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About this event Welcome: The AHRC-funded 'What is Public History Now?' Network is thrilled to invite you to our first workshop 'Teaching Public History in UK Higher Education'. We hope you'll join us for a day of discussions on public history in higher education, ranging from intellectual traditions to pedagogy and programme design. Schedule: 13 May, 10am-12am; 2pm-4pm; 4:30-6:00pm. 10am-11am: Intellectual traditions and the history of UK public history 11am-12pm: Public history in the UK and in International Context

Situated at the axis of societal issues and academic research, the renewed popularity of applied history has raised several questions about its practice. The most direct questions come from non-academic partners. What can one expect of applied historians? How will those expectat ions be met? What if the methods and tools of applied history fall short of their goal? And is it even that important that organizations learn to think about the past , when they are oriented towards the present and future?

This presentation aimed at presenting the challenges, methodologies and issues related to the analysis of the IIPC COVID collection of web archives through a collaboration with the Archive Unleashed Team.

The paper proposes a methodology that combines theoretical and practical aspects from human-computer interaction (HCI) and genetic criticism to trace and analyse prototype evolution.

"Man hofft nur auf die Stärke des europäischen Kulturbodens, gemeint sind Christentum, Universitäten, Rabelais, Dante usw., auf dem die neue Mischung der Europäer geschmolzen wird. Das Europa, auf das wir alle stolz sind, ist nur im Rahmen des Humanismus, der auf den Kathedralen und Universitäten gewachsen ist, etwas wert. Wenn es nur ein finanzpolitisches Projekt ist, dann muss es nicht gerettet werden, denn es wird so oder so verrotten." Max Kantor, 2016

This paper presents an overview of the LL(O)D and NLP methods, tools and data for detecting and representing semantic change, with its main application in humanities research.

n times of global crises, people turn to history to understand their own and their society’s situation. This is an issue addressed by those active in the field of public history. In this roundtable, teachers share their experiences with academic courses training students on both sides of the Atlantic in taking stock of public and applied history. First, students investigate how specific audiences have dealt with historic events, periods, or developments considered to be collective or cultural traumas.

Today, modern geospatial technologies and methods are widely used in combination with the documentation and preservation of objects of importance to cultural heritage. In this setting, archeologists and historians alike benefit from the rapid technological developments over the past decades, which have resulted in instrumentation that allows the capture of real objects and the generation of accurate and precise three-dimensional (3D) digital representations, i.e. models, from these sensed data.

A review of the C²DH' activities in 2021 - in a digital format.

The purpose of our Hivi research project (https://hivi.uni.lu) is to historicise and to contextualise online virality through the different ages of the Web. This allows to grasp the evolution of digital cultures, as well as the changes of platforms, audience, formats, and the cross-platform, transnational and transmedia circulations of Internet phenomena (memes, online challenges, etc.). There are also continuities of practices to be retrieved, such as trolling, participation and remix.

The interview focuses on the work of the migration researcher Inna Ganschow as a volunteer in a German organization MMS-Humanitas e.V. helping to transport and accommodate Ukrainian refugees in Luxembourgish and German families. In addition to talking about the experience of an interpreter accompanying buses from the Ukrainian-Luxembourg border to Germany, the scientist shares her observations on the emergence of a new diaspora.

Wars never happen ‘just like that’ or ‘out of the blue’. They are the culmination of complex processes that span years and sometimes even decades. In his art, Maxim Kantor has addressed the threat embodied by the apparently seamless transition from Soviet Union to the Russian Federation and guided democracy, and his position has always been unmistakeable: Vladimir Putin and the system that produced him are, and always were, dangerous. Now more than ever, choosing the right words matters,