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Geiger</a> am <time datetime="2020-12-08">08. Dezember 2020</time></span> </div> </header> <p>Zusammenfassung der Session 3.1 “Digitale Quellenkritik” des Barcamps “<a href="https://web.archive.org/web/20210112080252/https://dhd-blog.org/?p=12806">Vermittlung von Data Literacy in den Geisteswissenschaften</a>“ auf der DHd2020 in Paderborn, ausgerichtet von der AG Datenzentren des DHd.</p> <p>Übersichtsblogpost zum Barcamp: Ulrike Wuttke, Marina Lemaire: “<a href="https://web.archive.org/web/20210112080252/https://dhd-blog.org/?p=13748">Offen, vielfältig und kreativ. Ein Bericht zum Barcamp Data Literacy #dhddatcamp20 bei der DHd 2020</a>“, 08.06.2020, DHd Blog.</p> <p><strong>Autor:innen</strong>:</p> <ul> <li><a href="https://web.archive.org/web/20210112080252/http://www.adwmainz.de/mitarbeiterinnen/profil/aline-deicke.html">Aline Deicke</a>, Digitale Akademie, Akademie der Wissenschaften und der Literatur | Mainz</li> <li><a href="https://web.archive.org/web/20210112080252/http://www.adwmainz.de/mitarbeiterinnen/profil/jonathan-d-geiger.html">Jonathan D. Geiger</a>, Digitale Akademie, Akademie der Wissenschaften und der Literatur | Mainz</li> <li>Marina Lemaire, Servicezentrum eSciences, Universität Trier</li> <li>Stefan Schmunk, Hochschule Darmstadt</li> </ul> <p> </p> <h2>“Quellenkritik” – was ist das überhaupt?</h2> <p>Unter “Quellenkritik” versteht man in den historischen Wissenschaften eine etablierte Forschungsmethode, die Quellen (z. B. Schriftstücke, Notenblätter, Urkunden, Münzen, Grabsteine, Siegel, Musik, Interviews, Bilder etc.) für die Wissenschaft interpretierbar und analysierbar macht. Es findet dabei eine Beschreibung, Kontextualisierung und Interpretation der Quellen statt, wobei die Prüfung der Authentizität bzw. Plausibilität, die Bewertung des wissenschaftlichen Gehaltes und die Kontextualisierung der Quelle nach Materialität und nach Inhalt im Fokus stehen. Gemeinhin wird zwischen einer äußeren Quellenkritik, welche sich auf die Form und Gestaltung der Quelle bezieht, und einer inneren Quellenkritik, welche sich auf die inhaltliche (semantische) Ebene der Quelle konzentriert, unterschieden.</p> <p>Auch in Bezug auf diese traditionsreiche Methode fordert die Digitalisierung die Wissenschaften auf, sich neu zu positionieren. Historiker:innen untersuchen heutzutage nicht nur die historische Quelle an sich, sondern auch deren digitale Repräsentationen, z. B. Faksimiles, Bilddigitalisate oder auch Transkriptionen. Zudem tritt ein weiterer Quellentypus hinzu, zu dem es kein analoges “Gegenstück” gibt, da diese Objekte genuin digitaler Natur (“digital born”) sind. Schließlich bedingen neue Untersuchungsmethoden, z. B. quantitative wie qualitative Analysen großer Quellenkorpora, eine Ausweitung der Fragen, die bisher an das Material gestellt wurden. “Digitale Quellenkritik” ist also erstmal ein Label, unter dem verschiedene Ansätze von tentativen Anpassungen der traditionellen Quellenkritik, Erweiterungen, Theoretisierungen, Problematisierungen und Positionierungen subsummiert werden.</p> <p>An diesen notwendigen Diskurs setzte die Session auf dem Barcamp an und nutzte die begriffliche Offenheit der Thematik sowie die breitgestreute Expertise der Teilgebenden, um sich analytisch-systematisch der Thematik und den offenen Problemstellungen anzunehmen.</p> <h2>Digitale Quellenkritik und Data Literacy</h2> <p>Die Einbettung der digitalen Quellenkritik in ein Barcamp unter dem Titel “Data Literacy” wird spätestens dann plausibel, wenn berücksichtigt wird, dass ein verändertes Verhältnis von Historiker:innen zu digitalen Objekten und Methoden auch die Anforderungen an Kompetenzen und Fähigkeiten verändern. Bei der Konzeption von Data Literacy und eine Verankerung derselben in Curricula der Studiengänge und Anforderungsprofile von Wissenschaftler:innen muss eine – wie auch immer gestaltete – digitale Quellenkritik auch aus propädeutischer Perspektive mitgedacht werden.