rachaelsullivan + dh   61

DHQ: Digital Humanities Quarterly: Generous Interfaces for Digital Cultural Collections
Generous interfaces provide rich, navigable representations of large digital collections; they invite exploration and support browsing, using overviews to establish context and maintain orientation while revealing detail at multiple scales. Generous interfaces use multiple, fragmentary representations to reveal the complexity and diversity of cultural collections, and to privilege the process of interpretation. While they draw on techniques and models established in information retrieval and visualisation, generous interfaces emphasise process, pleasure and thoughtful engagement rather than the functional satisfaction of an information need.
hci  interface  dh  browsers  archive  webdesign 
may 2015 by rachaelsullivan
Digital humanities won't save the humanities, digital humanists say @insidehighered
Instead, Bousquet said, students are opting to study journalism, mass communication and rhetoric and composition to learn how to use digital tools. “What students are choosing is production-based studies -- production meaning what we used to call composing across a broad range of media,” he said.
dh  from delicious
may 2014 by rachaelsullivan
On Building (Stephen Ramsay)
People who mark up texts say it, as do those who build software, hack social networks, create visualizations, and pursue the dozens of other forms of haptic engagement that bring dh-ers to the same table. Building is, for us, a new kind of hermeneutic — one that is quite a bit more radical than taking the traditional methods of humanistic inquiry and applying them to digital objects. Media studies, game studies, critical code studies, and various other disciplines have brought wonderful new things to humanistic study, but I will say (at my peril) that none of these represent as radical a shift as the move from reading to making. He can talk all he wants about being a bricoleur, but we can see the grease under his fingernails. That is true of every “big name” I can think of in dh. Every single one.
criticalcode  craft  proceduracy  programming  dh  code-debate  making  from delicious
september 2013 by rachaelsullivan
Literature Is Not Data: Against Digital Humanities - 10/2012
Meaning is mushy. Meaning falls apart. Meaning is often ugly, stewed out of weakness and failure. It is as human as the body, full of crevices and prey to diseases. It requires courage and a certain comfort with impurity to live with. Retreat from the smoothness of technology is not an available option, even if it were desirable. The disbanding of the papers has already occurred, a splendid fluttering of the world’s texts to the winds. We will have to gather them all together somehow. But the possibility of a complete, instantly accessible, professionally verified and explicated, free global library is more than just a dream. Through the perfection of our smooth machines, we will soon be able to read anything, anywhere, at any time. Insight remains handmade.
information  textmining  borges  dh  lit2.0  data  literature  printculture  algorithm  from delicious
april 2013 by rachaelsullivan
Hello Worlds - Why humanities students should learn to program
To the uninitiated, a computer program is inscrutable, illegible. The irony, in fact, is that Pascal or Java or C++ are also illegible to the machine. These languages are precisely meant to be human readable. In order to be readable by a computer, they first have to be translated ("compiled") into an even more abstract expression known as machine code. The formalism and constraint inherent in these so-called high-level languages are there to ensure that they can be compiled and expressed accurately as machine code. Donald Knuth, perhaps our most famous living computer scientist, famously embraced the idea of "legible code" out of the conviction that the most important audience for any computer program is a human being (because the code will be continuously worked over and shared by numerous different programmers over the course of its existence).
programming  kirschenbaum  compsci  webmaking  dh 
february 2013 by rachaelsullivan
Literary Studies in the Digital Age | MLA Commons
anthology with the intention of providing a primer to core tools and techniques for computational approaches to literary studies
dh  humanities  lit2.0  textmining  data 
january 2013 by rachaelsullivan
Documenting the Reinvention of Text: The Importance of Failure
The greatest mistake we could make, at this point, would be to suppress, deny, or discard our errors and our failed experiments: We need to document them with obsessive care, detail, and rigor. Our successes, should we have any, will perpetuate themselves, and though we may be concerned to be credited for them, we needn't worry about their survival: They will perpetuate themselves. Our failures are likely to be far more difficult to recover in the future, and far more valuable for future scholarship and research, than those successes.
scholarship  recording  unsworth  failure  dh 
december 2012 by rachaelsullivan
Digital Writing Uprising: Third-order Thinking in the Digital Humanities | Collaboration | HYBRID PEDAGOGY
Yet again, doesn’t this perceived notion of “usefulness” introduce a dramatic cultural bias against new forms of writing which are novel or experimental (a la J. Joyce’s Ulysses), perhaps perceived as without a “use” at first? For that matter, who can identify the “use” of Ulysses? Perhaps there is none.
joyce  goldsmith  digitalculture  writing  digitaltext  hybridity  dh  composition  writingprocess  experimental 
december 2012 by rachaelsullivan
Notes towards a Deformed Humanities
The Deformed Humanities is all around us. I’m only giving it a name. Mashups, remixes, fan fiction, they are all made by breaking things, with little regard for preserving the original whole.
mcgann  dh 
november 2012 by rachaelsullivan
About us | Raspberry Pi
The idea behind a tiny and cheap computer for kids came in 2006, when Eben Upton and his colleagues at the University of Cambridge’s Computer Laboratory, including Rob Mullins, Jack Lang and Alan Mycroft, became concerned about the year-on-year decline in the numbers and skills levels of the A Level students applying to read Computer Science in each academic year. From a situation in the 1990s where most of the kids applying were coming to interview as experienced hobbyist programmers, the landscape in the 2000s was very different; a typical applicant might only have done a little web design.

