Archive for the 'Uncategorized' Category

Moving Forward Digital Art History – Report from a UCLDH Workshop

By Melissa M Terras, on 8 October 2015


People in UCL Art Museum

A day of lively discussion topped off with a visit to UCL Art Museum, so see some of UCL’s own art treasures.

In June 2015, UCLDH hosted an invitation only workshop titled “Moving Forward Digital Art History” at University College London. The aim of the workshop was to explore “digital art history” – a phrase that has become a shorthand reference to the potentially transformative effect that digital technologies hold for the discipline of art history. The latest tools and techniques allow researchers to handle large volumes of digitized images and texts, trace patterns and connections formerly hidden from view, recover the past in virtual environments, and bring the complex intricacies of works of art to light as never before, to name just a few opportunities. We aimed to discuss how art historians acquire the knowledge to explore these new possibilities, explore the state of digital art history in the UK, and identify potential professional development opportunities and strategies, such as summer institutes, to help the field move forward. We’ve had permission to summarise the findings and discussions of the workshop here, to share with the wider community.

The workshop was hosted by Melissa Terras (UCLDH) with assistance from Anne Helmreich (formerly of the Getty Foundation) and had attendees from the The National Gallery; CHArt (Computer and the History of Art), Department of Digital Humanities, King’s College London; Courtauld Institute of Art, London; History of Art Department, University of Oxford; Slade School of Fine Art, UCL; Slade Archive Project, UCL; Department of History of Art, University of Cambridge; UCL Art Museum; The Tate; Department of History of Art, UCL; Paul Mellon Centre for Studies in British Art; Oxford University Museums and Collections; UCL Department of Information Studies; and the Bodleian Library. This interesting mix of practicing art historians from different institutional contexts, those working with art collections, and those using digital methods in humanistic study, made for a lively debate.

The meeting first discussed the state of digital art history in these institutions – and what it meant to be using digital methods in this space, in those institutional contexts – covering a range of useful and related initiatives, such as the Digital Humanities at Oxford Summer School; the London Charter for the Computer-based Visualisation of Cultural Heritage; the CHArt, Computers and the History of Art (est. 1985) conferences; the Paul Mellon Centre’s new online journal, British Art Studies, which will appear this autumn; the Slade Center for Electronic Media in Fine Art; research projects at the National Gallery which investigate digital documentation and data such as the Mellon-funded Raphael research project and IPERION CH, a large EU networking and joint research project that includes developing digital documentation and data; the National Gallery’s contribution to the Getty’s Provenance Index, British Sales, a major online database; developing a new project to make the archives and inventories of major country houses publicly accessible online; the 3D digital reconstruction of the Florentine church of Santa Chiara; and work by various institutions in the development of apps and online systems. The group also discussed persuasive projects that could help articulate the value of digital art history, such as the Cranach Digital Archive, Bosch Research and Conservation project, and Picturing the Netherlandish Canon (with the observation that while this project may seem out of date by today’s standards it was transformative for the scholars involved). Various project themes emerged, including the uniting of disparate collections and archives and facilitation of contributions to these resources; new forms of publishing; and the opening up of collections to make them available for new pathways of investigation and other forms of digital scholarly inquiry.

Is there an interest and appetite for Digital Art History?

The discussions articulated that scholars have a general interest in learning more about how digital resources and tools could advance their research, but don’t want it to come at the cost of displacing art history’s core concern with the original art object or supporting research resources such as paper archives. Art historians clearly see the benefit of using digital technologies to access collections and resource, and there is a sense of urgency regarding the younger generation who may be more prepared to use digital tools than senior colleagues who are not sufficiently trained to frame a useful/significant project.

What potential challenges or barriers are there for d\Digital Art History?

