DHd2017. Digitale Nachhaltigkeit. 13. bis 18. Februar 2017, Bern. Book of Abstracts
Conference abstracts for DHd2017, Bern. (http://www.dhd2017.ch/)
This volume introduces the reader to the wide range of methods that digital humanities employ, and offers a practical guide to the study, interpretation, and presentation of cultural material and practices. In this instance, the editors consider digital humanities to include both the use of computing to understand cultural material in new ways, and the application of theories and methods from the humanities to interpret new technologies. Each chapter provides a step-by-step guide to cutting-edge methodologies so that students can make informed decisions about the methods they use, consider ethical practices, follow practical procedures, and present their work effectively. Readers will develop practical and reflexive understandings of the software and digital devices that they study and use for research, and the book will help new researchers collaborate and contribute to their scholarly communities, and to public discourse. As contemporary humanities work becomes increasingly interdisciplinary, and increasingly permeated by and with digital technologies, this volume helps new researchers navigate an evolving academic environment. Humanities and social sciences students will find this textbook an invaluable resource for assessing and creating digital projects.
This essay questions whether digital literary studies can still be meaningfully regarded as part of literary studies. This heretical question is motivated by a praxeological view of a research project for the network analysis of dramatic texts, in particular by reflecting on the project’s underlying ›epistemic thing‹, which in this case consists of specifically-formatted structural data (and not the actual primary texts themselves). What does this corpus of structural data, which was extracted from 465 plays spanning the period from 1730 to 1930, have to do with the ›epistemic things‹ of literary studies? We explore this question by providing insight into our analyses, which describe the structural evolution of the ›plays‹, try to locate ›small world‹ properties in our corpus, and develop new metrics for plot analysis. The results show not only how digital methods can supplement or enrich literary studies; they also raise questions about how digital the field of literary studies already is, since its research objects are increasingly available in digital forms.
As a digital museum ethnographer, I would like to devote this chapter to sharing my personal experience in addressing ethical considerations while conducting research on museum visitors’ behavior in online spaces. My research looks at online museums as important sites of cross-cultural communication. These sites project powerful political and cultural messages across borders and engage not only local but predominantly international audiences. Captivated by the diversity of online museum programs that connect people across the globe, opening up virtual spaces for cross-cultural learning, and immersing online visitors into educational experiences, I traveled the world to conduct a number of case studies. I researched digital spaces of large international museums in Canada, the United States, the United Kingdom, Australia, and Singapore. My ethnographic research revealed that museum online communities as social interactive worlds can be powerful tools of cultural representation or mis-representation, sites of memory and identity construction, and building citizenry or political battlegrounds of resistance and social riots. Online museums can build unique “bridges” among communities for improving intercultural competence and tolerance or, in contrast, can invoke religious and cultural wars. These insights and findings were possible due to immersive ethnographic research within different digital museum spaces. I explored various online museum communities and collected and analyzed a large amount of textual and visual data demonstrating various behaviors of online “museum goers.”
As it begins its second decade of development, the Digital Research Infrastructure for the Arts and Humanities (DARIAH) continues to forge an innovative approach to improving support for and the vibrancy of humanities research in Europe.
We describe the creation of a corpus of Russian-language drama, comprising hundreds of texts from the middle of the 18th century to the first third of the 20th century. Texts are encoded in the XML-based markup standard TEI, the focus is on extra-linguistic, structural annotations, although additional annotation layers can be added easily.
The way researchers in the arts and humanities disciplines work has changed significantly. Research can no longer be done in isolation as an increasing number of digital tools and certain types of knowledge are required to deal with research material. Research questions are scaled up and we see the emergence of new infrastructures to address this change. The DigitAl Research Infrastructure for the Arts and Humanities (DARIAH) is an open international network of researchers within the arts and humanities community, which revolves around the exchange of experiences and the sharing of expertise and resources. These resources comprise not only of digitised material, but also a wide variety of born-digital data, services and software, tools, learning and teaching materials. The sustaining, sharing and reuse of resources involves many different parties and stakeholders and is influenced by a multitude of factors in which research infrastructures play a pivotal role. This article describes how DARIAH tries to meet the requirements of researchers from a broad range of disciplines within the arts and humanities that work with (born-)digital research data. It details approaches situated in specific national contexts in an otherwise large heterogeneous international scenario and gives an overview of ongoing efforts towards a convergence of social and technical aspects.