What happens to old digital humanities projects? Most vanish without a trace. Some get archived like the work of John Burrows and others at the Centre For Literary And Linguistic Computing (CLLC). Dr. Alexis Antonia kept an archive of CLLC materials which is now available from the Centre For 21st Century Humanities.
The question I want to explore today is this: what do we do about distant reading, now that we know that Franco Moretti, the man who coined the phrase “distant reading,” and who remains its most famous exemplar, is among the men named as a result of the #MeToo movement.
Lauren Klein has posted an important blog entry on Distant Reading after Moretti. This essay is based on a talk delivered at the 2018 MLA convention for a panel on Varieties of Digital Humanities. Klein asks about distant reading and whether it shelters sexual harassment in some way. She asks us to put not just the persons, but the structures of distant reading and the digital humanities under investigation. She suggests that it is “not a coincidence that distant reading does not deal well with gender, or with sexuality, or with race.” One might go further and ask if the same isn’t true of the digital humanities in general or the humanities, for that matter. Klein then suggests some thing we can do about it:
- We need more accessible corpora that better represent the varieties of human experience.
- We need to question our models and ask about what is assumed or hidden.
The Digital Public Library of America (DPLA) has a fascinating collection of Primary Source Sets that bring together materials around a subject for teaching and historical thinking. For example they have a set on Commodore Perry’s Expedition to Japan that allows you to see both American and Japanese representations of Perry and the important visit. These sets show how a digital archive can be repurposed in different ways.
Domenico Fiormonte has recently blogged about an interesting document he has by Father Busa that relates to a difficult moment in the history of the digital humanities in Italy in 2002. The two page “Conditional Agreement”, which I translate below, was given to Domenico and explained the terms under which Busa would agree to sign a letter to the Minister (of Education and Research) Moratti in response to Moratti’s public statement about the uselessness of humanities informatics. A letter was being prepared to be signed by a large number of Italian (and foreign) academics explaining the value of what we now call the digital humanities. Busa had the connections to get the letter published and taken seriously for which reason Domenico visited him to get his help, which ended up being conditional on certain things being made clear, as laid out in the document. Domenico kept the two pages Busa wrote and recently blogged about them. As he points out in his blog, these two pages are a mini-manifesto of Father Busa’s later views of the place and importance of what he called textual informatics. Domenico also points out how political is the context of these notes and the letter eventually signed and published. Defining the digital humanities is often about positioning the field in the larger academic and public political spheres we operate in.
Pharos is an effort among 14 institutions to create a database that will eventually hold and make accessible 22 million images of artworks.
The New York Times has a story about a collaboration to develop the Pharos consortium photo archive, ‘Photo Archives Are Sleeping Beauties.’ Pharos Is Their Prince. The consortium has a number of interesting initiatives they are implementing in Pharos:
- They are applying the CIDOC Conceptual Reference Model.
The CIDOC Conceptual Reference Model (CRM) provides definitions and a formal structure for describing the implicit and explicit concepts and relationships used in cultural heritage documentation.
- They have a visual search (which doesn’t seem to find anything at the moment.)
- They are looking at Research Space (which uses CRM) for a research linked data environment.
From Humanist I learned about Rhizome’s Net Art Anthology. For two years they be exhibiting net art works. There are already a couple up there and you can get an email update when a new one gets posted.
The design of the site is simple and loud in a way that reminds me of the early days of the web.
Yesterday I gave a talk at Access 2016. This conference brings together archivists and librarians interested in library technology. I was honoured to give the Dave Binkley Memorial Lecture at the end of the conference. My conference notes are here. My talk was about the ethics of digitization, or more generally datafication.