51 Matching Annotations
  1. Mar 2019
  2. Dec 2018
  3. Jul 2018
    1. (If the map were to be a valid academic resource, he adds, it would also need a time slider to specify different time periods, separate existing and historical nations, and highlight the movement of nations across time. That would be a huge logistical challenge, Temprano says, requiring time, sources, and resources not currently available to him.)

      sounds like a digital humanities project

  4. May 2018
    1. Introducing students to metadata early in the semester is important because for their Omeka project they will need to input metadata for each item as it relates to the Dublin Core (used by Omeka). Initial conversations with students about metadata often reveal their unfamiliarity with the concept, even if in practice they do know something about it. In a few class periods, we consider metadata specifically: What is it? How is it created? How is it used? Why does it matter?[11] “A Gentle Introduction to Metadata” by Jeff Good (2002) serves as the launching point for our discussion about creating metadata for objects and images versus written texts. Students today are familiar with tagging, especially on social media, which serves as a useful starting point for creating metadata. After our initial discussion, and during a lecture on Aztec art, I will project for students the famous Coyolxauhqui monolith and ask them to create metadata, specifically as it relates to the Dublin Core. They will complete this activity in a team Google Doc so they can see the metadata generated by other students—and how this might differ greatly from their own choices. Time pending, I will also introduce students to the Getty’s Cultural Objects Name Authority® Online, or CONA (still in development), which provides metadata about visual culture specifically. In other classes where I have used Omeka, one of the biggest hurdles for students has been learning the language of Dublin Core. My intention with this assignment is to introduce it before students even begin to interact with Omeka so they develop familiarity with metadata and how to create it.

      This thinking about metadata is key in thinking about using Omeka in translating archives into digital collections.

    2. In my Renaissance and Spanish Colonial art history classes, I have found that an effective way of introducing students to some core DAH methods and tools is asking them to produce an Omeka exhibition. The creation of this type of project relates to broader issues in art history and digital humanities, including classifications or labels, digital versus print sources, reading and interpreting images, access, collaboration, and visuality.[6] It also introduces students to “digitization, organization, presentation, exhibition, [and] metadata creation,” as Jeffrey McClurken (2010) notes in his article on teaching with Omeka. Omeka is a content management system (CMS) available on the web that allows users to curate digital archives and exhibitions, providing students with opportunities to think like a curator or archivist. I prefer Omeka to other CMSs, such as Drupal, because it allows my class to create both an archive of items and a narrative exhibition even if students have no programming skills. In addition, I agree with teachinghistory.org regarding Omeka’s potential to help students gain certain skills transferable to many careers (Roy Rosenzweig Center 2010–2018). In some of the classes in which I have introduced Omeka (or something similar to it), students often felt unease with a DAH project rather than the traditional research paper of approximately 8–10 pages. This unease largely stemmed from their unfamiliarity with using Omeka and presenting art-historical arguments in a non-linear fashion, but it also sometimes resulted from my own missteps: not introducing Omeka early enough in the semester, forming ineffective teams, or not scaffolding activities to help them understand how and why Omeka is an important manner in which to present knowledge.[7]

      Introduction to the tool and its pedagogical value

    3. For instance, Chris Johanson and Elaine Sullivan (2015) have discussed creating a class focused on digital cultural mapping as a way to “develop students’ critical thinking skills and visual sophistication” (123). T. Mills Kelly’s Teaching History in the Digital Age (2013) considers how digital tools and methods encourage students to “produce either new knowledge about the past, or old knowledge presented in new ways.” Kelly also offers guidance and narratives intended to promote reflection on how historians can use digital media in the classroom to “create active learning opportunities.” In other words, he makes suggestions about how historians can embrace digitally inflected technologies to create new methods of historical inquiry (“Introduction”; see also Iantorno 2014, and the various essays within the issue; Mourer 2017; Silva 2016).

      Lit review for me. The author's DAH lit review is in the following paragraph, but I'm more interested in these sources for my project.

    4. considers herself “tech-averse.”

      This is how we lure them into DH. Baby steps.

  5. Feb 2018
    1. Open data projects that adhere to archival standards could be designated as “trusted digital repositories” that provide “reliable, long-term access to managed digital resources … now and in the future.”

      How do we convince cities and governments that this should be a priority? This has been done in the past with guerilla methods, e.g. the Data Rescue projects.

    2. Yet Kitchin says that “most city open data sites are effectively data dumps,” without even a basic archival infrastructure.

      Is this what the Civic Switchboard project is intended to help with?

    3. They oppose the ruthlessly efficient, behaviorist, techno-liberal city, which prioritizes innovation-driven obsolescence, exclusive contracts, and monetization of user data. Librarians on the planning commission will be the ones to ask, why should procurement agreements favor platform providers rather than the citizens who contribute data? Archivists will ask about racial imbalances in data harvesting and push for anonymous and secure preservation of public records. Together, they can be stewards of equity, discretion, interoperability, resilience, and respect for the past — real wisdom, rather than proprietary “smarts.”

