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href="https://web.archive.org/web/20210618001330/http://www.adwmainz.de/impressum.html">Impressum</a></li> </ul></nav> </div> </div> </div> </header> <div id="main" class="single-post"> <div id="content"> <article class="article"> <header class="heading-holder"> <h1><a href="https://web.archive.org/web/20210618001330/https://dhd-blog.org/?p=13490"><em>Digital Medievalists </em> im deutschsprachigen Raum</a></h1> <div class="meta"> <span class="counter "><a href="#comments" title="Zu den Kommentaren">1</a></span> <span>Veröffentlicht von <a href="https://web.archive.org/web/20210618001330/https://dhd-blog.org/?author=121">Hannah Busch</a> am <time datetime="2020-05-25">25. Mai 2020</time></span> </div> </header> <h2>Die Mediävistik und ihre digitalen Spielräume auf der #DHd2020</h2> <p>Der Mittelalterforschung wird auch heute noch nachgesagt, sie sei eher traditionell orientiert und zeige nur eine langsame Offenheit gegenüber der Anwendung neuer digitaler Methoden. Auf der diesjährigen <a href="https://web.archive.org/web/20210618001330/https://dhd2020.de/">Tagung des DHd (Paderborn 2.–6. März)</a> zeigte die Mediävistik in der digitalen Geisteswissenschaft jedoch nicht nur eine breite wissenschaftliche Präsenz, sondern wusste auch beim Posterlam zu überzeugen. Als Stipendiatin des <a href="https://web.archive.org/web/20210618001330/https://dig-hum.de/">DHd</a> und <a href="https://web.archive.org/web/20210618001330/https://clariah-de.net/">CLARIAH-DE</a>,* war ich während der Tagung der digitalen Mediävistik auf der Spur, es folgt ein Überblick über die mediävistischen Beiträge auf der <a href="https://web.archive.org/web/20210618001330/https://twitter.com/hashtag/DHd2020?src=hashtag_click">#DHd2020</a>:<a href="#_ftn1">[1]</a></p> <p>*<em>An dieser Stelle noch einmal herzlichen Dank für die Unterstützung!</em></p> <p>Clemens Liedtke (Heidelberg) präsentierte im Beitrag <em>DH’s Next Topmodel? Digitale Editionsentwicklung zwischen Best Practice und Innovation am Beispiel des „Corpus Masoreticum“ </em>ein Beispiel aus den jüdischen Studien zur digitalen Transformation der Handschriftenforschung einer hebräischen Bibeledition. Er erläuterte, welchen Einfluss die Digitalisierung auf die Verfügbarkeit edierbarer Materialien hat und damit auf die Grundlagen textkritischer Editionen. Das Projekt widmet sich dem sogenannten masoretischen Text in mittelalterlichen Bibelcodizes des 12. Jahrhunderts. Am Beispiel der Langzeiteditionsvorhaben „<a href="https://web.archive.org/web/20210618001330/https://corpusmasoreticum.de/">Corpus Masoreticum</a>“ der Hochschule für Jüdische Studien in Heidelberg wird ein Editionsmodell entwickelt, dass die Modellierung von vernetzten Texten und der in den Handschriften überlieferten internen Verweisstruktur ermöglicht. Diese besteht aus metatextuellen Elementen, wie Graphemen, grammatischen, syntaktischen und semantische Notizen, Referenzen und Verweisen. Die Forschungsdaten werden in einer Graphdatenbank modelliert. Ziel des Langzeitprojektes  ist, neben der Edition selbst, die Entwicklung einer hybriden Editionsumgebung. </p> <p>Ein weiteres Editionsprojekt aus dem Bereich der Jüdischen Studien wurde von Paul Molitor et al. (Halle) im Rahmen der Postersession vorgestellt: Das DFG Projekt zur „<a href="https://web.archive.org/web/20210618001330/https://kabbalaheditions.org/projekt.html">Synoptischen Edition des kabbalistischen Traktats <em>Keter Shem Tov </em>mit englischer Übersetzung, Stellenkommentar und rezeptionsgeschichtlichen Studien</a>“ ist an der Universität Halle angesiedelt. Zentraler Aspekt der Edition des Traktats aus dem 13. Jahrhundert ist der Umgang mit der Vielzahl überlieferter Textfassungen.