It’s now about time to summarize this year. It has been a quite intense year, but still really rewarding. Stability and progress, from my point of view, have characterized 2017. And we are looking forward to an interesting year ahead.
Humlab are part of several different research projects – mainly within textual analysis and data visualization. Associate professor Phil Buckland’s (Archeology) SEAD/VISEAD-project is developing and Humlab has a major part of building the database. Professor Pelle Snickars’ Digital models– and Streaming heritage-projects are further developed in collaboration with Humlab. Humlab is making the 3D-models and building digital tools in collaboration within the projects. Together with associate professor Ben Martin, Uppsala University, Humlab is developing methods for textual analysis. My “own” project, “iAccept: Soft surveillance – between acceptance and resistance”, financed by the Wallenberg foundation, has started.
In terms of new projects Humlab is now part of the so called SweClarin-project, a six year long national infrastructural project, financed by the Swedish National Science Foundation, aiming at developing tools and methods for language analysis (in various forms). Pelle Snickars got a new project founded. Associate professor Anna Foka just received fundings from the Wallenberg foundation for a project on digital cartographies for three years. Associate professor Coppélie Cocq is now part of a Norwegian project on Sami research and digital media. Just to mention some new and ongoing projects – some are not mentioned, but not forgotten.
We are also hiring a new system developer. Some more PhD students will work with us during next year. Teaching together with departments at the faculty continues. Events, such as conferences, workshops and seminars, takes place in our premises – often together with the Faculty. Conferences are attended, articles are published, a lab space is maintained, and new collaborations are discovered, etcetera. Several of Humlab-related people were recently published in a new book (in Swedish) called “Digital Humanities – Humanities in a digital age”, a title reflecting how, at least I (and others), view the digital in relation to the Humanities. And the new lab will be inaugurated in January. The lab space has been rebuilt and adjusted to current and future activities. We all look forward to start working there.
And so on … It has been, as mentioned, an intense year, and it is not possible to mention everything, but I just wanted give a hint of where we are going during 2018. There are still challenges, but there is a roadmap.
I’m here writing as a guest blogger – thanks for having me! Not so long ago I had the great pleasure of visiting the HumLab to give a presentation and see what people there are up to, so here I am to say a little about my visit.
The first observation that I must make is that even the concept of HumLab seems to me an excellent idea well-executed. Modern life and cutting edge research has to be interdisciplinary, but it isn’t always straightforward to meet the right collaborators or to find a way to work together. By combining people with different strengths into the same Lab, HumLab overcomes many of those difficulties straightaway, and offers a great environment for sharing ideas and skills. Very impressive. I would also add that it has a very friendly and collaborative atmosphere – thank-you to everyone for making me feel very welcome during my visit.
My presentation was about a project I work on that combines Humanities and digital tech (very HumLab). I run the Panoply Vase Animation Project (www.panoply.org.uk) with animator Steve K Simons. It’s a project making animations from the scenes that decorate ancient Greek vases. You’ve probably seen the sort of vase – black and red, decorated with scenes of everyday life or mythology. The animations use the ancient artwork itself, making the figures spring to life. A running scene becomes an animated running race; a scene of warriors fighting becomes a story of going to war and joining battle. The vase animations are made in order to help non-specialists to enjoy and understand the artefacts and classical culture. Some of what I talked about in the presentation is how we bridge between academia and schools and the public, particularly by providing supporting material to go with the animations. You can find a lot of this on our website, including, for example, information about the vases and the subjects of the animations; samples of related ancient literature and other artefacts; downloadable activity sheets and suggestions of activities to do alongside looking at the vases and watching the animations. Having technology is one thing, but it is more useful to people when they get ideas about how they might use it!
This is an exciting time for Panoply, as we have recently begun a five-year project funded by the European Research Council. This is part of a wider project called ‘Our Mythical Childhood’, led by Prof Katarzyna Marciniak of the University of Warsaw. ‘Our Mythical Childhood’ is exploring the role of classical antiquity in children and young people’s lives, and for our part we are making five vase animations based on pots in the National Museum in Warsaw and a documentary about the vases. The first features the poet Sappho. Sappho is unusual as one of the few women in antiquity whose literary output has (partially) survived, and the vase is unusual as it features an imagined portrait of a real historical person (Sappho!) rather than a mythical or anonymous figure. The animation will see her play her work upon a lyre and bring to life her poem about Troy before the Trojan War. It will be very special, so look out for further news of it.
