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.
Digital Humanities Workshop with Marina Rustow – February 28
1:30 – 3:00 p.m.
Wallin 15K (Elmer L. Andersen Library, lower level), University of Minnesota
Graduate students: Join us for a Digital Humanities Workshop with Marina Rustow, History & Near Eastern Studies, Princeton. Learn more here. Co-sponsored by the Center for Medieval Studies, DASH, and the James Ford Bell Library.
Digital Humanities and the Future of Liberal Arts – October 11 3:30 – 5:00 p.m.
Wilson Research Collaboration Studio, University of Minnesota
A survey of some of the most exciting applications of digitization in the College of Liberal Arts along with a discussion of the potential of digital humanities for advancing and enriching our understanding of the human condition. Moderated by Jane Blocker, Art History.
The term “digital humanities” can refer to research and instruction that is about information technology or that uses IT. By applying technologies in new ways, the tools and methodologies of digital humanities open new avenues of inquiry and scholarly production. Digital humanities applies computational capabilities to humanistic questions, offering new pathways for scholars to conduct research and to create and publish scholarship. Digital humanities provides promising new channels for learners and will continue to influence the ways in which we think about and evolve technology toward better and more humanistic ends.
As defined by Johanna Drucker and colleagues at UCLA, the digital humanities is “work at the intersection of digital technology and humanities disciplines.” An EDUCAUSE/CNI working group framed the digital humanities as “the application and/or development of digital tools and resources to enable researchers to address questions and perform new types of analyses in the humanities disciplines,” and the NEH Office of Digital Humanities says digital humanities “explore how to harness new technology for thumanities research as well as those that study digital culture from a humanistic perspective.” Beyond blending the digital with the humanities, there is an intentionality about combining the two that defines it.
digital humanities can include
creating digital texts or data sets;
cleaning, organizing, and tagging those data sets;
applying computer-based methodologies to analyze them;
and making claims and creating visualizations that explain new findings from those analyses.
Scholars might reflect on
how the digital form of the data is organized,
how analysis is conducted/reproduced, and
how claims visualized in digital form may embody assumptions or biases.
Digital humanities can enrich pedagogy as well, such as when a student uses visualized data to study voter patterns or conducts data-driven analyses of works of literature.
Digital humanities usually involves work by teams in collaborative spaces or centers. Team members might include
researchers and faculty from multiple disciplines,
data scientists and preservation experts,
technologists with expertise in critical computing and computing methods, and undergraduates
some disciplinary associations, including the Modern Language Association and the American HistoricalAssociation, have developed guidelines for evaluating digital proj- ects, many institutions have yet to define how work in digital humanities fits into considerations for tenure and promotion
Because large projects are often developed with external funding that is not readily replaced by institutional funds when the grant ends sustainability is a concern. Doing digital humanities well requires access to expertise in methodologies and tools such as GIS, mod- eling, programming, and data visualization that can be expensive for a single institution to obtain
Resistance to learning new tech- nologies can be another roadblock, as can the propensity of many humanists to resist working in teams. While some institutions have recognized the need for institutional infrastructure (computation and storage, equipment, software, and expertise), many have not yet incorporated such support into ongoing budgets.
Opportunities for undergraduate involvement in research, provid ing students with workplace skills such as data management, visualization, coding, and modeling. Digital humanities provides new insights into policy-making in areas such as social media, demo- graphics, and new means of engaging with popular culture and understanding past cultures. Evolution in this area will continue to build connections between the humanities and other disci- plines, cross-pollinating research and education in areas like med- icine and environmental studies. Insights about digital humanities itself will drive innovation in pedagogy and expand our conceptualization of classrooms and labs
Digital humanities (DH) has been heralded as the next big thing in humanities scholarship and universities have been creating initiatives and new positions in this field. Libraries, too, have moved to create a presence in the digital humanities community, setting up centers and hiring librarians to staff them. This course is designed as an introduction for librarians or library school students who have little or no exposure to DH and wish to be better positioned to offer DH support or services in a library setting. Participants will read and discuss DH scholarship, learn about frequently-used software, and think about why and how libraries and librarians engage DH. While I will encourage participants to explore more complex computing approaches (and I will support those who do as best I can), this course does not presuppose computing skills such as programming or use of the command line and will not ask participants to do much more than upload files to websites or install and use simple programs. Participants should have an interest and background in humanities scholarship and humanities librarianship and while the readings will focus on activities in the United States, our discussions can be more geographically wide-ranging.
– A basic knowledge of what digital humanities is and how it effects scholarship in the humanities disciplines.
– Exposure to core tools and approaches used by digital humanists.
– An understanding of how libraries and librarians have been involved with digital humanities.
– Critical engagement with the role of librarians and libraries in digital humanities.
This class has a follow-up, Introduction to Text Encoding
John Russell is the Associate Director of the Center for Humanities and Information at Pennsylvania State University. He has been actively involved in digital humanities projects, primarily related to text encoding, and has taught courses and workshops on digital humanities methods, including “Introduction to Digital Humanities for Librarians.”
