Skip to content

Commit

Permalink
amend pia page
Browse files Browse the repository at this point in the history
  • Loading branch information
@julsraemy
julsraemy committed Aug 19, 2024
1 parent e59f7e8 commit f0c77bd
Show file tree
Hide file tree
Showing 7 changed files with 38 additions and 41 deletions.
20 changes: 10 additions & 10 deletions _site/feed.json
View file

Large diffs are not rendered by default.

16 changes: 8 additions & 8 deletions _site/feed.xml
View file

Large diffs are not rendered by default.

3 changes: 2 additions & 1 deletion _site/loud.html
View file
Original file line number Diff line number Diff line change
Expand Up @@ -281,7 +281,7 @@ <h3>Linked Art</h3>
</figure>
<p>Exploring the specifics of the <a href="https://linked.art/api/1.0/" target="_blank" rel="noopener noreferrer">Linked Art API</a>, four key areas are highlighted: ease of implementation, consistency across representations, division of information, and URI requirements.</p>
<p>Linked Art prioritises ease of implementation, making it simple enough to deploy even with hand-crafted files, though automation is preferred for larger data volumes. A crucial aspect is ensuring consistency across representations, with each relationship contained within a single document to maintain clarity and coherence. The framework also emphasises the division of information, scaling from many to few - such as from a page to a book, and then to a collection - ensuring a clear hierarchy. The API’s identity and URI requirements are designed for simplicity. One-to-one relationships are embedded directly without needing separate URIs, making the data model more accessible. URIs for records are kept simple, with no internal structure, ensuring ease of use and navigation. This approach makes Linked Art an efficient tool for representing and managing cultural heritage data.</p>
<p>In Linked Art, the division of the graph avoids duplication of definitions across records. Full URIs are used for references, simplifying client processing. Embedded structures do not carry URIs, preventing unnecessary complexity. The Linked Art API currently features eleven endpoints, which align with the conceptual model:</p>
<p>In Linked Art, the division of the graph avoids duplication of definitions across records. Full URIs are used for references, simplifying client processing. Embedded structures do not carry URIs, preventing unnecessary complexity. The Linked Art API currently features <a href="https://linked.art/api/1.0/endpoint/" target="_blank" rel="noopener noreferrer">eleven endpoints</a>, which align with the conceptual model:</p>
<ul>
<li>Concepts: Types, materials, languages, and others as full records rather than external references</li>
<li>Digital Objects: Images, services, and other digital objects</li>
Expand All @@ -295,6 +295,7 @@ <h3>Linked Art</h3>
<li>Textual Works: Distinct textual entities like book content or journal articles</li>
<li>Visual Works: Image content like paintings or drawings</li>
</ul>
<p>Each endpoint is supported by detailed documentation, including the required and permitted patterns, along with a corresponding <a href="https://linked.art/api/1.0/schema_docs/" target="_blank" rel="noopener noreferrer">JSON schema</a>.</p>
<h2>LOUD Ecosystem</h2>
<p>These three systems are complementary and can be used either separately or in conjunction.</p>
<figure>
Expand Down
13 changes: 6 additions & 7 deletions _site/pia.html
View file
Original file line number Diff line number Diff line change
Expand Up @@ -121,19 +121,18 @@
<main>
<h1>Participatory Knowledge Practices in Analogue and Digital Image Archives (PIA)</h1>
<p><a href="https://about.participatory-archives.ch" target="_blank" rel="noopener noreferrer">Participatory Knowledge Practices in Analogue and Digital Image Archives</a> (PIA) is a project funded by the Swiss National Science Foundation (SNSF) <a href="https://data.snf.ch/grants/grant/193788" target="_blank" rel="noopener noreferrer">under the Sinergia funding scheme</a> from February 2021 to January 2025.</p>
<p>The PIA project bridges the realms of data and tangible objects through an interdisciplinary approach, bringing together cultural anthropology, technology and design to examine both analogue and digital archives. It explores participatory knowledge practices within image archives, encourages collaboration across disciplines, and develops digital tools to help contextualise and connect images. This initiative aims to improve the preservation and sharing of knowledge by inviting both the scholarly community and the public to actively participate in understanding its history and current practices. Through workshops and user interviews, the project aims to identify new needs in digital and process-oriented knowledge creation.</p>
<p>Using three collections from the photographic archives of Cultural Anthropology Switzerland (CAS), the project develops interfaces for collaborative indexing and access to archival content. These interfaces, including both graphical and application programming interfaces (APIs), facilitate the co-creation and visualisation of knowledge and offer a reflective and intuitive user experience. At the same time, the project is assessing the analogue and digital phases of archiving from an anthropological, technical and communicative point of view, involving experts from the University of Basel and the Bern University of the Arts.</p>
