From the ad:
Barnard Library invites applications for an innovative and creative librarian or technologist to develop instructional programs and research consultation services that support the scholarship of faculty, researchers, and students at Barnard College. Reporting to the Director of Teaching, Learning and Digital Scholarship for the Library, the Digital Scholarship Librarian of the Digital Humanities Center will partner with the Faculty Director of the Digital Humanities Center and colleagues from the Milstein Centers for Teaching Learning to create dynamic programming that introduces and invites scholars to utilize emerging methods in the humanities, in both course curricula and independent research.
The Digital Scholarship Librarian will assist in creating a student-focused learning program for digital scholarship across the curriculum. They will be prepared to expand and publicize support for faculty and students who are planning to begin using or increase their use of digital tools and methods (e.g., web mapping, text analysis, digital exhibits, visualization, collective data gathering.)
From the resource:
I am working on reviews for two DH platforms—the international DH2020 conference, and the new Reviews in DH journal. Below, I’m sharing my notes on how to work through writing a review—questions to ask myself, things I want to make sure to include, reminders on how to pay attention to personal bias. These aren’t intended to be guidelines for other folks, so I’ve left out things that I know I will do without having it written down. These personal reminders are followed by some guidelines from the two platforms that I wanted to keep directly visible while reviewing. If you have similar questions, reminders, or notes you use when reviewing that you’d be willing to share, please let me know!
From the CFP:
The Canadian Society for Digital Humanities (http://csdh-schn.org/) invites scholars, practitioners, and graduate students to submit proposals for papers, panels, and digital demonstrations for its annual meeting, which will be held at the 2020 Congress of the Social Sciences and Humanities, Western University, from May 31st to June 3rd, 2020 (https://www.congress2020.ca/). We encourage submissions on all topics relating to both theory and practice in the evolving field of the digital humanities. We are particularly interested in papers that address the Congress 2020 theme of “Bridging Divides: Confronting Colonialism and Anti-Black Racism.”
Editors’ Choice: The Peril and Promise of Historians as Data Creators – Perspective, Structure, and the Problem of Representation
[This is a working draft of a chapter in progress for an edited collection.]Data-Driven History
Digital historians are well-familiar with notion that the larger community of historians generally has been skeptical of and cautious about data-driven scholarship. The controversies surrounding Robert Fogel and Stanley Engerman’s 1974 work, Time on the Cross: the Economics of American Slavery continue to haunt computational work. Regularly, historians who are suspicious of digital methods inquire as to how contemporary digital work can avoid reproducing the interpretive missteps of the era of “cliometrics.” While Time on the Cross often stands in for a whole range of historical scholarship based on quantitative methods, it undoubtedly continues to be a focus point for conversation precisely because those quantitative methods were used to argue that people enslaved in the United States had willingly collaborated with the system of slavery to make it an efficient and productive economic institution. In doing so, Fogel and Engerman made arguments about the interior life and motivations of human beings based on the material conditions and outcomes of their circumstances. In effect, they mistook correlation for causation. The combination of quantitative methods and a history of wrenching human rights violations strikes a discordant tone that hinges on the reduction of human pain and suffering to columns and rows of numbers that can be processed and calculated with an algorithm.
No one pushed back more strongly against Fogel and Engerman’s conclusions than Herbert Gutman. No stranger to quantitative methods, Gutman revisited both the materials that the authors worked with and the conclusions that they drew from that data. He argued that though the system of slavery Fogel and Engerman examined might have seemed efficient, that efficiency was achieved through the pervasive presence and threat of violence rather than through voluntary cooperation or through an adoption of the enslaver’s worldview. An analysis of the economic systems surrounding slavery could not yield knowledge about the inner thoughts, feelings, and motivations of the enslaved as they performed their labor, regardless of how productive they were.
In the wake of the widespread reaction against cliometrics, historians generally have been private about their work with data—presenting only end products, narratives, and summaries, even when that work is data-driven, but not all that computationally sophisticated. Often a small part of a much larger interpretive process, many who do minor work with data never even note that they have a set of spreadsheets or a database that they used to organize and analyze their source materials. This tendency has worked to mask the role that data collection and analysis plays in contemporary historical scholarship.
