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The tutorial provides a practical introduction to Transkribus, a comprehensive platform for the digitisation, AI-powered text recognition, transcription and searching of historical documents. The participants will learn how to run the layout analysis (also for tables and complex layouts) and train and apply Handwritten Text Recognition AI-models to automatically generate machine-readable transcriptions of images of text. In the end, they will have a general understanding of the potential of Handwritten Text Recognition to open new research questions and how Transkribus can be used to collaborate, involve volunteers and teach in DH and History classes.

In Digital Humanities "Distant Listening" scholarship with sound, the expectation is that the data set will be clean and audible and that its metadata will be descriptive and informative.[1] In contrast to this notion, this talk demonstrates the importance of distortions in approximately seventy-five brief "tracks" or recorded songs, stories, and explanations from a folklore recording trip Zora Neale Hurston took in 1935 to Florida and Georgia with Alan Lomax and Mary Elizabeth Barnicle for the Library of Congress. Close listening to her 1935 recordings reveals that social and technical distortions are in line with how Hurston expresses the complexities of authority, authenticity, and subjectivity in her writings, which amplifying black epistemologies of self-making and creating resonant possibilities for imagining new transgressive formulations of cultural identity. This talk will consider how distortions play an important in large-scale digital projects with sound in the humanities.

This presentation reports on a case study investigating how NaturalLanguage Processing, a field that applies computational methodssuch as Machine Learning to human-written texts, can supportthe measurement and evaluation of gender biased languagein archival catalogs. Working with English descriptions from thecatalog metadata of the University of Edinburgh’s Archives, wecreated an annotated dataset and classification models that identifygender biases in the descriptions. Conducted with archival data,the case study holds relevance across Galleries, Libraries, Archives,and Museums (GLAM), particularly for institutions withcatalog descriptions in English. In addition to bringing NaturalLanguage Processing (NLP) methods to Archives, we identifiedopportunities to bring Archival Science methods, such as CulturalHumility (Tai, 2021) and Feminist Standpoint Appraisal (Caswell,2022), to NLP. Through this two-way disciplinary exchange,we demonstrate how Humanistic approaches to bias and uncertaintycan upend legacies of gender-based oppression that mostcomputational approaches to date uphold when working with dataat scale.

Inaugurated in 2022, the CANEVAS consortium brings together researchers from various humanities disciplines whose common interest is to handle video corpora in their research. This poster present specific issues raised by these corpora as well as a selection of tools and methods identified by the Canevas research community.

This workshop will help participants make audio, video, and its interpretations more discoverable and usable through the use of the IIIF (International Image Interoperability Framework) standard for audio and video to produce, publish, and sustain W3C Web Annotations for individual and collaborative audiovisual editions, exhibits, and playlists. The workshop format will include introductions to IIIF, AudiAnnotate, Audacity, and GitHub using model, collaborative AudiAnnotate projects called the "SpokenWeb Anthology," made from recordings from the SpokenWeb Consortium and "Radio Venceremos, the Rebel's Radio Station," which features recordings from Radio Venceremos ("Radio We Will Overcome"), a popular, clandestine radio station that the Farabundo Martí National Liberation Front (FMLN) created to broadcast news and analysis from the mountains of Morazán, El Salvador during the eleven year Salvadoran Civil War (1981-1992).

This poster presents a digital humanities study abroad program that brings undergraduate students to the UK to explore the intersections of technology, humanities, and the arts. Over four weeks, the students meet with curators, DH practitioners, and creatives. In addition to connecting students with professionals in the cultural heritage sector, the program challenges students to create small-scale digital humanities projects.