1. Estado del arte de las
Humanidades Digitales.
Proyectos de investigación
Gimena del Rio Riande (IIBICRIT-CONICET)
Pontificia Universidad Católica de Chile
28 de agosto de 2016

2. In the digital humanities, then, we are most
definitely at the crossroads, and indeed, we
have been here for some time. We occupy an
intersection between humanities disciplines,
with their traditional and developing interests
and concerns, and emerging new ways of
approaching those interests and concerns, and
from this convergence new directions emerge.
(Nelson, 2014)

4. • http://dh2016.adho.org/
• ‘Digital Identities: the Past and the Future’
• Main issue: diversity

5. • 902 participantes
• 10 españoles (uno no residente)
• 4 mexicanos (dos no residentes)
• 1 argentino
• 55% europeos (Alemania, Inglaterra, P. Bajos,
Bélgica)
• 35% EEUU y Canadá
• 10% resto del mundo

7. SIGs
• Audiovisual Data
• GO::DH Community of Interest
• GeoHumanities
• Linked Open Data
• Libraries and Digital Humanities

8. • Stylometry and Text mining
https://sites.google.com/site/computationalstylistic
s/projects/lee_vs_capote
• Infrastructures: https://de.dariah.eu/dariah-de-
english
• Archives: https://mila.ss.ucla.edu/
• Linked Open Data (semantic web):
http://postdata.linhd.es
• Modeling

9. DE LA HUMANIST COMPUTING A
LAS DIGITAL HUMANITIES

10. 1949

11. Charles Babbage- Luigi Federico
Menabrea- Ada Lovelace

12. The operating mechanism can even be thrown into action
independently of any object to operate upon (although of
course no result could then be developed). Again, it might act
upon other things besides number, were objects found
whose mutual fundamental relations could be expressed by
those of the abstract science of operations, and which should
be also susceptible of adaptations to the action of the
operating notation and mechanism of the engine. Supposing,
for instance, that the fundamental relations of pitched sounds
in the science of harmony and of musical composition were
susceptible of such expression and adaptations, the engine
might compose elaborate and scientific pieces of music of
any degree of complexity or extent (Lovelace en Menabrea,
1842).

13. Machine Translation
IBM
Index Thomisticus.
Roberto Busa
Computerized Concordance to
the Revised Standard Version
of the Bible John W. Ellison

14. • 1964: Literary and Linguistic Computing Centre (LLCC) University of
Cambridge
• 1965:Congreso U. Yale, Computers for the Humanities?
• 1966: Computers and the Humanities
• 1973: Association for Literary and Linguistic Computing (ALLC)
• A. Zampolli, Linguistica matematica e calcolatori
• 1980: Susan Hockey, A Guide to Computer Applications in the
Humanities
• 1987: Text Encoding Initiative
• 1998: Seminario permanente Humanist Computing (U. Virginia)
• 2001: Master in Humanist Computing

16. We define humanities as broadly as possible. Our
interests include literature of all times and countries,
music, the visual arts, folklore, the non-mathematical
aspects of linguistics, and all phases of the social
sciences that stress the humane. When, for example, the
archaeologist is concerned with fine arts of the past,
when the sociologist studies the non-material facets of
culture, when the linguist analyzes poetry, we may define
their intentions as humanistic; if they employ computers,
we wish to encourage them and to learn from them.
(Prefacio del número 1 de la revista Computers and the
Humanities, 1966: 1).

