Burdick, A. (2012). Digital humanities . Cambridge, MA: MIT Press.
digital humanities is born f the encounter between traditional humanities and computational methods.
p. 5. From Humanism to Humanities
While the foundations of of humanistic inquiry and the liberal arts can be traced back in the west to the medieval trivium and quadrivium, the modern and human sciences are rooted in the Renaissance shift from a medieval, church dominated, theocratic world view to be human centered one period the gradual transformation of early humanism into the disciplines that make up the humanities today Was profoundly shaped by the editorial practices involved in the recovery of the corpus of works from classical antiquity
P. 6. The shift from humanism to the institution only sanctioned disciplinary practices and protocols that we associate with the humanities today is best described as a gradual process of subdivision and specialization.
P. 7. Text-based disciplines in studies (classics, literature, philosophy, the history of ideas) make up, from the very start, the core of both the humanities and the great books curricular instituted in the 1920s and 1930s.
P. 10. Transmedia modes of argumentation
In the 21st-century, we communicate in media significantly more varied, extensible, and multiplicative then linear text. From scalable databases to information visualizations, from video lectures to multi-user virtual platforms serious content and rigorous argumentation take shape across multiple platforms in media. The best digital humanities pedagogy and research projects train students both in “reading “and “writing “this emergent rhetoric and in understanding how the reshape and three model humanistic knowledge. This means developing critically informed literacy expensive enough to include graphic design visual narrative time based media, and the development of interfaces (Rather then the rote acceptance of them as off-the-shelf products).
P. 11. The visual becomes ever more fundamental to the digital humanities, in ways that compliment, enhance, and sometimes are in pension with the textual.
There is no either/or, no simple interchangeability between language and the visual, no strict sub ordination of the one to the other. Words are themselves visual but other kinds of visual constructs do different things. The question is how to use each to its best effect into device meaningful interpret wing links, to use Theodor Nelson’s ludic neologism.
P. 11. The suite of expressive forms now encompasses the use of sound, motion graphics, animation, screen capture, video, audio, and the appropriation and into remix sink of code it underlines game engines. This expanded range of communicative tools requires those who are engaged in digital humanities world to familiarize themselves with issues, discussions, and debates in design fields, especially communication and interaction design. Like their print predecessors, form at the convention center screen environments can become naturalized all too quickly, with the results that the thinking that informed they were designed goes unperceived.
For digital humanists, design is a creative practice harnessing cultural, social, economic, and technological constraints in order to bring systems and objects into the world. Design in dialogue with research is simply a picnic, but when used to pose in frame questions about knowledge, design becomes an intellectual method. Digital humanities is a production based in Denver in which theoretical issues get tested in the design of implementations and implementations or loci after your radical reflection and elaboration.
Did you thaw humanists have much to learn from communication and media design about how to juxtapose and integrate words and images create hire he is of reading, Forge pathways of understanding, deployed grades in templates to best effect, and develop navigational schemata that guide in produce meaningful interactions.
P. 15. The field of digital digital humanities me see the emergence of polymaths who can “ do it all” : Who can research, write, shoot, edit, code, model, design, network, and dialogue with users. But there is also ample room for specialization and, particularly, for collaboration.
P. 16. Computational activities in digital humanities.
The foundational layer, computation, relies on principles that are, on the surface, at odds with humanistic methods.
P. 17. The second level involves processing in a way that conform to computational capacities, and this were explored in the first generation of digital scholarship and stylometrics, concordance development, and indexing.
Duration, analysis, editing, modeling.
Duration, analysis, editing, and modeling comprise fundamental activities at the core of digital humanities. Involving archives, collections, repositories, and other aggregations of materials, duration is the selection and organization of materials in an interpretive framework, argument, or exhibit.
P. 18. Analysis refers to the processing of text or data: statistical and quantitative methods of analysis have brought close readings of texts (stylometrics and genre analysis, correlation, comparisons of versions for alter attribution or usage patterns ) into dialogue with distant reading (The crunching cuff large quantities of information across the corpus of textual data or its metadata).
Edit think has been revived with the advent of digital media and the web and to continue to be an integral activity in textual as well as time based formats.
P. 18. Model link highlights the notion of content models- shapes of argument expressed in information structures in their design he digital project is always an expression of assumptions about knowledge: usually domain specific knowledge given an explicit form by the model in which it is designed.
P. 19. Each of these areas of activity- cure ration, analysis, editing, and modeling is supported by the basic building blocks of digital activity. But they also depend upon networks and infrastructure that are cultural and institutional as well as technical. Servers, software, and systems administration are key elements of any project design.
P. 30. Digital media are not more “evolved” have them print media nor are books obsolete; but the multiplicity of media in the very processes of mediation entry mediation in the formation of cultural knowledge and humanistic inquiry required close attention. Tug link between distant and clothes, macro and micro, and surface in depth becomes the norm. Here, we focus on the importance of visualization to the digital humanities before moving on to other, though often related, genre and methods such as Locative
investigation, thick mapping, animated archives, database documentaries, platform studies, and emerging practices like cultural analytics, data mining and humanities gaming.
P. 35. Fluid texture out what he refers to the mutability of texts in the variants and versions Whether these are produced through Authorial changes, anything, transcription, translation, or print production
Cultural Analytics, aggregation, and data mining.
