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'https://web.archive.org/web/20210621060714/https://ssl' : 'https://web.archive.org/web/20210621060714/http://www') + '.google-analytics.com/ga.js'; (document.getElementsByTagName('head')[0] || document.getElementsByTagName('body')[0]).appendChild(ga); })(); </script> </head> <body class="archive category category-digital-humanities category-541876 customizer-styles-applied two-column content-sidebar highlander-enabled highlander-light"> <div id="container" class="hfeed contain"> <div id="header"> <div id="masthead" role="banner"> <div id="site-title"> <span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/" title="Digital Scholarship in the Humanities" rel="home">Digital Scholarship in the Humanities</a> </span> </div> <div id="site-description">Exploring the digital humanities</div> </div><!-- #masthead --> <div id="access" role="navigation"> <div class="skip-link screen-reader-text"><a href="#content" title="Skip to content">Skip to content</a></div> <div class="menu"><ul> <li><a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/">Home</a></li><li class="page_item page-item-2"><a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/about/">About</a></li> <li class="page_item page-item-453"><a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/cv/">CV</a></li> </ul></div> </div><!-- #access --> <div id="branding"> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/"> <img src="https://web.archive.org/web/20210621060714im_/https://digitalscholarship.files.wordpress.com/2010/09/cropped-4278736751_4d834008fb_b.jpg" width="990" height="180" alt=""/> </a> </div><!-- #branding --> </div><!-- #header --> <div id="content-box"> <div id="content-container"> <div id="content" role="main"> <h1 class="page-title">Category Archives: <span>digital humanities</span></h1> <div id="nav-above" class="navigation"> <div class="nav-previous"><a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/category/digital-humanities/page/2/"><span class="meta-nav">←</span> Older posts</a></div> <div class="nav-next"></div> </div><!-- #nav-above --> <div id="post-540" class="post-540 post type-post status-publish format-standard hentry category-digital-humanities category-research-practices tag-digital-humanities tag-media-history tag-methods"> <h2 class="entry-title"><a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2015/06/13/exploring-digital-humanities-and-media-history/" rel="bookmark">Exploring Digital Humanities and Media History</a></h2> <div class="entry-meta"> <span class="meta-prep meta-prep-author">Posted on</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2015/06/13/exploring-digital-humanities-and-media-history/" title="12:21 pm" rel="bookmark"><span class="entry-date">June 13, 2015</span></a> <span class="comments-link"><span class="meta-sep">|</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2015/06/13/exploring-digital-humanities-and-media-history/#comments">2 comments</a></span> </div><!-- .entry-meta --> <div class="entry-content"> <p>Some of my favorite conferences are those that are outside my field, since they expose me to new perspectives and enable me to meet new people. Such was the case with the<a href="https://web.archive.org/web/20210621060714/http://projectarclight.org/arguments/arclight-symposium-2/"> ArcLight Symposium</a> hosted in May by Concordia University. Sponsored by<a href="https://web.archive.org/web/20210621060714/http://projectarclight.org/"> Project ArcLight</a>, a Concordia/University of Wisconsin project to develop web-based tools for analyzing the rise of American media (movies, radio, TV, newspapers) in the 20th century, the symposium brought together film and media historians with digital humanists to explore the possibilities and pitfalls of digital methods for media history. Funded through a Digging into Data grant, the project builds upon the<a href="https://web.archive.org/web/20210621060714/http://mediahistoryproject.org/"> Media History Digital Library</a> (MHDL), which contains 1.5 million pages of digitized trade journals, fan magazines, and other public domain media periodicals.<a href="https://web.archive.org/web/20210621060714/http://projectarclight.org/"><img class=" aligncenter" src="https://web.archive.org/web/20210621060714im_/https://i1.wp.com/projectarclight.org/wp-content/uploads/logo.png" alt="ArcLight Logo" width="340" height="420"/></a></p> <p>While some media historians apologized for not being particularly savvy about digital methods, some digital humanists (OK, this one) confessed to having a limited knowledge of film history. But Mark Williams rightly suggested that doing work in digital humanities requires moving outside your comfort zone, and the conference was the richer for people making such leaps. I was reminded of<a href="https://web.archive.org/web/20210621060714/https://digitalhumanities.stanford.edu/neotopology"> Elijah Meeks’</a> suggestion that “interloping, more than computational approaches or the digital broadly construed as the object of study, defines digital humanities.” Figuring out new methods or delving into unfamiliar subject areas necessitates interloping.</p> <p>Rather than summarizing each paper presented at the symposium, I will highlight what emerged as important themes. See also<a href="https://web.archive.org/web/20210621060714/http://projectarclight.org/author/cfhandlon/"> C</a>harlotte Fillmore-Handlon’s<a href="https://web.archive.org/web/20210621060714/http://projectarclight.org/arguments/arclight2015-in-brief-media-historians-dive-deep-into-digital-humanities/"> conference summary</a>.</p> <h2><b>Core Principles</b></h2> <ul> <li><b>The importance of archives—physical and digital– to media history research.</b> Such research often requires returning to the original record and paying attention to the material object. For example, as Haidee Wasson studies the history of portable film projectors, she needs to examine the original objects so that she can get a sense of their heft and design. At the same time, digital archives open up rich possibilities for discovering relevant resources and patterns, analyzing them, and sharing them. For example, the<a href="https://web.archive.org/web/20210621060714/https://sites.dartmouth.edu/mediaecology/"> Media Ecology Project</a> aims to enable researchers to access resources from media archives, create their own annotations, collections, and publications, and contribute metadata back, using tools such as Mediathread, Scalar and onomy.org.</li> <li><b>The importance of thinking historically about primary source materials</b>—to understand, for example, the structure, design and cultural history of newspapers, as Paul Moore and Sandra Gabriele pointed out. Likewise, we need to pay attention to the features of digital objects. Ryan Cordell emphasized that we should view digital resources as something entirely different than print, so that a digitized newspaper is not a duplicate of a print edition, but its own typeset edition.</li> <li><b>The need to consider scope: </b>I referred to<a href="https://web.archive.org/web/20210621060714/http://journalofdigitalhumanities.org/3-2/historical-understanding-in-the-quantum-age/"> Josh Sternfeld</a>’s recommendation that historians deal with digital abundance by extending the principles of scope and provenance into the digital environment. In conducting analysis, it’s important to keep in mind what’s included–and what’s not–in the corpus. As Greg Waller pointed out, studying representation means looking at multiple forms of media—not just film, but sheet music, postcards, literature, etc. Where do you draw the boundaries?</li> </ul> <h2><b>Challenges</b></h2> <ul> <li> <b>Intellectual property:</b> Despite digital plenty, researchers are often limited by paywalls and proprietary databases. MHDL tried to work with a commercial database, but was rebuffed; the global film data that underlies Deb Verhoeven’s<a href="https://web.archive.org/web/20210621060714/http://kinomatics.com/"> Kinomatics</a> research is expensive and cannot be shared. These challenges point to the need to support open projects such as MHDL whenever possible. An audience member urged greater risk-taking, as paranoia about intellectual property can lead scholars, librarians and institutions to hesitate in sharing cultural materials that are public goods.</li> <li> <b>Ambiguity of humanities data</b>. As many researchers have suggested, humanities data is often messy, dynamic and ambiguous. For example, Deb Verhoeven noted that the locations, size and status of theaters change over time. Likewise, Derek Long acknowledged the challenges of disambiguating film titles that include common words such as “war.”</li> <li> <b>Reductiveness of ontologies</b>. David Berry asked what happens when information is translated into an ontology, suggesting that DH imports instrumental methods into interpretation. Deb Verhoeven argued that imposing ontologies on diverse humanities data raises both practical and ethical issues. For example, with a typical ontology you can’t say that things aren’t related, and you can’t see who made what assertions. Hence<a href="https://web.archive.org/web/20210621060714/https://huni.net.au/#/search"> HuNI</a> (Humanities Networked Infrastructure), which brings together 31 Australian cultural datasets, eschews traditional ontologies. Instead, users generate connections through a vernacular linking process, using either free text or already established categories. They can also explore linkages created by others.</li> </ul> <h2><b>Approaches</b></h2> <ul> <li> <b>Searching as frustrating but also fundamental</b>. Searching enables scholars to frame an inquiry, get a sense of what an archive might contain, and discover relevant materials. Eric Hoyt pointed to problems with search, including the risks of<a href="https://web.archive.org/web/20210621060714/http://en.wikipedia.org/wiki/Confirmation_bias"> confirmation bias</a> and of being overwhelmed by results, but also suggested that search is easily understood and widely used by most scholars<a href="https://web.archive.org/web/20210621060714/https://bighumanities.files.wordpress.com/2014/10/hoyt.pdf">. Scaled entity search</a> brings greater power to search, allowing researchers to compare hundreds of entities (such as names, film titles, or radio station call letters) across the corpus and then generate visualizations to explore patterns. For example, you can compile a list of the most frequently mentioned people in silent film (which often turn out to be those who also headed production companies). ArcLight will be released later this summer.<br/> To create the entity list for film history, ArcLight uses its<a href="https://web.archive.org/web/20210621060714/http://projectarclight.org/news/digging-into-the-early-film-credits-dataset-preliminary-findings-interpretive-challenges-and-inspired-inquiries/"> Early Film Credits (EFC) dataset</a>. This dataset grew out of a 1996 database of <i>American Film Personnel and Company Credits, 1908-1920</i>, which is itself based on a 1976 book. As Derek Long showed, EFC enables you to, for example, generate a list of the number of films produced by a director in a particular year or the number of films made by different production companies (revealing the dominance of a few companies and the “long tail,” as most companies made only a few films).</li> <li> <b>Pattern matching</b>. As Ryan Cordell noted, searching doesn’t work for everything—for example, you can’t run a search for “show me all instances of reprinting in 19th century newspapers.” Much humanities work involves identifying and interpreting patterns; digital tools can support pattern matching on a much larger scale. For example, the<a href="https://web.archive.org/web/20210621060714/http://viraltexts.org/"> Viral Text Project</a> uses sophisticated algorithms to detect matches in thousands of pages of 19th century newspapers. For a human to take on this work would be nearly impossible. But the computer can reveal significant repeating patterns across a corpus like <i>Chronicling America</i>, enabling scholars to detect the circulation of ideas, debates over the authorship of a sentimental poem, and much more.</li> <li> <b>Working at multiple scales</b>. As Bobby Allen pointed out, the level of zoom “makes some relations visible but obscures others.” Paul Moore and Sandra Gabriele spoke to the importance of middle-range reading, or “scalable reading.” Scalable reading involves moving from the macro to the middle to the micro—for example, looking at patterns of circulation at a distance, “following material links across media, form and genre” at the mid-range, and examining the “symbolic order” of a newspaper page close up.</li> <li><b>Experimentation and iteration</b>: Several speakers used variations of the term “experiment” to describe digital methods. For instance, Deb Verhoeven emphasized that working with the Kinomatics Project’s “big data” documenting the flow of international film across space and time requires experimentation and iteration. Haidee Wesson noted the “experimentalism” of trying out different search strategies, posing different questions of databases. Charles Acard offered an important caution as he suggested that experimentation in DH needs to be influenced by literary theory.</li> <li><b>The need to engage public audiences.</b> Bobby Allen and Deb Verhoeven spoke to the importance of thinking of humanities work as public goods. Bobby Allen suggested that researchers should “dig where you stand,” but connect local archives to the network. For example, the UNC Digital Innovation Lab’s<a href="https://web.archive.org/web/20210621060714/http://digitalinnovation.unc.edu/2015/04/28/digital-innovation-lab-participates-in-grand-re-opening-of-lorayfirestone-mill/"> Digital Loray</a> project enables the public to explore the history of a textile mill in Gastonia, NC, using digital tools to share stories, maps and timelines and engage public audiences. <p>Crowdsourcing represents one form of public engagement, but some raised concerns. What distinguishes public expertise from academic? Is crowdsourcing exploitative?</li> <li> <b>Using visualization to represent complexity</b>: How do you represent the magnitude of global cinema? Laura Horak sketched out a project to create flow maps to study the global circulation of film, describing different ways of visualizing such data and how such visualizations can shape understanding.</li> </ul> <p>While participants used examples specific to media history, many of the concerns and approaches explored in the symposium have broader relevance. I was reminded of the importance of cultivating a critical awareness of methods and engaging in the kind of interdisciplinary dialogue that the ArcLight symposium fostered.</p> <p>Disclosure: Most of my travel costs were covered by the symposium.</p> <p>Rev, 6/13/15: Corrected spelling error.</p> <div id="atatags-26942-60d02c92c7f6c"></div> <script> __ATA.cmd.push(function() { __ATA.initDynamicSlot({ id: 'atatags-26942-60d02c92c7f6c', location: 120, formFactor: '001', label: { text: 'Advertisements', }, creative: { reportAd: { text: 'Report this ad', }, privacySettings: { text: 'Privacy', } } }); }); </script> </div><!-- .entry-content --> <div class="entry-info"> <p class="comments-link"><a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2015/06/13/exploring-digital-humanities-and-media-history/#comments">2 Comments</a></p> <p class="cat-links"> <span class="entry-info-prep entry-info-prep-cat-links">Posted in</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/category/digital-humanities/" rel="category tag">digital humanities</a>, <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/category/research-practices/" rel="category tag">research practices</a> </p> <p class="tag-links"><span class="entry-info-prep entry-info-prep-tag-links">Tagged</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/tag/digital-humanities/" rel="tag">digital humanities</a>, <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/tag/media-history/" rel="tag">media history</a>, <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/tag/methods/" rel="tag">methods</a></p> </div><!-- .entry-info --> </div><!-- #post-## --> <div id="post-516" class="post-516 post type-post status-publish format-standard hentry category-collaboration category-digital-humanities tag-txdhc"> <h2 class="entry-title"><a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2014/04/23/creating-the-texas-digital-humanities-consortium/" rel="bookmark">Creating the Texas Digital Humanities Consortium</a></h2> <div class="entry-meta"> <span class="meta-prep meta-prep-author">Posted on</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2014/04/23/creating-the-texas-digital-humanities-consortium/" title="2:16 pm" rel="bookmark"><span class="entry-date">April 23, 2014</span></a> <span class="comments-link"><span class="meta-sep">|</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2014/04/23/creating-the-texas-digital-humanities-consortium/#respond">Leave a comment</a></span> </div><!-- .entry-meta --> <div class="entry-content"> <p><a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.files.wordpress.com/2014/04/txdhc-logo6.png"><img loading="lazy" data-attachment-id="517" data-permalink="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2014/04/23/creating-the-texas-digital-humanities-consortium/txdhc-logo6/" data-orig-file="https://web.archive.org/web/20210621060714/https://digitalscholarship.files.wordpress.com/2014/04/txdhc-logo6.png" data-orig-size="1260,240" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":""}" data-image-title="TXDHC-logo6" data-image-description="" data-medium-file="https://web.archive.org/web/20210621060714/https://digitalscholarship.files.wordpress.com/2014/04/txdhc-logo6.png?w=300" data-large-file="https://web.archive.org/web/20210621060714/https://digitalscholarship.files.wordpress.com/2014/04/txdhc-logo6.png?w=500" class="aligncenter wp-image-517" src="https://web.archive.org/web/20210621060714im_/https://digitalscholarship.files.wordpress.com/2014/04/txdhc-logo6.png?w=301&h=56" alt="TXDHC-logo6" width="301" height="56" srcset="https://web.archive.org/web/20210621060714im_/https://digitalscholarship.files.wordpress.com/2014/04/txdhc-logo6.png?w=294&h=56 294w, https://web.archive.org/web/20210621060714im_/https://digitalscholarship.files.wordpress.com/2014/04/txdhc-logo6.png?w=588&h=112 588w, https://web.archive.org/web/20210621060714im_/https://digitalscholarship.files.wordpress.com/2014/04/txdhc-logo6.png?w=150&h=29 150w, https://web.archive.org/web/20210621060714im_/https://digitalscholarship.files.wordpress.com/2014/04/txdhc-logo6.png?w=300&h=57 300w" sizes="(max-width: 301px) 100vw, 301px"/></a>At the Inaugural <a href="https://web.archive.org/web/20210621060714/http://www.txdhc.org/?page_id=11">Texas Digital Humanities Consortium Conference</a> (TXDHC) on April 12, Elijah Meeks <a href="https://web.archive.org/web/20210621060714/https://digitalhumanities.stanford.edu/neotopology">suggested</a> that “interloping, more than computational approaches or the digital broadly construed as the object of study, defines digital humanities.” Indeed, as researchers pursue their curiosity and explore new methods, they often venture into unfamiliar territory. But there they may find others eager to experiment with new approaches and share what they know (or, as Elijah puts it, “a vibrant community of practice,” such as what we see in neogeography). This open, collaborative ethos characterized the TXDHC conference. Ably organized and hosted by <a href="https://web.archive.org/web/20210621060714/http://cameronbuckner.net/">Cameron Buckner</a> from the University of Houston (with co-sponsorship from Rice and Texas A&M), the conference attracted participants from across Texas as well as from California, Alabama, Louisiana, and Switzerland. (See Geoffrey Rockwell’s great <a href="https://web.archive.org/web/20210621060714/http://www.philosophi.ca/pmwiki.php/Main/1stInauguralTexasDigitalHumanitiesConference">conference notes.</a>) I think the conference met its fundamental goal of building community among (and beyond) Texas digital humanists by providing a forum where people could present their work, make connections with fellow interlopers, and learn new skills, such as at the hackfest facilitated by Elijah. By bringing in knowledgeable and engaged keynote speakers, the conference exposed participants to cutting-edge work and enabled them to interact with experts happy to offer advice about projects and pose stimulating questions. Already a colleague from Rice who attended the conference reports that she has made progress on her project thanks to help from Elijah, and I bet others can share similar stories.</p> <p>The conference functioned as the first event hosted by the <a href="https://web.archive.org/web/20210621060714/http://www.txdhc.org/">Texas Digital Humanities Consortium</a>, a new organization that aims to support collaboration among digital humanists in Texas. The consortium (and conference) emerged from a conversation that Cameron Buckner, Laura Mandell (Texas A&M) and I had in October 2013 in which we discussed the growth of digital humanities across the state and the opportunity to band together in promoting DH research and education. We roped in a few more universities, including the University of Texas, the University of North Texas, St. Edward’s, and the University of Texas at Arlington. But we want to extend the consortium further, to create an open, participatory organization that includes liberal arts colleges, universities, community colleges, libraries, museums, and archives. At the conference, I facilitated a business meeting devoted to organizing the new consortium. While I worried that few people would show up to an 8:30 a.m. meeting on a Saturday, I was impressed by how many came and how engaged they were. We had participants from Southwestern, Prairie View A&M, and the University of Texas at Dallas as well as from Rice, UH, UT Austin, St. Edward’s, and UT Arlington. Since Texas is such a big state, we don’t necessarily have the advantage of close geographical proximity, but we do have a diverse and lively community, exciting research and educational projects, and a desire to do as much as we can together.</p> <p>In the course of a very productive hour, we developed a framework for the consortium. We plan to do the following:</p> <ul> <li>Establish a <a href="https://web.archive.org/web/20210621060714/http://commonsinabox.org/">Commons in a Box</a> web site where members of the consortium can share information about researchers, projects, events, and opportunities (such as internships). <a href="https://web.archive.org/web/20210621060714/http://idhmc.tamu.edu/the-director/">Laura Mandell</a> and her colleagues at Texas A&M’s <a href="https://web.archive.org/web/20210621060714/http://idhmc.tamu.edu/">Initiative for Digital Humanities, Media, and Culture</a> (IDHMC) generously offered to set up the site. Contact Laura if you would like to be put on the mailing list for the group.</li> <li>Organize a monthly virtual meeting to plan activities, share ongoing research, and build community.</li> <li>Explore creating internship opportunities for graduate students (and potentially undergraduate students as well). Those looking for students to assist with DH projects can write short descriptions of these projects and share them on the TXDHC web site.</li> <li>Host an annual conference. We would like to hold the next TXDHC conference in the spring of 2015, perhaps in the Dallas/Fort Worth area.</li> <li>Provide informal opportunities to interact, such as by hosting local reading groups and letting each other know about lectures and other events. Note that Texas A&M will host <a href="https://web.archive.org/web/20210621060714/http://dhcollaborate2014.thatcamp.org/">THATCamp DHCollaborate</a> on May 16-17, 2014.