17. De la Humanist Computing a las DH
• 1990: primer sitio web (Berners-Lee)
• 1992: The World of Dante.
http://www.worldofdante.org/

18. A Companion to Digital Humanities

19. The real origin of that term [digital humanities] was in
conversation with Andrew McNeillie. […] Ray [Siemens]
wanted “A Companion to Humanities Computing” as that
was the term commonly used at that point; the editorial
and marketing folks at Blackwell wanted “Companion to
Digitized Humanities.” I suggested “Companion to Digital
Humanities” to shift the emphasis away from simple
digitization.
(Kirschenbaum, What is Digital Humanities…)

20. Hayles, N. K. (2011) How We Think: Transforming Power and Digital Technologies, in
Berry, D. M. (ed.) Understanding the Digital Humanities.
(…) changing to the term ‘“Digital Humanities”
was meant to signal that the field had emerged
from the low-prestige status of a support service
into a genuinely intellectual endeavour with its
own professional practices, rigorous standards,
and exciting theoretical explorations’.

21. A companion to DH (2004)
PART 1: History
• Lexicography
• Linguistics
• Literary Studies
• Music
• Multimedia
• Arts
http://www.digitalhumanities.org/companion/

22. PART 2: PRINCIPLES
• Databases
• Text Encoding
PART IV: ARCHIVES AND LIBRARIES

23. • Debates in the Digital Humanities (Gold, 2012)
• Digital_Humanities (Burdick, Drucker et al,
2012)
• Understanding Digital Humanities (Berry,
2012)
• Defining Digital Humanities. A reader (Terras,
Nyhan & Vanhoutte, 2013)

24. Manovich
November 17, 2010 ·
Question: is the term "digital humanities" used
in your country? It has been adopted in US and
UK.. Other places?

26. Digital Humanities

28. Let’s be honest—there is no definition of
digital humanities
Genealogía Metodologías Herramientas
Rafael Alvarado. 2011. The transducer.
http://transducer.ontoligent.com/?p=717

29. Manifiesto
París, 2010, ThatCamp
A) lo impreso no es ya el medio exclusivo
en el que el conocimiento es
producido, lo impreso es absorbido en
nuevas configuraciones multimedia
B) las herramientas, técnicas y medios
digitales han alterado la producción y
diseminación del conocimiento en las
artes, las humanidades y las ciencias
sociales.
C) Lo digital es el ámbito del “open
source”, de los “open resources”.
http://tcp.hypotheses.org/411

30. Debates
• Liu, Alan, 2012. “Where is cultural criticism in the
Digital Humanities?” Debates in the Digital
Humanities .
http://dhdebates.gc.cuny.edu/debates/text/20
Beyond acting in an instrumental role, the digital humanities can
most profoundly advocate for the humanities by helping to
broaden the very idea of instrumentalism, technological, and
otherwise. This could be its unique contribution to cultural
criticism

31. Indeed, I think that we need to further explore both
first and second wave digital humanities, but also start
to map out a tentative path for a third wave of digital
humanities, concentrated focus around the
underlying computationality of the forms held within a
computational medium (I call this the computational
turn in the Arts and Humanities)
Berry, David, 2011. “Digital Humanities: First, Second and Third Wave”
http://stunlaw.blogspot.com.ar/2011/01/digitalhumanitiesfirstsecondand.ht
ml

32. • Stephen Ramsay (U. Nebraska), 2011 Modern
Language Association Convention, “Who’s In and
Who’s Out”
“Do you have to know how to code? …I say ‘yes.’ …Personally, I
think Digital Humanities is about building things. I’m willing to
entertain highly expansive definitions of what it means to build
something…. If you are not making anything, you are not …a
digital humanist”

33. Franco Moretti
• Atlas of the European Novel, 1800–
1900 (1998)
• Graphs, Maps, Trees: Abstract Models for a
Literary History (2005)
• Distant Reading (2013)

34. Tomado del LitLab de la U. de Stanford.

36. I don’t know exactly how it happened (I suspect the creation of
the Office of Digital Humanities at neh played a role), but at
some point “digital humanities” broke free of its status as a
community label, and became a signifier both for a very broad
constellation of scholarly endeavors, and for a certain
revolutionary disposition that had overtaken the academy.
Media studies practitioners were digital humanists; people who
had devoted several decades to digital pedagogy were digital
humanists; cultural critics who were interested in Internet
culture were digital humanists (…) (Ramsay, 2012)

