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  • Digital Humanities and Cultural Heritage
  • Wellcome Trust

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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: Maranan, Diego S.;

    This green paper discusses interim findings from the Creative Turn in the Sciences project, in which we explore and describe the state of art and science activities and collaborations—what has been variously referred to as “sciart” or “artscience”—in the Philippines. We argue that creative, transformative science can be supported along multiple fronts by engagement with the arts and humanities. As such, our view of creative industries need not be limited to currently identified ranges of cultural products and services. Artists can access new sources of not only funding and support, but also knowledge and inspiration, through engaging artscience in their work. If one of the value propositions of the arts is that it can provide a service, we propose that the arts and humanities could productively offer their services to the science R&D community in novel and underexplored ways. Our main contribution is the SHARES framework for enabling arts and humanities contribution to science research and translation (section 4). Based on our interviews, the arts only minimally influences science and tech R&D in the Philippines, but only because it is usually not usually afforded the opportunity to do it more regularly or more deeply, if at all. However, the arts and humanities can lead to transformative and creative science processes and outcomes, and there is a nascent artscience community of practice in the Philippines that could benefit from support. To this end, funders, professional research organizations, and educational institutions can contribute to enabling shares through a number of ways: Keep (or include) the Arts in the ST(R)EAM acronym Retrofit existing programs to include discussion on and practice in artscience Create opportunities for internships and real-world alternative learning activities Ringfence funding for artscience collaborations Provide mechanisms for long-term monitoring and evaluation Consider new forms of cultural work and new models for patronage Take the lead as coordinators and mentors Provide opportunities for both formal disciplinal dialogue and serendipitous interactions Strike while the iron is hot This report was primarily supported by the Connections Through Culture programme of the British Council, with additional support from the University of the Philippines Open University (UPOU) and Space Ecologies Art and Design (SEADS).

    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
    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/
    ZENODO
    Report . 2022
    License: CC BY
    Data sources: ZENODO
    ZENODO
    Report . 2022
    License: CC BY
    Data sources: Datacite
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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
      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/
      ZENODO
      Report . 2022
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      Data sources: ZENODO
      ZENODO
      Report . 2022
      License: CC BY
      Data sources: Datacite
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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: EDMOND, JENNIFER; Bene?, Jakub; Bulatovi?, Nata?a; Kne?evi?, Milica; +3 Authors

    While the acquisition and curation of heterogeneous data in a single repository presents a technical challenge in itself, the ingestion of data into the CENDARI repository also opens up the possibility to process and index them through data extraction, entity recognition, semantic enhancement and other transformations. In this way the CENDARI project was able to act as a bridge between cultural heritage institutions and historical researchers, insofar as it drew together holdings from a broad range of institutions and enabled the browsing of this heterogeneous content within a single search space. This document describes a broad range of ways in which the CENDARI project acquired data from cultural heritage institutions as well as the necessary technical background. In exemplifying diverse data creation or acquisition strategies, multiple formats and technical solutions, assets and drawbacks of a repository, this ?White Book? aims at providing guidance and advice as well as best practices for archivists and cultural heritage institutions collaborating or planning to collaborate with infrastructure projects. Over the course of its four year project timeline, the CENDARI project has collected archival descriptions and metadata in various formats from a broad range of cultural heritage institutions. These data were drawn together in a single repository and are being stored there. The repository contains curated data which has been manually established by the CENDARI team as well as data acquired from small, ?hidden? archives in spreadsheet format or from big aggregators with advanced data exchange tools in place. While the acquisition and curation of heterogeneous data in a single repository presents a technical challenge in itself, the ingestion of data into the CENDARI repository also opens up the possibility to process and index them through data extraction, entity recognition, semantic enhancement and other transformations. In this way the CENDARI project was able to act as a bridge between cultural heritage institutions and historical researchers, insofar as it drew together holdings from a broad range of institutions and enabled the browsing of this heterogeneous content within a single search space. This paper describes a broad range of ways in which the CENDARI project acquired data from cultural heritage institutions as well as the necessary technical background. In exemplifying diverse data creation or acquisition strategies, multiple formats and technical solutions, assets and drawbacks of a repository, this ?White Book? aims at providing guidance and advice as well as best practices for archivists and cultural heritage institutions collaborating or planning to collaborate with infrastructure projects. EU FP7: 284432

    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/ Refubium - Repositor...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/ Refubium - Repositor...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/
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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: Greenstein, Daniel;
    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/ D-Lib Magazinearrow_drop_down
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    D-Lib Magazine
    Article . 1998 . Peer-reviewed
    Data sources: Crossref
    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/
    D-Lib Magazine
    Article . 1998
    Data sources: D-Lib Magazine
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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/ D-Lib Magazinearrow_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/
      D-Lib Magazine
      Article . 1998 . Peer-reviewed
      Data sources: Crossref
      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/
      D-Lib Magazine
      Article . 1998
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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: Beneš, Jakub; Bulatović, Nataša; Edmond, Jennifer; Knežević, Milica; +3 Authors

