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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Grandjean, Martin;

    International audience; The technicality of network visualization applied to history and its relative novelty often result in a superficial use of a software, limited to describing a situation immediately extracted from a data set. This approach is justified in the exploratory phase of an analysis in most cases where the network is very explicitly present in the object studied. But the complexity of the entanglement of historical actors, places, institutions or temporal sequences makes finer modeling necessary if we want to go beyond a simplistic "datafication". To encourage curiosity towards other modes of analysis and put the data modeling (and therefore the historical sources) at the center of the research process, this article proposes a short introduction on how to discuss what makes a specific historical network, its components, its relationships, its layers and its different facets. It offers a kind of visual guide to help historians follow a multilayer framework to think their research object from another (multidimensional) angle and to combine them.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Serveur académique l...arrow_drop_down
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Clivaz, Claire;

    Humanities is in all its tasks and activities a storytelling. In her 1958 essay The Modern Concept of History, Hannah Arendt was recognizing the first face-to-face meeting between history and poetics in a scene told by Homer: Ulysses, the witness, cries by listening the blind bard Demodocos narrating his own deeds during the war of Troy (Arendt, 1958). But Ulysses stops Demodocos’ storytelling as a “too perfect” song, liên kata kosmon (Hartog, 2003; Odysseus8.487-491). If Humanities has been since centuries written as storytelling, from literature to philosophy passing through history, this paper argues that research infrastructures are nowadays the necessary and unperfect witnesses that keep the Humanities storytelling anchoraged in the physical and real world. Research infrastructures (RIs) are anonymous Ulysses standing up and claiming attention, efforts and sweat, whereas scholars would like to just sing a brilliant storytelling. RIs are Humanities storytellers, as illustrated by the three following examples. The first one is the Sisyphus temptation for Humanist scholars to publish corpora on virtual research environments (VREs). As well argued (Pierazzo, 2015), the notion of printed edition is evolving towards digital collections, that remain open-ended but stop when time and/or resources are missing (Mombert, 2014). Leadings to the creation of collections, the VREs are deeply reshaping the established textual categories (Clivaz, 2016). Morevoer, VREs are producing Humanities stories often before the proper scholarly narration ((Strackpole, 2020), whereas in printed books, authors can and have to choose the starting point, the conclusion, and the intermediate steps. RIs are open-ended and efficient storytellers. Secondly, the knowledge hierarchies of the modern episteme are also largely reshaped by the VREs. Until the fifties at least, the study of Latin and Greek was mandatory even in the studies of medicine, a phenomenon entitled in French faire ses humanities (Berra, 2012). The spreading of research infrastructures has apparently sealed the reign of English, but this phenomenon also brings benefits. The beloved Latin and Greek heritage are now accessible to a non-elitist public, thanks to the web serendipity, or in crowd-sourcing projects. Moreover, other ancient languages, often let aside in Humanities, are raising up: forgotten words, rare languages can be read online. RIs are Open Science storytellers, as promoted by the EOSC-A spirit. Finally, big research infrastructures are reshaping Humanities storytelling by creating narrative human networks: the lonely work of the 19th century scholar at the desk is definitively over. DARIAH is in this regard a clear example of the emergence of Humanities communities: designed in summer 2013 around four Virtual Competence Centers (VCCs), – according to a repartition between “hardware” infrastructure (VCC1), teaching (VCC2), research (VCC3) and community (VCC4) –, DARIAH is evolving since the last years in plural living networks – the working groups (WGs). They all include elements from the 4 VCCs. Through its WGs, DARIAH demonstrates that RIs can reshape Humanities scholarship in storytelling communities. References of the abstract H. Arendt, “The Modern Concept of History”, The Review of Politics 20 (1958), p. 570-590. A. Berra, “Faire des Humanités Numériques”, in P. Mounier (ed.), Read/Write Book 2, Paris: OpenEdition Press, 2012, p. 25-43. C. Clivaz, “Categories of Ancient Christian texts and writing materials: ‘Taking once again a fresh starting point’”, in C. Clivaz – P. Dilley – D. Hamidović (eds.), with A. Thromas, Ancient Worlds in Digital Culture (DBS 1), Leiden: Brill, 2016, p. 35-58. DARIAH, https://dariah.eu. EOSC-A, https://eosc.eu F. Hartog, Régimes d’historicité. Présentisme et expérience du temps, Paris: Seuil, 2003. Homer, L’Odyssée, trad. P. Jaccottet, Paris : La Découvert, 2016. S. Mombert “From Books to Collections. Critical Editions of Heterogeneous Documents”, in D. Apollon – C. B lisle – P. Régnier (eds.), Digital Critical Editions (Topics in the Digital Humanities), Chicago: University of Illinois Press, 2014, Kindle Edition. E. Pierazzo, Digital Scholarly Editing. Theories, Models and Methods (Digital Research in the Humanities), New York: Routledge Press, 2015. B. Strackpole, “The next chapter in analytics: data storyteller”, MIT Management Sloan School, 20.05.2020, https://mitsloan.mit.edu/ideas-made-to-matter/next-chapter-analytics-data-storytelling