37. Dh Commons. http://dhcommons.org/

38. 1990-

39. http://www.corpusthomisticum.org/it

40. Perseus. http://www.perseus.tufts.edu/

41. Admyte. http://www.admyte.com/

42. Philobiblon. http://bancroft.berkeley.edu/philobiblon/

44. 2000-

45. 1996 and 2000 a consortium of European
universities
Advanced Computing in the Humanities
(ACO*HUM)
They include, for instance, parsing techniques in
computational linguistics, the calculus for
expressive timing in music, the use of exploratory
statistics in formal stylistics, visual search in art
history, and data mining in history.
http://dhdebates.gc.cuny.edu/debates/text/50

46. Codex Sinaiticus.
http://www.codexsinaiticus.org/en/

47. • http://www.e-codices.unifr.ch/
http://www.biblissima-
condorcet.fr
http://trame.fefonlus.it/
http://www.e-codices.unifr.ch/

48. La Visualización de datos
http://atlas.lib.uiowa.edu/

49. Mapping the Republic of Letters.
http://republicofletters.stanford.edu/index.html

50. Digital Humanities
≠ Humanidades Digitales

54. LAS HUMANIDADES DIGITALES

55. Un poco de historia
• Primeros proyectos
• 1970-1980
• BOOST: Bibliography of
• Old Spanish Texts

56. http://www.hispanicseminary.org/manual-es.htm

57. Francisco Marcos marín. Presente y futuro de la Filología
Electrónica en la recuperación de la colección Foulché-
Delbosc de la Biblioteca Nacional Argentina

58. • MARCOS MARÍN, F. (1986). “Metodología informática
para la edición de textos”. Incipit 6, 185-197.
• LUCÍA MEGÍAS, J. M. (1998). “Editar en Internet (che
quanto piace il mondo è breve sogno)”. Incipit XVIII,
1-40.

59. http://ble.chadwyck.co.uk/
Un poco de historia

60. 2011: DH AHORA HD

63. 22 de Julio de 2013
http://buenosaires2013.thatcamp.org/

65. Facebook: https://www.facebook.com/aahdArg
Grupo en FB: Asociación Argentina de Humanidades
Digitales (AADH).
Twitter: @aahdArg
Web: http://aahd.com.ar/
Email: hdigitales13@gmail.com

66. 2014-Argentina

72. ALGUNOS DE MIS PROYECTOS EN
HUMANIDADES DIGITALES

74. http://www.bieses.net/
Bieses

76. BASE DE
DATOS
TEI
Aspectos técnicos

77. Autor
Manuscrito
Referencias
Hismetca
Tipos
OBRA COMPLETA
Id_autor
Id manuscrito
Id bibliografía
Id Hismetca
Id creado por
POEMA
Id_obra
completa
Id_nombre
métrico
Id_tipos
Id_temas
Nombre
métrico de
poema
Temas
Bibliografía
Creado por
POEMA
Id_obra
completa
Id_nombre
métrico
Id_tipos
Id_temas
POEMA
Id_obra
completa
Id_nombre
métrico
Id_tipos
Id_temas
ReMetCa – Estructura BBDD

78. Material cedido por el Prof. Fradejas
Rueda, UVA y Archivo Iberoamericano de
Cetrería

81. POEM
Author
Title
Incipit
Manuscript
Post quem
Ante quem
Language
Topics
Edition
Online edition
Work
POEM
Isometrism
Isostrophism
Metrical scheme
Rhyme scheme
Rhyme
Musical notation
Number of
stanzas
Number of lines
Poetic form
Clases

82. A digital humanities center is an entity where new media and technologies are used
for humanities-based research, teaching, and intellectual engagement and
experimentation. The goals of the center are to further humanities scholarship, create
new forms of knowledge, and explore technology’s impact on humanities
based disciplines".
Diane M. Zorich, A Survey of Digital Humanities Centers in the United States, 2008