</p> <p>An der Schnittstelle zwischen Text- und Bildwissenschaft angesiedelt ist der Beitrag <em>Erzählerische Spielräume. Medienübergreifende Erforschung von Narrativen im Mittelalter mit ONAMA </em>von Isabella Nicka, Peter Hinkelmanns, Miriam Landkammer und Manuel Schwembacher (Salzburg)<em>. </em><a href="https://web.archive.org/web/20210618001330/http://onama.sbg.ac.at/">ONAMA</a> – das Akronym steht für <em>Ontology of the Narratives of the Middle Ages</em> – ist eine Kooperation der beiden Langzeitvorhaben <a href="https://web.archive.org/web/20210618001330/http://mhdbdb.sbg.ac.at/">Mittelhochdeutschen Begriffsdatenbank</a> (Universität Salzburg) und <a href="https://web.archive.org/web/20210618001330/https://www.imareal.sbg.ac.at/en/realonline/">Bilddatenbank REALonline</a> (Institut für Realienkunde des Mittelalters und der frühen Neuzeit, Krems/Salzburg). Das Projekt (Laufzeit März 2019 bis Februar 2021) erforscht die Modellierung von Narrativen auf (unbewegten) Bildern. Die im Projekt entwickelte Ontologie wird anhand von Beispielen aus deutschsprachigen Texten und mittelalterlichen Kunstwerken gespeist. Dabei entsteht ein intermediales Modell aus Handlung, Person, Objekt und Ort zur Erschließung mittelalterlicher Narrative mit dem Ziel der Überwindung fachlicher Grenzen zwischen bildlicher und textlicher Überlieferung. Das neue digitale Werkzeug ermöglicht die Annotation von Bild- und Textquellen, auf deren Basis dann Abfrageergebnisse zu Erzählkernen, Figurenkonstellationen, Handlungsmustern etc. ermöglicht werden. Im Vortrag wurden das eindrucksvolle Projekt sowie auch erste mit der Ontologie annotierten Ergebnisse vorgestellt<a>. </a></p> <figure class="wp-block-embed-twitter wp-block-embed is-type-rich is-provider-twitter"><div class="wp-block-embed__wrapper"> <blockquote class="twitter-tweet" data-width="550" data-dnt="true"><p lang="de" dir="ltr">Tolle Modellierung von Narrativen in <a href="https://web.archive.org/web/20210618001330/https://twitter.com/hashtag/ONAMA?src=hash&ref_src=twsrc%5Etfw">#ONAMA</a>. <a href="https://web.archive.org/web/20210618001330/https://twitter.com/hashtag/DHd2020?src=hash&ref_src=twsrc%5Etfw">#DHd2020</a> <a href="https://web.archive.org/web/20210618001330/https://t.co/PflsnutN5s">pic.twitter.com/PflsnutN5s</a></p>— Frederik Elwert (@felwert) <a href="https://web.archive.org/web/20210618001330/https://twitter.com/felwert/status/1235879454204887041?ref_src=twsrc%5Etfw">March 6, 2020</a></blockquote><script async src="https://web.archive.org/web/20210618001330js_/https://platform.twitter.com/widgets.js" charset="utf-8"></script> </div></figure> <p>Erfreulich häufig tauchen im BoA die Begriffe <em>Deep Learning</em> und <em>Machine Learning</em> auf.