The advent of digital technologies has profoundly transformed cultural and heritage sectors, providing new avenues for broader access and interactions with digital collections. This shift has enabled Online Cultural Heritage (OCH) to evolve into an extensive ecosystem. Given the complexity that emerges from these networks and stakeholders, it is crucial to develop a clearer understanding of the extensive terminology used in the sector and establish pathways to deconstruct this complexity. Therefore, this article's aim is threefold: 1) it examines how OCH ecosystems foster the ongoing reinterpretation and recontextualisation of cultural heritage collections through technologic innovations and the Web. In doing so, it highlights the relevance of policy development and the establishment of ethical frameworks that address both human and technical complexities of Cultural Heritage (CH) knowledge; 2) using the Open Archival Information System (OAIS) as a framework and its terminology, the article maps the workflows and socio-technical actors of the OCH ecosystem; and 3) the article applies Callon's Process of Translation, a methodology for understanding how socio-technical networks evolve and use it to critically deconstruct digital infrastructures in OCH. This methodology enables the contextualisation and reinterpretation of cultural narratives across digital platforms, both online and offline, underscoring the dynamic interplay between technology, human agency, and cultural context. We explore how OCH ecosystems and other infrastructural ecosystems aid in preserving and facilitating engagement with open knowledge and research, and function as complex networks of cultural institutions interconnected through knowledge infrastructures. Whilst the paper places the primary approach within UK infrastructures, it provides alternative perspectives from the Global South, particularly Latin America, to contrast and further illustrate a reflection on the current and future challenges behind a sustainable OCH ecosystem, its implications for further networks, and its potential as a model beyond the CH sector. Furthermore, this framework can become paramount to identifying obstacles and opportunities for digital infrastructures, establishing a nuanced understanding of OCH as a core infrastructural element in the generation of knowledge from digital collections or digital infrastructures around the world. Finally, we provide a glossary of terms to establish a common ground between the wide range of parties involved in OCH. CCS CONCEPTS • Digital libraries and archives • Information Integration • Cultural characteristics.

To look to the future of e-Science we take a long view that starts with its conception and draws on multiple models as we cast our gaze forwards. With a focus on people and collaboration, and noting the ongoing trend towards adoption of automation, we argue that the e-Science experience is crucial today to inform future practice. These insights may help engage with challenges such as environmental sustainability.

This report reflects on existing citizen research activity in the UK heritage sector by summarising both published research and current citizen research activity at Independent Research Organisations (IROs) and other heritage organisations, addressing the following questions:How do institutions and volunteers experience online citizen research; what are the motivations and rewards? Were projects successful in what they set out to do? What challenges have projects faced? What recommendations can be made based on the experiences of these projects?In December 2020, we circulated a call for information from cultural heritage practitioners in the UK running citizen research projects online. This report draws on the responses generously sent in answer to our call, focusing primarily on online projects based in the UK. A full list of the featured projects can be found in the Appendix. In July 2021, members of the Engaging Crowds project team coordinated a workshop at the Discovering Collections, Discovering Communities (DCDC) conference to gather insights from practitioners and researchers with experience of enabling and supporting online volunteering. The discussions from this workshop are also summarised in this report.A broad range of experience of citizen research in the UK is included in this report, from small-scale short-term projects, such as those set up to move pre-established volunteering projects online in response to the onset of the Covid-19 pandemic, to large-scale long-term citizen research projects. What is evident from all responses received to the call for information is that online citizen research projects bring many benefits to both volunteers and organisations, and also present a number of challenges. Successes relate to volunteer recruitment and engagement, as well as opportunities for increased data production and data quality. Data quality, however, was also reported by a number of respondents as an area of challenge, together with issues relating to chosen citizen research platforms and open access. In synthesising the experiences reported by responding projects and workshop participants, this report has identified a number of recommendations for future citizen research projects.

Web Science researchers use a rich set of data sources, software tools, and computational infrastructure in many aspects of their work, often creating new methods and tools. The Research Infrastructure for Web Science (RI4WebSci) workshop is a forum to share experience, practice and innovations in all these aspects of Web Science, and to identify requirements for future Web Science infrastructure.

