In recent decades, digitization has been presented as an important strategy both for the preservation of historic documents and for giving increased access for researchers to such materials. In the Norwegian context, this has not only implied the digitization of printed matter but also the digitization of audiovisual material like photography and analog tape recordings. From a technical perspective, there are of cause difficulties in digitizing such a variety of material when considering the diversity of media formats dating back to the nineteenth century. However, from the archival community criticism has been raised not only about the quality of the work but also the concerning the selection process, the organization of the material, and the collection of metadata. The National Library of Norway, especially, has attempted to avoid the problem of selection by attempting to digitize all of visual, sonic and audio-visual culture heritage. But this has created even greater challenges for the organization and registration of metadata. This is an issue that is apparent to the National Library, so it is looking into the possibility of using artificial intelligence – learning algorithms – to organize the material. The key issue is that the preservation of historic material is also dependent on the preservation of context and on metadata enabling us to interpret and understand the material at hand.
{"title":"Artificial Intelligence and the Preservation of Historic Documents","authors":"Gaute Barlindhaug","doi":"10.35492/docam/9/2/9","DOIUrl":"https://doi.org/10.35492/docam/9/2/9","url":null,"abstract":"In recent decades, digitization has been presented as an important strategy both for the preservation of historic documents and for giving increased access for researchers to such materials. In the Norwegian context, this has not only implied the digitization of printed matter but also the digitization of audiovisual material like photography and analog tape recordings. From a technical perspective, there are of cause difficulties in digitizing such a variety of material when considering the diversity of media formats dating back to the nineteenth century. However, from the archival community criticism has been raised not only about the quality of the work but also the concerning the selection process, the organization of the material, and the collection of metadata. The National Library of Norway, especially, has attempted to avoid the problem of selection by attempting to digitize all of visual, sonic and audio-visual culture heritage. But this has created even greater challenges for the organization and registration of metadata. This is an issue that is apparent to the National Library, so it is looking into the possibility of using artificial intelligence – learning algorithms – to organize the material. The key issue is that the preservation of historic material is also dependent on the preservation of context and on metadata enabling us to interpret and understand the material at hand.","PeriodicalId":36214,"journal":{"name":"Proceedings from the Document Academy","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46885991","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper examines how the Indonesian people perceive and construct arsip kacau (messy records). Messy records as documents seem to have the power to make humans psychologically ill by becoming uneasy, discomfort, stressed, burnout, and uncomfortable, all of which are diseases. This is similar to documentality introduced by Frohmann that documents can enable, produce, encourage, permit, and influence a person to experience document disease. This paper uses a qualitative approach with data collection in the form of literature and surveys from Indonesian people. The perception of archivists and the general public in Indonesia concerning the cause of the “messy records” is that archivists emphasize the absence of a system. In contrast, the general public emphasizes that human resources with minimal knowledge cause messy records and the absence of a system and standard operating procedures. In addition, they also mentioned that it would impact organizational performance and concentration at work, stress, lost and mixed files, unorganized rooms, fatigue, anxious thoughts, decision-making, and dirty organizing records. This finding can be developed further to explore the impact of the causes of the emergence of messy records in archival work which causes various feelings of records/archives users ranging from messy, disordered or even trauma-informed practice in archival work.
