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href="https://web.archive.org/web/20210120105908/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/20210120105908/https://dhd-blog.org/?p=13227">DHd 2020 – Blickfelder, Perspektivität und Spielräume</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/20210120105908/https://dhd-blog.org/?author=238">Sophie Schneider</a> am <time datetime="2020-03-14">14. März 2020</time></span> </div> </header> <p>Die diverse Auslegbarkeit des Mottos <a href="https://web.archive.org/web/20210120105908/https://dhd2020.de/call-for-papers/" target="_blank" rel="noopener noreferrer">„Spielräume“</a> der <a href="https://web.archive.org/web/20210120105908/https://dhd2020.de/" target="_blank" rel="noopener noreferrer">7. Jahrestagung der Digital Humanities im deutschsprachigen Raum</a> offenbart sich den Konferenzteilnehmer*innen während einer einwöchigen Begegnung in Paderborn. Es geht um Interpretationsspielräume, Gamification, spielerische Datenexploration, Informationsräume, Möglichkeiten und Grenzen von Handlungsspielräumen, geografische Modellierung… Im Folgenden soll ein Einblick in eine Auswahl der von mir besuchten Vorträge auf der DHd 2020 gegeben werden:</p> <ul> <li><a class="internal-link" href="#spielraum">Der Spielraum ↓</a></li> <li><a class="internal-link" href="#vielfalt">Die Vielfalt ↓</a></li> <li><a class="internal-link" href="#text">Das Textverständnis ↓</a></li> <li><a class="internal-link" href="#ausblick">Ausblick ↓</a></li> </ul> <h2><span id="spielraum">Der Spielraum</span></h2> <p>In ihrer <a href="https://web.archive.org/web/20210120105908/https://www.youtube.com/watch?v=zhA_IywddGk&feature=youtu.be" target="_blank" rel="noopener noreferrer">Eröffnungskeynote</a> mit dem Titel „From Modeling to Interpretation“ setzt <a href="https://web.archive.org/web/20210120105908/https://cssh.northeastern.edu/people/faculty/julia-flanders/" target="_blank" rel="noopener noreferrer">Julia Flanders</a> den „Spielraum“ selbst als Modell zur Beschreibung der Datenmodellierung ein. Bei Spielräumen handele es sich um Räume, die einerseits auf eine gewisse Form der (Inter-, Trans-) Aktion angewiesen sind, die aber andererseits auch Restriktionen aufweisen müssen. So stehen sich stets das Einhalten von Regeln/das Erreichen von Konformität und die Anpassung an spezifische, individuelle Anforderungen gegenüber. Diesbezüglich kommt es auch zu den Gegenüberstellungen „strong theory“ vs. „weak theory“ sowie „strong models“ vs. „weak models“. Die „strong theory“ beschreibt nach Bordieu ein System, in dem jedes einzelne Objekt in den Gesamtkontext des Feldes passt und Ausreißer schwer einzuordnen sind. Die „weak theory“, angelehnt an Latour, stellt hingegen einen offenen, zentrifugalen Fluss von Assoziationen dar. Eine „weak theory“ lässt sich nach Wai Chee Dimock wie folgt beschreiben:</p> <blockquote style="margin-left: 30px;border-left: 4px solid #333;padding-left: 10px"> <p>„These dispersed, episodic webs of association, not supervised and not formalizable, make it an open question what is primary, what is determinative, what counts as the center and what counts as the margins.”</p> <p><em>– Dimock 2013, S. 737, zitiert nach Flanders 2020.