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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: Geuenich, Michael; Snijder, Ronald; Stern, Niels;

    Diese Präsentationen wurden im Rahmen des Online-Seminars zur Kooperation zwischen DFG und OAPEN Library am 14.03.2023 von gezeigt. Die Veranstaltung richtete sich an Institutionen, die im Rahmen des Förderprogramms "Open-Access-Publikationskosten" gefördert wurden. Der Foliensatz setzt sich aus drei Präsentationen von Michael Geuenich (DFG), Niels Stern (OAPEN/DOAB) und Ronald Snijder (OAPEN/DOAB) zusammen. These presentations were shown at the online seminar on the cooperation between the German Research Foundation (DFG) and the OAPEN Library on 14 March 2023. The event was intended for institutions that received funding from the "Open Access Publication Costs" funding programme. The slides consist of three presentations by Michael Geuenich (DFG), Niels Stern (OAPEN/DOAB) and Ronald Snijder (OAPEN/DOAB).

    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/ ZENODOarrow_drop_down
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    Presentation . 2023
    License: CC BY
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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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    Other literature type . 2023
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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/ ZENODOarrow_drop_down
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      Presentation . 2023
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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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      Other literature type . 2023
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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: Werla, Marcin; Maryl, Maciej;

    Wyniki ankiety przeprowadzonej w czerwcu 2014 wśród polskich humanistów. Opisy blisko 80 projektów z zakresu humanistyki cyfrowej. Results of the survey conducted in June 2014 among Polish reserchers in the humanities. Descriptions of almost 80 digital-humanities projects. ***DOCUMENT IN POLISH ***

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    Report . 2016
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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/ ZENODOarrow_drop_down
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      Report . 2016
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  • Authors: Chambers, Sally; Deroo, Katrien; Wout, Dillen; Dozo, Björn-Olav; +2 Authors

    International audience; Digital Humanities is thriving in Belgium. As a Founding Member of DARIAH-EU, the Digital Research Infrastructure for the Arts and Humanities, our aim is to offer a sustainable portfolio of services enabling digital scholarship in the arts and humanities. To realise this DARIAH partner institutions are encouraged to establish Digital Humanities Research Centres which together form a humanities-specific digital ecosystem, offering services both within their own institutions and to other institutions in Belgium and beyond. This poster presents four DH centres in Belgium: three existing centres; the Centre Informatique de Philosophie et Lettres (CIPL, Université de Liège), the University of Antwerp’s Platform for Digital Humanities (platform{DH}, UA) and the Ghent Centre for Digital Humanities (GhentCDH, Ghent University) plus the Leuven Centre for Digital Humanities (LCDH, KU Leuven) which is currently being established. Finally, we share our experiences and lessons learned from establishing digital humanities centres in our own institutions and interconnecting them via the DARIAH network.

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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: Panagiotidou, Georgia; Poblome, Jeroen; Vandam, Ralf; Moere, Andrew Vande;

    Data visualisation is commonly used by (digital) humanities researchers to interact, explore, and analyse data as it can successfully support new readings into otherwise known data. Nevertheless, visualisations also tend to transmit a false sense of objectivity and finality in their depictions (Kennedy et al. 2016), as their design and their use of conventions, unwillingly hide underlying data issues and uncertainties from their user-readers. Accordingly, as historical datasets often contain partial, incomplete, biased or even contradictory data points, their visualisation can bring misguided confidence in the analysis. Accounting for data issues and uncertainties in data visualization is therefore a crucial challenge the humanities overall (Windhager, Salisu, and Mayr 2019). In this paper, we present SiteVis, an interactive visualisation for data analysis that tries to account for underlying data uncertainties of the archaeological dataset it represents. SiteVis was developed as part of the Sagalassos Archaeological Research Project and was the result of a two year-long collaboration between archaeologists and data visualization researchers. Located in south-west Turkey, the archaeological site and 1200 km2 wide study region of Sagalassos has been the focus of intensive interdisciplinary research for over thirty years. During this time, by means of excavation, extensive and intensive surveying, and geophysical and remote sensing research the project sampled over 300 locations in the region and assembled a comprehensive settlement dataset indicating past periods of human activity as well as the ecological contexts of these. SiteVis, was meant to facilitate the exploration of this dataset for insights and help answer questions such as why settlements were built at specific locations and what drove their continuity or instability over time. Underlying data issues, however, related to the project's deployment of discrepant data collection methods, the contextual field settings as well as various interpretational assumptions made in the data collection process, brought uncertainty to the emerging insights and provoked a critical stance from the archaeologists. Rather than overlook these issues, we instead encoded the archaeological methods alongside the core settlement dimensions, added features to make the interpretations transparent and allowed data to be viewed under different levels of assumption. We thus discuss the process of creating this visualisation, our design choices in relation to the issues we encountered as well as lessons learned from the deployment. We close with a critical reflection on how interfaces for the digital humanities can become more transparent and account for inherent uncertainties of humanities data. We believe that this paper will be of interest to humanities projects that use visual analytics as part of their research process and, just as archaeologists, only have access to partial, incomplete or even contradictory datasets. References Kennedy, Helen, Rosemary Lucy Hill, Giorgia Aiello, and William Allen. 2016. “The Work That Visualisation Conventions Do.” Information Communication and Society 19(6):715–35. Windhager, Florian, Saminu Salisu, and Eva Mayr. 2019. “Uncertainty of What and for Whom - And Does Anyone Care? Propositions for Cultural Collection Visualization.” Workshop on Visualization for the Digital Humanities (VIS4DH), Part of IEEE VIS.