{"title":"“Arsip Kacau”: How Messy Records Are Perceived by Indonesians in the Context of Document Disease","authors":"S. Suprayitno, R. Rahmi, Novi Fitriani","doi":"10.35492/docam/9/2/10","DOIUrl":"https://doi.org/10.35492/docam/9/2/10","url":null,"abstract":"This paper examines how the Indonesian people perceive and construct arsip kacau (messy records). Messy records as documents seem to have the power to make humans psychologically ill by becoming uneasy, discomfort, stressed, burnout, and uncomfortable, all of which are diseases. This is similar to documentality introduced by Frohmann that documents can enable, produce, encourage, permit, and influence a person to experience document disease. This paper uses a qualitative approach with data collection in the form of literature and surveys from Indonesian people. The perception of archivists and the general public in Indonesia concerning the cause of the “messy records” is that archivists emphasize the absence of a system. In contrast, the general public emphasizes that human resources with minimal knowledge cause messy records and the absence of a system and standard operating procedures. In addition, they also mentioned that it would impact organizational performance and concentration at work, stress, lost and mixed files, unorganized rooms, fatigue, anxious thoughts, decision-making, and dirty organizing records. This finding can be developed further to explore the impact of the causes of the emergence of messy records in archival work which causes various feelings of records/archives users ranging from messy, disordered or even trauma-informed practice in archival work.","PeriodicalId":36214,"journal":{"name":"Proceedings from the Document Academy","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49295184","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Following the first successful FanLIS symposium (Price & Robinson, 2022), our aim in 2022 was to continue to build bridges between the two fields, doing this through two streams held over the two-day event—the first stream being ‘Beyond the Archive’, and the second ‘Fan Futures’. ‘Beyond the Archive’ focused on the ways in which fans move beyond traditional relationships with the archive to subvert, use and perhaps even abuse the archive to create and innovate. ‘Fan Futures’ then zoomed out from the archive to consider different aspects of the information communication chain—creation, organisation, dissemination, discovery, management, preservation, analysis, use and understanding—traditional domains of concern to LIS—and how fan practice is changing and innovating in those areas.
在第一次成功举办FanLIS研讨会（Price&Robinson，2022）之后，我们在2022年的目标是继续在这两个领域之间架起桥梁，通过在为期两天的活动中举办的两个流来做到这一点——第一个流是“超越档案”，第二个流是《粉丝未来》Beyond the Archive“专注于粉丝们超越与档案馆的传统关系，颠覆、使用甚至滥用档案馆来创造和创新的方式。”然后，Fan Futures从档案中放大，考虑信息传播链的不同方面——创建、组织、传播、发现、管理、保存、分析、使用和理解——LIS关注的传统领域——以及粉丝实践在这些领域是如何改变和创新的。
{"title":"Fan Futures—Beyond the Archive: Papers from the FanLIS 2022 Symposium","authors":"Ludovica Price, L. Robinson","doi":"10.35492/docam/9/1/1","DOIUrl":"https://doi.org/10.35492/docam/9/1/1","url":null,"abstract":"Following the first successful FanLIS symposium (Price & Robinson, 2022), our aim in 2022 was to continue to build bridges between the two fields, doing this through two streams held over the two-day event—the first stream being ‘Beyond the Archive’, and the second ‘Fan Futures’. ‘Beyond the Archive’ focused on the ways in which fans move beyond traditional relationships with the archive to subvert, use and perhaps even abuse the archive to create and innovate. ‘Fan Futures’ then zoomed out from the archive to consider different aspects of the information communication chain—creation, organisation, dissemination, discovery, management, preservation, analysis, use and understanding—traditional domains of concern to LIS—and how fan practice is changing and innovating in those areas.","PeriodicalId":36214,"journal":{"name":"Proceedings from the Document Academy","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41373375","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Fanbinding is the practice of printing and binding fanfiction and other fanworks in codex form either by hand or using online print services. In June 2020, fanbinder ArmoredSuperHeavy created Renegade Bindery, a Discord server for fanbinders of any experience to gather, discuss, and exchange resources, advice, and files to support one another’s artistic object-making. The foundation of Renegade Bindery generated an increase in community-oriented practices in online spaces that support fanbound work creation. In the last two years, the bindery has grown to over 900 members and offers an increasing number of channels dedicated to databases, exchanges, and community events, nurturing the circulation of fanbound works and encouraging fan creators to produce works (in number and scope) beyond what they might achieve on their own. This paper examines these communal elements of the discord server and how it sustains an information environment of fanbound work creation, circulation, and dissemination and how that circuit crosses digital and material boundaries.