<a href="#_ftn2">[2]</a> Auch hier fehlt es nicht an Beiträgen aus der (digitalen) Mediävistik. Für den Bereich der Anwendung von <em>Deep Machine Learning</em> in der Bildanalyse stellten Torsten Hiltmann (Berlin) und Benjamin Risse (Münster) in ihrem Beitrag <em>Wappen und ihre Überlieferung als kulturhistorische Herausforderung </em>Wappen als geeignete Bilddomäne für visuelle Objekterkennung mittels <em>Deep Learning</em>-Algorithmen vor. Der Fokus liegt auf der Detektion heraldischer Abbildungen in mittelalterlichen und frühneuzeitlichen Handschriften, wobei die Beschreibung der Entwicklung neuer Ressourcen und Methoden im Fokus des Vortrags standen. Für das Training einer Künstlichen Intelligenz zur Bilderkennung wird in der Regel auf bestehende Bilddatenbanken zurückgegriffen. Die dafür aufbereiteten Bilddaten decken dabei bisher in erster Linie zwei Extreme ab, nämlich ein stark eingegrenztes thematisches Feld, wie beispielsweise das <a href="https://web.archive.org/web/20210618001330/http://yann.lecun.com/exdb/mnist/">MNIST Dataset</a> handgeschriebener Ziffern, oder sehr komplexe und weitgefasste Bildinhalte wie <a href="https://web.archive.org/web/20210618001330/http://www.image-net.org/">Imagenet</a><a href="#_ftn3">[3]</a> zur Objekterkennung. Wappen bilden durch ihre große Überlieferungszahl, der Diversität der Gebrauchskontexte sowie der generellen Komplexität der Materie eine Herausforderung für die kulturhistorische Forschung. Der entscheidende Vorteil von Wappen als Bilddomäne ist ihre formalisierbare visuelle Struktur aus abstrakten Codes von Formen und Farben. Durch diese Eigenschaften, so die Hypothese, bilden sie jedoch eine Bilddomäne für <em>Deep Learning</em>-Algorithmen visueller Objekterkennung, die sich in ihrer Komplexität zwischen den beiden oben genannten Bildkorpora einordnen lässt. Dies bildet einen Spielraum für die Untersuchung der Funktionsweise der Algorithmen für verschiedene Bildabstraktionen; beispielweise Geometrie versus Textur, Form versus Farbe. Im Rahmen des Projektes soll ein ausreichend großes Datenset erstellt und zur Verfügung gestellt werden. </p> <p>Keine DHd ohne Beiträge zu aktuellen Entwicklungen in der automatischen Handschriftenerkennung (HTR). Tobias Hodel (Bern) gab in seinem Beitrag <em>Best-practices zur Erkennung alter Drucke und Handschriften. Die Nutzung von Transkribus large- und small-scale</em><a href="#_ftn4">[4]</a> einen Einblick in aktuelle Entwicklungen und das Potenzial der Nachnutzbarkeit für eigene Textkorpora. Dabei lag ein besonderer Fokus auf der Benutzerfreundlichkeit für Lai*innen sowie darauf, wie ein Neuronales Netz zur Handschriftenerkennung trainiert wird und welche Datenmengen dazu auf- und nachbereitet werden müssen. </p> <p>Ein Spielraum der mediävistischen Musikwissenschaft wurde im Beitrag <em>OMMR4all – ein semiautomatischer Online-Editor für mittelalterliche Musiknotationen</em> vorgestellt. <a href="https://web.archive.org/web/20210618001330/https://ommr4all.informatik.uni-wuerzburg.de/de/">OMMR4all</a> steht für <em>Optical Medieval Music Recognition for all,</em> wobei es sich um eine als Web-Applikation ausführbare <em>open source</em> Software handelt. Christoph Wick, Alexander Hartel und Frank Puppe (Würzburg) stellten eine quellenoffene Software zur semiautomatischen Neumenerkennung vor. Die Software basiert auf OMR (= Optical Music Recognition) und MEI (= <a href="https://web.archive.org/web/20210618001330/https://music-encoding.org/">Music Encoding Initiative</a>) Recognition als Output. Die Software ermöglicht das Training für Notenlinien und Symboldetektoren, ein Overlayeditor erlaubt die manuelle Nachkorrektur. Durch den Output als MEI XML können die erfassten Neumennotationen maschinell nachgenutzt werden. </p> <figure class="wp-block-image size-large"><img