Various challenges were identified and discussed (summarized here briefly – the challenges are legion!) Image copyright issues create limitations on what scholars might be able to do with images in the online environment. Art historians may not know which tools already exist, such as III-F, and how they might use them. There was discussion on the role of computer scientists in joint projects: are art historians prepared to undertake such collaborative work and could this type of collaborative work support art historical research questions? There is a difficulty in finding art historians qualified to teach digital art history or review digital publications/projects; digital projects can be overlooked in state of the field reviews/reviews of earlier scholarship or standard bibliographies. The term digital may be off-putting to some listeners, and it might be preferable to refer to digital art history as “art history now,” or an integrated art history that brings together research inquiry with building digital resources and online publishing. There may be a perception and anxiety that the digital surrogate will replace the interest in the original object at the heart of art history. Concerns exist that resources will be diverted from supporting outstanding work related to existing research repositories, such as paper archives, that are not yet catalogued. The technological needs for digital projects may exceed what academic university departments can provide. The learning curve for mastering new technologies/systems/approaches may be perceived as too steep, particularly if outcomes are not assured. Art historians may not be able to conceive of research questions well suited to available data, and have difficulty in framing questions appropriate for that data. Because art historians don’t know where to start, don’t know what questions to ask, don’t know how to articulate their digital needs, they may not be taking advantage of already existing training opportunities and resources. Digital specialists tend to be grant-supported and migrate from project to project so that teams must be re-assembled and knowledge leaves institutions. Digital projects tend to be one-offs and not designed to be built upon; they also tend to be more expensive and harder to accomplish than “traditional” projects.

How can we move the use of digital methods in Art History forward?

Various potential solutions were mooted in a brain-storming session (it is acknowledged that some are simpler to provide than others!):

  • The community should address the increasing need for open access resource outlets, support current online publications (e.g. British Art Studies, Tate Papers, Nineteenth Century Art Worldwide) while also considering whether new homes for digital scholarship are needed;
  • To encourage more kinds of digital publications that go beyond print, it would be useful to have a sort of toolbox for art historians to demonstrate what is possible;
  • The stimulation and validation of digital scholarship can be accomplished by encouraging reviews of digital projects in the scholarly literature;
  • Digital Humanists should work collaboratively (museums and universities) with professional art history organizations;
  • If postdoctoral fellowships could be created in this area, they could be tied to digital projects such as online publications, creation of new digital resources/repositories, exhibitions;
  • Greater visibility could be brought to the work of scholars who have undertaken digital projects since they are typically powerful advocates for the transformative possibility of the digital and can also demonstrate how digital scholarship can be deeply motivated by the original object;
  • Identify “flag-bearers” willing to promote these approaches within Art History;
  • Undergraduate teaching is needed, whether a dedicated course or a module within a course, that could help students build digital literacy and incorporate these skills into art historical research inquiry;
  • Encourage leaders of digital projects to include fulsome accessible documentation to let others understand/learn how a project was developed and implemented;
  • Encourage digital resources, such as online image collections, to become more open; that is, to allow users broad search pathways so that they can find new patterns in the data or obtain large amounts of data. In short, recognize that content management systems and licensing can influence what researchers can find and use;
  • Support tools such as III-F that allow researchers to bring together images from different repositories and facilitate side by side comparison;
  • DH centers could function as brokers between computer scientists and art historians to foster the cross-pollination of ideas; could also help art historians frame new research questions using already digitized resources; bring in the resources of technologists and designers that can impact the long-term success of a project; and bring together art historians and technologists;
  • A survey of the field could identify which digital projects art historians are using, building upon, what do people like about these projects, why are they continuing to use them.
  • It is necessary, at all stages, to get academic leadership from within Art History, and Art Historical collections, involved and on board, to help establish digital methods as a bona fide approach in Art History.


This was a stimulating discussion, and as you can see we covered a lot of ground that day – although there is a lot ahead of us to be done! There is huge potential in opening up digital methods within the Art Historical context, and we hope (now we have been well met) to continue the discussion and to work together to tackle provision in this area. The day finished up with a visit to the recently refurbished UCL Art Museum – which brought us back to the things that matter most of all in our discussions on using digital methods in art history, the collections, the objects, the artists, and the art.

We’d like to thank UCL Art Museum for having us! Final thanks go to Anne Helmreich from the Getty Foundation who gave permission for her notes to be edited up and shared, and who helped shape the day, and thanks are also due to the workshop attendees for joining in such a helpful debate.

Tutorial: How to Access UCL’s Virtual Private Network Using Linux

By Rudolf Ammann, on 18 September 2015


Tux, interpreted by the author, ca. 2002

Some of this university’s computational infrastructure is tucked away behind a VPN login: If you’re trying to reach it from the outside, you need to establish a Virtual Private Network connection to get through. This may be more onerous for users of a Linux operating system than it is for those who rely on Microsoft or Apple products, especially since UCL insists that VPN connections may only be established using one particular VPN client, Cisco’s AnyConnect. This client has its problems, but it also comes with a superior FOSS alternative: OpenConnect.

