New England American Studies Association presentation - October 13, 2012
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New England American Studies Association presentation - October 13, 2012

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Slides from my talk. My notes are at http://www.scribd.com/doc/109944195/Notes-for-NEASSA-Talk-10-12

Slides from my talk. My notes are at http://www.scribd.com/doc/109944195/Notes-for-NEASSA-Talk-10-12

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  • First, though a look at the kinds of digital humanities.\n Will look at these from the technical to the public… \n
  • First, though a look at the kinds of digital humanities.\n Will look at these from the technical to the public… \n
  • First, though a look at the kinds of digital humanities.\n Will look at these from the technical to the public… \n
  • New kinds of outreach\n
  • The new tools answer old question approach -- humanities computing - new tools \nDigital tools that give us new ways to answer traditional questions: new tools to examine traditional texts and images, and perhaps open up new kinds of texts for examination\n
  • Media literacies\nThe traditional questions of the humanities, applied to help us to interrogate and understand the contemporary digital world\n
  • Insurgent humanities. \n
  • Being useful to the public - consider public as an audience. \n
  • Cultural heritage dream\n
  • Digital to public sphere… \n
  • New kinds of outreach -- But in recent decades, the academy’s civic role has weakened: higher education increasingly has been seen as a private rather than a public good. The Simpson Center for the Humanities at the University of Washington seeks to reverse this trend by taking humanities scholarship public with the new digital technologies. \n
  • New kinds of outreach\n
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  • As I redo these, the question in my mind is this: what percentage of the course should be about digital things?\nThis is a more general problem for just about every public humanities institution, not just for my course. What percent of a museum’s work should be digital? What percent of a state humanities council funds should go to web projects, what percent to the real world? How about libraries? What is the commitment to books, to web access, to community? \nHow much overlap is there?? How much should we think about hybrids? How much is either/or/ \nWhat are the comparative advantages of each? \n\n
  • I’ve taught this a variety of ways over the years…. I’m going to look at some of the big divisions and see how they might change if they were conceived of as being digital, or half-digital. \n
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  • The big story is changing relationship of expertise, audience, and subject of the history. \n
  • The big story is changing relationship of expertise, audience, and subject of the history. \n
  • The big story is changing relationship of expertise, audience, and subject of the history. \n
  • The big story is changing relationship of expertise, audience, and subject of the history. \n
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  • Last one based on Lisa Spiro analysis of digital humanities syllabi at http://digitalscholarship.files.wordpress.com/2011/06/spirodheducationpresentation2011-4.pdf\nhttp://digitalscholarship.wordpress.com/2011/06/20/making-sense-of-134-dh-syllabi-dh-2011-presentation/\n
  • Last one based on Lisa Spiro analysis of digital humanities syllabi at http://digitalscholarship.files.wordpress.com/2011/06/spirodheducationpresentation2011-4.pdf\nhttp://digitalscholarship.wordpress.com/2011/06/20/making-sense-of-134-dh-syllabi-dh-2011-presentation/\n
  • Last one based on Lisa Spiro analysis of digital humanities syllabi at http://digitalscholarship.files.wordpress.com/2011/06/spirodheducationpresentation2011-4.pdf\nhttp://digitalscholarship.wordpress.com/2011/06/20/making-sense-of-134-dh-syllabi-dh-2011-presentation/\n
  • Last one based on Lisa Spiro analysis of digital humanities syllabi at http://digitalscholarship.files.wordpress.com/2011/06/spirodheducationpresentation2011-4.pdf\nhttp://digitalscholarship.wordpress.com/2011/06/20/making-sense-of-134-dh-syllabi-dh-2011-presentation/\n\nDH tends to be more narrowly focused, and more focused on the processes. But with some changes, could be appied to non-digital work… \n
