2 Context is done!

_site/thesis.html

@@ -268,18 +268,34 @@ <h4 id="subsec:sgv_collections" tabindex="-1">2.2.2 Photographic Collections/Arc
 <p><abbr title="Participatory Knowledge Practices in Analogue and Digital Image Archives">PIA</abbr> drew on three collections: one focusing on scientific cartography and titled (<em>Atlas der Schweizerischen Volkskunde</em>), a second from the estate of the photojournalist Ernst Brunner (1901–1979), and a third collection consisting of vernacular photography which was owned by the Kreis Family (1860–1970).</p>
 <p><strong>SGV_05 <abbr title="The Atlas of Swiss Folklore">ASV</abbr></strong> consists of 292 maps and 1000 pages of commentary published from 1950 to 1995 — an example of such a map is shown in <a href="#fig:sgv-atlas">Figure 2.1</a>. This collection was commissioned by the <abbr title="Cultural Anthropology Switzerland">CAS</abbr> to do an extensive survey of the Swiss population in the 1930s and 1940s on many issues pertaining, for instance, to everyday life, local laws, superstitions, celebrations or labour (Weiss, 1940). The contents were compiled by researchers and by people who were described as <sup class="footnote-ref"><a href="#fn6" id="fnref6">[6]</a></sup>. Questions were asked about everyday habits, community rights, work, trade, superstitions, and many other topics&nbsp;(Schmoll, 2009b, 2009a). This collection offers a snapshot of everyday life in Switzerland right before the beginning of a modernisation process that fundamentally changed lifestyles in all areas during the postwar period. A digitised version of the <abbr title="The Atlas of Swiss Folklore">ASV</abbr> would not only allow the results of that time to be enriched with further findings &nbsp;(Felsing &amp; Frischknecht, 2021), but would also make transparent how knowledge was generated in cartographic form through a complex process along different types of media and actors. The restoration, digitisation, cataloguing and indexing efforts took all part throughout <abbr title="Participatory Knowledge Practices in Analogue and Digital Image Archives">PIA</abbr> under the supervision of Birgit Huber, who extensively based her doctoral research on this particular collection (see Huber, 2023).</p>
 <figure id="fig:sgv-atlas" style="margin: 0 auto; text-align: center;">
-  <img src="data/Figures/ASV_Scan_Karte_Frage_93.png" alt="Map from the SGV_05 Collection Relating to Question 93 Showing Walks and Excursions at Pentecost. ASV. CAS. CC BY-NC 4.0" style="width: 100%; display: block; margin: 0 auto;">
+  <img src="data/Figures/ASV_Scan_Karte_Frage_93.png" alt="Map from the SGV_05 Collection Relating to Question 93 Showing Walks and Excursions at Pentecost. ASV. CAS. CC BY-NC 4.0" style="width: 80%; display: block; margin: 0 auto;">
   <figcaption>
     <strong>Figure 2.1</strong>: 
     Map from the SGV_05 Collection Relating to Question 93 Showing Walks and Excursions at Pentecost. <abbr title="The Atlas of Swiss Folklore">ASV</abbr>. <abbr title="Cultural Anthropology Switzerland">CAS</abbr>. CC BY-NC 4.0
   </figcaption>
 </figure>
 <p><strong>SGV_10 Kreis Family</strong> comprises approximately 20,000 loose photographic objects, where a quarter of them are organised and kept in 93 photo albums — as illustrated by <a href="#fig:sgv-kreis">Figure 2.2</a>, from a wealthy Basel-based family and spanning from the 1850s to the 1980s. This private collection was acquired by <abbr title="Cultural Anthropology Switzerland">CAS</abbr> in 1991. The collection, which originally arrived in banana cases and was enigmatic due to the lack of clear organisation or accompanying information from the family, posed significant challenges. Despite these initial hurdles, <abbr title="Cultural Anthropology Switzerland">CAS</abbr> undertook meticulous efforts to catalogue and preserve its contents (Felsing &amp; Cornut, 2024, p. 42). The pictures were taken by studio photographers as well as by family members themselves. The Kreis Family collection represents a typical example of urban bourgeois culture and gives a comprehensive insight into the development of private photography over the course of a century&nbsp;(Pagenstecher, 2009). The photographic materials and formats are very diverse, ranging from prints to negatives, small, medium or large format photographs, black and white or colour. The collection also encompasses many photographic techniques, from the one-off daguerreotypes and ferrotypes, to the glass-based negatives that could be reproduced <em>en masse</em>, to the modern paper prints. While some of the albums and loose images were restored and digitised during the 2014 project, much of this work was completed during <abbr title="Participatory Knowledge Practices in Analogue and Digital Image Archives">PIA</abbr> and overseen by Murielle Cornut, whose doctoral investigation was centred on the study of photo albums (see Cornut, 2023).</p>
-<p>(…)</p>
-<p id="fig:sgv-kreis"><strong>Figure 2.2</strong>: A photo Album Page from the SGV_10 Collection, Bearing the Following Inscription: <em>Botanische Excursion ins Wallis, Pfingster 1928</em>. SGV_10A_00031_015. Kreis Family. <abbr title="Cultural Anthropology Switzerland">CAS</abbr>. CC BY-NC 4.0</p>
+<figure id="fig:sgv-kreis" style="margin: 0 auto; text-align: center;">
+  <img src="data/Figures/SGV_10A_00031_027.jpg" alt="A photo Album Page from the SGV_10 Collection, Bearing the Following Inscription: Botanische Excursion ins Wallis, Pfingster 1928. SGV_10A_00031_015. Kreis Family. CAS. CC BY-NC 4.0" style="width: 80%; display: block; margin: 0 auto;">
