Tag Archives: digital humanities

Digital Humanities Summer Institute 2013

Crossposted from my own site. Delayed for no particular reason.

A few weeks ago, I had the good fortune to be able to attend the 2013 edition of the Digital Humanities Summer Institute in at the University of Victoria, in Victoria, British Columbia (w00t! international travel!) and figured I owe the reading public a report.

First of all, this certainly feels like a big event. Once upon a time it wasn’t that many people (the site archive doesn’t list participants until 2004, but we can see that the 2001 edition had 2 courses), but it has grown tremendously over the years, hitting 22 courses and nearly 500 people here in 2013. And that’s not taking into account the three events put on by the institute but not in the summer. Consequently, while I can understand people talking about making lifelong friends at the event, I think these days that’s harder unless you return over multiple years. It was big enough that I didn’t feel bad skipping some of the planned events in order to go out for lunch or just let my brain rest a bit.

Second, I highly encourage anyone considering attending to see whether they can score a seat in Jennifer Guiliano’s course on “Issues in Large Project Planning and Management”. This was what I took, and it may have changed my work life. It would be fair to say that I am a convert to project management thinking and practice, though the former may be more important than the latter. Some of the more important lessons from the course for me:

Continue reading

Creating and Supporting “Black Acts”

This is the third in a series of three posts on the digital exhibitions I worked on this spring. If you need to, you can jump back to part two or part one.

It’s been a good month and more since I wrote the second of three posts on my springtime of exhibits, and now I’ve managed to find time for the third. In between, among other things, I went to the Digital Humanities Summer Institute 2013 in beautiful Victoria, British Columbia, about which I will add a post here later. More to the point for this, though, is that I’m pretty sure that the learning I did there will be fruitful as I move forward with the work started on Black Acts, an online digital exhibition for Professor Paige McGinley‘s African-American Studies / Theater Studies course from spring 2013.

Professor McGinley came to ITG in January of 2011 with an idea for incorporating building a digital exhibit into this spring’s instance of her course, titled, simply enough, “African American Theater”. As this is Yale’s survey course on the matter, she wanted to structure the term by having students focus on a single performer, deeply research that person in the Beinecke Library’s James Weldon Johnson Memorial Collection of African American Arts and Letters, and compose a critical multimedia essay around the objects discovered in the collection and the story they told. In short, the idea was to put the students in the position of a professional scholarly researcher with all the labor and joy that can entail. I represented ITG on the project, whose instructional and support team also included several members of the Beinecke staff, most notably Lisa Conathan, Nancy Kuhl, Susan Brady, and Chris Edwards. (I apologize in advance for not remembering all those at the Beinecke who contributed, as this project would not have been successful without all contributions large and small.)
Continue reading

Recent NEH/DFG Digital Humanities Awards and the Future of Autonomous Projects

The NEH (National Endowment for the Humanities) and DFG (Deutsche Forschungsgemeinschaft) have announced another round of awards for their Bilateral Digital Humanities Program. The program provides support for projects that contribute to developing and implementing digital infrastructures and services for humanities research. They are awarded to collaborative projects between at least one partner based in the U.S. and one partner based in Germany.

This round’s awardees were largely focused on digitization projects, especially text encoding, which seem to be indicative of the general field of digital humanities, especially those concerned with “ancient” languages and literatures. The goal of such projects is to create innovative (and hopefully better) ways to present texts in digital format. Part of the innovation is the ability to consider diachronic aspects of literature, especially variant traditions of ancient literature and critical work associated with the text in question. Additionally, these projects provide ready access to literature that had been previously limited to few (and generally quite expensive) volumes from a small group of publishers. The well-known and oft-mentioned Perseus Digital Library and the much less well-known Comprehensive Aramaic Lexicon Project provide numerous examples of the benefits of such projects. I have used a number of similar projects including these two mentioned here during my young academic career, and I can attest to their great benefits.

There are, however, a few drawbacks that seem to accompany these projects. The most central recurring caveat to these programs that I have experienced is the development of the projects seems to stop when the grant funding runs out. While it is certainly understandable why projects cannot continue to develop without funding, this problem is largely the result of the fact that these projects seem to often stand on their own, meaning they are not part of a larger collection to which they contribute. This autonomy creates an environment where the innovative technology developed by each of the individual projects seems to stagnate with the project itself. The arrested development of these individual projects creates a considerable disparity between autonomous projects—especially those that focus on relatively obscure content—and projects that are either paid applications (e.g. Accordance Bible Software) or are developed in collaboration with large tech companies (e.g. Dead Sea Scrolls Digital Project a collaborative effort between the Israel Museum and Google). I am not criticizing these latter projects. On the contrary, I have used both of these example programs with great relish. Rather, I am lamenting the stagnation of many autonomous projects whose subject matter might be more obscure (relatively speaking, of course), but is vital for a number of scholars’ research.

As the process of text encoding becomes more standardized, it would be interesting to see the development of a digital library that could incorporate these autonomous projects into one central location. This may allow for the continued development of autonomous projects whose dwindling funding limits the participation of its original developers. To be sure, there are obstacles to such grand collaborative work, and, ironically, this sort of project may need to begin as an autonomous project. However, the recent launch of the Digital Public Library of America provides a substantial step toward the further development of a central digital library of various digital materials, and may itself be the very project I would like to see.

I congratulate the program awardees, and very much look forward to experiencing the results of their projects.