  • Last one based on Lisa Spiro analysis of digital humanities syllabi at http://digitalscholarship.files.wordpress.com/2011/06/spirodheducationpresentation2011-4.pdf\nhttp://digitalscholarship.wordpress.com/2011/06/20/making-sense-of-134-dh-syllabi-dh-2011-presentation/\n\n\nDH tends to be more narrowly focused, and more focused on the processes. But with some changes, could be appied to non-digital work… \n\n“The culture of a people is an ensemble of texts, themselves ensembles, which the anthropologist strains to read over the shoulders of those to whom they properly belong.” - Geertz\n\n“Digital cultures . . . can be understood in part through the particular ways in which they pattern data.” - MetaLAB\n
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  • Can we tease out of these the digital age equivalent? \n
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  • As I redo these, the question in my mind is this: what percentage of the course should be about digital things?\nThis is a more general problem for just about every public humanities institution, not just for my course. What percent of a museum’s work should be digital? What percent of a state humanities council funds should go to web projects, what percent to the real world? How about libraries? What is the commitment to books, to web access, to community? \nHow much overlap is there?? How much should we think about hybrids? How much is either/or/ \nWhat are the comparative advantages of each? \n\n
  • From Lisa Spiro\n
  • From Lisa Spiro\n
  • From Lisa Spiro\n
  • From Lisa Spiro\n
  • From Lisa Spiro\n
  • From Lisa Spiro\n
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  • “utopian core” from Digital Humanities Manifesto\n
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New England American Studies Association presentation - October 13, 2012 Presentation Transcript

  • 1. Public Digital Humanities
  • 2. Digital Public Humanities
  • 3. Public Digital Humanities
  • 4. Digital Public Humanities
  • 5. Digital Public Humanities Steven Lubar Brown University NEASA Conference Providence, RI October 2012
  • 6. Digital HumanitiesPublic Humanities
  • 7. Digital Humanities Public HumanitiesHow much do they overlap?
  • 8. Digital Humanities Public HumanitiesHow much do they overlap?How can they overlap more?
  • 9. What if?We said that public humanities should be fifty percent digital?
  • 10. What if?We said that digital humanities should be fifty percent public?
  • 11. Venn Diagram!
  • 12. Venn Diagram!The Humanities
  • 13. Venn Diagram!The Humanities Open Humanities
  • 14. Venn Diagram!The Humanities “The open humanities are those aspects of the humanities aimed at democratizing production and consumption of humanities research.” --Eric Johnson Open Humanities www.scholarslab.org
  • 15. Venn Diagram!The Humanities “The open humanities are those Public aspects of the humanities Humanities aimed at democratizing production and consumption of humanities research.” --Eric Johnson Open Humanities www.scholarslab.org
  • 16. Venn Diagram!The Humanities Digital Humanities “The open humanities are those Public aspects of the humanities Humanities aimed at democratizing production and consumption of humanities research.” --Eric Johnson Open Humanities www.scholarslab.org
  • 17. Venn Diagram!The Humanities Digital Humanities Public Humanities Open Humanities
  • 18. Topics • Museum Collections • Geospatial/ LandscapesThe Humanities • Oral histories • Public Digital Connections Humanities Public Humanities Open Humanities
  • 19. Tools • Databases • Social Media • Visualization • Spatial AnalysisThe Humanities Digital Humanities Public Humanities Open Humanities
  • 20. Style • Collaboration • Open Access • Open-sourceThe Humanities • Inclusivity • Interdisciplinary Digital • “Communities of Humanities Passion” Public Humanities Open Humanities
  • 21. Many visions ofdigital humanities
  • 22. Many visions ofdigital humanities