I will discuss the use of the two clients in turn.


UCL’s How to set up a VPN connection for Linux tutorial offers instructions on how to install the AnyConnect client. The tutorial does not mention that AnyConnect will fail to work when it is run with restricted privileges. Neither does it mention that AnyConnect, when it attempts to establish a VPN connection while running with restricted privileges, is likely to hang indefinitely, consuming all available CPU, flooding all available RAM, and eventually bringing the system to its knees — unless the runaway process is killed in good time.

To work as advertised, AnyConnect needs to run as root or under sudo. So, once the application is installed, open a terminal and launch it by issuing the following command:

$ sudo /opt/cisco/anyconnect/bin/vpnui

Once you’ve entered your sudo password, this command should pop up a dialog with a single ‘Connect to:’ field. Type ‘’ into this field, but be prepared to deal with further complications, as you may need to lift a block and ignore a warning before AnyConnect will establish a connection with UCL’s VPN.

UCL’s VPN uses what seems like a legitimate SSL certificate issued by Terena:

$ openssl s_client -connect |& sed -n '/^issuer=/s/.*CN=//p'

AnyConnect may not recognise this certificate and respond with an error message that reads: ‘Untrusted VPN Server Blocked!’ To work past this barrier, hit the ‘Change Setting…’ button, which will take you to AnyConnect’s Preferences dialog. In that dialog, untick the ‘Block connections to untrusted servers’ option and hit the ‘Close’ button.

Close and restart the application, then type ‘’ into the ‘Connect to’ field and hit the ‘Connect’ button. This will trigger a warning: ‘Security Warning: Untrusted VPN Server Certificate!’ Ignore this warning and hit the ‘Connect Anyway’ button!

The next dialog will have RemoteAccess pre-entered into the ‘Group’ field. Supply your Username and Password, hit the ‘Connect’ button, and you’re in!

In theory, it should be possible either to export the Terena certificate as a .pem file from the Firefox Certificate Manager or to download it from Terena’s repository and copy it to /opt/.cisco/certificates/ca/, the directory in which AnyConnect stores its certificates. This should cause the software to recognise the certificate and to stop returning error messages. I have not been able to make this work, however, and not for lack of trying.


The command-line utility OpenConnect offers an alternative to the above procedure.

You will need to install both OpenConnect and cURL. Binaries of both should be available for your distro of choice via the usual package management.

OpenConnect will need to invoke a shell script that is known as a ‘CSD-wrapper‘, which uses cURL to handle the transfer of data with URL syntax.

Copy the following script (which is adapted from here) into a plain text file, save the file as, and render it executable:

#set -x


# delete the csdXXXXXX temp files so they don't start piling up
rm -f $1

exec curl \
--globoff \
--insecure \
--user-agent "AnyConnect Linux" \
--header "X-Transcend-Version: 1" \
--header "X-Aggregate-Auth: 1" \
--header "X-AnyConnect-Identifier-Platform: linux" \
--header "X-AnyConnect-Identifier-PlatformVersion: $platform_version" \
--header "X-AnyConnect-Identifier-DeviceType: $device_type" \
--header "X-AnyConnect-Identifier-Device-UniqueID: $uniqueid" \
--cookie "sdesktop=$CSD_TOKEN" \
--data-ascii @- "https://$CSD_HOSTNAME/+CSCOE+/sdesktop/scan.xml" <<END

Then issue the following command to establish the VPN connection:

$ sudo openconnect --csd-wrapper /path/to/

The network should now prompt you for your username and password. Supply those, and you’re in!

Of course, you might object that running OpenConnect under sudo is less than desirable from a security perspective, and you’d be entirely right about that. There’s a workaround available.


Thanks to Emma Cardinal-Richards at UCL’s Information Services Division and to security analyst Dr Name Withheld from W., both of whom provided valuable assistance towards solving this issue!

Dr Rudolf Ammann is the UCLDH Designer at Large and a research associate at the UCL Department of Information Studies. He runs the Arkstack consultancy.