Editors’ Choice: Digital Activism – Strategic, Inessential, and Inenarrable Alliances for an Ethical and Political Imperative
After my panel presentation at #4C2019 on “Critical Digital Archiving Against the Grain: Precarities, Negotiations, and Possibilities,” one of the attendees came up to me, appreciated my research area, and asked me enthusiastically, “Have you ever imagined how the platform for digital archive built by Non-Westerners would look like?” I just couldn’t answer this question the way he might have preferred. I replied, “You know what, I really dunno. I really cannot speak for unlocatable differences there within what we call Non-Westerners. I can’t speak even for myself actually, let alone for Non-Westerners.” The thing is the kind of homogeneity we incline to accept in the nouns like Non-Westerners backfires the role of activists we might want to assume for ourselves. These nouns should communicate only about alliances among Non-Westerners based on the experiences we share due to different forms of violence caused by colonialism, neocolonialism, and cultural imperialism. But these nouns should not be assumed with any kind of essential feature that ‘represent’ us all. Furthermore, almost all forms of structural violence are inflicted and justified based on identity constructions and assumed/forced essential features in each identity category (race, nationality, sexuality, gender, sex, color, caste, class etcetera). Therefore, if our resistance relies on the same essentialist epistemology and ontology, which is the tool of violence, we end up persisting the same tool of violence confirming that even if the violence is not right, the foundation of violence is. Identity politics is not a solution, but a dangerous solution-posturing perpetuation. To elaborate, I will discuss my doctoral research –on which my 4Cs presentation was –and one of my methodologies, community-based participatory research.Rethinking South Asia via Critical Digital A(na)rchiving
My doctoral research emerges out of the interstices and intersections of South Asian Studies, Postcolonialism, Feminism, and Critical Digital Humanities. My goal through this research is to work on de/reconstructing knowledge about South Asia from the discursive and/or the geographical location of Nepal and to show internal contradictions within the structure of identity categories. To do so, I am building, documenting, and theorizing an online, open-access digital archive of street photography in Nepal and it’s titled Rethinking South Asia via Critical Digital A(na)rchiving: Politics, Im/Possible Ethics, and Anti/Aesthetics. The purpose is to offer multidimensional, contingent, and contradictory narratives about Nepal and South Asia and to develop possible theories, methodologies, and methods for building post/de/anticolonial and feminist digital archives of Other(ed) worlds. And community-based participatory research is one of my methodologies.
From the resource:
Recogito is a software platform that facilitates annotation of text and images. Through both automatic annotation and manual annotation by users, the software links uploaded files to geographic data and facilitates the sharing and downloading of this data in various formats. The software is freely available for download through GitHub, and a version is also hosted online. In the online version, users have a private workspace as well as the ability to share documents among a group or publicly. Recogito was developed from 2013 to 2018 as part of the Pelagios network, a much wider project dedicated to creating gazetteers and tools for annotation, visualization, pedagogy, collaboration, and registering linked data.
From the CFP:
Public History Weekly will hold an International Public History PhD Workshop with the title “Public History in Digital Transformation” on July 2-4 2020. The venue of the workshop will be the Hotel Rigi-Kulm in Switzerland.
The Workshop will offer an international group of 12 to 14 students, who are working on or have just finished an outstanding research project in the domain of Public History, a opportunity to meet for a workshop in Switzerland and to present, discuss, evaluate and improve their projects.
The workshop will offer a small and direct setting. Aside the group of students there will be only a small group of other attendants: The keynote speakers, the organizing group and members of the Public History Weekly Editorial Board. The general public will be able to take part through Live Streamcasts of all presentations and discussions and can ask and comment through dedicated social media offers.
