Exploration & Endeavour: The Royal Society of London and the South Seas celebrates the society’s 350th anniversary by bringing together a selection of iconic objects and original documents that highlight the society’s key role in European maritime exploration and discovery in the Pacific. The Royal Society, the world’s oldest scientific academy in continuous existence, was founded on the premise that knowledge should be subject to independent verification—‘freeing oneself from unexamined opinion, particularly through the study of empirical data’, as Andrew Sayers puts it in his introduction to the beautifully produced accompanying book publication. The society’s motto, Nullius in verba (‘Take no-one’s word for it’), attests to this commitment to independence of thought, underpinned by methodologically rigorous inquiry. Fellows of the society include larger-than-life figures who in many cases have revolutionised their field: Isaac Newton, Michael Faraday, Christopher Wren, Charles Darwin, Ernest Rutherford, Albert Einstein, Dorothy Hodgkin, Francis Crick, James Watson, Stephen Hawking and, with particular relevance in the Pacific context, James Cook and Joseph Banks.
Born out of an ancient geographical theory of balance, the term ‘antipodes’ was first used to refer to the vast uncharted underworld of the southern hemisphere from a northern perspective. The principle behind this belief, as described in the Quarterly Review in the nineteenth century, was ‘that all the land, which had till then been discovered in the southern hemisphere, was insufficient to form a counterpoise to the weight of land in the northern half of the globe’. The idea of the antipodes as a counterbalance, though now remembered only as a peculiar, discredited theory, has been surprisingly influential as an imaginative concept. An antipodean expectancy filled minds, maps, novels and utopian plans, laying the foundations for perceptions of Oceania and Australasia that continue to impact on how this part of the world is seen from a distance as well as from within. The region of the antipodes has been occupied by European settlers and their descendants for a relatively short time. And yet, this brief period is set against a backdrop of one of the longest recorded histories of imagining prior to geographical discovery.
This paper reflects on an emerging field that has no accepted name or boundaries but is described here as “digital biography.” The activities, formats, and genres associated with this field are rarely linked with life writing or traditional biographical studies. Rather, this field is seen as the domain of those concerned with digital privacy, copyright, data preservation, and identity management. Over the past decade or so, critics in various disciplines, mainly legal studies, information management, multimedia design, and IT development, as well as sociology, psychology, and marketing, have focused on the complexity of online identity. Though online identity has become such a significant focus of attention in these disciplines, few who study biography have discussed it. Indeed, as Nigel Hamilton points out, biography itself has had less attention than one might expect for a field that “has enjoyed an extraordinary renaissance in recent years”, a field that, according to Carl Rollyson, is widely recognized as “the dominant non-fiction of our age”.
This article considers how traditional physical memorials to war and other catastrophic events differ from online memorials in the Web 2.0 environment and it asks what the benefits and drawbacks of each may be. There has always been an awkward fit between the public statements embodied in monuments to those who died in war and the personal stories told by individuals who returned. This disjuncture serves to demonstrate that the two ways of remembering traumatic events—the collective and the individual—have traditionally been poles apart and often contradictory. Gradually, over the past two decades, with the increasing influence of critical theories that have questioned national and other dominating discourses—and also with growing interest within the field of clinical psychology in what is now labeled post-traumatic stress disorder—there has been an increasing interest in the vast underlayer of personal stories that national narratives have shut out or silenced.
In this first decade of the twenty-first century we are caught up in the midst of a technological shift of the kind that Walter Benjamin, in his 1936 essay ‘The Work of Art in the Age of Mechanical Reproduction’, attributed to the increasing popularity of photography in the early twentieth century. The essence of that change was the unprecedented capacity to create infinitely reproducible multiple copies. For the first time the idea of the primacy of the singular work of art was seriously open to question. ‘The history of every art form,’ writes Benjamin, ‘shows critical epochs in which a certain art form aspires to effects which could be fully obtained only with a changed technical standard, that is to say, a new art form’. Photography initiated a change that Benjamin recognised as being as profound in its impact on people’s lives as the introduction of the printing press.
The Arts and Humanities have traditionally been worlds apart from Science and Technology in their ways of pursuing and generating knowledge and understanding. So much so that the famous term, ‘The Two Cultures’, coined in the mid twentieth century by C. P. Snow to describe the vast gap between these discipline areas, is still current and relevant.[i] It continues to dominate the organisation of disciplines in universities and drive the distribution of most national research funding. However, quite suddenly, at the end of the twentieth century, the digital environment began to trigger major changes in the knowledge economy, with the result that the humanities were thrown unexpectedly and involuntarily into a close relationship with technology. As one might expect in any forced marriage, it was not a case of love at first sight. In fact, the humanities have exhibited the full range of reactions—from totally ignoring the other, through unashamedly raiding their wealth, to wholeheartedly embracing the exciting future they seem to offer. Whatever the reaction, it is clear that the humanities are now inescapably entangled with technology, for better or worse, and the two cultures are connecting more than ever before, notably in the new research activities and spaces signalled by the term ‘e-research’.
The “imaginary voyage” was an early form of the modern realist novel popular in Britain and France from the seventeenth to the early nineteenth centuries, set predominantly in the region of Australasia and the Pacific. As a branch of travel literature, it was linked intimately to the expansion of empire. Through repeated stories of successful colonizing schemes and heroic accounts of cross-cultural encounters between European travelers and the people of the antipodes, these texts allowed European readers to enjoy farfetched fantasies of colonization well before, and during, the period of actual colonial expansion. As in the case of the many better-known examples of literary fiction produced in the later period of European imperial dominance, imaginary voyage fiction helped embed social acceptance of colonial expansion by modeling cultural domination as natural, beneficial, and welcome.
This paper surveys the digital history field, highlighting trends across historical, cultural and literary studies, heritage, archaeology and geography, as well as library information, screen and media studies, multimedia production and interaction design. This broad field is increasingly relevant to museum practice as museums experiment with digital modes of presentation and communication, including virtual exhibitions and other online extensions of the physical visitor experience.
The profile of oral history research has grown dramatically over the past two decades. One of the reasons for this is that there has been a diversification of modes of public access and delivery. The increasing use of digital media means that oral histories are now reaching far greater audiences, and these histories are being presented in more direct, more stimulating and richer ways than have before been possible. In fact, the digital revolution is rapidly transforming history as a genre and set of practices, and oral history is a key player in this process. Because oral histories lend themselves to digital forms of delivery much more readily than conventional, text-only, representations of history, oral history has come to be a central focus for digital history researchers.
The aim of the Interactive Histories research program is to seek ways of using interactive media for experimental content delivery in projects with a broadly historical focus. The focus to date has been on oral history projects (including virtual tours of heritage sites, museum installations and multimedia documentaries) and on theoretical research investigating emerging frameworks for historical representation enabled by interactive technologies. Planned projects include digital storytelling in local communities and the development of Indigenous and cross-cultural digital resources. Central to the two projects being presented here is the production of multimedia works designed to maximize public access to oral history material.
Paul Arthur is Vice-Chancellor’s Professorial Research Fellow and Chair in Digital Humanities and Social Sciences, at Edith Cowan University, Western Australia. He speaks and publishes widely on major challenges and changes facing 21st-century society, from the global impacts of technology on communication, culture and identity
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