The field of cultural Analytics has emerged over the past few years, utilizing tools of high-end computational analysis and data visualization today sect large-scale coach data sets. Cultural Analytic does Not analyze cultural artifacts, but operates on the level of digital models of this materials in aggregate. Again, the point is not to pit “close” hermeneutic reading against “distant” data mapping, but rather to appreciate the synergistic possibilities and tensions that exist between a hyper localized, deep analysis and a microcosmic view
Data mining is a term that covers a host of picnics for analyzing digital material by “parameterizing” some feature of information and extract in it. This means that any element of a file or collection of files that can be given explicit specifications, or parameters, can be extracted from those files for analysis.
Understanding the rehtoric of graphics is another essential skill, therefore, in working at a skill where individual objects are lost in the mass of processed information and data. To date, much humanities data mining has merely involved counting. Much more sophisticated statistical methods and use of probability will be needed for humanists to absorb the lessons of the social sciences into their methods
P. 42. Visualization and data design
Currently, visualization in the humanities uses techniques drawn largely from the social sciences, Business applications, and the natural sciences, all of which require self-conscious criticality in their adoption. Such visual displays including graphs and charts, may present themselves is subjective or even unmediated views of reality, rather then is rhetorical constructs.
Warwick, C., Terras, M., & Nyhan, J. (2012). Digital humanities in practice . London: Facet Publishing in association with UCL Centre for Digital Humanities.
CALL FOR PROPOSALS
IOLUG Fall 2016 Conference – Let Our Powers Combine: Engage. Partner. Inspire
Friday, October 21, 2016
Indiana Wesleyan University North Campus
3777 Priority Way, Indianapolis, IN 46240
How can we join together to increase awareness of the value, impact and services provided by libraries and library professionals in the academic, public and online settings? The IOLUG Program Committee is inviting proposals around the theme of proving the value and worth of the library. Specifically, how are you demonstrating the value of your library? What emerging technologies are you using to display your contribution to your institution or community either online or in person? How can we work together to inspire a spirit of advocacy?
We encourage presentations that are practical, hands-on, and include take-awayable tools, techniques, and/or strategies that librarians can implement to improve their resources and services for students, patrons, faculty, etc. Consider the following topics:
- Promoting open educational resources (OER) and affordable learning materials
- Analytics and metrics
- Supporting diversity
- Improved service delivery and job performance
- Digital media implementation
- New library initiatives
- Innovation and community engagement
Please specify in your proposal whether users will be expected to bring their own devices, or if you will need the use of a computer lab.
Submit your proposal today!
Deadline is Friday, September 2
Get ideas from previous conferences at the IOLUG site.
We’re at a curious point in the hype cycle of educational innovation, where the hottest concept of the past year–Massive Open Online Courses, or MOOCs–is simultaneously being discovered by the mainstream media, even as the education-focused press is declaring them dead. “More Proof MOOCs are Hot,” and “MOOCs Embraced By Top Universities,” said the Wall Street Journal and USA Today last week upon the announcement that Coursera had received a $43 million round of funding to expand its offerings;
“Beyond MOOC Hype” was the nearly simultaneous headline in Inside Higher Ed.
Can MOOCs really be growing and dying at the same time?
The best way to resolve these contradictory signals is probably to accept that the MOOC, itself still an evolving innovation, is little more than a rhetorical catchall for a set of anxieties around teaching, learning, funding and connecting higher education to the digital world. This is a moment of cultural transition. Access to higher education is strained. The prices just keep rising. Questions about relevance are growing. The idea of millions of students from around the world learning from the worlds’ most famous professors at very small marginal cost, using the latest in artificial intelligence and high-bandwidth communications, is a captivating one that has drawn tens of millions in venture capital. Yet, partnerships between MOOC platforms and public institutions like SUNY and the University of California to create self-paced blended courses and multiple paths to degrees look like a sensible next step for the MOOC, but they are far from that revolutionary future. Separate ideas like blended learning and plain old online delivery seem to be blurring with and overtaking the MOOC–even Blackboard is using the term.
The time seems to be ripe for a reconsideration of the “Massive” impact of “Online” and “Open” learning. TheReclaim Open Learning initiative is a growing community of teachers, researchers and learners in higher education dedicated to this reconsideration. Supporters include the MIT Media Lab and the MacArthur Foundation-supported Digital Media and Learning Research Hub. I am honored to be associated with the project as a documentarian and beater of the drum.
Entries are currently open for our Innovation Contest, offering a $2000 incentive to either teachers or students who have projects to transform higher education in a direction that is connected and creative, is open as in open content and open as in open access, that is participatory, that takes advantage of some of the forms and practices that the MOOC also does but is not beholden to the narrow mainstream MOOC format (referring instead to some of the earlier iterations of student-created, distributed MOOCscreated by Dave Cormier, George Siemens, Stephen Downes and others.)
Current entries include a platform to facilitate peer to peer language learning, a Skype-based open-access seminar with guests from around the world, and a student-created course in educational technology. Go hereto add your entry! Deadline is August 2. Our judges include Cathy Davidson (HASTAC), Joi Ito (MIT), and Paul Kim (Stanford).
Reclaim Open Learning earlier sponsored a hackathon at the MIT Media Lab. This fall, September 27 and 28, our judges and contest winners will join us at a series of conversations and demo days to Reclaim Open Learning at the University of California, Irvine. If you’re interested in continuing the conversation, join us there or check us out online.