  • 23. digital humanities Many visions of • Humanities computing • Media literacies • Insurgency • Public Questions • Cultural Heritage • Digital public sphere • New modes of outreach
  • 24. digital humanities Many visions of Digital humanities scholars use computational methods either to answer existing research questions or to challenge existing theoretical paradigms, generating new questions and pioneering new approaches. --Wikipedia
  • 25. digital humanities Many visions of ...a visionary humanities program that addressed the critical needs of literacies for the twenty-first century. That would not have to be all we need to do, but why we arent making that our mission, staking that as our invaluable inestimable value in a radically changing world, is beyond my comprehension. --Cathy Davidson
  • 26. digital humanities Many visions of “The digital humanities should not be about the digital at all. It’s all about innovation and disruption. The digital humanities is really an insurgent humanities” --Mark Sample
  • 27. digital humanities Many visions of The problem is not the humanities as a discipline... the problem is its members. We are insufferable. We do not want change. We do not want centrality. We do not want to speak to nor interact with the world. We mistake the tiny pastures of private ideals with the megalopolis of real lives. [We dismiss the] ambitions of the public at large—religion, economy, family, craft, science. --Ian Bogost
  • 28. digital humanities Many visions of We should place the world’s cultural heritage—its historical documentation, its literary and artistic achievements, its languages, beliefs, and practices— within the reach of every citizen. The value of building an infrastructure that gives all citizens access to the human record and the opportunity to participate in its creation and use is enormous. --John Unsworth
  • 29. digital humanities The Digital Humanities seeks to Many visions of play an inaugural role with respect to a world in which, no longer the sole producers, stewards, and disseminators of knowledge or culture, universities are called upon to shape natively digital models of scholarly discourse for the newly emergent public spheres of the present era. --Digital Humanities Manifesto
  • 30. digital humanities Many visions of New ways of representing our scholarship—integrating text, image, sound, and video—are emerging, as are new ways of disseminating it to ever broader publics. --Kathleen Woodward
  • 31. digital humanities Many visions of • Humanities computing • Media literacies • Public Audience • Public Questions • Cultural Heritage • Digital public sphere • New modes of outreach
  • 32. What if?We said that public humanities should be fifty percent digital?
  • 33. What if?We set out to teach it this way
  • 34. Public Humanities Theory AMST2650: Introduction to Public Humanities
  • 35. Culture Community Curation What groupings What toHow do groups make sense to preserve, how toand people enact themselves and interpret, foridentity? to us? whom? New groups New challengesNew forms of emerge; digital of preservation,culture online communities broader more fluid definitionMore fluidity, openness, but the categories still work.
  • 36. Culture Community Curation What groupings What toHow do groups make sense to preserve, how toand people enact themselves and interpret, foridentity? to us? whom? New groups New challengesNew forms of emerge; digital of preservation,culture online communities broader more fluid definitionMore fluidity, openness, but the categories still work.
  • 37. Culture Community Curation What groupings What toHow do groups make sense to preserve, how toand people enact themselves and interpret, foridentity? to us? whom? New groups New challengesNew forms of emerge; digital of preservation,culture online communities broader more fluid definitionMore fluidity, openness, but the categories still work.
  • 38. Culture Community Curation What groupings What toHow do groups make sense to preserve, how toand people enact themselves and interpret, foridentity? to us? whom? New groups New challengesNew forms of emerge; digital of preservation,culture online communities broader more fluid definitionMore fluidity, openness, but the categories still work.