src="https://web.archive.org/web/20210618001330im_/https://dhd-blog.org/wp-content/uploads/2020/04/ESaa-l4UcAAl0Cm.jpg" alt="" class="wp-image-13492" srcset="https://web.archive.org/web/20210618001330im_/https://dhd-blog.org/app/uploads/2020/04/ESaa-l4UcAAl0Cm.jpg 715w, https://web.archive.org/web/20210618001330im_/https://dhd-blog.org/app/uploads/2020/04/ESaa-l4UcAAl0Cm-210x300.jpg 210w" sizes="(max-width: 715px) 100vw, 715px"/><figcaption>Abb. 1: Posterbeitrag <em>Cooking Recipes of the Middle Ages</em></figcaption></figure> <p>Das Projekt CoReMa, vorgestellt durch Beiträge von Christian Steiner et al. (in Abwesenheit, Graz), ist der Aufbereitung von Kochrezeptüberlieferungen aus Frankreich und dem deutschsprachigen Raum gewidmet. Das Korpus umfasst circa 80 Manuskripte mit einer Gesamtzahl von 8000 Kochrezepten. Die Aufbereitung erfolgt mit dem Ziel der qualitativen und quantitativen Analyse und möchte damit einen Beitrag zur Ernährungsgeschichte leisten. Die Handschriften werden transkribiert, philologisch-editorisch bearbeitet und semantisch angereichert. Dadurch wird ein Abgleich von Zutaten, Kochprozessen und Kochutensilien ermöglicht. Begleitet wurde der Vortrag <em>Spielräume definieren: Cooking Recipies of the Middle Ages</em> von einem Poster (siehe Abb. 1), dessen Fokus auf den nachnutzbaren Ressourcen zur Studie über Herkunft und die Bildung regionaler Küchen des Projektes liegt. Zeitgleich zur Konferenz wurde die <a href="corema">Homepage des Projektes</a> mit ersten Beispielen gelauncht. Darüber hinaus überzeugte CoReMa auch beim Posterslam und belegte den zweiten Platz.</p> <p>Sarah Ihden (Hamburg) stellte während der Postersession das Projekt <a href="https://web.archive.org/web/20210618001330/https://www.slm.uni-hamburg.de/niederdeutsch/forschung/projekte/mittelniederdeutsche-grammatik.html"><em>Mittelniederdeutsche Grammatik, Flexionsmorphologie</em></a> (Laufzeit 2020–2023) zu einer modernen mittelniederdeutschen Grammatik vor, die den Open Science Gedanken und den FAIR Prinzipien folgt. Varianz, Ambiguität, Unsicherheit. Methodische Schlaglichter zur mittelniederdeutschen Grammatik.</p> <figure class="wp-block-image size-large"><img src="https://web.archive.org/web/20210618001330im_/https://dhd-blog.org/wp-content/uploads/2020/04/DM_PostgradSubcommittee-1-1024x768.jpg" alt="" class="wp-image-13493" srcset="https://web.archive.org/web/20210618001330im_/https://dhd-blog.org/app/uploads/2020/04/DM_PostgradSubcommittee-1-1024x768.jpg 1024w, https://web.archive.org/web/20210618001330im_/https://dhd-blog.org/app/uploads/2020/04/DM_PostgradSubcommittee-1-300x225.jpg 300w, https://web.archive.org/web/20210618001330im_/https://dhd-blog.org/app/uploads/2020/04/DM_PostgradSubcommittee-1-768x576.jpg 768w, https://web.archive.org/web/20210618001330im_/https://dhd-blog.org/app/uploads/2020/04/DM_PostgradSubcommittee-1-1536x1152.jpg 1536w, https://web.archive.org/web/20210618001330im_/https://dhd-blog.org/app/uploads/2020/04/DM_PostgradSubcommittee-1-243x181.jpg 243w, https://web.archive.org/web/20210618001330im_/https://dhd-blog.org/app/uploads/2020/04/DM_PostgradSubcommittee-1.jpg 1867w" sizes="(max-width: 1024px) 100vw, 1024px"/><figcaption>Abb. 2: <em>Digital Medievalist Postgraduate Subcommittee</em> (Design: Tessa Gengnagel)</figcaption></figure> <p>Gemeinsam mit Tessa Gengnagel (Köln) und Daniela Schulz (Wolfenbüttel/Wuppertal) stellte ich selbst im Rahmen der Postersession das 2019 gegründete <em><a