</em></p> </blockquote> <p>Eine Vision wäre das Aufbrechen der festgelegten Vorgehensweise (die Modellierung nimmt üblicherweise einen Einfluss auf die Interpretation) in stärker dialogische, iterative Prozesse. Flanders adressiert auch den Einbezug nicht-akademischer Akteur*innen und äußert den Wunsch, dass die DH mehr Zugänge für die allgemeine Öffentlichkeit schaffen:</p> <blockquote style="margin-left: 30px;border-left: 4px solid #333;padding-left: 10px"> <p>„We need to be prepared to open that space up to interpretive work that may be deeply unfamiliar, unauthorized, critical, even antagonistic. We must genuinely allow it its own autonomous ‚Spielraum‘.“</p> <p><em>– Flanders 2020, bei 1:50:00.</em></p> </blockquote> <p>Zusammengefasst bedarf es demnach umfangreiches Engagement, Verständnis, Didaktik und letztendlich den Beschluss, aufeinander zuzugehen und neue Wege zu schaffen, wo noch keine sind. Innerhalb der Digital Humanities muss eine Bereitschaft erreicht werden, neue implizite wie explizite Verbindungen in das Netz der diversen, fachspezifischen Wissensgraphen einzubringen und hierfür müssen wir unsere Gegenstände einander (aber auch weiteren Entscheidungsträgern) erklären, das Spezifische abstrahieren und das Abstrakte spezifizieren.</p> <h2><span id="vielfalt">Die Vielfalt</span></h2> <p>Die Session „Visualisierung und Erkenntnis“ widmet sich kritisch der Frage, wie man aus Visualisierungen neue Erkenntnisse generieren kann. Was muss Visualisierung können? Wie können wir Visualisierung operationalisieren? Mit welcher Art von (Informations-)Räumen haben wir es in der Visualisierung zu tun? Dies sind nur einige der Fragen, die in diesem Kontext angesprochen werden.</p> <p>Der Vortrag „Die Falte: Ein Denkraum für interaktive und kritische Datenvisualisierungen“ (Viktoria Brüggemann, Mark-Jan Bludau, Marian Dörk) thematisiert die Gestaltung fließender Übergänge zwischen und interaktiver Zugänge zu einzelnen Objekten sowie zur überordneten Sammlung. Anhand der Deleuze’schen Triade der Falte („fold“) „Explizieren-Implizieren-Komplizieren“ (Deleuze 1996, S. 45, zitiert nach DHd 2020, S. 114) werden die verschiedenen Ebenen und Abstraktionsgrade von Datenvisualisierungen untersucht.</p> <figure class="wp-block-embed-twitter wp-block-embed is-type-rich is-provider-twitter" style="padding-left: 80px"><div class="wp-block-embed__wrapper"> <blockquote class="twitter-tweet" data-width="550" data-dnt="true"><p lang="de" dir="ltr">Jetzt präsentieren <a href="https://web.archive.org/web/20210120105908/https://twitter.com/vik_bru?ref_src=twsrc%5Etfw">@vik_bru</a> und <a href="https://web.archive.org/web/20210120105908/https://twitter.com/markiaaan?ref_src=twsrc%5Etfw">@markiaaan</a> in V5: Visualisierung und Erkenntnis »Die Falte: Ein Denkraum für interaktive und kritische Datenvisualisierungen«<br><br>Hier sind die GIF-beladenen Folien: <a href="https://web.archive.org/web/20210120105908/https://t.co/BhAvjh4n2m">https://t.co/BhAvjh4n2m</a><br><br>und der Abstract: <a href="https://web.archive.org/web/20210120105908/https://t.co/RxRhwlomXf">https://t.co/RxRhwlomXf</a><a href="https://web.archive.org/web/20210120105908/https://twitter.com/hashtag/dhd2020?src=hash&ref_src=twsrc%5Etfw">#dhd2020</a> <a href="https://web.archive.org/web/20210120105908/https://twitter.com/hashtag/slides?src=hash&ref_src=twsrc%5Etfw">#slides</a> <a href="https://web.archive.org/web/20210120105908/https://t.co/U9fLTl9Cht">pic.twitter.com/U9fLTl9Cht</a></p>— Marian Dörk (@nrchtct) <a href="https://web.archive.org/web/20210120105908/https://twitter.com/nrchtct/status/1235142689483612161?ref_src=twsrc%5Etfw">March 4, 2020</a></blockquote><script async src="https://web.archive.org/web/20210120105908js_/https://platform.twitter.com/widgets.js" charset="utf-8"></script> </div></figure> <p>Implikation