| 1. |
- Bechmann Pedersen, Sune, et al.
(författare)
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Historical GIS and Guidebooks : A Scalable Reading of Czechoslovak Tourist Attractions
- 2023
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Ingår i: Digital Humanities Quarterly. - 1938-4122. ; 17:2
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Tidskriftsartikel (refereegranskat)abstract
- This article demonstrates the value of “scalable reading” of historical travel guides, combining traditional close reading with computer-assisted distant reading. Aiming to scrutinize the persistence of older tourist attractions under communism, we analyse guidebooks intended for similar audiences but produced under different political regimes. More specifically, we compare three travel guides to the same geographical area produced between 1905 and 1959: one to communist cold war Czechoslovakia, one to democratic interwar Czechoslovakia, and one to the Habsburg-era Czech lands and Slovakia. We analyse the geographic distribution of attractions by geolocating the guidebook toponyms and visualizing them with Geographic Information Systems (GIS). This distant reading is complemented with a hermeneutic analysis grounded in a close reading of the guidebook text. The combination of these approaches documents the similarities in the symbolic representation of the country’s attractions across political caesuras and provides a methodological template for future explorations of travel guides with historical GIS.
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| 2. |
- Bizzoni, Yuri, 1989, et al.
(författare)
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Diachronic Trends in Homeric Translations
- 2017
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Ingår i: Digital Humanities Quarterly. - 1938-4122. ; 11:2
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Tidskriftsartikel (refereegranskat)abstract
- Our program compares French and Italian translations of Homer’s Odyssey, from the XVIth to the XXth century. Open data algorithms are still either too dependent on language specifications and databases or unreliable. We hope to overcome these aporias. The Greek text is first cut on anchor points (proper nouns), and so is its corresponding translation ; the corpus is then aligned with our algorithm and divided in fixed chunks. Each Greek chunk is given a fixed ID, allowing us to give its translations the corresponding IDs. Each translation is therefore aligned one to another according to their identification. The alignment of the source to the target is done in three steps (preprocessing, alignment and postprocessing). To align textual chunks we use three main systems: 1, an automatically generated bilingual dictionary of GreekFrench proper nouns ; 2, length and frequency measures ; 3, a dictionary of distributionally related terms .
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| 3. |
- Buckland, Philip I., Dr. 1973-, et al.
(författare)
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To tree, or not to tree? On the Empirical Basis for Having Past Landscapes to Experience
- 2018
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Ingår i: Digital Humanities Quarterly. - : The Alliance of Digital Humanities Organizations (ADHO). - 1938-4122. ; 12:3
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- This article provides an overview of some of the complex issues involved in reconstructing and visualizing past landscapes. It discusses the importance of empirical data and introduces some of the terminology necessary for understanding methods which are often considered more in the domain of the natural sciences than humanities. Current methods and practices are put in the context of environmental archaeology, archaeological theory and heritage management as well as related, briefly, to the broader context of archaeological theory, practice and research data infrastructure. Finally, some examples and pointers for the future are given in the hope that the article may provide a point of reference for those looking to gain an entry point into the study of past landscapes, and understand their relevance in archaeological visualisation.
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| 4. |
- Drucker, Johanna, et al.
(författare)
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The Why and How of Middleware
- 2016
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Ingår i: Digital Humanities Quarterly. - : Alliance Digital Humanities Organizations. - 1938-4122. ; 10:2
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Tidskriftsartikel (refereegranskat)abstract
- The presentation, publication and research platforms used for scholarly work in the Digital Humanities embody argument structures that are not always explicitly acknowledged. This article examines these platforms, and their protocols, as "middleware" that includes such purpose-designed projects as Omeka, and Scalar, and general purpose ones such as Drupal and PowerPoint, to ask how they embody rhetorical assumptions at every level of production (from back-end assumptions about what constitutes the smallest unit of discourse, to the front-end modes of presentation and organization of display). It extends the concept of middleware to include physical and social presentation spaces, activities (such as witnessing), to ask how these, also, perform the rhetorical activity of enunciation, positionality, and other discursive modalities.
