DIGITAL COLLECTIONS
Collections of digitised cultural items, made accessible to the public through online platforms. They can contain incredible amounts of historical materials, whose accessibility depends on both the licence with which they are issued and the interface through which users can browse them.
Virtual simulations of the visit of museums, monuments or historic sites. They can make users explore locations and artefacts that are often otherwise not accessible to everybody through immersive 360-degree photographs, videos or 3D models.
Exhibits specifically conceived for the space of the Web, usually focusing on a specific theme. Through the curation, contextualisation, and narration of a relatively limited number of sources, they can generate deeper engagement than the one provided by large-scale digital collections.
DATA VISUALISATIONS
Interfaces that allow different arrangements and visualisations of a given corpus of records, on the same platform. Each arrangement and visualisation stresses some features, meanings or values embodied by the records, while possibly ignoring or even hiding other ones. By integrating more of such visual interpretations in the same place, fluid interfaces allow transversal understandings of cultural data.
The conventional format of the timeline can be enriched by interactive features. These can allow users to explore chronological sequences in multiple ways, by zooming in and out, moving freely along the line of time, or even filtering the content it displays. The object of such sequences may be not only a series of historical events, but also a series of characters or artifacts.
Mappings of historical events, characters, sites, or records based on georeferenced spaces, that can eventually be augmented by the dimension of time. Distributing historical information in the space of an interactive map facilitates the understanding of complex phenomena characterised by spacial and temporal distribution—e.g. human migrations and connections; the spread of a given culture; the changing borders of an empire; the phases of a conflict.
INTERACTIVE NARRATIVES
Multimedia documentaries usually based on a filmic narrative augmented by interactive features. Users can move from one chapter to another, explore visualisations, maps, and galleries, and discover details through several layers of information.
Projects using the language of social media to narrate and present historical networks and events in a non-linear manner. This format is particularly useful for reflecting a sense of complexity and pluralism. The content provided, set in the form of social media posts, can usually be shared, liked, commented, and appropriated by users as in conventional social media.
Different types of digital history projects whose content is not based on a single point of view, but rather on the comparison and dialogue between multiple voices, possibly including the public’s ones. Users are often invited and enabled to share their own experiences, thoughts, or records about historical events. The hybrid online formats hosting them, in between archives, documentaries, and social media, require a work of moderation and curation of contents.
DIGITAL COLLECTIONS
Collections of digitised cultural items, made accessible to the public through online platforms. They can contain incredible amounts of historical materials, whose accessibility depends on both the licence with which they are issued and the interface through which users can browse them.
Virtual simulations of the visit of museums, monuments or historic sites. They can make users explore locations and artefacts that are often otherwise not accessible to everybody through immersive 360-degree photographs, videos or 3D models.
Exhibits specifically conceived for the space of the Web, usually focusing on a specific theme. Through the curation, contextualisation, and narration of a relatively limited number of sources, they can generate deeper engagement than the one provided by large-scale digital collections.
DATA VISUALISATIONS
Interfaces that allow different arrangements and visualisations of a given corpus of records, on the same platform. Each arrangement and visualisation stresses some features, meanings or values embodied by the records, while possibly ignoring or even hiding other ones. By integrating more of such visual interpretations in the same place, fluid interfaces allow transversal understandings of cultural data.
The conventional format of the timeline can be enriched by interactive features. These can allow users to explore chronological sequences in multiple ways, by zooming in and out, moving freely along the line of time, or even filtering the content it displays. The object of such sequences may be not only a series of historical events, but also a series of characters or artifacts.
Mappings of historical events, characters, sites, or records based on georeferenced spaces, that can eventually be augmented by the dimension of time. Distributing historical information in the space of an interactive map facilitates the understanding of complex phenomena characterised by spacial and temporal distribution—e.g. human migrations and connections; the spread of a given culture; the changing borders of an empire; the phases of a conflict.
INTERACTIVE NARRATIVES
Multimedia documentaries usually based on a filmic narrative augmented by interactive features. Users can move from one chapter to another, explore visualisations, maps, and galleries, and discover details through several layers of information.
Projects using the language of social media to narrate and present historical networks and events in a non-linear manner. This format is particularly useful for reflecting a sense of complexity and pluralism. The content provided, set in the form of social media posts, can usually be shared, liked, commented, and appropriated by users as in conventional social media.
Different types of digital history projects whose content is not based on a single point of view, but rather on the comparison and dialogue between multiple voices, possibly including the public’s ones. Users are often invited and enabled to share their own experiences, thoughts, or records about historical events. The hybrid online formats hosting them, in between archives, documentaries, and social media, require a work of moderation and curation of contents.