Digital Archives - Not Even Past

History of Modern Central America Through Digital Archives

What happens when historians take a pause from using archives to write history and instead delve into the science of producing digital archives? If you are a traditional historian, you might cower at the bombardment of technological know-how that comes your way. Look a little closer however, and you soon find that archival science is an intellectually and theoretically rich field. Engaging with digital archives and digital history is a great way for scholars to re-think how they and archivists alike, select, categorize, and publicize historical data for educational and scholarly purposes. As historians increase their use of digital platforms, it can be helpful for all historians to take a step in the archivists’ shoes.

In the spring of 2016, students of Dr. Virginia Garrard’s course, “History of Modern Central America through Digital Archives” had this opportunity. The course bridged traditional historiography with an introduction to digital archives and digital history. Students came from a wide array of disciplines, from Information Studies to History. For their final project, they could choose between writing a traditional research paper or designing a digital history project, or both. This mix of both worlds allowed for a hybrid conversation that melded traditional historical debates with sensitivity to the way scholars and archivists produce and organize knowledge.

Biblioteca_Nacional_de_Guatemala_Luis_Cardoza_y_Aragón

The National Library of Guatemala, a more traditional place for historians to conduct research (via Wikimedia Commons).

Students eager to get up-to-date with newer digital history platforms were not disappointed. Homework assignments ranged from digital primary source scavenger hunts to analyzing pre-established digital scholarly interfaces, such as the Latin American Digital Initiatives Collection (LADI). The class introduced students to up-to-date digital projects like interactive maps, self-correlating databases, and archival metadata. Students also worked in groups to grapple with the challenges of making digital archives more accurate and efficient.

One of these challenges involved selecting the right “subject terms” that help users search for content in digital databases. To facilitate the search process, students needed to produce terms that were neither too narrow nor too broad, and that represented the “aboutness” of their subjects. Just how efficient, accurate, and unbiased these terms appeared influenced the way users would receive and write about history. In one instance, I had to produce English subject terms for a short and vague Guatemalan newspaper about a desaparecido or forced disappearance. Choosing between terms like “assassination,” “murder,” and “homicide” prompted me to scrutinize the meaning, political implication, and contextual relevance of each term. These questions added a nuanced perspective to my research as well.

Forced disappearances were common during the Guatemalan Civil War (via YouTube).

A less somber yet strangely satisfying task involved creating a sound bite archive from Radio Venceremos—an underground anti-government radio program from 1980s El Salvador. Here, students created an archive of background noises: shouts, singing, frogs, birds chirping, gunfire, alarms, helicopters, and static. Rather than paying attention to content, they recorded language dynamics, the environment, and materiality. This innovative way of organizing data allowed them to get at more subtle information, such as timing, emotion, background events, secrecy, and level of danger. This was detective work at its finest and “tech-savvyist.”

Outside of the Radio Venceremos studio (via Wikimedia Commons).

Of course, walking away with new skills in digital media was not the be-all and end-all. Thinking more deeply about digital archives illuminated urgent theoretical questions relevant to scholars and archivists alike. To whom do historical records belong? What biases do archivists and scholars convey when presenting data? Do living (or even dead) historical actors want others to publicize information about them? How do we reconcile the desire to uncover histories, with the risks and inconveniences public knowledge poses for historical actors and their communities?

Personally, this course contributed to thinking about my dissertation on Guatemala’s recent civil war, which spanned from the 1960’s to the 1990’s. The legacy of the civil war carries over to present-day Guatemala and presents political and ethical roadblocks to the publication and presentation of records. Emerging data may appear rich for archiving, as the recent Guatemalan National Police Historical Archive demonstrated. However, historical records are living things that carry emotional, political, and economic consequences for present-day actors. As this course demonstrated, archives are anything but a mere compilation of sources. They require much human configuration, strategic organization, and logistical coordination. On the other hand, they demand sensitivity to the ethical, political, and intellectual problems of producing knowledge.

Digital Teaching: A Mid-Semester Timeline

By Chris Babits

Last March, students in Dr. Erika Bsumek’s Introduction to American Indian History took their midterm exam. Most students earned good grades, but on a mid-semester assessment, a large number expressed interest in some form of extra credit. Students also indicated that since the material was very new to them (secondary curricula rarely emphasizes the American Indian past), they felt that they didn’t have a good grasp on the sequence of events covered in the class. Although Professor Bsumek, the other teaching assistant, and myself were shocked at the overwhelming request for additional work, we thought we’d try something new: a digital timeline in order to improve students’ research and writing skills.

A screenshot of the timeline.

Digital history projects have grown more popular over the past decade. Professors, instructors, and history educators have increasingly recognized the limitations of traditional assessments. Exams, quizzes, analytical essays, and book reviews — each of these can measure student learning. Exams and quizzes, for example, challenge students to recall a wide-range of information. This can include students crafting and proving original arguments, using the course’s source material in order to support one’s position. Writing essays, on the other hand, provide students the opportunity to work on their writing skills. Recent reports show how this crucial part of literacy is lacking in the workplace. History papers can play a crucial role in developing students’ analytical and writing skills, preparing them to be better in the business world and as engineers.

