This paper shows how biographical registries can be represented as Linked Data, enriched by data linking to related data sources, and used in Digital Humanities. As a use case, a database of 11 987 historical U.S. Congress Legislators in 1789-2018 was transformed into a knowledge graph. The data was published as a Linked Data service, including a SPARQL endpoint, on top of which tools for biographical and prosopographical research are implemented. A faceted browser named U.S. Congress Prosopographer with visualization tools for knowledge discovery is presented to provide new insights in political history.

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Keio University, the oldest institute of western higher education in Japan, opened its first university museum, named Keio Museum Commons (KeMCo) in April 2021. To facilitate cultural encounters and interactions among the students, academics, as well as broader public audiences, KeMCo challenges in weaving the physical museum visit and the online digital experience. This paper aims to explore the practices and experiences we have acquired from the development and implementation and further clarify the fundamental principles of how university museums can create digital-physical hybrid experiences across the academic-public sphere.

This chapter proposes a new learning infrastructure of performing arts education called Global Theatre. Global Theatre connects students and theatres over the Internet and creates a unique environment to share performing arts. It enables students to enjoy performing arts together, deepen intercultural understanding, and communicate with a global audience in synchronized time, regardless of location and distance. Global Theatre consists of three basic elements: a learning program focused on performing arts; a collaborative community formed by a university, theatre space, and performing group; and an ICT platform that realizes live appreciation of performing arts. In this chapter, two experimental implementations are carried out. The authors conducted a translated play shared by Thailand and Japan in 2009, and an international collaborative play shared by Thailand, Japan, and Malaysia in 2010. Through those experiments, the effectiveness of this new learning environment for performing arts is discussed from the perspective of the three basic elements of this structure.