und Explikation stehen sich als zusammen- bzw. entfaltende Aktionen kontrastierend gegenüber und machen existierende Verbindungen „lediglich“ sichtbar bzw. verstecken diese, wobei hierdurch bereits „unvorhersehbare Ergebnisse und neue Verbindungen entstehen“ (DHd 2020, S. 114) können. Darüber hinaus eröffnet die Komplikation als „Prozess der Informationsakkumulation und Vernetzung von allem Wahrnehmbaren“ (DHd 2020, S. 114) eine innovative Strukturierung des vorliegenden Gegenstands und „[ü]berraschende Ergebnisse“ (DHd 2020, S. 114).</p> <p>Interessant ist auch folgende, auf Deleuzes Vorstellung der Monade aufbauende Aussage:</p> <blockquote style="margin-left: 30px;border-left: 4px solid #333;padding-left: 10px"> <p>„Da alles in der Monade zur Unendlichkeit gefaltet ist, liegt jede Möglichkeit bereits in ihr, auch wenn sie zu keinem Zeitpunkt in ihrer Gesamtheit zu erfassen ist.“</p> <p><em>– DHd 2020, S. 114.</em></p> </blockquote> <p>Hiermit wird veranschaulicht, wie analytisch das Vorgehen bei der Visualisierung von Daten sein kann, und dass die Visualisierung – parallel zu anderen Methoden der Datenauswertung in den Digital Humanities – auf ein stark statistisches, wahrscheinlichkeitsbasiertes Grundgerüst baut. Diese Distanzierung von eindeutigen und interpretationsunabhängigen Ergebnissen und die sich stattdessen vollziehende Orientierung in einem unbegrenzten Universum potentieller Ausgänge ist es womöglich, die ebenso am maschinellen Lernen oder an der quantitativen Textanalyse (zum Beispiel Topic Modeling oder Stilometrie) aufgrund einer angeblich daraus resultierenden Ungenauigkeit kritisiert wird.</p> <p>Brüggemann, Bludau und Dörk kommen zu folgendem Schluss: „Die häufige Ansicht von Daten als ‚gegeben‘ (Drucker 2011), ‚objektiv‘ oder ‚unveränderlich‘, wird durch die Theorie der Falte in Frage gestellt“ (DHd 2020, S. 116). Dem kann ich nur teilweise zustimmen. Auch wenn bereits die Erhebung von Daten in gewisser Weise theoriegeleitet und damit interpretationsgebunden ist, sind Daten an sich ein sehr objektives und minimalistisches Format für die Manifestation von Inhalten (verglichen z. B. mit Informationen oder Wissen). Vor allem die Darstellung von Daten ist es, die stets subjektiv und perspektivisch erfolgt. Aus dem inspirierenden Vortrag und der Verknüpfung zur genannten Theorie der Falte lässt sich vor allem schlussfolgern, dass Visualisierung mehr sein sollte als nur ein statisches Abbild von Daten, erstellt durch eine einzige Person, die eine spezifische Vorstellung dieser Daten und der Bedeutung der zugehörigen Visualisierung hat. Ein „Mehr“ an Objektivität wird dann durch die Möglichkeit einer nutzungszentrierten Datenexploration und eine Reduzierung der perspektivischen Abhängigkeit geschaffen.</p> <h2><span id="text">Das Textverständnis</span></h2> <p>In dem Vortrag „Wie wir lesen könnten. Streamreader<sub>PS</sub> 0.1“ (Patrick Sahle) fließt nicht nur der Text (von rechts nach links), es fließen auch Ideen und Gedanken zur Position, die dieser im digitalen Raum bislang weitestgehend ohne zusätzliche Hinterfragung eingenommen hat. Eine Beschreibung des Streamreaders mit Worten fällt (mir persönlich) schwer, und eine Darstellung im analogen Textmedium ist schlichtweg unmöglich:</p> <div id="attachment_13247" style="width: 610px" class="wp-caption alignnone"><a href="https://web.archive.org/web/20210120105908/https://dhd-blog.org/wp-content/uploads/2020/03/streamreader.jpg"><img