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Copyright of Digital Studies / Champ Numérique is the property of Open Library of Humanities and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Navigli Project is a virtual exhibit that illustrates the cultural history of the waterways of Milan, Italy. Inaugurated in 2016 in the context of an experimental Humanities Lab, this digital mapping project encourages the cultural conservation of water in Milan and promotes water education among its citizens. After providing a very brief history of Milan's waterways (which were almost entirely covered in the 1930s), this article describes the materials and digital platforms the project utilizes and its many objectives, which include expanding the borders of Italian Studies and Eco-Digital Humanities while remaining deeply rooted in each discipline, serving as reference point for anyone interested in urban waters and those of Milan in particular, and providing students with a broad set of digital and thinking skills that are easily transferable to other courses, projects, disciplines, and careers. Ultimately, the article shows how the Navigli Project anchors artistic and cultural practices to the "real" world by following concepts, metaphors, and creative strategies across media, time, and space and thus draws attention to their rootedness in the materiality of the world. [ABSTRACT FROM AUTHOR]

The present article is a snapshot of Digital Literary Studies (DLS) in the present-day Romanian academia, higher education curricula, and research evaluation. In the first part, the emphasis falls on the term "digital turn" and on its specific uses and extensions in humanities, as DH (digital humanities), on the one hand, and as digital literary studies/computer literary studies (DLS/ CLS)/ computational linguistics (CL), on the other. In the second part, we zoom in the field of DLS/ CLS and analyze the way in which it has been localized, operationalized, institutionalized and understood in the Romanian academic environment and publications (DH-targeted journals, humanities journals, and cultural magazines), in higher education curricula (master/ bachelor programs of study), and in designing evaluation standards for DH/ DLS/ CLS research projects (methodologies for funding national research). In the third part, we provide a down-to-earth approach to Romanian DLS by bringing out the experience with digitization, format conversion, manual cleaning, encoding, annotation, and with various editing, quantitative analysis, and data management tools (AntConc, TXM, StyloR, Nooj, Heurist, Transkribus, Oxygen etc.), acquired throughout the implementation of Hai-Ro Project (Hajduk Novels in Romania during the Long Nineteenth Century: digital edition and corpus analysis assisted by computational tools). [ABSTRACT FROM AUTHOR]

What we propose in this article is to show, based on an example, how new teaching methods are adopted in the field of philology in an age where we move from an analog world to a digital one. Thus, we will present, first, some positive and negative opinions about the digital era in which we move. Secondly, we will focus on the methodology used in the Department of Romance Philology from the University of Zurich for the creation of an online course of linguistics and another of Romance literature for students of the first course. Thirdly, it will be mentioned the advantages and disavantages of such a project. And, finally, we will take some conclusions. [ABSTRACT FROM AUTHOR]

Copyright of Digital Studies / Champ Numérique is the property of Open Library of Humanities and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Visual, audiovisual, and multisensory media are gaining increasing importance. The latter are hybrid media that appeal not only to sight and hearing, but also to other senses (e.g., smell, touch, and motion). Considering this media development, both the digital humanities and what might (as a working hypothesis) be called digital law explore visualization, audiovisualization, and multisensorization. These fields have so far largely gone separate ways, without influencing each other, although both face similar problems and questions in investigating visualization, audiovisualization, and multisensorization. This paper makes an innovative contribution to understanding these phenomena by bringing the digital humanities and digital law closer together. It also advances interdisciplinary understanding by considering the reflections voiced at the 2017 Centenary Conference of Zürich University Library and by going far beyond the topics of that conference. [ABSTRACT FROM AUTHOR]

This article addresses the problems that pertain to macro-historical data in music research. By presenting examples from recent research on European ladies' orchestras of the late nineteenth century, I aim to establish how large data sets could be used in a meaningful way. First, I shall present an overview of source materials. Second, methods for analyzing concert programmes will be critically assessed. Third, the possibilities of visualizing concert tours will be explored. Finally, special attention will be paid to questions regarding social class and gender. [ABSTRACT FROM AUTHOR]

