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Oktober 2015</time></span> </div> </header> <p><em>In der Reihe „<strong>Perspektiven der Digital Humanities</strong>“ berichten WissenschaftlerInnen über ihren Projektalltag und aktuelle Fragen im Bereich der digitalen Geisteswissenschaften.</em></p> <div id="attachment_5736" style="width: 147px" class="wp-caption alignleft"><a href="https://web.archive.org/web/20210118162353/https://dhd-blog.org/wp-content/uploads/2015/10/fendt.jpeg"><img aria-describedby="caption-attachment-5736" class="wp-image-5736" src="https://web.archive.org/web/20210118162353im_/https://dhd-blog.org/wp-content/uploads/2015/10/fendt.jpeg" alt="Kurt Fendt" width="137" height="175"/></a><p id="caption-attachment-5736" class="wp-caption-text">Dr. Kurt Fendt<br/>(Foto: privat)</p></div> <p>Dr. Kurt Fendt ist Principal Research Scientist und Direktor des Zentrums für Digital Humanities – HyperStudio am Massachusetts Institute of Technology (MIT) in Cambridge, USA. Seine Forschungsgebiete liegen im Bereich der Kultur- und Literaturwissenschaften mit besonderem Schwerpunkt auf Theorie, Konzeption, Entwicklung und Anwendung von digitalen Medien in Forschung und Lehre in den Geistes- und Sozialwissenschaften. Neben seiner Lehrtätigkeit in Comparative Media Studies/Writing und German Studies an MIT ist Fendt Autor, bzw. Co-Autor zahlreicher Digital Humanities Projekte wie “Annotation Studio”, “Comédie-Française Registers Project”, “Artbot”, “US-Iran Relations” und “Berliner sehen”.<span id="more-5735"></span></p> <div id="magicdomid9" class=""> <p><strong> Welche Digital Humanities-Projekte bearbeiten Sie aktuell?</strong></p> <p>Zur Zeit arbeiten wir im HyperStudio an fünf Projekten, die sich alle in unterschiedlichen Stadien befinden, manche sind durch stattliche Stellen finanziert, andere wiederum von Stiftungen oder privaten Geldgebern.</p> <p>a) <strong>Annotation Studio</strong> ist eine Web-basierte Umgebung für kooperatives Annotieren von Texten in den Geisteswissenschaften. Es wurde primär für den Bildungsbereich entwickelt und beruht auf dem Ansatz des “close reading” und in der Erweiterung des “hyper reading” (Katherine Hayles). Es basiert auf dem <strong>Annotator</strong> der OKF. Das Projekt wird seit drei Jahren vom National Endowment for the Humanities (NEH) finanziell unterstützt und hat derzeit mehr als 7000 registrierte Benutzer, die das Projekt ohne Kosten an mehr als 650 Bildungseinrichtungen (High Schools, Community Colleges, Universitäten) benutzen. Derzeit arbeiten wir daran, wie die Benutzer durch Filtern ihrer Annotationen diese als Basis von Essays und anderen Texten verwenden können, die dann wiederum in Annotation Studio Grundlage von weiteren Annotationen werden können. Dies hat Anwendungsbereiche im Bereich Creative Writing, aber vermehrt auch in den Sozial, und Naturwissenschaften. Die nächste Version von Annotation Studio wird auch die gleiche einfache Art der Annotation von Bildern, Videos, und Audiodateien bieten. Mehr Informationen auf http://annotationstudio.org</p> <p>b) Unser neuestes Projekt ist <strong>Blacks in Amercian Medicine</strong>. Es beruht auf den Daten von 23000 Biographien Afro-Amerikanischen Ärzten, die im Zeitraum von 1860 bis 1980 gewirkt haben. Daneben gibt es noch tausende von Archivmaterialien, die derzeit digitalisiert und für die Volltextsuche vorbereitet werden. Das Projekt, eine Zusammenarbeit mit dem Science, Technology and Society Program an MIT, steht erst am Anfang, aber es verspricht eine einzigartige Sammlung von Biographien zu werden, die das Wirken (und die Probleme) von schwarzen Ärzten in den USA aus einer Reihe von persönlichen, institutionellen, geographischen und historischen Perspektiven beleuchten wird.