Read an interview with John Russell about this class:
The American Philosophical Society (APS) Library in Philadelphia seeks applicants for its new Digital Humanities Fellowship.
This fellowship, for up to two (2) months, is open to scholars who are comfortable creating tools and visualizations, as well as those interested in working collaboratively with the APS technology team.
Librarians, scholars, and graduate students (MLIS or other) at any stage of their career may apply. Special consideration will be given to proposals that present APS Library holdings in new and engaging ways. Examples include (but are not limited to) projects that incorporate timelines, text analytics, network graphs, and maps.
Stipend: $3,000 per month will be awarded to the successful applicant after their arrival at the Library.
All Applicants must submit:
Prospectus for a digital project
Examples of previous digital humanities projects (if available)
Contact information for two people who will submit confidential letters of reference
Full details are available on the application webpage:
Call for Papers The Journal of Emerging Learning Design special issue: The Digital Humanities
Submissions due date
On/before November 14, 2016.
Editors Jerry Alan Fails (Boise State University) and AJ Kelton (Montclair State University)
Introduction The Journal of Emerging Learning Design is pleased to announce the Call for Papers for its first Special Issue: The Digital Humanities.
With roots reaching back as far as 1940, the term Digital Humanities came into wide usage in late 2012 and has slowly risen in popularity since then. A Google Scholar search for “digital humanities” yields just under 30 results during the year 2000 and over 4,700 during 2015. The increase in the number of published articles in 15 years is second only to the diversity of the research that is included.
About the ELDj
The Journal of Emerging Learning Design (ELDj) is an open access, peer-reviewed, online journal that provides a platform for academics and practitioners to explore emerging learning design theories, concepts, and issues and their implications at national and international levels.
An outgrowth of the annual Emerging Learning Design Conference, which makes its home at Montclair State University (MSU), the ELDj invites scholarly communication in the emerging learning design field and will present best practices in design and implementation by offering articles that present, propose, or review engaging and dynamic approaches to pedagogy and how technology can better enhance it.
The ELDj has purposefully kept the focus of the theme for this special issue broad. The intent is to continue to break down traditional academic silos and allow for an open dialogue and sharing with respect to what is considered the Digital Humanities. ELDj is intentionally taking a broad consideration for what is included in the digital humanities with the clear understanding that this issue, and the articles within, will contribute to this growing field and provide a groundwork for further reflection and research.
Deadline for Submission: November 14, 2016
Notification of Acceptance: March 1st, 2017
Final Revised Submission: April 21, 2017
Publication: June 2, 2017
Publication and Presentation
The issue will be published prior to, and featured at, the 7th Annual Emerging Learning Design Conference (ELDc17) on June 2nd, 2017.
Based on when a submission is accepted, authors may be offered the opportunity to present their research at the 7th Annual Emerging Learning Design Conference in June, 2017. Presentations must be given in an appropriate presentation format for the conference: panel (full conference audience), workshop (120 minutes), concurrent (45 minutes), or Sparks! (5 minutes to full conference audience).
Manuscripts should be the appropriate length for the material being presented.
Full paper manuscripts can vary from 2500-4500 words in addition to an abstract of 250 words and a works cited section of appropriate length.
Briefs or Trends papers have a limit of 1000 words.
A description of each type of submission and guidelines can be found at http://eldj.montclair.edu/submission-guidelines/ELDj uses a double-blind, peer-review process. Submissions should not have been published previously or be under consideration for publication elsewhere. Authors should review the above linked guidelines for important and relevant information.
Submissions should be sent to email@example.com: questions and information requests may be sent to the Editors at the same address.
more on digital humanities and publications for digital humanities in this IMS blog
The deadline for proposals has been extended to September 9th, 2016. Thank you.
THE DIGITAL HUMANITIES: IMPLICATIONS FOR LIBRARIANS, LIBRARIES, AND LIBRARIANSHIP
The redefinition of humanities scholarship has received major attention in higher education over the past few years. The advent of digital humanities has challenged many aspects of academic librarianship. With the acknowledgement that librarians must be a necessary part of this scholarly conversation, the challenges facing subject/liaison librarians, technical service librarians, and library administrators are many. Developing the knowledge base of digital tools, establishing best procedures and practices, understanding humanities scholarship, managing data through the research lifecycle, teaching literacies (information, data, visual) beyond the one-shot class, renegotiating the traditional librarian/faculty relationship as ‘service orientated,’ and the willingness of library and institutional administrators to allocate scarce resources to digital humanities projects while balancing the mission and priorities of their institutions are just some of the issues facing librarians as they reinvent themselves in the digital humanities sphere.
College & Undergraduate Libraries, a peer-reviewed journal published by Taylor & Francis, invites proposals for articles to be published in the fall of 2017. The issue will be co-edited by Kevin Gunn (firstname.lastname@example.org) of the Catholic University of America and Jason Paul (email@example.com) of St. Olaf College.
