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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: Schofield, Katherine;

    The images that accompany this podcast may be found here: blogs.bl.uk/asian-and-african/2…office-records.html In 1818, the East India Company signed a treaty with the autonomous Rajput states of Jaipur and Jodhpur, offering British political and military protection in exchange for heavy cash tribute. By the early 1830s, these states were swimming in debt and increasingly resisting the Company's influence. So in 1835 the Company took direct control over the revenue of the salt lake at Sambhar, still one of India’s largest sources of that most precious of commodities, salt. Sambhar Lake was returned to Jaipur's and Jodhpur’s control in 1842 when, having been brought to the brink of ruin by the Company’s protection racket, their arrears were written off by the Government in Calcutta. Short-lived and little-studied, the Sambhar Lake affair left behind a set of financial accounts in the East India Company records that are alive with details of musicians and dancers, the cycle of Sambhar's festival year, and the economics of such cultural production. One musician in particular stands forth from Jaipur's accounts as exceptional, Mayalee “dancing girl”. As well as being paid a monthly cash stipend, she received 25 maunds of salt annually, and was clearly one of Sambhar’s chief courtesans. Little exculpatory notes in the margins of successive Company accounts reveal that Mayalee successfully resisted the Company’s attempt to force her to give up her salt stipend in exchange for cash. Was she merely protecting a nice little sideline selling salt? Or did the more lofty ideal of “faithfulness to the salt” (namak-halali) underpin her resistance? In this podcast I consider why Indian musicians and especially courtesans appear at all in the official records of the East India Company, and what this tells us about relations between the British colonial state and the Indian peoples whose worlds it was increasingly encroaching upon during the 1830s and 40s. This podcast is part of the series Histories of the Ephemeral: Writing on Music in Late Mughal India, sponsored by the British Academy in association with the British Library; additional research was funded by the European Research Council. Mayalee Dancing Girl vs the East india Company was written by me, Katherine Butler Schofield (King's College London), and is based on my original research. It was produced by Chris Elcombe. Additional voices were Michael Bywater, Chris Elcombe, and Kanav Gupta. It is published under a Creative Commons Attribution Non-Commercial No Derivatives (CC–BY-NC–ND) license. The recording of Rag Jaunpuri by Jaipur gharana doyenne Kesarbai Kerkar is courtesy of the Archive of Indian Music and Vikram Sampath. Archive-of-indian-music – Kesarbai-kerkar The sarangi recording of Rag Bhairavi is by Nicolas Magriel and reproduced with thanks. Information on the Jaipur gunijan-khana is taken from the work of Joan Erdman, and material on Amber/Jaipur’s political life from the work of Giles Tillotson and Monika Horstmann. With thanks to: the British Academy, the British Library, the National Archives of India, the European Research Council, Norbert Peabody, Paul Schofield, and Mrinalini Venkateswaran. Flute and Drum, Rishikesh by Samuel Corwin CC BY 4.0 Prayer Temple Jaipur by Xserra CC BY 4.0 20160922_summers.end.marshes by dobroide CC BY 4.0 Waves on the Lake by Vlatko Blazek CC BY 4.0 Kirtana_in_Hindi by psubhashish CC BY 4.0 Water Music From the Handel Show by The United States Army Old Guard Fife and Drum Corps Public Domain Mark 1.0 Licence Ganga Aarti Ceremony V, Haridwar by Samuel Corwin CC BY 4.0 Shiva Worship Ceremony, Varanasi by Samuel Corwin CC BY 4.0 A Man Approaches with Bowed Sitar, Rishikesh by Samuel Corwin CC BY 4.0 Track 1 by Deep Singh and Ikhlaq Hussain Khan Originally broadcast live on Rob Weisberg's show, Transpacific Sound Paradise on WFMU. CC BY NC SA 3.0 This podcast was funded by the British Academy. The research was funded by the European Research Council (MUSTECIO 263643) and the British Academy.

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    Audiovisual . 2018
    License: CC BY NC ND
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    Audiovisual . 2018
    License: CC BY NC ND
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      Audiovisual . 2018
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      Audiovisual . 2018
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    Authors: Amanda Martínez;

    Barcelona Pilot Videos.