Something had changed the way kids were interacting with computers. A number of problems were identified: the colonisation of the ICT curriculum with lessons on using Word and Excel, or writing webpages; the end of the dot-com boom; and the rise of the home PC and games console to replace the Amigas, BBC Micros, Spectrum ZX and Commodore 64 machines...
generativemedia  sterilemedia  youth  programming  opensource  dh 
april 2012 by rachaelsullivan
Why digital humanities isn’t actually “the next thing in literary studies.” | The Stone and the Shell
and http://ryan.cordells.us/blog/2012/02/20/dh-interdisciplinarity-and-curricular-incursion/ -- As Ted Underwood recently argued (against Stanley Fish’s New York Times provocations), “digital humanities is not a discipline or a coherent project. It’s a rubric under which a bunch of different projects have gathered—from new media studies to text mining to the open-access movement.” For Underwood, “what’s actually interesting and new about this moment” are its “new opportunities for collaboration both across disciplines and across the boundary between the conceptual work of academia and the infrastructure that supports and tacitly shapes it.”
discipline  opensource  dh 
march 2012 by rachaelsullivan
Who’s In and Who’s Out : Stephen Ramsay
personally, I think Digital Humanities is about building things. I’m willing to entertain highly expansive definitions of what it means to build something. I also think the discipline includes and should include people who theorize about building, people who design so that others might build, and those who supervise building (the coding question is, for me, a canard, insofar as many people build without knowing how to program). I’d even include people who are working to rebuild systems like our present, irretrievably broken system of scholarly publishing. But if you are not making anything, you are not — in my less-than-three-minute opinion — a digital humanist.
february 2011 by rachaelsullivan
Humanities, not science, key to new web frontier
The next "killer app" is probably sitting right now on the computer screen of a student in the humanities and social sciences.
september 2010 by rachaelsullivan
When Was Linearity?: The Meaning of Graphics in the Digital Age
This essay poses the puzzle: what is the relation of linear (written) to graphical (digital) knowledge today? Which is truer? Or, which is freer?
liu  visual  dh 
january 2010 by rachaelsullivan
How We Think: The Transforming Power of Digital Technologies
The emerging field of the Digital Humanities challenges many of the assumptions and practices of the Traditional Humanities. For those who are developing digital tools, resources, archives, and text and data mining algorithms, digital practices and theory mutually inform and modify each other. This talk will explore the implications of these changes and synthesize the results of nearly twenty interviews with scholars prominent in the Digital Humanities (including our own Jay Bolter).
hayles  video  dh 
january 2010 by rachaelsullivan
Electronic Textual Editing: Critical Editing in a Digital Horizon
The critical editor's working premise is that textual transmission involves a series of ‘translations’. Works get passed on by being reproduced in fresh documentary forms. This process of reproduction necessarily involves textual changes of various kinds. Some of these changes are made deliberately, many others not. A classical model of critical editing, therefore, has involved the effort to distinguish the corruptions that have entered the body of the work as a result of its transmission history. That model often postulates a single authoritative ‘original’ state of the work. The scholar's analytic procedures are bent upon an effort to recover the text of that presumably pristine original. [...] In respect to the idea of ‘textual authority’, more authorities sit at the textual table than the author, and even the author is a figure of many minds. [...] Text provides an interpreter with a sort of prosthetical device to perform autopoietic operations of sense communication and exchange.
textualstudies  research  authorship  digitaltext  mcgann  dh 
january 2010 by rachaelsullivan
How Not To Read A Million Books
Whereas text-mining is usually about prediction, accuracy, and ground truth, in literary study, I think it is more about surprise, suggestion, and negative capability. "The virtue of automated analysis is not ready delivery of objective truth, but instead the more profound virtue of bringing us up short, of disturbing us in our preconceptions and our basic assumptions so that we can exist, if only for a moment, in uncertainties, mysteries, and doubts. Should we learn to forestall interpretation, we may come to revise our prejudices, theories, and fore-projections in terms of what emerges." ...The value of these tools, especially with a large full-text collection, is that they can bring to your attention works that otherwise might be overlooked, they can expose patterns that are so fine-grained that they would otherwise escape notice, and they can allow you to not-read a milllion books on your way to reading a period, or reading a genre, or even reading a book.
books  textualstudies  reading  research  dh 
january 2010 by rachaelsullivan
Emily Dickinson’s Correspondences: A Born-Digital Inquiry
Unpublished in book form during her lifetime, the poems of Emily Dickinson were nonetheless shared with those she trusted most—through her letters. This XML-based archive brings together seventy-four poems and letters from Emily’s correspondence with her sister-in-law and primary confidante, Susan Dickinson. Each text is presented with a digitized scan of the holograph manuscript. These images have zoom functionality as well as a special light-box feature that allows users to view and compare constellations of related documents. Users may search by date, genre, manuscript features, and full text. Dating from the 1850s to the end of Dickinson’s life, the work collected here shows all the characteristics of the poet’s mature art.
dickinson  textualstudies  dh  poetry 
january 2010 by rachaelsullivan
Woolf Online
Welcome to the Genetic Edition of 'Time Passes'.
holograph  remediation  textuality  woolf  dh  e-lit 
september 2009 by rachaelsullivan
NINES: aggregating 403,515 peer-reviewed digital objects from 55 federated sites.
humanities  literature  research  victorian  dh 
april 2009 by rachaelsullivan
New Criteria for New Media
An argument for redefining promotion and tenure criteria for faculty in new media departments of today's universities.
academia  newmedia  tenure  dh 
april 2009 by rachaelsullivan
The Age of Digital Citation
How does the scholar find an alternative telling? Where lies innovation?

The answer to this question is probably the same as it has always been in academia: one does something innovative by mastering the canon and looking outside of it. In the age of digital citation, the canon is easier to find than ever.
citation  information  reference  research  canon  dh 
april 2009 by rachaelsullivan

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