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| 5. |
- Engberg, Maria, et al.
(författare)
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Digital Literature and the Modernist Problem
- 2011
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Ingår i: Digital Humanities Quarterly. - : Alliance of Digital Humanities Organizations (ADHO). - 1938-4122. ; 5:3
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Tidskriftsartikel (refereegranskat)
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| 6. |
- Foka, Anna, 1981-, et al.
(författare)
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Experiential Analogies : A Sonic Digital Ekphrasis as a Digital Humanities Project
- 2016
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Ingår i: Digital Humanities Quarterly. - Boston : Alliance Digital Humanities Organizations. - 1938-4122. ; 10:2
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Tidskriftsartikel (refereegranskat)abstract
- Humanistic uses of digital technologies have opened up new ways to think about, communicate, and discuss historical research. The common use of digital tools to visually represent ancient cultures and sites, however, has also introduced new issues. For example, critics have argued that digital visualisations, largely synonymous with reconstruction in 3D models, often attempt to represent a photorealistic-artificial vision of the past, and may often prove to be a way to communicate history to a large(r) audience [Forte and Siliotti 1997]. Against this backdrop, this article will discuss precisely how technology may help immerse researchers into historically situated life, and radically advance historical research. Adding to related criticisms of ocularcentric traditions of knowledge production, we contribute to this stream of research by arguing that contemporary visual representations of the past often concentrate on visual representations and seemingly maintain antiquity as a sanitised historio-cultural ideal [Westin 2012] [Tziovas 2014]. More specifically, this article seeks to demonstrate the potential of digital humanities to move beyond mere representations on screen and to mobilize other senses (specifically sound) as a historically situated component for research. For this purpose, we focus on the abstract principles and overall methodology for a recreation of the experience of sounds in the Roman amphitheatre.
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| 7. |
- Foka, Anna, 1981-, et al.
(författare)
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Introduction to the DHQ Special Issue : Digital Technology in the Study of the Past
- 2018
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Ingår i: Digital Humanities Quarterly. - Boston : Alliance for Digital Humanities Organisations. - 1938-4122. ; 12:3
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Tidskriftsartikel (refereegranskat)abstract
- Digital technology is transforming the assemblage and dissemination of historical information. Museums, libraries, archives, and universities increasingly modify their digital research infrastructures in order to make data open and available (see [Crane, Seales, and Terras 2009]; [Smithies 2014]; [Terras, Nyhan, and Vanhoutte 2013]; cf [Foka et al. 2017]). The imminent assessment and representation of historical data has admittedly challenged the boundaries of historical knowledge and generated new research questions [Drucker 2013] [Nygren, Foka, and Buckland 2014] #nygren2016 [Westin 2014] #westin2015[Chapman, Foka, and Westin 2016] [Foka and Arvidsson 2016]. The process of reconstructing, visualizing and rendering historical data has equally developed together with technology [Westin, Foka, and Chapman 2018]. This is the case in both academic and heritage contexts and in less immediately obvious popular uses, such as the increasingly significant presence and use of history within video games [Chapman 2016]. Regardless of specific context, as this collection of articles shows, the process of digitally capturing and representing historical data is often analogous to and determined by the digital platform used.
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| 8. |
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| 9. |
- Foka, Anna, et al.
(författare)
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Introduction to the DHQ Special Issue: Digital Technology in the Study of the Past
- 2018
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Ingår i: Digital Humanities Quarterly. - 1938-4122. ; 12:3
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Tidskriftsartikel (refereegranskat)abstract
- Digital technology is transforming the assemblage and dissemination of historical information. Museums, libraries, archives, and universities increasingly modify their digital research infrastructures in order to make data open and available. The imminent assessment and representation of historical data has admittedly challenged the boundaries of historical knowledge and generated new research questions. The process of reconstructing, visualizing and rendering historical data has equally developed together with technology. This is the case in both academic and heritage contexts and in less immediatedly obvious popular uses, such as the increasingly significant presence and use of history within videogames. Regardless of specific context, as this collection of articles shows, the process of digitally capturing and representing historical data is often analogous to and determined by the digital platform used.