</p> <h2>Der Platz des Digitalen in der traditionellen Quellenkritik</h2> <p>Die zentrale Ausgangsfrage der Session war, ob es für digitale Quellen eine neue Art der Quellenkritik braucht, ob sich die traditionelle Quellenkritik leicht auf diese neuartigen Quellentypen – bestimmt durch eine neue Medialität und Materialität des digitalen Objektes – anwenden lässt oder ob es sogar mehrere unterschiedliche Quellenkritiken im Werkzeugkasten der Historiker:innen geben muss. Um diesen Überlegungen auf den Grund gehen zu können, orientierten sich die Teilgebenden an Ablaufplänen der traditionellen Quellenkritik und begannen, diese im Hinblick auf digitale Quellen zu erweitern.</p> <p>Als Quellenkritik wird sowohl die historische Methode als auch das Ergebnis dieser Methode bezeichnet. Die klassische Quellenkritik als Methode umfasst mehrere Phasen¹:</p> <ol> <li>Formulierung der Forschungsfrage</li> <li>Erschließung der Quelle (Beschreibung bzw. Aufbereitung)</li> <li>Äußere Quellenkritik (Bewertung der äußerlichen Gestaltung der Quelle, insbesondere hinsichtlich ihrer Herkunft und Echtheit)</li> <li>Innere Quellenkritik (Bewertung des Außenwertes der Quelle, insbesondere hinsichtlich des Erkenntnishorizonts der Autor:in(nen) bzw. der Urheber:in(en))</li> <li>Interpretation und Kontextualisierung</li> <li>Darstellung der Ergebnisse</li> </ol> <p>Vor allem die zweite Phase – die Erschließung der Quelle – wurde in der Session hinsichtlich einer Erweiterung um digitale Quellen diskutiert. Es wurden neben den traditionellen (analogen) Quellentypen insbesondere zwischen (retro)digitalisierten und genuin digitalen Quellen unterschieden. Die Fragen nach der Verfasstheit und Strukturierung von digitalen Quellen ist aufgrund des divergenten ontologischen Status anders gelagert: Bei digitalen Quellen muss nach dem Datenformat und der -struktur gefragt werden, nach der Vollständigkeit der Datenquelle und der Integrität der Daten. In Bezug auf die Provenienz ergibt sich eigentlich eine Verdoppelung der Quellenautopsie. Zusätzlich zur Überprüfung der Herkunft der Originalquelle wird eine Überprüfung der Herkunft der digitalen Repräsentation der Quelle notwendig. Das umfasst Fragen wie “Wer hat die Quelle wann, wie, wozu und womit (retro)digitalisiert?”, “Existieren mehrere Versionen und wenn ja, weshalb?”, “Kann es Manipulationen an den Daten gegeben haben oder ‘entspricht’ das digitale Objekt dem analogen? Sind Plausibilitäts- und Validitätschecks möglich, um dies zu überprüfen? ” und “Welche Daten- und Metadatenformate und -standards wurden verwendet (und welche nicht)?”. Diese Fragensammlung stellt eine erste Näherung in der Session dar und zeigt zugleich das Entwicklungspotenzial auf.</p> <h2>Fazit: die traditionelle Quellenkritik ist auch für digitale Objekte gut geeignet</h2> <p>Insgesamt lässt sich als Ergebnis der Session festhalten, dass die traditionelle historische Quellenkritik sehr gut für die Integration digitaler Quellen in die historische Forschung geeignet ist. Das Prinzip des “Veto-Rechts” der Quellen nach Reinhard Koselleck, d. h., dass nichts behauptet werden darf, was die Quellen nicht belegen, gilt natürlich auch für digitale Objekte. Eine komplette Durchleuchtung der klassischen Quellenkritik auf das Digitale hin war im Rahmen der Session nicht möglich, dennoch konnten interessante Impulse zusammengestellt und Hinweise geliefert werden, welche Aufgaben in diesem Themenkomplex noch bearbeitet werden müssen.</p> <p>Eine digitale Quellenkritik muss, neben den methodologischen Anpassungen, nicht nur systematische Veränderungen in der wissenschaftlichen Handhabung von digitalen Forschungsobjekten nach sich ziehen, d. h. die Gewährleistung der Datenintegrität und -sicherheit, der Langzeitarchivierung, der Versionierung, der Dokumentation von Metadaten und vielerlei mehr. Sie muss sich vielmehr auch im Studium und der Aus- und Weiterbildung der Wissenschaftler:innen niederschlagen. Das umfasst beispielsweise die Fähigkeit Programmcode zu lesen, Datenstandards zu kennen und deren Strukturen zu verstehen oder Datenmanipulationen und die Anwendung von Algorithmen nachzuvollziehen. Dies gilt umso mehr, wenn sich auch elaborierte technische Methoden und Werkzeuge, wie zum Beispiel Technologien der Künstlichen Intelligenz und des Machine Learnings in der historischen Forschung etablieren.