Digital Humanities, Libraries, and Partnerships FREE preprint chapters

Preprint versions of chapters appearing in Digital Humanities, Libraries, and Partnerships: A Critical Examination of Labor, Network, and Community. Eds. Robin Kear and Kate Joranson. Chandos, 2018.

Final versions of all chapters appear in the published version of the book, available here:

Introduction, Robin Kear and Kate Joranson:

Chapter 2: “Our Marathon: The Role of Graduate Student and Library Labor In Making The Boston Bombing Digital Archive” by Jim McGrath and Alicia Peaker.

Chapter 3: “Digital Humanities as Public Humanities: Transformative Collaboration in Graduate Education.” by Laurie N. Taylor, Poushali Bhadury, Elizabeth Dale, Randi K. Gill-Sadler, Leah Rosenberg, Brian W. Keith, Prea Persaud:

Chapter 4: “Exploring the Moving Image: The Role of Audiovisual Archives as Partners for Digital Humanities and Cultural Heritage Institutions” by Adelheid Heftberger. In Digital Humanities, Libraries, and Partnerships: A Critical Examination of Labor, Network, and Community, edited by Robin Kear and Kate Joranson, Chandos, 2018, 45-57.

Chapter 6: Glass, E. R. (2018). Engaging the knowledge commons: setting up virtual participatory spaces for academic collaboration and community. In Digital Humanities, Libraries, and Partnerships: A Critical Examination of Labor, Network, and Community. UC San Diego. Retrieved from

Chapter 7: Miller, Karen, Erik Champion, Lise Summers, Artur Lugmayr, and Marie Clarke. 2018. “Chapter 7 – The Role of Responsive Library Makerspaces in Supporting Informal Learning in the Digital Humanities.” In Digital Humanities, Libraries, and Partnerships, 91-105. Chandos Publishing. Retrieved from

Chapter 10: “Digital Humanities as Community Engagement: The Digital Watts Project” by Melanie Hubbard and Demrot Ryan:

Chapter 11: Russell, Beth. “The Collaborative Project Management Model: Akkasah, an Arab Photography Project.” Digital Humanities, Libraries, and Partnerships: A Critical Examination of Labor, Network, and Community, edited by Robin Kear and Kate Joranson, Chandos, 2018.


Visiting fellowships in digital humanities/heritage/serious games

I may have the chance to take a short break from Perth and apply for a visiting fellowship or scholarship, preferably in digital humanities, digital heritage (3D), or serious games (history and heritage).

I asked on twitter if there were links, URLs and did not hear back so I had a little search of my one, hope these may help others. I do not necessarily need a salary etc but some of these might include a stipend:



UK and Eire



Early career or postdoc

More general



When Academics Don’t Get Interaction Design


Prototype of city square that creates music when city-goers run around the moving circular "tracks" of a giant turntable and camera tracking turns their arm gestures into music beats per audio track (image by Danish architect at our MAB workshop in 2012, Aarhus).

Actually this is more a plea.

Consider this imagined scenario. You are an academic having coffee with a colleague. They do interaction “design-y” stuff and you ask them what they are working on. When they give you a broad overview of the technology and interaction, you might say”Well, that is all well and good but I need to research practical and useful things.” If they know what your focus (tunnel vision) is on, chances are they will then explain how a modification or redirection of the interaction design they were just describing will allow you and your content to do X. “Oh, that I can use” you might say.

Just hold on a minute here. They described an application, tool or service with more generic potential, and then had to use their creative imagination that you didn’t bother tapping into, to show how it could work for you. After you had poured mild scorn on their research. Seems to me they had the brainpower to

a. come up with a generically useful, hopefully transferable idea, concept, tool..

b. be able to summarize your research

c. understand how this new idea, concept or tool could apply to your context in a way that you could understand, AND

d. not be offended that you still didn’t grasp the exemplar they provided you was only a subset of what they had invented to start with.

I am not sure step d would happen though. And I wouldn’t blame the interaction designer if they didn’t have coffee with you again.




Fidus Writer

This is an online writing app that allows you to automatically reference then export into various academic-friendly format. Collaborative editing. Open source as far as I can see.


Fidus Writer is an online collaborative editor especially made for academics who need to use citations and/or formulas. The editor focuses on the content rather than the layout, so that with the same text, you can later on publish it in multiple ways: On a website, as a printed book, or as an ebook. In each case, you can choose from a number of layouts that are adequate for the medium of choice.


