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.
Storytelling with Data: An Introduction to Data Visualization
Mar 04 – Mar 31, 2019
Delivery Mode : Asynchronous Workshop Levels : Beginner,Intermediate Eligible for Online Teaching Certificate elective : No
Data visualization is about presenting data visually so we can explore and identify patterns in the data, analyze and make sense of those patterns, and communicate our findings. In this course, you will explore those key aspects of data visualization, and then focus on the theories, concepts, and skills related to communicating data in effective, engaging, and accessible ways.
This will be a hands-on, project-based course in which you will apply key data visualization strategies to various data sets to tell specific data stories using Microsoft Excel or Google Sheets. Practice data sets will be provided, or you can utilize your own data sets.
Week 1: Introduction and Tool Setup
Week 2: Cognitive Load and Pre-Attentive Attributes
Week 3: Selecting the Appropriate Visualization Type
Week 4: Data Stories and Context
Upon completion of this course, you will be able to create basic data visualizations that are effective, accessible, and engaging. In support of that primary objective, you will:
Describe the benefits of data visualization for your professional situation
Identify opportunities for using data visualization
Use appropriate accessibility strategies for data tables
Basic knowledge of Microsoft Excel or Google Sheets is required to successfully complete this course. Resources will be included to help you with the basics should you need them, but time spent learning the tools is not included in the estimated time for completing this course.
What are the key takeaways from this course?
The ability to explain how data visualization is connected to data analytics
The ability to identify key data visualization theories
Creating effective and engaging data visualizations
Applying appropriate accessibility strategies to data visualizations
Who should take this course?
Instructional designers, faculty, and higher education administrators who need to present data in effective, engaging, and accessible ways will benefit from taking this course
“Shifts in students’ learning style will prompt a shift to active construction of knowledge through mediated immersion.”-Chris Dede
The theory of constructivist-based learning, according to Dr. Seymour Papert, “is grounded in the idea that people learn by actively constructing new knowledge, rather than having information ‘poured’ into their heads.”
Moreover, constructionism asserts that people learn with particular effectiveness when they are engaged in constructing personally meaningful artifacts (such as computer programs, animations, 3D modeling, creating spatial environments in virtual reality or building robots).”
Technologies like virtual reality, especially for Gen Z students’, provides avenues that allow them to engage in a social, collaborative, and active learning environment.
Virtual reality, especially when combined with powerful storytelling, allows the student to participate in the story, develop empathy to experiences outside their current realm of understanding and allows them to be fully immersed in their own exploration and learning.
Teachers can bring VR stories into the classroom in many different ways for meaningful learning experiences. Imagine a scavenger hunt where students narrate a story based on what they find. Or consider using objects they see to identify vocabulary words or recognize letters. Students should have purpose in their viewing and it should directly connect to standards.
Similar to the new movie, Ready Player One, they provide an intense experience where the viewer feels like they are in the center of the story.
Using a mobile device or tablet, the student can start the story and look around the scene based on their interest, rather than the cameras focus. New apps such as Baobab VR have continued to appear with more interactions and engagement.
A creative way to have your students create their own virtual stories is using the app Roundme. Upload your 360 image and add directional sound, links and content. Upload portals to walk the viewer into multiple scenes and then easily share the stories by link to the story.
Storyfab, turns our students into the directors of the show
A new AR book, SpyQuest, has moved the immersive experience a big step forward as it helps define the story by bringing the images to life. Through the camera lens on a device, the stories make students the agents in an adventure into the world of espionage. The augmented reality experiences on the images use the accompanying app to scan the scene and provide further insight into the story.
Digital storytelling uses video, audio, social media, blogging and other tools to convey ideas and information effectively. The emphasis is on empowering students to create authentic products that they can share with others beyond the classroom walls, and to allow for audience interaction and feedback.
why should we inspire students to be digital storytellers?
Requires critical thinking: Creating an interdisciplinary product from scratch requires high level thinking skills like evaluating evidence, editing and curation, and production timelines. Digital stories often use multiple skills like writing, public speaking, photography, design and collaboration in a single project which makes them ideal for practicing skills learned other units or classes.
Authentic projects have impact: Creating real-world, impactful products that students share with an audience beyond the classroom is one of the best ways to enhance motivation and increase quality.
Places focus on writing: A picture is worth a thousand words, and video is 30 photos a second. It has its own grammar and style, but concepts of content, structure, tone and audience impact are just as important in multimedia as they are for an essay. Scripts, voiceovers and interview questions emphasize traditional writing skills and are the backbone of all multimedia projects.
Develops digital citizens: What to post online, when and how are all important questions for our students to learn to answer. Require them to comment on others’ work and develop etiquette for online posts and feedback. Rather than being afraid of the internet, embrace it to teach digital citizenship.
Students can add to digital portfolios: All student work can be compiled into a digital portfolio that they can use to promote themselves for jobs/internships
How to Educate Digital Storytellers
1. Focus on content, not the tools
2. Take it to the next “SAMR level.” The SAMR model is a way to gauge how deeply and effectively you use technology (Salvador Dali)
A study that looked at reader engagement across articles that contained charts and infographics vs. articles that were text-only found that those with graphical storytelling, or what I like to call data storytelling, had up to 34 percent more comments and shares and a 300 percent improvement on the depth of scroll down the page.
Using storytelling techniques to present data not only makes it more visually appealing but also enables easy spotting of key trends, seamless results-tracking, and quick goal-monitoring.
Here are things that can help you build a bridge from your current methods to effective data storytelling–
Choose a topic by identifying your target audience, the goal of your visual, what you would like to achieve.
Organize your data by thinking about what you want to convey and then get rid of anything that doesn’t help you tell that story.
Spend time making your visualization look sharp by keeping it simple, using color and interactivity.
A few bonus tips to make your data visualizations really pop–
Don’t use more than two graphs at a time so as not to confuse participants.
Stick with one color per graph; making things multicolored will cause data to look jumbled.
Give context to your concept. Introduce your idea slowly and tell the story of what you want your data to reveal instead of assuming everyone in the room is on the same page.
Try using interactive data storytelling techniques to support your data.
more on digital storytelling in this IMS blog