{"title":"Fanbinding and a Community-Generated Information Environment","authors":"Kimberly C. Kennedy, S. Buchsbaum","doi":"10.35492/docam/9/1/6","DOIUrl":"https://doi.org/10.35492/docam/9/1/6","url":null,"abstract":"Fanbinding is the practice of printing and binding fanfiction and other fanworks in codex form either by hand or using online print services. In June 2020, fanbinder ArmoredSuperHeavy created Renegade Bindery, a Discord server for fanbinders of any experience to gather, discuss, and exchange resources, advice, and files to support one another’s artistic object-making. The foundation of Renegade Bindery generated an increase in community-oriented practices in online spaces that support fanbound work creation. In the last two years, the bindery has grown to over 900 members and offers an increasing number of channels dedicated to databases, exchanges, and community events, nurturing the circulation of fanbound works and encouraging fan creators to produce works (in number and scope) beyond what they might achieve on their own. This paper examines these communal elements of the discord server and how it sustains an information environment of fanbound work creation, circulation, and dissemination and how that circuit crosses digital and material boundaries.","PeriodicalId":36214,"journal":{"name":"Proceedings from the Document Academy","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44111972","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Although fansubbing has been increasingly recognised as a rich research spot for several disciplines like translation and media studies, the significance of fan archiving during fansubbing remains relatively less discussed despite its vitalness in 1) obtaining and managing both source and finalised products; 2) enabling fansubbing to evolve into systematic and efficient massive online practices. Based on the literature review of fansubbing’s historical development and the author’s observational fieldwork within an active Chinese fansubbing group, the paper explains why archiving can be the premise of fansubbing and demonstrates its latest application on Bilibili, arguably the most influential user-generated content sharing platform in China. From ordering overseas VHS tapes to downloading BT torrents within clicks, retrieving source texts from their original contexts has been the initial point of fansubbing before circulating the finalised fansubs. The Internet’s impact was beyond the fansubbed products themselves but shaped new patterns in how fansubbers assembled and cooperated as fansubbing machines, even throughout the globe. The combination of online labour-division worksheets and procedure-organised net disks has created specific job titles for archiving and file management, which eventually adds semi-professional features to amateur translation works. While Chinese fansubbers continue to maximise archiving’s potential in overcoming language barriers for fandom consumption, the phenomena can be better studied with variable samples and theories in the future.
{"title":"Archiving as the Foundation of Fansubbing: A Case Study on Fan-made Translation of Virtual YouTubers in China","authors":"Jincai Jiang","doi":"10.35492/docam/9/1/3","DOIUrl":"https://doi.org/10.35492/docam/9/1/3","url":null,"abstract":"Although fansubbing has been increasingly recognised as a rich research spot for several disciplines like translation and media studies, the significance of fan archiving during fansubbing remains relatively less discussed despite its vitalness in 1) obtaining and managing both source and finalised products; 2) enabling fansubbing to evolve into systematic and efficient massive online practices. Based on the literature review of fansubbing’s historical development and the author’s observational fieldwork within an active Chinese fansubbing group, the paper explains why archiving can be the premise of fansubbing and demonstrates its latest application on Bilibili, arguably the most influential user-generated content sharing platform in China. From ordering overseas VHS tapes to downloading BT torrents within clicks, retrieving source texts from their original contexts has been the initial point of fansubbing before circulating the finalised fansubs. The Internet’s impact was beyond the fansubbed products themselves but shaped new patterns in how fansubbers assembled and cooperated as fansubbing machines, even throughout the globe. The combination of online labour-division worksheets and procedure-organised net disks has created specific job titles for archiving and file management, which eventually adds semi-professional features to amateur translation works. While Chinese fansubbers continue to maximise archiving’s potential in overcoming language barriers for fandom consumption, the phenomena can be better studied with variable samples and theories in the future.","PeriodicalId":36214,"journal":{"name":"Proceedings from the Document Academy","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44329333","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this paper, we examine the design process of fanbinding, through which physical, printed copies of fanfiction works are created and shared. These are often bespoke, samizdat, singular objects that cannot usually be mass-produced, and include unique hand-bound objects for the designer’s own affective, aesthetic pleasure. Fanbinding suggests durability and preservation, and printed objects can be transformative works in themselves: designed, typeset, and perhaps featuring artwork, maps or other specifically created front/back matter and illustrations. Readers of these born-digital works may produce these in reaction to the fact that texts are published purely in digital, intangible forms, finding themselves craving the tangible, haptic properties of books. There are many design decisions involved in curating fanworks in a beautiful physical form, and we are interested in how fans go about making affective, aesthetic, practical and iterative design choices. For our case study, we chose the work-in-progress fanfiction series Down to Agincourt, currently four novels long, which takes as its critical starting point a single episode of the long-running television series Supernatural (2005-2020). Down to Agincourt occupies an unusual context by being highly literary in structure; its deliberate layers of complexity are designed to invite rereading and discussion. Its fans may be trying to possess an innately ephemeral thing: to encompass and annotate the text, to seek a more intimate relationship with it, or perhaps to memorialise the intimacy of the relationship they already have, a book being a beloved signifier of something less stable, more slippery. We report on a survey and interviews of Down to Agincourt fans investigating fanbinding conventions and preferences, in order to learn how fans discursively practise this highly affective art form.