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    Other literature type . 2021
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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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    Presentation . 2021
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    Data sources: Datacite
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      Other literature type . 2021
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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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      Presentation . 2021
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  • Authors: Windus, Grischa; Wallgram, Peter; Jeuckens, René;

    Abstract: Together with an ensemble of actors with disabilities, filmmakers René Jeuckens, Peter Wallgram, and Grischa Windus conducted a six-month research project - in individual and group conversations about the night dreams of the ensemble members. This gave rise to the plot for the feature film “DAS LEBEN EIN TRAUM” (following the title of the classical play of Calderón de la Barca’s “La vida es sueño”). The film uses poetic images to explore the theme of inclusion and the limits of perception. It also explores the form an “inclusive film” might take.

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  • Authors: Richard Conlon (Artistic Director); Simon Morris (Manager);

    Blue Apple Theatre was founded in Winchester in 2005. The company supports actors with learning disabilities in their development and performs high quality productions in front of a wide audience. Blue Apple’s activities include theatre, dance and film projects. The ensemble performs on stages around Hampshire as well as at venues at national and international level. The program is constantly being expanded. Blue Apple is involved in the further development of work with people with learning disabilities in the artistic field. In this way, the company is committed to a more inclusive and equal society. Through the stage performances and the public recognition of their work, the ensemble members increase their self-confidence. In addition to their personality, they also develop their social and artistic skills. Thanks to Jane Jessop’s commitment, Blue Apple Theatre was founded. After graduation, her son expressed a desire to become an actor. Since the closest theatre ensemble for people with learning disabilities was in London at the time, Jessop decided to form an inclusive theatre group in Winchester. In 2005, courses were initially offered on a trial basis. More than 50 people took part. Shortly thereafter, the Blue Apple Theatre was founded as part of the Winchester Mencap Charity Association. The first course took place in July 2005. At that time, a part-time drama teacher, supported by volunteers, worked for the project. In 2009, the first artistic director, Peter Clerke, was hired. Four years later, the group was registered as an independent charity. The first full-time director was appointed in 2014 and worked from then on together with the artistic director, the choreographer and an administrator. In 15 years, the Blue Apple Theatre has become one of the most well-known disability arts organisations in the south of England and tours all over the country and abroad. In 2016, a Channel 4 News report on the performances at London’s Shakespeare’s Globe attracted a lot of attention. In addition, in 2014, the Blue Apple production Hamlet was the subject of William Jessop’s award-winning BBC documentary Growing Up Down’s. It won the Creative Diversity Network Most Ground-Breaking Programme Award for changing perceptions of disability and was nominated for an International Emmy. The production Much Ado About Nothing was performed at the Royal Academy of Dramatic Art in London and the Jersey Arts Centre, among others. The Blue Apple company also performs at festivals, conferences, and prestigious events across the country. Winchester Main Company consists of approximately 32 actors with a learning disability. The ensemble produces two major public shows per year, mostly based on classical literature, such as Shakespeare plays. The productions are staged at Theatre Royal Winchester and are supported by professional artists and technicians. Originally created as a result of a long waiting list, the Special Assignments Company has developed into a specialized offshoot that produces open-air theatre and devised shows. The group regularly performs at Hat Fair, a Free Outdoor Arts Festival, in Winchester. Blue Apple’s productions also influence the national agenda through their directness in dealing with challenging topics. Living Without Fear was performed at 42 venues in front of over 5,000 people, including ministers and MPs. As a result, the training film Paul’s Story was produced on behalf of the police. The film Freddie’s Story was shot in response to the national Mencap report Death by Indifference and is used to train medical personnel in the public and private health sectors. The theatre establishes partnerships at the regional and national level, thus spreading its exemplary approach to working with people with learning disabilities. Blue Apple has produced 32 theatre productions and other projects since 2005. By staging high quality theatre, dance and film productions, the ensemble wants to break down prejudices and change the lives of people with learning disabilities. Blue Apple is also leading a study to measure and illustrate the impact of its work. The theatre wants to show the effect of its work on the social and personal development of its members. This is intended to achieve a comprehensive change in the general attitude towards the capabilities of people with learning disabilities and their contribution to society.