</li> <li>Explore potential advocacy activities.</li> </ul> <p>We encourage others interested in digital humanities from across Texas to join us. Currently the consortium operates as a “coalition of the willing,” with decision making by consensus. There are no membership fees or formal structures; to participate, you just need to indicate interest and be willing to contribute your ideas and time. If you are a Texas digital humanist, please fill out a brief <a href="https://web.archive.org/web/20210621060714/https://docs.google.com/forms/d/1omQYvGhvMIM8bs_HA9a5Ur43RRKuocJwuG-3IgTBeO8/viewform">survey</a> to indicate your interest in the consortium and offer input into its activities. Interlopers welcomed!</p> <div id="atatags-370373-60d02c92cafd6"> <script type="text/javascript"> __ATA.cmd.push(function() { __ATA.initVideoSlot('atatags-370373-60d02c92cafd6', { sectionId: '370373', format: 'inread' }); }); </script> </div> </div><!-- .entry-content --> <div class="entry-info"> <p class="comments-link"><a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2014/04/23/creating-the-texas-digital-humanities-consortium/#respond">Leave a comment</a></p> <p class="cat-links"> <span class="entry-info-prep entry-info-prep-cat-links">Posted in</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/category/collaboration/" rel="category tag">collaboration</a>, <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/category/digital-humanities/" rel="category tag">digital humanities</a> </p> <p class="tag-links"><span class="entry-info-prep entry-info-prep-tag-links">Tagged</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/tag/txdhc/" rel="tag">TXDHC</a></p> </div><!-- .entry-info --> </div><!-- #post-## --> <div id="post-467" class="post-467 post type-post status-publish format-standard hentry category-digital-humanities category-education category-presentations category-teaching category-tools tag-information-visualization tag-omeka tag-spatial-humanities tag-text-analysis tag-timelines tag-workshop"> <h2 class="entry-title"><a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2013/03/04/digital-pedagogy-in-practice-workshop-materials/" rel="bookmark">Digital Pedagogy in Practice: Workshop Materials</a></h2> <div class="entry-meta"> <span class="meta-prep meta-prep-author">Posted on</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2013/03/04/digital-pedagogy-in-practice-workshop-materials/" title="4:49 pm" rel="bookmark"><span class="entry-date">March 4, 2013</span></a> <span class="comments-link"><span class="meta-sep">|</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2013/03/04/digital-pedagogy-in-practice-workshop-materials/#respond">Leave a comment</a></span> </div><!-- .entry-meta --> <div class="entry-content"> <p>On Saturday, March 2, I gave a workshop on digital (humanities) pedagogy for a group of about 20 faculty and staff at Gettysburg College. I was impressed by the participants’ energy, openness, smarts, and playfulness. We had fun!</p> <p>I designed the workshop so that it moved through four phases, with the goal of participants ultimately walking away with concrete ideas about how they might integrate digital approaches into their own teaching:</p> <p>1) We explored the rationale for digital pedagogy (<a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.files.wordpress.com/2013/03/gettysburgintrodigitalpedagogyfinal.pdf">pdf of slides</a>), discussing what students need to know in the 21<sup>st</sup> century, different frameworks for digital pedagogy (e.g. learning science, liberal education, social learning, and studio learning), and definitions of digital pedagogy and the “digital liberal arts.” I started the session with <a href="https://web.archive.org/web/20210621060714/http://hastac.org/blogs/cathy-davidson/2012/04/08/single-best-free-way-transform-classroom-primary-lifelongl-any-size-">Cathy Davidson’s exercise</a> in which audience members first jot down on an index card three things they think students need to know in order to thrive in the digital age, then share their ideas with someone they didn’t walk in with, and finally work together to select the one key idea. (The exercise got people thinking and talking.)</p> <p>2) In the second session, I gave a brief presentation (<a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.files.wordpress.com/2013/03/gettysburgdhcasestudiesfinal.pdf">pdf</a>) offering specific case studies of digital pedagogy in action (repurposing some slides I’d used for previous workshops). Participants then broke up into groups to <a href="https://web.archive.org/web/20210621060714/https://docs.google.com/document/d/1uL4hdSyFItHVoNJ5Du1_3fY-M6uFKX8TAHVcs3OnrXQ/edit">analyze an assignment</a> used in a digital humanities class.</p> <p>3) Next participants worked in small groups to explore one of the following:</p> <ul id="internal-source-marker_0.16854508729094053"> <li> <a href="https://web.archive.org/web/20210621060714/https://docs.google.com/document/d/1lWGdcT755W_Ytxjaiv9NILkjMGvh0NRcMHA6hxGeOG0/edit">Visualizing Data</a></li> <li><a href="https://web.archive.org/web/20210621060714/https://docs.google.com/document/d/1zn3QZdwPzvVH8ObUpGpxA5n3ZX_P2gdi6Tki4Wk2I54/edit#heading=h.74rddavoi0m0"> Mapping Historical Markers</a></li> <li><a href="https://web.archive.org/web/20210621060714/https://docs.google.com/document/d/1pwA6HXjBtX8Ktp3uH7a5k19VS_5scDSDDKqfr7KZuLA/edit#heading=h.su2efs6d0d4z"> Building Digital Collections & Exhibits with Omeka</a></li> <li><a href="https://web.archive.org/web/20210621060714/https://docs.google.com/document/d/1tEooyjSYBLhtdCouh5_-HY3NXpMAFU0woHYKTvQMsdI/edit"> Doing Things with Text</a> or<a href="https://web.archive.org/web/20210621060714/https://docs.google.com/document/d/1tEooyjSYBLhtdCouh5_-HY3NXpMAFU0woHYKTvQMsdI/edit"><br/> </a></li> <li><a href="https://web.archive.org/web/20210621060714/https://docs.google.com/document/d/1xIv7WBIMAk6U4b8JLa4voQ6K6uOUnON9PcsUM6PQG-g/edit">Creating Timelines</a></li> </ul> <p>I structured the exercise so that participants first looked at the particular applications of the tool in teaching and scholarship (e.g. <a href="https://web.archive.org/web/20210621060714/https://republicofletters.stanford.edu/">Mapping the Republic of Letters</a> and <a href="https://web.archive.org/web/20210621060714/http://dsl.richmond.edu/emancipation/">Visualizing Emancipation</a> in the session on information visualization), then played with a couple of tools in order to understand how they work, and finally reflected on the advantages and disadvantages of each tool and their potential pedagogical applications. I deliberately kept the exercises short and simple, and I tried to make them relevant to Gettysburg, drawing data from Wikipedia and other open sources.</p> <p>4) Finally participants worked in small teams (set up according to discipline) to <a href="https://web.archive.org/web/20210621060714/https://docs.google.com/document/d/11YHiWzkZV-U_oDMWM_snLQY4TMXGkufByZ6WCtIMOaM/edit">develop an assignment</a> incorporating digital approaches. We concluded the session with a modified gallery walk, in which people circulated through the room and chatted with a representative of each team to learn more about their proposed assignment.</p> <p>By the end of the day, workshop participants seemed excited by the possibilities and more aware of specific approaches that they could take (as well as a bit exhausted). I got several questions about <a href="https://web.archive.org/web/20210621060714/http://copyright.lib.utexas.edu/">copyright</a>, so in future workshops I plan to incorporate a more formal discussion of <a href="https://web.archive.org/web/20210621060714/http://www.centerforsocialmedia.org/fair-use/related-materials/codes/code-best-practices-fair-use-media-literacy-education">fair use</a>, <a href="https://web.archive.org/web/20210621060714/http://creativecommons.org/">Creative Commons</a> and the <a href="https://web.archive.org/web/20210621060714/http://www.teachingcopyright.org/handout/public-domain-faq">public domain</a>.</p> <p>Our workshop drew heavily on materials shared by generous digital humanities instructors. (In that spirit, feel free to use or adapt any of my workshop materials. And I’m happy to give a version of this workshop elsewhere.) My thinking about digital humanities pedagogy has been informed by a number of people, particularly my terrific colleague <a href="https://web.archive.org/web/20210621060714/http://rebeccafrostdavis.wordpress.com/">Rebecca Davis</a>.</p> </div><!-- .entry-content --> <div class="entry-info"> <p class="comments-link"><a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2013/03/04/digital-pedagogy-in-practice-workshop-materials/#respond">Leave a comment</a></p> <p class="cat-links"> <span class="entry-info-prep entry-info-prep-cat-links">Posted in</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/category/digital-humanities/" rel="category tag">digital humanities</a>, <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/category/education/" rel="category tag">education</a>, <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/category/presentations/" rel="category tag">presentations</a>, <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/category/teaching/" rel="category tag">teaching</a>, <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/category/tools/" rel="category tag">tools</a> </p> <p class="tag-links"><span class="entry-info-prep entry-info-prep-tag-links">Tagged</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/tag/information-visualization/" rel="tag">information visualization</a>, <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/tag/omeka/" rel="tag">omeka</a>, <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/tag/spatial-humanities/" rel="tag">spatial humanities</a>, <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/tag/text-analysis/" rel="tag">text analysis</a>, <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/tag/timelines/" rel="tag">timelines</a>, <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/tag/workshop/" rel="tag">workshop</a></p> </div><!-- .entry-info --> </div><!-- #post-## --> <div id="post-430" class="post-430 post type-post status-publish format-standard hentry category-digital-humanities category-education category-tools tag-presentation tag-text-analysis"> <h2 class="entry-title"><a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2013/01/31/slides-and-exercises-from-doing-things-with-text-workshop/" rel="bookmark">Slides and Exercises from “Doing Things with Text” Workshop</a></h2> <div class="entry-meta"> <span class="meta-prep meta-prep-author">Posted on</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2013/01/31/slides-and-exercises-from-doing-things-with-text-workshop/" title="5:55 pm" rel="bookmark"><span class="entry-date">January 31, 2013</span></a> <span class="comments-link"><span class="meta-sep">|</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2013/01/31/slides-and-exercises-from-doing-things-with-text-workshop/#comments">1 comment</a></span> </div><!-- .entry-meta --> <div class="entry-content"> <p>Last week I was delighted to be back at my old stomping grounds at Rice University’s <a href="https://web.archive.org/web/20210621060714/http://dmc.rice.edu/">Digital Media Commons</a> to lead a workshop on “Doing Things with Text.” The workshop was part of Rice’s <a href="https://web.archive.org/web/20210621060714/http://digitalhumanities.rice.edu/">Digital Humanities Bootcamp Series</a>, led by my former colleagues Geneva Henry and Melissa Bailar. I hoped to expose participants to a range of approaches and tools, provide opportunities for hands-on exploration and play, and foster discussion about the advantages and limitations of text analysis, topic modeling, text encoding, and metadata. Although we ran out of time before getting through my ambitious agenda, I hope my <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.files.wordpress.com/2013/01/doing-things-with-text-workshop-rice-2013.pdf" rel="attachment wp-att-431">slides </a> and <a href="https://web.archive.org/web/20210621060714/https://docs.google.com/document/d/1p1-K-MAndX_trL33ZI4of1m3VXkVhkmkmY10G3wWius/edit">exercises</a> provide useful starting points for exploring text analysis and text encoding.</p> </div><!-- .entry-content --> <div class="entry-info"> <p class="comments-link"><a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2013/01/31/slides-and-exercises-from-doing-things-with-text-workshop/#comments">1 Comment</a></p> <p class="cat-links"> <span class="entry-info-prep entry-info-prep-cat-links">Posted in</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/category/digital-humanities/" rel="category tag">digital humanities</a>, <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/category/education/" rel="category tag">education</a>, <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/category/tools/" rel="category tag">tools</a> </p> <p class="tag-links"><span class="entry-info-prep entry-info-prep-tag-links">Tagged</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/tag/presentation/" rel="tag">presentation</a>, <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/tag/text-analysis/" rel="tag">text analysis</a></p> </div><!-- .entry-info --> </div><!-- #post-## --> <div id="post-385" class="post-385 post type-post status-publish format-standard hentry category-digital-humanities category-digital-scholarship category-open-access"> <h2 class="entry-title"><a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2012/11/16/opening-the-humanities-part-1-overview/" rel="bookmark">Opening the Humanities Part 1: Overview</a></h2> <div class="entry-meta"> <span class="meta-prep meta-prep-author">Posted on</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2012/11/16/opening-the-humanities-part-1-overview/" title="10:51 pm" rel="bookmark"><span class="entry-date">November 16, 2012</span></a> <span class="comments-link"><span class="meta-sep">|</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2012/11/16/opening-the-humanities-part-1-overview/#respond">Leave a comment</a></span> </div><!-- .entry-meta --> <div class="entry-content"> <p>Today marks the fifth anniversary of my blog. Over the course of those five years, I’ve learned a simple, vital lesson: sharing is good. When I began my blog, I planned to document the process of remixing my dissertation (completed five years earlier, in 2002) as a work of digital scholarship. I got distracted by other topics, such as making the case for <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2008/03/04/social-scholarship-in-the-humanities/">social scholarship</a>, summarizing the <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2008/01/08/digital-humanities-in-2007-part-1-of-3/">year in digital humanities</a> (a task that seems far too daunting today), examining<a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2009/04/21/collaborative-authorship-in-the-humanities/"> collaboration</a> in DH, and providing resources for <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2011/10/14/getting-started-in-the-digital-humanities/">getting started </a> in DH. Since I didn’t really expect that the blog would find much of an audience, I was jazzed when people commented on my posts and talked with me about my blog at conferences. Blogging opened up new opportunities for me– invitations to speak or to contribute to essay collections– and made me feel like I was part of a lively community of scholars. Sharing made my work more visible and gave me a greater sense of purpose.</p> <p>An interest in sharing also led me to team up with <a href="https://web.archive.org/web/20210621060714/https://digitalresearchtools.pbworks.com/w/page/17801639/About%20this%20wiki">several other librarians </a>to start the Digital Research Tools (DiRT) wiki. As I tried to keep up with all of the tools that help researchers find, manage, analyze and present information, I figured it would be better to take on the task collectively and produce a community resource.</p> <div style="width: 298px" class="wp-caption alignright"><a href="https://web.archive.org/web/20210621060714/http://www.flickr.com/photos/46259794@N02/8149086637/"><img title="Program Building @ THATCamp Vanderbilt by derekbruff" alt="Program Building @ THATCamp Vanderbilt by derekbruff" src="https://web.archive.org/web/20210621060714im_/https://i1.wp.com/farm9.staticflickr.com/8476/8149086637_cac842688f.jpg" height="192" width="288"/></a><p class="wp-caption-text">Program Building @ THATCamp Vanderbilt by derekbruff</p></div> <p>With DiRT, I was struck by the willingness of the community to share; as I recall, both Alan Liu and Dan Cohen invited me to grab resources from their own tool collections and include them in DiRT, and people volunteered their time to add new information to the wiki. But I also learned that it requires continuous effort to maintain an active community of contributors; no matter how good our intentions, we only have so much time (and I myself had only limited time to commit to DiRT). Now DiRT has achieved what many start-ups aim for: it’s been acquired by a larger organization. Reborn as <a href="https://web.archive.org/web/20210621060714/http://dirt.projectbamboo.org/">Bamboo DiRT</a>, it is nurtured by a <a href="https://web.archive.org/web/20210621060714/http://dirt.projectbamboo.org/about">steering/ curatorial committee</a> (led by Quinn Dombrowski, who did much of the work creating Bamboo DiRT) that shares its time and expertise to maintain a resource of value to the community.</p> <p>In retrospect, I see that my attraction to digital humanities comes not so much from a love of technology or method, but of the community and its values. It’s difficult (and perhaps presumptuous) to define the values of such a diverse community, but I would point to openness, collaboration, collegiality and connectedness, diversity and experimentation (as I did in my chapter in <a href="https://web.archive.org/web/20210621060714/http://www.upress.umn.edu/book-division/books/debates-in-the-digital-humanities">Debates in the Digital Humanities</a>). Underlying all of these is openness, broadly defined: openness to new ideas and new participants, openness as a commitment to sharing.</p> <p>We see openness throughout the digital humanities. As the <a href="https://web.archive.org/web/20210621060714/http://tcp.hypotheses.org/411">Manifesto for the Digital Humanities</a> declares, digital humanists are “building a community of practice that is solidary, open, welcoming and freely accessible” as well as “multilingual and multidisciplinary.” This community calls for “open access to data and metadata,” open source software, the development of “collective expertise” and the sharing of best practices. I would point to <a href="https://web.archive.org/web/20210621060714/http://thatcamp.org/">THATCamp</a>, with its openness to all, spirit of sharing and discovery, and emphasis on collaboration, as the embodiment of this community (appropriately enough, the Manifesto was produced collectively at THATCamp Paris). Openness defines how much of the DH community operates and animates its larger goal to promote the growth of knowledge. Indeed, Mark Sample proposes that <a href="https://web.archive.org/web/20210621060714/http://www.samplereality.com/2011/05/25/the-digital-humanities-is-not-about-building-its-about-sharing/">The digital humanities is not about building, it’s about sharing, </a>arguing that the “promise of the digital” comes in the circulation, sharing and discussion of knowledge. Instead of tolerating the slow dissemination of knowledge through antiquated print processes and allowing knowledge to be restricted to those with access to well-funded libraries, Sample suggests, we can develop open solutions that promote conversation, sharing, reuse, and the growth of knowledge.</p> <p>Noting how frequently terms like “open” and “collaboration” are used in definitions of digital humanities, <a href="https://web.archive.org/web/20210621060714/http://cybernetickinkwell.com/2012/04/02/on-a-definition-of-open-humanities/">Eric Johnson</a> suggests that the digital humanities have much in common with the public humanities. Like museum professionals and librarians, digital humanists embrace values such as collaboration, open access, and “[i]nvolvement of the public and/or public ‘communities of passion.’” (I love that term “<a href="https://web.archive.org/web/20210621060714/http://www.managementexchange.com/blog/moonshot/hackathon-pilot-defining-community-passion-alyson-huntington-jones">communities of passion</a>,” which captures the generosity, sense of common purpose and enthusiasm I see in DH). Many digital humanities projects aim to share knowledge with the public and even engage the public in the construction of that knowledge. Eric advances a useful definition of the open humanities: “those aspects of the humanities aimed at democratizing production and consumption of humanities research.” (I would add teaching and learning).</p> <p>With this post, I am beginning a series on the open humanities, elaborating on ideas I discussed in my November 2 talk at WPI’s <a href="https://web.archive.org/web/20210621060714/http://www.wpi.edu/academics/hua/news/digihum.html">Digital Humanities Symposium</a>. I’ll look at the contexts around open humanities, explore the rationale for open humanities (drawing many examples from digital humanities), and examine challenges facing open humanities, particularly cultural and economic ones. Along the way, I’ll discuss the ongoing development of <a href="https://web.archive.org/web/20210621060714/http://anvilacademic.org/">Anvil Academic</a>, an open publisher for the digital humanities (I’m the program manager). I hope this series shines a light on some of the great work being done in the DH community and stimulates further conversation about the open humanities.</p> <p>Thanks to everyone who has commented on a post, spread the word about my blog, encouraged me, shared ideas with me, and helped make the DH community (as contentious as it sometimes can be) one of passion.</p> </div><!-- .entry-content --> <div class="entry-info"> <p class="comments-link"><a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2012/11/16/opening-the-humanities-part-1-overview/#respond">Leave a comment</a></p> <p class="cat-links"> <span class="entry-info-prep entry-info-prep-cat-links">Posted in</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/category/digital-humanities/" rel="category tag">digital humanities</a>, <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/category/digital-scholarship/" rel="category tag">digital scholarship</a>, <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/category/open-access/" rel="category tag">open access</a> </p> </div><!-- .entry-info --> </div><!-- #post-## --> <div id="post-253" class="post-253 post type-post status-publish format-standard hentry category-digital-humanities category-education category-research-practices"> <h2 class="entry-title"><a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2010/11/20/2030-vision-scenarios-for-the-humanities-in-2030/" rel="bookmark">20/30 Vision: Scenarios for the Humanities in 2030</a></h2> <div class="entry-meta"> <span class="meta-prep meta-prep-author">Posted on</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2010/11/20/2030-vision-scenarios-for-the-humanities-in-2030/" title="1:37 pm" rel="bookmark"><span class="entry-date">November 20, 2010</span></a> <span class="comments-link"><span class="meta-sep">|</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2010/11/20/2030-vision-scenarios-for-the-humanities-in-2030/#comments">2 comments</a></span> </div><!-- .entry-meta --> <div class="entry-content"> <p>[Here is the extended dance remix version of the talk I gave at the 2010 American Studies Association panel on “Facing New Technologies, Exploring New Challenges.”]