What these traditional assessments are missing, however, are the twenty first century skills our students need. The teaching team for Introduction to American Indian History wanted to create an extra credit assignment that combined the best parts of history education with the core components of digital humanities pedagogy. When we reflected on the midterm exams, we noticed a few things that were lacking. Most importantly, the students were right. They lacked a strong sense of chronology. How would we better equip them to understand sequence and change over time? They needed some tool to help them see these important parts of historical inquiry. A digital timeline seemed like the best way to go. Utilizing course development funds, Dr. Bsumek agreed to compensate me for the extra time this would require.

The initial step was determining which online timeline generator to choose for the project. With the growing interest in digital humanities, there are many timeline generators. After less than an hour of research, and after further consultation with Dr. Bsumek, I decided on Knight Lab’s TimeLineJS because of its user-friendly interface. My former colleague, Dr. Julia Gossard (now an Assistant Professor at Utah State University) helped me make this decision as well since she had successfully implemented several assignments in her courses with the program.

Knight Lab has created a template from which one could create their own timeline. I was initially wary of the template but, as one can see below, Knight Lab describes what type of information should be placed in which column.

Knight Lab Template (click to enlarge).

After deciding on the digital tool for the timeline, we created the instructions for students. Students could write a 150-200 word timeline entry for any person, place, event, movement, or piece of legislation from the midterm on. Before writing an entry, students had to write to me to receive approval for the entry they wished to write. Upon approval, I then asked students to find and email me an outside academic source. Only after clearing this hurdle were students approved to write their extra credit timeline entry.

The result was a collaborative study tool that students could use on the final exam. Thirty seven students out of the 156 registered for the class contributed to the timeline. I proofread each entry not only for content accuracy but also for writing style, proper grammar, and spelling errors. If students wanted the full points they could earn for extra credit, they usually had to revise one or two times.

Most students earned additional points that were added to their final grade. Twenty one students submitted two entries, markedly increasing their chance of earning a better grade in the course. More importantly, they collaborated on a project that addressed the weaknesses they identified when studying for their midterm exams. The final exams displayed a much more sophisticated understanding of sequence and change over time. Students crafted better in-class exams that highlighted a more nuanced interpretation of the history of American Indians.

Virtual Auschwitz

By David Crew

Ralf Breker wearing the VR headset in front of his VR view of Auschwitz (via BBC News).

The Bavarian State criminal office (LKA) in Munich, Germany has developed a 3D virtual reality model of the infamous Auschwitz concentration and extermination camp to be used in trials of Nazi era war criminals who still remain alive. Drawing upon original blue prints, laser scans of remaining buildings and contemporary photographs, this VR model allows prosecutors, judges and lawyers to view Auschwitz from almost any angle. The digital imaging expert, Ralf Breker, who developed this technology says that it can be used, for example, to determine whether someone who was a guard in Auschwitz in a specific watchtower could or could not see crimes committed in another part of the camp. Breker thinks the technology he developed will soon be used in other types of criminal proceedings because it allows investigators to re-create crime scenes that no longer exist as they were when the crime was committed. He hopes, however, that when the German legal system no longer needs his 3D model of Auschwitz, it will be given to a museum so that it does not fall into the hands of anyone wanting to turn it into a computer game.

For further details and an interview with Ralf Breker, see

Marc Cieslak, “Virtual reality to aid Auschwitz war trials of concentration camp guards”

Also by David Crew on Not Even Past:

The Normandy Scholar Program on World War II.
The Years of Extermination: Nazi Germany and the Jews, 1939-1945 by Saul Friedländer (2007).
Normal Pictures in Abnormal Times.

Digital Dividends

by Joan Neuberger

For the past few months I have been considering beginning a new digital history research project. I’m not talking about digitizing sets of existing archival documents or starting a new history blog, although those have both proven to be important new tools for researching and talking about history and I will probably have good reason to do both along the way. I’m talking about what I’ve been calling Digital History For Real: a project that creates new kinds of historical documents that can be analyzed with new kinds of computational methods and that can generate new questions or answer old questions with new kinds of historical knowledge. The last part of that sentence is especially important to me. Although Richard White, distinguished historian and digital history pioneer, argued that the production of digital historical documents was itself an analytical project, most of what passes for digital history has been document-making rather than document-reading and document-analysis. This is now beginning to change.

One advantage of digital sources is their scale. For example, we can learn a great deal about the Middle Passage from fine-grained readings of sources about a handful of slave-bearing ships. Now, though, the massive Trans-Atlantic Slave Trade Database lets historians test our micro-histories and draw new conclusions based on scale. The Trans-Atlantic Slave Trade Database exemplifies White’s argument: the compilers of the data had a number of difficult sources to work with and difficult decisions to make about coding entries, a process you can read about in the website’s detailed “Methodology” section. The database has generated a number of stand-alone works as well as providing a source for a whole generation’s histories of the Atlantic. David Eltis, one of the founders, has written a number of award-winning works based on the database, including the Atlas of the Atlantic Slave Trade (co-authored with David Richardson), whose maps have become popular through internet sharing and reporting, including our own article by Henry Wiencek on its maps. Another recent book that uses the TASD is James Walvin’s Crossings: Africa, the Americas, and the Atlantic Slave Trade (2013).