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    ZENODO
    Audiovisual . 2022
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    Audiovisual . 2022
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      Audiovisual . 2022
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      Audiovisual . 2022
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    Authors: Pilarczyk Alicja; Masika Shangazi;

    Goma Ra Kimbi [Woman Power] is the hybrid opera created by Alicja Pilarczyk and Shangazi Masika, based on the oral histories of Kenyan women. The series of Masika’s poems about the everyday life of Kenyan women are sung by the Tumaini choir (made up of women from local villages around Kilifi town) and students from Pwani University to a score written by Pilaczyk that features elements of rap, pop and classical music styles. The piece is also danced to an accompaniment of handmade rattles. Gama Ra Kimbi [Woman Power] reflects the important role that storytelling plays in the life of the tribe.

    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
    Audiovisual . 2022
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    Audiovisual . 2022
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      ZENODO
      Audiovisual . 2022
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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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      Audiovisual . 2022
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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: Alcañiz, Adolf;

    IN_CERT is an initiative lead by the Can Manyé Art Center that arose in a context of pandemic and health crisis unprecedented in our contemporaneity, which aims to make visible the links between science, art and health, the transformative capacity of art and also its social and humanitarian dimensions for general public. The Germans Trias i Pujol Hospital (HUGTIP) and the Germans Trias i Pujol Research Institute (IGTP), through the SMA-TB project, have participated in IN_CERT. SMA-TB and MISTRAL project coordinators were 2 of the 3 members of the stable group of scientists involved in the initiative. IN_CERT generated several outputs: debates, a book, this video and conferences. This video shows the work process over the course of a year, with regular meetings, made up of a stable group of artists, scientists and people linked to the art world.

    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
    Audiovisual . 2022
    License: CC BY
    Data sources: Datacite
    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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    Audiovisual . 2022
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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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      Audiovisual . 2022
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      Audiovisual . 2022
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    Authors: Tóth-Czifra, Erzsébet;

    See the abstract here: https://f.hypotheses.org/wp-content/blogs.dir/1044/files/2020/02/Rethinking-text-techné-and-tenure-VREs-as-an-evaluation-and-peer-review-challenge-in-Humanities.pdf

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    https://doi.org/10.6084/m9.fig...
    Audiovisual . 2021
    License: CC BY
    Data sources: Sygma
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      Audiovisual . 2021
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    Authors: Laura Morales; Ami Saji; Andrea Greco;

    Contributing metadata to the Ethnic and Migrant Minorities (EMM) Survey Registry as a local/regional/national governmental department or EU agency/department or international organisation. A demo-based training video targeting statistical units in local/regional/national governmental departments to highlight why they should invest in and document their surveys on the EMM Survey Registry Target Audience for the video: Statistical units in local/regional/national governmental departments producing quantitative surveys on ethnic and migrant minorities’ integration and/or inclusion

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    Audiovisual . 2022
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    Audiovisual . 2022
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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: Pettinicchi, Yuri; Liu, Yichen;

    A short demo of Automatic Verification Tool (AVT) The tool enables the user to verify translations using Bilingual Word Embeddings and to report to the translators a set of translated questions to be re-checked. The video shows how to configure and how to make use of the tool.

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    ZENODO
    Audiovisual . 2021
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      Audiovisual . 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/
    Authors: Veronika Keck;

    In a short demo “Use of Translation memories in survey translation” the CAT tool MateCat and the integration of public and private Translation Memories are introduced. The recorded video includes the following steps: Adding the public TM to a project Adding multiple private TMs to a project, including the Multilingual Corpus of Survey Questionnaires Private TMs from other users / sharing private TMs Importing TMX files, exporting, and deleting TMs Using the TM key Using TM matches during the translation process: pre-fills, locking, exact and fuzzy matches, context matches, auto-propagation A few key terms from the demo shall be repeated here: Matches in the TM can provide exact, in-context, or fuzzy information about previously translated text segments. While an exact match means that the entire segment of the source text for translation matches a source segment from a Translation Memory, an in-context match means that, beyond an exact match, the segments above and below are an exact match, too. Fuzzy matches include segments that have a sufficient amount of common content between a segment stored in the TM and the actual source text so that they can be useful as a starting point for translation. The threshold for usefulness must be defined by a translator during the translation task. Theoretically, a fuzzy match can have any value between a 99% and a 1% match. In practice, the default value for presenting fuzzy matches to the user in many CAT tools is between 65-70%; below this threshold, matches will not be shown unless a user changes the CAT tool settings. During a translation project with several translators, a private TM can be used collaboratively if it is shared with others through a special private TM key. The special TM key is identified by a unique alphanumeric value. The key works as a password that enables collaborators to access the private TM. By using the private TM, the storage of translated and aligned text is visible exclusively for the creator of the TM and the person the key is shared with in contrast to the public TM, where every user can save their translations and overwrite the existing ones. For more information on how to share a private TM key with others, please refer to MateCat Post-editing and outsourcing made easy.