During my time in HumLab I also had the pleasure to hear a presentation on Virtual Reality by Umeå doctoral candidate, Claudia Sciuto. VR is a hot topic in lots of fields at the moment, so it was great to hear some of Claudia’s thoughts on it. She was looking at how it can be used effectively in archaeological excavation interpretation. Claudia has seen that making VR versions of sites is particularly useful for collaborative work, as it makes it easier for team members to share their visions of how the historical site worked and to try out alternative interpretations. It was interesting and enjoyable to try out a VR version of an ancient homestead, based on the findings from an excavation. I also found it thought-provoking to visit a VR theatre environment that was inhabited by a dancer created through a project by Dr Anna Foka, my host in Umeå, Helen Slaney (Roehampton) and Sophie Bocksberger (Oxford), and technical specialists Mattis Lindmark and Jim Robertsson.
Thank-you to everyone in Umeå for your warm welcome and thoughtful questions. I hope to visit again, hopefully IRL, or at least through the digital realm!
Posted inUncategorized|Comments Off on Guest blogger: Sonya Nevin
Written by Gísli Pálsson, postgraduate student at Department of Historical, Philosophical and Religious Studies, Umea University
It is a truism nowadays to say that an archaeological site is embedded in extensive networks of relations. But just what are the implications of this networked thinking, and how far do these networks extend? Historical sources enable the mapping of extensive reciprocal resource access arrangements, ownership structures and the use of coastal and highland commons; the landscape shows several generations of land divisions, and the archaeological record indicates extensive trade and mobility of materials. All of these strands of evidence lead back to the farm, and beg the investigation of an important question: what, exactly is a farm? Furthermore, how should a database of land use tailor its structure to the multiplicity of relevant sources? My Phd project – Storied Lines: tracing the tendrils of agency across Iceland’s medieval landscape addresses these questions from a data driven perspective by reviewing the implications of current theories of Iceland’s settlement.
Archaeology is a discipline driven by data. Archaeological datasets are, furthermore, characterised by issues that engender problems quite specific to archaeological data management. Scale, resolution, fragmentation, uncertainty, taphonomy, relativistic dating, to name a few of these issues, lead to complexities that data structures often struggle to cope with. This paper reflects on these complexities by considering structures of data necessary to encode the concept of a farm in Iceland‘s agricultural landscape in the author‘s database of land use (Landmarks). Specifically, the paper considers one key source for the design and structure of the database, Jarðabók Árna Magnússonar & Páls Vídalín, reviewing the way in which the concept of the farm unit can be derived from its description, and the implications that has for he structure of the database.
Hin rigtuga og fullkomna Jarðabók: farm-as-archive
My PhD project is based on a database I have made that accompanies the largest archaeological database for Iceland – Ísleif – but aims to contextualize the roughly 100.000 archaeological sites found therein by focusing on how land was used and how settlement units interacted. The database is structured around the farm as a basic unit, and uses the Ísleif database, several historic records, aerial imagery and archaeological survey data as its main sources. The time frame is, in some sense the entire history of Iceland, but begins by intensively mining the best source for agricultural land use in Iceland – Jarðabók Árna Magnússonar og Páls Vídalín. This spatially extensive but temporally shallow horizon is then used to model land use change by latching on to spatially narrow but temporally deep source material in select locations.
Jarðabók is a remarkable source. It is a census of every farm, both occupied and abandoned, and part of a very ambitious project outlined by the Danish Crown including population and livestock censi, completed in 1702-1703.