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| 10. |
- Frangos, Mike
(författare)
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The End of Literature : Machine Reading and Amitav Ghosh’s The Calcutta Chromosome
- 2013
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Ingår i: Digital Humanities Quarterly. - : Northeastern University. - 1938-4122. ; 7:1
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Tidskriftsartikel (refereegranskat)abstract
- Digital humanities discussions of distant reading, machine reading or not-reading have often turned on a depiction of the field of literary production in which individual texts and authors recede in importance as units of analysis. At the same time, the question of what is specific to the literary in discussions of electronic textuality, or the digital literary, has been under-analyzed. This article contributes to theorizing the digital literary by way of an analysis (or close reading) of the role of machine reading in a postcolonial science fiction novel by Amitav Ghosh, The Calcutta Chromosome. This novel participates in the imagination of electronic textuality and digital forensics at a moment when the imagined possibilities of the digital archive were of intense interest to both cultural critics and literary writers. The figure of the writer of vernacular literature in the novel, I argue, brings together the text's interest in both electronic textuality and the subaltern archive, thus establishing the stakes of the digital precisely on a revamped role for the literary in the context of globalization. As such, Ghosh's novel provides a useful opportunity for re-considering proposals for distant reading in relation to world literary studies and postcolonial criticism.
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| 11. |
- Griffin, Gabriele, Prof, 1957-, et al.
(författare)
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Collaboration in Digital Humanities Research - Persisting Silences
- 2018
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Ingår i: Digital Humanities Quarterly. - 1938-4122. ; 12:1
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Tidskriftsartikel (refereegranskat)abstract
- Collaboration has become a hallmark of Digital Humanities (DH) research. Nonetheless it remains under-discussed and for those not deeply engaged in DH a bit of a mystery. Drawing on recent DH work and publications that engage with questions of DH collaboration in different ways (e.g. [Deegan and McCarthy] [Griffin and Hayler 2016] [Hayler and Griffin 2016]), we analyse three types of DH collaboration: 1) human-human interactions; 2) human-machine/material interactions; and 3) machine/material-machine/material interactions. We argue that engagement with collaboration processes and practices enables us to think through how DH tools and practices reinforce, resist, shape, and encode material realities which both pre-exist, and are co-produced by them. We suggest that understanding these entanglements facilitates a critical DH in which academic hierarchies and disciplinary preconceptions are challenged.
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| 12. |
- Lindhé, Cecilia, 1973-
(författare)
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"A visual sense is born in the fingertips" : towards a digital ekphrasis
- 2013
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Ingår i: Digital Humanities Quarterly. - : The Alliance of Digital Humanities Organizations. - 1938-4122. ; 7:1
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Tidskriftsartikel (refereegranskat)abstract
- In this article, the significance of the rhetorical and modern definitions of ekphrasis will be discussed through the lens of digital literature and art. It attempts to reinscribe the body in ekphrastic practice by adding touch to the abstracted visualism of the eye, and emphasize defining features of the ancient usage: orality, immediacy and tactility. What I call the digital ekphrasis with its emphasis on enargeia, its strong connections with the ancient definition, and on the bodily interaction with the work of art, conveys an aesthetic of tactility; digitalis=finger. By tracing and elucidating a historical trajectory that takes the concept of ekphrasis in the ancient culture as a starting point, the intention is not to reject the theories of the late 1900s, but through a reinterpretation of ekphrasis put forward an example of how digital perspectives on classic concepts could challenge or revise more or less taken-for-granted assumptions in the humanities. In this context 'the digital' is not only a phenomenon that could be tied to certain digital objects or used as a digital tool, but as an approach to history, with strong critical potential. The aim is to show that one of the most important features of our digital culture is that it offers new perspectives – not only on current technology – but also on literary, cultural and aesthetic historical practices.