<p>Three collections: Atlas of the Swiss Folklore, Kreis Family, and Ernst Brunner</p>
<p>The PIA project wanted to bridge the realms of data and tangible objects through an interdisciplinary approach, bringing together cultural anthropology, technology and design to examine both analogue and digital archives. It explored participatory knowledge practices within image archives, encourages collaboration across disciplines, and develops digital tools to help contextualise and connect images. This initiative aimed to improve the preservation and sharing of knowledge by inviting both the scholarly community and the public to actively participate in understanding its history and current practices. Through workshops and user interviews, the project identified new needs in digital and process-oriented knowledge creation.</p>
<p>Using three collections from the photographic archives of Cultural Anthropology Switzerland (CAS), the project developed interfaces for collaborative indexing and access to archival content. These interfaces, including both graphical and application programming interfaces (APIs), facilitate the co-creation and visualisation of knowledge and offer a reflective and intuitive user experience. At the same time, the project assessed the analogue and digital phases of archiving from an anthropological, technical and communicative point of view, involving experts from the University of Basel and the Bern University of the Arts.</p>
<h2>Atlas of the Swiss Folklore</h2>
<p>(…)</p>
<p>SGV_05 Atlas of Swiss Folklore consists of 292 maps and 1,000 pages of commentary published between 1950 and 1995. Commissioned by CAS, the collection involved an extensive survey of the Swiss population in the 1930s and 1940s, covering topics like everyday life, local laws, superstitions, celebrations, and labour. The survey was conducted by both researchers and local contributors, resulting in a collection that reflects everyday life in Switzerland before the postwar modernisation period. The project also involved significant efforts in restoration, digitisation, cataloguing, and indexing as part of the PIA research project.</p>
<h2>Kreis Family</h2>
<p>(…)</p>
<p>SGV_10 Kreis Family comprises approximately 20,000 photographic objects, with a quarter organised into 93 photo albums. This collection, spanning from the 1850s to the 1980s, belonged to a wealthy Basel family and was acquired by CAS in 1991. Despite its initial disorganisation, CAS meticulously catalogued and preserved the collection, which offers a detailed insight into urban bourgeois culture and the development of private photography over a century. The materials range from prints to negatives, in various formats and techniques, from daguerreotypes to modern paper prints. While some were digitised in 2014, most of the work was completed during the PIA project.</p>
<div class="container">
<iframe src="https://projectmirador.org/embed/?iiif-content=https://julsraemy.ch/hostiiing/manifests/SGV_10A_00050_layers.json" width="800" height="600" marginwidth="0" marginheight="0" frameborder="0" scrolling="no" id="frame" allowfullscreen="">You need an iFrame capable browser to view this.</iframe>
</div>
<h2>Ernst Brunner</h2>
<p>(…)</p>
<div id="map" alt="Brunner, Ernst. [Ringtanz während der Masüras auf der Alp Sura]. Guarda, 1939. Black and White Negative, 6x6cm. SGV_12 Ernst Brunner. SGV_12N_08589. Alte Bildnummer: DL 89. https://archiv.sgv-sstp.ch/resource/430824" data-iiif-url="https://sipi.participatory-archives.ch/SGV_12/SGV_12N_08589.jp2/info.json" style="height: 400px; width: 100%;">Brunner, Ernst. [Ringtanz während der Masüras auf der Alp Sura]. Guarda, 1939. Black and White Negative, 6x6cm. SGV_12 Ernst Brunner. SGV_12N_08589</div>
<p>SGV_12 Ernst Brunner is a collection of about 48,000 negatives and 20,000 prints donated to the CAS archives by Ernst Brunner, a self-taught photojournalist active mainly in the 1930s and 1940s. His work, which documents Swiss society’s rural and urban life, is highly regarded. Brunner, who initially worked as a carpenter influenced by the Bauhaus and Neues Bauen movements, became a key visual chronicler of his era. While the black and white negatives were digitised between 2014 and 2018, the prints selected by Brunner were digitised at the end of the PIA research project.</p>
<div id="map" alt="Brunner, Ernst. [Ringtanz während der Masüras auf der Alp Sura]. Guarda, 1939. Black and White Negative, 6x6cm. SGV_12 Ernst Brunner. SGV_12N_08589. Alte Bildnummer: DL 89. https://archiv.sgv-sstp.ch/resource/430824" data-iiif-url="https://iiif.dasch.swiss:443/0812/276uIbjSulF-k5RrtYZ3LUA.jpx/info.json" style="height: 400px; width: 100%;">Brunner, Ernst. [Ringtanz während der Masüras auf der Alp Sura]. Guarda, 1939. Black and White Negative, 6x6cm. SGV_12 Ernst Brunner. SGV_12N_08589</div>
</main>