The property census was initially forecast to take less than two years, but in the end took 13, from 1702 to 1714, and after working together in the initial two years, its authors Árni Magnússon and Páll Vídalín divided the responsibility between them and relied on several assistants to complete the census (Guðmundsson, 1985). Páll and regional assistants undertook the majority of the fieldwork, while Árni, based in Skálholt, administered the project and handled the correspondence with the Crown. Broadly speaking the methodology remained consistent throughout, and although while the degree of detail varies across counties, certain core information is recorded for every farm in the country, both occupied and abandoned.
The methodology is outlined in a document signed by the two surveyors at Öxará, 18th of July, 1702 (Magnússon, 1916, 21). The composition of this rigtuga og fullkomna jarðabók was to include information of the ownership, value, tithe, property tax, rental fees, expected and actual livestock numbers, tenant farms and seafaring operations, pasture and grassland quality, environmental resources, access to external resources, as well as a host of other information (see Figure 1). This is an astonishing degree of detail compared to other property assessments done in 17th-19th century Iceland, where ownership, value, taxation and rent was usually considered sufficient (cf. Lárusson, 1982).
This source is ideal as a baseline for constructing a database of land use. It covers almost the entire country – the records for the four easternmost counties were lost in the Copenhagen fire of 1728, leaving records for 3560 of the 4020 farm assemblages in the country (see Figure 2; more on this notion of farm assemblage later). The consistent methodology allows for consistency in the data structure of encoding that would not be possible if the farms were surveyed with variable methodologies. The short time period taken to survey the country also aids the consistency of encoding, although 13 years is certainly a duration where significant change can take place. That said, a short timespan and consistent methodology by no means guarantee a straightforward translation from source to data. The next section teases out some of the implication of the concept of farm, what it means for our understanding of land use, and finally whether it is a suitable basic building block for understanding land use in the early 18th century as well as changes in land use through time.
Assemblages of networks
What are the spatial characteristics of a farm? Points can seem very inadequate in describing the typically complex architectural syntaxes of a homestead. At the same time, however, going beyond the point introduces representative biases based on the uneven quality of data we have for farm mounds in Iceland, where some have been excavated, others surveyed from surface observation, yet others surveyed using remote sensing, and finally some that have not been surveyed to any significant degree. Furthermore, the need to ‘go beyond the point’ is heavily dependent on the types of research questions one has for the material, and at least for now the research questions I have are based on the connections between farms and important places in the environment.
Polygons offer an alternative to the point as a representation of a farm property. They can show the dimensions of a farm property in a way that a point cannot, which can help understanding the relative sizes of farms, their access to resources as well as the genealogical relationships farms have to earlier, larger settlement units. The issue with polygons is that constructing them for every farm is simply impossible. A baseline for Icelandic property boundaries in the late 20th century does exist (Gísladóttir et al., 2014), but there is no reason why these would reflect early 18th century boundaries to a reasonable degree. Furthermore, the polygon introduces two biases. The first is that boundaries were dimensionless, clear lines fixed in space. This does not appear to have always been the case.
An example of this is the 16th century conflict between Grænavatn and Reykjahlíð, where the discovery of valuable minerals in a poor hinterland resulted in a legal case as Kolbeinn of Grænavatn disputed Þorsteinn of Reykjahlíð’s boundary markings which overlapped into the land he believed was his by right (Árnason, 2006, p. 15). Both farms had laid claim on the territory for generations without conflict, most likely because boundary disagreements never escalated to a legal dispute while the land was considered valueless. This is not surprising given the affordances of the Icelandic landscape: small patches of productive land are often seperated by large areas of sand banks and gravel – for all intents valueless land for the purposes of agricultura. In situations where boundaries fall within these valueless areas, the exact location of a boundary simply does not matter to landowners. That is, until something of value is found within these ares. One might rather think of zones of control, where ownership is indisputable close to the core of the farm – the farmstead itself – that then diffuses out to the margins.
So which is better, the point or the polygon? In fact, I use both. The single point does not represent complex geometries but can be seen as a proxy where the farm mound is representative of a whole farm. The polygon gives an idea of the historic boundaries of the farm while introducing some biases such as regarding the entire internal surface as homogenous, and the boundaries as dimensionless lines. In fact the reason why I decided not to put too much theoretical weight on either is that as I continued reading farm records I realized that I should be thinking of an alternative ‘main’ representation: the network.