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    Audiovisual . 2021
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    ZENODO
    Audiovisual . 2021
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      ZENODO
      Audiovisual . 2021
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      ZENODO
      Audiovisual . 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/
    Authors: Mosterd, Tom;

    This is a recorded video of a workshop held on April 7th 2020. The workshop was organised by OPERAS-P & OASPA and speaks about business models for open access books. The organizers are looking into innovative, non-bpc, business models to create a sustainable infrastructure for open access book publishing in Europe. This workshop on business models for open access books was targeted specifically at small and medium-sized academic book publishers. Both for publishers that already publish open access books and those considering to start with open access book publishing – from within and outside of Europe. For this workshop, six different publishers presented how they each make use of a different business model to publish their books open access. Six publishers* were invited from Finland, Croatia, Italy, Germany and the United Kingdom to share about their business models for open access book publishing. Each of these publishers, sharing their experiences and insights with an emphasis on Revenue, Costs, Legal Affairs and Workflows (Production and Distribution). Presenters: Presenter 1: Sebastian Nordhoff (Language Science Press) Presenter 2: Niklas Alén (Finnish Literature Society) Presenter 3: Martin Paul Eve (Opening the future)* Presenter 4: Iva Melinscak Zlodi (FF Open Press) Presenter 5: Lucy Barnes (Open Book Publishers) Presenter 6: Fulvio Guatelli (Firenze University Press) *Unfortunately Professor Martin Paul Eve was not able to join us on the day. Instead we refer you to the following webpage which includes further information on the presentation and the innovative 'opening the future' business model: https://www.youtube.com/watch?v=NOhQGSvEOhE

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    ZENODO
    Audiovisual . 2021
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    ZENODO
    Audiovisual . 2021
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      Audiovisual . 2021
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      Audiovisual . 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/
    Authors: Nevin, Sonya; Simons, Steve K.;

    This animation depicts the poet Sappho, one of the most influential poets of ancient Greece. You see her performing the surviving fragment of one of her poems – fragment 44, a prequel to the Trojan War, in which the Trojan Prince, Hector, arrives home with his new bride, Andromache. The animation was created from a vase made in Athens in the 6th century BCE (now in the National Museum in Warsaw, in Poland, number 142333). The figures that Sappho creates with her music are made in an older pottery style. The music that she plays is the tune that the poem would have been sung to in ancient Greece. This animation was created as part of the European Research Council (ERC) funded project: Our Mythical Childhood... The Reception of Children's and Young Adults' Culture in Response to Regional and Global Challenges (Grant Agreement 681202; ERC Consolidator Grant led by Prof. Katarzyna Marciniak). www.omc.obta.al.uw.edu.pl/

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    ZENODO
    Audiovisual . 2019
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    Audiovisual . 2019
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      Audiovisual . 2019
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      Audiovisual . 2019
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35 Research products
  • 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: Schofield, Katherine;