在本文中，我们研究了同人装订的设计过程，通过这个过程，同人小说作品的实体、印刷副本被创建和共享。这些通常是定制的、地下出版的、单一的物品，通常不能批量生产，包括设计师自己情感和审美愉悦的独特手工装订物品。同人装订意味着耐用性和保存性，印刷对象本身可以是变革性的作品:设计，排版，也许是艺术作品，地图或其他专门制作的正面/背面材料和插图。这些天生的数字作品的读者可能会对纯粹以数字、无形形式出版的文本做出反应，发现自己渴望书本的有形、触觉属性。有许多设计决策涉及到以美丽的物理形式策划同人作品，我们对粉丝如何做出情感，美学，实用和迭代的设计选择感兴趣。在我们的案例研究中，我们选择了正在制作的同人小说系列《Down to Agincourt》，它目前有四篇小说，它的关键起点是长篇电视剧《邪恶力量》(Supernatural, 2005-2020)中的一集。《阿金库尔传》在结构上具有高度的文学性，因此占据了一个不同寻常的语境;其精心设计的复杂层次旨在引起重读和讨论。它的粉丝可能试图拥有一种天生短暂的东西:包含和注释文本，寻求与文本更亲密的关系，或者也许是为了纪念他们已经拥有的亲密关系，一本书是一种不那么稳定、更滑的东西的心爱的象征。我们报告了一份对《Down to Agincourt》粉丝的调查和采访，调查了粉丝绑定的惯例和偏好，以了解粉丝如何通过话语实践这种高度情感的艺术形式。
{"title":"The Design of Printed Fanfiction: A Case Study of Down to Agincourt Fanbinding","authors":"Naomi S. S. Jacobs, Jsa Lowe","doi":"10.35492/docam/9/1/5","DOIUrl":"https://doi.org/10.35492/docam/9/1/5","url":null,"abstract":"In this paper, we examine the design process of fanbinding, through which physical, printed copies of fanfiction works are created and shared. These are often bespoke, samizdat, singular objects that cannot usually be mass-produced, and include unique hand-bound objects for the designer’s own affective, aesthetic pleasure. Fanbinding suggests durability and preservation, and printed objects can be transformative works in themselves: designed, typeset, and perhaps featuring artwork, maps or other specifically created front/back matter and illustrations. Readers of these born-digital works may produce these in reaction to the fact that texts are published purely in digital, intangible forms, finding themselves craving the tangible, haptic properties of books. There are many design decisions involved in curating fanworks in a beautiful physical form, and we are interested in how fans go about making affective, aesthetic, practical and iterative design choices. For our case study, we chose the work-in-progress fanfiction series Down to Agincourt, currently four novels long, which takes as its critical starting point a single episode of the long-running television series Supernatural (2005-2020). Down to Agincourt occupies an unusual context by being highly literary in structure; its deliberate layers of complexity are designed to invite rereading and discussion. Its fans may be trying to possess an innately ephemeral thing: to encompass and annotate the text, to seek a more intimate relationship with it, or perhaps to memorialise the intimacy of the relationship they already have, a book being a beloved signifier of something less stable, more slippery. We report on a survey and interviews of Down to Agincourt fans investigating fanbinding conventions and preferences, in order to learn how fans discursively practise this highly affective art form.","PeriodicalId":36214,"journal":{"name":"Proceedings from the Document Academy","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41663746","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ARMY (short for “Adorable Representative M.C. for Youth”), who are the fans of the boy band Bangtan Sonyeondan or BTS, are credited with making effective use of social media to direct fan engagement toward meeting fandom goals like trending comebacks, topping charts, and organizing charitable projects on a global scale before such fannish activities had become mainstream. While their ingenious use of social media has been the subject of much scholarly interest, the multifarious ways in which the fans organize and archive information to participate in the fandom are relatively less explored. Building on this possibility, this study analyses ARMY’s use of Twitter threads by (1) conducting a microanalysis of interactions between fans within these threads and (2) content analysis of the original posts created largely around the themes of idols’ appearance/personality, idol-idol interactions and idol-fan interactions. Closer examination of the threads reveals similarities with archival motives to shed light on important discourses in the fandom’s subcultural imagination and reflect fannish efforts at preserving “memories” of the bands’ eras or capturing interpersonal dynamics, that transform the threads into rich sites for information dissemination, much like traditional archives, although they tend to offer greater agency as curators to those who create and engage with such threads.