+  <figcaption>
+    <strong>Figure 2.2</strong>: 
+    A photo Album Page from the SGV_10 Collection, Bearing the Following Inscription: 
+    <em>Botanische Excursion ins Wallis, Pfingster 1928</em>. 
+    SGV_10A_00031_015. Kreis Family. <abbr title="Cultural Anthropology Switzerland">CAS</abbr>. 
+    CC BY-NC 4.0
+  </figcaption>
+</figure>
 <p><strong>SGV_12 Ernst Brunner</strong> is a donation of about 48,000 negatives and 20,000 prints to the <abbr title="Cultural Anthropology Switzerland">CAS</abbr> archives from Ernst Brunner, a self-taught photojournalist, who lived from 1901 to 1979 and who documented mainly in the 1930s and 1940s a wide range of folkloristic themes — as shown by <a href="#fig:sgv-brunner">Figure 2.3</a>. He is one of the most important photographers of the era and one of the most outstanding visual chroniclers of Swiss society&nbsp;(Pfrunder, 1995). His photographs show rural lifestyles, but also urban motifs. In his late work, he led the documentation and research on farmhouses in a specific Swiss district, a project initiated by <abbr title="Cultural Anthropology Switzerland">CAS</abbr>. Before Ernst Brunner became an independent photojournalist in the mid-1930s, he worked as a carpenter, influenced by the ideas of the <em>Bauhaus</em> and <em>Neues Bauen</em> movements. This can also be seen in the aesthetics and formal language of his photography. If all the black and white negatives were digitised and recorded between 2014 and 2018, the digitisation of prints, which is a selection done by Ernst Brunner, was conducted at the end of the <abbr title="Participatory Knowledge Practices in Analogue and Digital Image Archives">PIA</abbr> research project. The latter was supervised by Fabienne Lüthi, whose PhD was about organisational systems and knowledge practices in the Ernst Brunner Collection.</p>
-<p>(…)</p>
-<p id="fig:sgv-brunner"><strong>Figure 2.3</strong>: Picture from the SGV_12 Collection Showing Walkers Looking at the Timetable Train. [Wanderer studieren den Fahrplan in der Bahnhofhalle]. Lucerne, 1938. Ernst Brunner. SGV_12N_00716. <abbr title="Cultural Anthropology Switzerland">CAS</abbr>. CC BY-NC 4.0</p>
+<figure id="fig:sgv-brunner" style="margin: 0 auto; text-align: center;">
+  <img src="data/Figures/SGV_12N_00716.jpg" alt="Picture from the SGV_12 Collection Showing Walkers Looking at the Timetable Train. Lucerne, 1938. Ernst Brunner. SGV_12N_00716. CAS. CC BY-NC 4.0" style="width: 80%; display: block; margin: 0 auto;">
+  <figcaption>
+    <strong>Figure 2.3</strong>: 
+    Picture from the SGV_12 Collection Showing Walkers Looking at the Timetable Train. 
+    [Wanderer studieren den Fahrplan in der Bahnhofhalle]. 
+    Lucerne, 1938. Ernst Brunner. SGV_12N_00716. <abbr title="Cultural Anthropology Switzerland">CAS</abbr>. 
+    CC BY-NC 4.0
+  </figcaption>
+</figure>
 <p>Whereas for each of the PhD Candidates in Cultural Anthropology, a particular collection was assigned to them and its content was to varying degrees part of their subject of study, this was not exactly the same for the PhD Candidates in <abbr title="Digital Humanities">DH</abbr>, including myself, and in Computer Science. Put differently, we had relative leeway in terms of what interested us in each or all of these three photographic collections. In my case, I briefly explain my contribution to the project more in and then in as part of the empirical portion of my thesis focusing on the deployment of <abbr title="Linked Open Usable Data">LOUD</abbr> specifications using the three <abbr title="Cultural Anthropology Switzerland">CAS</abbr> photographic collections.</p>
 <p>Florian Spiess focused on the use of <abbr title="virtual reality">VR</abbr> through vitrivr, a multimedia retrieval system developed by the <abbr title="Databases and Information Systems">DBIS</abbr> research group at the Department of Mathematics and Computer Science (Spiess et al., 2024; Spiess &amp; Schuldt, 2022; Spiess &amp; Stauffiger, 2023). His work included experiments with <abbr title="Participatory Knowledge Practices in Analogue and Digital Image Archives">PIA</abbr>-related collections, such as the creation of virtual galleries clustered according to content-based similarity (see Peterhans et al., 2022). In the case of Max Frischknecht, his doctoral research centred on generative design<sup class="footnote-ref"><a href="#fn7" id="fnref7">[7]</a></sup>, a methodology to visualise dynamic cultural archives. He mostly worked on the <abbr title="The Atlas of Swiss Folklore">ASV</abbr> collection and on a mapping tool which is a cartographic visualisation designed to explore the <abbr title="Cultural Anthropology Switzerland">CAS</abbr> photographic archives (see Frischknecht, 2022; Huber &amp; Frischknecht, 2024).</p>
 <p>It should also be mentioned that not only did we use the three collections of the <abbr title="Cultural Anthropology Switzerland">CAS</abbr> photographic archives within the project, but that both formal and informal meetings took place most commonly within the photographic archives at the Spalenvorstadt premises in the old Gewerbemuseum and later either at the on Allschwilerstrasse, though less frequently, or at Rheinsprung where the Institute for Cultural Anthropology and European Ethnology is located. This meant that there was a strong and sometimes blurred entanglement between those involved in the archives and the <abbr title="Participatory Knowledge Practices in Analogue and Digital Image Archives">PIA</abbr> core team members.</p>

