Technology, Culture and Public History: The Digital Ecosystem as a Habitat for History

技术、文化和公共历史：作为历史栖息地的数字生态系统

• 批准号: 2606120
• 金额: --
• 依托单位: University of York
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2021
• 资助国家: 英国
• 起止时间: 2021 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2606120
• 关键词: Technology; Culture; Public; History; Digital

Fields such as technology and economics have long valued the concept of 'digital ecosystems' which "redefine the boundaries between the public and private spheres" (World Economic Forum (WEF) 2019) as a way to understand how information circulates and is engaged with across different digital platforms and mediums (e.g. Colugnati et al. (eds.) 2010, WEF 2007, Feijóo et al. 2009, Darking et al. 2008, Nachira 2004). Covid-19 has reinforced understandings of just how essential integrated digital infrastructures, offering seemingly seamless on-demand access to multiple interconnecting realms of knowledge, have become to daily life in contemporary societies (e.g. Lazazzara et al. (eds.) 2020, Tofalvy & Barna 2020, Henry 2021, Susanto et al. 2021, Merry et al. 2020). To date, few scholars have analysed in any depth the ways in which these ongoing developments in communications are remodelling social engagements with the past across different realms of culture.Engaging critically with existing interdisciplinary literatures on the digital ecosystem, my research will use carefully selected studies to investigate the ways in which historical information traverses intra-medium digital platforms. My MA thesis has already served as a pilot for this, interrogating the mechanisms employed by Netflix to facilitate and encourage different modes of cross-platform public engagement with 'The Crown'. Extending this analysis through other cases will prompt critical evaluation of the divisions between, for example, film, television, social media, heritage and public memory, which are common in existing literature (e.g. 'media events' Garde-Hansen 2011, 2016; 'interdisciplinarity' Burgoyne 2003, 2008; 'streaming platforms' McDonald 2016, Baker & Wiatrowski 2017, 'social media' A. Hoskins (ed.) 2017; 'television' Gray & Bell 2012; 'memory studies' Cubitt 2014, 2018; 'digital heritage' Bowen & Giannini 2019).Key questions include:- How can we best engage critically with the presentation of history across different types of digital media which are both user-led and producer-pushed?- What is the mechanical relationship between producers of digital history content and users, and how does this affect how users treat, receive and understand material about the past across different digital habitats?- How does digital media respond to these different needs/motivations/ infrastructures/actors and how does this differ between audiences? - How do global socio-economic and political developments influence the ways in which public history circulates within the 'digital ecosystem'?An intentionally diverse set of analytical case studies will each explore a different set of interactions set in motion by digital media. To give three examples - study 1 ('Hamilton') will track the reconfiguration of historical content in the passage from musical theatre to video streaming to social media sensationalism; study 2 (the 'Eva.Stories' project) will interrogate the transformation of traditional educational and commemorative strategies in Holocaust-themed social media content; study 3 ('#BLM') will show how historical understanding is mobilised in a transnational political movement exclusively facilitated through social media. Prioritising the public voice is a cornerstone of the research, which will use social media (e.g. Twitter, TikTok) engagement as well as traditional oral history methodologies (e.g public focus groups, interviews) to gain practical, as well as theoretical, insights into the practices, experiences and motivations of producers and consumers of historical knowledge in the digital arena. Investigating the relationships between technological change and the production, circulation and consumption of historical knowledge addresses an important dimension of contemporary cultural history. Ultimately, it has the potential to encourage historians in how they themselves can function as participants in today's digital cultural interactions.

技术和经济学等领域长期以来一直重视“数字生态系统”的概念，它“重新定义了公共和私人领域之间的边界”（世界经济论坛（WEF）2019），作为理解信息如何在不同的数字平台和媒介中流通和参与的一种方式（例如Colugnati等人（编辑））。2010，WEF 2007，Feijóo et al. 2009，Darking et al. 2008，Nachira 2004）。2019冠状病毒病加强了人们对综合数字基础设施的理解，这些基础设施提供了对多个相互连接的知识领域的看似无缝的按需访问，已成为当代社会日常生活的重要组成部分（例如Lazazzara等人（编辑））。2020，Tofalvy & Barna 2020，亨利2021，Susanto等人2021，Merry等人2020）。迄今为止，很少有学者深入分析这些正在进行的通信发展是如何重塑社会参与与过去在不同领域的文化。我的研究将与现有的跨学科文献的数字生态系统的批判性参与，使用精心挑选的研究，以调查的方式，历史信息穿越内媒体数字平台。我的硕士论文已经成为这方面的试点，询问Netflix采用的机制，以促进和鼓励不同模式的跨平台公众参与“皇冠”。通过其他案例扩展这种分析将促使对电影，电视，社交媒体，遗产和公共记忆之间的分歧进行批判性评估，这些分歧在现有文献中很常见（例如“媒体事件”Garde-Hansen 2011，2016;“跨学科”Burgoyne 2003，2008;“流媒体平台”McDonald 2016，Baker & Wiatrowski 2017，“社交媒体”A.霍斯金斯（编）二〇一七年;“电视”Gray & Bell 2012;“记忆研究”Curios 2014，2018;“数字遗产”Bowen & Giannini 2019）。关键问题包括：-我们如何才能最好地批判性地参与不同类型的数字媒体的历史呈现，这些媒体既有用户主导的，也有生产者推动的？数字历史内容的生产者和用户之间的机械关系是什么，以及这如何影响用户如何处理，接收和理解不同数字栖息地的过去材料？数字媒体如何应对这些不同的需求/动机/基础设施/参与者，这在受众之间有何不同？- 全球社会经济和政治发展如何影响公共历史在“数字生态系统”中的传播方式？一组有意多样化的分析案例研究将分别探讨数字媒体引发的一组不同的互动。举三个例子-研究1（“汉密尔顿”）将跟踪历史内容的重新配置，从音乐剧到视频流到社交媒体耸人听闻;研究2（“伊娃.故事”项目）将探讨以大屠杀为主题的社交媒体内容中传统教育和纪念策略的转变;研究3（#BLM）将展示历史理解是如何在一场完全通过社交媒体推动的跨国政治运动中动员起来的。优先考虑公众的声音是研究的基石，它将使用社交媒体（例如Twitter，TikTok）参与以及传统的口述历史方法（例如公众焦点小组，访谈），以获得实际的，以及理论，对数字竞技场历史知识生产者和消费者的实践，经验和动机的见解。研究技术变革与历史知识的生产、流通和消费之间的关系，是当代文化史的一个重要维度。最终，它有可能鼓励历史学家如何在今天的数字文化互动中发挥参与者的作用。