    While the acquisition and curation of heterogeneous data in a single repository presents a technical challenge in itself, the ingestion of data into the CENDARI repository also opens up the possibility to process and index them through data extraction, entity recognition, semantic enhancement and other transformations. In this way the CENDARI project was able to act as a bridge between cultural heritage institutions and historical researchers, insofar as it drew together holdings from a broad range of institutions and enabled the browsing of this heterogeneous content within a single search space. This document describes a broad range of ways in which the CENDARI project acquired data from cultural heritage institutions as well as the necessary technical background. In exemplifying diverse data creation or acquisition strategies, multiple formats and technical solutions, assets and drawbacks of a repository, this “White Book” aims at providing guidance and advice as well as best practices for archivists and cultural heritage institutions collaborating or planning to collaborate with infrastructure projects.

    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/ NARCISarrow_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/
    NARCIS
    Other ORP type . 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/ NARCISarrow_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/
      NARCIS
      Other ORP type . 2016
      Data sources: NARCIS
  • 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: Shoaib Sufi; Emily Bell; Anna-Maria Sichani;

    A report by the Software Sustainability Institute (www.software.ac.uk) (SSI) on the Arts and Humanities Research Council (UKRI AHRC) community to better understand views on digital/software tools, experience of development of such tools, practices, learning intentions and preferences around how projects involving digital/software should be resourced. The report was originally intended to help inform the digital infrastructure funding being envisaged by the AHRC. In its final form we believe it's of use and interest to the AHRC and other arts and humanities funders, organisations which support arts and humanities research and practice, communities of practice, members of AHRC's community and to individuals wanting to learn more about these topics whether to inform their own practice or to understand the space.

    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
    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/
    ZENODO
    Report . 2023
    License: CC BY
    Data sources: ZENODO
    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/
    ZENODO
    Report . 2023
    License: CC BY
    Data sources: Datacite
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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
      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/
      ZENODO
      Report . 2023
      License: CC BY
      Data sources: ZENODO
      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/
      ZENODO
      Report . 2023
      License: CC BY
      Data sources: Datacite
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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: Arbuckle, Alyssa; Maxwell, John;

    <p>Given the current state of digital technology, there is a clear opportunity to revamp scholarly communication into a multi-faceted, open system that integrates and takes advantage of the near-ubiquitous global network. In doing so, the values of collaboration, sharing, and transparency inherent to open social scholarship can be integrated into knowledge dissemination methods. The Implementing New Knowledge Environments (INKE) community is currently organized around the idea of open social scholarship, but putting this into practice will involve assessing and revising INKE&rsquo;s own scholarly communication processes. In this paper, we explore the current state of open access to academic research and ruminate on next steps, beyond open access. We consider the role of collaboration in contemporary academic practice, and the importance of transparency in regards to multiplayer work. Further, we examine the standard scholarly communication model, especially as it pertains to INKE. Finally, we make recommendations and suggest alternatives for transforming our stock scholarly communication models into open social scholarship practices.</p>

    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/ KULA; Éruditarrow_drop_down
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    KULA; Érudit
    Other literature type . Article . 2019 . Peer-reviewed
    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/ KULA; Éruditarrow_drop_down
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      KULA; Érudit
      Other literature type . Article . 2019 . Peer-reviewed
      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/
    Authors: McLeod, Lise; Broady-Preston, Judith; Atkins, Ruth;

    Contract law co-exists with copyright law in the publishing world often blurring the lines between authors and publishers in the dissemination of scholarly research. Technology has further obscured the traditional publishing model creating complications for academics as uncertainties about access to their published research arise. The goal of authors in publishing their scholarly research is to make an impact, to contribute to the global discussion and to disseminate knowledge to others. Making research available through open access (OA) may assist with the increased circulation of research, thereby potentially increasing its impact. OA research is seemingly more accepted and developed as a publishing model in science, technology and medicine, but evidence suggests less so in the humanities. The development of digital humanities represents a potential means by which OA may become more widely accepted as a publishing model in the humanities in general. This paper explores the role of open access in scholarly publication, and its influence on publishing contracts and the copyright of authors. © 2014 The Authors. Published by Elsevier Ltd. Selection and peer-review under responsibility of the 3 rd International Conference on Integrated Information.