<footer>
Expand Down
8 changes: 4 additions & 4 deletions _site/sitemap.xml
View file
Original file line number Diff line number Diff line change
Expand Up @@ -9,8 +9,8 @@
</url>

<url>
<loc>https://phd.julsraemy.ch/pia.html</loc>
<lastmod>2024-02-29T00:00:00.000Z</lastmod>
<loc>https://phd.julsraemy.ch/loud.html</loc>
<lastmod>2024-08-19T00:00:00.000Z</lastmod>
<changefreq>weekly</changefreq>
<priority>0.7</priority>
</url>
Expand All @@ -30,8 +30,8 @@
</url>

<url>
<loc>https://phd.julsraemy.ch/loud.html</loc>
<lastmod>2024-08-19T00:00:00.000Z</lastmod>
<loc>https://phd.julsraemy.ch/pia.html</loc>
<lastmod>2024-02-29T00:00:00.000Z</lastmod>
<changefreq>weekly</changefreq>
<priority>0.7</priority>
</url>
Expand Down
3 changes: 2 additions & 1 deletion src/loud.md
View file
Original file line number Diff line number Diff line change
Expand Up @@ -204,7 +204,7 @@ Exploring the specifics of the [Linked Art API](https://linked.art/api/1.0/), fo

Linked Art prioritises ease of implementation, making it simple enough to deploy even with hand-crafted files, though automation is preferred for larger data volumes. A crucial aspect is ensuring consistency across representations, with each relationship contained within a single document to maintain clarity and coherence. The framework also emphasises the division of information, scaling from many to few - such as from a page to a book, and then to a collection - ensuring a clear hierarchy. The API’s identity and URI requirements are designed for simplicity. One-to-one relationships are embedded directly without needing separate URIs, making the data model more accessible. URIs for records are kept simple, with no internal structure, ensuring ease of use and navigation. This approach makes Linked Art an efficient tool for representing and managing cultural heritage data.

In Linked Art, the division of the graph avoids duplication of definitions across records. Full URIs are used for references, simplifying client processing. Embedded structures do not carry URIs, preventing unnecessary complexity. The Linked Art API currently features eleven endpoints, which align with the conceptual model:
In Linked Art, the division of the graph avoids duplication of definitions across records. Full URIs are used for references, simplifying client processing. Embedded structures do not carry URIs, preventing unnecessary complexity. The Linked Art API currently features [eleven endpoints](https://linked.art/api/1.0/endpoint/), which align with the conceptual model:

- Concepts: Types, materials, languages, and others as full records rather than external references
- Digital Objects: Images, services, and other digital objects
Expand All @@ -218,6 +218,7 @@ In Linked Art, the division of the graph avoids duplication of definitions acros
- Textual Works: Distinct textual entities like book content or journal articles
- Visual Works: Image content like paintings or drawings

Each endpoint is supported by detailed documentation, including the required and permitted patterns, along with a corresponding [JSON schema](https://linked.art/api/1.0/schema_docs/).

## LOUD Ecosystem

Expand Down
16 changes: 6 additions & 10 deletions src/pia.md
View file
Original file line number Diff line number Diff line change
Expand Up @@ -12,21 +12,17 @@ permalink: "/pia.html"

[Participatory Knowledge Practices in Analogue and Digital Image Archives](https://about.participatory-archives.ch) (PIA) is a project funded by the Swiss National Science Foundation (SNSF) [under the Sinergia funding scheme](https://data.snf.ch/grants/grant/193788) from February 2021 to January 2025.

The PIA project bridges the realms of data and tangible objects through an interdisciplinary approach, bringing together cultural anthropology, technology and design to examine both analogue and digital archives. It explores participatory knowledge practices within image archives, encourages collaboration across disciplines, and develops digital tools to help contextualise and connect images. This initiative aims to improve the preservation and sharing of knowledge by inviting both the scholarly community and the public to actively participate in understanding its history and current practices. Through workshops and user interviews, the project aims to identify new needs in digital and process-oriented knowledge creation.
The PIA project wanted to bridge the realms of data and tangible objects through an interdisciplinary approach, bringing together cultural anthropology, technology and design to examine both analogue and digital archives. It explored participatory knowledge practices within image archives, encourages collaboration across disciplines, and develops digital tools to help contextualise and connect images. This initiative aimed to improve the preservation and sharing of knowledge by inviting both the scholarly community and the public to actively participate in understanding its history and current practices. Through workshops and user interviews, the project identified new needs in digital and process-oriented knowledge creation.