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| 13. |
- Sciuto, Claudia, 1986-
(författare)
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Recording invisible proofs to compose stone narratives : Applications of Near Infrared Spectroscopy in provenance studies
- 2018
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Ingår i: Digital Humanities Quarterly. - : The Alliance of Digital Humanities Organizations. - 1938-4122. ; 12:3
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Tidskriftsartikel (refereegranskat)abstract
- The history of human-environment interaction is embedded in stone. Stones are essential components of daily life and their various usage characterize certain areas or chronological periods. The form of a stone object is the result of a long chain of interactions with distinct bodies but the intangible life story of any artefact is partially registered in its original material properties and gradual physical alteration. Digital systems can be adopted for collecting these invisible records and tracing a stone's history. Chemical imaging and portable spectroscopy are quick and non-destructive remote sensing techniques that can be used to gather empirical data and track production and use of stone artefacts over time. This article reviews the application of Near Infrared Spectroscopy as a method for geochemical characterization of objects and as a tool for provenance studies within the Mobima project, carried out by an interdiscipli nary team of archaeologists and chemists at University of Umea, Sweden. Near Infrared Spectroscopy can be used for acquiring and processing spectral information directly in the field, modelling datasets of big assemblages and classifying objects. Making stones' biographies visible will help understanding the entanglement of past societies and their geological landscapes.
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| 14. |
- Slaney, Helen, et al.
(författare)
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Ghosts in the Machine : a motion-capture experiment in distributed reception
- 2018
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Ingår i: Digital Humanities Quarterly. - Boston : Alliance of digital humanities organisations. - 1938-4122. ; 12:3
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Tidskriftsartikel (refereegranskat)abstract
- Digital reconstructions of classical antiquity are generally ocularcentric, appealing only to the sense of vision. We propose that new technologies may be used to engage the other senses in the act of reception, and specifically here we focus on kinaesthesia, or the sense of self-movement. This paper analyses a phase of the project Ancient Dance in Modern Dancers in which participants created performance pieces in a genre of Graeco-Roman dance for use in a motion-capture system. It was necessary for the performers to develop a range of translational strategies in order to communicate their movement to the system, entailing what we term “distributed reception”, in which the ultimate recipient of ancient source-material is not a human actor but rather the machine with which s/he is in collaboration.
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| 15. |
- Snickars, Pelle, 1971-, et al.
(författare)
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SpotiBot : Turing Testing Spotify
- 2018
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Ingår i: Digital Humanities Quarterly. - Boston : Alliance Digital Humanities Organizations, Northeastern University. - 1938-4122. ; 12:1
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Tidskriftsartikel (refereegranskat)abstract
- Even if digitized and born-digital audiovisual material today amounts to a steadily increasing body of data to work with and research, such media modalities are still relatively poorly represented in the field of DH. Streaming media is a case in point, and the purpose of this article is to provide some findings from an ongoing audio (and music) research project, that deals with experiments, interventions and the reverse engineering of Spotify’s algorithms, aggregation procedures, and valuation strategies. One such research experiment, the SpotiBot intervention, was set up at Humlab, Umeå University. Via multiple bots running in parallel our idea was to examine if it is possible to provoke — or even undermine — the Spotify business model (based on the so called “30 second royalty rule”). Essentially, the experiment resembled a Turing test, where we asked ourselves what happens when — not if — streaming bots approximate human listener behavior in such a way that it becomes impossible to distinguish between a human and a machine. Implemented in the Python programming language, and using a web UI testing frameworks, our so called SpotiBot engine automated the Spotify web client by simulating user interaction within the web interface. The SpotiBot engine was instructed to play a single track repeatedly (both self-produced music and Abba’s “Dancing Queen”), during less and more than 30 seconds, and with a fixed repetition scheme running from 100 to n times (simultaneously with different Spotify Free ‘bot accounts’). Our bots also logged all results. In short, our bots demonstrated the ability (at least sometimes) to continuously play tracks, indicating that the Spotify business model can be tampered with. Using a single virtual machine — hidden behind only one proxy IP — the results of the intervention hence stipulate that it is possible to automatically play tracks for thousands of repetitions that exceeds the royalty rule.