      This is an incredibly favorable and perhaps naive view of librarians. Yes, many librarians are like this - but not all of them. Librarians are the ones who often think they can't possibly take back the means of production from major publishers, and drive their ever-increasing profits. Being shoehorned into journal publisher bundles and acquiescing with budgets is what got us into a related variety of messes. Yes, some folks are doing it right, but how do you find just these right people for these positions? The job of "librarian" doesn't automatically endow the person with a good socialist sense of morals.

    4. The ideology of data solutionism has taken over city halls, planning departments, law enforcement agencies, and countless other domains of public life — a troubling trend when social technocrats were in charge, and now, with the rise of Trumpism, an alarming one.

      Data can provide some insight into solutions if used appropriately and put into the hands of people. Don't just collect data to collect it; collect it for a reason.

    5. "The information commons is messy" Yes indeed.

    6. inappropriately

      what does this even mean?

    1. )

      "When I say “help,” I mean: less Clippy, more séance."

      I love this phrasing here, pulling on knowledge of bad attempts at this ("Clippy") while invoking something that would otherwise seem completely unrelated.

    2. Everyone on the internet?

      Hundreds of thousands of Twitter trolls crafting random strings of abuse for women? That's what every single one of those tweets and comments feels like - a random insult, a random threat, predicated on nothing. Is this technology facilitating that?

    3. The animating ideas here are augmentation; partnership; call and response.

      Quoted speech, a la Tannen 2007 "when speech uttered in one context is repeated in another, it is fundamentally changed even if 'reported' accurately" (Found in our paper: https://olh.openlibhums.org/articles/10.16995/olh.21/)

    4. non-standard, non-boring datasets

      What other cool data sets could there be? Librarians' responses in LibAnswers? Hundreds of thousands of lines of texts from libguides?

  6. Oct 2017
    1. evenNorthanger Abbey’sCatherine Morland can be persuaded to recognize the geographic and temporalboundaries of the Gothic novels she loves

      Another test to run with R!

    2. The catalyst forthe novel, however, seems to have been a straightforward reaction to a newwork by an author Austen considered her competition*the Scottish MaryBrunton’sDiscipline(1814).Disciplineis a fictional autobiography with the strong religious themes ofsin, repentance and redemption.

      The author claims here that Emma was inspired by the 1814 novel Discipline by Mary Brunton, which surely is not part of the male literary canon laid out earlier in the article. The author outlines the main themes of Discipline and explains the relationship between the two authors.

      I feel like a broken record here, but again, this seems to be a very tenuous point without computational analysis. The author's own language belies this tenuousness as she says that the novel's inspiration "seems to have been a straightforward reaction" to another novel. The word "seems" does not inspire confidence.

    3. The figure of the Quixote*from the seventeenth-century Don Quixote of la Mancha to Emma’s namesake Emma Bovary*isessential to the development and evolution of the novel as a genre, promotingthe self-reflexivity, promiscuous intergeneric and intrageneric allusion, andmeditations on realism and reality that are the genre’s hallmarks

      Another test to run - Emma as compared to other quixotic novels, especially The Female Quixote!

    4. Inthe first, Emma uses the fact of Harriet Smith’s illegitimacy as a springboardfor the birth-mystery plot beloved of sentimental novelists.

      Another possible tie for DH work - running comparisons on these sentimental novels and Emma.

    5. Charlotte Lennox’sTheFemale Quixote(1752) and even Eaton Stannard Barrett’sThe Heroine(1813) arecases in point.

      I would like to perform quantitative analysis on Emma and these texts, in addition to other 18th century texts such as Evelina.

    6. Emmais unique in Austen’s adult oeuvre in its obsession not only withother texts, but with the unspecific stock elements of the eighteenth-centuryand Romantic-era novel.

      Once again, here is another point that I believe it could almost be irresponsible to make without quantitative analysis. I don't know that it is empirically true that Emma is "unique" in its "obsession" with other texts and "stock elements of the eighteenth-century and Romantic-era novel."

    7. The Romantic concept of literary influence, articulated in its present-dayincarnation by Harold Bloom, must expand to encompass not only the work ofwomen, but also the work of both canonical and extra-canonical writers, if itis to be of any help in assessing Jane Austen’s work as a critical reader, anda critical rewriter. ‘‘

      I believe that DH work could be instrumental in accomplishing this vision. Since the literature of this time is in the public domain, it is indeed possible to run tests of influence and similarity on all existing manuscripts.

    1. DHers need more effective communication with broader publics, to bring our own work in preservation, speculative computing, and cultural memory into the light—and to foster collaborations with people outside the academy who share our orientations and concerns.

      I am in 100% agreement. The question remains; how do you bring DH to the attention of the general public in a relatable and accessible way? How do you bridge the communication gap between those working in DH in an academic capacity and those who know nothing of the concept and work outside of academia?