href="https://web.archive.org/web/20210618001330/https://digitalmedievalist.wordpress.com/about/postgraduate-subcommittee/">Digital Medievalist Postgraduate Subcommittee</a></em>, Teil der internationalen, webbasierten Interessengemeinschaft <a href="/web/20210618001330/https://dhd-blog.org/Users/Hannah/AppData/Local/Temp/digitalmedievalist.wordpress.com"><em>Digital Medieva</em>list</a> vor. <em>Digital Medievalist</em> wurde 2003 gegründet, um Wissenschaftler*innen zu vernetzen und den Austausch bezüglich der wachsenden Herausforderungen digitaler Projekte zu unterstützen. </p> <p>Die digitalen Geisteswissenschaften und somit auch die Digitale Mediävistik sind ein relativ junger und sich in ständiger Weiterentwicklung befindender Bereich, der eine heterogene Gruppe junger Wissenschaftler*innen umfasst. Im Vergleich zu den etablierten geisteswissenschaftlichen Disziplinen zeichnet sich diese Gruppe im Besonderen durch ihre große Diversität an fachlichen Hintergründen und abweichende Karrierewege aus. Durch die allgemeine Interdisziplinarität der Digitalen Geisteswissenschaften, die sich auch in den überall aus dem Boden sprießenden DH-Center und Studiengängen widerspiegelt, fehlt es gerade jungen Wissenschaftler*innen häufig an direktem Anschluss innerhalb der eigenen Institutionen. Die Umstellung vom Zwei-Zyklus zum Drei-Zyklus System (Bachelor, Master, Doktorat) mit der Möglichkeit, in nicht konsekutiven Studiengängen neue Wege einzuschlagen und neue Schwerpunkte zu wählen, bringt bereits früh in der akademischen Laufbahn eine steigende Mobilität mit sich. Zwar bietet der Arbeitsmarkt für DH-Affine Berufseinsteiger*innen mitunter bessere Einstiegschancen,<a href="#_ftn5">[5]</a> jedoch gestalten häufigere Standortwechsel sowie die Eingliederung als Teilbereichsexpert*innen in interdisziplinäre Teams es schwieriger, ein lokales Netzwerk für die eigenen Forschungsschwerpunkte aufzubauen. </p> <p>Das <em>Digital Medievalist Postgraduate Subcommittee</em> hat sich zum Ziel gesetzt, dem wissenschaftlichen Nachwuchs eine Plattform zu bieten, um zum einen den Austausch untereinander zu verbessern, und um zum anderen auf die speziellen Qualifikationen dieser Gruppe – zwischen Tradition und Innovation – aufmerksam zu machen. Zu den Herausforderungen, denen junge Wissenschaftler*innen in diesem Bereich gegenüberstehen, zählen beispielsweise die Anerkennung alternativer Publikationsformen (Datensets, Softwarecode, aber auch die Frage nach kumulativer Dissertation versus Monographie) sowie abweichende Karrierewege mit einer hohe Zahl an Quereinsteiger*innen in die beteiligten Disziplinen. Dabei geht es auch in besonderem Maße darum, die erworbenen Fähigkeiten aus dem Bereich der Digitalen Geisteswissenschaften, die von Vermittlungskompetenzen bis zur <em>Coding Literacy </em>reichen können, als gleichwertig mit der fachwissenschaftlichen Expertise im engeren Sinne anzusehen. </p> <p>Unsere Teilnahme an der Postersession der DHd war von der Möglichkeit der Generierung von Sichtbarkeit unserer Initiative motiviert. Beim gemeinsamen Beitrag <em>Early Stage Digital Medievalist Subcommittee. Vernetzen, entgrenzen, Spielräume schaffen</em> standen zum einen die existierenden Kanäle des <em>Digital Medievalist</em>, wie Mailingliste, Journal und Social Media Kanäle, im Mittelpunkt zum anderen die sich in Vorbereitung befindenden Aktivitäten des Subcommittees. Im Laufe des Jahres ist der Launch eines Podcasts geplant, bei dem der Fokus auf Projekten und Initiativen junger Wissenschaftler*innen in der Digitalen Mediävistik liegen wird. Darüber hinaus gaben wir einen Ausblick auf die Planung gemeinsamer zukünftiger Konferenzaktivitäten (analog und virtuell), wie beispielsweise eines Panels im Rahmen des <a href="https://web.archive.org/web/20210618001330/https://www.imc.leeds.ac.uk/">International Medieval Congress</a> in Leeds.