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Serveur académique l...arrow_drop_down
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Serveur académique l...arrow_drop_down
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Dell'Oro, Francesca; Bermúdez Sabel, Helena; Marongiu, Paola;

    The SNSF project A World of Possibilities [WoPoss] aims at tracking the evolution of modal meanings in the diachrony of the Latin language. Passages expressing modal notions of ‘necessity’, ‘possibility’ and ‘volition’ are annotated following a pipeline that combines both automatic and fine-grained manual annotation. Texts are first gathered from different online open access resources to create the initial dataset. Owing to the heterogeneity of formats and encodings, the files are regularized before the implementation of the automatic annotation of linguistic features. They are then uploaded to the annotation platform [INCEpTION] which has been previously customized for the fine-grained manual annotation [Bermúdez Sabel, in press]. This second type of annotation is carried out following the WoPoss guidelines [Dell’Oro, 2019] and it also involves checking the automatic annotation for curation. In a third stage the files are automatically enriched with metadata. In this paper, we focus on the first two phases of the workflow – i.e. the gathering and automatic annotation of the texts and the fine-grained manual annotation –, which have been the core tasks of the WoPoss team in the first year of the project (2019-2020).

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Serveur académique l...arrow_drop_down
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Serveur académique l...arrow_drop_down
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Nury, Elisa; Clivaz, Claire; Błaszczyńska, Marta; Kaiser, Michael; +4 Authors

    Published in OA on RESSI (http://www.ressi.ch/) on the 15.02.22. We present here highlights from an enquiry on the innovations in scholarly writing in the Humanities and Social Sciences in the H2020 project OPERAS-P. This article explores the theme of Open Research Data and its role in the emergence of new models of scholarly writing. We examine more closely the obstacles and fostering conditions to the publication of research data, both from a social and a technical perspective. International audience

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Serveur académique l...arrow_drop_down
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Grandjean, Martin;

    International audience; The technicality of network visualization applied to history and its relative novelty often result in a superficial use of a software, limited to describing a situation immediately extracted from a data set. This approach is justified in the exploratory phase of an analysis in most cases where the network is very explicitly present in the object studied. But the complexity of the entanglement of historical actors, places, institutions or temporal sequences makes finer modeling necessary if we want to go beyond a simplistic "datafication". To encourage curiosity towards other modes of analysis and put the data modeling (and therefore the historical sources) at the center of the research process, this article proposes a short introduction on how to discuss what makes a specific historical network, its components, its relationships, its layers and its different facets. It offers a kind of visual guide to help historians follow a multilayer framework to think their research object from another (multidimensional) angle and to combine them.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Serveur académique l...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Clivaz, Claire;