Conference paper: Inside Out: Avatars, Agents, Cultural Agents

Paper accepted for Researching Digital Cultural Heritage – International Conference, Manchester UK, Dates: 30/11-1/12/2017 twitter #digheritage17

Keywords:Digitally enabled collaborative, participatory and reflexive approaches in cultural heritage design, research and practice.

If conveying cultural significance is a central aim of virtual heritage projects, can they convey cultural significance effectively without an understanding of the contextual role of cultural knowledge? In this talk I will argue this is very difficult, but even populating virtual environments with others (human-guided or computer-scripted), there are still vital, missing ingredients.

In virtual heritage projects with enough computational power and sophistication to feature intelligent agents, they are primarily used as guides (Bogdanovych et al. 2009). They lead players to important landmarks, or perhaps act as historical guides (revealing past events, conveying situationally appropriate behaviour). Intelligent agents are usually designed for limited forms of conversation and typically help convey social presence rather than cultural presence. For an enhanced “sense of inhabited place”, engaging narrative- related elements, or embodiment, a cultural agent recognizes, adds to, or transmits physically embedded and embodied aspects of culture. They could provide a sense of cultural presence, becoming Aware-Of-Not-Quite-Being-‘There’.

Cultural agents would not be mere conversational agents if they were able to:

  1. Automatically select correct cultural behaviours given specific events or situations.
  2. Recognize in/correct cultural behaviours given specific events, locations, or situations.
  3. Transmit cultural knowledge.
  4. Modify, create, or command artefacts that become cultural knowledge.

To fulfil the above criteria, cultural agents would be culturally constrained. Not just socially constrained; their actions and beliefs would be dependent on role, space, and time. They could understand and point out right from wrong in terms of culturally specific behaviour and understand the history and possibly also the future trajectory of specific cultural movements. In this talk I will discuss three scenarios for cultural agents, their relationship to roles and rituals, and two more missing ingredients. The result? A more situated, reflexive appreciation of cultural significance via virtual heritage.


The latest book that isn’t (yet)


The book that isn’t, I just drafted and sent for internal academic/publisher review a book on virtual places. So it may be modified, it may not get finally published (not sure what happens, I signed a contract) but I cannot resist listing some of the issues it tries to cover, hope they are issues for you too..

Continue reading “The latest book that isn’t (yet)”


3D Digital Heritage, Berlin program

I am speaking at 3D Heritage Exploring Virtual Research Space for Art, 19 -20 June 2017, Berlin. Program here

Address:Humboldt-Universität zu Berlin, Humboldt Graduate School,Luisenstr 56, 10117, Berlin

A Scholarly Ecosystem for 3D Digital Heritage Simulations
Erik Champion

Major impediments to the development of high quality and effective virtual heritage projects has been technological constraints or insufficient audience evaluation methods. That said, this talk proposes that a more fundamental issue has been with the design, circulation and use of the digital models themselves as components of scholarly arguments or as vehicles to communicate hypotheses to the wider public.

In Australia, we have proposed to UNESCO that we run a project to survey, collate and develop tools for heritage sites and related built environments, focusing initially on Australia. The aim is to consolidate and disseminate 3D models and virtual environments of world heritage sites, host virtual heritage examples, tutorials, tools and technologies so heritage groups and classrooms could learn to develop and maintain 3D models and virtual environments, and act as advisor on policy formulation for the use, evaluation and application of these 3D digital environments and digital models for use in the classroom and for general visualisation projects.

The resulting UNESCO Chair project will implement and advise on 3D models of World Heritage Sites, how 3D models can be employed in teaching and research, investigate ways to host both the digital models and related paradata and publications, and transfer formats (for desktop use, mobile computing etc.), ideally with UNESCO, and we will leverage research facilities at Curtin and at partner institutes and research facilities like the HIVE (Figure 1).

The primary goal is to help educate the public in the area of world heritage sites via interactive collaborative digital media, with an emphasis on free and open source software, and a secondary goal is to examine virtual heritage and related digital simulations as components of scholarly arguments. The UNESCO Chair’s project team will also critique, integrate and extend existing and new infrastructure to support this learning material and the overall integration of scholarly publications, publicly available media and online directories and repositories of digital 3D simulations of world heritage sites and related artefacts as a scholarly ecosystem.