KEYNOTE SPEAKERS

SHAWN GRAHAM AND SANDRA CAMARDA

PROF. SHAWN GRAHAM

Professor – Department of History,
Carleton University

KEYNOTE

Once Upon a Time: The Behaviour Space(s) of Stories

“The comedic satire of Terry Pratchett tells us that stories are parasitical life forms that trap people into their enactment. That is to say, once a story has you in its grip, you can’t escape until the story is fully told. And each time the story is told, it deepens the groove of its space-time. Each time it is told, it becomes more real and increasingly harder to escape. And then in 2022 someone went and invented a machine that makes the satire real. Probably not a good idea to plumb such a machine into every computational system we have going, eh? What’s a DHer to do in the behaviour space of stories? In this talk I explore the geometry of story spaces, I map some out, and I think out loud about what this might mean for what DH can do right now where the rapid deployment of ‘ai’ tech stacks turns AI into a kind of hyperobject. Once upon a time…”

BIOGRAPHY

Shawn Graham is a Full Professor of Digital Humanities in the Department of History at Carleton University, Ottawa, Canada, which he joined in 2010 after several years outside of academia. He comes to the digital humanities by way of Roman archaeology. He transformed an early interest in social networks and agent based modeling into explorations of archaeogaming, of networked representations of knowledge and knowledge graphs in the context of the antiquities trade, and machine learning for surfacing latent discourses or stories in both text and photographs. He contributed to the first archaeological research in space on the International Space Station through computational analysis of annotated imagery. That work drew on his computational visual and textual analysis work on thousands of social media posts collected from the online human remains trade (the results of which were published in a volume co-written with Damien Huffer in 2023). Because he re-joined academia after so many years outside of it, his imposter syndrome proved hard to shake; confronting it, and learning to value the process of learning ‘how to be a digital humanist’ in public led to a collection of essays called ‘Failing Gloriously’ that captures his philosophy of teaching – we who are secure in our position need to make it safe for others who are not to try things out by ‘failing’ in public, and sharing the lessons learned. In that same tradition he has recently published a handbook to generative AI called ‘Practical Necromancy’, which expands on an earlier volume, ‘An Enchantment of Digital Archaeology’. He is currently developing a new research project on ‘archaeology in impossible places’, supported by the Cultural Heritage Informatics Colaboratory he is co-creating at Carleton University.

NEW BOOK!

Many feel bewildered and quietly embarrassed that they don’t know more about how AI technology works, where it came from, or even how to get started.

Credit:
University of North Dakota

DR. SANDRA CAMARDA

Assistant Professor – Public History and Outreach,
University of Luxembourg

KEYNOTE

The Shape of the Playable Past: Narrative Systems and the Practice of History

“The practice of history is shaped by uncertainty, contradiction, and incomplete archives, yet these tensions are often smoothed into coherent linear narratives. This keynote explores how interactive historical environments, particularly those informed by game design, can operate not simply as representational media but as forms of historiographical modelling. Through systems of navigation, exploration, and procedural interaction, playable historical environments can stage the interpretative labour of historical inquiry itself. Users encounter fragmented evidence, conflicting testimonies, and unresolved ambiguities, engaging with the epistemic conditions through which historical knowledge is constructed. Rather than offering transparent access to the past, interactive narrative systems can highlight absence, negotiation, and contingency, creating historical experiences that expose both the possibilities and the limits of historical interpretation.”

BIOGRAPHY

Sandra Camarda is Assistant Professor in Transmedia Storytelling and Public History, Head of Public History at the C²DH, University of Luxembourg, and Deputy Study Programme Director of the Master in Digital and Public History (MADiPH). Trained in anthropology, museology, and visual culture, she completed her PhD at University College London. Her research focuses on interactive narratives, game studies, cultural heritage, and digital public history, particularly the representation of the past in video games and the use of play for historical engagement and dissemination.

At the C²DH, Sandra Camarda develops interdisciplinary projects combining historical research, transmedia storytelling, and public outreach through serious games, exhibitions, and interactive documentaries. She is principal investigator and creative director of Threads, a narrative game exploring the history of the former Nazi internment site of Cinqfontaines in Luxembourg.

She is associate editor of the Journal of European Historical Game Studies, co-editor of the De Gruyter book series Public History in European Perspective, and Appearances: Studies in Visual Research. She is the founder and main organiser of History@Play, an international lecture series exploring the intersection of history and play.

EDITOR!

Images today are everywhere, and anyone can try their hand at being a documentary photographer. But how do we make sense of this visual revolution in the long history of using visuals to communicate?

Credit:
The Gruyter Brill