our ability to discover the multilayered history of a single word or phrase, literary anal-ysis has reached a new sphere.

A series of thoughtbursts on topics concerning (e)book history, (e)print culture, & digital humanities.

. Since ePortfolio practice is inherently eclectic, it deserves an equally eclectic learning foundation. In the DLL program, we developed the COVA (choice, ownership, voice, and authenticity) learning approach to give our learners the freedom to choose (C) how they wish to organize, structure and present their experiences and evidences of learning. We give them ownership (O) over the selection of their authentic projects and the entire ePortfolio process—including selection of their portfolio tools. We use the ePortfolio experiences to give our learners the opportunity to use their own voice (V) to revise and restructure theirwork and ideas. Finally, we use authentic (A) or real world learning experiences that enable students to make a difference in their own learning environments (Harapnuik, 2016)

. 141 former graduate students completed

former educational technology students in a graduate program

digital collections of student-generated authentic content that include resources and multimedia elements contained in a person

could be considered media creators.

Ashley Richardson

medi-ated experience may squeeze out time for other learning activities; that contemporary childrenoften lack access to real world play spaces, with adverse health consequences, that adults mayinadequately supervise and interact with children about the media they consume (and pro-duce); or concerns about the moral values and commercialization in much contemporaryentertainment.

We are using participation as a term that cuts across educational practices, creative processes,community life, and democratic citizenship. Our goals should be to encourage youth to devel-op the skills, knowledge, ethical frameworks, and self-confidence needed to be full participantsin contemporary culture.

Weareusingparticipationasatermthatcutsacrosseducationalpractices,creativeprocesses,communitylife,anddemocraticcitizenship.Ourgoalsshouldbetoencourageyouthtodevel-optheskills,knowledge,ethicalframeworks,andself-confidenceneededtobefullparticipantsincontemporaryculture.

couldbeconsideredmediacreators

medi-atedexperiencemaysqueezeouttimeforotherlearningactivities;thatcontemporarychildrenoftenlackaccesstorealworldplayspaces,withadversehealthconsequences,thatadultsmayinadequatelysuperviseandinteractwithchildrenaboutthemediatheyconsume(andpro-duce);orconcernsaboutthemoralvaluesandcommercializationinmuchcontemporaryentertainment.

A gentle introduction to studying digital humanities, and into the digital humanities community in general, was the beginner workshop group entitled “Digitization Fundamentals and Their Application.” The focus of this workshop was to develop a functional knowledge of different methods of acquiring, refining, processing, and utilizing information pertaining to artefacts, aural or visual, static or animated. The course outlined how to plan successful digitization projects, develop an organizational structure to manage large caches of data, select appropriate devices and formats for input, and create platforms for display and dissemination of output. Each day was dedicated to a specific element of digitization - usually a medium, such as audio or video, but occasionally on a form of output, such as how to host digitization projects on the web. The mornings were generally spent acquiring the foundational knowledge needed to plan and implement a digitization project in that day’s medium, and in the afternoons participants were given free access to a wide range of equipment to help put the morning’s fundamentals into practice. This workshop allowed participants to practice digitization both in the lab and in the wild, as they were able to choose to work within one of the University of Victoria’s well-appointed computer labs or take equipment to a nearby site of their choice, such as the University of Victoria’s McPherson Library and its rare book room.

ese courses are the core of the DHSI curriculum, offering students the opportunity to learn in small, collegial groups at the beginner, intermediate, and advanced levels - and indeed offering faculty the opportunity to be students again for a week. That levelling spirit is reinforced by other aspects of the Institute which bring the various courses together. At the beginning and end of each day, all DHSI participants attend plenary lectures by leading practitioners in the field, which brings all participants together in the same room to consider questions that all digital humanists face (such as the nature of the academic job market, or lessons to be learned from particular projects). In recent years the morning lectures have showcased short presentations by graduate students in the field, a symptom of how student-driven the field has become even during the seven years since the DHSI began.

eek-long event that has run every spring since 2004, the DHSI combines the best aspects of a skills workshop, international conference, and summer camp. Participants spend five days attending plenary lectures and pursuing their own projects in courses on topics such

The Digital Humanities Summer Institute and Extra- Institutional Modes of Engagement