Anne Schwan is Professor in English at Edinburgh Napier University. She has published on the history and representation of crime and imprisonment. She set up an award-winning partnership with the Scottish Prison Service and was involved in public engagement activities to raise awareness of First World War Internment Camps.Tara Thomson is Lecturer in English and Film at Edinburgh Napier University. She has published on literary and geospatial data, data visualization, and digital engagement with cultural heritage. She is a project partner with UNESCO City of Literature Trust, researching literary data, digital experiences and engagement for Edinburgh’s Literature House.

• Chapter 1: Introduction.- Part I: Scholarship, Creative Practice and Engaging with “Publics”.- Chapter 2: Hybrid Humanities and Hybrid Education: Higher Education in, with and for the Public.- Chapter 3: Experiential Education as Public Humanities Practice.- Chapter 4: Open-Data, Open-Source, Open-Knowledge: Towards Open-Access Research in Media Studies.- Chapter 5: Adventures in Digital and Public Humanities: Co-Producing Trans History Through Creative Collaboration.- Chapter 6: SémantiQueer: Making Linked Data Work for Public History.- Chapter 7: Working with Incarcerated Communities: Representing Women in Prison on Screen.- Part II: Making Memory, Making Community.- Chapter 8: Publics, Memory, Affect (or, Rethinking Publicness with Peter Watkins and Hannah Arendt).- Chapter 9: The Role of Digital and Public Humanities in Confronting the Past: Survivors’ of Ireland’s Magdalene Laundries Truth Telling.- Chapter 10: The Precarious Digital Micropublic of #MeToo: An Ethnographic Account of Facebook Public Groups and Pages.- Chapter 11: Literature, Technology, Society: A Digital Reconstruction of Cultural Conflicts in Chinua Achebe’s Things Fall Apart.- Chapter 12: Multilingual Handwritten Text Recognition (MultiHTR) or Reading Your Grandma’s Old Letters in German, Russian, Serbian and Ottoman Turkish with Artificial Intelligence.- Part III: Mobilizing the Archive.- Chapter 13: Open Pedagogy and the Archives: Engaging Students in Public Digital Humanities.- Chapter 14: Practices and Challenges of Popularizing Digital Public Humanities During the COVID-19 Pandemic in Japan.- Chapter 15: Breaking the “Class” Ceiling: The Challenges and Opportunities of Creating a Digital Archive of Edwardian Working-Class Book Inscriptions.- Chapter 16: Learning Seneca: A Case Study on Digital Presentations of North American Indigenous Languages.- Part IV: Digital Cultural Heritage.- Chapter 17Acting on the Cultural Object: Digital Representation of Children’s Writing Culturesin Museum Collections.- Chapter 18: A Data-Driven Approach to Public-Focused Digital Narratives for Cultural Heritage.- Chapter 19: “People Inside”: Creating Digital Community Projects on the YARN Platform.- Chapter 20: 3D Modelling of Heritage Objects: Representation, Engagement and Performativity of the Virtual Realm.- Chapter 21: Making Museum Global Impacts Visible: Advancing Digital Public Humanities from Data Aggregation to Data Intelligence.- Part V: Engaging Space and Place.- Chapter 22: Maps, Music and Culture: Representing Historical Soundscapes through Digital Mapping.- Chapter 23: Civic Interaction, Urban Memory, and the Istanbul International Film Festival.- Chapter 24: Look at the Graves!: Cemeteries as Guided Tourism Destinations in Latvia.- Part VI: Public Discourse, Public Art and Activism.- Chapter 25: Public Historians, Social Media, and Hate Speech: The French Case.- Chapter 26: The Public Artist as a Fringe Agent for Sustainability: Practices of Environmentalist Driven Art-Activism and their Digital Perspectives.

Anne Schwan is Professor in English at Edinburgh Napier University. She has published on the history and representation of crime and imprisonment. She set up an award-winning partnership with the Scottish Prison Service and was involved in public engagement activities to raise awareness of First World War Internment Camps.Tara Thomson is Lecturer in English and Film at Edinburgh Napier University. She has published on literary and geospatial data, data visualization, and digital engagement with cultural heritage. She is a project partner with UNESCO City of Literature Trust, researching literary data, digital experiences and engagement for Edinburgh’s Literature House.