Farm properties were not necessarily contiguous. The earliest full description of a farm’s assets, the Stafholt deed of c. 1140, shows an extensive spatial network (see figure 5). Some of these nodes are individual farm units acquired – or perhaps parcelled out of – Stafholt, others are upland common areas owned by the farm and leased out to subordinate tenant land holders, some represent resource access claims in the lands of nearby farms, and yet others are referred to simply part of Stafholt itself – spatially disarticulated from the main property, but nevertheless part of it.
Figure 5: The spatial mapping of a 1140 property deed showing the ownership and access that Stafholt (in black) has to other properties and commons.
Furthermore, the domestic economy of the farmstead appears to have relied on extensive networks of resource access and exchange, and these networks affected the movement of people and materials across the country. Some of these were stable, such as networks of primary and subsidiary farms, parishes, legal districts, as well as ecclesiastical and royal property networks. Others were more fluid, such as private property networks and resource exchange networks. These are not inconsequential: early land deeds regularly list the rights both to and of medieval farms, and the first comprehensive land survey of Iceland lists a number of farms that cannot survive without access to certain essential resources in neighbouring lands (See figure 6). This is an example of a coupled subsistence – neighbouring farms relying on access to essential resources in nearby lands. A clear indication is the resource utilization of driftwood. Mapping out the driftwood (and beached whale) access rights in the west of the country shows how extensive the spatial networks of resource utilization are for this resource. Driftwood was essential for the construction of Icelandic turf houses (Oddsson, 1638), and one can therefore argue that even single-farm subsistence agriculture relied on large, distributed networks.
What I argue for – and consequently how I have designed my database – is that a farm should not be thought of as a single productive unit but as a node in an assemblage of networks. This does not simply have theoretical consequences, but cyberinfrastructural ones. Data structures need a complicated syntax offered, for instance, by relational data models; they need spatial awareness to be able to generate new spatial understandings such as topological and topographical networks, and they need the flexibility to allow users to go beyond the intention of the data encoder (me). I have tried, to the best of my ability, to structure my data in a way to address all three implications.
Árnason, A. 2006. Kröfulýsing Fjármálaráðherra f.h. Íslenska Ríkisins um Þjóðlendumörk á Svæði 6. Reykjavík: Óbyggðanefnd.
Guðmundsson, B. 1985. Efnamenn og eignir þeirra um 1700. Reykjavík: Háskólaútgáfan.
Magnússon, Á. 1916. Embedsskrivelser og andre offenlige aktstykker. Copenhagen: Gyldendalske forlag.
Moretti, F. Graphs, maps, trees: abstract models for literary history. London: Verso.
Lárusson, B. 1982. Islands jordebok under förindustriell tid. Lund: Lunds universitet.
Karlsson, G. 2000. Iceland’s 1100 years: the history of a marginal society. London: Hurst & co.
Gunnarsson, G. 1987. Upp er boðið Ísaland: einokunarverslun og íslenskt samfélag 1602-1787. Reykjavík: Örn & Örlygur.
Gísladóttir, F. Brink, S. & Arnalds, Ó. 2014 Nytjaland. Hvanneyri: LBHÍ.
Oddsson, G. 1638. De Mirabilis Islandiae.
Teitsson, B. 1973. Eignarhald og ábúð á jörðum í Suður-Þingeyjarsýslu. Reykjavík: Menningarsjóður.
Yesteday we had a prequel or “test” of a drone course we would like to hold on a regular basis. It was a great success so it will probably return the next semester. Until then here are some images from yesterdays event.
Humlab söker systemutvecklare på 100%. Sök själv eller tipsa nära och kära!
I ett led att stärka Humlabs styrka på ett eller flera av ovanstående områden avser Humlab att anställa en systemutvecklare som ska verka inom både interna och externa projekt inom nämnda områden. Arbetsuppgifterna består i att tillsammans med fakultetens forskare, och Humlabs övriga tekniska specialister bidra med att bygga upp och stärka Humlabs kompetens inom systemutveckling och dess områden. I första hand ligger fokus på att med befintliga språkteknologiska verktyg och metoder medverka i projekt med behov av textanalytiskt utveckling, men arbete inom visualiseringsprojekt (GID, 3D, VR) är också aktuellt.