  • 39. Us Them YouPublic historians, The “other”, us in The audience,museum people, the past, the readers, historicinterpreters, “community”, the site and museumexperts object of display visitors, tourists New audiences;We need new New ways for audiencetools; expertise them to present becomes co-challenged themselves creatorsHow do relationship between categories change?Categories become fuzzier; are they still useful?New tools allow for disintermediation
  • 40. Us Them YouPublic historians, The “other”, us in The audience,museum people, the past, the readers, historicinterpreters, “community”, the site and museumexperts object of display visitors, tourists New audiences;We need new New ways for audiencetools; expertise them to present becomes co-challenged themselves creatorsHow do relationship between categories change?Categories become fuzzier; are they still useful?New tools allow for disintermediation
  • 41. Us Them YouPublic historians, The “other”, us in The audience,museum people, the past, the readers, historicinterpreters, “community”, the site and museumexperts object of display visitors, tourists New audiences;We need new New ways for audiencetools; expertise them to present becomes co-challenged themselves creatorsHow do relationship between categories change?Categories become fuzzier; are they still useful?New tools allow for disintermediation
  • 42. Us Them YouPublic historians, The “other”, us in The audience,museum people, the past, the readers, historicinterpreters, “community”, the site and museumexperts object of display visitors, tourists New audiences;We need new New ways for audiencetools; expertise them to present becomes co-challenged themselves creatorsHow do relationship between categories change?Categories become fuzzier; are they still useful?New tools allow for disintermediation
  • 43. Museum Memories HistoricArtifacts and Stories Landscapes
  • 44. Museum Memories HistoricArtifacts and Stories Landscapes CuratorsMuseumVisitors
  • 45. Museum Memories HistoricArtifacts and Stories Landscapes Curators Oral HistoriansMuseum ResearchersVisitors and the public
  • 46. Museum Memories HistoricArtifacts and Stories Landscapes Curators Oral Historians PreservationistsMuseum Researchers CulturalVisitors and the public Heritage
  • 47. Museum Memories HistoricArtifacts and Stories LandscapesDisintermediation Curators Oral Historians PreservationistsMuseum Researchers CulturalVisitors and the public Heritage
  • 48. What new categories if the course were “born digital”?
  • 49. What new categories if the course were “born digital”?• Texts / Connections / Visualizations
  • 50. What new categories if the course were “born digital”?• Texts / Connections / Visualizations• Markup / Metadata / Modeling
  • 51. What new categories if the course were “born digital”?• Texts / Connections / Visualizations• Markup / Metadata / Modeling• Database / Network / Interaction
  • 52. Digital / Public Theory• Texts / • Culture / Connections / Community / Visualizations Curation• Markup / • Us / Metadata / Them / Modeling You• Database / Network / Interaction
  • 53. Digital / Public Theory • Texts / Culture / Them • Us / Visualizations / Modeling / Curation • You / Interaction / Community / Connections
  • 54. Public Humanities Practice AMST1550: Methods in Public Humanities
  • 55. History and MemoryCulture and CommunityPreservation and RepresentationRemember and SaveClassify and ValuePreserve and Interpret
  • 56. Topics• Museums: • Cultural Heritage: Collections, Property, Planning, Exhibitions, Tourism Education, Outreach • Civic Engagement• Historic • Public Art Preservation • Creative Economy• Oral History • Non-profit• Community Memory Organizations
  • 57. Projects• Exhibitions - Labels, • Program proposal design, installation, public programs • Proposal to increase participation at a local• Exhibit review museum• Collecting proposal • Community outreach programs• National register nomination • Grant proposal• Memoranda to boss on • Plan to assess a public contentious topic, and program letter to the editor
  • 58. Projects ite Labels,• eb s Exhibitions - W installation, • Program proposal design, public programs • Proposal to increase participation at a local• Exhibit review museum• Collecting proposal • Community outreach programs• National register nomination • Grant proposal• Memoranda to boss on • Plan to assess a public contentious topic, and program letter to the editor
  • 59. Projects ite Labels,• eb s Exhibitions - W installation, • Program proposal design, public programs • Proposal to increase bs ite participation at a local• We Exhibit review museum• Collecting proposal • Community outreach programs• National register nomination • Grant proposal• Memoranda to boss on • Plan to assess a public contentious topic, and program letter to the editor
  • 60. Projects ite Labels, • eb s Exhibitions - W installation, • Program proposal design, public programs • Proposal to increase bs ite participation at a local Weal • Exhibit review museum itDig • Collecting proposal • Community outreach programs • National register nomination • Grant proposal • Memoranda to boss on • Plan to assess a public contentious topic, and program letter to the editor
  • 61. Projects ite Labels, • eb s Exhibitions - W installation, • Program proposal a design, to public programs io n tata local • Proposal to increase ite v isi ite participation at bs ive bs Weal • Exhibit review Dr museum we itDig • Collecting proposal • Community outreach programs • National register nomination • Grant proposal • Memoranda to boss on • Plan to assess a public contentious topic, and program letter to the editor
  • 62. Projects ite Labels, • eb s Exhibitions - W installation, • Program proposal a design, to public programs io n tata local • Proposal to increase ite v isi ite participation at bs ive bs Weal • Exhibit review Dr museum we itDig • Collecting proposal • Community outreach programs • National register nomination • Grant proposal Plan to assessg ital di • Memoranda to boss on • a public contentious topic, and program letter to the editor
  • 63. What if?We said that public humanities should be fifty percent digital?