aria-describedby="caption-attachment-13247" class="size-full wp-image-13247" style="margin-left: 60px" src="https://web.archive.org/web/20210120105908im_/https://dhd-blog.org/wp-content/uploads/2020/03/streamreader.jpg" alt="" width="600" height="300"></a><p id="caption-attachment-13247" class="wp-caption-text">Screenshot aus Schöch (Hrsg.) <a href="https://web.archive.org/web/20210120105908/http://doi.org/10.5281/zenodo.3666690" target="_blank" rel="noopener noreferrer">Spielräume: Digital Humanities zwischen Modellierung und Interpretation. Konferenzabstracts</a>, S. 256, lizensiert unter <a href="https://web.archive.org/web/20210120105908/https://creativecommons.org/licenses/by/4.0/legalcode" target="_blank" rel="noopener noreferrer">CC BY 4.0</a>.</p></div> <p>Daher ist es zu empfehlen, den <a href="https://web.archive.org/web/20210120105908/http://dev.cceh.uni-koeln.de/sr-sd/" target="_blank" rel="noopener noreferrer">Prototypen</a> (erstellt von Sviatoslav Drach, konkrete Funktionalitäten beschrieben im zugehörigen Abstract, DHd 2020, S. 367-369) zunächst selbst auszutesten. „Darstellung und Steuerung hängen im Detail von der gewählten technischen Lösung und medialen Umgebung ab“ (DHd 2020, S. 256). Es werden Anwendungsszenarien für die Nutzung des Streamreaders mit einem Smartphone, einer VR-Brille und einem Projektor skizziert. Wenngleich Sahle „die Idee, Text sei (letztlich nur) eine Abfolge von Zeichen, Wörtern oder Sätzen“ (DHd 2020, S. 255) als unsinnig bezeichnet, wird mit dem Streamreader genau dieser Ansatz erneut aufgegriffen:</p> <blockquote style="margin-left: 30px;border-left: 4px solid #333;padding-left: 10px"> <p>„Was jedoch würde passieren, wenn wir die (naive) Ursprungsidee des Textes als Zeichenstrom wieder aufnähmen und sie mit aktuellen technischen Möglichkeiten verbänden?“</p> <p><em>– DHd 2020, S. 256.</em></p> </blockquote> <p>Dabei geht es vor allem um eine „medien- und technikkritische Untersuchung zu Textualität als Medialität“ (DHd 2020, S. 257) und nicht darum, eine alternative Lesetechnologie zu entwickeln, die zum Beispiel eine effizientere Rezeption von Text zur Folge hat.</p> <figure class="wp-block-embed-twitter wp-block-embed is-type-rich is-provider-twitter" style="padding-left: 80px"><div class="wp-block-embed__wrapper"> <blockquote class="twitter-tweet" data-width="550" data-dnt="true"><p lang="de" dir="ltr">"Wir haben gar kein Problem" <a href="https://web.archive.org/web/20210120105908/https://twitter.com/patrick_sahle?ref_src=twsrc%5Etfw">@patrick_sahle</a> So geht angewandte Theorie in den <a href="https://web.archive.org/web/20210120105908/https://twitter.com/hashtag/digitalhumanities?src=hash&ref_src=twsrc%5Etfw">#digitalhumanities</a>. <a href="https://web.archive.org/web/20210120105908/https://twitter.com/hashtag/DHd2020?src=hash&ref_src=twsrc%5Etfw">#DHd2020</a> <a href="https://web.archive.org/web/20210120105908/https://t.co/obtZsCNOgV">pic.twitter.com/obtZsCNOgV</a></p>— Fabian Cremer (@fabian_cremer) <a href="https://web.archive.org/web/20210120105908/https://twitter.com/fabian_cremer/status/1235526878724845569?ref_src=twsrc%5Etfw">March 5, 2020</a></blockquote><script async src="https://web.archive.org/web/20210120105908js_/https://platform.twitter.com/widgets.js" charset="utf-8"></script> </div></figure> <p>Stattdessen soll der Text hiermit erstmalig aus seiner medialen Gefangenschaft, aus der statischen Zweidimensionalität der gedruckten Medien in ein der Digitalität würdiges Format befreit werden. Hierbei wird nicht (nur) der Text aus dem analogen in den digitalen Bereich übertragen, vielmehr erfolgt eine Transformation des Raumes selbst, in welchem sich der Text befindet. Es geht eben nicht darum, die bisherigen Spielräume zu nutzen, sondern diese zu hinterfragen, die Grenzen neu zu definieren und außergewöhnliche Rahmenbedingungen zu schaffen.