These films are an expression of the mind’s capacity to project thoughts. The footages are the culminations of conversations, discussions, thoughts and debates I’ve had in the past few years. The style of editing, scoring and colouring are the result of this pursuit.
I’ve used Apocalypse Now and first season of True Detective as the metaphorical template.
Posted inArt, HUMlab-X|Comments Off on Not Today But I’ll See You Next Weekend – Works by Gazi Mrah
During the fall of 2016 Humlab offered the PhD course Digital Humanities II. The course participants were allocated resources (software, technical assistance and supervision) in order to carry out individual digital projects aligned with the doctoral research plan. The course included theoretical, ethical and critical perspectives on Digital Humanities in relation to the specific projects.
We asked one of the participants, Claudia Sciuto, to share some thoughts on her specific project:
“During a pedagogy course for new University teachers I found myself explaining briefly to fellow PhDs in other disciplines how archaeology actually works.
I quickly figured out an example I thought would be effective: “Imagine we would now leave this room and bring only some of the objects we have with us. Now think that somebody else would enter the room trying to understand who we are, what we were doing and the connections existing among us. That person would actually attempt to interpret the material traces we left… and that’s how archaeologists try to make sense of past objects!”. Everybody looked at me, puzzled, until someone exclaimed: “oh dear, that sounds hopeless!!”.
Even though archaeological methods and theories are refined by decades of theoretical debates my colleague was still somehow right. If the past is composed by a multitude of interaction expressed in material evidences, reconstructing the complexity of that interplay is a tricky challenge.
Different digital technologies can serve as tools for modelling the data archaeologists collect in the field at different levels. Lately, the development of platforms and hardware for Virtual Reality experiences is catching the attention of researchers and developers worldwide. The users, interacting with the virtual world, experience embodiment and immersion facilitating an intuitive direct cognitive approach to the elements presented. My idea was to experiment these media for mapping the interaction between different data sources and support an interpretative process based on the “data-experience”.
The idea came to me inspired by the theorization of Cyber-Archaeology (Forte, Maurizio. 2010. Cyber-Archaeology. Archaeopress Oxford). Forte suggests that there is a potential for data interpretation through visualization – interaction – embodiment- and enaction. I therefore planned to explore some applications of game engines and virtual reality (VR) for archaeology. The project was aimed at testing interactions between different digital platforms and evaluating the whole process of creating a Virtual Reality platform from scratches, using some data from my thesis work and creating a cyber space from a 3D GIS database.
The site chosen for this experiment is the RAA 260, a Mesolithic dwelling site in Ångermanland. The site was excavated in 2010/2012 by a team of researchers and students from Umeå University. The site consists of a pit house and the surrounding area dated to 5000 BC. The big structure was probably occupied only on seasonal base, serving as shelter for the nomadic hunters following the movement of the elks from southern to northern Sweden. Together with Mattis Lindmark and Anna Foka we worked for implementing terrain model and archaeological features in Unity. We created a shifting interface that allows the user to interact with different levels of original data and reconstructed (interpreted) landscape.
Despite my initial enthusiasm I ended up being able only to contribute practically painting few trees in Unity (and that, believe me, took way longer than expected!). My experience (kind of) as archaeologist and my complete inexperience in game design forced me to focus on the process together with the prototype produced.
Unity served as tool for mapping a digital avatar for our raw data, it was used for bringing together fragmented information and make them available for immersive simulations. The virtual reality allows the researchers to be involved in a cybernetic ecosystem where the quantitative archaeological data are translated in digital features driving sensorial experiences. We found out that the long and demanding practice of constructing our virtual ecosystem was a meaningful process for a better understanding of the archaeological record itself and for getting in touch with the “dark side” of game design, by the way… they do have cookies!”
Claudia Sciuto, PhD candidate
MAL- Environmental Archaeology Laboratory
Department of Historical, Philosophical and Religious Studies