    Humanities is in all its tasks and activities a storytelling. In her 1958 essay The Modern Concept of History, Hannah Arendt was recognizing the first face-to-face meeting between history and poetics in a scene told by Homer: Ulysses, the witness, cries by listening the blind bard Demodocos narrating his own deeds during the war of Troy (Arendt, 1958). But Ulysses stops Demodocos’ storytelling as a “too perfect” song, liên kata kosmon (Hartog, 2003; Odysseus8.487-491). If Humanities has been since centuries written as storytelling, from literature to philosophy passing through history, this paper argues that research infrastructures are nowadays the necessary and unperfect witnesses that keep the Humanities storytelling anchoraged in the physical and real world. Research infrastructures (RIs) are anonymous Ulysses standing up and claiming attention, efforts and sweat, whereas scholars would like to just sing a brilliant storytelling. RIs are Humanities storytellers, as illustrated by the three following examples. The first one is the Sisyphus temptation for Humanist scholars to publish corpora on virtual research environments (VREs). As well argued (Pierazzo, 2015), the notion of printed edition is evolving towards digital collections, that remain open-ended but stop when time and/or resources are missing (Mombert, 2014). Leadings to the creation of collections, the VREs are deeply reshaping the established textual categories (Clivaz, 2016). Morevoer, VREs are producing Humanities stories often before the proper scholarly narration ((Strackpole, 2020), whereas in printed books, authors can and have to choose the starting point, the conclusion, and the intermediate steps. RIs are open-ended and efficient storytellers. Secondly, the knowledge hierarchies of the modern episteme are also largely reshaped by the VREs. Until the fifties at least, the study of Latin and Greek was mandatory even in the studies of medicine, a phenomenon entitled in French faire ses humanities (Berra, 2012). The spreading of research infrastructures has apparently sealed the reign of English, but this phenomenon also brings benefits. The beloved Latin and Greek heritage are now accessible to a non-elitist public, thanks to the web serendipity, or in crowd-sourcing projects. Moreover, other ancient languages, often let aside in Humanities, are raising up: forgotten words, rare languages can be read online. RIs are Open Science storytellers, as promoted by the EOSC-A spirit. Finally, big research infrastructures are reshaping Humanities storytelling by creating narrative human networks: the lonely work of the 19th century scholar at the desk is definitively over. DARIAH is in this regard a clear example of the emergence of Humanities communities: designed in summer 2013 around four Virtual Competence Centers (VCCs), – according to a repartition between “hardware” infrastructure (VCC1), teaching (VCC2), research (VCC3) and community (VCC4) –, DARIAH is evolving since the last years in plural living networks – the working groups (WGs). They all include elements from the 4 VCCs. Through its WGs, DARIAH demonstrates that RIs can reshape Humanities scholarship in storytelling communities. References of the abstract H. Arendt, “The Modern Concept of History”, The Review of Politics 20 (1958), p. 570-590. A. Berra, “Faire des Humanités Numériques”, in P. Mounier (ed.), Read/Write Book 2, Paris: OpenEdition Press, 2012, p. 25-43. C. Clivaz, “Categories of Ancient Christian texts and writing materials: ‘Taking once again a fresh starting point’”, in C. Clivaz – P. Dilley – D. Hamidović (eds.), with A. Thromas, Ancient Worlds in Digital Culture (DBS 1), Leiden: Brill, 2016, p. 35-58. DARIAH, https://dariah.eu. EOSC-A, https://eosc.eu F. Hartog, Régimes d’historicité. Présentisme et expérience du temps, Paris: Seuil, 2003. Homer, L’Odyssée, trad. P. Jaccottet, Paris : La Découvert, 2016. S. Mombert “From Books to Collections. Critical Editions of Heterogeneous Documents”, in D. Apollon – C. B lisle – P. Régnier (eds.), Digital Critical Editions (Topics in the Digital Humanities), Chicago: University of Illinois Press, 2014, Kindle Edition. E. Pierazzo, Digital Scholarly Editing. Theories, Models and Methods (Digital Research in the Humanities), New York: Routledge Press, 2015. B. Strackpole, “The next chapter in analytics: data storyteller”, MIT Management Sloan School, 20.05.2020, https://mitsloan.mit.edu/ideas-made-to-matter/next-chapter-analytics-data-storytelling

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    Authors: Dell'Oro, Francesca; Bermúdez Sabel, Helena; Marongiu, Paola;

    The SNSF project A World of Possibilities [WoPoss] aims at tracking the evolution of modal meanings in the diachrony of the Latin language. Passages expressing modal notions of ‘necessity’, ‘possibility’ and ‘volition’ are annotated following a pipeline that combines both automatic and fine-grained manual annotation. Texts are first gathered from different online open access resources to create the initial dataset. Owing to the heterogeneity of formats and encodings, the files are regularized before the implementation of the automatic annotation of linguistic features. They are then uploaded to the annotation platform [INCEpTION] which has been previously customized for the fine-grained manual annotation [Bermúdez Sabel, in press]. This second type of annotation is carried out following the WoPoss guidelines [Dell’Oro, 2019] and it also involves checking the automatic annotation for curation. In a third stage the files are automatically enriched with metadata. In this paper, we focus on the first two phases of the workflow – i.e. the gathering and automatic annotation of the texts and the fine-grained manual annotation –, which have been the core tasks of the WoPoss team in the first year of the project (2019-2020).

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    Authors: Nury, Elisa; Clivaz, Claire; Błaszczyńska, Marta; Kaiser, Michael; +4 Authors

    Published in OA on RESSI (http://www.ressi.ch/) on the 15.02.22. We present here highlights from an enquiry on the innovations in scholarly writing in the Humanities and Social Sciences in the H2020 project OPERAS-P. This article explores the theme of Open Research Data and its role in the emergence of new models of scholarly writing. We examine more closely the obstacles and fostering conditions to the publication of research data, both from a social and a technical perspective. International audience

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