83. El Laboratorio de Humanidades
Digitales de la UNED. 2014
Innovación
e investigación
Información y Difusión
Formación Asesoría y servicios
tecnológicos

84. Summer Schools 2014-16

85. Red HD España Argentina

86. PoeMetCa. Recursos para el Estudio de la
Poesía y Métrica Medieval Castellana. 2015
http://poemetca.linhd.es/
•Knowledge network
•Knowledge environment

87. www.remetca.uned.es
http://dialogo.linhd.es/
PoeMetCa. http://poemetca.linhd.es/
http://www.realbiblioteca.es/gomez_manrique/
cancionero.html
http://www.clerecia.linhd.es/
http://www.poetriae.linhd.es
www.postdata.uned.e
s

88. PoeMetCa
• Ordenar
• Compartir
• Reciclar

89. Gómez Bravo. Repertorio.
http://poemetca.linhd.es/cancionero.php

91. dialogo.linhd.es

93. Conceptualización
Común. Ontología
Vocabulario
controlado
http://vocabularios.caicyt.gov.ar/pmc/
http://datahub.io/dataset/remet
ca-ontology

94. http://vocabularios.caicyt.gov.ar/portal/index.php?v=4

95. MHeDI, 2015
• CAICYT
•Área de Tecnología
Documental y DILA
•Investigadores CONICET
•Universidades Nacionales
•Centros Internacionales
•Infraestructuras
Internacionales

96. http://www.caicyt-
conicet.gov.ar/micrositios/mhedi/

97. 97
→Encuesta, localización de productos,
traducción, clasificación propia y creación de
vocabulario controlado y repositorio
TADIRAH y DIRT
•
Líneas de Actuación
Servicios e
Infraestructura
→Documentos metodológicos y herramientas
de marcación documental para entornos
virtuales de investigación en línea en forma
abierta y con garantías de preservación.
BUENAS PRÁCTICAS-HUMANIDADES
DIGITALES
Documentos
metodológicos
Marco de
verificación

98. Encuesta
http://philologia.hypotheses.org/756

99. Encuesta
https://es.surveymonkey.com/r/practicas_digitales

100. • Comunidad desarticulada
• Prácticas invisibles
• Objetos digitales efímeros
• Desconocimiento de uso de herramientas y
estándares
• Desconocimiento de líneas de trabajo en DH
• Proyectos de investigación
 Financiamiento, diseño y desarrollo (estándares)
• Evaluación (objeto-práctica)

101. http://vocabularios.caicyt.gov.ar/portal/?v=TAD

102. http://vocabularios.caicyt.gov.ar/portal/?v=TAD

104. www.dirtdirectory.org

106. Buenas Prácticas para la actividad y
producción científica en Ciencias Sociales y
Humanidades apoyada en metodologías y
prácticas digitales

109. http://commons.pelagios.org

110. UBA
• 2014: Seminario de grado (primer
cuatrimestre): Las formas métrico-estróficas
de las piezas gallego-castellanas del
Cancionero de Baena: una aproximación
filológica y digital
• 2016: Seminario de grado (segundo
cuatrimestre): La encrucijada de las
Humanidades Digitales: entre las prácticas de
lo digital y la reflexión crítica

111. Gracias!
@gimenadelr
gdelrio@conicet.gov.ar
http://linhd.uned.es/gimenadelrio/
http://www.iibicrit-conicet.gov.ar/

112. Para mañana…
• http://www.oxygenxml.com/xml_editor/down
load_oxygen_xml_editor.html (licencia
gratuita por 30 días; por favor, tengan en
cuenta si la máquina trabaja a 32 o 64 bit para
descargar la versión correcta del editor).
• Oxygen está basado en Java, así que, antes de
la instalación, será necesario tener Java
instalado
(https://www.java.com/es/download/).