Social History of Computing and Online Social Communities

Author(s):  
Joseph M. Kizza ◽  
Li Yang
Author(s):  
Ana Temudo

This article presents the results of a musealization project at the Computer Engineering Department of the Faculty of Engineering of the University of Oporto (FEUP), which aimed to bring together the history of computing in the academic context of the city, between the sixties of the twentieth century and the first decade of the twenty-first century. This research was rooted in the subjective and naturally fallible memory (Pollack, 1992) of the key people interviewed who, through their testimony, described the impact of technological transformations on their professional and personal experience. During the investigation, we did not try to find the history of the great moments and their "heroes", but rather the small, fragmented and diverse narratives of key persons. Our aim was thus to create a narrative rich in the deviations, flaws, and imperfections that distinguish Man from Machine. We accumulated stories (Kopytoff, 1988) through objects that we used as memory triggers (Simon, 2010) to set a social history of computing in Oporto. Upon realizing that we were also interested in capturing the “procedural memory” the participants then began to enthusiastically describe striking moments, mimicking the sound of machines and identifying friends and colleagues in documents and photographs. However, the most recurrent was the access to “episodic” and “historical” memory (David Manier and William Hirst 2010). We may say that this is a male-written story annotated by women. The immaterial heritage that this project recorded in the form of interviews supports and attributes values to the material heritage (objects, machines, utensils, books and documents) existing at FEUP museum, and attests to the plurality of its contexts of use and agents.


Author(s):  
Д.А. Огузова

В современной исторической науке все большую популярность приобре- тают такие направления исследования как интеллектуальная история, социальная история. В данной статье мы делаем попытку методологического использования идей Макса Вебера – видного социолога XX века – при рассмотрении адыгского обще- ства традиционного периода. В рамках «новой научной истории» социальная исто- рия привлекла нас своим интересом к истории общественных отношений, истории повседневности, истории социальных общностей и социальных конфликтов. Важно то, что в предмет социальной истории входит сфера человеческого сознания, то есть в ходе исследования учитывается ментальность, стереотипы восприятия, модели поведения конкретного народа. Abstract: In modern historical science, such areas of research as intellectual history and social history are becoming increasingly popular. In this article we are making an attempt to use the ideas of max Weber – a prominent sociologist of the XX century – in the consideration of the Adyghe society of the traditional period. As part of the" new scientifi c history", social history has attracted us by its interest in the history of social relations, the history of everyday life, the history of social communities and social confl icts. It is important that the subject of social history includes the sphere of human consciousness, otherwise, the study takes into account the mentality, stereotypes of perception, patterns of behavior of a particular people.


This collection of essays, drawn from a three-year AHRC research project, provides a detailed context for the history of early cinema in Scotland from its inception in 1896 till the arrival of sound in the early 1930s. It details the movement from travelling fairground shows to the establishment of permanent cinemas, and from variety and live entertainment to the dominance of the feature film. It addresses the promotion of cinema as a socially ‘useful’ entertainment, and, distinctively, it considers the early development of cinema in small towns as well as in larger cities. Using local newspapers and other archive sources, it details the evolution and the diversity of the social experience of cinema, both for picture goers and for cinema staff. In production, it examines the early attempts to establish a feature film production sector, with a detailed production history of Rob Roy (United Films, 1911), and it records the importance, both for exhibition and for social history, of ‘local topicals’. It considers the popularity of Scotland as an imaginary location for European and American films, drawing their popularity from the international audience for writers such as Walter Scott and J.M. Barrie and the ubiquity of Scottish popular song. The book concludes with a consideration of the arrival of sound in Scittish cinemas. As an afterpiece, it offers an annotated filmography of Scottish-themed feature films from 1896 to 1927, drawing evidence from synopses and reviews in contemporary trade journals.


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