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The contemporary focus on the 'data problem' in the humanities centers on the uniqueness of humanities data. We argue this is a mistake. Humanities data are not special because of what they are, but rather because of how they are used. The "problem" with Humanities data lies in the use-case.

Course site for Planning Inclusive Open Access Sessions. Special Thanks to Peter Suber for contributing to Session Three.

Presentation made as part of a workshop at the DH2022 Tokyo conference

The live version of presentation with transcript and slides. Has a few minor changes.

A discussion of the issues in understanding Humanities Data from the perspective of the Humanities.

This poster provides a snapshot of the Humanities Data Inquiry (HDI), a new community of practice exploring data issues in Humanities and Cultural Heritage (HCH) research. The last decade has seen great advances in the development of infrastructure, tools, and principles for the collection, storage, discovery, and dissemination of research data, and investment in a robust and rapidly emerging Open and FAIR (Findable, Accessible, Interoperable, and Reusable) research data ecosystem. While Humanities and Cultural Heritage (HCH) researchers and projects are encouraged to engage with this evolving research data ecosystem, the fit is often poor as this ecosystem is largely built with the needs of "Big Data" Science, Technology, Engineering, and Mathematics (STEM) in mind. Where Big Data STEM typically involves large datasets produced through experiment, observation, or analysis, "Small Data" HCH research often involves deep analysis and intensive curation of relatively small data sets — particularly when it comes to datasets focused on the representation of cultural texts and objects, such as editions and exhibits. Outlining the basic problems associated with data in HCH and Open Science infrastructure frameworks, this poster describes in overview how HDI is creating a space for community engagement and input through thoughtful, bidirectional communication among grass-roots researchers and between grass-roots researchers and the organizations responsible for creating and supporting the Open and FAIR ecosystem. Finally, the poster presents areas of future development and pathways for future involvement in the community of practice as well as the program’s expected outcomes. &nbsp

One of the main characteristics of work in the Digital Humanities is collaboration: between individual scholars with complementary expertise, across disciplines, and languages, countries, and continents. Many digital humanists have found that academic cultures can differ widely because cultural factors often weigh on the scope and vision of individuals. For this reason, diversity is at the forefront of the Digital Humanities. This workshop aims to make the participants acquainted with different understandings of diversity in different parts of the globe while considering how more diverse teams contribute to the development of our work. The workshop is directed at anyone with an interest in understanding diversity in digital humanities and creating a welcoming and inclusive DH environment. Conference organizers, leaders in the field, and those who often form part of hiring committees are invited to participate. Everyone is welcome to attend, but we particularly encourage the participation of people who are in privileged positions in academia, GLAM, or similar environments. The workshop will combine presentations, individual work, and roundtables tackling issues such as: · The importance of diversity · Implicit bias · Cultural cloning · Intersectionality · Civil courage · Strategies for becoming more inclusive · Effective collaboration across cultures The workshop will cover gender, ethnic, and linguistic diversity, as well as topics such as ableism, cultural diversity, class, and other matters. The important notion of intercultural communication will also be addressed. During these conversations and exercises, we will have a particular focus on the digital humanities as a working environment, but many of the strategies might be transposed to other areas or to the projects that we develop as digital humanists.

Although textual scholars agree that collation is a crucial component of the editing process, it often goes undefined and only briefly explained. This article defines the term, explains different kinds of collation, and explores some of its applications. We emphasize stemmatology and medieval textual traditions. By drawing from editorial examples and the theoretical frameworks of projects centred on works such as the Canterbury Tales, Troilus and Criseyde, Dante’s Commedia and the Greek New Testament, the article seeks to compare manual and computer-assisted approaches to collation methods. We delineate the scope of this activity and argue that computer-assisted collation minimizes the risk of missing out on relevant data. We examine the advantages of full-text collation over sample collation and conclude that no decisions about stemmatically significant variation can be made a priory and that variant distribution is the major factor weighing on significance.&nbsp

This is the first of a planned series of apps for mobile device and internet presenting parts of Geoffrey Chaucer's Canterbury Tales in audio performance, keyed to images of the Hengwrt manuscript, and accompanied by a translation, new scholarly text, glossary, new commentary and other editorial materials. It is also the first scholarly edition to be conceived and executed as an app from its inception. This app presents the General Prologue to the Tales. The online version is available at www.sd-editions.com/CantApp/GP, and as a mobile app on the Apple and Android platforms.