  • 64. What if?We set out to teach it this way
  • 65. DH: Tools and Topics Topics/ Concepts" Key Concept: Data and More Terms I Expected to See & Technologies Taught in DH Interaction
 Openness Key Concept: Network" " Copyright" Database" Of…" Courses" Term" Term" Frequency" # Uses" #Courses" argument" xml" 107" 54" 19" statistics" •  “Ability to assess digital data for preservability” (Salo, “Digital TEI" 59" 50" 15" programming" survey the •  curation”)
 9832B is a studiodigital humanities, internet 16" •  “The course as Innovation: distributed cooperation (what47" “Openness will canʼt Omeka" •  “History 51" course on interactive exhibit "history, network society…”“IntroductionMyers, “Seminar in be coordinated?)” (Kelty, (Tullos and to Openness”" representation" •  “Our goal forthis course is to build a database-driven PHP"Scholarship historians.” Studies”)
38" design in public Digital and Media (Turkel)
 32" 5" interpretation" " •  " “How does interactive, do-it-yourself open source remix28" website” (Quamen, “Technical Approaches & Concepts”)
 11" Zotero" 35" • accessibility"INTERACTIVE FICTION (Sample, “textual 14" WEEK 4 // •  "“Tuesday, change what constitutes (Rheingold, property? 1" potential October 26 (Networks)” intellectual “Virtual Perl" 24" media”" •  “We believe that a systematic use of large-scale analysis sustainability" Community/Social Media”) 
 Literacies”)" “ (Davidson, “21st Century 9" " SQL/mySQL" and interactive visualization of cultural data will become a 3" 19" " “What is interaction design?” (Mazalek, “Principles of • algorithmic" humanities research in the coming •  majorRosenzweig, “Can History be Open Source?” (Price,7" •  Apr 22: Thein “R. trend Networked Book (Fitzpatrick, “digital media Interaction Design”)" http://www.flickr.com/photos/alive_at_now/4255059444 decades.” (Manovich, “Theories of Media and New Media”)" / theory”)" History”" “Hacking
  • 66. DH: Tools and Topics Key Concept: Data and More Terms I Expected to See & Technologies Taught in DH Interaction
 Openness Key Concept: Network" " Copyright" Database" Of…" Courses" Term" Term" Frequency" # Uses" #Courses" argument" xml" 107" 54" 19" statistics" TEI" 59" 50" •  “Ability to assess digital data for preservability” (Salo, “Digital 15" programming" survey the •  curation”)
 9832B is a studiodigital humanities, internet 16" •  “The course as Innovation: distributed cooperation (what47" “Openness will canʼt Omeka" •  “History 51" course on interactive exhibit "history, network society…”“IntroductionMyers, “Seminar in be coordinated?)” (Kelty, (Tullos and to Openness”" representation" •  “Our goal forthis course is to build a database-driven PHP"Scholarship historians.” Studies”)
38" design in public Digital and Media (Turkel)
 32" 5" interpretation" " •  " “How does interactive, do-it-yourself open source remix28" website” (Quamen, “Technical Approaches & Concepts”)
 11" Zotero" 35" • accessibility"INTERACTIVE FICTION (Sample, “textual 14" WEEK 4 // •  "“Tuesday, change what constitutes (Rheingold, property? 1" potential October 26 (Networks)” intellectual “Virtual Perl" 24" media”" •  “We believe that a systematic use of large-scale analysis sustainability" Community/Social Media”) 
