The Conflict Textiles website is a digital resource that allows users to learn more about how individuals who have experienced or been impacted by political violence have used textiles to respond to and recount their experiences. Some of the textiles on the website were made in response to the wars and conflicts in South America in the 1970s and 1980s (including the Dirty War in Argentina, the Pinochet regime in Chile, and the conflict in Peru between the government and the Shining Path), while others have emerged as a response to the Troubles in Northern Ireland. The majority of the textiles were created by women, though in some instances, men have also contributed to their creation. Conflict Textiles is the name of both the digital resource and a physical collection of textiles. Originating from the Art of Survival International and Irish Quilts in 2009 in Derry, Northern Ireland, this collection and online repository highlights the prolific use of textiles as a medium through which individuals are able to express themselves and the overarching nature of this medium as a form of expression. These two entities, the website and the physical collection, coexist, with the Conflict Textiles website documenting the textiles present in the physical collection and events that occur, or have occurred, in association with the collection. In this way, the Conflict Textiles website serves as an online repository of the physical Conflict Textiles collection and allows users internationally to learn more about a collection that includes textiles from dozens of different countries including, but not limited to, Chile, Northern Ireland, and Argentina.
Danielle B. Barefoot
The 21st century brought with it a mass digitization of archival materials that rapidly changed preservation, research, and pedagogy practices. Chilean digital databases, archives, and humanities projects have grown steadily since the late 1990s. These resources developed with the central goals of democratizing access to sources and removing obstructive barriers including accessibility and physical distance. Remote access capabilities coupled with open access of collections encourages greater interaction with repositories including libraries, museums, and archives and materials such as historical documents, newspapers, paper ephemera, music and audio recordings, and photography. While not exhaustive, these sites demonstrate the extensive range of digitized sources available that span from the pre-Columbian through modern periods. Researchers, teachers, and students seeking primary sources will find a multitude of themes including indigenous peoples, culture, science and technology, history, politics, environment, and human rights. Some sites, such as Memoria Chilena and the National Security Archive, feature a fully digitized collection with articles and downloadable PDF material. Others, such as Museo de la Memoria y Derechos Humanos, and the Biblioteca Nacional Digital, have non-digitized holdings that call for an in-person visit. Lastly, the Dirección de Bibliotecas Archivos y Museos and Biblioteca Digital del Patrimonio Iberoamericano serve as digital source aggregates that collect and allow users to search across affiliated sites. Aggregation is the newest step in the digital revolution. This newer process permits the archiving of entire archives, which will transform how scholars understand source collection, non-immersive “fieldwork,” and research methodologies. Digital resources drastically improve the accessibility of sources concerning Chile. At the individual level, user skill may affect the browsing experience, especially when searching for sources. Many digital resources allow for truncated and Boolean logic queries. Users can customize their browsing experience by implementing these tools to expand or narrow the search. At the website level, these resources incorporate open access coupled with universal design practices to democratize the individual browsing experience. Open access allows users to access content free of charge. Universal design ensures access equity through coding and website design. However, in terms of accessibility, room for improvement exists. Users employing screen readers and captioning technologies will have vastly different experiences within each of these resources based on the device and software utilized. Organizations who have undertaken the digitization process must ensure they continue cultivating equitable digital spaces that all users may enjoy.
Alvaro Liuzzi and Tomás Bergero Trpin
The Malvinas War, also known in Spanish as the South Atlantic Conflict (conflicto del Atlántico Sur), was a war between Argentina and the United Kingdom that took place in the Malvinas Islands, South Georgia, and South Sandwich between April 2 and June 14, 1982. During 2012, thirty years after the conflict, the Malvinas/30 web documentary was produced in Argentina, conceived as a transmedia production in real time. It was designed to serve as a space of collective digital memory that would involve users and recreate on social networks the hostile atmosphere of the South Atlantic Islands at the time of the skirmish. The documentary, produced by an interdisciplinary team, was developed as a continuous interactive production for five months that, by extending its narrative through different digital platforms, sought to allow users to relive the events of the Malvinas War as they had occurred three decades before in 1982. To meet this goal, Malvinas/30 was organized along three central axes: narrative synchronization between past and present (telling the story as if it were happening today); unfolding the story on different media (social networks, traditional media, and other media); and generating interactive responses from users (a collective story as a space for historical memory).