</p> <p>c) Das Projekt <strong>US-Iran Relations – Missed Opportunities</strong> ist eines unserer älteren Projekte, für das wir einige unserer Basis-Tools wie den <strong>Faceted Browser</strong> und die <strong>Chronos</strong> Timeline (beide Open Source) entwickelt haben. In dem Projekt geht es darum, tausende von vormals geheimen Dokumenten aus Regierungsarchiven der USA und des Irans so aufzubereiten, dass Politiker und Wissenschaftler aus beiden Ländern zu einem besseren Verständnis der “verpassten Möglichkeiten” kommen können. Das Projekt, eine Zusammenarbeit mit Wissenschfatlern aus den USA und Kanada steht aufgrund der politischen Lage noch nicht öffentlich zur Verfügung, es dient aber als Grundlage für mehrtägige Konferenzen, auf denen politische Entscheidungsträger und Politikwissenschaftler aus dem Iran und den USA politische Entscheidungen aus der Rückschau neu bewerten. Wir arbeiten nun daran, das Projekt öffentlich zu machen, angereichert mit weiteren Esaays, Audio- und Videomaterialien, um so auch für eine breitere Öffentlichkeit, vor allem für Journalisten und Studierende der Politikwissenschaften als Informationsquellen zu dienen.</p> <p>d) <strong>Artbot</strong> is eine mobile App, die es Kunstinteressierten erlaubt, für sie relevante Kunstausstellungen und verwandte Veranstaltungen zu entdecken. Das Projekt, hauptsächlich von zwei meiner Graduate Studenten entwickelt, beruht zum einen auf der semantischen Analyse von Museumswebsites aus der Bostoner Gegend, zum anderen auf einem intelligenten Algorithmus, der Ausstellungen und Veranstaltungen in einen thematischen Zusammenhang bringt und – beeinflusst durch die Präferenzen des Benutzers – in einer mobilen, web-basierten App zur Verfügung stellt. Die App ist so intelligent, dass sie Ausstellungen anbietet, nach denen der Benutzer zwar nicht gesucht hätte, aber dennoch für sie/ihn von Interesse sind. Link: http://artbotapp.com. Das Projekt ist teilweise open source und wir arbeiten gerade daran, die App so zu gestalten, dass unterschiedliche lokale Gruppen für die Verbreitung von Informationen über alle möglichen Arten von Veranstaltungen selbst sorgen können.</p> <p>e) Das <strong>Comédie-Française Registers</strong> Projekt ist eine Zusammenarbeit mit dem Comédie-FrançaiseTheater in Paris, Historikern und Theaterwissenschaftlern aus Frankreich, den USA und einigen anderen Ländern. Es schlüsselt die täglichen Verkäufe von Eintrittskarten im Zeitraum von 1680 bis 1791 über verscheiden Daten- und Visualisierungstools so auf, dass neue Erkenntnisse über die Kulturproduktion im Frankreich des 17. und 18. Jahrhunderts gewonnen werden können. Die erste Phase des Projekts ist beinahe abgeschlossen. Es wird auf einer größeren Konferenz im Dezember 2015 in Paris der Öffentlichkeit vorgestellt. Hier der Website des Projekts: http://cfregisters.org</p> <p><strong>Wie haben Sie begonnen, sich mit digitalen Geisteswissenschaften zu beschäftigen?</strong></p> <p>Meine Beschäftigung mit digitalen Medien hat schon sehr früh begonnen, als der Begriff “Digital Humanities” noch nicht als Bezeichnung für die Erweiterung der Geisteswissenschaften durch digitale Technologien verwendet wurde. Mitte der 1980er Jahre habe ich an der Universität Bern begonnen, mit digitalen Anwendung vor allem in der Sprachlehr- und -lernforschung zu experimentieren und auch selbst zu entwickeln. Diese Arbeiten haben dann zum einen zu meiner Dissertation über <strong>Hypertext und Texttheorien</strong> geführt, zum anderen auch zu dem Angebot, meine Forschungs- und Entwicklungsarbeit am MIT weiterzuführen. Nach wenigen Jahren am MIT, wo ich u.a. mit Janet Murray und Henry jenkins zusammengearbeitet habe, gründete ich dann im Jahre 1997 mein eigenes Labor für Digital Humanities, HyperStudio, dessen erstes Produkt die hypermediale Dokumentationsumgebung <strong><a href="https://web.archive.org/web/20210118162353/http://berlinersehen.mit.edu/">Berliner sehen</a></strong> war. Danach folgten ca. 30 andere geisteswissenschaftliche Projekte in Anthropologie, Geschichte, Medienwissenschaften und Fremdsprachen sowie Umgebungen zum multimedialen Kuratieren und Annotieren, wie z.B. <strong><a href="https://web.archive.org/web/20210118162353/http://metamedia.mit.edu/">Metamedia</a></strong>.</p> <p><strong>Welche Forschungsergebnisse im Bereich der Digital Humanities haben Sie bisher besonders beeindruckt?</strong></p> <p>Das sind vor allem Möglichkeiten, die den Benutzern die Möglichkeiten bieten, selbst kreativ mit Archivmaterialen und anderen digitalen Dokumenten umzugehen. Dazu zählen auch neue Ansätze im sog. Public Humanities Bereich, in Gedächtnisinstitutionen wie Museen und Bibliotheken, aber auch umfassende Projekte wie Europeana oder das US-amerikanische Äquivalent Digital Public Library of Amercia (DPLA). Ausserdem faszinieren mich neue Ansätze in der Datenvisualisierung, vor allem die Verbindung von Daten-, geographischen, und zeitbasierten Visualisierungen, sowie neue Formate des digital storytelling.