</p> <p>We seem to be anxious about the future—heck, the present—of the humanities. Consider budget cuts such as those at SUNY-Albany and in the UK, the horrible job market, the declining number of majors, and the frequent appearance of articles with titles like “<a href="https://web.archive.org/web/20210621060714/http://chronicle.com/article/Can-the-Humanities-Survive-the/124222">Can the Humanities Survive the 21st Century?</a>”</p> <p>Instead of focusing on the <em>present </em>in this panel on “Facing New Technologies, Exploring New Challenges,” I’d like to zoom forward twenty years using a process called <em>scenario planning</em>. Essentially, a scenario is a brief story about the future. By working through such stories, organizations can look at the proverbial big picture and devise strategies for facing critical uncertainties in future environments, such as the nature of technological change, the state of higher education, and globalization. (Given its emphasis on storytelling and interpretation, scenario planning seems like an approach at home in the humanities.)</p> <p>Recently both the <a href="https://web.archive.org/web/20210621060714/http://www.arl.org/rtl/plan/scenarios/usersguide/index.shtml">Association of Research Libraries</a> and the <a href="https://web.archive.org/web/20210621060714/http://www.ala.org/ala/mgrps/divs/acrl/issues/value/futures.cfm">Association of College and Research Libraries</a> issued reports about the future of libraries based on scenario planning. (You might have noticed that libraries are also anxious as they face the transition to digital information.) My favorite of the genre is the Library of New South Wales’ <em><a href="https://web.archive.org/web/20210621060714/http://www.sl.nsw.gov.au/services/public_libraries/publications/docs/bookendsscenarios.pdf">The Bookends Scenarios</a>, </em>both because it confronts larger challenges such as climate change and because it leavens gloominess with imagination and humor, such as: “Book by James Lovelock Jnr claims that 98% of human race will be extinct by 2100; 78% of people say they wish James Lovelock Jnr would become extinct by 2029.”</p> <p>Although scenario planning has its skeptics, I can testify to the ways that it can help people break out of their typical ways of seeing and stimulate their imaginations. Just this week, my library held a retreat based on the ARL 2030 Scenarios. Despite some grumbling about the unlikelihood of any of the scenarios coming to pass, participants did think deeply and creatively about risks and opportunities facing academic libraries as research becomes more global, entrepreneurial, and data driven. The scenarios sparked conversation.</p> <p>Today I’d like to put forward three scenarios for the future of the humanities. I’m mashing together the aforementioned library scenarios with the Rockefeller Foundation’s <a href="https://web.archive.org/web/20210621060714/http://www.rockefellerfoundation.org/news/publications/scenarios-future-technology"><em>Scenarios for the Future of Technology and International Development</em></a> and Bryan Alexander’s “<a href="https://web.archive.org/web/20210621060714/http://www.nmc.org/preso/8040">Stories of the Future: Telling Scenarios</a>,” as well as a dash of David Mitchell’s <em>Cloud Atlas</em>. A few caveats: 1) I’m notoriously bad at predicting the future. (I really thought I would enjoy treats whipped up by a robot chef by now). 2) The scenarios are compressed and partial. 3) The future will most likely not be any one of these scenarios, although it may contain elements of some of them. 4) A diverse community rather than a quirky individual should develop and think through future scenarios.</p> <p>I aim to open up a conversation, not have the final word. (It might be useful for an organization such as CenterNet, the Association for Computers and the Humanities or the NEH to take on this exercise in earnest.) The core question that I want to explore: how can we transform the humanities so that they continue to be relevant in twenty years–so that they “survive the 21st century”?</p> <h3>Critical Uncertainties</h3> <p>In defining these scenarios, I am considering several “critical uncertainties”:</p> <ul> <li>Teaching and learning: As distance education becomes more dominant, what will humanities education look like?</li> <li>Funding sources: Where will money for humanities research come from, especially as public funding is under stress?</li> <li>Research methods: How will the availability of huge amounts of data (for instance, the 12+ million volumes in Google Books) affect the way humanities research is conducted?</li> <li>Knowledge production and dissemination: How will research be communicated? Will there be free and open access to information, or will it be available only to the highest bidder?</li> <li>Environmental, social, political, technological and cultural changes: What will be the impact of climate change, peak oil, population growth, resource depletion, economic challenges, developments in technology, and globalization on the world?</li> </ul> <p>Based on these uncertainties, I’ve whipped up three scenarios. (To conform to the genre, I should offer four, but I can only cram so much into a 12 minute presentation).</p> <h3>I. A New Renaissance</h3> <div style="width: 190px" class="wp-caption alignnone"><a href="https://web.archive.org/web/20210621060714/http://farm1.static.flickr.com/23/29582361_c9e924ff65_m.jpg"><img title="the green ascent (by vsz)" src="https://web.archive.org/web/20210621060714im_/https://i1.wp.com/farm1.static.flickr.com/23/29582361_c9e924ff65_m.jpg" alt="" width="180" height="240"/></a><p class="wp-caption-text">the green ascent (by vsz)</p></div> <p>i. <em> Summary: </em>Through broad, sustained investment in education, the world enjoys greater equity and opportunity. Interdisciplinary research and international cooperation have led to progress on resolving many challenges, including climate change, political conflict, and resource depletion.</p> <p>ii. <em>Research: </em> Humanities scholars are valued for bringing critical understanding to large amounts of data. In collaboration with computer scientists and librarians, humanities scholars devise methods to mine large humanities databases, coming up with new questions and insights that cross disciplinary and linguistic divides. Humanities (and digital humanities) centers help to coordinate much of this activity. Through efforts by leading scholars and scholarly organizations, tenure and promotion guidelines have been broadened to recognize a wide range of work, including scholarly multimedia, online dialogues, and curated content.</p> <p>iii. <em> Teaching:</em> Blended learning has become common, with lectures and exercises delivered online and face-to-face time reserved for discussion and collaborative research. Faculty act as guides and mentors for networked research projects that engage students around the world in producing new knowledge. The humanities provide crucial training in curating, contextualizing and interpreting large amounts of data, as well as in critically examining individual objects.</p> <p>iv. <em>Scholarly communication:</em> Research is openly available, speeding the pace of discovery and spreading ideas widely. To capture the complexities of their research, scholars produce multimodal scholarship that incorporates video, audio, visualizations, maps, etc.</p> <h3>2. Humanities, Inc.</h3> <div style="width: 250px" class="wp-caption alignnone"><img title="Banksy-Cashpoint (by TT)" src="https://web.archive.org/web/20210621060714im_/https://i0.wp.com/farm1.static.flickr.com/31/66572272_b6188ea42e_m.jpg" alt="" width="240" height="180"/><p class="wp-caption-text">Banksy-Cashpoint (by TT)</p></div> <p>i. <em> Summary:</em> As the United States faces economic crises, public funding for education and research erodes. People feel both overwhelmed by information and hungry for whatever supports their own perspective. Political conflict erupts around the world as a result of resource depletion and climate change, prompting the US to go into a defensive crouch.</p> <p>ii. <em>Research:</em> To the extent that research is funded, the money mostly comes from corporations, often with strings attached. Researchers no longer have tenured positions at universities, but move from contract to contract. By necessity, researchers focus on “what pays?” However, some scholars work with the public to produce crowdsourced humanities research.</p> <p>iii. <em>Teaching: </em>Most undergraduate education is offered through distance education; students choose from a menu of choices rather than attending a particular institution. Instruction mostly focuses on vocational skills. A few elite institutions remain and offer face-to-face instruction for the very wealthy. Teachers, most of whom are employed by private companies, teach classes with several hundred people, leaving no time for research. Except for a few “rock stars,” the academic labor force is contingent.</p> <p>iv. <em>Scholarly communication: </em>Except for crowdsourced information, most research is available only to those individuals and communities who pay for it.</p> <h3>c. After the Fall</h3> <div style="width: 250px" class="wp-caption alignnone"></p> <div class="mceTemp"> <dl class="wp-caption alignnone"> <dt class="wp-caption-dt"><a href="https://web.archive.org/web/20210621060714/http://farm1.static.flickr.com/66/180771786_c50a8db28f_m.jpg"><img class=" " title="petrol head (Leo Reynolds)" src="https://web.archive.org/web/20210621060714im_/https://i2.wp.com/farm1.static.flickr.com/66/180771786_c50a8db28f_m.jpg" alt="" width="240" height="240"/></a><p class="wp-caption-text">petrol head (Leo Reynolds)</p></div> </dt> </dl> </div> <p>i. <em>Summary: </em>The devastating effects of climate change, energy shortages, and economic recession prompt a return to localism, so that local communities provide for most of people’s needs. Some areas have descended into chaos or totalitarianism, run by bandits or warlords. But others have developed democratic local solutions—microindustries, local power grids, community gardens, co-ops. Despite the scarcity of energy and frequent power outages, people occasionally are able to access and share information on the Internet, but travel becomes rare. The humanities provide a respite from day-to-day drudgery and a source of perspective and wisdom.</p> <p>ii. <em>Research: </em>Scholars become research hackers, devising solutions to problems both by studying past folkways and by surveying what other communities are doing now. They are resourceful in retrieving information however they can, taking full advantage of the time when they can access the Internet. There is a renewed appreciation for aesthetics, for well-made or meaningful objects. Humanities centers focus on bridging different interests groups working in the humanities, including secondary education and local cultural organizations.</p> <p>iii. <em>Teaching: </em> Although much education focuses on core skills such as literacy, craftsmanship, and agriculture, humanists are valued as wisdom keepers and curators of knowledge, distilling what is important on and passing on cultural appreciation.</p> <p>iv. <em>Scholarly communication</em>: Given the unreliability of the electrical grid, print becomes valued for its stability. Scholars frequently participate in public conversations in their communities.</p> <h3>What Now?</h3> <p><div style="width: 250px" class="wp-caption alignnone"><a href="https://web.archive.org/web/20210621060714/http://www.flickr.com/photos/pagedooley/2577006675/sizes/m/in/photostream/"><img title="Reflections (Kevin Dolley)" src="https://web.archive.org/web/20210621060714im_/https://i0.wp.com/farm4.static.flickr.com/3057/2577006675_b5dd38dca6_m.jpg" alt="" width="108" height="104"/></a><p class="wp-caption-text">Reflections (Kevin Dolley)</p></div><br/> So how can the humanities prepare for these possible futures?</p> <p><strong>1. Adapt! </strong> Engage with and understand technology’s role in the humanities. Like it or not, technology is shaping our future—both how we do our research and, increasingly, how learning is delivered. Thus we should experiment with new models for teaching, peer review, research, and scholarly communication. For example, the <a href="https://web.archive.org/web/20210621060714/http://chnm.gmu.edu/">Center for History and New Media</a> have been doing some fascinating experiments to challenge the slow pace of academia and, perhaps even more importantly, create community, whether by crowdsourcing a book or creating a piece of software in a week. Likewise, the <a href="https://web.archive.org/web/20210621060714/http://lookingforwhitman.org/">Looking for Whitman</a> project is linking together college classrooms in the study of Walt Whitman and engaging students in producing public scholarship. (Whitman would approve, I think.) We need to make visible the value of this kind of work.</p> <p><strong>2. Cooperate!</strong> Support collaborative, interdisciplinary research. Such collaboration should occur on many levels: across professional roles, departments, universities, and community organizations. Greg Crane recently made a <a href="https://web.archive.org/web/20210621060714/http://www.stoa.org/archives/1299">compelling case </a>that “We need better ways to understand the cultures that drive economic and political systems upon which our biological lives depend.” To do that, as Crane argues,we need to ask good questions about the connections among cultures, foster dialogue, collaborate with scholars from a range of cultural backgrounds, and make scholarship widely available. AWe also need to devise ways of dealing with masses of data, both through developing computational approaches and by opening up research opportunities to students and volunteers.</p> <p>Humanities centers (working in collaboration with libraries and with scholarly organizations) should play a lead role in supporting cross-disciplinary research and in communicating that research to the public. As I found in a recent research project on collaboration in the digital humanities, many humanities departments still do not know how to evaluate collaborative work for tenure and promotion; this should change. Likewise, recognition and support should be given to those in “<a href="https://web.archive.org/web/20210621060714/http://nowviskie.org/2010/alt-ac/">alternative academic careers</a>”—librarians, technologists, administrators, researchers, and others who are key players in digital humanities initiatives.</p> <p><strong>3. Open! </strong>Reform scholarly communication so that it is open, multimodal, participatory, and high quality. If we want to convince the public of the value of the humanities, then we shouldn’t make it prohibitively expensive for them to access scholarship. Rather, we should come up with sustainable models for scholars to share their research and participate in visible scholarly conversations.</p> <p><strong>4. Evangelize!</strong> Advocate for the value of the humanities—and indeed of research and education generally. In particular, I encourage you to support <a href="https://web.archive.org/web/20210621060714/http://humanistica.ualberta.ca/">4humanities</a>, a new web site and initiative to advocate for the humanities. Launched by a collective that is coordinated by Alan Liu (I’m proud to be a member), 4humanities leverages the expertise of the digital humanities community to provide tools, media and resources for promoting for the humanities.</p> <p>The key point that I want to emphasize is the importance of <em>community</em> in facing challenges/opportunities, as well as in advocating for the humanities. (This idea was developed collectively by our ASA panel—Haven Hawley, Charles Reagan Wilson, Elena Razlogova, and myself–<strong> </strong>during a breakfast gathering to plan our session.) I think digital humanities scholars/practitioners have been pretty successful in building community, using both networked technologies such as blogs and Twitter and face-to-face gatherings such as THATCamp to connect people, ideas and action. But we can do more. Let’s get moving!</p> <hr size="1"/> </div><!-- .entry-content --> <div class="entry-info"> <p class="comments-link"><a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2010/11/20/2030-vision-scenarios-for-the-humanities-in-2030/#comments">2 Comments</a></p> <p class="cat-links"> <span class="entry-info-prep entry-info-prep-cat-links">Posted in</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/category/digital-humanities/" rel="category tag">digital humanities</a>, <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/category/education/" rel="category tag">education</a>, <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/category/research-practices/" rel="category tag">research practices</a> </p> </div><!-- .entry-info --> </div><!-- #post-## --> <div id="post-226" class="post-226 post type-post status-publish format-standard hentry category-collaboration category-digital-humanities category-digital-scholarship"> <h2 class="entry-title"><a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2009/06/01/examples-of-collaborative-digital-humanities-projects/" rel="bookmark">Examples of Collaborative Digital Humanities Projects</a></h2> <div class="entry-meta"> <span class="meta-prep meta-prep-author">Posted on</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2009/06/01/examples-of-collaborative-digital-humanities-projects/" title="3:24 pm" rel="bookmark"><span class="entry-date">June 1, 2009</span></a> <span class="comments-link"><span class="meta-sep">|</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2009/06/01/examples-of-collaborative-digital-humanities-projects/#comments">16 comments</a></span> </div><!-- .entry-meta --> <div class="entry-content"> <p>Observing that humanities scholars rarely jointly author articles, as I did in my <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2009/04/21/collaborative-authorship-in-the-humanities/">last post</a>, comes as no surprise. As Blaise Cronin writes, “Collaboration—for which co-authorship is the most visible and compelling indicator—is established practice in both the life and physical sciences, reflecting the industrial scale, capital-intensiveness and complexity of much contemporary scientific research. But the ‘standard model of scholarly publishing,’ one that ‘assumes a work written by an author,” continues to hold sway in the humanities’ (24). Just as I found that only about 2% of the articles published in <a rel="#someid45" href="https://web.archive.org/web/20210621060714/http://alh.oxfordjournals.org/">American Literary History</a> between 2004 and 2008 were co-authored, so Cronin et al discovered that just 2% of the articles that appeared in the philosophy journal <em>Mind</em> between 1900 and 2000 were written by more than one person, although between 1990 and 2000 that number increased slightly to 4% (Cronin, Shaw, & La Barre). Whereas the scale of scientific research often requires scientists to collaborate with each other, humanities scholars typically need only something to write with and about. But as William Brockman, et al suggest, humanities scholars do have their own traditions of collaboration, or at least of cooperation: “Circulation of drafts, presentation of papers at conferences, and sharing of citations and ideas, however, are collaborative enterprises that give a social and collegial dimension to the solitary activity of writing. At times, the dependence of humanities scholars upon their colleagues can approach joint authorship of a publication” (11).</p> <p>Information technology can speed and extend the exchange of ideas, as researchers place their drafts online and solicit comments through technologies such as <a href="https://web.archive.org/web/20210621060714/http://www.futureofthebook.org/commentpress/">CommentPress</a>, make available conference papers via institutional repositories, and share citations and notes using tools such as Zotero. Over ten years, ago John Unsworth described an ongoing shift from cooperation to collaboration, indicating perhaps both his prescience and the slow pace of change in academia.</p> <blockquote><p>In the cooperative model, the individual produces scholarship that refers to and draws on the work of other individuals. In the collaborative model, one works in conjunction with others, jointly producing scholarship that cannot be attributed to a single author. This will happen, and is already happening, because of computers and computer networks. Many of us already cooperate, on networked discussion groups and in private email, in the research of others: we answer questions, provide references for citations, engage in discussion. From here, it’s a small step to collaboration, using those same channels as a way to overcome geographical dispersion, the difference in time zones, and the limitations of our own knowledge.</p></blockquote> <p><em>The limitations of our own knowledge</em>. As Unsworth also observes, collaboration, despite the challenges it poses, can open up new approaches to inquiry: “instead of establishing a single text, editors can present the whole layered history of composition and dissemination; instead of opening for the reader a single path through a thicket of text, the critic can provide her with a map and a machete. This is not an abdication of the responsibility to educate or illuminate: on the contrary, it engages the reader, the user, as a third kind of collaborator, a collaborator in the construction of meaning.” With the interactivity of networked digital environments, Unsworth imagines the reader becoming an active co-creator of knowledge. Through online collaboration, scholars can divide labor (whether in making a translation, developing software, or building a digital collection), exchange and refine ideas (via blogs, wikis, listservs, virtual worlds, etc.), engage multiple perspectives, and work together to solve complex problems. Indeed, “[e]mpowering enhanced collaboration over distance and across disciplines” is central to the vision of cyberinfrastructure or e-research (Atkins). Likewise, <a href="https://web.archive.org/web/20210621060714/http://en.wikipedia.org/wiki/Web_2.0">Web 2.0</a> focuses on sharing, community and collaboration.</p> <p>Work in many areas of the digital humanities seems to both depend upon collaboration and aim to support it. Out of the 116 abstracts for posters, presentations, and panels given at the <a href="https://web.archive.org/web/20210621060714/http://www.ekl.oulu.fi/dh2008/">Digital Humanities 2008 </a>(DH2008) conference, 41 (35%) include a form of the word “collaboration,” whether they are describing collaborative technologies (“Online Collaborative Research with REKn and PReE”) or collaborative teams (“a collaborative group of librarians, scholars and technologists”). Likewise, 67 out of 104 (64%) papers and posters presented at DH 2008 have more than one author. (Both the Digital Humanities conference and LLC tend to focus on the computational side of the digital humanities, so I’d also like to see if the pattern of collaboration holds in what Tara McPherson calls the “<a href="https://web.archive.org/web/20210621060714/http://www.cni.org/tfms/2008a.spring/plenary.html#closing">multimodal humanities</a>,” e.g. journals such as <a href="https://web.archive.org/web/20210621060714/http://www.vectorsjournal.org/">Vectors</a>. Given that works in <em>Vectors</em> typically are produced through collaborations between scholars and designers, I’d expect to see a somewhat similar pattern.)