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The digital humanities have developed in concert with online systems that increase the accessibility and speed of learning. Whereas previously students were immersed in the fluidity of campus life, they have become suspended and drawn-into various streams and currents of digital pedagogy, which articulate new forms of epistemological movement, often operating at speeds outside the lived time and rhythm of human thought. When assessing learning technologies, we have to consider the degree to which they complement the rhythms immanent to human thought, knowledge, investigation, and experimentation. In this paper, we examine learning from a humanities perspective, arguing that reading, writing, and thinking are ways of learning underscored by various genres of movement that segue with or diverge from the movements inherent to digital technologies, especially those deployed in learning systems. Using the work of thinkers such as John Dewey and Michel Serres, we examine the importance of movement in dialogue, where to truly learn involves embedding oneself in the flow of thought, accepting the flexibility of concepts, and aligning oneself with a community of thinkers. [ABSTRACT FROM AUTHOR]

Digital humanities is a result of the convergence of digital technology with social sciences and humanities. It is one of the key research areas around the world by the library and information science profession, and in cognate areas such as art and archeology. Focus groups, digital humanities centres are created for intensive researches which are located mainly in libraries as their core programmes. The library techniques and methods such as knowledge organisation, knowledge management, search and retrieval design, education, and emerging areas such as metadata, semantic mapping, ontology, thesaurus construction, digital curation, discovery services, find application in digital humanities. A new area of study, historical informatics complements the digital humanities. India has vast potential application of digital humanities with its diverse culture, customs and languages and so on. India is reckoned as one of the advanced countries in the IT sector, hence recognising the socio-cultural legacy and diverse historical background, it is viewed that digital humanities has many opportunities and applications for LIS professionals in India to contribute substantially. This paper brings together the concepts, tools, and applications of digital humanities and proposes a course of study in LIS curriculum. [ABSTRACT FROM AUTHOR]

Combining computational technologies and humanities is an ongoing effort aimed at making resources such as texts, images, audio, video, and other artifacts digitally available, searchable, and analyzable. In recent years, deep neural networks (DNN) dominate the field of automatic text analysis and natural language processing (NLP), in some cases presenting a super‐human performance. DNNs are the state‐of‐the‐art machine learning algorithms solving many NLP tasks that are relevant for Digital Humanities (DH) research, such as spell checking, language detection, entity extraction, author detection, question answering, and other tasks. These supervised algorithms learn patterns from a large number of "right" and "wrong" examples and apply them to new examples. However, using DNNs for analyzing the text resources in DH research presents two main challenges: (un)availability of training data and a need for domain adaptation. This paper explores these challenges by analyzing multiple use‐cases of DH studies in recent literature and their possible solutions and lays out a practical decision model for DH experts for when and how to choose the appropriate deep learning approaches for their research. Moreover, in this paper, we aim to raise awareness of the benefits of utilizing deep learning models in the DH community. [ABSTRACT FROM AUTHOR]

As a part of the DiMPAH-project, the authors have developed an open educational resource (OER) on netnography. In this paper, the OER is presented and critically discussed as the broader problem identified during course-development is made explicit and explored through two research questions: 1) How can an OER be designed that positions netnography as a viable methodology for the digital humanities? 2) How can an OER be designed that theoretically and methodologically combines both quantitative and qualitative approaches for doing netnography? An up-to-date theoretical overview of netnography as a methodology for studying social experiences online is provided. Methodological considerations are presented, aimed for sensitizing students to nuances of active (participatory) and passive (non-participatory) netnography through two analytical concepts. The OER is presented through three case studies and a learning scenario offering flexible and authentic technology-integrated learning. Netnography is found to contribute to the digital humanities, overall characterized by method-driven and quantitative approaches, with reflexivity and a potential for critical research and pedagogy. The two analytical concepts community-based netnography and consociality-based netnography allow for a nuanced methodological understanding of how and when qualitative and quantitative approaches should be employed, and how they may complement each other. [ABSTRACT FROM AUTHOR]

This article considers the interdisciplinary opportunities and challenges of working with digital cultural heritage, such as digitized historical newspapers, and proposes an integrated digital hermeneutics workflow to combine purely disciplinary research approaches from computer science, humanities, and library work. Common interests and motivations of the above‐mentioned disciplines have resulted in interdisciplinary projects and collaborations such as the NewsEye project, which is working on novel solutions on how digital heritage data is (re)searched, accessed, used, and analyzed. We argue that collaborations of different disciplines can benefit from a good understanding of the workflows and traditions of each of the disciplines involved but must find integrated approaches to successfully exploit the full potential of digitized sources. The paper is furthermore providing an insight into digital tools, methods, and hermeneutics in action, showing that integrated interdisciplinary research needs to build something in between the disciplines while respecting and understanding each other's expertise and expectations. [ABSTRACT FROM AUTHOR]

Publishers of academic books in Australia have evolved in response to the crisis in scholarly publishing by adapting to the opportunities afforded by digital technologies for faster, cheaper, and more dynamic publishing approaches. Academic authors are at the core of the scholarly publishing landscape, so publishers need to understand their motives and needs. This paper examines data from a survey of academic authors in the humanities and social sciences (HSS) in Australia. Our aim for the survey was to understand the publishing experiences, behaviours, and perceptions of these authors. We discovered their expectations for publishers are high. They want fast turnaround, high-quality editing and production values, and cheaper books, which run up against three principal constraints for all scholarly publishers: quality, time, and cost. The prestige and reputation of a publisher are critical, and authors are primarily interested in traditional success measures of academic performance. Societal impact or engagement with research end-users was seen as less important. The findings of this project highlight a number of contradictions and tensions within the scholarly publishing landscape, and they have tangible implications for practices in HSS for authors and publishers, as well as for grant funders and university administrators who adopt policies and assign criteria for research evaluation. [ABSTRACT FROM AUTHOR]

Digital technology can facilitate collaboration and data sharing among humanities scholars, and therefore is sometimes seen as a catalyst for attempts to revise problematic canonical traditions in literary history. In this paper, I interrogate how specific ways of organising scholarly labour make possible certain forms of knowledge, and I study the obstacles scholars face when trying to adapt established organisational models. For this purpose I draw on fieldwork in a large European database project, launched to create empirical knowledge about “forgotten” women writers. Literary studies is characterised by monograph-oriented scholarship, situated in regional disciplinary contexts. The collaborative use of a database, however, requires an integration of individual research practices, and it blurs the division of labour between scholars and information professionals. In the present case, the inertia of established infrastructural arrangements manifested itself as a conflict between what was required to generate the specific type of knowledge the project aimed for, and the need for participants to engage in a more traditional form of knowledge production to advance their individual careers. The tension was better manageable in cases where the project conceded organisational authority to local contexts, an empirical finding with implications for established funding models for collaborative digital scholarship. [ABSTRACT FROM AUTHOR]

Mainstream operationalisations of music in contemporary digital culture tend to take forms that fit with Western folk-theoretic conceptions of music: as discrete sonic entities—songs, pieces, works—that fall within an autonomous domain of human experience, that have determinate structure and that have both affective and exchange value. This perspective is problematised in alternative digital manifestations of music as constituted in and through interaction, in which music is emergent from interactive processes that are computationally mediated. This alternative digital approach fits with broad conceptions of music that are grounded in ethnomusicological accounts and that have increasing weight in the cognitive sciences, in which music is understood and explored as a communicative medium. This paper will outline some of the possibilities, potentials and problems for digital approaches that are likely to arise in operationalising music as communicative interaction. [ABSTRACT FROM AUTHOR]