UCLDH academic promotions

By Sarah Davenport, on 10 July 2015

We’re very pleased to announce that many of our UCLDH team members have been successful in the 2014-15 round of academic promotions!

– Tim Weyrich, Deputy Director of UCLDH, has been promoted to Professor of Visual Computing

– Julianne Nyhan, Oliver Duke Williams and Antonis Bikakis have all been promoted to Senior Lecturer

Many congratulations to all, very well deserved. All positions are effective as of 1st October 2015


How well do Google image results represent reality?

By Oliver W Duke-Williams, on 23 June 2015

Much has been written about Sir Tim Hunt’s remarks at the World Conference of Science Journalists in Seoul earlier this month. The debate has developed in a number of directions, including a discussion about the gender representation in images returned by Google’s image search, with a specific example being made of the male-dominated results when using the search term ‘professor’. Writing in The Guardian, Dame Athene Donald observed:

If you think that doesn’t matter, imagine you are a 12-year-old girl trying to get a sense of what the adult professional world is like. If the only images that appear against the search term of “professor” are either elderly white males or cartoons of men in white coats with sticking-up hair, as a girl you are hardly likely to think it is the sort of career aspiration you should be considering.

The representation of ‘professor’ is of course problematic in a number of ways: as well as being shown as male, professors are also shown as sterotypically balding and bespectacled. Similarly stereotype-driven images are de rigeur in children’s literature, as documented by Professor Melissa Terras. A natural response to this observation is to wonder what the gender representation of other jobs looks like through the prism of Google Images. Are they similarly one-sided? For example, although the Women’s World Cup is under way at the time of writing, searching for ‘footballer’ returns an entirely male set of results. As with the case for professors, this would not encourage a girl to think that football is a sport for all.


Digital Classicist seminar: dissertation special

By Simon Mahony, on 23 June 2015

Digital Classicist seminar logoDigital Classicist London & Institute of Classical Studies Seminar 2015

Friday June 26th at 16:30, in Room G31, Foster Court, Malet Place, WC1E 6BT

The seminar this week features Digital Humanities / Digital Classics MA and MSc students from both UCL and KCL giving short presentations on their dissertation research. Two are on the MA/MSc DH programme and one on MSc IS.

Note the different location as this week’s seminar is in room G31 at Foster Court.

As always this will be followed by wine and refreshments and all are welcome.

Emma King (KCL): ‘Strand Lane Baths 1776-1778: 3D modelling historic spaces’

Lauren Knight (KCL): ‘The City of London as a Museum’

Ioanna Kyvernitou (UCL): ‘Reconstructing a historical knowledge representation of “Women” on the Semantic Web’

Argula Rublack (KCL): ‘Digitally interlinking manuscripts of the twelfth-century Arabic-Latin translation movement’

Katherine Steiner (UCL): ‘Digital methods in classical research: an EpiDoc case study’

Lucia Vannini (UCL): ‘Virtual reunification of papyrus fragments’

Abstracts are available on the programme page.

The full 2015 programme is available on the Digital Classicist London seminar page.

Seminar: Digital comparison of 19th century plaster casts and original classical sculptures.

By Simon Mahony, on 17 June 2015

Digital Classicist seminar logoDigital Classicist London & Institute of Classical Studies Seminar 2015

Friday June 19th at 16:30 in room G21A, Senate House, Malet Street, London, WC1E 7HU

Emma Payne (UCL Institute of Archaeology)
‘Digital comparison of 19th century plaster casts and original classical sculptures.’

The seminar will be streamed live to our YouTube Channel

Historical casts of classical sculptures can now function as important archaeological records, sometimes containing archaeological information now lost from originals. However, it was not unknown for 19th century plaster craftsmen to doctor their moulds, such that when cast, a damaged sculpture would appear more complete. To determine the type and usefulness of information present in casts, 3D scanning has been conducted at the British Museum and Acropolis Museum of casts and their corresponding originals, of sections of the Parthenon sculptures. The resulting 3D images are now being produced and digitally compared to facilitate interpretation of these objects and their significances.

As always the seminar will be followed by discussion over wine and refrshments.


The full abstract is available on the programme page.

The full 2015 programme is available on the Digital Classicist London seminar page.