Increasingly, historians are embedding analytical essays and articles into the websites that contain their data and data visualizations. Kindred Britain, a site that shows family links among close to 30,000 people in Britain, includes a section of essays related to the networks the site illustrates. “Britain’s First Botanist: Eras mus Darwin,” — more a blog than a scholarly article — is one of the site’s “Stories” and is accompanied by customized data visualizations (“familial and professional associations” for example) that illustrate its arguments. An older project on networks of Enlightenment literary figures, Mapping the Republic of Letters, a project well funded by prestigious institutions and often held up as a model, illustrates one of the most significant current problems of digital scholarship: sustainability. Mapping promisingly includes a page for listing publications based on its networking data, but the links are all broken at the moment because the team is in the process of re-design. [Update November 4, 2017: This has been partially rectified now. The links are live and one can find more excellent visualizations and other primary sources on the Publications page, but of the six projects listed, only one includes a published article.]

Another approach in digital scholarship is to use computational methods on a smaller scale to address a single problem in some depth. One contribution along these lines is Cameron Blevins’ article in the Journal of American History, “Space, Nation, and the Triumph of Region: A View of the World from Houston.” The article is based on the use of text processing to track place-names in two Houston newspapers for the periods 1836-51 and 1894-1901. A blog on Stanford’s Spatial History website explains the methodology used to quantify the place-name data and the article then analyzes the significance of the patterns the data generated for understanding the historical construction of space through analysis of economic, political, international, and regional contexts.

The sample of projects I’ve been discussing here uses a variety of different computational methods and a variety of written presentations, from blog to scholarly journal article to wide-ranging book, but they are still a rarity among historians. Where the literary studies wing of the digital humanities has developed formal institutional structures like national and international journals and conferences, historians are still more engaged in digitizing data or constructing visualizations of data, or in using digital documents for pedagogy, than in scholarly analysis and institution building. Unlike literary studies, historians are not usually working with ready made texts like novels or poems, but rather have to construct new digital documents before they can get started. And the start-up costs in time and labor and career-risk are high. It remains to be seen how many historians will do more than make digital illustrations for conventional research they carry out with conventional documents. Another problem is that in many departments, digital history remains marginalized or under-developed.

My own project is relatively modest in scope. As a historian of Soviet film, I have long been focused on the work of one of film’s great innovators, Sergei Eisenstein. Eisenstein was not only a film director, he wrote the first body of serious film theory and he made thousands of drawings on a wide range of subjects. He was also a key figure in the Soviet film industry and the Soviet culture industry at large. He travelled to Europe, the US, and Mexico between 1929 and 1932 and made contacts in cultural spheres everywhere he went. In other words, Eisenstein was at the center of a number of important, overlapping social and political networks. When I stumbled on the networking website, Six Degrees of Francis Bacon, one of the best known examples of social network analysis in the humanities and devoted to the social networks in which Bacon travelled, I thought it would be fun to plot the networks revolving around Eisenstein and his many acquaintances. He knew everybody, but how were his contacts connected? I am especially interested in the ways personal relationships got movies made in the Soviet Union. Patronage seems to have played a significant role in all the highly politicized arts communities there and I wondered if I could track patronage relationships to understand its role more thoroughly.

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On the set of Ivan the Terrible (L-R) Mikhail Romm as Elizabeth I in drag, Eisenstein, and Andrei Moskvin, Director of Photography. Photograph by V. V. Dombrovskii

In other words, I have a lot of questions about Eisenstein and the Soviet film industry that haven’t been studied, but I don’t know yet if digital social networking computation can help me answer them. For example, I don’t yet know if I want to put Eisenstein at the center of a set of networks or if I want to plot the industry as a whole where Eisenstein would be only one important node. Social networking analysis is very basically a set of nodes and connections. I don’t yet know how to weight or measure the various relationships that one can plot using networking nodes and connections. I also don’t know if the answers are worth the investment of time and labor.

I have been working with a colleague, Seth Bernstein, at the Higher School of Economics in Moscow, who has done much of the preliminary work in creating a database of cast and crew members of Soviet films. And this week, I’ll be taking a hands-on seminar in social network analysis offered by the American Historical Association at its annual convention and taught by Jason Heppler. I hope that the workshop will help me decide whether to move forward with the project.

In order for me to decide to go ahead, I have to be convinced that I can do more with the technology than make a new database; I will have to be able to produce data on social relationships in the Soviet film industry that form the basis of a new perspective and new analysis of the subject. I will also have to find out how much of the work I can do myself. Most digital scholarship is collaborative and requires significant funding; I’m hoping to design a project I can do without a huge, expensive team. I also want my project to be fully integrated into the academic fields of history and film scholarship; I’m not interested in a project that is isolated or marginalized on a methodological island. And it will have to be fun.

If I decide to plunge into this new methodology that I’ve only passively observed and consumed until now, I will be using this space to record my progress. I hope you will follow along with me as I explore a world that is sure to be challenging and interesting.

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