</p> <p>I was having trouble articulating precisely how collaboration plays a role in humanities research until I began looking for concrete examples—and I found plenty. As computer networks connect researchers to content, tools and each other, we are seeing humanities projects that facilitate people working together to produce, explore and disseminate knowledge. I interpret the word “collaboration” broadly; it’s a squishy term with synonyms such as teamwork, cooperation, partnership, and working together, and it also calls to mind co-authorship, communication, community, <a href="https://web.archive.org/web/20210621060714/http://www.hastac.org/node/2172">citizen humanities</a>, and social networks. In <a href="https://web.archive.org/web/20210621060714/http://www.herecomeseverybody.org/">Here Comes Everybody</a>, Clay Shirky puts forward a handy hierarchy of collaboration: 1) sharing; 2) cooperation; 3) collaboration; 4) collectivism (Kelly). In this post, I’ll list different types of computer-supported collaboration in the humanities, note antecedents in “traditional” scholarship, briefly describe example projects, and point to some supporting technologies. This is an initial attempt to classify a wide range of activity; some of these categories overlap.</p> <h2>–FACILITATING COMMUNICATION AND KNOWLEDGE BUILDING–</h2> <h3>ONLINE COMMUNITIES/ VIRTUAL ORGANIZATIONS</h3> <ul> <li>Historical antecedents: conferences, colloquia, letters</li> <li>Supporting technologies: listservs, online forums, blogs, social networking platforms, virtual worlds, microblogging (e.g. Twitter), video conferencing</li> <li>Key functions: fostering communication and collaboration across a distance</li> <li>Examples: <ul> <li><strong>Listervs:</strong> Perhaps the most well-known online community in the humanities is <a href="https://web.archive.org/web/20210621060714/http://www.neh.gov/news/humanities/2000-09/hnet.html">H-NET</a>, which was founded in 1992 and thus predates Web 2.0 or even Web 1.0. According to Mark Kornbluh, H-Net provides an “electronic version of an academic conference, a way for people to come together and to talk about their research and their teaching, to announce what was going on in the field, and to review and critique things that are going on in the field.” Currently H-Net <a href="https://web.archive.org/web/20210621060714/http://www.h-net.org/about/">supports</a> over 100 humanities email lists and serves over 100,000 subscribers in more than 90 countries. Although H-Net has been <a href="https://web.archive.org/web/20210621060714/http://edwired.org/?p=204">criticized</a> for relying on an old technology, the listserv, and is facing <a href="https://web.archive.org/web/20210621060714/http://h-net.msu.edu/cgi-bin/logbrowse.pl?trx=vx&list=H-Announce&month=0905&week=c&msg=0M82whVzIdvlCXkycwoIkA&user=&pw=">economic difficulties</a>, it remains valued for supporting information sharing and discussion. For digital humanities folks, the <a href="https://web.archive.org/web/20210621060714/http://www.digitalhumanities.org/humanist/">Humanist list</a>, launched in 1987, serves as “an international online seminar on humanities computing and the digital humanities” and has played a vital part in the intellectual life of the community.</li> <li><strong>Online forums: </strong><a href="https://web.archive.org/web/20210621060714/http://www.hastac.org/about">HASTAC</a>, “a virtual network, a network of networks” that supports collaboration across disciplines and institutions, sponsors lively forums about technology and the humanities, often moderated by graduate students. HASTAC also organizes conferences, administers a grant competition, and advocates for “new forms of collaboration across communities and disciplines fostered by creative uses of technology.” In my experience, online communities often break down the hierarchies separating graduate students from senior scholars and bring recognition to good ideas, no matter what the source.</li> <li><strong>Online communities:</strong> Since 1996, <a href="https://web.archive.org/web/20210621060714/http://www.rc.umd.edu/">Romantic Circles</a> (RC) has built an online community focused on Romanticism, not only fostering communication among researchers but also collaboratively developing content. Romantic Circles includes a blog for sharing information about news and events of interest to the community; a searchable archive of electronic editions; collections of critical essays; chronologies, indices, bibliographies and other scholarly tools; reviews; pedagogical resources; and a MOO (gaming environment). Over <a href="https://web.archive.org/web/20210621060714/http://www.rc.umd.edu/about/history.html">30 people</a> have served as editors, while over <a href="https://web.archive.org/web/20210621060714/http://www.rc.umd.edu/about/contributors.html">300 people</a> have contributed reviews and essays. Alan Liu aptly <a href="https://web.archive.org/web/20210621060714/http://www.rc.umd.edu/about/comments.html">summarizes</a> RC’s significance: “Romantic Circles, which helped pioneer collaborative scholarship on the Web, has become the leading paradigm for what such scholarship could be. One can point variously to the excellence of its refereed editions of primary texts, its panoply of critical and pedagogical resources, its inventive Praxis series, its state-of-the-art use of technology or its stirring commitment (nearly unprecedented on the Web) to spanning the gap between high-school and research-level tiers of education. But ultimately, no one excellence is as important as the overall, holistic impact of the site. We witness here a broad community of scholars using the new media vigorously, inventively, and rigorously to inhabit a period of historical literature together.”In building a community that supports digital scholarship, <a href="https://web.archive.org/web/20210621060714/http://www,nines.org/">NINES</a> focuses on three main goals: providing peer review for digital scholarship in 19th century American and British studies (thus helping to legitimize and recognize emerging scholarly forms), helping scholars create digital scholarship by providing training and content, and developing software such as Collex and Juxta to support inquiry and collaboration.</li> <li><strong>Advanced videoconferencing</strong>: With budgets tight, time scarce, and concern about the environmental costs of travel increasing, collaborators often need to meet without having to travel. <a href="https://web.archive.org/web/20210621060714/http://www.accessgrid.org/home">AccessGrid</a> supports communication among multiple groups by providing high quality video and audio and enabling researchers to share data and scientific instruments seamlessly. AccessGrid, which was developed by Argonne National Laboratory and uses open source software, employs large displays and multiple projectors to create an immersive environment. In the arts and humanities, AccessGrid has been used to support “telematic” performances, the study of <a href="https://web.archive.org/web/20210621060714/http://www.shef.ac.uk/hri/projects/projectpages/virtualvellum.html">high resolution images, </a>seminars, and <a href="https://web.archive.org/web/20210621060714/http://www.arts-humanities.net/briefingpaper/access_grid">classes</a>.</li> </ul> </li> </ul> <div style="width: 510px" class="wp-caption aligncenter"><a href="https://web.archive.org/web/20210621060714/http://www.flickr.com/photos/modbob/13601634/"><img title="Collaboration Using Access Grid" src="https://web.archive.org/web/20210621060714im_/https://i2.wp.com/farm1.static.flickr.com/9/13601634_c0d11d2e81.jpg" alt="CollabRoom by Modbob" width="500" height="151"/></a><p class="wp-caption-text">CollabRoom by Modbob</p></div> <h3>COLLABORATORIES</h3> <ul> <li>Historical antecedents: laboratories, research centers,</li> <li>Supporting technologies: grid technologies/ advanced networking, large displays, remote instrumentation, simulation software, collaboration platforms such as <a href="https://web.archive.org/web/20210621060714/http://hubzero.org/">HubZero</a>, databases, digital libraries</li> <li>Key functions: fostering communication, collaboration, resource sharing, and research regardless of physical distance</li> <li>Examples:</li> </ul> <p style="padding-left:30px;">William Wulf coined the term collaboratory in 1989 to describe a “center without walls, in which the nation’s researchers can perform their research without regard to physical location, interacting with colleagues, accessing instrumentation, sharing data and computational resources, [and] accessing information in digital libraries.” Most of the collaboratories listed on the (now somewhat-out-of-date) <a href="https://web.archive.org/web/20210621060714/http://www.scienceofcollaboratories.org/Resources/colisting.php">Science of Collaboratories</a> web site focus on the sciences. For example, scientific collaboratories such as <a href="https://web.archive.org/web/20210621060714/http://nanohub.org/">NanoHub</a>, <a href="https://web.archive.org/web/20210621060714/http://www.si.umich.edu/sparc/">Space Physics and Astronomy Research Collaboratory (SPARC)</a> and <a href="https://web.archive.org/web/20210621060714/http://www.nbirn.net/">Biomedical Informatics Research Network (BIRN)</a> have supported online data sharing, analysis, and communication.</p> <p style="padding-left:30px;">What would a collaboratory in the humanities do? The term has been used in the humanities to refer to:</p> <blockquote> <ul> <li>a network of scholars and centers (HASTAC)</li> <li>a national coordinating body and “knowledge resource” for digital humanities scholarship (Digital Humanities Observatory, <a href="https://web.archive.org/web/20210621060714/http://dho.ie/">DHO</a>);</li> <li>an interdisciplinary research unit (the University of Kentucky’s <a href="https://web.archive.org/web/20210621060714/http://www.rch.uky.edu/">Collaboratory for Research in Computing for Humanities</a>, RCH)</li> <li>a collaboration among supercomputing centers to support humanities scholars in their use of high performance computing (<a href="https://web.archive.org/web/20210621060714/http://www.ncsa.uiuc.edu/News/08/0905Institutefor.html">Humanities High Performance Computing Collaboratory</a>)</li> <li>a university-based team that supports teaching and research bringing together computing and the humanities (Wayne State’s <a href="https://web.archive.org/web/20210621060714/http://www.otl.wayne.edu/support_dhc.php">Digital Humanities Collaboratory</a>);</li> <li>a scholarly web space that supports collaborative annotation and publication (<a href="https://web.archive.org/web/20210621060714/http://celtic.ibiblio.org/index.html">Finding the Celtic</a>)</li> </ul> </blockquote> <p style="padding-left:30px;">“Collaboratory” has thus taken on additional meanings, referring to “a new networked organizational form that also includes social processes; collaboration techniques; formal and informal communication; and agreement on norms, principles, values, and rules” (Cogburn, 2003, via <a href="https://web.archive.org/web/20210621060714/http://en.wikipedia.org/wiki/Collaboratory">Wikipedia</a>).</p> <p style="padding-left:30px;">“Virtual research environment” seems to be replacing “collaboratory” to refer to online collaborative spaces that provide access to tools and content (e.g. <a href="https://web.archive.org/web/20210621060714/http://vre.earlymoderntexts.org/portal/site/!gateway/page/!gateway-100">Early Modern Texts VRE</a>, powered by Sakai). Through its funding program focused on <a href="https://web.archive.org/web/20210621060714/http://www.jisc.ac.uk/whatwedo/programmes/vre2.aspx">Virtual Research Environments</a>, JISC has sponsored the Virtual Research Environment for Archaeology, a VRE for the Study of Documents and Manuscripts, Collaborative Research Events on the Web, and myExperiments for sharing scientific workflows.</p> <h2>–SHARING AND AGGREGATING CONTENT—</h2> <h3>DIGITAL MEMORY BANKS/ USER-CONTRIBUTED CONTENT</h3> <ul> <li>Historical antecedents: museums, archives, personal collections</li> <li>Supporting technologies: Web publishing platforms (e.g. Omeka, Drupal), databases</li> <li>Key functions: “collecting & exhibiting” content (to borrow from <a href="https://web.archive.org/web/20210621060714/http://chnm.gmu.edu/collecting-and-exhibiting/">CHNM</a>)</li> <li>Examples:<br/> When the Valley of the Shadow project was launched in the 1990s, project team members went into communities in Pennsylvania and Virginia to digitize 19th century documents held by families in personal collections, thus building a virtual archive. As scanners and digital cameras have become ubiquitous and user-contributed content sites such as Flickr and YouTube have taken off, people can contribute their own digital artifacts to online collections. For example, <a href="https://web.archive.org/web/20210621060714/http://www.hurricanearchive.org/">The Hurricane Digital Memory Bank</a> collects over 25,000 stories, images, and other multimedia files about Hurricanes Katrina and Rita. Using a simple interface, people can upload items and describe the title, keywords, geographic location, and contributor. The archive thus becomes a dynamic, living repository of current history, a space where researchers and citizens come together—or, in the <a href="https://web.archive.org/web/20210621060714/http://www.vectorsjournal.org/index.php?page=8|2&projectId=75&pageContinue=1284">terminology</a> of the Center for History and New Media (CHNM), a memory bank that “promote[s] popular participation in presenting and preserving the past.” As the editors of Vectors write in their <a href="https://web.archive.org/web/20210621060714/http://www.vectorsjournal.org/index.php?page=7&pageContinue=968&projectId=75">introduction</a> to “Hurricane Digital Memory Bank: Preserving the Stories of Katrina, Rita, and Wilma,” “Their work troubles a number of binaries long reified by history scholars (and humanities scholars more generally), including one/many, closed/open, expert/amateur, scholarship/journalism, and research/pedagogy.” CHNM also sponsors digital memory banks focused on Mozilla, September 11, and the Virginia Tech tragedy. Likewise, the <a href="https://web.archive.org/web/20210621060714/http://www.oucs.ox.ac.uk/ww1lit/gwa/">Great War Archive</a>, sponsored by the University of Oxford, contains over 6,500 items about World War I contributed by the public.</li> </ul> <h3>CONTENT AGGREGATION AND INTEGRATION</h3> <ul> <li>Historical antecedents: museums, archives</li> <li>Supporting technologies: databases, open standards</li> <li>Key functions: making it easier to discove, share and use information</li> <li>Examples:<br/> Too often digital resources reside in silos, as each library or archive puts up its own digital collection. As a result, researchers must spend more time identifying, searching, and figuring out how to use relevant digital collections. However, some projects are shifting away from a siloed approach and bringing together collaborators to build digital collections focused on a particular topic or to develop interoperable, federated digital collections. For instance, the Alliance for American Quilts, MATRIX: Center for Humane Arts, Letters and Social Sciences Online, and Michigan State University Museum have created the <a href="https://web.archive.org/web/20210621060714/http://www.quiltindex.org/">Quilt Index</a>, which makes available images and descriptions of quilts provided by 14 contributors, including The Library of Congress American Folklife Center and the Illinois State Museum. As Mark Kornbluh argues, <a href="https://web.archive.org/web/20210621060714/http://en.wikipedia.org/wiki/Interoperability">interoperable</a> content enables new kinds of inquiry: “In the natural sciences, large new datasets, powerful computers, and a rich array of computational tools are rapidly transforming knowledge generation. For the same to occur in the humanities, we need to understand the principle that ‘more is better.’ Part of what the computer revolution is doing is that it is letting us bring huge volumes of material under control. Cultural artifacts have always been held by separate institutions and separated by distance. Large–scale interoperable digital repositories, like the Quilt Index, open dramatically new possibilities to look at the totality of cultural content in ways never before possible.” Other examples of content aggregation and integration projects include the <a href="https://web.archive.org/web/20210621060714/http://whitmanarchive.org/manuscripts/finding_aids/index.html">Walt Whitman Archive’s Finding Aids for Poetry Manuscripts</a> and <a href="https://web.archive.org/web/20210621060714/http://www.nines.org/">NINES</a>.</li> </ul> <h3 style="padding-left:30px;">DATA SHARING</h3> <ul> <li>Historical antecedents: informal exchange of data</li> <li>Supporting technologies: databases (MySQL, etc), web services tools</li> <li>Key functions: support research by enabling discovery and reuse of data sets</li> <li>Example projects:<br/> By sharing data, researchers can enable others to build on their work and provide transparency. As Christine Borgman writes, “If related data and documents can be linked together in a scholarly information infrastructure, creative new forms of data- and information-intensive, distributed, collaborative, multidisciplinary research and learning become possible. Data are outputs of research, inputs to scholarly publications, and inputs to subsequent research and learning. Thus they are the foundation of scholarship” (Borgman 115). Of course, there are a number of problems bound up in data sharing—how to ensure participation, make data discoverable through reliable metadata, balance flexibility in accepting a range of formats and the need for standardization, preserve data for the long term, etc. Several projects focused on humanities and social science data are beginning to confront at least some of these challenges:</p> <ul> <li><a href="https://web.archive.org/web/20210621060714/http://www.opencontext.org/">Open Context </a>“hopes to make archaeological and related datasets far more accessible and usable through common web-based tools.” Embracing open access and collaboration, Open Context makes it easy for researchers to upload, search, tag and analyze archaeological datasets.</li> <li>Through <a href="https://web.archive.org/web/20210621060714/http://www.openstreetmap.org/">Open Street Map</a>, people freely and openly share and use geographic data in a wiki-like fashion. Contributors employ GPS devices to record details about places such as the names of roads, then upload this information to a collaborative database. The data is used to create detailed maps that have no copyright restrictions (unlike most geographical data).</li> <li>Through the <a href="https://web.archive.org/web/20210621060714/http://www.open.ac.uk/Arts/RED/">Reading Experience Database</a> researchers can contribute records of British readers engaging with texts.</li> </ul> </li> </ul> <h2>–COLLABORATIVE ANNOTATION, TRANSCRIPTION, AND KNOWLEDGE PRODUCTION–</h2> <h3>CROWDSOURCING TRANSCRIPTION</h3> <ul> <li>Historical antecedents: genealogical research(?)</li> <li>Supporting technologies: wikis</li> <li>Key functions: share the labor required for transcribing manuscripts</li> <li>Examples:<br/> Much of the historical record is not yet accessible online because it exists as handwritten documents—letters, diaries, account books, legal documents, etc. Although work is underway on Optical Character Recognition software for handwritten materials, making these variable documents searchable and easy to read usually still requires a person to manually transcribe the document. Why not enable people to collaborate to make family documents and other manuscripts available through <a href="https://web.archive.org/web/20210621060714/http://en.wikipedia.org/wiki/Commons-based_peer_production">commons-based peer production</a>? At THATCamp last year, I learned about Ben Brumley’s <a href="https://web.archive.org/web/20210621060714/http://beta.fromthepage.com/">FromthePage</a> software, which enables volunteers to transcribe handwritten documents through a web-based interface. The right side of the interface shows a zoomable image of the page, while on the left volunteers enter the transcription through a wiki-like interface. Likewise, the <a href="https://web.archive.org/web/20210621060714/http://www.familysearchindexing.org/home.jsf">FamilySearch Indexing Project</a>, sponsored by the LDS, recruits volunteers to transcribe family information from historical documents. (See Jeanne Kramer-Smyth’s great <a href="https://web.archive.org/web/20210621060714/http://www.spellboundblog.com/2008/06/05/crowdsourced-transcription-collaborative-annotation/">account</a> of the THATCamp session on crowdsourcing transcription and annotation.) Not only can collaborative transcription be more efficient, but it can also reduce error. Martha Nell Smith recounts how she, working solo at the Houghton, transcribed a line of Susan Dickinson’s poetry as “I’m waiting but the cow’s not back.’’ When her collaborators at the Dickinson Electronic Archives, Lara Vetter and Laura Lauth, later compared the transcriptions to digital images of Dickinson’s manuscripts, they discovered that the line actually says “‘I’m waiting but she comes not back.” As Smith suggests, “Had we not been working in concert with one another, and had we not had the high quality reproductions of Susan Dickinson’s manuscripts to revisit and thereby perpetually reevaluate our keys to her alphabet, my misreading might have been congealed in the technology of a critical print translation and what is very probably a poetic homage to Emily Dickinson would have lain lost in the annals of literary history”(Smith 849).</p> <p>Efforts to crowdsource transcription seem similar to the distributed proofreading that powers <a href="https://web.archive.org/web/20210621060714/http://www.pgdp.net/c/">Project Gutenberg</a>, which has enlisted volunteers to proofread over 15,000 books since 2000. Likewise, <a href="https://web.archive.org/web/20210621060714/http://pm.tamil.net/dppm.html">Project Madurai</a> is using distributed proofreading to build a digital library of Tamil texts.</li> </ul> <h3>COLLABORATIVE TRANSLATION</h3> <ul> <li>Historical antecedents: translation teams, e.g. Pevear and Volokhonsky</li> <li>Supporting technologies: wikis, blogs, machine translation supplemented by human intervention</li> <li>Examples:<br/> Rather than requiring an individual to undertake the time-intensive work of translating a complex classical text solo, the <a href="https://web.archive.org/web/20210621060714/http://www.stoa.org/sol/">Suda Online</a> (SOL) brings together classicists to collaborate in translating into English the Suda, a tenth century encyclopedia of ancient learning written by a committee of Byzantine scholars (and thus itself a collaboration). In addition to providing translations, SOL also offers commentaries and references, so it serves as a sort of encyclopedic predecessor to Wikipedia. As Anne Mahoney reports in a recent article from Digital Humanities Quarterly, an email exchange in 1998 sparked the Suda Online; one scholar wondered whether there was an English translation of the Suda (there wasn’t) and others recognized that a translation could be produced through web-based collaboration. Student programmers at the University of Kentucky quickly developed the technological infrastructure for SOL (a wiki might have been used today, but the custom application has apparently served its purpose well). Now a self-organizing team of 61 editors and 95 translators from 12 countries has already translated over 21,000 entries, about 2/3 of the total. Translators make the initial translations, which are then reviewed and augmented by editors (typically classics faculty) and given a quality rating of “draft,” “low,” or “high.” All who worked on the translation are credited through a sort of open peer review process. Whereas collaborative projects such as Wikipedia are open to anyone, SOL translators must register with the project. Mahoney suggests that the collaboration has succeeded in part because it was focused and bounded, so that collaborators could feel the satisfaction of working toward a common goal and meeting milestones, such as 100 entries translated. According to Mahoney, SOL has made this important text more accessible by offering an English version, making it searchable, and providing commentaries and references. Moreover, “[a]s a collaboration SOL demonstrates the feasibility of open peer review and the value of incremental progress.” Other collaborative translation projects include <a href="https://web.archive.org/web/20210621060714/http://quod.lib.umich.edu/d/did/">The Encyclopédie of Diderot and d’Alembert</a>, <a href="https://web.archive.org/web/20210621060714/http://traduwiki.org/">Traduwiki</a>, which aims to “eliminate the last barrier of the Internet, the language’; the<a href="https://web.archive.org/web/20210621060714/http://dermundo.wordpress.com/"> WorldWide lexicon project</a>; and <a href="https://web.archive.org/web/20210621060714/http://www.babels.org/rubrique3.html">Babels</a>.