The present article studies eight of the twelve reports of the Stanford Literary Lab (SLL) to understand why the revolutionary practices of the lab, and by extension of the digital humanities, have not yet changed literary history, as the lab itself admits. The article examines the reports with two related cultural-semantic tools, each of which is introduced via the Pixar movie Brave. First, the interpretations of the reports are placed within a basic semantic grid organized into four quadrants by a nature-society axis and a past-present axis, which shows that the interpretations are invariably situated in the present-society quadrant. This analysis, while necessary, merely proves that SLL operates within a certain cultural climate. The real test lies in ascertaining whether this cultural climate affects the interpretation of novel data. To do so, the article looks for the reaction of SLL to novel data in two reports. The reports are shown to domesticate novelty by explaining it through standard alethic/deontic patterns, even though the data are novel precisely because the patterns largely fail to explain them. The article closes by asking whether such patterns limit or enable thinking and what this means for the digital humanities. [ABSTRACT FROM AUTHOR]

Copyright of Pesquisa Brasileira em Ciência da Informação e Biblioteconomia is the property of Pesquisa Brasileira em Ciencia da Informacao e Biblioteconomia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Libraries have been the key to preserving culture and historic legacy for centuries. One such treasure cataloged in The Pennsylvania State University (Penn State) Libraries is a collection of over 33,000 Sanborn™ Fire Insurance Maps. Originally kept safe in metal drawers, the library has embarked on a journey to digitize this abundance of information, combine it with other media such as photographs, and make it accessible through a web interface. Inspired by these efforts, we accessed this information and took it to the next level. Using state of the art 3D modeling and immersive technologies, we created a historic 3D model and immersive experiences of Penn State, exemplarily for the 1922 campus. The resulting experiences can be accessed through the web but also through head mounted displays (HMDs) and mobile phones in combination with VR viewers such as the Google Cardboard. Additionally, they can be used anywhere in the world or on the campus itself as a way to enable remote and in situ experiences and learning. Immersive experiences let us connect to the past, the present and the future, and as such offer value to digital cultural heritage efforts. [ABSTRACT FROM AUTHOR]

Although it has not been much considered as such, the digital humanities movement (or at least the most theoretically informed parts of it) offers a critique "from within" the recent mutation of the higher education and research systems. This paper offers an analysis, from a Critical Theory perspective, of a key element of this critique: the theory vs. practice debate, which, in the digital humanities, is translated into the famous "hack" vs. "yack" motto, where DHers usually call for the pre-eminence of the former over the latter. I show how this debate aims to criticise the social situation of employment in academia in the digital age and can further be interpreted with the culture industry theoretical concept, as a continuance of the domination of the intellectual labour (i.e. yack in this case) over manual labour (hack). I argue that, pushing this debate to its very dialectical limit, one realises that the two terms are not in opposition anymore: the actual theory as well as the actual practice are below their very critical concepts in the current situation of academic labour. Therefore, I call for a reconfiguration of this debate, aiming at the rediscovering of an actual theory in the academic production, as well as a rediscovering of a praxis, the latter being outside of the scientific realm and rules: it is political. [ABSTRACT FROM AUTHOR]

Digital Humanities is a catchy word that draws the attention of all disciplines and literary studies is not an exemption. This paper investigates various debates associated with the Digital Humanities and also explores the relevance and impact of Digital technology on the teaching and learning of English studies. Though the impact of Digital humanities is widely felt, there is no collective consensus regarding its application to Text, which is the very foundation for the enhancement of literary studies and the gravity of the concept "Text" proves to be the veritable source of encoding in the form of computing technology. The sublimity of a literary text lies in its dexterous use of coded information and hence, computing enhances illustration of various images and events in the form of pictures, video, and audio forms. Further, as a literary text is not culture bound it is always open for digital culture and it justifies the intended study. [ABSTRACT FROM AUTHOR]

The present article tries to close the gap between the digital humanities and traditional criticism. It does so by moving between distant and close reading, constructing visualizations, opening perspectives for coding and analyzing a large corpus: the Pixar movies up to The Good Dinosaur. This is done with the help of a tool of analysis which studies fictional worlds and is wedged between value and method. After introducing the tool (Section 2), the main Pixar characters are placed within a spatiotemporal visualization of the tool and their semantic distribution is interpreted. This includes the organization of main characters, antagonists and remaining characters and the gendering of characters and semantic spaces (Section 3). The article then discusses the limits of allocating characters in the visual diagram, above all by focusing on vertical and horizontal relationships and complex semantic patterns (Section 4). It then discusses the differential aspects which make of Inside Out a different movie within the Pixar corpus (Section 5). The article closes by summarizing the different semantic patterns of Pixar movies and by reflecting on the place of high abstraction, textual and visual, in this scheme, as well as on the complementarity of digital and traditional strategies. [ABSTRACT FROM AUTHOR]