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  • Authors: Mache, Beata;
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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: Galicich, Charlie;

    Rather than an “a posteriori'' approach to addressing the ethics of developing digital technologies, in which movement toward more ethical practice or deployment of technology occurs only after a certain technology negatively impacts certain populations, technological development must take an a priori approach in which multiple ethical ramifications of the technology are considered beforehand. This paper illuminates the power that narratives can provide to such an a priori approach, providing imaginative variations of potential technologies that those seated at the development table may consider. Using Paul Ricœur’s view of narratives as “ethical laboratories,” I argue that narratives, whether fictions or case studies, effectively provide good ethical deliberation at technology development tables through offering specific, contextual possibilities of how technology can affect or fail certain groups or populations. The narrative approach suggests a method of embedding ethical principles through viewing predictive narratives as imaginative variations of technologies that are distanced from such ethical principles. I dissect the short story “Burning Chrome” by William Gibson as a narrative that successfully predicted ethical and social discussions of digital networks and their impacts to prove the value of narratives in making a more informed developmental decision and serving as a crucial method for an a priori approach to technological development. I then discuss Gibson’s predictions in the context of the “Metaverse” to demonstrate how this narrative can serve as a crucial component of a priori deliberation in the development of this new networked environment.

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    Conference object . 2022
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    Article . 2022
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      Article . 2022
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  • Authors: Costis, Dallas; Chatzidiakou, Nephelie; Maryl, Maciej; Benardou, Agiatis; +25 Authors

    Najważniejsze wyniki europejskiego sondażu praktyk badawczych oraz potrzeb cyfrowych w humanistyce i naukach o sztuce, przeprowadzonego przez grupę roboczą DARIAH Digital Methods and Practices Observatory (DiMPO). Badanie jest efektem współpracy europejskich badaczy z różnych krajów w ramach Grupy Roboczej DiMPO. Badanie zostało pomyślana jako ponadregionalny sondaż podłużny, przeprowadzany co kilka lat online w krajach europejskich. Jego celem jest dostarczenie opartego na danych przeglądu praktyk badawczych, potrzeb i postaw europejskich badaczy z nauk humanistycznych wobec zasobów cyfrowych, metod i narzędzi, w perspektywie przestrzennej i czasowej. Wyniki pierwszego sondażu (zakończonego w marcu 2015) zostaną zaprezentowane w wieloautorskim raporcie, który zawiera analizy zbiorcze i porównawcze oraz pięć raportów narodowych. Kolejne badanie planowane jest na 2017-2018. Więcej informacji: bit.ly/scholarlypracticesPrzekład na polski: Maciej Maryl (Centrum Humanistyki Cyfrowej Instytutu Badań Literackich PAN)

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  • Authors: Mache, Beata;

    Informationen zu den beteiligten Personen: GND, Name, Vorname, Titel, Funktion, Wirkungsort, Konfession, Geburtsjahr, Rolle in der Universal-Kirchenzeitg

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805 Research products
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    Authors: Geuenich, Michael; Snijder, Ronald; Stern, Niels;