A lecture, prelude to the "diversity workshop" delivered at IITGN, India.&nbsp

This is the PowerPoint for the Diversity and Collaboration Workshop, delivered in Montréal as part of DH2017.

This is a discussion of sections of Digital Scholarly Editing by Elena Pierazzo.&nbsp

ispartof: Ecdotica vol:13 status: In preparation

This is the front matter and bibliography of my 2019 MFA thesis. The "Artist's Statement" defines The University of Shadow's genre as urban fantasy and presents a theoretical approach in relation toother texts and genres.&nbsp

This article describes the project An Electronic Corpus of Fifteenth-Century Castilian Cancionero Manuscripts, paying particular attention to issues and solutions in matters related to textual criticism, such as the collation of witnesses and the generation of phylogenetic stemmata.

The development of electronic editions can be read as a transitional point in book history, of the same order of importance as the shift from rolls to codex or from manuscript to print. Such transitions have tended to be gradual, though, and electronic editions are still a relatively new development, only having existed for a little more than twenty years. Many of the early statements made about the potential of these editions have proved to be overly optimistic. However, we should recognise the real and exciting possibilities opened for scholarly editions by electronic media. In spite of questions about their cost and sustainability, electronic editions constitute an undeniable advance in the access they provide to digitised images, their ability to facilitate the collation of textual variants and their capacity to make possible new forms of editorial collaboration.

This article considers the role of William Caxton as editor of The Canterbury Tales and it shows how accurate the text was in reference to the rest of the textual tradition.&nbsp

This article discusses the books of the future, as well as technologies for presentation and publication.

no ISBN/ISSN ispartof: pages:1-2 ispartof: Digital Humanities 2017 pages:1-2 ispartof: Digital Humanities 2017 location:Montreal date:8 Aug - 11 Jan 2017 status: Published online

ispartof: pages:76-82 ispartof: Digital Humanities 2016 pages:76-82 ispartof: Digital Humanities 2016 location:Krakow, Poland date:11 Jul - 16 Jul 2016 status: Published online

no ISSN/ISBN ispartof: pages:876-877 ispartof: Digital Humanities 2016 pages:876-877 ispartof: Digital Humanities 2016 location:Krakow, Poland date:11 Jul - 16 Jul 2016 status: Published online

ispartof: vol:10 status: published

ispartof: Digital Humanities 2014 ispartof: Digital Humanities 2014 location:Lausanne, Switzerland date:7 Jul - 11 Jul 2014 status: Published online

The process of editing a text is, in the first instance, an act of imagination. An editor who has collected materials, gathered evidence, and compared variants eventually has to decide what does it all mean, who will care about it and how to present it; but most importantly how those materials relate to each other. The answers to these questions are not in the documents that preserve versions of the texts, but in the minds of the scholars who have carefully studied the physical documents, their texts and the variant states of the text they represent. In this essay, I present my working definitions of the text of the document, the variant states of the text and the work, show how they relate to each other and how they have been affected by digital technologies or how they have arisen from them. I also conclude that while some concepts might remain unchanged from the days of print, others are fundamental only to born-digital texts. ispartof: Ecdotica vol:10 pages:64-76 status: published

Publishers frantically scrapped traditional layouts, margin sizes, paper weight, typography, and binding: books were reconstructed to require the least amount of materials. Despite these measures, British publishers could not print enough... ispartof: The Lives of the Book, Past, Present and to Come status: published

Describes the encoding system used for the electronic edition of the Divine Comedy.&nbsp