</p> <p>Der Vortrag kann als erster Anstoß verstanden werden, der in viele Richtungen weitergedacht und -entwickelt werden kann. Anknüpfende Fragestellungen wären beispielsweise:</p> <blockquote style="margin-left: 30px;border-left: 4px solid #333;padding-left: 10px"> <p>„[W]ie verhalten sich verschiedene Textsorten in den Textmedien? Welche Medien unterstützen oder behindern welche Textsorten? Welche lassen sich besser oder schlechter von einem anderen Medium adaptieren?“</p> <p><em>– DHd 2020, S. 257.</em></p> </blockquote> <p>„Wir kennen die historischen Textmedien, wir haben elektronische Texte entwickelt, die Diskussion um Hypertext und Multimedia ist geführt“ (DHd 2020, S. 257). Es ist verblüffend, welche Parallelen sich aus Sahles Forderung nach mehr Offenheit und Agilität in der Digitalität zu genau diesen vorangegangenen Diskussionen ergeben (man denke beispielsweise an das <a href="https://web.archive.org/web/20210120105908/http://www.xanadu.net/" target="_blank" rel="noopener noreferrer">Projekt XANADU</a>). Womöglich ist Folgendes eine der Haupterkenntnisse, die ich für mich persönlich aus der diesjährigen DHd gezogen habe: lieber ab und zu das Risiko eingehen, Grenzen zu überschreiten – dafür aber wahre Innovation zulassen.</p> <h2><span id="ausblick">Ausblick</span></h2> <p>Die drei in diesem Blogpost diskutierten Vorträge stehen beispielhaft für die DHd 2020 und zeigen auf, dass Digital Humanities Forschung immer in Form eines Wechselspiels daherkommt. Kompetenzen wie das Abwägen und Balancieren zwischen Offenheit und Beschränkung in Modellierung, Methodenfindung und Kollaboration sind relevant für den Digital Humanist von heute und morgen. Die DHd 2020 wirft zudem einmal mehr den Fokus auf theoretische und grundlegende Fragestellungen, nicht zuletzt durch unzählige theoriebasierte Vorträge, einen Workshop zur Theoriebildung („Spielplätze der Theoriebildung in den Digital Humanities“) und die neu gegründete <a href="https://web.archive.org/web/20210120105908/https://dhtheorien.hypotheses.org/" target="_blank" rel="noopener noreferrer">AG Digital Humanities Theorie</a>. Mehr als einmal wird die Wichtigkeit betont, Begriffe zu disambiguieren und ein gemeinsames Vokabular zu finden. Es scheint, als müssten eindeutige Vereinbarungen getroffen werden, sodass Kommunikation und Interaktion möglichst frei und ungehindert stattfinden können.</p> <p>Was die Konferenzen des DHd-Verbands (und in diesem Zusammenhang auch die DHd 2020) für mich ausmachen? Es ist dieses komprimierte Format, das ein ganzes Jahr Forschungsaktivität der unterschiedlichen DH-Standorte an einem großen Tisch zusammenbringt und über disziplinäre, geografische, institutionsbezogene, thematische Barrieren hinweg in einen Austausch treten lässt. Es sind die Wissenschaftler*innen, Softwareentwickler*innen, genuinen DHler*innen, Studierenden, Professor*innen, Infrastrukturhelfer*innen…, die in der Gesamtheit einen so diversen fachlichen Hintergrund aufweisen, dass sich nach einer Woche DHd ein extensives Gesamtbild über das Feld rekonstruieren lässt. Und es ist vor allem die Tatsache, dass ich nicht nur Wissenslücken füllen, sondern auch Neues lernen kann, mit dem ich noch nicht einmal gerechnet hatte.