The issue will deal with the digital humanities in a very broad sense, with a major focus on their implications for the roles of academic librarians and libraries as well as on librarianship in general. Possible article topics include, but are not limited to, the following themes, issues, challenges, and criticism:
Developing the project development mindset in librarians
Creating new positions and/or cross-training issues for librarians
Librarian as: point-of-service agent, an ongoing consultant, or as an embedded project librarian
Developing managerial and technological competencies in librarians
Administration support (or not) for DH endeavors in libraries
Teaching DH with faculty to students (undergraduate and graduate) and faculty
Helping students working with data
Managing the DH products of the data life cycle
Issues surrounding humanities data collection development and management
Relationships of data curation and digital libraries in DH
Issues in curation, preservation, sustainability, and access of DH data, projects, and products
Linked data, open access, and libraries
Librarian and staff development for non-traditional roles
Teaching DH in academic libraries
Project collaboration efforts with undergraduates, graduate students, and faculty
Data literacy for librarians
The lack of diversity of librarians and how it impacts DH development
Advocating and supporting DH across the institution
Developing institutional repositories for DH
Creating DH scholarship from the birth of digital objects
Consortial collaborations on DH projects
Establishing best practices for DH labs, networks, and services
Assessing, evaluating, and peer reviewing DH projects and librarians.
Articles may be theoretical or ideological discussions, case studies, best practices, research studies, and opinion pieces or position papers.
Please submit proposals to Kevin Gunn (firstname.lastname@example.org) by September 9th, 2016; please do not use Scholar One for submitting proposals. First drafts of accepted proposals will be due by February 1, 2017 with the issue being published in the fall of 2017. Feel free to contact the editors with any questions that you may have.
more on digital humanities in this IMS blog:
The Summer University takes place across 11 whole days. The intensive
programme consists of workshops, public lectures, regular project
presentations, a poster session, and a panel discussion.
The *workshop programme* is composed of the following thematic strands:
– XML-TEI encoding, structuring and rendering
– Compilation, Annotation und Analysis of Written Text Corpora. Introduction to Methods and Tools
– Comparing Corpora
– Digital Editions and Editorial Theory: Historical Texts and Documents
– Searching Linguistic Patterns in Large Text Corpora for Digital Humanities Research
– Lexicometric text analysis using CLARIN-D Webservices and R
– Spoken Language and Multimodal Corpora
– Digital Lexica, Terminological Databases and Encyclopaedias: Contents, Structures and Formats
– Exploring art and technology within contemporary network culture. A close look at net art, digital art curation and its impact on the culture heritage sector
– From Text to Map. Modeling Historical Humanities Data in Mapping
– Project Management
– Data management for the humanities: from data warehousing to legal and ethical implication
– Digital Research Infrastructures in the Humanities: How to Use, Build and Maintain Them
Workshops are normally structured in such a way that participants can either take the two blocks of one workshop or two blocks from different workshops. The number of participants in each workshop is limited to 10. For more information see: http://www.culingtec.uni-leipzig.de/ESU_C_T/node/621
The Summer University is directed at 60 participants from all over Europe and beyond. It wants to bring together (doctoral) students, young scholars and academics from the Arts and Humanities, Library Sciences, Social Sciences, Engineering and Computer Sciences as equal partners to an interdisciplinary exchange of knowledge and experience in a multilingual and multicultural context and thus create the conditions for future project-based cooperations and network-building across the borders of disciplines, countries, languages and cultures.
The Summer University seeks to offer a space for the discussion and acquisition of new knowledge, skills and competences in those computer technologies which play a central role in Humanities Computing and which determine every day more and more the work done in the Humanities and Cultural Sciences, as well as in publishing, libraries, and archives, to name only some of the most important areas. The Summer University aims at integrating these activities into the broader context of the Digital Humanities, which pose questions about the consequences and implications of the application of computational methods and tools to cultural artefacts of all kinds.
In all this the Summer University aims at confronting the so-called Gender Divide , i.e. the under-representation of women in the domain of Information and Communication Technologies (ICT) in Germany and Europe. But, instead of strengthening the hard sciences as such by following the way taken by so many measures which focus on the so-called STEM disciplines and try to convince women of the attractiveness and importance of Computer Science or Engineering, the Summer University relies on the challenges that the Humanities with their complex data and their wealth of women represent for Computer Science and Engineering and
the further development of the latter, on the overcoming of the boarders between the so-called hard and soft sciences and on the integration of Humanities, Computer Science and Engineering.
As the Summer University is dedicated not only to the acquisition of knowledge and skills, but wants also to foster community building and networking across disciplines, languages and cultures, countries and continents, the programme of the Summer School features also communal coffee breaks, communal lunches in the refectory of the university, and a rich cultural programme (thematic guided tours, visits of archives, museums and exhibitions, and communal dinners in different parts of Leipzig).
For all relevant information please consult the Web-Portal of the European Summer School in Digital Humanities “Culture & Technology”: http://www.culingtec.uni-leipzig.de/ESU_C_T/ which will be continually updated and integrated with more information as soon as it becomes available.
For questions about the European Summer University please use email@example.com
With best regards, Elisabeth Burr