<a href="#_ftn6">[6]</a> </p> <figure class="wp-block-image size-large"><img src="https://web.archive.org/web/20210618001330im_/https://dhd-blog.org/wp-content/uploads/2020/04/WhatsApp-Image-2020-03-05-at-09.21.06-1024x724.jpeg" alt="" class="wp-image-13494" srcset="https://web.archive.org/web/20210618001330im_/https://dhd-blog.org/app/uploads/2020/04/WhatsApp-Image-2020-03-05-at-09.21.06-1024x724.jpeg 1024w, https://web.archive.org/web/20210618001330im_/https://dhd-blog.org/app/uploads/2020/04/WhatsApp-Image-2020-03-05-at-09.21.06-300x212.jpeg 300w, https://web.archive.org/web/20210618001330im_/https://dhd-blog.org/app/uploads/2020/04/WhatsApp-Image-2020-03-05-at-09.21.06-768x543.jpeg 768w, https://web.archive.org/web/20210618001330im_/https://dhd-blog.org/app/uploads/2020/04/WhatsApp-Image-2020-03-05-at-09.21.06-1536x1085.jpeg 1536w, https://web.archive.org/web/20210618001330im_/https://dhd-blog.org/app/uploads/2020/04/WhatsApp-Image-2020-03-05-at-09.21.06.jpeg 1599w" sizes="(max-width: 1024px) 100vw, 1024px"/><figcaption>Abb. 3: Posterbeitrag <em>Digital Medievalist Postgraduate Subcommittee</em></figcaption></figure> <p>Die Teilnahme an der Tagung wurde nicht nur durch den Gewinn des Posterslams gekrönt, sondern auch durch die Möglichkeit, während der Postersession eine Anlaufstelle zu bieten, die es uns ermöglichte, mit verschiedensten Forschenden in Kontakt zu kommen, darunter nicht nur Mediävist*innen, sondern auch Personen aus den ‚erweiterten Zielgruppen‘, wie Koordinator*innen der DH Zentren und Studiengänge.</p> <figure class="wp-block-embed-twitter wp-block-embed is-type-rich is-provider-twitter"><div class="wp-block-embed__wrapper"> <blockquote class="twitter-tweet" data-width="550" data-dnt="true"><p lang="en" dir="ltr">Hurray! Winner of the <a href="https://web.archive.org/web/20210618001330/https://twitter.com/hashtag/DHd2020?src=hash&ref_src=twsrc%5Etfw">#DHd2020</a> poster slam: Early Stage Digital Medievalist's committee representatives Daniela Schulz <a href="https://web.archive.org/web/20210618001330/https://twitter.com/DelaLostinDH?ref_src=twsrc%5Etfw">@DelaLostinDH</a>, Tessa Gengnagel <a href="https://web.archive.org/web/20210618001330/https://twitter.com/resonanzfilter?ref_src=twsrc%5Etfw">@resonanzfilter</a> & Hannah Busch <a href="https://web.archive.org/web/20210618001330/https://twitter.com/cesare_blanc?ref_src=twsrc%5Etfw">@cesare_blanc</a>! Congrats! So proud! So happy! So <a href="https://web.archive.org/web/20210618001330/https://twitter.com/digitalmedieval?ref_src=twsrc%5Etfw">@digitalmedieval</a>! Thank you <a href="https://web.archive.org/web/20210618001330/https://twitter.com/DHDInfo?ref_src=twsrc%5Etfw">@DHDInfo</a> & <a href="https://web.archive.org/web/20210618001330/https://twitter.com/CLARIAHde?ref_src=twsrc%5Etfw">@CLARIAHde</a>! <a href="https://web.archive.org/web/20210618001330/https://t.co/JrkSUeKr4H">https://t.co/JrkSUeKr4H</a></p>— Digital Medievalist (@digitalmedieval) <a