Background This study concerns the perception of musical segmentation during listening to live contemporary classical music. Little is known about how listeners form judgments of musical segments, particularly when typical section markers, such as cadences and fermatas, are absent [e.g.,Sears et al. (2014)] or when the music is non-tonal (e.g., in much contemporary classical music). Aims The current study aimed to examine the listeners' segmentation decisions in a piece of contemporary music, Ligeti's "Fanfares"? Methods Data were gathered using a smartphone application [Practice & Research in Science & Music (PRiSM) Perception App] designed for this study by the Royal Northern College of Music (RNCM) Centre for PRiSM and the Oxford e-Research Centre. A total of 259 audience participants were asked to "tap" when they felt that a section had ended. Subjective responses were captured, as well as contextual data about the participants. Results The audience members demonstrated high levels of agreement regarding segmentation, mostly at places in the music involving breaks in the musical texture (one piano hand resting), changes in dynamic (volume), and changes in register/pitch. A sense of familiarity with contemporary repertoire did seem to influence the responses-the participants who self-reported being familiar with contemporary music used a wider range of cues to make their segmentation decisions. The self-report data analysis suggested that the listeners were not always aware of how they made decisions regarding segmentation. The factors which may influence their judgment of musical segmentation are, to some extent, similar to those identified by music analysis (Steinitz, 2011) but different in other ways. The effect of musical training was found to be quite small. Conclusion Whether musically trained and/or familiar with contemporary classical music or not, the listeners demonstrate commonalities in segmentation, which they are not always aware of. This study has implications for contemporary composers, performers, and audiences and how they engage with new music in particular.

This paper examines the use of Linked Open Data in the research field of medieval studies. We report on a survey of common identifiers and vocabularies used across digitized medieval resources, with a focus on three internationally significant collections in the field. This survey has been undertaken within the “Mapping Manuscript Migrations” (MMM) project since 2017, aimed at aggregating and linking disparate datasets relating to the history of medieval manuscripts. This has included reconciliation and matching of data for five main classes of entities: Persons, Places, Organizations, Works, and Manuscripts. For each of these classes, we review the identifiers used in MMM’s source datasets, and note the way in which they tend to rely on generic vocabularies rather than specialist medieval ones. As well as discussing some of the major issues and difficulties involved in conceptualizing each of these types of entity in a medieval context, we suggest some possible directions for building a more specialized Linked Open Data environment for medieval studies in the future.

A Knowledge Infrastructure comprises the people, artefacts, and institutions that generate, share, and maintain knowledge, very often mediated by the Web. Our scholarly Knowledge Infrastructure is evolving as researchers embrace digital techniques enabled by increasing availability of digital data, computational power, and analytical tools and techniques. Crucially, the social structures are changing also. Taking a Web Science approach, this paper encourages the reader to view the scholarly Knowledge Infrastructure as an ecosystem of interacting and evolving Social Machines. We illustrate these Scholarly Social Machines with a series of descriptive examples, and reflect on these to propose Scholarly Primitives associated with Scholarly Social Machines. We suggest that this approach facilitates a holistic understanding of our scholarly Knowledge Infrastructure and informs its evolution.

The concept of Social Machines has become an established lens to describe the sociotechnical systems of Web Science, and has been applied to some archetypical cyberphysical systems. In this paper we apply this lens to a larger system, the location based online augmented reality game Pokémon Go!. The contributions are an illustrative application of the descriptive Social Machines lens to a system of this scale and type, and the use of simulation as a method for an executable description, which includes use of an ontology to represent partially the universe of the game.

We present an ongoing project using Joshua Steele's symbolic notation to represent prosody in Eighteenth Century dramatic performances. We discuss the sonification of the original notation to simulate the work and how it can be used to support other experiments. Drawing on two experimental models and their different methodologies, we consider how the digitised version relates to the historical work and the challenges that they bring. The framework and challenges for marking up the current work using semantic web technology, such as the PROV ontology, we demonstrate a notebook tool that links user annotations to the generated audio model, to store revisions and edits for re-use. This project demonstrates sonification's use as an experimental Humanities tool and as a way of thinking about historical prosody models.

We describe a series of informal exercises in which we have put algorithms in the hands of human performers in order to encourage a human creative response to mathematical and algorithmic input. These 'interventions' include a web-based app, experiments in physical space using Arduinos, and algorithmic augmentation of a keyboard.