have been inspired by and engaged with archive materials in novel ways, such as altering the performativity and visualization of archives. The document also explores how artistic practice can contribute to understanding the impact of new technologies on archives and foster new visions of archives' roles in society and culture. It examines issues around cooperation between archivists and artists and developing interdisciplinary work while respecting different practices.
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Slides from my #OxEngage 2016 lunchtime talk, Academic IT Services, University of Oxford.
For delegates and organizers alike, the presence of Twitter and live-tweeting has become a fixture at most conferences, events, webinars, and even lectures. This lunchtime talk looked at how we can capitalise on this, and make sure everyone gets the most out of using Twitter during academic events.
1. The document provides guidance on using Twitter for academic purposes, including getting started, profile setup, following others, curating content, engaging in conversations, and measuring impact.
2. It recommends starting by building traction through regular, relevant tweets and interactions with others, then building momentum through community management tools and linking social media with other activities.
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1. Twitter is a microblogging platform composed of 140-character messages ("tweets") answering the question "what's happening?".
2. Museums can take different approaches to their Twitter identity, including representing individual staff, the whole organization, or a character.
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1. Twitter can be used by academics to connect with colleagues, curate content, and promote their work.
2. The document provides guidance on setting up a Twitter profile, engaging in conversations, and strategies for using Twitter in teaching, research, and departments.
3. Effective Twitter use involves regularly tweeting relevant content, interacting with others, and expanding one's network over time through blogs, profiles, and growing followers.
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This document provides strategies for developing an online presence, including determining objectives, choosing target audiences, creating and sharing content, managing time, and measuring impact. It recommends knowing your objectives and making them measurable, monitoring your community, selecting topics and media for sharing, keeping content updated across profiles, and revisiting objectives regularly to evaluate impact using analytics and metrics.
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Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
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Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
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WW1 in the Classroom: University of Oxford Digital Resources
1. First World War Digital Projects
from the
University of Oxford
Kate Lindsay
IT Services (Academic)
University of Oxford
@KTDigital | @WW1C | @WW1Lit
2. Images: British Library via the First World War Poetry Digital Archive
It all started
with poetry…
10. I’m trying to stop them rehashing
the same old A’ Level essays and I
think drafts are a really good way
to do that…
Anthem for Doomed Youth by Wilfred Owen
To what extent do drafts of this poem challenge its
status as a 'work'?
Hope Wolf: http://www.oucs.ox.ac.uk/ww1lit/education/pathways/path/w83yc7
11. Why do you think Sassoon
prefers:
1. "the monstrous anger of the
guns" to "the solemn anger of
our guns"?
2. "the blind insolence of their
iron mouths" to "the majestic
insults of their iron mouths"?
34. • Mapping the Impact of
the Great War
• 18Ib Artillery Shells:
The Great War
Recycled
• Shellshock on Film
• Verdun 1916
• Arras: The Forgotten
Battlefield
• The Dying Kiss: Gender
and Intimacy in First
World War Literature
• Conflict Culture
http://ww1centenary.oucs.ox.ac.uk/
Community Blog
37. To re-present digital content
around World War I in
technologically innovative and
inventive ways to showcase
the full potential of using
open material to seed
academic debate.
Visualisations
48. Can technology move us ‘beyond the
trenches’?
http://www.oucs.ox.ac.uk/ww1lit
http://www.oucs.ox.ac.uk/ww1lit/gwa
http://www.europeana1914-1918.eu/en
http://ww1centenary.oucs.ox.ac.uk/
Kate Lindsay
Manager for Engagement, Academic IT Services
Director, World War I Centenary: Continuations and Beginnings
University of Oxford
katharine.lindsay@it.ox.ac.uk
@KTDigital / @WW1C / @WW1LIt
Editor's Notes
Can technology move us beyond the trenches?
This is the First World War Poetry Digital Archive website. We’ve c. 7,000 digital images of primary source material (manuscripts, letters, photos, service records) relating to the poetsA virtual Museum to house the digitised manuscripts of dispersed collections of WW1 poetry and related contextual material from some of the major writers of the war. Primary source material dispersed amongst libraries and archives in the UK, USA and Canada. Digitisation performed by holding institutions according to project benchmarks.No physical manifestation of this archive to compliment the online collectionBuilt up over a series of digitisation projects since 1996. Most recently funding received for Apr 07 - Mar 09 and Oct 08 - Sept 09 to expand and enhance the archive (JISC Digitisation Programme).You can see the search box where you can start exploring. And links to the Education Materials and to browse the collections of poetry.
Isaac Rosenberg – ask more ephemeral questions – the effect of experience of looking at these grubby manuscripts – do we feel like looking at these texts do we get a more immediate connections with the poems we are looking at. Emotional responses to seeing archiving texts.
Draft Is special as it has pencil corrections by Sassoon.
You might want to explore's Sassoon's poems to detect his attitudes to war and poetry; this might help us to understand his corrections. Although this resource, 'worldle', cannot replace actually reading this poetry, it is an easy way of seeing quickly which words he uses most.What kinds of words does he use most?1. obviously there are a lot of war-realted words: war, soldiers, men, home.2. there are words denoting situation and surroundings: dawn, light, gloom, darkness, night, rain. 3. but there are also a lot of concrete nouns: eyes, face, head, legs.But what is missing?
Wilfred Owen's cloud may show us what Sassoon's is missing.Look how often:1. abstractions are used, e.g. "love", "time", and "god".2. archaic words such as "thy" are used.Could this help us to understand difference between Owen and Sassoon's poetry? What are the limitations of using this resource?