    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/ Procedia - Social an...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/ Procedia - Social an...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/
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  • Authors: Beneš, Jakub; Bulatovic, Natasa; Edmond, Jennifer; Knežević,, Milica; +3 Authors

    Over the course of its four year project timeline, the CENDARI project has collected archival descriptions and metadata in various formats from a broad range of cultural heritage institutions. These data were drawn together in a single repository and are being stored there. The repository contains curated data which has been manually established by the CENDARI team as well as data acquired from small, ‘hidden’ archives in spreadsheet format or from big aggregators with advanced data exchange tools in place. While the acquisition and curation of heterogeneous data in a single repository presents a technical challenge in itself, the ingestion of data into the CENDARI repository also opens up the possibility to process and index them through data extraction, entity recognition, semantic enhancement and other transformations. In this way the CENDARI project was able to act as a bridge between cultural heritage institutions and historical researchers, insofar as it drew together holdings from a broad range of institutions and enabled the browsing of this heterogeneous content within a single search space. This paper describes a broad range of ways in which the CENDARI project acquired data from cultural heritage institutions as well as the necessary technical background. In exemplifying diverse data creation or acquisition strategies, multiple formats and technical solutions, assets and drawbacks of a repository, this “White Book” aims at providing guidance and advice as well as best practices for archivists and cultural heritage institutions collaborating or planning to collaborate with infrastructure projects.

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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: Caroline Edwards;

    This article addresses some of the issues arising from the continuing research and debate on open access (OA) publishing, primarily from the perspective of an academic in the field of humanities. As an academic, the author feels it is essential that scholars embrace the responsibility of being part of the process that reconsiders how to publish their research, and that they recognize they have a key role to play amongst a variety of stakeholders. The launch of the Open Library of Humanities (OLH) in early 2013 and its growing momentum as a scholarly-led movement over the last 12 months demonstrates that there is an increasing awareness amongst the academic community in the humanities of what is required to build a new kind of publishing model. Aspects of this ‘do-it-yourself’ culture are considered along with various funding options, concluding with a look at international challenges facing the transformation towards open access and where the OLH fits into the picture.

    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/ Insights: the UKSG j...arrow_drop_down
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    Insights: the UKSG journal
    Article
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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/
    Insights: the UKSG journal
    Article . 2014 . Peer-reviewed
    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/ Insights: the UKSG j...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/
      Insights: the UKSG journal
      Article
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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/
      Insights: the UKSG journal
      Article . 2014 . Peer-reviewed
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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: Eve, Martin Paul;

    EDITOR'S SUMMARYOpen access (OA) has been shaping and benefitting the scientific community for years now, but this new wave of disseminating research freely has not quite taken hold in the field of humanities. Though humanities publishers could also benefit from an OA model, many have been resistant, citing possible issues with plagiarism or appropriation of an author's work for less than ideal uses. There are also challenges with the cost of publishing OA content, which for humanities could be much higher than in the scientific community due to the length of works produced. Some institutions have taken to charging authors to publish their content in an OA model, while others have opted for a membership structure or joining a consortium of other institutions, such as Knowledge Unlatched or the Open Library of Humanities. While many great strides have been taken to bring OA to humanities, there is still work to do to make the study of humanity accessible to all.

    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/ CORE (RIOXX-UK Aggre...arrow_drop_down
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    CORE (RIOXX-UK Aggregator)
    Article . 2017
    License: CC BY
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Bulletin of the Association for Information Science and Technology
    Article . 2017 . Peer-reviewed
    License: Wiley Online Library User Agreement
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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/ CORE (RIOXX-UK Aggre...arrow_drop_down
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      Article . 2017
      License: CC BY
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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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: Maranan, Diego S.;

    This green paper discusses interim findings from the Creative Turn in the Sciences project, in which we explore and describe the state of art and science activities and collaborations—what has been variously referred to as “sciart” or “artscience”—in the Philippines. We argue that creative, transformative science can be supported along multiple fronts by engagement with the arts and humanities. As such, our view of creative industries need not be limited to currently identified ranges of cultural products and services. Artists can access new sources of not only funding and support, but also knowledge and inspiration, through engaging artscience in their work. If one of the value propositions of the arts is that it can provide a service, we propose that the arts and humanities could productively offer their services to the science R&D community in novel and underexplored ways. Our main contribution is the SHARES framework for enabling arts and humanities contribution to science research and translation (section 4). Based on our interviews, the arts only minimally influences science and tech R&D in the Philippines, but only because it is usually not usually afforded the opportunity to do it more regularly or more deeply, if at all. However, the arts and humanities can lead to transformative and creative science processes and outcomes, and there is a nascent artscience community of practice in the Philippines that could benefit from support. To this end, funders, professional research organizations, and educational institutions can contribute to enabling shares through a number of ways: Keep (or include) the Arts in the ST(R)EAM acronym Retrofit existing programs to include discussion on and practice in artscience Create opportunities for internships and real-world alternative learning activities Ringfence funding for artscience collaborations Provide mechanisms for long-term monitoring and evaluation Consider new forms of cultural work and new models for patronage Take the lead as coordinators and mentors Provide opportunities for both formal disciplinal dialogue and serendipitous interactions Strike while the iron is hot This report was primarily supported by the Connections Through Culture programme of the British Council, with additional support from the University of the Philippines Open University (UPOU) and Space Ecologies Art and Design (SEADS).