Digital Humanities (DH) is a field of research in which humanists at the National Autonomous University of Mexico (UNAM) can take part and about which they can collaborate in debates and projects. Introducing DH in the academic programs at an undergraduate level can be a difficult path to traverse. Even so, for the academic year 2016, we managed to include a Specialized Seminar-Workshop on this field of study within the History Course at the Facultad de Filosofía y Letras at the UNAM. This article shows and analyzes the context, the methods and the academic, technical and specialization implications DH has in the History field (and in Humanities in general), and also presents the results of our teaching work, of the research project in teaching to which it is connected, and of some other activities which aim at establishing an academic digital culture in this School's community. [ABSTRACT FROM AUTHOR]

Copyright of ProInflow is the property of Casopis ProInflow and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The 1940s and 1950s saw a widespread outcry over children's reading of comic books, most pronouncedly the often violent, gory and erotic crime and horror genres. Concern and outrage over the assumed effects of the ubiquitous magazines on young minds was expressed in a deluge of newspaper editorials, magazine articles, professional and academic journals, and elsewhere. A grassroots movement to restrict children's access to comics led to a Senate Subcommittee hearing in the US investigating links to juvenile delinquency and to legislation in several countries prohibiting the sale of certain comics to minors. Using Omeka publishing and exhibition software, this digital humanities project takes the form of an online exhibition and digital archive and considers the ways in which the comics crisis was structured around the idea of childhood innocence [ABSTRACT FROM AUTHOR]

The first emperor of Rome, Augustus, exploited architecture to convey his sophisticated propaganda. He famously boasted to have found Rome a city of brick, and left it a city of marble. This claim has been considered an apt metaphor for the establishment of an imperial state, though the quantitative, physical veracity of the boast has never been fully interrogated. A team from UCLA mapped and modeled the marble projects added to Rome in the decades of Augustan power, using rule-based procedural modeling to generate numerous 3D, interactive, geo-temporal simulations of the entire cityscape with each marble intervention placedin situtopographically and chronologically. Broad, pan-urban views of the city’s evolution revealed that Augustan marble projects were neither overwhelming in number nor readily visible. Examination of the urban experience over time and space, however, revealed that marble construction had a constant and pervasive impact. Daily urban residents found their movements blocked by marble transports and their senses bombarded by the noisy, dusty work at construction sites. Thus, it was not the rhetoric conveyed by architecture that justified Augustus’ claim, but the rhetoric of the building act that spoke loudly and persuasivelyin situ. [ABSTRACT FROM AUTHOR]

The article examines the generation and re-generation of a particular Anishihaabe-based text "Summer in the Spring: Anishinaabe Lyric Poems & Stories," by Gerald Vizenor as a palimpsest which refers to a superposition of successive activities and the writing over natives.

The author discusses whether disciplines within the confines of the arts and humanities end or adapt. Topics covered include the classical and medieval Christian lineage of the word "discipline," the author's participation in the disciplinary community during his academic life, and distinctions between cross-disciplinarity, interdisciplinarity, and transdisciplinarity. Also mentioned are proposals to balance disciplinary length with disciplinary reach.

Copyright of ABI Technik is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article will explore how to develop the holistic project management planning (PMP) mindset in different parts of the library when undertaking digital humanities (DH) projects. PMP skills do exist within libraries and librarians, but organizational alignment typically does not allow for the most effective applications of librarians' PMP skills to DH projects. This article will explore how the skills of public services librarians, technical services librarians and administrative librarians align with the PMP phases and the challenges that each kind of librarian has to overcome in completing successful DH projects. [ABSTRACT FROM PUBLISHER]

Digital humanities (DH) represents an emerging framework for digital curation. This study focuses on the evolving relationship of the DH (including history) to digital curation and archives and describes the models of collaboration in the digital environment. A conceptual framework is presented, followed by discussions of scarcity and abundance, archival frameworks, models of collaboration, and a review of selected DH projects. Despite the semantic disagreements over the termarchives, researchers and curators should consider each other's perspectives for continued collaboration. [ABSTRACT FROM PUBLISHER]

The article presents a literary criticism of the book "The Limits of Critique" by Rita Felski. Topics discussed include the use of phrase "hermeneutics of suspicion" by philosopher Paul Ricouer in the book; the efforts of Felski to find alternatives to traditional humanistic critique; and the use of critical theory and critical making in the book.