</p> <p><strong>Gibt es DH-Tools, welche Sie in Zukunft gerne sehen würden?</strong></p> <p>Sehr viel einfachere Tools, die über offene APIs die unterschiedlichsten Datenquellen zusammenführen können und über frei wählbare Visualisierungs- und Analyse-Tools tiefere Einblicke in die Daten erlauben, um so ganz neue Fragen an die Daten stellen zu können. Daneben noch multimedia Annotierunsgstools, die alle über geneinsame Schnittstellen miteinander kommunizieren können und so Archive und Bibliotheken zu so gennanten „layered archives“ werden zu lassen.</p> <p><strong>Welche laufenden DH-Projekte finden Sie derzeit besonders spannend?</strong></p> <p>Ich erfahre von so vielen interessanten neuen Projekten in den unterschiedlichsten Bereichen, dass es mir schwer fällt, einzelne herauszustellen. Wenn ich aber doch einige aus den USA nennen sollte, dann vielleicht das <strong>Understanding Shakespeare</strong> Projekt von JSTORE, <strong>Mapping the Republic of Letters</strong> an der Stanford Universität (schon etwas älter), Tools wie Omeka, das Textlab Projekt an der Hofstra Universität (Annotation von Manuskripten zur Erstellung einer Textrevisionsgeschichte), <strong>Neatline</strong> der Universität von Virginia, <strong>HyperCities</strong> an der Universität von California Los Angeles oder einige spannend Projekte des <strong>Holocaust Museums</strong> in Washington, D.C. Gleichzeitig möchte ich mich jetzt schon bei all den Kolleginnen und Kollegen entschuldigen, deren Projekte ich äußerst spannend finde, die ich hier aber nicht erwähnt habe.</p> <p><strong>Wo sehen Sie gegenwärtig die größten Herausforderungen bei der Entwicklung der Digital Humanities?</strong></p> <p>Allem voran steht für mich die Frage, wie wir neue Generationen von Digital Humanists effektiv ausbilden können, wie wir Studierende, die ja meist „digital natives“ sind, von Anfang an in richtige Projekte einbinden, ihnen die Möglichkeiten bieten können, wie sie ihre eigenen Ansätze verfolgen können und dafür auch die entsprechenden Forschungs- und Entwicklungsumgebungen und Finanzierungsmöglichkeiten zu Verfügung stellen können. In einer nicht allzu fernen Zukunst hoffe ich dann, dass wir den Begriff „Digital Humanities“ streichen können und wir wieder ganz einfach von den Geisteswisschenschaften sprechen können, wenn Methoden der Forschung und Lehre ganz selbstverständlich digitale Technologien einbeziehen, das projekt-basierte Experimentieren zum normalen Instrumentarium gehört, die Zusammenarbeit mit anderen Disziplinen und die breite Kooperation mit einem Spektrum von internationalen Fachleuten auf unterschiedlichen Ebenen zur Normaliät geworden ist. Ich bin mir aber sicher, dass über den Umweg der Digital Humanities die Geisteswissenschaften wieder die ihnen gebührende gesellschaftliche Relevanz erlangen können.</p> <p><strong>Weitere Informationen</strong></p> <p>Kurt Fendt: Notwendigkeiten und Bedingungen für Digital Humanities. 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research, running things, and being a woman with too much to do.">Claire Warwick's blog</a></li> <li><a href="https://web.archive.org/web/20210118162353/http://www.gcdh.de/en/projects/dh" title="Göttinger Verbundprojekt zu DH" target="_blank">DH Forschungsverbund</a></li> <li><a href="https://web.archive.org/web/20210118162353/http://www.dh2012.uni-hamburg.de/">DH2012 Hamburg</a></li> <li><a href="https://web.archive.org/web/20210118162353/http://dhdhi.hypotheses.org/">Digital Humanities am DHIP</a></li> <li><a href="https://web.archive.org/web/20210118162353/http://dhi.intd.cnam.fr/">Digital Humanities International</a></li> <li><a href="https://web.archive.org/web/20210118162353/http://digitalhumanitiesnow.org/">Digital Humanities Now</a></li> <li><a href="https://web.archive.org/web/20210118162353/http://blogs.cch.kcl.ac.uk/wip/">Digital Humanities: KCL</a></li> <li><a href="https://web.archive.org/web/20210118162353/http://digitalscholarship.wordpress.com/">Digital Scholarship in 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