</p> <p>Die kommende DHd 2021 in Potsdam erwarte ich jedoch nicht nur aus oben genannten Gründen mit großer Freude. Sentimental blicke ich auf meine ganz persönliche DH-Reise zurück, die ihren Ursprung vor ungefähr drei Jahren genau hier, in einem Bachelorstudium Bibliotheksmanagement an der Fachhochschule Potsdam nahm. Ich erinnere mich an erste Berührungspunkte mit methodischen Fragestellungen und dem Begriff der „Digital Humanities“, dessen Ausmaß ich zu diesem Zeitpunkt nicht einmal ansatzweise erahnte.</p> <p>Mit diesem Blogpost möchte ich mich ganz herzlich bei der <a href="https://web.archive.org/web/20210120105908/https://www.uni-paderborn.de/" target="_blank" rel="noopener noreferrer">Universität Paderborn</a>, bei <a href="https://web.archive.org/web/20210120105908/https://www.clariah.de/" target="_blank" rel="noopener noreferrer">CLARIAH-DE</a>, dem <a href="https://web.archive.org/web/20210120105908/https://dig-hum.de/ target=" rel="noopener noreferrer">DHd-Verband</a> und allen Beteiligten für die Unterstützung zur Teilnahme an der DHd 2020 in Form eines Reisestipendiums bedanken. Wir sehen uns – spätestens <a href="https://web.archive.org/web/20210120105908/https://twitter.com/dhd2021" target="_blank" rel="noopener noreferrer">@dhd2021</a>!</p> <p><em><a href="https://web.archive.org/web/20210120105908/https://infowissblog.de/index.php/ueber" target="_blank" rel="noopener noreferrer">Sophie Schneider</a> (<a href="https://web.archive.org/web/20210120105908/https://twitter.com/BibWiss" target="_blank" rel="noopener noreferrer">@BibWiss</a>) studiert aktuell im Master Information Science an der HU Berlin.</em></p> <h2>Literatur</h2> <p>Deleuze, G. (1996). Die Falte. Leibniz und der Barock, übersetzt von Ulrich Johannes Schneider. Frankfurt: Suhrkamp.</p> <p>DHd (2020) <a href="https://web.archive.org/web/20210120105908/http://doi.org/10.5281/zenodo.3666690" target="_blank" rel="noopener noreferrer">Spielräume: Digital Humanities zwischen Modellierung und Interpretation. Konferenzabstracts</a>, herausgegeben von Christof Schöch. http://doi.org/10.5281/zenodo.3666690.</p> <p>Dimock, W. C. (2013). Weak Theory: Henry James, Colm Tóibín, and W. B. Yeats. Critical Inquiry, 39(4), 732–753. doi:10.1086/671354.</p> <p>Flanders, J. (2020). <a href="https://web.archive.org/web/20210120105908/https://www.youtube.com/watch?v=zhA_IywddGk&feature=youtu.be" target="_blank" rel="noopener noreferrer">Eröffnungskeynote zur DHd2020 | 🔴LIVE aus dem Heinz Nixdorf MuseumsForum in Paderborn</a> [zuletzt abgerufen am 13.03.2020].</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/20210120105908js_/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/20210120105908/https://dhd-blog.org/?cat=1" rel="category">Allgemein</a>    <i class="fa fa-tag"></i> <a href="https://web.archive.org/web/20210120105908/https://dhd-blog.org/?tag=dhd2020" rel="tag">DHd2020</a>, <a href="https://web.archive.org/web/20210120105908/https://dhd-blog.org/?tag=konferenzbericht" rel="tag">Konferenzbericht</a>, <a href="https://web.archive.org/web/20210120105908/https://dhd-blog.org/?tag=reisestipendium" rel="tag">Reisestipendium</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/20210120105908im_/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">14. März 2020</time></h2> </span><span class="fa fa-reply"><a