An introduction is presented in which the guest editor talks about the topics discussed in the issue including the relationship between digital humanities and cultural geography, relationship between geohumanities and digital humanities, and advances in the role of computing.

The author talks the need to discuss the method of digital humanities, which deals with mental preparation, awareness of possibilities. He presents views of British sculptor Lisa Le Feuvre on failure and cultural norms of success. Works of Dutch sculptor Theo Jansen are discussed, where he used PVC tubing to create life-like beach animals.

This article explores the work of Thomas Pynchon, especially "Against the Day" and his use of ideas and allusions from science, technology, and mathematics to challenge humanistic values in much of his earlier work. This argument makes use of an early essay by C. P. Snow published in "The Kenyon Review," which also published Pynchon's early short story, "Entropy." I argue that this story was a direct answer to Snow's charge that no one in the humanities knew the Second Law of Thermodynamics (in which entropy is an essential concept). The essay also looks at recent debates in the digital humanities, which, of course, challenge our ideals of "close reading" with machine reading and algorithmic analysis. Pynchon's work, I argue, has long examined the tension between scientific and humanistic values, and thus his work can be a guide to navigating some of the debates in the digital humanities that we face today. [ABSTRACT FROM AUTHOR]

It is hard to ignore the changes that have occurred to history-making in the digital age. Historians in the academy have observed, critiqued and, in some instances, engaged in the different forms of contemporary history that are related to the integration of the internet and related technologies into everyday lives. While digital history takes many forms, this paper examines Wikipedia as a mode of historical expression in the context of a project on the history of the Australian Paralympic Movement. Wikipedia’s key core content policies of verification, no original research, and neutral point of view (NPOV) as well as the collaborative premise that underpins the online encyclopaedia are the focal points of analysis. This analysis demonstrates that Wikipedia challenges historians who have traditionally produced the professionally approved artefacts of monographs and journal articles. In essence, Wikipedia requires historians to produce knowledge as part of a collaborative community of practice and, in the process, abandon popular theories of truth that underpin empirical-analytical history. Even given these challenges, the history of the Australian Paralympic Movement shows that Wikipedia can be important to history-making in the digital age in at least two ways. Wikipedia provides a mode of historical expression that is complementary to the narratives of traditional books, and the online encyclopaedia generates a community which has produced articles that have enhanced knowledge about the history of disability sport. [ABSTRACT FROM PUBLISHER]

In this paper we introduce the syntagm "pragmatic modelling" as a productive way of contextualising research in Digital Humanities (DH). We define "pragmatic modelling" as a middle-out approach (neither top down nor bottom up) that combines formal and experimental modelling techniques with an effective use of language. Furthermore, in order to elucidate a "pragmatic understanding" of model building, we reflect on texts (considered here as objects) and modelling (or strategy of analysis) in DH research (and teaching). This paper does not identify a new practice or approach; rather it offers an explanatory framework for existing practices. As the paper explains, this framework goes beyond existing ones and allows us to think about modelling in a more integral way. Drawing on this framework, we reveal how DH modelling practices challenge epistemological and linguistic restrictions, by, for example, problematising the adoption of terminology belonging to the domain of computer sciences. Reflections on metaphorical reasoning are used to exemplify how polarities and some rigidities DH research could find itself embedded in are overcome in practice. We conclude by advocating the importance of a diachronic and historical analysis of the role of metaphors in DH to further explore the relation between theory and practice as well as to develop models of modelling integral to DH research. [ABSTRACT FROM AUTHOR]