{"title":"Creating Threads, Making Archives: A Study of Organizing and Indexing Practices Around Idols’ Photos on Twitter","authors":"Susrita Das","doi":"10.35492/docam/9/1/2","DOIUrl":"https://doi.org/10.35492/docam/9/1/2","url":null,"abstract":"ARMY (short for “Adorable Representative M.C. for Youth”), who are the fans of the boy band Bangtan Sonyeondan or BTS, are credited with making effective use of social media to direct fan engagement toward meeting fandom goals like trending comebacks, topping charts, and organizing charitable projects on a global scale before such fannish activities had become mainstream. While their ingenious use of social media has been the subject of much scholarly interest, the multifarious ways in which the fans organize and archive information to participate in the fandom are relatively less explored. Building on this possibility, this study analyses ARMY’s use of Twitter threads by (1) conducting a microanalysis of interactions between fans within these threads and (2) content analysis of the original posts created largely around the themes of idols’ appearance/personality, idol-idol interactions and idol-fan interactions. Closer examination of the threads reveals similarities with archival motives to shed light on important discourses in the fandom’s subcultural imagination and reflect fannish efforts at preserving “memories” of the bands’ eras or capturing interpersonal dynamics, that transform the threads into rich sites for information dissemination, much like traditional archives, although they tend to offer greater agency as curators to those who create and engage with such threads.","PeriodicalId":36214,"journal":{"name":"Proceedings from the Document Academy","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49326615","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Contemporary Chinese celebrity fans mainly engage in two innovative types of fanwork communications through social media: 1) digital relays of sequentially creating and presenting their own complete fan art and fiction and 2) dissemination of fan-made non-digital peripheral materials by mail or in person after online showcasing. Based on unobtrusive observation and semi-structured interviews, this paper presents the specific steps in both types of communication activities among fans of two Chinese musical actors, Ayanga and Yunlong, on the Weibo platform. Exceeding fans’ traditional sole emphasis on cataloging their creations, these fanwork communications comprise the information creation (organization), dissemination, and preservation stages of an information communication chain. Fans also show an impulse to dynamically archive every step of their activities in the moment. While these fans mainly intend to enjoy their fanworks and support fan creators, their online archival records facilitate broader communications and development of contemporary fan culture while allowing fans to negotiate their own hierarchies in what they believe to be transparent ways.
{"title":"Fanwork Communication through Social Media: A Dynamic Practice of Celebrity Fans in China","authors":"Q. Guo","doi":"10.35492/docam/9/1/8","DOIUrl":"https://doi.org/10.35492/docam/9/1/8","url":null,"abstract":"Contemporary Chinese celebrity fans mainly engage in two innovative types of fanwork communications through social media: 1) digital relays of sequentially creating and presenting their own complete fan art and fiction and 2) dissemination of fan-made non-digital peripheral materials by mail or in person after online showcasing. Based on unobtrusive observation and semi-structured interviews, this paper presents the specific steps in both types of communication activities among fans of two Chinese musical actors, Ayanga and Yunlong, on the Weibo platform. Exceeding fans’ traditional sole emphasis on cataloging their creations, these fanwork communications comprise the information creation (organization), dissemination, and preservation stages of an information communication chain. Fans also show an impulse to dynamically archive every step of their activities in the moment. While these fans mainly intend to enjoy their fanworks and support fan creators, their online archival records facilitate broader communications and development of contemporary fan culture while allowing fans to negotiate their own hierarchies in what they believe to be transparent ways.","PeriodicalId":36214,"journal":{"name":"Proceedings from the Document Academy","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48543724","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper examines the bookmarking tags present on Archive of Our Own (AO3) through a study into the practices from their public annotation. The probe examines the presence of cultures of practice, and usable research data available on the platform. Examined fics had minimums of 25.000 words and seven chapters, published over at least four months. In addition, the number of individual bookmarks was limited to works with 300 or more, selected from disparate fandoms. The number of relevant bookmarks averaged at 11% of the total, a significant representation in the data, pointing to general trends within the archive. The probe revealed several layers of communication, in the forms of interactive tags, pure text commentary, and connections to larger collections. Each of the individual bookmarks, based on content, are classed as “Annotation”, “Curation” and “Communication” for purposes of analysis. These categories also pointed to practices in annotations of targeting specific, individual, audiences. It shows several different trends in users’ application of the bookmark function. These trends of practice go beyond individual fandoms, pointing to cultures pervasive on AO3 as a platform. The probe also presents the difficulties this bring to the study of bookmark data.