    Diese Präsentationen wurden im Rahmen des Online-Seminars zur Kooperation zwischen DFG und OAPEN Library am 14.03.2023 von gezeigt. Die Veranstaltung richtete sich an Institutionen, die im Rahmen des Förderprogramms "Open-Access-Publikationskosten" gefördert wurden. Der Foliensatz setzt sich aus drei Präsentationen von Michael Geuenich (DFG), Niels Stern (OAPEN/DOAB) und Ronald Snijder (OAPEN/DOAB) zusammen. These presentations were shown at the online seminar on the cooperation between the German Research Foundation (DFG) and the OAPEN Library on 14 March 2023. The event was intended for institutions that received funding from the "Open Access Publication Costs" funding programme. The slides consist of three presentations by Michael Geuenich (DFG), Niels Stern (OAPEN/DOAB) and Ronald Snijder (OAPEN/DOAB).

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    Authors: Werla, Marcin; Maryl, Maciej;

    Wyniki ankiety przeprowadzonej w czerwcu 2014 wśród polskich humanistów. Opisy blisko 80 projektów z zakresu humanistyki cyfrowej. Results of the survey conducted in June 2014 among Polish reserchers in the humanities. Descriptions of almost 80 digital-humanities projects. ***DOCUMENT IN POLISH ***

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  • Authors: Chambers, Sally; Deroo, Katrien; Wout, Dillen; Dozo, Björn-Olav; +2 Authors

    International audience; Digital Humanities is thriving in Belgium. As a Founding Member of DARIAH-EU, the Digital Research Infrastructure for the Arts and Humanities, our aim is to offer a sustainable portfolio of services enabling digital scholarship in the arts and humanities. To realise this DARIAH partner institutions are encouraged to establish Digital Humanities Research Centres which together form a humanities-specific digital ecosystem, offering services both within their own institutions and to other institutions in Belgium and beyond. This poster presents four DH centres in Belgium: three existing centres; the Centre Informatique de Philosophie et Lettres (CIPL, Université de Liège), the University of Antwerp’s Platform for Digital Humanities (platform{DH}, UA) and the Ghent Centre for Digital Humanities (GhentCDH, Ghent University) plus the Leuven Centre for Digital Humanities (LCDH, KU Leuven) which is currently being established. Finally, we share our experiences and lessons learned from establishing digital humanities centres in our own institutions and interconnecting them via the DARIAH network.

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    Authors: Panagiotidou, Georgia; Poblome, Jeroen; Vandam, Ralf; Moere, Andrew Vande;

    Data visualisation is commonly used by (digital) humanities researchers to interact, explore, and analyse data as it can successfully support new readings into otherwise known data. Nevertheless, visualisations also tend to transmit a false sense of objectivity and finality in their depictions (Kennedy et al. 2016), as their design and their use of conventions, unwillingly hide underlying data issues and uncertainties from their user-readers. Accordingly, as historical datasets often contain partial, incomplete, biased or even contradictory data points, their visualisation can bring misguided confidence in the analysis. Accounting for data issues and uncertainties in data visualization is therefore a crucial challenge the humanities overall (Windhager, Salisu, and Mayr 2019). In this paper, we present SiteVis, an interactive visualisation for data analysis that tries to account for underlying data uncertainties of the archaeological dataset it represents. SiteVis was developed as part of the Sagalassos Archaeological Research Project and was the result of a two year-long collaboration between archaeologists and data visualization researchers. Located in south-west Turkey, the archaeological site and 1200 km2 wide study region of Sagalassos has been the focus of intensive interdisciplinary research for over thirty years. During this time, by means of excavation, extensive and intensive surveying, and geophysical and remote sensing research the project sampled over 300 locations in the region and assembled a comprehensive settlement dataset indicating past periods of human activity as well as the ecological contexts of these. SiteVis, was meant to facilitate the exploration of this dataset for insights and help answer questions such as why settlements were built at specific locations and what drove their continuity or instability over time. Underlying data issues, however, related to the project's deployment of discrepant data collection methods, the contextual field settings as well as various interpretational assumptions made in the data collection process, brought uncertainty to the emerging insights and provoked a critical stance from the archaeologists. Rather than overlook these issues, we instead encoded the archaeological methods alongside the core settlement dimensions, added features to make the interpretations transparent and allowed data to be viewed under different levels of assumption. We thus discuss the process of creating this visualisation, our design choices in relation to the issues we encountered as well as lessons learned from the deployment. We close with a critical reflection on how interfaces for the digital humanities can become more transparent and account for inherent uncertainties of humanities data. We believe that this paper will be of interest to humanities projects that use visual analytics as part of their research process and, just as archaeologists, only have access to partial, incomplete or even contradictory datasets. References Kennedy, Helen, Rosemary Lucy Hill, Giorgia Aiello, and William Allen. 2016. “The Work That Visualisation Conventions Do.” Information Communication and Society 19(6):715–35. Windhager, Florian, Saminu Salisu, and Eva Mayr. 2019. “Uncertainty of What and for Whom - And Does Anyone Care? Propositions for Cultural Collection Visualization.” Workshop on Visualization for the Digital Humanities (VIS4DH), Part of IEEE VIS.