</li> </ul> <h3>COLLABORATIVE EDITING</h3> <ul> <li> Historical antecedents: creating critical editions</li> <li>Supporting technologies: grid computing, XML editors, text analysis tools, annotation tools</li> <li>Example Projects:</li> </ul> <p style="padding-left:30px;">As Peter Robinson observed at this year’s <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2009/01/11/digital-humanities-sessions-at-mla-2008/">MLA</a>, the traditional model for creating a critical edition centralizes authority in an editor, who oversees work by graduate assistants and others. However, the Internet enables distributed, de-centralized editing. To create “community-made editions,” a library would digitize texts and produce high quality images, researchers would transcribe those images, others would collate the transcriptions, others would analyze the collations and add commentaries, and so forth.</p> <p style="padding-left:30px;">Explaining the need for collaborative approaches to textual editing, Marc Wilhelm Kiister, Christoph Ludwig and Andreas Aschenbrenner of TextGrid describe how 3 different editors attempted to create a critical edition of the massive “so-called pseudo-capitulars supposedly written by a Benedictus Levita,” dying before they could complete their work. Now a team of scholars is collaborating to create the edition, increasing their chances of completion by sharing the labor. The <a href="https://web.archive.org/web/20210621060714/http://www.textgrid.de/en/startseite.html">TextGrid</a> project is building a virtual workbench for collaborative editing, annotation, analysis and publication of texts. Leveraging the grid infrastructure, TextGrid provides a platform for “software agents with well-defined interfaces that can be harnessed together through a user defined workflow to mine or analyze existing textual data or to structure new data both manually and automatically.” TextGrid recently released a beta version of its client application that includes an XML editor, search tool, dictionary search tool, metadata annotator, and workflow modules. As Kiister, Ludwig and Aschenbreener point out, enabling collaboration requires not only developing a technical platform that supports real-time collaboration and automation of routine tasks, but also facilitating a cultural shift toward collaboration among philologists, linguists, historians, librarians, and technical experts.</p> <h3>SOCIAL BIBLIOGRAPHIES, COLLABORATIVE FILTERING, AND ANNOTATION</h3> <ul> <li> Historical antecedents: shared references, bibliographies</li> <li>Key functions: share citations, notes, and scholarly resources; build collective knolwedge</li> <li>Supporting technologies: social bookmarking, bibliographic tools</li> <li>Projects:<br/> With the release of <a href="https://web.archive.org/web/20210621060714/http://www.zotero.org/blog/zotero-2mothership-lands/">Zotero 2.0</a>, Zotero is taking a huge step toward the vision articulated by Dan Cohen of providing access to “the combined wisdom of hundreds of thousands of scholars” (Cohen). Researchers can set up groups to share collections with a class and/or collaborators on a research project. I’ve already used Zotero groups to support my research and to collaborate with others; I discovered several useful citations in the <a href="https://web.archive.org/web/20210621060714/http://www.zotero.org/groups/digital_history/589/items/collection/136590">collaboration folder</a> for the digital history group, and with Sterling Fluharty I’ve set up a group to study <a href="https://web.archive.org/web/20210621060714/http://www.zotero.org/groups/collaborative_scholarship_in_the_digital_humanities/691">collaboration in the digital humanities</a> (feel free to join). Ultimately Zotero will provide Amazon-like recommendation services to help scholars identify relevant resources. As <a href="https://web.archive.org/web/20210621060714/http://chronicle.com/review/brainstorm/katz/?id=72">Stan Katz</a> wrote in hailing Zotero’s collaboration with the Internet Archive to create a “Zotero commons” for sharing research documents, “For secretive individualists, which is to say old-fashioned humanists, this will sound like an invasion of privacy and an invitation to plagiarism. But to scholars who value accessibility, collaboration, and the early exchange of information and insight -– the future is available. And free on the Internet.”</p> <p>Similarly, the <a href="https://web.archive.org/web/20210621060714/http://ecomma.cwrl.utexas.edu/e392k/">eComma</a> project suggests that collaborative annotation can facilitate collaborative interpretation, as readers catalog poetic devices (personification, enjambment, etc.) and offer their own interpretations of literary works. You can see eComma at work in the <a href="https://web.archive.org/web/20210621060714/http://scholar.hrc.utexas.edu/rubaiyat/">Collaborative Rubáiyát</a>, which enables users to compare different versions of the text, annotate the text, tag it, and access sections through a tag cloud. Likewise, <a href="https://web.archive.org/web/20210621060714/http://www.discovery-project.eu/sense-makers.html">Philospace</a> will allow scholars to describe philosophical resources, filter them, find resources tagged by others, and submit resulting research for peer review. Other projects and technologies supporting collaborative annotation include <a href="https://web.archive.org/web/20210621060714/http://www.flickr.com/commons?PHPSESSID=ea7b4da468f5935f24b65f41dbfc356f,">Flickr Commons</a>, <a href="https://web.archive.org/web/20210621060714/http://www.itee.uq.edu.au/~eresearch/projects/aus-e-lit/index.php">Aus-e-Lit: Collaborative Integration and Annotation Services for Australian Literature Communities</a>, NINES’ <a href="https://web.archive.org/web/20210621060714/http://www.collex.org/">Collex</a>, and <a href="https://web.archive.org/web/20210621060714/http://www.steve.museum/">STEVE</a>.</li> </ul> <h3>COLLABORATIVE WRITING</h3> <ul> <li>Historical antecedents: Encyclopedias</li> <li>Supporting technologies: Wikis</li> <li>Key functions: sharing knowledge, synthesizing multiple perspectives</li> <li>Examples:<br/> With the rise of Wikipedia, academics have been debating whether collaborative writing spaces such as wikis undermine authority, expertise, and trustworthiness. In “Literary Sleuths Online,” Ralph Schroeder and Matthijs Den Besten examine the <a href="https://web.archive.org/web/20210621060714/http://pynchonwiki.com/">Pynchon Wiki</a>, a collaborative space where Pynchon enthusiasts annotate and discuss his works. Schroeder and Den Besten compare the wiki’s section on Pynchon’s <em>Against the Day</em> with a print equivalent, Weisenburger’s “A Gravity’s Rainbow Companion.” While the annotations in Weisenburger’s book are more concise and consistent, the wiki is more comprehensive, more accurate (because many people are checking the information), and more speedily produced (it only took 3 months for the wiki to cover every page of Pynchon’s novel). Moreover, the book is fixed, while the wiki is open-ended and expansive. Schroeder and Den Besten suggest that competition, community and curiosity drive participation, since contributors raced to add annotations as they made their way through the novel and “sleuthed” together.</li> </ul> <h3>GAMING: “Collaborative Play”/ Games as Research</h3> <ul> <li>Historical antecedents: role playing games, board games, etc.</li> <li>Key functions: problem solving, team work, knowledge sharing</li> <li>Supporting technologies: gaming engines, wikis, networks</li> <li>Example Projects:<br/> Perhaps some of the most intense collaboration comes in massively multiplayer online games, as teams of players consult each other for assistance navigating virtual worlds, team up to defeat monsters, join guilds to collaborate on quests, and share their knowledge through wikis such as the <a href="https://web.archive.org/web/20210621060714/http://www.wowwiki.com/World_of_Warcraft">WOWWiki</a>, which has almost 74,000 articles. Focusing on World of Warcraft, Nardi and Harris explore collaborative play as a form of learning. They also point to potential applications of gaming in research communities: “Mixed collaboration spaces, whether MMOGs or another format, may be useful in domains such as interdisciplinary scientific work where a key challenge is finding the right collaborators.”</p> <p>Sometimes those collaborators can be people without specialized training. Recently Wired featured a fascinating <a href="https://web.archive.org/web/20210621060714/http://www.wired.com/medtech/genetics/magazine/17-05/ff_protein">article </a>about <a href="https://web.archive.org/web/20210621060714/http://fold.it/portal/">FoldIt</a>, a game to come up with different models of proteins that is attracting devoted teams of participants (Bohannon). The game was devised by the University of Washington Departments of Computer Science & Engineering and Biochemistry to crowdsource solutions to Community-Wide Experiment on the Critical Assessment of Techniques for Protein Structure Prediction (<a href="https://web.archive.org/web/20210621060714/http://predictioncenter.org/index.cgi">CASP</a>), a scientific contest to predict protein structures. Previously biochemist David Baker had used <a href="https://web.archive.org/web/20210621060714/http://boinc.bakerlab.org/rosetta/">Rosetta@home</a> to harness the spare computing cycles of 86,000 PCs that had been volunteered to help determine the shapes of proteins, but he was convinced that human intelligence as well as computing power needed to be tapped to solve spatial puzzles. Thus he and his colleagues developed a game in which players fold proteins into their optimal shapes, a sort of “global online molecular speed origami.” Over 100,000 people have downloaded the game, and a 13 year-old is one of the game’s best players. Using the game’s chat function, players formed teams, “and collective efforts proved far more successful than any solo folder.” At the CASP competition, 7 of the 15 solutions contributed through FoldIt worked, and one finished in first place, so “[a] band of gamer nonscientists had beaten the best biochemists.”</p> <p>How might gaming be used to motivate and support humanities research? As we see in the example of FoldIt, games provide motivation and a structure for collaboration; teamwork enables puzzles to be solved more rapidly. I could imagine, for example, a game in which players would transcribe pieces of a diary to unravel the mystery it recounts, describe the features of a series of images (similar to Google’s <a href="https://web.archive.org/web/20210621060714/http://images.google.com/imagelabeler/">Image Labeler</a> game), or offer up their own interpretations of abstruse philosophical or literary passages. In “Games of Inquiry for Collaborative Concept Structuring,” Mary A. Keeler and Heather D. Pfeiffer envision a “Manuscript Reconstruction Game (MRG)” where Peirce scholars would collaborate to figure out where a manuscript page belongs. “The scholars rely on the mechanism of the game, as a logical editor or ‘logical lens,’ to help them focus on and clarify the complexities of inference and conceptual content in their collaborative view of the manuscript evidence” (407). There are already some compelling models for humanities game play. Dan Cohen recently used Twitter to <a href="https://web.archive.org/web/20210621060714/http://www.dancohen.org/2009/04/29/the-spider-and-the-web-results/">crowdsource</a> solving an historical puzzle. Ian Bogost and collaborators are investigating the intersections between journalism and <a href="https://web.archive.org/web/20210621060714/http://jag.lcc.gatech.edu/blog/categories.html">gaming</a>. Jerome McGann describes <a href="https://web.archive.org/web/20210621060714/http://www.ivanhoegame.org/">Ivanhoe</a> as an “online playspace… for organizing collaborative interpretive investigations of traditional humanities materials of any kind,” as two or more players come together to re-imagine and transform a literary work (McGann).</li> </ul> <h3>PUBLISHING</h3> <ul> <li> Historical antecedents: exchange of drafts, letters, critical dialogs in journals</li> <li> Supporting technologies and protocols: CommentPress, blogs, wikis, Creative Commons licenses, etc.</li> <li> Projects:<br/> Bob Stein defines the <a href="https://web.archive.org/web/20210621060714/http://www.futureofthebook.org/blog/archives/2008/12/a_book_is_a_place.html">book</a> as “a place where readers (and sometimes authors) congregate.” Recent projects enable readers to participate in all phases of the publishing process, from peer-to-peer review to <a href="https://web.archive.org/web/20210621060714/http://www.remixmylit.com/">remixing </a>a work to produce something new. For instance, <a href="https://web.archive.org/web/20210621060714/http://project.liquidpub.org/how-to-participate/a-short-introduction-to-the-liquid-publications-project">LiquidPub</a> aims to transform the dissemination and evaluation of scientific knowledge by enabling “Liquid Publication that can take multiple forms, that evolves continuously, and is enriched by multiple sources.” Using CommentPress, Noah Wardrip-Fruin experimented with peer-to-peer review of his new book Expressive Processing alongside traditional peer review, posting a section of the book each week day to the Grand Text Auto blog. Although it was difficult for many reviewers to get a sense of the book’s overall arguments when they were reading only fragments, Wardrip-Fruin <a href="https://web.archive.org/web/20210621060714/http://grandtextauto.org/2009/05/12/blog-based-peer-review-four-surprises/">found</a> many benefits to this open approach to peer review: he could engage in conversation with his reviewers and determine how to act on their comments, and he received detailed comments from both academics and non-academics with expertise in the topics being discussed, such as game designers. Similarly, O’Reilly recently developed the <a href="https://web.archive.org/web/20210621060714/http://labs.oreilly.com/2009/05/collaborative-publishing-based-on-community-feedback.html">Open Publishing Feedback System</a> to gather comments from the community. Its first experiment, <a href="https://web.archive.org/web/20210621060714/http://programming-scala.labs.oreilly.com/">Programming Scala</a>, yielded over 7000 comments from nearly 750 people. <a href="https://web.archive.org/web/20210621060714/http://www.nytimes.com/2009/04/05/business/05stream.html?_r=2">New publishing companies</a> such as WeBook and Vook are exploring collaborative authorship and multimedia.</li> </ul> <h3>SOCIAL LEARNING</h3> <ul> <li>Historical antecedents: Students as research assistants?</li> <li>Supporting technologies: blogs, wikis, social bookmarking, social bibliographies</li> <li>Motto: “We participate, therefore we are.” (via John Seely Brown)</li> <li>Example:<br/> As John Seely Brown explains, “social learning is based on the premise that our understanding of content is socially constructed through conversations about that content and through grounded interactions, especially with others, around problems or actions.” Social learning involves “learning to be” an expert through apprenticeship, as well as learning the content and language of a domain. Brown points to open source communities as exemplifying social learning. I would guess that many, if not most, collaborative digital humanities projects have depended on contributions from undergraduate and graduate students, whether they digitized materials, did programming, authored metadata, contributed to the project wiki, designed the web site, or even managed the project.</p> <p>Why not create a network of research projects, so that students studying a similar topic could jointly contribute to a common resource? Such is the vision of “<a href="https://web.archive.org/web/20210621060714/http://www.citytech.cuny.edu/aboutus/newsevents/gold_whitman/index.shtml">Looking for Whitman: The Poetry of Place in the Life and Work of Walt Whitman</a>,” led by Matthew Gold. Working together to build a common web site on Whitman, students will document their research using Web 2.0 technologies such as CommentPress, <a href="https://web.archive.org/web/20210621060714/http://buddypress.org/">BuddyPress</a> (Word Press + social networking), <a href="https://web.archive.org/web/20210621060714/http://lookingforwhitman.org/">blogs</a>, wikis, YouTube, Flickr, Google Maps, etc.m Students at City Tech, CUNY’s New York City College of Technology and New York University will focus on Whitman in New York; those at Rutgers University at Camden will look at Whitman as “sage of Camden”; and those at the University of Mary Washington will examine Whitman and the Civil War. Similarly, Michael Wesch, the 2008 CASE/Carnegie U.S. Professor of the Year for Doctoral and Research Universities, asks his students to become “co-creators” of knowledge, whether in<a href="https://web.archive.org/web/20210621060714/http://mediatedcultures.net/worldsim.htm"> simulating world history and cultures</a>, creating an <a href="https://web.archive.org/web/20210621060714/http://www.pbs.org/idealab/2008/02/michael-wesch-toward-an-ethnography-of-youtube005.html">ethnography of YouTube</a>, or examining <a href="https://web.archive.org/web/20210621060714/http://mediatedcultures.net/ksudigg/?p=214">anonymity</a> and new media.</li> </ul> <p>While collaboration in the humanities is certainly not new, these projects suggest how researchers (both professional and amateur) can work together regardless of physical location to share ideas and citations, produce translations or transcriptions, and create common scholarly resources. Long as this list is, I know I’m omitting many other relevant projects (some of which I’ve <a href="https://web.archive.org/web/20210621060714/http://www.diigo.com/user/lspiro/collaboration">bookmarked</a>) and overlooking (for now) the <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2008/04/01/obstacles-to-social-scholarship/">challenges</a> that collaborative scholarship faces. I’ll be working with several collaborators to explore these issues, but I of course welcome comments….</p> <h3>Works Cited</h3> <p>Atkins, Dan. Report of the National Science Foundation Blue-Ribbon Advisory Panel on Cyberinfrastructure. NSF. January 2003. <<a href="https://web.archive.org/web/20210621060714/http://www.nsf.gov/od/oci/reports/toc.jsp">http://www.nsf.gov/od/oci/reports/toc.jsp</a>>.<br/> Bohannon, John. “Gamers Unravel the Secret Life of Protein.” <em>Wired</em> 20 Apr 2009. 26 May 2009 <<a href="https://web.archive.org/web/20210621060714/http://www.wired.com/medtech/genetics/magazine/17-05/ff_protein?currentPage=all">http://www.wired.com/medtech/genetics/magazine/17-05/ff_protein?currentPage=all</a>>.<br/> Borgman, Christine L. <em>Scholarship in the Digital Age: Information, Infrastructure, and the Internet</em>. Cambridge, Mass.: The MIT Press, 2007.<br/> Brockman, William et al. Scholarly Work in the Humanities and the Evolving Information Environment. CLIR/DLF, 2001. 24 Jul 2007 <<a href="https://web.archive.org/web/20210621060714/http://www.clir.org/PUBS/reports/pub104/pub104.pd">http://www.clir.org/PUBS/reports/pub104/pub104.pd</a>f>.<br/> Cohen, Daniel J. “Zotero: Social and Semantic Computing for Historical Scholarship.” <em>Perspectives</em> (2007). 27 May 2009 <<a href="https://web.archive.org/web/20210621060714/http://www.historians.org/perspectives/issues/2007/0705/0705tec2.cfm">http://www.historians.org/perspectives/issues/2007/0705/0705tec2.cfm</a>>.<br/> Cronin, Blaise, Debora Shaw, and Kathryn La Barre. “A cast of thousands: Coauthorship and subauthorship collaboration in the 20th century as manifested in the scholarly journal literature of psychology and philosophy.” <em>Journal of the American Society for Information Science and Technology</em> 54.9 (2003): 855-871.<br/> Cronin, Blaise. <em>The hand of science</em>. Scarecrow Press, 2005.<br/> Kelly, Kevin. “The New Socialism: Global Collectivist Society Is Coming Online.” Wired 22 May 2009. 26 May 2009 <<a href="https://web.archive.org/web/20210621060714/http://www.wired.com/culture/culturereviews/magazine/17-06/nep_newsocialism?currentPage=al">http://www.wired.com/culture/culturereviews/magazine/17-06/nep_newsocialism?currentPage=al</a>l>.<br/> Kornbluh, Mark. “From Digital Repositorities to Information Habitats: H-Net, the Quilt Index, Cyber Infrastruture, and Digital Humanities.” <span style="font-style:italic;">First Monday</span> 13.8: August 4, 2008. <span title="url_ver=Z39.88-2004&ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=From%20Digital%20Repositorities%20to%20Information%20Habitats%3A%20H-Net%2C%20the%20Quilt%20Index%2C%20Cyber%20Infrastruture%2C%20and%20Digital%20Humanities&rft.jtitle=First%20Monday&rft.volume=13&rft.issue=8&rft.aufirst=Mark&rft.aulast=Kornbluh&rft.au=Mark%20Kornbluh&rft.pages=August%204%2C%202008"> </span><br/> Kuster, M.W., C. Ludwig, and A. Aschenbrenner. “TextGrid as a Digital Ecosystem.” Digital EcoSystems and Technologies Conference, 2007. DEST ’07. Inaugural IEEE-IES. 2007. 506-511.<br/> Mahoney, Anne. “Tachypaedia Byzantina: The Suda On Line as Collaborative Encyclopedia.” <em>Digital Humanities Quarterly</em>. 3.1 (2009). 22 Mar 2009 <<a href="https://web.archive.org/web/20210621060714/http://www.digitalhumanities.org/dhq/vol/003/1/000025.html">http://www.digitalhumanities.org/dhq/vol/003/1/000025.html</a>>.<br/> McGann, Jerome J. “Culture and Technology: The Way We Live Now, What Is to Be Done?.” <em>New Literary History</em> 36.1 (2005): 71-82.<br/> Nardi, Bonnie, and Justin Harris. “Strangers and friends: collaborative play in world of warcraft.” Proceedings of the 2006 20th anniversary conference on Computer supported cooperative work. Banff, Alberta, Canada: ACM, 2006. 149-158. 18 May 2009 <<a href="https://web.archive.org/web/20210621060714/http://portal.acm.org/citation.cfm?id=1180875.1180898">http://portal.acm.org/citation.cfm?id=1180875.1180898</a>>.<br/> O’Donnell, Daniel Paul. “Disciplinary Impact and Technological Obsolescence in Digital Medieval Studies.” <em>A Companion To Digital Humanities</em>. 2 May 2009 <<a href="https://web.archive.org/web/20210621060714/http://www.digitalhumanities.org/companion/view?docId=blackwell/9781405148641/9781405148641.xml&chunk.id=ss1-4-2&toc.id=0&brand=9781405148641_brand">http://www.digitalhumanities.org/companion/view?docId=blackwell/9781405148641/9781405148641.xml&chunk.id=ss1-4-2&toc.id=0&brand=9781405148641_brand</a>>.<br/> Schroeder, Ralph, and Matthijs Den Besten. “Literary Sleuths On-line: e-Research collaboration on the Pynchon Wiki.” <em>Information, Communication & Society </em>11.2 (2008): 167-187.<br/> Smith, Martha Nell. “Computing: What Has American Literary Study To Do with It.” <em>American Literature</em> 74.4 (2002): 833-857.