 Literacies”)" “ (Davidson, “21st Century 9" " SQL/mySQL" and interactive visualization of cultural data will become a 3" 19" " “What is interaction design?” (Mazalek, “Principles of • algorithmic" humanities research in the coming •  majorRosenzweig, “Can History be Open Source?” (Price,7" •  Apr 22: Thein “R. trend Networked Book (Fitzpatrick, “digital media Interaction Design”)" decades.” (Manovich, “Theories of Media and New Media”)" theory”)" History”" “Hacking
  • 67. DH: Tools and Topics Key Concept: Data and More Terms I Expected to See & Technologies Taught in DH Openness Key Concept: Network" Copyright" Database" Of…" Courses" Term" Term" Frequency" # Uses" #Courses" argument" xml" 107" 54" 19" statistics" TEI" 59" 50" •  “Ability to assess digital data for preservability” (Salo, “Digital 15" programming" survey the digital humanities, internet canʼt •  curation”)
 •  “The course as Innovation: distributed cooperation (what47" “Openness will Omeka" 51" 16" "history, network society…”“IntroductionMyers, “Seminar in be coordinated?)” (Kelty, (Tullos and to Openness”" representation" •  “Our goal in this course is to build a database-driven PHP"Scholarship and Media Studies”)
38" 32" 5" Digital interpretation" •  " “How does interactive, do-it-yourself open source remix28" website” (Quamen, “Technical Approaches & Concepts”)
 11" Zotero" 35" •  "“Tuesday, change what constitutes (Rheingold, property? 14" accessibility" potential October 26 (Networks)” intellectual “Virtual 1" Perl" 24" •  “We believe that a systematic use of large-scale analysis sustainability" Community/Social Media”) 
 Literacies”)" “ (Davidson, “21st Century 9" and interactive visualization of cultural data will become a 3" SQL/mySQL" " algorithmic" 19" •  majorRosenzweig, “Can History be Open Source?” (Price,7" •  Apr 22: Thein humanities research in the coming media “R. trend Networked Book (Fitzpatrick, “digital decades.” (Manovich, “Theories of Media and New Media”)" theory”)" History”" “Hacking
  • 68. DH: Tools and Topics Key Concept: Data and More Terms I Expected to See & Technologies Taught in DH Openness Copyright" Database" Of…" Courses" Term" Term" Frequency" # Uses" #Courses" argument" xml" 107" 54" 19" statistics" TEI" 59" 50" •  “Ability to assess digital data for preservability” (Salo, “Digital 15" programming" Innovation: distributed cooperation (what canʼt • curation”)
 “Openness as Omeka" 51" 47" 16" " representation" be coordinated?)” (Kelty, “Introduction to Openness”" •  “Our goal in this course is to build a database-driven PHP" 38" 32" 5" interpretation" •  “How does interactive, do-it-yourself open source remix28" website” (Quamen, “Technical Approaches & Concepts”)
 11" Zotero" 35" " accessibility" potential change what constitutes intellectual property? 14" •  “We believe that a systematic use of large-scale analysis 1" Perl" sustainability" “ (Davidson, “21st Century Literacies”)" 24" 9" and interactive visualization of cultural data will become a 3" SQL/mySQL" algorithmic" 19" • majorRosenzweig, “Can History be Open Source?” (Price,7" “R. trend in humanities research in the coming decades.” (Manovich, “Theories of Media and New Media”)" “Hacking History”"
  • 69. DH: Tools and Topics Key Concept: Data and Terms I Expected to See More Technologies Taught in DH Database" Of…" Courses" Term" Term" Frequency" # Uses" #Courses" argument" xml" 107" 54" 19" statistics" TEI" 59" 50" •  “Ability to assess digital data for preservability” (Salo, “Digital 15" programming" curation”)
 Omeka" 51" 47" 16" " representation" •  “Our goal in this course is to build a database-driven PHP" 38" 32" 5" interpretation" website” (Quamen, “Technical Approaches & Concepts”)