• Chapter 1: Introduction.- Part I: Scholarship, Creative Practice and Engaging with “Publics”.- Chapter 2: Hybrid Humanities and Hybrid Education: Higher Education in, with and for the Public.- Chapter 3: Experiential Education as Public Humanities Practice.- Chapter 4: Open-Data, Open-Source, Open-Knowledge: Towards Open-Access Research in Media Studies.- Chapter 5: Adventures in Digital and Public Humanities: Co-Producing Trans History Through Creative Collaboration.- Chapter 6: SémantiQueer: Making Linked Data Work for Public History.- Chapter 7: Working with Incarcerated Communities: Representing Women in Prison on Screen.- Part II: Making Memory, Making Community.- Chapter 8: Publics, Memory, Affect (or, Rethinking Publicness with Peter Watkins and Hannah Arendt).- Chapter 9: The Role of Digital and Public Humanities in Confronting the Past: Survivors’ of Ireland’s Magdalene Laundries Truth Telling.- Chapter 10: The Precarious Digital Micropublic of #MeToo: An Ethnographic Account of Facebook Public Groups and Pages.- Chapter 11: Literature, Technology, Society: A Digital Reconstruction of Cultural Conflicts in Chinua Achebe’s Things Fall Apart.- Chapter 12: Multilingual Handwritten Text Recognition (MultiHTR) or Reading Your Grandma’s Old Letters in German, Russian, Serbian and Ottoman Turkish with Artificial Intelligence.- Part III: Mobilizing the Archive.- Chapter 13: Open Pedagogy and the Archives: Engaging Students in Public Digital Humanities.- Chapter 14: Practices and Challenges of Popularizing Digital Public Humanities During the COVID-19 Pandemic in Japan.- Chapter 15: Breaking the “Class” Ceiling: The Challenges and Opportunities of Creating a Digital Archive of Edwardian Working-Class Book Inscriptions.- Chapter 16: Learning Seneca: A Case Study on Digital Presentations of North American Indigenous Languages.- Part IV: Digital Cultural Heritage.- Chapter 17Acting on the Cultural Object: Digital Representation of Children’s Writing Culturesin Museum Collections.- Chapter 18: A Data-Driven Approach to Public-Focused Digital Narratives for Cultural Heritage.- Chapter 19: “People Inside”: Creating Digital Community Projects on the YARN Platform.- Chapter 20: 3D Modelling of Heritage Objects: Representation, Engagement and Performativity of the Virtual Realm.- Chapter 21: Making Museum Global Impacts Visible: Advancing Digital Public Humanities from Data Aggregation to Data Intelligence.- Part V: Engaging Space and Place.- Chapter 22: Maps, Music and Culture: Representing Historical Soundscapes through Digital Mapping.- Chapter 23: Civic Interaction, Urban Memory, and the Istanbul International Film Festival.- Chapter 24: Look at the Graves!: Cemeteries as Guided Tourism Destinations in Latvia.- Part VI: Public Discourse, Public Art and Activism.- Chapter 25: Public Historians, Social Media, and Hate Speech: The French Case.- Chapter 26: The Public Artist as a Fringe Agent for Sustainability: Practices of Environmentalist Driven Art-Activism and their Digital Perspectives.

Anne Schwan is Professor in English at Edinburgh Napier University. She has published on the history and representation of crime and imprisonment. She set up an award-winning partnership with the Scottish Prison Service and was involved in public engagement activities to raise awareness of First World War Internment Camps.Tara Thomson is Lecturer in English and Film at Edinburgh Napier University. She has published on literary and geospatial data, data visualization, and digital engagement with cultural heritage. She is a project partner with UNESCO City of Literature Trust, researching literary data, digital experiences and engagement for Edinburgh’s Literature House.

• Chapter 1: Introduction.- Part I: Scholarship, Creative Practice and Engaging with “Publics”.- Chapter 2: Hybrid Humanities and Hybrid Education: Higher Education in, with and for the Public.- Chapter 3: Experiential Education as Public Humanities Practice.- Chapter 4: Open-Data, Open-Source, Open-Knowledge: Towards Open-Access Research in Media Studies.- Chapter 5: Adventures in Digital and Public Humanities: Co-Producing Trans History Through Creative Collaboration.- Chapter 6: SémantiQueer: Making Linked Data Work for Public History.- Chapter 7: Working with Incarcerated Communities: Representing Women in Prison on Screen.- Part II: Making Memory, Making Community.- Chapter 8: Publics, Memory, Affect (or, Rethinking Publicness with Peter Watkins and Hannah Arendt).- Chapter 9: The Role of Digital and Public Humanities in Confronting the Past: Survivors’ of Ireland’s Magdalene Laundries Truth Telling.- Chapter 10: The Precarious Digital Micropublic of #MeToo: An Ethnographic Account of Facebook Public Groups and Pages.- Chapter 11: Literature, Technology, Society: A Digital Reconstruction of Cultural Conflicts in Chinua Achebe’s Things Fall Apart.- Chapter 12: Multilingual Handwritten Text Recognition (MultiHTR) or Reading Your Grandma’s Old Letters in German, Russian, Serbian and Ottoman Turkish with Artificial Intelligence.- Part III: Mobilizing the Archive.- Chapter 13: Open Pedagogy and the Archives: Engaging Students in Public Digital Humanities.- Chapter 14: Practices and Challenges of Popularizing Digital Public Humanities During the COVID-19 Pandemic in Japan.- Chapter 15: Breaking the “Class” Ceiling: The Challenges and Opportunities of Creating a Digital Archive of Edwardian Working-Class Book Inscriptions.- Chapter 16: Learning Seneca: A Case Study on Digital Presentations of North American Indigenous Languages.- Part IV: Digital Cultural Heritage.- Chapter 17Acting on the Cultural Object: Digital Representation of Children’s Writing Culturesin Museum Collections.- Chapter 18: A Data-Driven Approach to Public-Focused Digital Narratives for Cultural Heritage.- Chapter 19: “People Inside”: Creating Digital Community Projects on the YARN Platform.- Chapter 20: 3D Modelling of Heritage Objects: Representation, Engagement and Performativity of the Virtual Realm.- Chapter 21: Making Museum Global Impacts Visible: Advancing Digital Public Humanities from Data Aggregation to Data Intelligence.- Part V: Engaging Space and Place.- Chapter 22: Maps, Music and Culture: Representing Historical Soundscapes through Digital Mapping.- Chapter 23: Civic Interaction, Urban Memory, and the Istanbul International Film Festival.- Chapter 24: Look at the Graves!: Cemeteries as Guided Tourism Destinations in Latvia.- Part VI: Public Discourse, Public Art and Activism.- Chapter 25: Public Historians, Social Media, and Hate Speech: The French Case.- Chapter 26: The Public Artist as a Fringe Agent for Sustainability: Practices of Environmentalist Driven Art-Activism and their Digital Perspectives.