Hangeul and hanja in domain names

By Chris J Dillon, on 17 June 2015

King Sejong

King Sejong stands in the middle of Sejong St in front of the Sejong Cultural Center in Seoul. Obviously a key historical figure, then. He was behind the creation of the Korean “hangeul” script in the mid-15th Century. It was done scientifically, so that many consonants were pictures of where they are articulated and are systematically related to similar consonants. So ㄱ, g is related to ㅋ, k with the additional dash and to ㄲ, kk by duplication. ㄲ, incidentally, represents a tense k sound which may be unique to the Korean language. The vowels are a system of dots and dashes, and so ㅣ is i and ㅏ is a.

I was in Seoul for the ICANN Variant Issues Project meeting on the Chinese, Japanese and Korean Label Generation Rules (i.e. which characters should be allowed in Top Level labels). China made huge progress early on and Japan has caught up. Korea has not used Chinese characters, “hanja”, much for several decades but is keen to be able to use them for business reasons – .現代 “Hyundai” would be a lot more widely understood in East Asia than the hangeul way of writing it: .현대.

Just before the meeting I had decided to read through the proposed Japanese table and found various things I shan’t trouble you with – I learnt at an early age that linguists’ ideas of “interesting” don’t necessarily correspond with those of non-linguists’. Then I found something of rather greater interest: 卍 and the reverse form. Currently there is no mechanism to stop the use of the reverse form in a domain name. However, it has been referred for a policy decision. The solution may be that it is removed from the table, or an evaluation panel takes on this sort of role.

I’m back from Seoul keen to do a Korean project and have set up a Korean wiki with a colleague at SOAS: Korean Wiki

If you speak or are learning Korean and are based at UCL, I’d love to hear from you.

Digital Classicist London 2015 seminar series

By Simon Mahony, on 4 June 2015

Digital Classicist seminar logoThe Digital Classicist London summer seminar series starts this Friday with a PhD student from UCL Ancient History.

As in previous years, the seminars will be recorded with video, audio and slides made available on the DC seminar pages. See last year’s programme. In addition the video recordings are also uploaded to the Digital Classicist London YouTube channel.

This year the seminars will also be live streamed and the link will be available on the programme page.

Seminar: From lost archives to digital databases

Friday June 5 at 16:30 in room G21A, Senate House, Malet Street, London, WC1E 7HU

Jen Hicks (UCL)
From lost archives to digital databases

Of the leather documents used by the administration and individuals of the Seleukid empire (ca 312- 63 BC), all that remains are the small pieces of clay that were used to seal them; these however survive in their tens of thousands in Mesopotamia and the Levant. In this paper I will consider the potential and limitations of using these lumps of mud, through the construction of digital databases and statistical analysis, to reconstruct these lost archives, and to understand the imperial structures of the Seleukid power.

The full abstract is available on the programme page.
The seminar will be followed by wine and refreshments.


The full 2015 programme is available on the Digital Classicist London seminar page.

5 things we’ve learned about Digital Humanities in the last 5 years

By Melissa M Terras, on 24 May 2015


At the end of May, 2015, it will be exactly five years since the formal launch of UCL Centre for Digital Humanities. Our mission is “is to champion, catalyse, promote, facilitate, undertake, advise and publicise activities in Digital Humanities (with as wide an interpretation of that phrase as possible) throughout the founding Faculties and UCL, in all areas of teaching, research, enabling, and public engagement”. We’ve covered a phenomenal amount of ground in the past five years, most notably with the establishment of our ground-breaking MA/MSc in Digital Humanities, and the building up a list of (often prize winning) research projects with associated funding that runs into the tens of millions of pounds. 5 years! It’s all at once no time at all, and a chance to pause and consider what we’ve achieved in that time, whilst planning ahead for the future. In a fast paced research environment such at UCL, what have we learnt about Digital Humanities itself during that time?

1. DH is about the Digital as much as the Humanities

When UCLDH was founded, we were a research centre in a department (Information Studies) in the UCL Arts and Humanities Faculty. Although we did always have encouragement from UCL Faculty of Engineering, it became quite clear that our remit, did, and should, extend well beyond this one Arts and Humanities department, and that our constituency wasn’t just the Arts and Humanities: to do this properly we needed core support and buy in (not just financial) from the Engineering Sciences at UCL. In the last year we’ve now formalized that agreement, and I believe our DH centre is rare in that it reports to, and is supported by, both the Engineering Faculty and the Arts and Humanities at UCL, equally.