 11" Zotero" 35" 28" " accessibility" 14" •  “We believe that a systematic use of large-scale analysis 1" Perl" sustainability" 24" 9" and interactive visualization of cultural data will become a 3" SQL/mySQL" algorithmic" 19" major trend in humanities research in the coming 7" decades.” (Manovich, “Theories of Media and New Media”)"
  • 70. DH: Tools and Topics Terms I Expected to See More Technologies Taught in DH Of…" Courses" Term" Term" Frequency" # Uses" #Courses" argument" xml" 107" 54" 19" statistics" TEI" 59" 50" 15" programming" Omeka" 51" 47" 16" representation" PHP" 38" 32" 5" interpretation" Zotero" 35" 28" 11" accessibility" 14" Perl" 24" 1" sustainability" SQL/mySQL" 19" 9" 3" algorithmic" 7"
  • 71. DH: Tools and Topics Technologies Taught in DH Courses" Term" Frequency" #Courses" xml" 107" 19" TEI" 59" 15" Omeka" 51" 16" PHP" 38" 5" Zotero" 35" 11" Perl" 24" 1" SQL/mySQL" 19" 3"
  • 72. Public Digital Tools
  • 73. Public Digital Tools Content Omeka,Collections Mangement Pinterest Systems Multimedia/Story-telling Digital Storify, iMovie StorytellingFund-raising Viral Marketing Kickstarter
  • 74. Public Digital Tools Content Omeka,Collections Mangement Pinterest Systems Multimedia/Story-telling Digital Storify, iMovie StorytellingFund-raising Viral Marketing Kickstarter
  • 75. Public Digital Tools Content Omeka,Collections Mangement Pinterest Systems Multimedia/Story-telling Digital Storify, iMovie StorytellingFund-raising Viral Marketing Kickstarter
  • 76. Public Digital Tools Content Omeka,Collections Mangement Pinterest Systems Multimedia/Story-telling Digital Storify, iMovie StorytellingFund-raising Viral Marketing Kickstarter
  • 77. Public Digital Tools Content Omeka,Collections Mangement Pinterest Systems Multimedia/Story-telling Digital Storify, iMovie StorytellingFund-raising Viral Marketing Kickstarter
  • 78. Public Digital Tools Content Omeka,Collections Mangement Pinterest Systems Multimedia/Story-telling Digital Storify, iMovie StorytellingFund-raising Viral Marketing Kickstarter
  • 79. Public Digital Tools Content Omeka,Collections Mangement Pinterest Systems Multimedia/Story-telling Digital Storify, iMovie StorytellingFund-raising Viral Marketing Kickstarter
  • 80. Public Digital Tools Content Omeka,Collections Mangement Pinterest Systems Multimedia/Story-telling Digital Storify, iMovie StorytellingFund-raising Viral Marketing Kickstarter
  • 81. Public Digital Tools Content Omeka,Collections Mangement Pinterest Systems Multimedia/Story-telling Digital Storify, iMovie StorytellingFund-raising Viral Marketing Kickstarter
  • 82. Disability History Pinterest
  • 83. National Heritage Day Storify
  • 84. Everhart Museum Kickstarter
  • 85. Tools Topics StyleThe Humanities Digital Humanities Public Humanities Open Humanities
  • 86. Why go digital?
  • 87. Why go digital?It’s therealworld!
  • 88. Why go digital?Itdemandsrigor
  • 89. Why go digital?It is openand public:“a utopiancore”
  • 90. Why go digital?It allowsanddemands amorecomplexview ofcommunity
  • 91. Why go digital?Sarah Morris, UT-Austin
  • 92. Why go digital? It has a maker, collabor- ative mentalitySarah Morris, UT-Austin
  • 93. Why go digital?
  • 94. Why go digital?It’s wherethe jobsare.
  • 95. Public Digital Humanities
  • 96. Digital Public Humanities
  • 97. Digital Public Humanities NKS! THA