CFP: Between DH and Me – DHQ Special Issue on Black Studies in/for the Rising Digital Humanities Generation
From the CFP:
The goal of this special issue is to set the tone for the field’s future by recognizing Black studies, politics, and scholars as part of the DH canon, not a “niche” pocket of the field. In order to achieve this goal, this issue will explore the state of Black studies in DH through the eyes and work of rising scholars to think through the ways in which Black politics and ideologies are embedded in methods, pedagogy, projects, and practices. Ideal proposals will use DH tools or methods to integrate or break down the ways in which Black politics are present or absent in DH projects and teaching. We seek to include all rising scholars who merge Black studies, the study of Blackness, or Black cultural production and DH. We particularly encourage rising Black DH scholars who recupretivately or restoratively study Black perspectives and materials.
Editors’ Choice: Indigenous Language and Culture Visibility in the Digital Age – Examples from Zapotec Activism
Languages and cultures evolve as fast as the new technologies. However, while the wide digital space is a part of our daily lives as a way to interact with the world, there is still scarce representation of a minority population already using the new technologies, that is to say, the indigenous peoples. As a member of a Zapotec community that holds its own language, its own culture and traditions, its own land and laws; in seeking how to make my community visible as a living culture I have found digital media a useful source for such purpose, allowing me to contribute to the preservation of our traditions, strengthen the use of the Zapotec language, and overall actively engaging native speakers and creating a bridge between them and the digital space. Moderator: Marta Caminero-Santangelo, Center for Latin American & Caribbean Studies.
About the funding:
ACLS invites applications for ACLS Digital Extension Grants, which are made possible by The Andrew W. Mellon Foundation. This program supports digitally based research projects in all disciplines of the humanities and related social sciences. It is hoped that these grants will help advance humanistic scholarship by enhancing established digital projects, extending their reach to new communities of users, and supporting teams of scholars at all career stages as they participate in digital research projects.
This program aims to extend the opportunity to participate in the digital transformation of humanistic inquiry to a greater number of humanities scholars. ACLS Digital Extension Grants support projects that have advanced beyond the start-up phase of development as they pursue one or more of the following activities…
From the ad:
The Center for Digital Humanities (CDH) at Princeton University invites applications for a Digital Humanities Postdoctoral Perkins Fellow in the Council of the Humanities, anticipated to start in July 2020.
As a member of the CDH team, the Digital Humanities Fellow will devote 50% time to participating in the life of the Center, which includes: collaborating with faculty, graduate students, librarians, programmers, and designers on DH projects, providing consultations, offering workshops, and attending regular staff meetings and CDH events. The other 50% of the candidate’s time will involve developing their own research project. Additionally, the successful candidate is expected to teach at least one, but no more than two, digital humanities courses per year during their fellowship, subject to sufficient enrollments and with the approval of the Dean of the Faculty. When teaching, they will carry the additional title of Lecturer, and research responsibilities will be reduced accordingly. The Perkins Fellow is also expected to participate in the life of the Humanities Council.
From the ad:
The Pennsylvania State University Libraries seeks creative and collaborative applicants for the Center for Black Digital Research (CBDR) Scholarship Librarian. This person will play a key leadership role in developing and coordinating scholarly activities and digital research initiatives in the Center for Black Digital Research. This position, supported by the Provost in collaboration with the College of Liberal Arts, will coordinate efforts in digital scholarship with the Center’s faculty, co-directors, and a managing director. Librarians, staff, and students across the University, as well as community members and external institutional partners, are also key to the Center’s philosophy of engagement. This is a tenure-track faculty position reporting to the Head of Research Informatics and Publishing in the University Libraries, home to the Center.
Earlier this week I came across an unusual map in the Library of Congress’ digitized collections. Part of what made this map such a fascinating find was the addendum of metadata about the map’s creation. A Blackfoot man referred to as “Ackomak-Ki” or “The Feathers” sketched this birds-eye view of the upper Missouri River and its adjoining tributaries. A single trading post appears in the illustration, labeled as “Chesterfield House,” the southernmost outlet of the Hudson’s Bay Company (HBC) and also in Blackfoot territory. To determine scale, a single notation at the bottom of the sketch reads, “From Devils head to Owls head is 33 days travel.” Blackfoot place names and their English translations specify certain mountain peaks, hills, and watersheds.