<br/> Unsworth, John M. “Creating Digital Resources: the Work of Many Hands.” 14 Sep 1997. 10 Mar 2009 <<a href="https://web.archive.org/web/20210621060714/http://www3.isrl.uiuc.edu/%7Eunsworth/drh97.html%3E">http://www3.isrl.uiuc.edu/%7Eunsworth/drh97.html></a>.</p> <p>Revisions: Fixed From the Page link, 6/1/09; Tanya ] Tara, 6/2/09; fixed typos (6/14/09)</p> </div><!-- .entry-content --> <div class="entry-info"> <p class="comments-link"><a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2009/06/01/examples-of-collaborative-digital-humanities-projects/#comments">16 Comments</a></p> <p class="cat-links"> <span class="entry-info-prep entry-info-prep-cat-links">Posted in</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/category/collaboration/" rel="category tag">collaboration</a>, <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/category/digital-humanities/" rel="category tag">digital humanities</a>, <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/category/digital-scholarship/" rel="category tag">digital scholarship</a> </p> </div><!-- .entry-info --> </div><!-- #post-## --> <div id="post-215" class="post-215 post type-post status-publish format-standard hentry category-collaboration category-digital-humanities tag-collaboration tag-research-methods"> <h2 class="entry-title"><a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2009/04/21/collaborative-authorship-in-the-humanities/" rel="bookmark">Collaborative Authorship in the Humanities</a></h2> <div class="entry-meta"> <span class="meta-prep meta-prep-author">Posted on</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2009/04/21/collaborative-authorship-in-the-humanities/" title="7:03 pm" rel="bookmark"><span class="entry-date">April 21, 2009</span></a> <span class="comments-link"><span class="meta-sep">|</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2009/04/21/collaborative-authorship-in-the-humanities/#comments">29 comments</a></span> </div><!-- .entry-meta --> <div class="entry-content"> <p>Recently I heard the editors of a history journal and a literature journal say that they rarely published articles written by more than one author—perhaps a couple every few years. Around the same time, I was looking over a recent issue of <em>Literary and Linguistic Computing</em> and noticed that it included several jointly-authored articles. This got me wondering: is collaborative authorship more common in digital humanities than in “traditional” humanities?</p> <p>“Collaboration” is often associated with “digital humanities.” Building digital collections, creating software, devising new analytical methods, and authoring multimodal scholarship typically cannot be accomplished by a solo scholar; rather, digital humanities projects require contributions from people with content knowledge, technical skills, design skills, project management experience, metadata expertise, etc. <em><a href="https://web.archive.org/web/20210621060714/http://www.acls.org/cyberinfrastructure/">Our Cultural Commonwealth</a> </em>identifies enabling collaboration as a key feature of the humanities cyberinfrastructure, funders encourage multi-institutional and even international teams, and proponents of increased collaboration in the humanities like <a href="https://web.archive.org/web/20210621060714/http://chronicle.com/weekly/v45/i38/38b00401.htm">Cathy Davidson</a> and <a href="https://web.archive.org/web/20210621060714/http://www.jstor.org/stable/463522">Lisa Ede and Andrea A. Lunsford</a> cite digital humanities projects such as <a href="https://web.archive.org/web/20210621060714/http://www.ualberta.ca/ORLANDO/computing.htm">Orlando</a> as exemplifying collaborative possibilities.</p> <p>As a preliminary investigation, I compared the number of collaboratively-written articles published between 2004 and 2008 in two well-respected quarterly journals, <a href="https://web.archive.org/web/20210621060714/http://alh.oxfordjournals.org/">American Literary History</a> (ALH) and <a href="https://web.archive.org/web/20210621060714/http://llc.oxfordjournals.org/">Literary and Linguistic Computing</a> (LLC). Both journals are published by <a href="https://web.archive.org/web/20210621060714/http://www.oxfordjournals.org/subject/humanities">Oxford University Press </a>as part of its humanities catalog. I selected ALH because it is a leading journal on American literature and culture that encourages critical exchanges and interdisciplinary work—and because I thought it would be fun to see what the journal has published since 2004. (The hardest part of my research: resisting the urge to stop and read the articles.) LLC, the official publication of the Association for Literary and Linguistic Computing and the Association for Computers and the Humanities, includes contributions on digital humanities from around the world—the UK, the US, Germany, Australia, Greece, Italy, Norway, etc.—and from many disciplines, such as literature, linguistics, computer and information science, statistics, librarianship, and biochemistry. To determine the level of collaborative authorship in each issue, I tallied articles that had more than one author, excluding editors’ introductions, notes on contributors, etc. For LLC, I counted everything that had an abstract as an article. While I didn’t count LLC’s reviews, which typically are brief and focus on a single work, I did include the review essays published by ALH, since they are longer and synthesize critical opinion about several works.</p> <p>So what did I <a href="https://web.archive.org/web/20210621060714/http://spreadsheets.google.com/ccc?key=pAlYM7vZmTy_Cv8iz7xmROA">find</a>? Whereas 5 of 259 (1.93%) articles published in ALH—about one a year–feature two authors (none had more than two), 70 out of 145 (48.28%) of the articles published in LLC were written by two or more authors. Most (4 of 5, or 80%) of the ALH articles were written by scholars from multiple institutions, whereas 49% (34 of 70) of the LLC articles were. About 16% (11 of 70) of the LLC articles featured contributors from two or more countries, while none of the ALH articles did. Two of the five ALH articles are review essays, while three focus on hemispheric or transatlantic American studies. Although this study should be carried out more systematically across a wider range of journals, the initial results do suggest that collaborative authorship is more common in digital humanities. [See the Zotero reports for <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.files.wordpress.com/2009/04/alhcollaborativearticles2004-08.pdf">ALH</a> and <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.files.wordpress.com/2009/04/llccollabauthored.pdf">LLC</a> for more information.]</p> <p>Why does LLC feature more collaboratively written articles than ALH? I suspect that because, as I’ve already suggested, digital humanities projects often require collaboration, whereas most literary criticism can be produced by an individual scholar who needs only texts to read, a place to write, and a computer running a word processing application (as well as a library to provide access to texts, colleagues to consult and to review the resulting research, a university and/or funding agency to support the research, a publisher to disseminate the work, etc.). Moreover, LLC represents a sort of meeting point for a range of disciplines, including several (such as computer science) that have a tradition of collaborative authorship. Whereas collaborative authorship is common (even expected) in the sciences, in the humanities many tenure and promotion committees have not yet developed mechanisms for evaluating and crediting collaborative work. In a recent <a href="https://web.archive.org/web/20210621060714/http://www.hastac.org/node/2105">blog post</a>, for example, Cathy Davidson tells a troubling story about being told (in a public and humiliating way) by a member of a search committee that her collaborative work and other “non-traditional” research didn’t “count.” Literary study values individual interpretation, or what <a href="https://web.archive.org/web/20210621060714/http://chronicle.com/weekly/v45/i38/38b00401.htm">Davidson</a> calls “the humanistic ethic of individuality.”</p> <p>While individual scholarship remains valid and important, shouldn’t humanities scholarship to expand to embrace collaborative work as well? Indeed, in 2000 the MLA launched an <a href="https://web.archive.org/web/20210621060714/http://www.stanford.edu/group/collaborate/index.htm">initiative</a> to consider “alternatives to the adversarial academy” and encourage collaborative scholarship. (By the way, I’m not criticizing ALH; I doubt that it receives many collaboratively-authored submissions, and it has encouraged critical exchange and interdisciplinary research.) Of course, collaboration poses some significant challenges, such divvying up and managing work, negotiating conflicts, finding funding for complex projects, assigning credit, etc. But as Lisa Ede and Andrea A. Lunsford point out, collaborative authorship can lead to a “widening of scholarly possibilities.” In talking to humanities scholars (particularly those in global humanities), I’ve noticed genuine enthusiasm about collaborative work that allows scholars to engage in community, consider alternative perspectives, and undertake ambitious projects that require diverse skills and/or knowledge.</p> <p>What kind of collaborations do the jointly-written articles in LLC and ALH represent? Since LLC often lists only the authors’ institutional affiliations, not their departments, tracing the degree of interdisciplinary collaboration would require further research. However, I did find examples of several types of collaboration (which may overlap):</p> <ul> <li><em>Faculty/student collaboration:</em> In the sciences, faculty frequently publish with their postdocs and students, a practice that seems to be rare in the humanities. I noted at least one example of a similar collaboration in LLC—involving, I should note, computer science rather than humanities grad students. <ul> <li>Urbina, Eduardo et al. “Visual Knowledge: Textual Iconography of the Quixote, a Hypertextual Archive.” Lit Linguist Computing 21.2 (2006): 247-258. 5 Apr 2009 <<a href="https://web.archive.org/web/20210621060714/http://llc.oxfordjournals.org/cgi/content/abstract/21/2/247">http://llc.oxfordjournals.org/cgi/content/abstract/21/2/247</a>>.<br/> This article includes contributions by a professor of Hispanic studies, a professor of computer science, a librarian/archivist/adjunct English professor, and three graduate students in computer science.</li> </ul> </li> <li><em>Project teams:</em> In digital humanities, collaborators often work together on projects to build digital collections, develop software, etc. In LLC, I found a number of articles written by project teams, such as: <ul> <li>Barney, Brett et al. “Ordering Chaos: An Integrated Guide and Online Archive of Walt Whitman’s Poetry Manuscripts.” Lit Linguist Computing 20.2 (2005): 205-217. 5 Apr 2009 <<a href="https://web.archive.org/web/20210621060714/http://llc.oxfordjournals.org/cgi/content/abstract/20/2/205">http://llc.oxfordjournals.org/cgi/content/abstract/20/2/205</a>>.<br/> Members of the project team included an archivist, programmer, digital initiatives librarian, English professor, and two English Ph.Ds who serve as library faculty and focus on digital humanities.</li> </ul> </li> <li><em>Interdisciplinary collaborations</em>: In LLC, I noted several instances of teams that included humanities scholars and scientists working together to apply particular methods (text mining, stemmatic analysis) in the humanities. For example: <ul> <li>Windram, Heather F. et al. “Dante’s Monarchia as a test case for the use of phylogenetic methods in stemmatic analysis.” Lit Linguist Computing 23.4 (2008): 443-463. 5 Apr 2009 <<a href="https://web.archive.org/web/20210621060714/http://llc.oxfordjournals.org/cgi/content/abstract/23/4/443">http://llc.oxfordjournals.org/cgi/content/abstract/23/4/443</a>>. The authors include two biochemists, a textual scholar, and a scholar of Italian literature</li> <li>Sculley, D., and Bradley M. Pasanek. “Meaning and mining: the impact of implicit assumptions in data mining for the humanities.” Lit Linguist Computing 23.4 (2008): 409-424. 5 Apr 2009 <<a href="https://web.archive.org/web/20210621060714/http://llc.oxfordjournals.org/cgi/content/abstract/23/4/409">http://llc.oxfordjournals.org/cgi/content/abstract/23/4/409</a>>.<br/> Authored by a computer scientist and a literature professor.</li> </ul> </li> <li><em>Shared interests</em>: Researchers may publish together because they share an intellectual kinship and can accomplish more by working together. For instance: <ul> <li> Auerbach, Jonathan, and Lisa Gitelman. “Microfilm, Containment, and the Cold War.” <span style="font-style:italic;">American Literary History</span> 19.3 (2007). <span class="Z3988" title="url_ver=Z39.88-2004&ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=Microfilm%2C%20Containment%2C%20and%20the%20Cold%20War&rft.jtitle=American%20Literary%20History&rft.volume=19&rft.issue=3&rft.aufirst=Jonathan&rft.aulast=Auerbach&rft.au=Jonathan%20Auerbach&rft.au=Lisa%20Gitelman&rft.date=2007"> </span>I noticed that Jonathan Auerbach and Lisa Gitelman thank each other in works that each had previously published as an individual.</li> </ul> </li> </ul> <p>Observing that LLC publishes a number of collaboratively-written articles opens up several questions, which I hope to pursue through interviews with the authors of at least some of these articles (if you are one of these authors, you may see an email from me soon….):</p> <p>1) What characterizes the LLC articles that have only one author?<br/> Based on a quick look at the tables of contents from past issues, I suspect that these articles are more likely to be theoretical or to focus on particular problems rather than projects. Here, for example, are the titles of some singly-authored articles: “The Inhibition of Geographical Information in Digital Humanities Scholarship,” “Monkey Business—or What is an Edition?,” “What Characterizes Pictures and Text?” and “Original, Authentic, Copy: Conceptual Issues in Digital Texts.”</p> <p>2) Why was the article written collaboratively?</p> <p>What led to the collaboration? Did team members offer complementary skill sets, such as knowledge of statistical methods and understanding of the content? How did the collaborators come together—do they work for the same institution? Did they meet at a conference? Do they cite each other?</p> <p>3) What were the outcomes of the collaboration?</p> <p>What was accomplished through collaboration that would have been difficult to do otherwise? Would the scale of the project be smaller if it were pursued by a single scholar? Did the project require contributions from people with different types of expertise?</p> <p>4) How was the collaboration managed and sustained?</p> <p>Was one person in charge, or was authority distributed? What tools were used to facilitate communication, track progress on the project, and support collaborative writing? To what degree was face-to-face interaction important?</p> <p>5) What was difficult about the collaboration?</p> <p>What was hard about collaborating: Communicating? Identifying who does what? Agreeing on methods? Coming to a common understanding of results? Finding funding?</p> <p>We can find answers to some of these questions in Lynne Siemens’ recent <a href="https://web.archive.org/web/20210621060714/http://llc.oxfordjournals.org/cgi/content/full/fqp009v1">article</a> “’It’s a team if you use “reply all” ‘: An exploration of research teams in digital humanities environments.” Siemens describes factors contributing to the success of collaborative teams in digital humanities, such as clear milestones and benchmarks, strong leadership, equal contributions by members of the team, and a balance between communication through digital tools and in-person meetings. I particularly liked the description of “a successful team as a ‘round thing’ with equitable contribution by individual members.”</p> <p>In doing this research, I realized how much it would benefit from collaborators. For instance, someone with expertise in citation analysis could help enlarge the study and detect patterns in collaborative authorship, while someone with expertise in qualitative research methods could help to interview collaborative research teams and analyze the resulting data. However, I think anyone with an interest in the topic could make valuable contributions. This is by way of leading up to my pitch: I’m working on a piece about collaborative research methods in digital humanities for an essay collection and would welcome collaborators. If you’re interested in teaming up, contact me at lspiro@rice.edu.</p> <p><strong>Works Cited</strong></p> <p>Davidson, Cathy N. “What If Scholars in the Humanities Worked Together, in a Lab?.” The Chronicle of Higher Education 28 May 1999. 18 Apr 2009 <<a href="https://web.archive.org/web/20210621060714/http://chronicle.com/weekly/v45/i38/38b00401.htm">http://chronicle.com/weekly/v45/i38/38b00401.htm</a>>.</p> <p>Ede, Lisa, and Andrea A. Lunsford. “Collaboration and Concepts of Authorship.” PMLA 116.2 (2001): 354-369. 18 Apr 2009 <<a href="https://web.archive.org/web/20210621060714/http://www.jstor.org/stable/463522">http://www.jstor.org/stable/463522</a>>.</p> <p>Siemens, Lynne. “’It’s a team if you use “reply all” ‘: An exploration of research teams in digital humanities environments.” Lit Linguist Computing (2009): fqp009. 14 Apr 2009 <<a href="https://web.archive.org/web/20210621060714/http://llc.oxfordjournals.org/cgi/content/abstract/fqp009v1">http://llc.oxfordjournals.org/cgi/content/abstract/fqp009v1</a>>.</p> </div><!-- .entry-content --> <div class="entry-info"> <p class="comments-link"><a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2009/04/21/collaborative-authorship-in-the-humanities/#comments">29 Comments</a></p> <p class="cat-links"> <span class="entry-info-prep entry-info-prep-cat-links">Posted in</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/category/collaboration/" rel="category tag">collaboration</a>, <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/category/digital-humanities/" rel="category tag">digital humanities</a> </p> <p class="tag-links"><span class="entry-info-prep entry-info-prep-tag-links">Tagged</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/tag/collaboration/" rel="tag">collaboration</a>, <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/tag/research-methods/" rel="tag">research methods</a></p> </div><!-- .entry-info --> </div><!-- #post-## --> <div id="post-207" class="post-207 post type-post status-publish format-standard hentry category-digital-humanities category-digital-scholarship category-research-practices"> <h2 class="entry-title"><a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2009/04/06/digital-humanities-in-2008-iii-research/" rel="bookmark">Digital Humanities in 2008, III: Research</a></h2> <div class="entry-meta"> <span class="meta-prep meta-prep-author">Posted on</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2009/04/06/digital-humanities-in-2008-iii-research/" title="10:13 am" rel="bookmark"><span class="entry-date">April 6, 2009</span></a> <span class="comments-link"><span class="meta-sep">|</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2009/04/06/digital-humanities-in-2008-iii-research/#comments">6 comments</a></span> </div><!-- .entry-meta --> <div class="entry-content"> <p><span style="font-weight:normal;">In this final installment of my summary of <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2009/02/07/digital-humanities-in-2008-part-i/">Digital Humanities in 2008</a>, I’ll discuss developments in digital humanities research.</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">(I should note that if I attempted to give a true synthesis of the year in digital humanities, this would be coming out 4 years late rather than 4 months, so this discussion reflects my own idiosyncratic interests.)</span></p> <h3>1) Defining research challenges & opportunities</h3> <p class="MsoNormal"><span style="font-weight:normal;">What are some of the key research challenges in digital humanities? Leading scholars tackled this question when CLIR and the NEH convened a workshop on </span><span><span style="font-weight:normal;"><a href="https://web.archive.org/web/20210621060714/http://www.clir.org/activities/digitalscholar2/index.html">Promoting Digital Scholarship: Formulating Research Challenges In the Humanities, Social Sciences and Computation</a>.</span></span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">Prior to the workshop, six scholars in classics, architectural history, physics/information sciences, literature, visualization, and information retrieval wrote brief overviews of their field and of the ways that information technology could help to advance it.</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">By articulating the central concerns of their fields so concisely, these essays promote interdisciplinary conversation and collaboration; they’re also fun to read.</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">As Doug Oard writes in describing the natural language processing “tribe,” “Learning a bit about the other folks is a good way to start any process of communication… The situation is really quite simple: they are organized as tribes, they work their magic using models (rather like voodoo), they worship the word “maybe,” and they never do anything right.”</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">Sounds like my kind of tribe.</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">Indeed, I’d love to see a wiki where experts in fields ranging from computational biology to postcolonial studies write brief essays about their fields, provide a bibliography of foundational works, and articulate both key challenges and opportunities for collaboration.</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">(Perhaps such information could be automatically aggregated using semantic technologies—see, for instance, <a href="https://web.archive.org/web/20210621060714/http://www.wikiprofessional.org/conceptweb/">Concept Web</a> or <a href="https://web.archive.org/web/20210621060714/http://www.kosmix.com/">Kosmix</a></span><span style="font-weight:normal;">–but</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">I admire the often witty, personal voices of these essays.)</span></p> <p class="MsoNormal"><span style="font-weight:normal;">Here are some key ideas that emerge from the essays:</span></p> <ol> <li><span style="font-weight:normal;"><em>Global Humanistic Studies:</em> Both Caroline Levander and Greg Crane, </span><span><span style="font-weight:normal;">Alison Babeu, David Bamman, Lisa Cerrato, and Rashmi Singhal</span></span><span style="font-weight:normal;"> call for a sort of global humanistic studies, whether re-conceiving American studies from a hemispheric perspective or re-considering the Persian Wars from the Persian point of view.</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">Scholars working in global humanistic studies face significant challenges, such as the need to read texts in many languages and understand multiple cultural contexts.</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">Emerging technologies promise to help scholars address these problems.</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">For instance, named entity extraction, machine translation and reading support tools can help scholars make sense of works that would otherwise be inaccessible to them; visualization tools can enable researchers “to explore spatial and temporal dynamism;” and collaborative workspaces allow scholars to divide up work, share ideas, and approach a complex research problem from multiple perspectives.