Using three collections from the photographic archives of Cultural Anthropology Switzerland (CAS), the project develops interfaces for collaborative indexing and access to archival content. These interfaces, including both graphical and application programming interfaces (APIs), facilitate the co-creation and visualisation of knowledge and offer a reflective and intuitive user experience. At the same time, the project is assessing the analogue and digital phases of archiving from an anthropological, technical and communicative point of view, involving experts from the University of Basel and the Bern University of the Arts.

Three collections: Atlas of the Swiss Folklore, Kreis Family, and Ernst Brunner
Using three collections from the photographic archives of Cultural Anthropology Switzerland (CAS), the project developed interfaces for collaborative indexing and access to archival content. These interfaces, including both graphical and application programming interfaces (APIs), facilitate the co-creation and visualisation of knowledge and offer a reflective and intuitive user experience. At the same time, the project assessed the analogue and digital phases of archiving from an anthropological, technical and communicative point of view, involving experts from the University of Basel and the Bern University of the Arts.

## Atlas of the Swiss Folklore

(...)
SGV_05 Atlas of Swiss Folklore consists of 292 maps and 1,000 pages of commentary published between 1950 and 1995. Commissioned by CAS, the collection involved an extensive survey of the Swiss population in the 1930s and 1940s, covering topics like everyday life, local laws, superstitions, celebrations, and labour. The survey was conducted by both researchers and local contributors, resulting in a collection that reflects everyday life in Switzerland before the postwar modernisation period. The project also involved significant efforts in restoration, digitisation, cataloguing, and indexing as part of the PIA research project.

## Kreis Family

(...)


SGV_10 Kreis Family comprises approximately 20,000 photographic objects, with a quarter organised into 93 photo albums. This collection, spanning from the 1850s to the 1980s, belonged to a wealthy Basel family and was acquired by CAS in 1991. Despite its initial disorganisation, CAS meticulously catalogued and preserved the collection, which offers a detailed insight into urban bourgeois culture and the development of private photography over a century. The materials range from prints to negatives, in various formats and techniques, from daguerreotypes to modern paper prints. While some were digitised in 2014, most of the work was completed during the PIA project.

<div class="container">
<iframe src="https://projectmirador.org/embed/?iiif-content=https://julsraemy.ch/hostiiing/manifests/SGV_10A_00050_layers.json" width="800" height="600" marginwidth="0" marginheight="0" frameborder="0" scrolling="no" id="frame" allowfullscreen="">You need an iFrame capable browser to view this.</iframe>
Expand All @@ -35,6 +31,6 @@ Three collections: Atlas of the Swiss Folklore, Kreis Family, and Ernst Brunner

## Ernst Brunner

(...)
SGV_12 Ernst Brunner is a collection of about 48,000 negatives and 20,000 prints donated to the CAS archives by Ernst Brunner, a self-taught photojournalist active mainly in the 1930s and 1940s. His work, which documents Swiss society's rural and urban life, is highly regarded. Brunner, who initially worked as a carpenter influenced by the Bauhaus and Neues Bauen movements, became a key visual chronicler of his era. While the black and white negatives were digitised between 2014 and 2018, the prints selected by Brunner were digitised at the end of the PIA research project.

<div id="map" alt="Brunner, Ernst. [Ringtanz während der Masüras auf der Alp Sura]. Guarda, 1939. Black and White Negative, 6x6cm. SGV_12 Ernst Brunner. SGV_12N_08589. Alte Bildnummer: DL 89. https://archiv.sgv-sstp.ch/resource/430824" data-iiif-url="https://sipi.participatory-archives.ch/SGV_12/SGV_12N_08589.jp2/info.json" style="height: 400px; width: 100%;">Brunner, Ernst. [Ringtanz während der Masüras auf der Alp Sura]. Guarda, 1939. Black and White Negative, 6x6cm. SGV_12 Ernst Brunner. SGV_12N_08589</div>
<div id="map" alt="Brunner, Ernst. [Ringtanz während der Masüras auf der Alp Sura]. Guarda, 1939. Black and White Negative, 6x6cm. SGV_12 Ernst Brunner. SGV_12N_08589. Alte Bildnummer: DL 89. https://archiv.sgv-sstp.ch/resource/430824" data-iiif-url="https://iiif.dasch.swiss:443/0812/276uIbjSulF-k5RrtYZ3LUA.jpx/info.json" style="height: 400px; width: 100%;">Brunner, Ernst. [Ringtanz während der Masüras auf der Alp Sura]. Guarda, 1939. Black and White Negative, 6x6cm. SGV_12 Ernst Brunner. SGV_12N_08589</div>

0 comments on commit f0c77bd

Please sign in to comment.