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Chris Long

centerNet | An international network of digital humanities centers - 0 views

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    Network of Digital Humanities Centers
Chris Long

Scholars, New Media, and the World - The Monkey Cage - 2 views

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    Here is a good example of the power of digital scholarly communication.
Mike Furlough

Digital Humanities Questions & Answers - 1 views

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    A discussion forum sponsored by the Association for Computers and the Humanities. Topics range from very nitty-gritty to broad and conceptual.
Chris Long

About the CDRH | Katherine L. Walter - 0 views

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    Katherine Walter's page at the Center for Digital Research in the Humanities
Chris Long

WordHoard - Title Page & Table of Contents - 0 views

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    This is a site Martin Mueller at Norhtwestern developed.
Chris Long

Digital Humanities efforts range from database design to new creations | Harvard Magazi... - 1 views

  • Building a virtual world (as he and his team have done in partnership with Dassault Systèmes, Paris) enhances research, too, he adds: it underscores what isn’t known. “The process raises all sorts of research questions: Was the mummy embalmed in the temple or in some kind of purification tent somewhere else? Should this canopy be in the middle of the courtyard? How many statues were set up in the niches?”
  • Like pyramid-building itself, the work of the humanities is to create the vessels that store our culture. In this sense, the digitization of archives and collections holds the promise of a grand conclusion: nothing less than the unification of the human cultural record online, representing, in theory, an unprecedented democratization of access to human knowledge. Equally profound is the way that technology could change the way knowledge is created in the humanities. These fields, encompassing the study of languages, literature, history, jurisprudence, philosophy, archaeology, religion, ethics, the arts, and arguably the social sciences, are entering an experimental period of inventiveness and imagination that involves the creation of new kinds of vessels—be they databases, books, exhibits, or works of art—to gather, store, interpret, and transmit culture.
  • But digitization of archives also has the capacity to change the traditional division of labor in humanities scholarship in fundamental ways—for example, by empowering ordinary people to participate in the creation, curation, and interpretation of collections.
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  • The Digital Archive of Japan is a genre—an example of a participatory archive.”
  • “It becomes an organic thing,” he says. Konrad Lawson jokes, “It will be like a Heisenberg archive. You won’t be able to be a part of it without affecting it.”
  • At a recent meeting of the American Historical Association, Guldi proposed that the power of digital tools in research would expand the focus of dissertations from the 20-year span that has been “the hallmark of historical scholarship over the last three decades” to 150 years.
  • “Most literary historians work on a small corpus of texts where their expertise is manifest through the finesse with which they can demonstrate certain features of that corpus. Those noble skill sets are not about to disappear with a wave of the digital magic wand. On the other hand,” he explains, “there are really exciting research questions on the scale of, ‘How does the socioeconomic history of publishing as an industry relate to the production of certain literary genres?’ And when you start to operate on that scale, of course your data set has suddenly expanded: no human being can possibly read the one million books on the shelf that might document that history.”
  • “Well, it puts us at a place where the boundary line between what we have traditionally called the humanities and what we have traditionally called the social sciences becomes awfully porous. For me that’s an expansion and enhancement of the humanities of the most creative and best sort.”
  • Many areas of the humanities have always been engaged with fundamental issues that have reemerged as central to the digital humanities, he says, such as “the relationship between text and image, the analysis of cultural networks, or the very multiplicity of print itself as an instrument for communicating and conveying knowledge, everything from typography and book design to systems of distribution.”
  • Design means everything from typography to design in the abstract, the cognitive sense of how you conceptualize something, thinking about the ways in which art, or sound, or tactile environments operate separately or together,” he says. “What can you do on a screen that you can’t do in a physical environment and vice versa?” And it means thinking also about the traditional publishing model—where research ends with a stable artifact, like a book—versus one that is iterative, is disseminated in multiple forms, and generates continual feedback, unifying the linear stages of the traditional research cycle into one ongoing parallel process. For Schnapp, devising new models of scholarly publishing that enhance academic study is a design question—an urgent one. As he puts it, “When you move from a universe where the rules with respect to a scholarly essay or monograph have been fully codified, to a universe of experimentation in which the rules have yet to be written, characterized by shifting toolkits and skillsets, in which genres of scholarship are undergoing constant redefinition, you become by necessity a knowledge designer.”
  • Schnapp remains passionate about print. One of his goals is to figure out ways to “reimagine print culture,” and so metaLAB is experimenting with new publishing models, print as well as digital. In 2013, the lab will publish a series with Harvard University Press (then celebrating its hundredth anniversary) called metaLAB Projects, dedicated to exploring what a scholarly book might look like in an era where knowledge is being produced in digital forms from the outset.
  • There is no such thing as ‘The Digital Humanities’; there are multiple emerging domains of experimental practice that fall under this capacious umbrella. Second,” he continues, “some of these domains of practice imply novel sorts of research questions and results; but others involve reviving forms of scholarship—like critical editions and commentaries—that were killed off by market constraints within university publishing. A lot of spaces that have been closed down are being reopened, thanks to the digital turn. And third, research tools and methodologies necessarily evolve and the humanities are no exception.
Chris Long

Welcome | Bamboo DiRT (BETA) - 0 views

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    Could the CIC develop something like this to plant the seeds of collaboration?
Chris Long

MPublishing - MPublishing - 0 views

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    Shana Kimball works here and they are doing digital scholarship
Chris Long

New Job; or, If Digital Humanities is a Game, I Prefer Tactics « Brian Croxall - 0 views

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    This is the sort of position we need in the HDA project.
Mike Furlough

Some things to think about before you exhort everyone to code | Miriam Posner's Blog - 0 views

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    Recent blog post on the culture of digital humanities, gender, and the emphasis on coding/buidling. Rich discussion thread.
Mike Furlough

Journal of Digital Humanities - 0 views

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    Brand new: first issue released April 5 2012.
Mike Furlough

Bethany Nowviskie - 0 views

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    A blog by the Director of the Scholars Lab at the University of Virginia. Bethany is incredibly thoughtful about the practice of digital humanities, the labor politics of the profession, and alternative academic career development.
Chris Long

Digital Humanities Centers as Cyberinfrastructure - 2 views

  • Centers are the most efficient way for institutions of higher education to make this investment
  • It's actually worse than that: the humanities tend to hold the private sector in contempt, as the culprit in the corporatization of the university.
  • If you are going to make an institutional investment in cyberinfrastructure for humanities and social sciences, as a university, you are obviously better off making that investment once, and in a high-impact, high-profile way, than many more times, with less impact, at a higher cost, across more units. Aside from the economies-of-scale argument, there is an argument to be made about the benefits of interdisciplinarity: it is still, in most universities, a relatively rare thing for faculty in humanities and social sciences to have ready access to compelling opportunities for interdisciplinary collaboration within their own institution.
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  • I distinctly remember a workshop that Matt and I did for other graduate students in the English department on the subject of electronic dissemination of work in progress, and electronic publishing of work from dissertation research. Most of these students were extremely skeptical of our encouragement to do these things, which they clearly regarded as extremely risky. What did they fear? They were worried that this kind of publication wouldn't count. They were worried that learning how to do this would be a distraction from their real work. They were worried that someone would steal their ideas. We argued that the only way to protect one's claim to an idea was to publish it, but to no avail: they were receiving advice to avoid the web from at least some of my colleagues in the department, particularly (at that time) those responsible for counseling students on how to navigate the job market
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