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| 16. |
- Svensson, Patrik, 1970-
(författare)
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Envisioning the Digital Humanities
- 2012
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Ingår i: Digital Humanities Quarterly. - : The Alliance of Digital Humanities Organizations, ADHO. - 1938-4122. ; 6:1
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Over the last couple of years, it has become increasingly clear that the digital humanities is associated with a visionary and forward-looking sentiment, and that the field has come to constitute a site for far-reaching discussions about the future of the field itself as well as the humanities at large. Based on a rich set of materials closely associated with the formation of the digital humanities, this article explores the visions and expectations associated with the digital humanities and how the digital humanities often becomes a laboratory and means for thinking about the state and future of the humanities. It is argued that this forward-looking sentiment comes both from inside and outside the field, and is arguably an important reason for the attraction and importance of the field. Furthermore, the author outlines a visionary scope for the digital humanities and offers a personal visionary statement as the endpoint to the article series.
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| 17. |
- Svensson, Patrik
(författare)
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From Optical Fiber to Conceptual Cyberinfrastructure
- 2011
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Ingår i: Digital Humanities Quarterly. - : The Alliance of Digital Humanities Organizations. - 1938-4122. ; 5:1
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Tidskriftsartikel (refereegranskat)abstract
- There is currently an infrastructure turn with very real implications for the humanities and digital humanities. It comes not only with presumed technology or infrastructure, but also with certain assumptions, discursive patterns, and models. This paper analyzes these critically and advocates a humanities-based notion of cyberinfrastructure, not necessarily built on a science-and-engineering paradigm or exclusively grounded in existing humanities infrastructure. It is argued that we need to maintain a critical stance while simultaneously engaging in the exploration of research issues and technologies. There is often a gap between the material details of infrastructure and underlying, foundational ideas, and it is suggested that a model based on conceptual cyberinfrastructure and design parameters can be one way of connecting the ideational level with actual implementation. HUMlab at Umeå University serves as a case study.
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| 18. |
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| 19. |
- Svensson, Patrik, 1970-
(författare)
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Humanities Computing as Digital Humanities
- 2009
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Ingår i: Digital Humanities Quarterly. - 1938-4122. ; 3:3
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Tidskriftsartikel (refereegranskat)abstract
- This article presents an examination of how digital humanities is currently conceived and described, and examines the discursive shift from humanities computing to digital humanities. It is argued that this renaming of humanities computing as digital humanities carries with it a set of epistemic commitments that are not necessarily compatible with a broad and inclusive notion of the digital humanities. In particular, the author suggests that tensions arise from the instrumental, textual and methodological focus of humanities computing as well as its relative lack of engagement with the "digital" as a study object. This article is the first in a series of four articles attempting to describe and analyze the field of digital humanities and digital humanities as a transformative practice.
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| 20. |
- Svensson, Patrik, 1970-
(författare)
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The Landscape of Digital Humanities
- 2010
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Ingår i: Digital Humanities Quarterly. - 1938-4122. ; 4:1
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Tidskriftsartikel (refereegranskat)abstract
- The digital humanities is increasingly becoming a "buzzword", and there is more and more talk about a broadly conceived, inclusive digital humanities. The field is expanding and at the same time being negotiated, and this article explores the idea of a broadly conceived landscape of digital humanities in some depth. It is argued that awareness across this landscape is important to the future of the field. The study starts out from typologies of digital humanities, a "flythrough" of the landscape, and a discussion of what being a digital humanist entails. The second part is an exploration of four concrete encounters: ACTLab at University of Texas at Austin, the Humanities Arts Science Technology Advanced Collaboratory (HASTAC), the Humanities Computing Program at the University of Alberta, and Internet Studies. In the third part of the article, it is suggested that a model based on paradigmatic modes of engagement between the humanities and information technology can help chart and understand the digital humanities. The modes of engagement analyzed are technology as a tool, study object, expressive medium, exploratory laboratory and activist venue.
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