src/thesis.md

@@ -192,7 +192,7 @@ The project, divided in three interdisciplinary teams, was led by the University
   <img 
     src="data/Figures/ASV_Scan_Karte_Frage_93.png"
     alt="Map from the SGV_05 Collection Relating to Question 93 Showing Walks and Excursions at Pentecost. ASV. CAS. CC BY-NC 4.0"
-    style="width: 100%; display: block; margin: 0 auto;" />
+    style="width: 80%; display: block; margin: 0 auto;" />
 
   <figcaption>
     <strong>Figure 2.1</strong>: 
@@ -204,15 +204,37 @@ The project, divided in three interdisciplinary teams, was led by the University
 
 **SGV_10 Kreis Family** comprises approximately 20,000 loose photographic objects, where a quarter of them are organised and kept in 93 photo albums --- as illustrated by [Figure 2.2](#fig:sgv-kreis), from a wealthy Basel-based family and spanning from the 1850s to the 1980s. This private collection was acquired by {{ "CAS" | abbr | safe }} in 1991. The collection, which originally arrived in banana cases and was enigmatic due to the lack of clear organisation or accompanying information from the family, posed significant challenges. Despite these initial hurdles, {{ "CAS" | abbr | safe }} undertook meticulous efforts to catalogue and preserve its contents [@felsing_re-imagining_2024 p. 42]. The pictures were taken by studio photographers as well as by family members themselves. The Kreis Family collection represents a typical example of urban bourgeois culture and gives a comprehensive insight into the development of private photography over the course of a century [@pagenstecher_private_2009]. The photographic materials and formats are very diverse, ranging from prints to negatives, small, medium or large format photographs, black and white or colour. The collection also encompasses many photographic techniques, from the one-off daguerreotypes and ferrotypes, to the glass-based negatives that could be reproduced *en masse*, to the modern paper prints. While some of the albums and loose images were restored and digitised during the 2014 project, much of this work was completed during {{ "PIA" | abbr | safe }} and overseen by Murielle Cornut, whose doctoral investigation was centred on the study of photo albums [see @cornut_open_2023].
 