</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">Moreover, a shift toward openly accessible data will enable scholars to more easily identify and build on relevant work.</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">Describing how reading support tools enable researchers to work more productively, Crane et . write, “By automatically linking inflected words in a text to linguistic analyses and dictionary entries we have already allowed readers to spend more time thinking about the text than was possible as they flipped through print dictionaries. Reading support tools allow readers to understand linguistic sources at an earlier stage of their training and to ask questions, no matter how advanced their knowledge, that were not feasible in print.”</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">We can see a similar intersection between digital humanities and global humanities in projects like the <a href="https://web.archive.org/web/20210621060714/http://www.laits.utexas.edu/gma/portal/">Global Middle Ages.</a> </span></li> <li><span style="font-weight:normal;"><em>What skills do humanities scholars need?</em></span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">Doug Oard suggests that humanities scholars should collaborate with computer scientists to define and tackle “challenge problems” so that the development of new technologies is grounded in real scholarly needs.</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">Ultimately, “</span><span><span style="font-weight:normal;">humanities scholars are going to need to learn a bit of probability theory” so that they can understand the accuracy of automatic methods for processing data, the “science of maybe.” How does probability theory jibe with humanistic traditions of ambiguity and interpretation? And how are humanities scholars going to learn these skills?</span><span><span style="font-weight:normal;"> </span></span></span></li> </ol> <p class="MsoNormal"><span><span style="font-weight:normal;">According to the symposium, major research challenges for the digital humanities include:</span></span></p> <ol> <li><span><span style="font-weight:normal;">“</span></span><span><span style="font-weight:normal;">Scale and the poverty of abundance:” developing tools and methods to deal with the plenitude of data, including text mining and analysis, visualization, data management and archiving, and sustainability.</span></span></li> <li><span style="font-weight:normal;">Representing place and time: figuring out how to support geo-temporal analysis and enable that analysis to be documented, preserved, and replicated</span><span style="font-weight:normal;"><br/> </span></li> <li><span style="font-weight:normal;">Social networking and the economy of attention: understanding research behaviors online; analyzing text corpora based on these behaviors (e.g. citation networks)</span></li> <li><span style="font-weight:normal;">Establishing a research infrastructure that facilitates access, interdisciplinary collaboration, and sustainability.</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">“As one participant asked, “What is the <a href="https://web.archive.org/web/20210621060714/http://www.pdb.org/pdb/home/home.do">Protein Data Bank </a>for the humanities?””</span></li> </ol> <h3>2) High performance computing: visualization, modeling, text mining</h3> <p>What are some of the most promising research areas in digital humanities? In a sense, the three recent winners of the <a href="https://web.archive.org/web/20210621060714/http://www.neh.gov/ODH/ResourceLibrary/HumanitiesHighPerformanceComputing/tabid/62/Default.aspx">NEH/DOE’s High Performance Computing Initiative</a> <span style="font-weight:normal;">define three of the main areas of digital humanities and demonstrate how advanced computing can open up new approaches to humanistic research. </span></p> <ul> <li><span style="font-weight:normal;"><em>text mining and text analysis:</em> For its project on “Large-Scale Learning and the Automatic Analysis of Historical Texts,” the <a href="https://web.archive.org/web/20210621060714/http://www.perseus.tufts.edu/hopper/home">Perseus Digital Library</a> at Tufts University is examining how words in Latin and Greek have changed over time by comparing the linguistic structure of classical texts with works written in the last 2000 years. In the <a href="https://web.archive.org/web/20210621060714/http://newscenter.lbl.gov/feature-stories/2008/12/22/humanitiesnersc/">press release</a> announcing the winners, David Bamman, a senior researcher in computational linguistics with the Perseus Project, said that “[h]igh performance computing really allows us to ask questions on a scale that we haven’t been able to ask before. We’ll be able to track changes in Greek from the time of Homer to the Middle Ages. We’ll be able to compare the 17th century works of John Milton to those of Vergil, which were written around the turn of the millennium, and try to automatically find those places where Paradise Lost is alluding to the Aeneid, even though one is written in English and the other in Latin.”</span></li> <li><span style="font-weight:normal;"><em>3D modeling</em>: For its “High Performance Computing for Processing and Analysis of Digitized 3-D Models of Cultural Heritage” project, the <a href="https://web.archive.org/web/20210621060714/http://www.iath.virginia.edu/">Institute for Advanced Technology in the Humanities</a> at the University of Virginia will reprocess existing data to create 3D models of culturally-significant artifacts and architecture.</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">For example, IATH hopes to re-assemble fragments that chipped off ancient Greek and Roman artifacts.<br/> </span></li> <li><span style="font-weight:normal;"><em>Visualization and cultural analysis</em>: The University of California, San Diego’s</span><span><span style="font-weight:normal;"> <a href="https://web.archive.org/web/20210621060714/http://lab.softwarestudies.com/"> </a></span></span><span style="font-weight:normal;"><a href="https://web.archive.org/web/20210621060714/http://lab.softwarestudies.com/">Visualizing Patterns in Databases of Cultural Images and Video</a> project will study contemporary culture, analyzing datastreams such as “millions of images, paintings, professional photography, graphic design, user-generated photos; as well as tens of thousands of videos, feature films, animation, anime music videos and user-generated videos.”</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">Ultimately the project will produce detailed visualizations of cultural phenomena.</span></li> </ul> <p class="MsoNormal"><span style="font-weight:normal;">Winners received compute time on a supercomputer and technical training. </span></p> <p class="MsoNormal"><span style="font-weight:normal;">Of course, there’s more to digital humanities than text mining, 3D modeling, and visualization.</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">For instance, the category listing for the <a href="https://web.archive.org/web/20210621060714/http://lucian.uchicago.edu/blogs/dhcs2008">Digital Humanities and Computer Science </a>conference at Chicago reveals the diversity of participants’ fields of interest.</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">Top areas include text analysis; libraries/digital archives; imaging/visualization, data mining/machine learning; informational retrieval; semantic search; collaborative technologies; electronic literature; and GIS mapping.</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">A simple analysis of the most frequently appearing terms in the <a href="https://web.archive.org/web/20210621060714/http://www.ekl.oulu.fi/dh2008/">Digital Humanities 2008 Book of Abstracts</a> suggests that much research continues to focus on text—which makes sense, given the importance of written language to humanities research. Here’s the list that TAPOR generated of the 10 words most frequently used terms in the DH 2008 abstracts:</span></p> <ol> <li><span style="font-weight:normal;">text:</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">769</span></li> <li><span style="font-weight:normal;"><strong><span style="font-weight:normal;">digital: </span><span style="font-weight:normal;">763</span></strong></span></li> <li><span style="font-weight:normal;">data: </span><span style="font-weight:normal;">559</span></li> <li><span><span><span style="font-weight:normal;"> </span></span></span><span style="font-weight:normal;">information: </span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">546</span></li> <li><span style="font-weight:normal;">humanities:</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">517</span></li> <li><span style="font-weight:normal;">research:</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">501</span></li> <li><span style="font-weight:normal;">university: </span><span style="font-weight:normal;">462</span></li> <li><span style="font-weight:normal;">new: </span><span style="font-weight:normal;">437</span></li> <li><span style="font-weight:normal;">texts: </span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">413</span></li> <li><span style="font-weight:normal;">project: </span><span style="font-weight:normal;">396 </span></li> </ol> <p class="MsoNormal"><span style="font-weight:normal;">“Images” is used 161 times, visualization 46.<br/> </span><br/> <a title="Wordle: Digital Humanities 2008 Book of Abstracts" href="https://web.archive.org/web/20210621060714/http://www.wordle.net/gallery/wrdl/583465/Digital_Humanities_2008_Book_of_Abstracts"><img style="border:1px solid #ddd;padding:4px;" src="https://web.archive.org/web/20210621060714im_/http://www.wordle.net/thumb/wrdl/583465/Digital_Humanities_2008_Book_of_Abstracts" alt="Wordle: Digital Humanities 2008 Book of Abstracts" width="261" height="205"/></a></p> <p class="MsoNormal"><span style="font-weight:normal;">And here’s the <a href="https://web.archive.org/web/20210621060714/http://www.wordle.net/gallery/wrdl/583465/Digital_Humanities_2008_Book_of_Abstracts">word cloud.</a> <strong><span style="font-weight:normal;">As someone who got started in digital humanities by marking up texts in TEI, I’m always interested in learning about developments in encoding, analyzing and visualizing texts, but some of the coolest sessions I attended at DH 2008 tackled other questions: How do we reconstruct damaged ancient manuscripts? How do we archive dance performances?</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">Why does the digital humanities community emphasize tools instead of services?<br/> </span></strong></span></p> <h3>3) Focus on method</h3> <p class="MsoNormal"><span style="font-weight:normal;">As digital humanities emerges, much attention is being devoted to developing research methodologies.</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">In “<a href="https://web.archive.org/web/20210621060714/http://www.foundhistory.org/2008/03/13/sunset-for-ideology-sunrise-for-methodology/">Sunset for Ideology, Sunrise for Methodology</a>?,” Tom Scheinfeldt suggests that humanities scholarship is beginning to tilt toward methodology, that we are entering a “new phase of scholarship that will be dominated not by ideas, but once again by organizing activities, both in terms of organizing knowledge and organizing ourselves and our work.” </span><span><span style="font-weight:normal;"> </span></span></p> <p class="MsoNormal"><span style="font-weight:normal;">So what are some examples of methods developed and/or applied by digital humanities researchers?</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">In “<a href="https://web.archive.org/web/20210621060714/http://llc.oxfordjournals.org/cgi/content/abstract/23/4/409">Meaning and mining: the impact of implicit assumptions in data mining for the humanities</a>,” Bradley Pasanek and D. Sculley tackle methodological challenges posed by mining humanities data, arguing that literary critics must devise standards for making arguments based upon data mining. </span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">Through a case study testing Lakoff’s theory that political ideology is defined by metaphor, Pasanek and Sculley demonstrate that the selection of algorithms and representation of data influence the results of data mining experiments.</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">Insisting that interpretation is central to working with humanities data, they concur with Steve Ramsay and others in contending that data mining may be most significant in “highlighting ambiguities and conflicts that lie latent within the text itself.”</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">They offer some sensible recommendations for best practices, including making assumptions about the data and texts explicit; using multiple methods and representations; reporting all trials; making data available and experiments reproducible; and engaging in peer review of methodology.</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;"></span></p> <h3>4) Digital literary studies</h3> <p class="MsoNormal"><span style="font-weight:normal;">Different methodological approaches to literary study are discussed in the <a href="https://web.archive.org/web/20210621060714/http://www.digitalhumanities.org/companion/DLS/">Companion to Digital Literary Studies </a>(DLS), which was edited by Susan Schreibman and Ray Siemens and was released for free online</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">in the fall of 2008.</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">Kudos to its publisher, Blackwell, for making the hefty volume available, along with <a href="https://web.archive.org/web/20210621060714/http://www.digitalhumanities.org/companion/">A Companion to Digital Humanities</a>.</span><span><span style="font-weight:normal;"> The book</span></span><span style="font-weight:normal;"> includes essays such as “Reading digital literature: surface, data, interaction, and expressive processing” by Noah Wardrip-Fruin, “The Virtual Codex from page space to e-space” by Johanna Drucker, “Algorithmic criticism” by Steve Ramsay, and “Knowing true things by what their mockeries be: modelling in the humanities” by Willard McCarty. </span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">DLS also provides a handy <a href="https://web.archive.org/web/20210621060714/http://www.digitalhumanities.org/companion/view?docId=blackwell/9781405148641/9781405148641.xml&chunk.id=ss1-6-13&toc.depth=1&toc.id=ss1-6-13&brand=9781405148641_brand">annotated bibliography</a> </span><span style="font-weight:normal;">by </span>Tanya Clement and Gretchen Gueguen that highlights some of the key scholarly resources in literature, including Digital Transcriptions and Images, Born-Digital Texts and New Media Objects, and Criticism, Reviews, and Tools. I expect that the book will be used frequently in digital humanities courses and will be a foundational work.</p> <h3>5) Crafting history: <a href="https://web.archive.org/web/20210621060714/http://digitalhistoryhacks.blogspot.com/search?q=appliances">History Appliances</a></h3> <p class="MsoNormal"><span style="font-weight:normal;">For me, the coolest—most innovative, most unexpected, most wow!—work of the year came from the ever-inventive Bill Turkel, who is exploring humanistic fabrication (not in the Mills Kelly sense of <a href="https://web.archive.org/web/20210621060714/http://edwired.org/?p=418">making up stuff</a> ;), but in the DIY sense of making stuff). </span><span style="font-weight:normal;"> Turkel is working on “<a href="https://web.archive.org/web/20210621060714/http://digitalhistoryhacks.blogspot.com/2008/11/few-arguments-for-humanistic.html">materialization</a>,” giving a digital representation physical form by using, for example, a rapid prototyping machine, a sort of 3D printer. Turkel points to several reasons why humanities scholars should experiment with fabrication: they can be like DaVinci, making the connection between the mind and hand by realizing an idea in physical form; study the past by recreating historical objects (fossils, historical artifacts, etc) that can be touched, rotated, scrutinized;</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">explore “haptic history,” a sensual experience of the past; and engage in “Critical technical practice,” where scholars both create and critique.</span><span><span style="font-weight:normal;"> </span></span></p> <p class="MsoNormal"><span style="font-weight:normal;">Turkel <a href="https://web.archive.org/web/20210621060714/http://digitalhistory.wikispot.org/Interactive_Ambient_and_Tangible_Devices_for_Knowledge_Mobilization">envisions</a> making digital information “available in interactive, ambient and tangible forms.” <strong><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">As Turkel argues, “As academic researchers we have tended to emphasize opportunities for dissemination that require our audience to be passive, focused and isolated from one another and from their surroundings. We need to supplement that model by building some of our research findings into communicative devices that are transparently easy to use, provide ambient feedback, and are closely coupled with the surrounding environment.”</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">Turkel and his team are working on 4 devices: a dashboard, which shows both public and customized information streams on a large display; imagescapes and soundscapes that present streams of complex data as artificial landscapes or sound, aiding awareness; a GeoDJ, which is an iPod-like device that uses GPS and GIS to detect your location and deliver audio associated with it ( e.g. percussion for an historic industrial site);</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">and ice cores and tree rings, “tangible browsers that allow the user to explore digital models of climate history by manipulating physical interfaces that are based on this evidence.” </span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">This work on ambient computing and tangible interfaces promises to foster awareness and open up understanding of scholarly data by tapping people’s natural way of comprehending the world through touch and other forms of sensory perception. (I guess the senses of smell and taste are difficult to include in sensual history, although I’m not sure I want to smell or taste many historical artifacts or experiences anyway.</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">I would like to re-create the invention of the Toll House cookie, which for me qualifies as an historic occasion.)</span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">This approach to humanistic inquiry and representation requires the <a href="https://web.archive.org/web/20210621060714/http://digitalhistory.wikispot.org/Lab_for_Humanistic_Fabrication">resources </a>of a science lab or art studio—a large, well-ventilated space as well as equipment like a laser scanner, lathes, mills, saws, calipers, etc. </span><span><span style="font-weight:normal;"> </span></span><span style="font-weight:normal;">Unfortunately, Turkel has stopped writing his terrific blog “<a href="https://web.archive.org/web/20210621060714/http://digitalhistoryhacks.blogspot.com/">Digital History Hacks</a>” to focus on his new interests, but this work is so fascinating that I’m anxious to see what comes next–which describes my attitude toward digital humanities in general.</span></strong></span></p> <p class="MsoNormal"> <p class="MsoNormal"><span style="font-weight:normal;"> </span></p> <p class="MsoNormal"><span style="font-weight:normal;"> </span></p> <p class="MsoNormal"> <p><!--EndFragment--></p> </div><!-- .entry-content --> <div class="entry-info"> <p class="comments-link"><a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2009/04/06/digital-humanities-in-2008-iii-research/#comments">6 Comments</a></p> <p class="cat-links"> <span class="entry-info-prep entry-info-prep-cat-links">Posted in</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/category/digital-humanities/" rel="category tag">digital humanities</a>, <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/category/digital-scholarship/" rel="category tag">digital scholarship</a>, <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/category/research-practices/" rel="category tag">research practices</a> </p> </div><!-- .entry-info --> </div><!-- #post-## --> <div id="post-182" class="post-182 post type-post status-publish format-standard hentry category-digital-humanities category-digital-scholarship category-open-access"> <h2 class="entry-title"><a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2009/02/24/digital-humanities-in-2008-ii-scholarly-communication-open-access/" rel="bookmark">Digital Humanities in 2008, II: Scholarly Communication & Open Access</a></h2> <div class="entry-meta"> <span class="meta-prep meta-prep-author">Posted on</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2009/02/24/digital-humanities-in-2008-ii-scholarly-communication-open-access/" title="11:54 am" rel="bookmark"><span class="entry-date">February 24, 2009</span></a> <span class="comments-link"><span class="meta-sep">|</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2009/02/24/digital-humanities-in-2008-ii-scholarly-communication-open-access/#comments">12 comments</a></span> </div><!-- .entry-meta --> <div class="entry-content"> <p>Open access, just like dark chocolate and blueberries, is good and good for you, enabling information to be mined and reused, fostering the exchange of ideas, and ensuring public access to research that taxpayers often helped to fund. Moreover, as <a href="https://web.archive.org/web/20210621060714/http://www.journalofamericanhistory.org/issues/952/interchange/index.html">Dan Cohen</a> contends, scholars benefit from open access to their work, since their own visibility increases: “In a world where we have instantaneous access to billions of documents online, why would you want the precious article or book you spent so much time on to exist only on paper, or behind a pay wall? This is a sure path to invisibility in the digital age.” Thus some scholars are embracing <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2008/03/11/signs-that-social-scholarship-is-catching-on-in-the-humanities/">social scholarship</a>, which promotes openness, collaboration, and sharing research. This year saw some positive developments in open access and scholarly communications, such as the implementation of the NIH mandate, Harvard’s Faculty of Arts & Science’s decision to go <a href="https://web.archive.org/web/20210621060714/http://www.news.harvard.edu/gazette/2008/12.18/11-digitalfair.html">open access</a> (followed by Harvard Law), and the launch of the Open Humanities Press. But there were also some worrisome developments (the Conyers Bill’s attempt to rescind the NIH mandate, EndNote’s lawsuit against Zotero) and some confusing ones (the Google Books settlement). In the second part of my summary on the year in digital humanities, I’ll look broadly at the scholarly communication landscape, discussing open access to educational materials, new publication models, the Google Books settlement, and cultural obstacles to digital publication.