</p> <h2>Es ist noch viel zu tun …</h2> <p>Wie eingangs geschildert ist “Digital Quellenkritik” derzeit noch ein sehr offener Begriff und kann und muss weiterentwickelt werden. In diesem Diskurs sollte dabei nicht nur die große Pluralität der wissenschaftlich(-historischen) Primärobjekte und die Pluralität digitaler Datenformate Berücksichtigung finden, sondern im besten Falle auch die Perspektiven der unterschiedlichen geistes- und sogar nicht-geisteswissenschaftlichen Disziplinen auf digitale Objekte. Zwar ist der Begriff der digitalen Quellenkritik im Wissenschaftskontext fast ausschließlich in der historischen Forschung situiert, dennoch gibt es heutzutage wahrscheinlich kaum eine wissenschaftliche Disziplin, die nicht kritisch mit digitalen Objekten umgehen muss – seien es physikalische Messdaten oder terrestrisches Laserscanning, Daten aus medizinischen MRTs, Unterrichtsvideographie oder Social-Media-Datenkorpora für die soziologische Analyse um nur ein paar Beispiele zu nennen. Dies ist insbesondere dann notwendig, wenn auf bereits vorhandene digitale Datenbestände für neue Forschungsfragen zurückgegriffen wird. Insgesamt zeigt sich also, dass die Weiterentwicklung der geistes-, kultur- und sozialwissenschaftlichen Quellenkritik für digitale Daten weit über die Fachgrenze hinaus relevant ist und die dort entwickelten Verfahren nicht nur Eingang in die Curricula der geschichtswissenschaftlichen Studiengänge finden sollten, sondern auch in alle anderen.</p> <p>Die Autor:innen und die Teilgebenden bewerteten die Barcamp-Session als einen guten Startpunkt und sind bestrebt die Thematik insbesondere im Kontext historischer Forschung, den Digital Humanities und der Data Literacy-Debatte weiterzuverfolgen. Angedacht sind weitere Veranstaltungen, sowie Publikationen und insbesondere ein intensiver Austausch mit allen Interessierten. Ideen, Beiträge und/oder Beteiligung ist ausdrücklich erwünscht!</p> <p><strong>Kontakt</strong>:</p> <ul> <li>Aline Deicke (<a href="https://web.archive.org/web/20210112080252/mailto:aline.deicke@adwmainz.de">aline.deicke@adwmainz.de</a>, @alinedeicke),</li> <li>Jonathan D. Geiger (<a href="https://web.archive.org/web/20210112080252/mailto:jonathan.geiger@adwmainz.de">jonathan.geiger@adwmainz.de</a>, @jodageiger)</li> <li>Marina Lemaire (<a href="https://web.archive.org/web/20210112080252/mailto:marina.lemaire@uni-trier.de">marina.lemaire@uni-trier.de</a>, @mrnlmr)</li> <li>Stefan Schmunk, (<a href="https://web.archive.org/web/20210112080252/mailto:stefan.schmunk@h-da.de">stefan.schmunk@h-da.de</a>, @stefanschmunk)</li> </ul> <p> </p> <p>¹ Sabine Büttner, Tutorium Arbeiten mit Quellen: Quellenkritik und -interpretation, in: historicum-estudies.net, URL: <a href="https://web.archive.org/web/20210112080252/https://www.historicum-estudies.net/etutorials/tutorium-quellenarbeit/quellenkritik/">https://www.historicum-estudies.net/etutorials/tutorium-quellenarbeit/quellenkritik/</a>.</p> <div class="social-share"> <div class="addthis_toolbox addthis_default_style addthis_32x32_style"> <a class="addthis_button_preferred_1"></a> <a 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href="https://web.archive.org/web/20210112080252/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/20210112080252/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/20210112080252/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/20210112080252/http://www.dh2012.uni-hamburg.de/">DH2012 Hamburg</a></li> <li><a href="https://web.archive.org/web/20210112080252/http://dhdhi.hypotheses.org/">Digital Humanities am DHIP</a></li> <li><a href="https://web.archive.org/web/20210112080252/http://dhi.intd.cnam.fr/">Digital Humanities International</a></li> <li><a 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