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  • Authors: Windus, Grischa; Wallgram, Peter; Jeuckens, René;

    Abstract: Together with an ensemble of actors with disabilities, filmmakers René Jeuckens, Peter Wallgram, and Grischa Windus conducted a six-month research project - in individual and group conversations about the night dreams of the ensemble members. This gave rise to the plot for the feature film “DAS LEBEN EIN TRAUM” (following the title of the classical play of Calderón de la Barca’s “La vida es sueño”). The film uses poetic images to explore the theme of inclusion and the limits of perception. It also explores the form an “inclusive film” might take.

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  • Authors: Richard Conlon (Artistic Director); Simon Morris (Manager);

    Blue Apple Theatre was founded in Winchester in 2005. The company supports actors with learning disabilities in their development and performs high quality productions in front of a wide audience. Blue Apple’s activities include theatre, dance and film projects. The ensemble performs on stages around Hampshire as well as at venues at national and international level. The program is constantly being expanded. Blue Apple is involved in the further development of work with people with learning disabilities in the artistic field. In this way, the company is committed to a more inclusive and equal society. Through the stage performances and the public recognition of their work, the ensemble members increase their self-confidence. In addition to their personality, they also develop their social and artistic skills. Thanks to Jane Jessop’s commitment, Blue Apple Theatre was founded. After graduation, her son expressed a desire to become an actor. Since the closest theatre ensemble for people with learning disabilities was in London at the time, Jessop decided to form an inclusive theatre group in Winchester. In 2005, courses were initially offered on a trial basis. More than 50 people took part. Shortly thereafter, the Blue Apple Theatre was founded as part of the Winchester Mencap Charity Association. The first course took place in July 2005. At that time, a part-time drama teacher, supported by volunteers, worked for the project. In 2009, the first artistic director, Peter Clerke, was hired. Four years later, the group was registered as an independent charity. The first full-time director was appointed in 2014 and worked from then on together with the artistic director, the choreographer and an administrator. In 15 years, the Blue Apple Theatre has become one of the most well-known disability arts organisations in the south of England and tours all over the country and abroad. In 2016, a Channel 4 News report on the performances at London’s Shakespeare’s Globe attracted a lot of attention. In addition, in 2014, the Blue Apple production Hamlet was the subject of William Jessop’s award-winning BBC documentary Growing Up Down’s. It won the Creative Diversity Network Most Ground-Breaking Programme Award for changing perceptions of disability and was nominated for an International Emmy. The production Much Ado About Nothing was performed at the Royal Academy of Dramatic Art in London and the Jersey Arts Centre, among others. The Blue Apple company also performs at festivals, conferences, and prestigious events across the country. Winchester Main Company consists of approximately 32 actors with a learning disability. The ensemble produces two major public shows per year, mostly based on classical literature, such as Shakespeare plays. The productions are staged at Theatre Royal Winchester and are supported by professional artists and technicians. Originally created as a result of a long waiting list, the Special Assignments Company has developed into a specialized offshoot that produces open-air theatre and devised shows. The group regularly performs at Hat Fair, a Free Outdoor Arts Festival, in Winchester. Blue Apple’s productions also influence the national agenda through their directness in dealing with challenging topics. Living Without Fear was performed at 42 venues in front of over 5,000 people, including ministers and MPs. As a result, the training film Paul’s Story was produced on behalf of the police. The film Freddie’s Story was shot in response to the national Mencap report Death by Indifference and is used to train medical personnel in the public and private health sectors. The theatre establishes partnerships at the regional and national level, thus spreading its exemplary approach to workin