Data

Presentation of the chapter co-written with Francesca Musiani (CNRS) within the book Digital Roots (De Gruyter, 2021) edited by G. Balbi, N. Ribeiro, V. Schafer and C. Schwarzenegger

Numéro Varia de Flux coordonné par C. Henriot et V. Schafer

Following the Treaty of Versailles, European nation-states were faced with the challenge of instilling national loyalty in their new borderlands, in which fellow citizens often differed dramatically from one another along religious, linguistic, cultural, or ethnic lines. Peripheries at the Centre compares the experiences of schooling in Upper Silesia in Poland and Eupen, Sankt Vith, and Malmedy in Belgium — border regions detached from the German Empire after the First World War.

This short paper will present the first results, and outline my new project which investigates the early trajectories of history and computing and focuses on the networks of computing historians in the pre-PC and early PC period.

Over the course of three days (24–26 February 2021) we hold two panels a day, during which the research team of OPERAS-P (WG 6) presented their findings to gather feedback from invited experts and the audience.

Although the idea of Europe dates back to ancient times and was crystallised in the Enlightenment, the plan for European unification emerged in the second half of the 20th century as a consequence of an economic process based on a single market and a single currency. European integration is therefore a recent chapter in the history of Europe, one which has been written before our very eyes, but it remains fragmented into disparate national histories.

This short presentation, which is part of a roundtable, will analyse the reuse in oral history, the way Digital Humanities may provide new ways to apply close and distant reading to interviews and the challenges of contextualisation, FAIR Data, etc.

La seconde guerre mondiale terminée, le procès de Nuremberg ouvre une nouvelle ère : celle des poursuites judiciaires pour « crimes contre l’humanité », mais aussi celle du recours à l’image comme « preuve ». La projection de films de la libération des camps nazis pendant les audiences du procès de Nuremberg constitue un moment révolutionnaire et fondamental. Ces films tournés et montés par les Soviétiques, les Anglais et surtout les Américains – qui travaillent