When Ackomak-Ki gave this knowledge to an explorer named Peter Fidler, it was evident to both parties that this was Blackfoot space. In the late 18th century, explorers and fur traders who entered these lands with business prospects knew the importance of learning Native languages, cultural customs, and understanding the power of kinship to facilitate trade. Over the next fifty years, the map passed through hands until its final resting place in the HBC archive in London. To prospective fur companies like the HBC, the significance of Ackomak-Ki’s sketch can be summed best by the final notation accompanying the map: “His knowledge of the Missouri sources was greater than the information of our geographers at that time.”.
However, more than a geographic snapshot of the upper Missouri, Ackomak-Ki’s map details Blackfoot ways of endowing land with special meaning rooted in local knowledge, myth, and history. In this sketch, the continental divide of the Rocky Mountains cuts through the center of the page, known in the Blackfoot language as Miistakis or “backbone.” Consistent with many Indigenous cultures, Blackfoot geography is constructed based on an inseparable understanding of space and time. Land is fundamental to human experiences and interactions, what anthropologist Keith Basso explains as “that close companion of heart and mind” which connects landscape to identity. 
In the press that followed the December 2018 release of the Netflix interactive film Black Mirror: Bandersnatch, several references were made to the use of Twine in the project’s development process. While early stages of planning utilized Post-it notes and whiteboards, the Bandersnatch team eventually turned to Twine, “which is often used to design video games with multiple story branches,” and even provided actors with copies of the script written and published in the program so “they could navigate” the various threads of the project. Many instructors and students in digital humanities, media studies, and game studies courses have gravitated towards Twine in and around the higher ed classroom, and most of this pedagogical work has focused on the immediate contexts of games and interactive fiction. Until reading the press around the making of Bandersnatch, I hadn’t thought of this software’s potential in the context of digital project development.
As an instructor in a two-year Master’s Program in Public Humanities, I’ve tried to design readings, assignments, and exercises that more immediately attend to the many professional contexts that our students tend to gravitate towards in practicums and postgraduate work: museums, archives, galleries, nonprofits, public sector work. In many of these contexts, it can be difficult to devote time, money, and staffing to wireframing, interface design, and user testing, stages in project development needed to create digital initiatives that resonate with desired audiences. There’s obviously a continued need to argue that these forms of digital knowledge production are valuable and require sustainable and ethical commitments to people and resources, and I have made these arguments in and beyond the classroom during my time at Brown. I’ve also argued that digital humanities in academic contexts often encounters challenges when it takes on digital public humanities initiatives that require expertise in digital storytelling, work that extends beyond digitization, preservation, and networked data (though these areas would additionally benefit from further considerations of the many stories audiences might tell with these digitized cultural objects). So while the particular use of Twine described here resides in the context of a graduate-level course in a Public Humanities program, my hope is that its pedagogical aims and approaches resonate with a wide range of courses invested in various ways in the creation and dissemination of digital projects.
From the ad:
The primary purpose of the position is to teach courses in the Digital Media program, provide academic advisement, aid in the recruitment of students, contribute to curriculum design and modification, and engage in research/scholarly activities and university service.
Possess a Ph.D. (ABD candidates are welcome to apply) or MFA in Digital Media, Computational Media, Interactive Media, and or Strategic Media.
Demonstrate qualitative, ethnographic, and/or community-based pedagogical approaches to emerging forms of media production including documentary in all audiovisual forms, digital print, and/or audio-based media such as radio and podcasting.
Possess research and teaching interests in communication studies and technology, new media, emerging media studies, media arts, film studies, digital humanities, visual storytelling, experimental and documentary arts, journalism (print and digital) and/or photojournalism.
From the CFParticipation:
Following a workshop on doing DH in non-Latin scripts at DH 2019, a group of people interested in increasing support for DH in languages other than English has put together a grass-roots initiative to aggregate and annotate information about existing tools and resources at http://multilingualdh.org/. (Much work remains to be done on the site, including setting up the infrastructure to support translating it.)
We also have a mailing list set up for discussion (in any language) of multilingual DH issues: https://mailman.stanford.edu/mailman/listinfo/multilingual-dh. All are welcome!