    The images that accompany this podcast may be found here: blogs.bl.uk/asian-and-african/2…office-records.html In 1818, the East India Company signed a treaty with the autonomous Rajput states of Jaipur and Jodhpur, offering British political and military protection in exchange for heavy cash tribute. By the early 1830s, these states were swimming in debt and increasingly resisting the Company's influence. So in 1835 the Company took direct control over the revenue of the salt lake at Sambhar, still one of India’s largest sources of that most precious of commodities, salt. Sambhar Lake was returned to Jaipur's and Jodhpur’s control in 1842 when, having been brought to the brink of ruin by the Company’s protection racket, their arrears were written off by the Government in Calcutta. Short-lived and little-studied, the Sambhar Lake affair left behind a set of financial accounts in the East India Company records that are alive with details of musicians and dancers, the cycle of Sambhar's festival year, and the economics of such cultural production. One musician in particular stands forth from Jaipur's accounts as exceptional, Mayalee “dancing girl”. As well as being paid a monthly cash stipend, she received 25 maunds of salt annually, and was clearly one of Sambhar’s chief courtesans. Little exculpatory notes in the margins of successive Company accounts reveal that Mayalee successfully resisted the Company’s attempt to force her to give up her salt stipend in exchange for cash. Was she merely protecting a nice little sideline selling salt? Or did the more lofty ideal of “faithfulness to the salt” (namak-halali) underpin her resistance? In this podcast I consider why Indian musicians and especially courtesans appear at all in the official records of the East India Company, and what this tells us about relations between the British colonial state and the Indian peoples whose worlds it was increasingly encroaching upon during the 1830s and 40s. This podcast is part of the series Histories of the Ephemeral: Writing on Music in Late Mughal India, sponsored by the British Academy in association with the British Library; additional research was funded by the European Research Council. Mayalee Dancing Girl vs the East india Company was written by me, Katherine Butler Schofield (King's College London), and is based on my original research. It was produced by Chris Elcombe. Additional voices were Michael Bywater, Chris Elcombe, and Kanav Gupta. It is published under a Creative Commons Attribution Non-Commercial No Derivatives (CC–BY-NC–ND) license. The recording of Rag Jaunpuri by Jaipur gharana doyenne Kesarbai Kerkar is courtesy of the Archive of Indian Music and Vikram Sampath. Archive-of-indian-music – Kesarbai-kerkar The sarangi recording of Rag Bhairavi is by Nicolas Magriel and reproduced with thanks. Information on the Jaipur gunijan-khana is taken from the work of Joan Erdman, and material on Amber/Jaipur’s political life from the work of Giles Tillotson and Monika Horstmann. With thanks to: the British Academy, the British Library, the National Archives of India, the European Research Council, Norbert Peabody, Paul Schofield, and Mrinalini Venkateswaran. Flute and Drum, Rishikesh by Samuel Corwin CC BY 4.0 Prayer Temple Jaipur by Xserra CC BY 4.0 20160922_summers.end.marshes by dobroide CC BY 4.0 Waves on the Lake by Vlatko Blazek CC BY 4.0 Kirtana_in_Hindi by psubhashish CC BY 4.0 Water Music From the Handel Show by The United States Army Old Guard Fife and Drum Corps Public Domain Mark 1.0 Licence Ganga Aarti Ceremony V, Haridwar by Samuel Corwin CC BY 4.0 Shiva Worship Ceremony, Varanasi by Samuel Corwin CC BY 4.0 A Man Approaches with Bowed Sitar, Rishikesh by Samuel Corwin CC BY 4.0 Track 1 by Deep Singh and Ikhlaq Hussain Khan Originally broadcast live on Rob Weisberg's show, Transpacific Sound Paradise on WFMU. CC BY NC SA 3.0 This podcast was funded by the British Academy. The research was funded by the European Research Council (MUSTECIO 263643) and the British Academy.

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    Audiovisual . 2018
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    ZENODO
    Audiovisual . 2018
    License: CC BY NC ND
    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/
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      Audiovisual . 2018
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      Audiovisual . 2018
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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: Amanda Martínez;

    Barcelona Pilot Videos.

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    Audiovisual . 2022
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    Authors: Pilarczyk Alicja; Masika Shangazi;

    Goma Ra Kimbi [Woman Power] is the hybrid opera created by Alicja Pilarczyk and Shangazi Masika, based on the oral histories of Kenyan women. The series of Masika’s poems about the everyday life of Kenyan women are sung by the Tumaini choir (made up of women from local villages around Kilifi town) and students from Pwani University to a score written by Pilaczyk that features elements of rap, pop and classical music styles. The piece is also danced to an accompaniment of handmade rattles. Gama Ra Kimbi [Woman Power] reflects the important role that storytelling plays in the life of the tribe.

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      ZENODO
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    Authors: Alcañiz, Adolf;

    IN_CERT is an initiative lead by the Can Manyé Art Center that arose in a context of pandemic and health crisis unprecedented in our contemporaneity, which aims to make visible the links between science, art and health, the transformative capacity of art and also its social and humanitarian dimensions for general public. The Germans Trias i Pujol Hospital (HUGTIP) and the Germans Trias i Pujol Research Institute (IGTP), through the SMA-TB project, have participated in IN_CERT. SMA-TB and MISTRAL project coordinators were 2 of the 3 members of the stable group of scientists involved in the initiative. IN_CERT generated several outputs: debates, a book, this video and conferences. This video shows the work process over the course of a year, with regular meetings, made up of a stable group of artists, scientists and people linked to the art world.

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    ZENODO
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