This isn’t lip service. We have equal membership across computer science and information studies, and input from, say, Civil and Geomatic engineering as well as Dutch, and work closely with Medical Physics as well as Information Science at UCL. We’re a bona-fide cross faculty hub, now: the place you go to find project partners, to get advice, to start on the interdisciplinary path, and to present work in our (often sold out) research-in-progress seminars. Our core team members are developing computational projects in the Arts and Humanities that benefit our understanding of human culture and society, as well as bringing gnarly cultural and heritage problems to the computational sciences, developing new approaches and techniques there. This duality is also reflected in our MA/MSc programme: students sign up to a core set of courses, but graduate with either a master of arts or a master of sciences, depending on the optional courses and dissertation study we tailor for their background and aspirations. We also have a range of doctoral students operating across this disciplinary divide quite successfully. DH is, and should, operate across the computational sciences and humanities space, and we’re doing something special at UCLDH by being equally present with a foot in both camps.

2. Starting a DH centre? Start local!

As UCLDH has become more well known over the past few years, I’ve been asked to give a range of talks about how to set up a Digital Humanities centre, and my main take home message is this: start local, with a project appropriate and important to your institution, which shows people what DH is in the doing, rather than the telling. One of the first major successes we had with UCLDH (working with the Laws Faculty and the Library, and others) was the Transcribe Bentham crowdsourcing project, which, as well as being a successful research project, received a lot of coverage and has won various prizes. However, it turned out to also be an institutionally strategic move: Jeremy Bentham is such a totemic figure to UCL, that people “got” what we were trying to do with Digital Humanities whilst avoiding the “what is Digital Humanities anyway?” conversation. “Oh, you’re the people who do stuff with digitization, and platform building, and playing, and support, and infrastructure, and the research is all that… oh I get it!” Institutional support and goodwill is incredibly important when building such a cross-faculty research centre, and Transcribe Bentham gave us an immediately understandable project on which to hang the “we do that sort of thing” tag. My advice is therefore: start local. What can your institution do, that no one else can? What do you have in your collections, your library, your architecture, your vicinity? Build your first DH project around that, so people get what you are trying to do, and the space in which you inhabit. It means you’re centre will be trusted with the next mad-cap idea which perhaps isn’t so obvious (such as the Panopticam, showing the world what Bentham sees, which is our latest wheeze…)

3. DH is about supporting the micro as well as the macro

D’you want big infrastructural projects that will change the world! We got ‘em! UCLDH are leading the development and coordination for rolling out non-English character URLs across the whole Internet. We’re leading the building of infrastructure to allow access to historical and modern census datasets in the UK, and supporting the use of the census to study migration issues. We’re involved in large scale, long scale European projects to provide Handwritten Text Recognition Technology for libraries and archives and to explore cultural aspects of European identity using text mining. But building up a capacity for DH within an institution is, aside from these projects which reflect the research aims of the academics involved, also about the small scale, and it is necessary to undertake building blocks activities to help boost the research culture in the space of using computing technologies in the humanities across the institution. As well as the big projects, we’re equally as proud as the small ones, such as the Slade Archive Project, a pilot project which has explored how to use digital technologies to explore the archive of a world leading art school at UCL, and support an area – Art History – which has historically avoided using digital research methods. Or the projects which are undertaken by individual scholars, such as Julianne Nyhan’s Hidden Histories project, documenting the early scholars and teams working in Humanities Computing. This gig isn’t all about the biggies, but its also about supporting and encouraging the research environment, and individual scholars in their research interests. It’s incredibly important to do both, to establish the research centre as a serious concern, whilst also encouraging a change of culture across college that supports and encourages this type of activity. In that regard, one of the things I’m most proud of doing in the past few years is the creation of the UCL Multi-Modal Digitisation Suite, providing a facility for research in and teaching of digitisation technologies, supporting a range of activities at UCL and resulting in prize winning outputs such as the Great Parchment Book project. Watch this space, there’s more about to come that has resulted from building up that capacity…