href="https://web.archive.org/web/20210618001330/https://twitter.com/digitalmedieval/status/1235608082924871680?ref_src=twsrc%5Etfw">March 5, 2020</a></blockquote><script async src="https://web.archive.org/web/20210618001330js_/https://platform.twitter.com/widgets.js" charset="utf-8"></script> </div></figure> <p>Der Beitrag hat keinen Anspruch auf Vollständigkeit, das BoA ist umfangreich, bei der Tagung mit ihren zahlreichen parallel laufenden Sessions fällt die Wahl häufig schwer. Sollte ich also einen Beitrag übersehen haben, der in dieser Auflistung jedoch dringend Brücksichtigung finden sollte, freue ich mich über eine Ergänzung in den Kommentaren. </p> <p>Überblick zu den Beträgen im <a href="https://web.archive.org/web/20210618001330/https://doi.org/10.5281/zenodo.3666690">Book of Abstracts</a>: </p> <p>Vorträge:</p> <p>Tobias Hodel, Best-practices zur Erkennung alter Drucke und Handschriften. Die Nutzung von Transkribus large- und small scale, S. 84–87.</p> <p>Clemens Liedtke, DH’s Next Topmodel? Digitale Editionsentwicklung zwische Best Practice und Innovation am Beispiel des „Corpus Masoreticum“, S. 107–111.</p> <p>Isabella Nicka et al., Erzählerische Spielräume. Medienübergreifende Erforschung von Narrativen im Mittelalter mit ONAMA, S. 131–135.</p> <p>Torsten Hiltmann, Sebastian Thiele und Benjamin Risse, Friends with Benefits: Wie Deep-Learning basierte Bildanalyse und kulturhistorische Heraldik voneinander profitieren, S. 135–138.</p> <p>Christoph Wick, Alexander Hartel und Frank Puppe, OMMR4all – ein semiautomatischer Online-Editor für mittelalterliche Musiknotationen, S. 171–174.</p> <p>Christian Steiner und Helmut Klug, Spielräume definieren: Cooking Recipes of the Middle Ages, S. 205–207. </p> <p>Poster:</p> <p>Sarah Ihden, Varianz, Ambiguität, Unsicherheit, Methodische Schlaglichter zur mittelniederdeutschen Grammatikographie, S. 240–243. <br></p> <p>Christian Steiner et al., Cooking Recipes of the Middle Ages: Nachnutzbare Ressourcen eines internationalen Forschungsprojekts, S. 286–288. </p> <p>Hannah Busch, Tessa Gengnagel, Daniela Schulz, Early Stage Digital Medievalist Subcommittee. Vernetzen, entgrenzen, Spielräume schaffen, S. 313–314. </p> <p>Paul Molitor et al., Keter Shem Tov – Prozessualisierung eines Editionsprojekts mit 100 Textzeugen, S. 330–331. </p> <hr class="wp-block-separator"/> <p><a href="#_ftnref1">[1]</a> Auf Grund von Überschneidungen und persönlicher Interessen konnte ich nicht bei allen Beiträgen anwesend sein, habe sie dennoch aus dem BoA aufgenommen. </p> <p><a href="#_ftnref2">[2]</a> Da meine eigene Forschung selbst in diesem Bereich angesiedelt ist, erklärt sich diese positive Einschätzung. </p> <p><a href="#_ftnref3">[3]</a> Sehr interessante Gedanken zum Thema Bias in Bilddatenbanken für maschinelles Lernen bot der Beitrag von Fabian Offert und Peter Bell, <em>Critical Machine Vision</em> nachzulesen im BoA (S. 98–101).</p> <p><a href="#_ftnref4">[4]</a> Link zu den Beitragsfolien: <a href="https://web.archive.org/web/20210618001330/https://www.slideshare.net/thfalcon/bestpractices-zur-erkennung-alter-drucke-und-handschriften-die-nutzung-von-transkribus-large-und-smallscale">https://www.slideshare.net/thfalcon/bestpractices-zur-erkennung-alter-drucke-und-handschriften-die-nutzung-von-transkribus-large-und-smallscale</a>.