From the report:
Slavic Studies DH is having a moment. The energy has been building for some time: North American Slavists are joining the active DH affiliate group of our main professional organization (ASEEES), and DH initiatives are thriving across Russia. Slavic DHers from around the globe met at last summer’s major annual DH conference in Utrecht, speaking at the first-ever panel dedicated to issues specific to our field, and excitedly planning future collaborations.
This enthusiasm was felt in September at a workshop at Princeton. Focusing on the topic of DH and visual culture, the four-day event — “Digital Humanities and Visual Resources: The Material and Digital Lives of Eastern European and Russian Artifacts” — gathered thirty scholars from North America and Europe, all at different career stages and with various levels of DH experience…
Editors’ Choice: On Virtual Auras – The Cultural Heritage Object in the Age of 3D Digital Reproduction
We’re really pleased to see the release of a new book, The Routledge International Handbook of New Digital Practices in Galleries, Libraries, Archives, Museums and Heritage Sites, Edited by Hannah Lewi, Wally Smith, Dirk vom Lehn, Steven Cooke (2019). Which has a book chapter from me and my colleagues in it! Based on the PhD research of Dr John Hindmarch, which was supervised by myself and Prof Stuart Robson, this chapter asks if digital heritage 3D objects have their own aura…
Hindmarch, J., Terras, M., and Robson, S. (2019). On Virtual Auras: The Cultural Heritage Object in the Age of 3D Digital Reproduction. In: H. Lewi; W Smith; S Cooke; D vom Lehn (eds) (2019). The Routledge international Handbook of New Digital Practices in Galleries, Libraries, Archives, Museums and Heritage Sites. London: Routledge, pp. 243-256.
Making 3D models for public facing cultural heritage applications currently concentrates on creating digitised models that are as photo realistic as possible. The virtual model should have, if possible, the same informational content as its subject, in order to act as a ‘digital surrogate’. This is a reasonable approach, but due to the nature of the digitisation process and limitations of the technology, it is often very difficult, if not impossible.
However, museum objects themselves are not merely valued for their informational content; they serve purposes other than simply imparting information. In modern museums exhibits often appear as parts of a narrative, embedded within a wider context, and in addition, have physical properties that also retain information about their creation, ownership, use, and provenance. This ability for an object to tell a story is due to more than just the information it presents. Many cultural heritage objects have, to borrow an old term, aura: an affectual power to engender an emotional response in the viewer. Is it possible that a 3D digitised model can inherit some of this aura from the original object? Can a virtual object also have affectual power, and if so, fulfil the role of a museum object without necessarily being a ‘realistic’ representation?…
Announcement: Virtual Exhibition, George III – the Eighteenth Century’s Most Prominent Mental Health Patient
From the announcement:
So many features of King George III’s long reign are extraordinary in retrospect including the American and French Revolutions. Among the most extraordinary is the king’s long struggle with mental illness. George III’s mental illness, the efforts of his family, court, and doctors to manage and treat it, and historians and others’ subsequent efforts to understand his ailment in light of modern diagnostic criteria shed important light not only on the eighteenth century, but every subsequent era as it confronts ‘the madness of George III’.
This exhibition is staged in connection with an event at King’s College London on 5 November 2019 entitled Mental Health and the Georgian World: The ‘Madness’ of George III to mark five years of the Georgian Papers Programme.
From the ad:
The UCLA Library seeks an Emerging Technologies Librarian to work with faculty, staff, and students to identify, evaluate and adopt new and emerging technologies that enable research and teaching. This role heads the Lux Lab, a unit within the Data Science Center that provides emerging technology services offered by the UCLA Library, such as 3D printing and scanning, laser etching and cutting, 3D mapping, and augmented/virtual reality technologies. The Emerging Technologies Librarian supports research involving the application of these technologies and is also involved with supporting the management, curation, and ultimate preservation of research data that is produced by emerging technology industry standards. The successful incumbent will be responsible for keeping up-to-date with new and emerging technologies, which requires expert knowledge in using various technologies, as well as with the latest trends and how users are affected by these shifts.