This paper is practice focus, advocating the imminent need to develop inclusive humanities of the digital for schools. It will trace the development of our SSHRC-funded SAGITTARIUS Literature Digitizing Project in the past seven years, especially the section on digitizing the works of George Bernard Shaw for schools in Canada. The project evolved through the digital humanities stage. Developed in collaboration with our industrial partner, the Ontario Research and Innovation Optical Network (ORION), our scholarly partner the International Shaw Society and the Shaw Festival, and other strategic partners in teaching and learning, first, it went through the theoretical framework of big data as we digitized and amassed a huge amount of data. Next, making use of the strategies of e-publishing and e-learning, we prepared the data for schools in Canada in packages according to the play texts complete with textual and contextual materials. We discovered that an “inclusive humanities of the digital” is needed. Our pilot studies in school classrooms with tablet computers proved that we have to design curricular materials with the students and teachers in mind. Instead of focusing on texts, digitized curricular materials have to address the cultural contexts of the diverse students in the classrooms. [ABSTRACT FROM AUTHOR]

The article discusses the Design Research Society's (DRS) Seventh Biennial International Conference, titled DRS2014: Design's Big Debates, which was held in Umeå, Sweden, from June 16th through June 19, 2014. Particular focus is given to how academic paper peer reviews and presentations are at the core of DRS conferences. Various speakers at the event are also profiled including Marco Steinberg, Anne Burdick and Lin Lin Chen.

Copyright of History in Africa: A Journal of Method is the property of Cambridge University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Comparative Literature / Primerjalna Književnost is the property of Slovenian Comparative Literature Association and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article presents an overview of digital humanities (DH) pedagogy. It discusses the benefits cited for incorporating instruction in DH tools and practices which tend to fall into the institution as a means to save humanities, ensure funding, and to give value to digital scholarship. The second benefit falls to students as a mean of strengthening their employment prospects. It mentions that the methodology proves equally effective in building digital projects not necessarily text-based.

The article offers information on various arguments and debates about digital humanities as an institutional entity. Topics discussed include accounts of the history of the digital humanities as a field in relation to humanities computing and new media studies, the examination of the coding and cultural criticisms in the digital humanities, and the economic and political issues associated with the digital humanities as an institutional entity, administrative idea, and discursive formulation.

The article discusses the Students Tackling Advanced Research (STAR) Scholars Program at Drexel University in Pennsylvania. It provides an overview of the structure, learning outcomes, and goals of the program which provides college freshmen digital media knowledge and skills to support their interdisciplinary research collaborations. It also mentions the case study of Red Bank Battlefield Park which used digital models, animations, and video recordings in the digital cultural heritage work.

In this paper, we present our preliminary reflections on whether minimal computing as a practice can extend beyond computing done under some technological constraints to served as a common ground between different digital humanities research dynamics in the Global North and South. We explore this question by commenting on our experience in developing and teaching an undergraduate course to students enrolled from both the University of Maryland, College Park in the United States and Universidad del Salvador in Buenos Aires, Argentina. The class was delivered for its first iteration in September–November 2020 and introduced students to digital publishing and textual scholarship of bilingual Spanish and English texts, presenting minimal computing as a shared set of values including: use of open technologies, ownership of data and code, and reduction in computing infrastructure. In this paper, we present our preliminary reflections on whether minimal computing as a practice can extend beyond computing done under some technological constraints to serving as a common ground between different digital humanities research dynamics in the Global North and South. [ABSTRACT FROM AUTHOR]

The article presents abstracts on telemedicine which include improvement in physician productivity by telemedicine, accessibility of mental health services in rural areas and the role of Internet in prenatal healthcare.

This article discusses the use of design by an author in process of writing. "Designed Authorship," has become a popular label in the past decade. Authorship lends legitimacy, origination, and agency to the design profession, addressing the designer's potential to produce meaning as well as communicate it. Famous author Anne Burdick guest edited a series of essays for "Emigre," magazine in the mid 90s exploring what happens when the worlds of writing and design coincide, overlap and collide. After these practices two distinct definition of "Designer-as-Author," emerged. The first describes designers writing about design to provide analysis and provoke dialogue within the profession whereas the second describes designers producing meaning as part of their practice-inscribing their interpretation onto the content. The author states that for being a design practitioner he can create several nametags for himself using such labels. He also added that when he was writing this article he was an author in a more traditional sense, writing to instigate dialogue about design practice.