    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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    ZENODO
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    ZENODO
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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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      ZENODO
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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: EDMOND, JENNIFER; Bene?, Jakub; Bulatovi?, Nata?a; Kne?evi?, Milica; +3 Authors

    While the acquisition and curation of heterogeneous data in a single repository presents a technical challenge in itself, the ingestion of data into the CENDARI repository also opens up the possibility to process and index them through data extraction, entity recognition, semantic enhancement and other transformations. In this way the CENDARI project was able to act as a bridge between cultural heritage institutions and historical researchers, insofar as it drew together holdings from a broad range of institutions and enabled the browsing of this heterogeneous content within a single search space. This document describes a broad range of ways in which the CENDARI project acquired data from cultural heritage institutions as well as the necessary technical background. In exemplifying diverse data creation or acquisition strategies, multiple formats and technical solutions, assets and drawbacks of a repository, this ?White Book? aims at providing guidance and advice as well as best practices for archivists and cultural heritage institutions collaborating or planning to collaborate with infrastructure projects. Over the course of its four year project timeline, the CENDARI project has collected archival descriptions and metadata in various formats from a broad range of cultural heritage institutions. These data were drawn together in a single repository and are being stored there. The repository contains curated data which has been manually established by the CENDARI team as well as data acquired from small, ?hidden? archives in spreadsheet format or from big aggregators with advanced data exchange tools in place. While the acquisition and curation of heterogeneous data in a single repository presents a technical challenge in itself, the ingestion of data into the CENDARI repository also opens up the possibility to process and index them through data extraction, entity recognition, semantic enhancement and other transformations. In this way the CENDARI project was able to act as a bridge between cultural heritage institutions and historical researchers, insofar as it drew together holdings from a broad range of institutions and enabled the browsing of this heterogeneous content within a single search space. This paper describes a broad range of ways in which the CENDARI project acquired data from cultural heritage institutions as well as the necessary technical background. In exemplifying diverse data creation or acquisition strategies, multiple formats and technical solutions, assets and drawbacks of a repository, this ?White Book? aims at providing guidance and advice as well as best practices for archivists and cultural heritage institutions collaborating or planning to collaborate with infrastructure projects. EU FP7: 284432

    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/ Refubium - Repositor...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/
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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: Greenstein, Daniel;
    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/ D-Lib Magazinearrow_drop_down
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    D-Lib Magazine
    Article . 1998 . Peer-reviewed
    Data sources: Crossref
    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/
    D-Lib Magazine
    Article . 1998
    Data sources: D-Lib Magazine
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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/ D-Lib Magazinearrow_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/
      D-Lib Magazine
      Article . 1998 . Peer-reviewed
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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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      Article . 1998
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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: Beneš, Jakub; Bulatović, Nataša; Edmond, Jennifer; Knežević, Milica; +3 Authors

    While the acquisition and curation of heterogeneous data in a single repository presents a technical challenge in itself, the ingestion of data into the CENDARI repository also opens up the possibility to process and index them through data extraction, entity recognition, semantic enhancement and other transformations. In this way the CENDARI project was able to act as a bridge between cultural heritage institutions and historical researchers, insofar as it drew together holdings from a broad range of institutions and enabled the browsing of this heterogeneous content within a single search space. This document describes a broad range of ways in which the CENDARI project acquired data from cultural heritage institutions as well as the necessary technical background. In exemplifying diverse data creation or acquisition strategies, multiple formats and technical solutions, assets and drawbacks of a repository, this “White Book” aims at providing guidance and advice as well as best practices for archivists and cultural heritage institutions collaborating or planning to collaborate with infrastructure projects.

    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/ NARCISarrow_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: Shoaib Sufi; Emily Bell; Anna-Maria Sichani;

    A report by the Software Sustainability Institute (www.software.ac.uk) (SSI) on the Arts and Humanities Research Council (UKRI AHRC) community to better understand views on digital/software tools, experience of development of such tools, practices, learning intentions and preferences around how projects involving digital/software should be resourced. The report was originally intended to help inform the digital infrastructure funding being envisaged by the AHRC. In its final form we believe it's of use and interest to the AHRC and other arts and humanities funders, organisations which support arts and humanities research and practice, communities of practice, members of AHRC's community and to individuals wanting to learn more about these topics whether to inform their own practice or to understand the space.

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    ZENODO
    Report . 2023
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