-(...)
+<figure id="fig:sgv-kreis" style="margin: 0 auto; text-align: center;">
+  <img 
+    src="data/Figures/SGV_10A_00031_027.jpg" 
+    alt="A photo Album Page from the SGV_10 Collection, Bearing the Following Inscription: Botanische Excursion ins Wallis, Pfingster 1928. SGV_10A_00031_015. Kreis Family. CAS. CC BY-NC 4.0"
+    style="width: 80%; display: block; margin: 0 auto;" />
 
-**Figure 2.2**: A photo Album Page from the SGV_10 Collection, Bearing the Following Inscription: *Botanische Excursion ins Wallis, Pfingster 1928*. SGV_10A_00031_015. Kreis Family. {{ "CAS" | abbr | safe }}. CC BY-NC 4.0 {id="fig:sgv-kreis"}
+  <figcaption>
+    <strong>Figure 2.2</strong>: 
+    A photo Album Page from the SGV_10 Collection, Bearing the Following Inscription: 
+    <em>Botanische Excursion ins Wallis, Pfingster 1928</em>. 
+    SGV_10A_00031_015. Kreis Family. {{ "CAS" | abbr | safe }}. 
+    CC BY-NC 4.0
+  </figcaption>
+</figure>
 
 **SGV_12 Ernst Brunner** is a donation of about 48,000 negatives and 20,000 prints to the {{ "CAS" | abbr | safe }} archives from Ernst Brunner, a self-taught photojournalist, who lived from 1901 to 1979 and who documented mainly in the 1930s and 1940s a wide range of folkloristic themes --- as shown by [Figure 2.3](#fig:sgv-brunner). He is one of the most important photographers of the era and one of the most outstanding visual chroniclers of Swiss society [@pfrunder_ernst_1995]. His photographs show rural lifestyles, but also urban motifs. In his late work, he led the documentation and research on farmhouses in a specific Swiss district, a project initiated by {{ "CAS" | abbr | safe }}. Before Ernst Brunner became an independent photojournalist in the mid-1930s, he worked as a carpenter, influenced by the ideas of the *Bauhaus* and *Neues Bauen* movements. This can also be seen in the aesthetics and formal language of his photography. If all the black and white negatives were digitised and recorded between 2014 and 2018, the digitisation of prints, which is a selection done by Ernst Brunner, was conducted at the end of the {{ "PIA" | abbr | safe }} research project. The latter was supervised by Fabienne Lüthi, whose PhD was about organisational systems and knowledge practices in the Ernst Brunner Collection.
 
-(...)
+<figure id="fig:sgv-brunner" style="margin: 0 auto; text-align: center;">
+  <img 
+    src="data/Figures/SGV_12N_00716.jpg"
+    alt="Picture from the SGV_12 Collection Showing Walkers Looking at the Timetable Train. Lucerne, 1938. Ernst Brunner. SGV_12N_00716. CAS. CC BY-NC 4.0"
+    style="width: 80%; display: block; margin: 0 auto;" />
 
-**Figure 2.3**: Picture from the SGV_12 Collection Showing Walkers Looking at the Timetable Train. [Wanderer studieren den Fahrplan in der Bahnhofhalle]. Lucerne, 1938. Ernst Brunner. SGV_12N_00716. {{ "CAS" | abbr | safe }}. CC BY-NC 4.0 {id="fig:sgv-brunner"}
+  <figcaption>
+    <strong>Figure 2.3</strong>: 
+    Picture from the SGV_12 Collection Showing Walkers Looking at the Timetable Train. 
+    [Wanderer studieren den Fahrplan in der Bahnhofhalle]. 
+    Lucerne, 1938. Ernst Brunner. SGV_12N_00716. {{ "CAS" | abbr | safe }}. 
+    CC BY-NC 4.0
+  </figcaption>
+</figure>
 
 Whereas for each of the PhD Candidates in Cultural Anthropology, a particular collection was assigned to them and its content was to varying degrees part of their subject of study, this was not exactly the same for the PhD Candidates in {{ "DH" | abbr | safe }}, including myself, and in Computer Science. Put differently, we had relative leeway in terms of what interested us in each or all of these three photographic collections. In my case, I briefly explain my contribution to the project more in and then in as part of the empirical portion of my thesis focusing on the deployment of {{ "LOUD" | abbr | safe }} specifications using the three {{ "CAS" | abbr | safe }} photographic collections.