{"title":"Comments in Tags: Examining Bookmarking Cultures on AO3","authors":"Mikael Gyhagen","doi":"10.35492/docam/9/1/7","DOIUrl":"https://doi.org/10.35492/docam/9/1/7","url":null,"abstract":"This paper examines the bookmarking tags present on Archive of Our Own (AO3) through a study into the practices from their public annotation. The probe examines the presence of cultures of practice, and usable research data available on the platform. Examined fics had minimums of 25.000 words and seven chapters, published over at least four months. In addition, the number of individual bookmarks was limited to works with 300 or more, selected from disparate fandoms. The number of relevant bookmarks averaged at 11% of the total, a significant representation in the data, pointing to general trends within the archive. The probe revealed several layers of communication, in the forms of interactive tags, pure text commentary, and connections to larger collections. Each of the individual bookmarks, based on content, are classed as “Annotation”, “Curation” and “Communication” for purposes of analysis. These categories also pointed to practices in annotations of targeting specific, individual, audiences. It shows several different trends in users’ application of the bookmark function. These trends of practice go beyond individual fandoms, pointing to cultures pervasive on AO3 as a platform. The probe also presents the difficulties this bring to the study of bookmark data.","PeriodicalId":36214,"journal":{"name":"Proceedings from the Document Academy","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45506033","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Fans of the cult classic TV series, The X-Files, are pioneers when it comes to utilizing online spaces for fan purposes. The ‘90s were filled with Usenet chat rooms and fan-created webpages where people could pay homage to their favorite show and do so within a community of peers. Those fans in the ‘90s and early ‘00s planted seeds of appreciation that have resulted in contemporary fans learning how to navigate outdated platforms to pay their respects to the roots of their fandom. For X-Philes, trudging through archival sites has become a symbolic, initiatory rite, acknowledging the roots of fandom history to appreciate its influence on contemporary fandom. Through investigating how fans on new media platforms utilize preservation and dissemination practices, I examine how fans of The X-Files are embracing archival habits in order to preserve their fandom’s legacy.
{"title":"The Truth is in the Archives: An Examination of The X-Files Fandom’s Preservation Practices","authors":"Nicole Neece","doi":"10.35492/docam/9/1/4","DOIUrl":"https://doi.org/10.35492/docam/9/1/4","url":null,"abstract":"Fans of the cult classic TV series, The X-Files, are pioneers when it comes to utilizing online spaces for fan purposes. The ‘90s were filled with Usenet chat rooms and fan-created webpages where people could pay homage to their favorite show and do so within a community of peers. Those fans in the ‘90s and early ‘00s planted seeds of appreciation that have resulted in contemporary fans learning how to navigate outdated platforms to pay their respects to the roots of their fandom. For X-Philes, trudging through archival sites has become a symbolic, initiatory rite, acknowledging the roots of fandom history to appreciate its influence on contemporary fandom. Through investigating how fans on new media platforms utilize preservation and dissemination practices, I examine how fans of The X-Files are embracing archival habits in order to preserve their fandom’s legacy.","PeriodicalId":36214,"journal":{"name":"Proceedings from the Document Academy","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46183846","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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