</p> <p><strong>Open Access Grows–and Faces Resistance</strong></p> <p>In December of 2007, the NIH Public Access Policy was signed into law, mandating that any research funded by the NIH would be deposited in PubMed</p> <div style="width: 250px" class="wp-caption alignright"><a href="https://web.archive.org/web/20210621060714/http://flickr.com/photos/mollyali/2924209043/"><img title="Ask Me About Open Access by mollyali" src="https://web.archive.org/web/20210621060714im_/https://i0.wp.com/farm4.static.flickr.com/3261/2924209043_fe2bded639_m.jpg" alt="Ask Me About Open Access by mollyali" width="240" height="180"/></a><p class="wp-caption-text">Ask Me About Open Access by mollyali</p></div> <p>Central within a year of its publication. Since the mandate was implemented, almost 3000 new biomedical manuscripts have been deposited into PubMed Central each month. Now John Conyers has put forward a bill that would rescind the NIH mandate and prohibit other federal agencies from implementing similar policies. This bill would deny the public access to research that it funded and choke innovation and scientific discovery. According to <a href="https://web.archive.org/web/20210621060714/http://www.libraryjournal.com/article/CA6595774.html">Elias Zerhouni</a>, former director of the NIH, there is no evidence that the mandate harms publishers; rather, it maximizes the public’s “return on its investment” in funding scientific research. If you support public access to research, contact your representative and express your opposition to this bill before February 28. The Alliance for Taxpayer Access offers a useful summary of key issues as well as a letter template at <a href="https://web.archive.org/web/20210621060714/http://www.taxpayeraccess.org/action/HR801-09-0211.html">http://www.taxpayeraccess.org/action/HR801-09-0211.html</a>.</p> <p><strong>Open Humanities?</strong></p> <p>Why has the humanities been lagging behind the sciences in adopting open access? Gary Hall <a href="https://web.archive.org/web/20210621060714/http://www.iwr.co.uk/information-world-review/features/2218215/oa-humanities-badlands/">points</a> to several ways in which the sciences differ from the humanities, including science’s greater funding for “author pays” open access and emphasis on disseminating information rapidly, as well as humanities’ “negative perception of the digital medium.” But Hall is challenging that perception by helping to launch the <a href="https://web.archive.org/web/20210621060714/http://openhumanitiespress.org/">Open Humanities Press</a> (OHP) and publishing “<a href="https://web.archive.org/web/20210621060714/http://www.upress.umn.edu/Books/H/hall_digitize.html">Digitize This Book</a>.” Billing itself as “an international open access publishing collective in critical and cultural theory,” OHP selects journals for inclusion in the collective <a href="https://web.archive.org/web/20210621060714/http://openhumanitiespress.org/policies.html">based upon</a> their adherence to publication standards, open access standards, design standards, technical standards, and editorial best practices. Prominent scholars such as Jonathan Culler, Stephen Greenblatt, and Jerome McGann have signed on as board members of the Open Humanities Press, giving it more prestige and academic credibility. In a <a href="https://web.archive.org/web/20210621060714/http://openhumanitiespress.org/Jottkandt-03-april-08-Irvine-talk.pdf">talk </a>at UC Irvine last spring, OHP co-founder Sigi Jӧttkandt refuted the assumption that open access means “a sort of open free-for-all of publishing” rather than high-quality, peer-reviewed scholarship. Jӧttkandt argued that open access should be fundamental to the digital humanities: “as long as the primary and secondary materials that these tools operate on remain locked away in walled gardens, the Digital Humanities will fail to fulfill the real promise of innovation contained in the digital medium.” It’s worth noting that many digital humanities resources are available as open access, including <a href="https://web.archive.org/web/20210621060714/http://www.digitalhumanities.org/dhq/">Digital Humanities Quarterly</a>, the <a href="https://web.archive.org/web/20210621060714/http://www.rossettiarchive.org/about/index.html">Rossetti Archive</a>, and projects developed by <a href="https://web.archive.org/web/20210621060714/http://chnm.gmu.edu/">CHNM</a>; many others may not be explicitly open access, but they make information available for free.</p> <p>In “<a href="https://web.archive.org/web/20210621060714/http://blog.culanth.org/incirculation/">ANTHROPOLOGY OF/IN CIRCULATION: The Future of Open Access and Scholarly Societies,</a>” Christopher Kelty, Michael M. J. Fischer, Alex “Rex” Golub, Jason Baird Jackson, Kimberly Christen, and Michael F. Brown engage in a wide-ranging discussion of open access in anthropology, prompted in part by the American Anthropological Association’s decision to move its publishing activities to Wiley Blackwell. This rich conversation explores different models for open access, the role of scholarly societies in publishing, building community around research problems, reusing and remixing scholarly content, the economics of publishing, the connection between scholarly reputation and readers’ access to publications, how to make content accessible to source communities, and much more. As Kelty argues, “The future of innovative scholarship is not only in the AAA (<a class="l" href="https://web.archive.org/web/20210621060714/http://www.aaanet.org/">American Anthropological Association</a>) and its journals, but in the structures we build that allow our research to circulate and interact in ways it never could before.” Kelty (who, alas, was lured away from Rice by UCLA) is exploring how to make scholarship more open and interactive. You can buy a print copy of <a href="https://web.archive.org/web/20210621060714/http://twobits.net/">Two Bits</a>, his new book on the free software movement published by Duke UP; read (for free) a PDF version of the book; comment on the CommentPress version; or download and <a href="https://web.archive.org/web/20210621060714/http://recursivepublic.net/">remix</a> the HTML. Reporting on <a title="Permanent Link: Two Bits at Six Months" rel="bookmark" href="https://web.archive.org/web/20210621060714/http://savageminds.org/2009/01/24/two-bits-at-six-months/">Two Bits at Six Months</a>, Kelty observed, “Duke is making as little or as much money on the book as they do on others of its ilk, and yet I am getting much more from it being open access than I might otherwise.” The project has made Kelty more visible as a scholar, leading to more media attention, invitations to give lectures and submit papers, etc.</p> <p><strong>New Models of Scholarly Communication, and Continued Resistance<br/> </strong></p> <p>To what extent are new publishing models emerging as the Internet enables the rapid, inexpensive distribution of information, the incorporation of multimedia into publications, and networked collaboration? To find out, <a href="https://web.archive.org/web/20210621060714/http://www.arl.org/sc/models/model-pubs/pubstudy/index.shtml">The ARL/ Ithaka New Model Publications Study</a> conducted an “organized scan” of emerging scholarly publications such as blogs, ejournals, and research hubs. ARL recruited 301 volunteer librarians from 46 colleges and universities to interview faculty about new model publications that they used. (I participated in a small way, interviewing one faculty member at Rice.) According to the report, examples of new model publications exist in all disciplines, although scientists are more likely to use pre-print repositories, while humanities scholars participate more frequently in discussion forums. The study identifies eight principal types of scholarly resources:</p> <ul> <li> E-only journals</li> <li> Reviews</li> <li> Preprints and working papers</li> <li> Encyclopedias, dictionaries, and annotated content</li> <li> Data</li> <li> Blogs</li> <li> Discussion forums</li> <li> Professional and scholarly hubs</li> </ul> <p>These categories provide a sort of abbreviated field manual to identifying different types of new model publications. I might add a few more categories, such as collaborative commentary or peer-to-peer review (exemplified by projects that use <a href="https://web.archive.org/web/20210621060714/http://www.futureofthebook.org/commentpress/">CommentPress</a>); scholarly wikis like <a href="https://web.archive.org/web/20210621060714/http://openwetware.org/wiki/Main_Page">OpenWetWare</a> that enable open sharing of scholarly information; and research portals like NINES (which perhaps would be considered a “hub”). The report offers fascinating examples of innovative publications, such as ejournals that publish articles as they are ready rather on a set schedule and a <a href="https://web.archive.org/web/20210621060714/http://www.jove.com/">video journal</a> that documents experimental methods in biology. Since only a few examples of new model publications could fit into this brief report, ARL is making available brief descriptions of 206 resources that it considered to be “original and scholarly works” via a publicly accessible <a href="https://web.archive.org/web/20210621060714/http://www.arl.org/sc/models/model-pubs/search-form.shtml">database.</a></p> <p>My favorite example of a new model publication: <a href="https://web.archive.org/web/20210621060714/http://ebird.org/content/ebird/">eBird</a>, a project initiated by the Cornell Lab of Ornithology and the Audobon Society that enlists amateur and professional bird watchers to collect bird observation data. Scientists then use this data to understand the “distribution and abundance” of birds. Initially eBird ran into difficulty getting birders to participate, so they developed tools that allowed birders to get credit and feel part of a community, to “manage and maintain their lists online, to compare their observations with others’ observations.” I love the motto and mission of eBird—“Notice nature.” I wonder if a similar collaborative research site could be set up for, say, the performing arts (ePerformances.org?), where audience members would document arts and humanities in the wild–plays, ballets, performance art, poetry readings, etc.</p> <p><a href="https://web.archive.org/web/20210621060714/http://www.arl.org/sc/models/model-pubs/search-form.shtml"> </a></p> <p>The ARL/Ithaka report also highlights some of the challenges faced by these new model publications, such as the conservatism of academic culture, the difficulty of getting scholars to participate in online forums, and finding ways to fund and sustain publications. In <a href="https://web.archive.org/web/20210621060714/http://cshe.berkeley.edu/publications/docs/SC%20Draft%20Interim%20Report%20060808.doc.pdf"><strong>Interim Report: Assessing the Future Landscape of Scholarly Communication</strong></a>, Diane Harley and her colleagues at the University of California Berkeley delve into some of these challenges. Harley finds that although some scholars are interested in publishing their research as interactive multimedia, “(1) new forms must be perceived as having undergone rigorous peer review, (2) few untenured scholars are presenting such publications as part of their tenure cases, and (3) the mechanisms for evaluating new genres (e.g., nonlinear narratives and multimedia publications) may be prohibitive for reviewers in terms of time and inclination.” Humanities researchers are typically less concerned with the speed of publication than scientists and social scientists, but they do complain about journals’ unwillingness to include many high quality images and would like to link from their arguments to supporting primary source material. However, faculty are not aware of any easy-to-use tools or support that would enable them to author multimedia works and are therefore less likely to experiment with new forms. Scholars in all fields included in the study do share their research with other scholars, typically through emails and other forms of personal communication, but many regard blogs as “a waste of time because they are not peer reviewed.” Similarly, <a href="https://web.archive.org/web/20210621060714/http://www.ithaka.org/research/Ithakas%202006%20Studies%20of%20Key%20Stakeholders%20in%20the%20Digital%20Transformation%20in%20Higher%20Education.pdf">Ithaka’s 2006 Studies of Key Stakeholders in the Digital Transformation in Higher Education</a> (published in 2008) found that “faculty decisions about where and how to publish the results of their research are principally based on the visibility within their field of a particular option,” not open access.</p> <p>But academic conservatism shouldn’t keep us from imagining and experimenting with alternative approaches to scholarly publishing. Kathleen Fitzpatrick’s “book-like-object” (blob) proposal, <strong><a href="https://web.archive.org/web/20210621060714/http://www.plannedobsolescence.net/planned-obsolescence-the-proposal/">Planned Obsolescence: Publishing, Technology, and the Future of the Academy</a>, </strong>offers a bold and compelling vision of the future of academic publishing. Fitzpatrick calls for academia to break out of its zombie-like adherence to (un)dead forms and proposes “peer-to-peer” review (as in Wikipedia), focusing on process rather than product (as in blogs), and engaging in networked conversation (as in CommentPress). (If references to zombies and blobs make you think Fitzpatrick’s stuff is fun to read as well as insightful, you’d be right.)</p> <p><strong>EndNote Sues Zotero</strong></p> <p>Normally I have trouble attracting faculty and grad students to workshops exploring research tools and scholarly communication issues, but they’ve been flocking to my workshops on Zotero, which they recognize as a tool that will help them work more productively. Apparently Thomson Reuters, the maker of EndNote, has noticed the competitive threat posed by Zotero, since they have sued George Mason University, which produces Zotero, alleging that programmers reverse engineered EndNote so that they could convert proprietary EndNote .ens files into open Zotero .csl files. <a href="https://web.archive.org/web/20210621060714/http://mfeldstein.com/thomson-suing-zotero-more-info-and-more-thoughts/">Commentators</a> more knowledgeable about the technical and <a href="https://web.archive.org/web/20210621060714/http://laboratorium.net/archive/2008/09/28/thomson_reuters_the_gang_that_couldnt_sue_straight">legal</a> details than I have found Thomson’s claims to be bogus. My cynical read on this lawsuit is that EndNote saw a threat from a popular, powerful open source application and pursued legal action rather than competing by producing a better product. As <a href="https://web.archive.org/web/20210621060714/http://philomousos.blogspot.com/2008/09/go-zotero.html">Hugh Cayless</a> suggests, “This is an act of sheer desperation on the part of Thomson Reuters” and shows that Zotero has “scared your competitors enough to make them go running to Daddy, thus unequivocally validating your business model.”</p> <p>The lawsuit seems to realize <a href="https://web.archive.org/web/20210621060714/http://cyber.law.harvard.edu/wealth_of_networks/Sentence-sliced_Text_Chapter_12">Yokai Benkler</a>’s description of proprietary attempts to control information:</p> <p style="padding-left:30px;text-align:justify;">“In law, we see a continual tightening of the control that the owners of exclusive rights are given. Copyrights are longer, apply to more uses, and are interpreted as reaching into every corner of valuable use. Trademarks are stronger and more aggressive. Patents have expanded to new domains and are given greater leeway. All these changes are skewing the institutional ecology in favor of business models and production practices that are based on exclusive proprietary claims; they are lobbied for by firms that collect large rents if these laws are expanded, followed, and enforced. Social trends in the past few years, however, are pushing in the opposite direction.”</p> <p>Unfortunately, the lawsuit seems to be having a chilling effect that ultimately will, I think, hurt EndNote. For instance, the <a href="https://web.archive.org/web/20210621060714/http://cavlec.yarinareth.net/2008/11/21/about-the-bibapp/">developers</a> of BibApp, “a publication-list manager and repository-populator,” decided not to import citation lists produced by EndNote, since “doing anything with their homegrown formats has been proven hazardous.” This lawsuit raises the crucial issue of whether researchers can move their data from one system to another. Why would I want to choose a product that locks me in? As Nature wrote in an <a href="https://web.archive.org/web/20210621060714/http://www.zotero.org/blog/offical-statement/">editorial</a> quoted by CHNM in its response to the lawsuit, “The virtues of interoperability and easy data-sharing among researchers are worth restating.”</p> <p><strong>Google Books Settlement</strong></p> <p><strong></strong></p> <div style="width: 510px" class="wp-caption alignnone"><strong><strong><a href="https://web.archive.org/web/20210621060714/http://flickr.com/photos/jonwiley/2347044366/"><img title="Google Books by Jon Wiley" src="https://web.archive.org/web/20210621060714im_/https://i1.wp.com/farm4.static.flickr.com/3075/2347044366_ab5cc6f047.jpg" alt="Google Books by Jon Wiley" width="500" height="334"/></a></strong></strong><p class="wp-caption-text">Google Books by Jon Wiley</p></div> <p><strong></strong></p> <p>In the fall, Google <a href="https://web.archive.org/web/20210621060714/http://www.googlebooksettlement.com/">settled </a>with the Authors Guild and the Association of American Publishers over Google Book Search, allowing academic libraries to subscribe to a full-text collection of millions of out-of-print but (possibly) in-copyright books. (Google estimates that about 70% of published books fall into this category). Individuals can also purchase access to books, and libraries will be given a single terminal that will provide free access to the collection. On a pragmatic (and gluttonous) level, I think, Oh boy, this settlement will give me access to so much stuff. But, like others, I am concerned about one company owning all of this information, see the Book Rights Registry as potentially <a href="https://web.archive.org/web/20210621060714/http://laboratorium.net/archive/2008/11/08/principles_and_recommendations_for_the_google_book">anti-competitive</a>, and wish that a Google victory in court had verified fair use principles (even if such a decision probably would have kept us in snippet view or limited preview for in-copyright materials). Libraries have some <a href="https://web.archive.org/web/20210621060714/http://wo.ala.org/gbs/2009/02/12/ala-arl-acrl-host-meeting-of-experts-to-discuss-google-book-search-settlement/">legitimate concerns</a> about access, privacy, intellectual freedom, equitable treatment, and terms of use. Indeed, <a href="https://web.archive.org/web/20210621060714/http://www.thecrimson.com/article.aspx?ref=524989">Harvard</a> pulled out of the project over concerns about cost and accessibility. As Robert Darnton, director of the Harvard Library and a prominent scholar of book history, wrote in the <a href="https://web.archive.org/web/20210621060714/http://www.nybooks.com/articles/22281">NY Review of Books</a>, “To digitize collections and sell the product in ways that fail to guarantee wide access… would turn the Internet into an instrument for privatizing knowledge that belongs in the public sphere.” Although the settlement makes a provision for “non-consumptive research” (using the books without reading them) that seems to allow for text mining and other computational research, I worry that digital humanists and other scholars won’t have access to the data they need. What if Google goes under, or goes evil? But the establishment of the <a href="https://web.archive.org/web/20210621060714/http://www.hathitrust.org/">Hathi Trust</a> by several of Google Book’s academic library partners (and others) makes me feel a little better about access and preservation issues, and I noted that <a href="https://web.archive.org/web/20210621060714/http://www.diggingintodata.org/Repositories/tabid/167/Default.aspx">Hathi Trust</a> will provide a corpus of 50,000 documents for the NEH’s Digging into the Data Challenge. And as I argued in an <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2008/12/19/using-google-books-to-research-publishing-history/">earlier series of blog posts,</a> I certainly do see how Google Books can transform research by providing access to so much information.</p> <p>Around the same time (same day?) that the Google Books settlement was released, the <a href="https://web.archive.org/web/20210621060714/http://www.opencontentalliance.org/faq/">Open Content Alliance</a> (OCA) reached an important milestone, providing access to over a million books. As its name suggests, the OCA makes scanned books openly available for reading, download, and analysis, and from my observations the quality of the digitization is better. Although the OCA’s collection is smaller and it focuses on public domain materials, it offers a vital alternative to GB. (Rice is a member of the Open Content Alliance.)</p> <p>Next up in the series on digital humanities in 2008: my attempt to summarize recent developments in research.</p> </div><!-- .entry-content --> <div class="entry-info"> <p class="comments-link"><a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/2009/02/24/digital-humanities-in-2008-ii-scholarly-communication-open-access/#comments">12 Comments</a></p> <p class="cat-links"> <span class="entry-info-prep entry-info-prep-cat-links">Posted in</span> <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/category/digital-humanities/" rel="category tag">digital humanities</a>, <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/category/digital-scholarship/" rel="category tag">digital scholarship</a>, <a href="https://web.archive.org/web/20210621060714/https://digitalscholarship.wordpress.com/category/open-access/" 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Congrats, Caleb! <a href="https://web.archive.org/web/20210621060714/http://twitter.com/lisaspiro/statuses/1261292060277116929" class="timesince">1 year ago</a> </li> <li> @<a href="https://web.archive.org/web/20210621060714/http://twitter.com/mauro_lepore">mauro_lepore</a> @<a href="https://web.archive.org/web/20210621060714/http://twitter.com/thecarpentries">thecarpentries</a> @<a href="https://web.archive.org/web/20210621060714/http://twitter.com/RiceUniversity">RiceUniversity</a> @<a href="https://web.archive.org/web/20210621060714/http://twitter.com/jdhoffart">jdhoffart</a> @<a href="https://web.archive.org/web/20210621060714/http://twitter.com/mauro_lepore">mauro_lepore</a> and @<a href="https://web.archive.org/web/20210621060714/http://twitter.com/jdhoffart">jdhoffart</a> , you did a fantastic job tea… <a href="https://web.archive.org/web/20210621060714/https://twitter.com/i/web/status/1261031208953286656"> twitter.com/i/web/status/1…</a> <a href="https://web.archive.org/web/20210621060714/http://twitter.com/lisaspiro/statuses/1261031208953286656" class="timesince">1 year ago</a> </li> <li> Wow! Congrats @<a href="https://web.archive.org/web/20210621060714/http://twitter.com/wcaleb">wcaleb</a> on this richly deserved recognition! <a href="https://web.archive.org/web/20210621060714/https://twitter.com/PulitzerPrizes/status/1257389231049191424"> twitter.com/PulitzerPrizes…</a> <a href="https://web.archive.org/web/20210621060714/http://twitter.com/lisaspiro/statuses/1257397958301097984" class="timesince">1 year ago</a> </li> <li> @<a href="https://web.archive.org/web/20210621060714/http://twitter.com/amandafrench">amandafrench</a> @<a href="https://web.archive.org/web/20210621060714/http://twitter.com/chnm">chnm</a> @<a href="https://web.archive.org/web/20210621060714/http://twitter.com/omeka">omeka</a> Hey, I’m delighted that my blog post nudged you towards THATCamp, Amanda— the results were wonderful! <a href="https://web.archive.org/web/20210621060714/http://twitter.com/lisaspiro/statuses/1225092435421822976" class="timesince">1 year ago</a> </li> <li> I was fortunate to attend the 1st <a href="https://web.archive.org/web/20210621060714/http://twitter.com/search?q=%23THATCamp">#THATCamp</a>, where I met terrific people & learned so much. 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