    2. DHers peer with microscopes and macroscopes, looking into things we cannot see. And even while we delight in building the shiny and the new—and come to meetings like this to celebrate and share and advance that work—we know that someone, sooner or later, curates bits against our ruins.1

      Yes, but in a wider sense is that not the transience of life and that within in? There is a beginning, middle and an end. In the future, our present will be their past, their history. Is there not hope in the fact that if we as DHrs begin this process of peering, analysing, recording and curating now that this process lives on in the future generation of DHrs who will curate our work, our ruins?

    3. Or, as a soldier of a desert war wrote in last autumn’s New York Times, is our central task the task of learning how to die—not (as he put it) to die ‘as individuals, but as a civilization’ (Scranton, 2013), in the Anthropocene?

      I found this statement incredibly depressing yet profound. Depressing in the idea that our central task is learning how to die (really who wants to be that morbid and think like that) (potentially digital humanists?), yet profound, because the soldier is not talking about us as individuals, but as a human civilization, as a whole, as a group, as a collective.

  7. Jul 2017
    1. The reaction from a historian was that they’d never heard of this – which is also the reaction of all colleagues that I’ve mentioned this to – whereas librarians, both on Twitter and at the Research Data Management conference I was attending, were surprised that historians would even hesitate if they could share their research data.

      THIS. historians contrasted with librarians

    1. you are only a click away from scans of many of the declassified primary sources Suri used to develop his argument. This gives the reader a radically transparent view into the source material supporting the case Suri argues. Imagine what this kind of source transparency could do if it became standard practice for historical journals.

      This links to a previous annotation of mine about the importance of publishing research data - in recent years this has become a thing, and in some cases (in the sciences) publishing research data has become mandatory

    1. This is where the Markdown syntax shines. Markdown is a syntax for marking semantic elements within a document explicitly, not in some hidden layer.

      I use Ullysses as a writing tool, which uses markdown, and I've only just touched the surface of what it can do for the writing process, but I love it. I love the idea behind it of not being distracted by form: content is all.

  8. Jun 2017
  9. May 2017
  10. Jun 2016
    1. we may say how and to what extent our field is of as well as in the humanities

      la transdisciplinarité pensée ici via un terrain intellectuel commun. Similaire à Franck Cormerais

  11. May 2016
    1. The mentee should not be expected to contribute to the professor’s research

      If a class presents its research as a digital product and both the class and the constituent students receive attribution, what then is fair use of that product in terms of further research by the professor?

    2. We can develop and share resources for constructively encouraging students to produce durable public work in the classroom, and for engaging student labor in digital projects in a way that is meaningful to students, as well as to the faculty. One outstanding example of this is the Perseus Project which incorporates student-translated texts into its database. The Perseids platform “offers students an opportunity to produce original scholarly work, which they can then list on their resumes in the context of a job search or when seeking admission to graduate school.” Student translators are credited by name, and the site provides durable URIs to student work which can be incorporated into C.V.s or e-portfolios. The Perseus Project offers a model of digital pedagogy that combines academic rigor with technical innovation, allowing students to produce durable products demonstrating their skills and to receive equally durable credit for their labor.

      Key point of the paper

    3. There is no metadata field for author, and author is not a searchable term in the site’s advanced search function. In the process of producing work for the site, work which students are “fully aware that future classrooms will engage with and critique,” the student author is erased and anonymized. While the site claims it is providing students with the experience of writing and publishing as an historian, it is in fact structured to ensure that students’ contributions are unidentifiable.

      What was the reasoning behind this design? Was it somehow an attempt at FERPA compliance or at allowing students to maintain anonymity. If so, student choice in attaching their name might have been a better solution.

    1. Digital Humanities instead aims to archive materials, produce data, and develop software, while bracketing off the work of interpretation to a later moment or leaving it to other scholars — or abandoning it altogether for those who argue that we ought to become “postcritical.”

      Feels like the definition and establishment of a strawman. DH definitely is interested in developing data, tools, etc., but I'm not willing to concede without argument that practitioners want to leave interpretation to others or abandon it all together.

  12. Apr 2016
  13. Apr 2015
    1. ut not the one question we should apparently be focusing exclusively on?

      Not focusing on exclusively but an essential question that is MISSING. Willful misinterpretation is unbecoming.

    2. The second repeats the second sub-claim of the first.

      Also known as expanding on an idea, or thesis, if you will.

    3. us note also how Koh collapses time when she says “and more recently,” as if the digital humanities of today still just consisted of only markup, digitization

      This is just petty, reviewer.

    4. Unless I misunderstand what she means

      I think you do so willfully.

    5. prescribed line of archival research

      this isn't what she's doing. She's making a call for change. #staywoke

    6. A confession: I study the work of Aimé Césaire in the context of Caribbean Literature and History. I could not go to a digital humanities talk expecting everyone to be overly familiar with my area. Surely, I always find a few folks who are. I don’t study with any degree of depth the h

      I don't see how this connects to the first sentence.