</p> <p><a href="#_ftnref5">[5]</a> Vgl.: Hannah Busch et al., Aktuelle Situation der RSEs: Karriere -welche Karriere?, in: DH-RSE, 20. August 2018, <a href="https://web.archive.org/web/20210618001330/https://dh-rse.github.io/workshop/dhd2018/karriere/anerkennung/arbeitsbedingungen/2018/08/20/aktuelle-situation-der-rses-karriere-welche-karriere.html">https://dh-rse.github.io/workshop/dhd2018/karriere/anerkennung/arbeitsbedingungen/2018/08/20/aktuelle-situation-der-rses-karriere-welche-karriere.html </a></p> <p><a href="#_ftnref6">[6]</a> Die derzeitige globale Gesundheitskrise betrifft erwartungsgemäß auch unsere gemeinsamen Aktivitäten im Rahmen von größeren internationalen Konferenzen. Während wir unsere Zusammenarbeit im <em>Committee </em>voraussichtlich noch für einen längeren Zeitraum wie gehabt ausschließlich digital fortführen, arbeiten wir derzeit an virtuellen Alternativen. Dies hat zum einen den Vorteil, dass die Beteiligung einzelner nicht von Reisemitteln abhängig ist, ersetzen auf der anderen Seite jedoch nicht persönliche Treffen im Rahmen von mehrtägigen Konferenzen. </p> <div class="social-share"> <div class="addthis_toolbox addthis_default_style addthis_32x32_style"> <a class="addthis_button_preferred_1"></a> <a class="addthis_button_preferred_2"></a> <a class="addthis_button_preferred_3"></a> <a class="addthis_button_preferred_4"></a> <a class="addthis_button_compact"></a> <a class="addthis_counter addthis_bubble_style"></a> </div> <script type="text/javascript" src="https://web.archive.org/web/20210618001330js_/http://s7.addthis.com/js/250/addthis_widget.js#pubid=xa-502bae7409ca736f"></script> </div>  <div class="holder"> <i class="fa fa-folder"></i> <a href="https://web.archive.org/web/20210618001330/https://dhd-blog.org/?cat=1" rel="category">Allgemein</a>, <a href="https://web.archive.org/web/20210618001330/https://dhd-blog.org/?cat=103" rel="category">Community</a>, <a href="https://web.archive.org/web/20210618001330/https://dhd-blog.org/?cat=534" rel="category">Konferenz</a>, <a href="https://web.archive.org/web/20210618001330/https://dhd-blog.org/?cat=4" rel="category">Veranstaltungen</a>    <i class="fa fa-tag"></i> <a href="https://web.archive.org/web/20210618001330/https://dhd-blog.org/?tag=dhd2020" rel="tag">DHd2020</a>, <a href="https://web.archive.org/web/20210618001330/https://dhd-blog.org/?tag=digital-medievalist" rel="tag">Digital Medievalist</a>, <a href="https://web.archive.org/web/20210618001330/https://dhd-blog.org/?tag=digitale-mediaevistik" rel="tag">Digitale Mediävistik</a>, <a href="https://web.archive.org/web/20210618001330/https://dhd-blog.org/?tag=nachwuchs" rel="tag">Nachwuchs</a>, <a href="https://web.archive.org/web/20210618001330/https://dhd-blog.org/?tag=reisestipendium" rel="tag">Reisestipendium</a>, <a href="https://web.archive.org/web/20210618001330/https://dhd-blog.org/?tag=tagungsbericht" rel="tag">Tagungsbericht</a> </div> </article> <span id="comments"></span> <section class="comment-holder"> <div class="c-counter"> <span>Ein Kommentar </span> <a href="#respond"><i class="fa fa-comments"></i>Kommentar schreiben</a> </div> <ul class="comments"> <li> <div class="profile-holder"> <div class="img-holder"> <img width="46" height="46" alt="no image" src="https://web.archive.org/web/20210618001330im_/https://dhd-blog.org/app/themes/dhdblog/images/bg-comment.png"> </div> <div class="txt"> <header class="heading-holder"> <h2>Reisestipendiatinnen und -stipendiaten der DHd 2020 – Übersicht und Beiträge | DHd-Blog <time class="date" datetime="2013-12-10">26. 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