This article presents a conceptual and methodological framework that focuses on the interactivity, creativity, and variability of Holocaust images in digital media. Our argument unfolds in three stages. First, we introduce the concept of playful images: historical images that undergo recontextualisation, serving memetic, personal, and interactive engagements in and by digital media. Secondly, drawing on pivotal scholarship in digital methods, anthropology, sociology, and visual analysis, we identify a lacuna in contemporary methodologies and provide a rationale for an innovative approach to visual memory analysis in digital media that considers both digital media affordances and the appropriation of visual and historical materials in digital media. For that purpose, we thirdly outline a visual walkthrough method (VWM), a pragmatic performance of our approach tailored for analysing interactive digital experiences featuring playful images. By examining the playful appropriation of historical images in the video game Call of Duty: WWII (2017), we demonstrate how the interactive experience of playful images can be analysed with the help of the VWM. We conclude by discussing the position of our proposed conceptual and methodological framework within media and memory studies in the digital age.

The COVID-19 pandemic led to an increased need to conduct research and community engagement using digital methods. Unfortunately, the shift away from in-person research activities can make it difficult to engage and recruit participants from under-resourced communities that lack adequate digital infrastructure. At the beginning of the pandemic, our team recognized that imminent lockdowns would significantly disrupt ongoing engagement with low-income housing resident community partners and that we would ultimately bear responsibility if that occurred. This manuscript outlines the development of methods designed to create capacity for virtual engagement with a community advisory board that were subsequently applied to a longitudinal mixed-methods study. We describe how our experience engaging low-income housing residents during the height of the pandemic influenced the approach and offer guidelines useful for engaging under-resourced communities regardless of setting. Of these, a strong commitment to providing technology, unlimited data connectivity, and basic digital literacy training/technical support is most important. While each of these is essential and failure in any one area will reduce overall effectiveness of the effort, providing adequate technical support while maintaining ongoing relationships with community members is the most important and resource-intensive.

Daily data collection during archaeological fieldwork forms the basis for later interpretation and analysis. Across the world, we observe a wide variety of digital data collection methods and tools employed during fieldwork. Here, we detail the daily practices at four recent survey and excavation projects in the South Caucasian country of Armenia. As archaeology continues to become ever more digital, it is useful to consider these day-to-day recording processes at a typical field project. We provide details on both the types of data collected and the ways they are collected so as to foreground these topics. Finally, we reflect on how our work is currently impacted by digital changes and how it may continue to change in the future.

This article introduces the digital humanities and dance studies project Mapping Touring, and employs it in an analysis of Denishawn's touring prior to and immediately following the company's 1925–26 tour to Asia. Situated within the archival turn in dance, Mapping Touring emphasizes the possibilities of spatial and comparative analysis for touring dance artists, with information about their location and repertory drawn from archival sources, gathered and stored in a database, and plotted on interactive maps. With Denishawn as a case study, I contend that digital mapping can make visible some of the implications of travel and touring for the circulation and spread of theories of embodiment contained in dance repertory.