rel="nofollow" class="comment-reply-link" href="https://web.archive.org/web/20210120105908/https://dhd-blog.org/?p=13227&replytocom=155384#respond" data-commentid="155384" data-postid="13227" data-belowelement="comment-155384" data-respondelement="respond" aria-label="Antworte auf Reisestipendiatinnen und -stipendiaten der DHd 2020 – Übersicht und Beiträge | DHd-Blog">Antworten</a></span> </header> <p>[…] Sophie Schneider (HU Berlin) – @BibWissDHd 2020 – Blickfelder, Perspektivität und Spielräume,in: DHd-Blog, 14.3.2020, <a href="https://web.archive.org/web/20210120105908/https://dhd-blog.org/?p=13227" rel="nofollow ugc">https://dhd-blog.org/?p=13227</a>. 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href="https://web.archive.org/web/20210120105908/https://dhd-blog.org/?m=201209">September 2012</a></li> <li><a href="https://web.archive.org/web/20210120105908/https://dhd-blog.org/?m=201208">August 2012</a></li> <li><a href="https://web.archive.org/web/20210120105908/https://dhd-blog.org/?m=201207">Juli 2012</a></li> <li><a href="https://web.archive.org/web/20210120105908/https://dhd-blog.org/?m=201206">Juni 2012</a></li> <li><a href="https://web.archive.org/web/20210120105908/https://dhd-blog.org/?m=201205">Mai 2012</a></li> <li><a href="https://web.archive.org/web/20210120105908/https://dhd-blog.org/?m=201204">April 2012</a></li> <li><a href="https://web.archive.org/web/20210120105908/https://dhd-blog.org/?m=201203">März 2012</a></li> <li><a href="https://web.archive.org/web/20210120105908/https://dhd-blog.org/?m=201202">Februar 2012</a></li> <li><a href="https://web.archive.org/web/20210120105908/https://dhd-blog.org/?m=201201">Januar 2012</a></li> <li><a href="https://web.archive.org/web/20210120105908/https://dhd-blog.org/?m=201112">Dezember 2011</a></li> </ul>  </div><div id="linkcat-2" class="widget widget_links"><h3>Blogroll</h3> <ul class="xoxo blogroll"> <li><a href="https://web.archive.org/web/20210120105908/http://clairewarwick.blogspot.com/" title="Thoughts about Digital Humanities, academia, research, running things, and being a woman with too much to do.">Claire Warwick's blog</a></li> <li><a href="https://web.archive.org/web/20210120105908/http://www.gcdh.de/en/projects/dh" title="Göttinger Verbundprojekt zu DH" target="_blank">DH Forschungsverbund</a></li> <li><a href="https://web.archive.org/web/20210120105908/http://www.dh2012.uni-hamburg.de/">DH2012 Hamburg</a></li> <li><a href="https://web.archive.org/web/20210120105908/http://dhdhi.hypotheses.org/">Digital Humanities am DHIP</a></li> <li><a href="https://web.archive.org/web/20210120105908/http://dhi.intd.cnam.fr/">Digital Humanities International</a></li> <li><a href="https://web.archive.org/web/20210120105908/http://digitalhumanitiesnow.org/">Digital Humanities Now</a></li> <li><a href="https://web.archive.org/web/20210120105908/http://blogs.cch.kcl.ac.uk/wip/">Digital Humanities: KCL</a></li> <li><a href="https://web.archive.org/web/20210120105908/http://digitalscholarship.wordpress.com/">Digital Scholarship in the Humanities</a></li> <li><a href="https://web.archive.org/web/20210120105908/http://digiversity.net/">Digiversity</a></li> </ul> </div> </aside></div> <a class="scrollUp" href="#header"> Scroll to top</a>  <footer id="footer"> <div class="footer-holder">  <span class="copyright">Copyright © 2021 <a href="https://web.archive.org/web/20210120105908/https://dhd-blog.org/">DHd-Blog</a></span> <ul class="footer-logo"> <li><a href="https://web.archive.org/web/20210120105908/http://www.textgrid.de/"><img width="129" height="38" alt="TextGrid" 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