So looking at drafts may challenge the idea of the single 'author' but do they also challenge ideas of the single 'work'? Can you think of reasons for the differences between the drafts and published version of the poem?1."who die so fast" (righthand draft) "who die in herds" (left hand draft) "who die as cattle" (published version) 2. "Only the monstrous anger of the guns/ Let the majestic insults of their iron mouths/ Be as the requiem of their burials""Only the monstrous anger of the guns!/Only the stuttering rifles' rattled words/ Can patter out your hasty orisons""Only the monstrous anger of the guns/ Only the stuttering rifles' rapid rattle/ Can patter out their hasty orisons"3. "Of choristers and holy music, none;/ Nor any voice of mourning save the wail/ The long drawn wail of high far-sailing shells""No wreaths for you, or palms [pomp], nor chanting choirs/ Nor any voice of grief save wailful shires/ [Leave a deep silence by the village wells/ Suddenly to twilight: these are our fairwells.""No mockeries now for them; no prayers nor bells;/ Nor any voice of mourning save the choirs,/The shrill, demented choirs of wailing shells/ And bugles calling for them from sad shires."4. "What candles may we hold for these lost? souls?" "What candles may boys [we] hold to speed you all?""What candles may be held to speed them all?"
Edmund Blunden
Early manuscript draft for 'Daughter's of War' by Isaac Rosenberg. (18 different versions in the website, collected from all around the world)As you can imagine, it was very expensive to gather this material.So to add some further contextual material to the site we hoped the public would contribute their material to our website, in a kind of community collection called The Great War Archive. This is an early form of what is known as CROWDSOURCING.Alongside our work on the poetry archive we ran The Great War Archive from March to June 2008.This was a ‘Community Collection’ to harvest digital versions of items originating from the First World War held by the general publicIt was quite innovative – involving the public in all aspects of digitisation and cataloguingIdea of a community collection- Bridge the gap between non-institutional pro-amateurs and institutional collections and their online presence.Creation of digital resources by armateursDigitisation of family history and genealogy is very popular – harnessing this power of amateur digitisation- Democratising in nature – accept everything, not selective
There was a very simple online submissions process Public enters basic metadataThe trick was to get the most useful information from the contributor but at the same time not making it a laborious task that would dissuade themOffered a large open ‘notes’ field for further information, anecdotes, etc.Europeana were first inspired to fund this when they saw our work in Oxford to run a short-term pilot collection like this in the UK. In 2008 we ran The Great War Archive. This was a community collection. We had enough funding to run this for 4 months only, as a test pilot. We managed to get the public to contribute stories and images of anything they had from the First World War. This was an early form of what is now called Crowdsourcing. For Germany we followed the methods of The Great War Archive. We set up a very simple online contribution form. This is an English screenshot, and the form and the whole process is available in German as well. The member of the public enters some basic metadata. The trick here is to get the most useful information from the contributor but at the same time not make it a laborious task that might put them off. There is a large open notes field for information and anecdotes. The contributor also agrees to the terms and conditions – these are equivalent to CC0 (Creative Commons Zero). Finally the contributor uploads their files – photos etc.The form – and the whole database is based on an open source Ruby On Rails system which we have developed, and the website has a simple HTML shell – all displayed with a CSS from Europeana.Not everyone is familiar with the Internet, so we ran roadshows. These roadshows were public participation days. They were coordinated by the DNB. We worked with an organisation like a state library or archive. We based ourselves there for a day and used the newspapers and the radio to invite the public to join us.These public participation days really were a bit like the BBC TV programme The Antiques Roadshow, if you have seen it? People really did queue up with their plastic bags full of photos, letters and uniforms. We would talk to them about what they have brought. Get them to fill in a form and then photograph or scan the items.So we have collected the ephemera which the museums and the rest of the world has chosen to leave undocumented. Yes, we had lots of medals and portrait photos but we also got hundreds of unpublished diaries and memoirs and photos.To moderate the contributions we have an admin system which allows our editors to: check items for their validity; correct or add to the metadata; flag items of particular interest/value.We also have a Take Down policy, and an email address where users can contact us.CLICK
Europeana 1914-1918’s collection includes everything from letters to medals, trench art and uniforms, and even a postcard from the young Adolf Hitler about his dental treatment in 1916. Fascinating as this is, but what use or meaning does such an eclectic 'collection' actually have? The first time (?) that a collection has been formed through pieces that the public have chosen to preserve, and wish to preserve for the futureGenuine raw materialNew material is of course grist to the academic research mill, and whilst the collection holds many familiar types of artefact, this is arguably the first time that such a collection has been formed through pieces that the public have chosen to preserve, and wish to preserve for the future. What is here has not been selected or weeded to meet a pre-planned museum agenda, and in this sense is genuine raw materialThe collection holds the raw material of school projects, essays, enlightened browsing, and informative relaxation.The pictures are often bold and interesting. Teachers can take and use them at all educational levels and carefully selected have something to say to both adults and children. You can find examples that relate not just to your country, sometimes even your home town. You can tap into experience across nations
The creation of a suite of learning and teaching resources that provide an international, cross-disciplinary reappraisal of WW1 using digital content which will subsequently be brought together and presented as OERs.Put the ‘World’ back into ‘World War’“Get out of the trenches”Battles ‘other than the Somme’Medical aspectsReligious aspectsBattlefield archaeology War and Memory Material cultureThe legacy of the War