4. DH is about digitally walking the digital talk, or, it ain’t what you do, it’s how you do it

When talking to UCLDH’s Designer at Large about organising #UCLDH5, he remarked upon the fact that I shouldn’t be printing up mugs and producing geegaws and tchotchkes and stuff… we are digital, and that should speak for itself. And its true: if we want to be taken seriously in the Digital Humanities space we have to show that we know digital and we do digital and we understand digital and that we are delivering high quality digital products, in the way we promote and hold ourselves, and everything that we do. We take design matters very seriously at UCLDH (often contributing to UCL’s webspace along the way – in the internal style guide we are listed as being a centre to look to for exemplary web presence, and we’re now involved in helping the institution roll out its next CMS). We like to think we are showing how playful and creative digital design can be. Look at the gorgeous designs for UCLDH5, produced by Rudolf, and see how it harks back to our own culture of design, such as our logos, and in our related facilities and projects… We’re taking our digital identity seriously, as we should. Design and digital identity is an often overlooked aspect of the Digital Humanities – but not at UCLDH.

5. There ain’t no party like a DH partaaaay

Much of the work we do in DH is linking people: people to things, people to institutions, people to funding, publishing, and presentation opportunities. To do so, you need to know enough people – but UCLDH operates in an institution where most people live a couple of hours commute away, and there isnt a culture of hanging around to see what is happening of an evening. Our planned social program is incredibly important to our success as a centre, as we provide the space for people to hear more about DH, whilst meeting others, and discussing DH projects (such as in our seminar series) or seeing where DH – or humanities, or computing – happens, in our visits to likeminded places around college. Our “Friends of DH list” – people around UCL who want to hear what we are up to – now numbers over 300, and as the community keeps changing, its important to keep that broad understanding of the who, the what, and the why around college, so you can pounce on opportunities as they strike. “Oh, you should talk to…” and “Does anyone know anyone who works on X” are the two most common phrases spoken around here. If you want to be part of a hub, you have to make the hub happen.

With that in mind, we wanted to throw a party for our #UCLDH5 celebrations, but we had a choice to make: either do something to show off our achievements, or do something a bit more nuanced that would look to both the past and where we came from, and plan in the future for a large event every year showcasing the best in DH (not just from UCL). We’re looking forward to establishing the Susan Hockey Lecture in Digital Humanities as an annual event in which to come together to discuss and share ideas about DH, and build up the DH community across London – and beyond – further.

6. With DH, there’s always more than you thought…

Yeah yeah, I said 5 things for 5 years, and here’s 6. But that’s the thing with DH, there’s always opportunities flying past on the wind, and room for cramming in just one more experimental project, one more meeting, one more research paper. The area is evolving and changing rapidly, and you have to be agile and respond to things are much as possible, and expect the unexpected. Who knew, for example, when we started out with Transcribe Bentham, that we would end up using the crowdsourced transcripts to develop holistic Handwritten Text Recognition (HTR) technology? You gotto roll with the punches. The environment we are working in is much changed to the one that UCLDH was founded in, and as we confidently say we’ve done everything we set out to do 5 years ago – and then some! – we now need to look to the future, and see how UCLDH can contribute to different initiatives on our horizon such as UCL East, the Alan Turing Institute, and new possibilities of collaboration with the UCL Institute of Education. This place, and this subject, doesnt stand still… and there’s always room for one more thing…

So there we have it. 5 – nay, 6! – things we have learnt about DH at UCLDH in the past 5 years. These hints and tips are very local to us, showing how we work within the institutional context at UCL. But that’s where we are: what are the things you’ve learnt about the Digital Humanities in the last five years, from where you stand? We’d be interested in hearing! Do share, either online, or in person, at #UCLDH5.

With thanks to @profserious for the idea of what to write about when writing about #UCLDH5.

This week: UCL Laptop Orchestra (UCLOrk) at the UCL Festival of the Arts

By Nicolas E Gold, on 18 May 2015

The UCL Laptop Orchestra (UCLOrk) is performing this week on Wednesday 20th May at 1pm in the Quad Events Space as part of the UCL Festival of the Arts.  The one-hour lunchtime session will comprise a lecture/recital on the history and practice of laptop orchestras, combined with performances of three pieces written by members of the ensemble.  Tickets are free and available here.