3. Digital Humanities:
(strenuously resists being defined!)
(see slides from Workshop #1)
Alt. def.: using computers to do things
which would be difficult for scholars to
do, which allows scholars to do things
that computers can’t do.
"If We (Profs) Can Be Replaced by a Computer Screen, We Should Be!”
5. What is the difference
(“produce” vs. “display and disseminate”?)
6. Why does the
digital humanities and
7. • Individuals and bodies whom you
encounter or work with may have opposing
perspectives on the definitions.
• Whether you present your project as DH
or as multimodal scholarship may be
significant in terms of funding.
• You may want to adapt a fluid self-
presentation that allows you to cast
yourself as either, depending on the
8. How does your understanding
of your work differ from the
way that others understand it?
10. What are the components of
the objects you work with?
• Book: words, pages, author(s), editor(s), publisher(s),
reader(s), physical edition(s), digital editions, reader
• Performance: sound/video file, performer, venue,
13. Components of
• an objective (a goal or a question)
• benefit (for you? for others?)
• concrete outcome
16. How else might I find
Almost anything you care about
can become a project, if you
commit to it.
17. Ideation Questions (Round Two):
• Are there any existing projects that do anything
similar to what you want to do?
• What is the legal status of the material that you
• What kind of access do you have to these
• What would be the smallest version of this project
possible? (i.e., proof of concept)
18. Ideation Questions (Round Three):
What will it take to make this happen?
• What skills are involved?
• What are my real strengths, and where
might it be better to collaborate with
• Who will you need to work with?
• How long do you anticipate this project
19. Ideation Questions (Round Four):
Publishing your practice
• Could you produce your project in a more
traditional format for your discipline? (e.g., an
essay?) How would your project provide different
coverage than a traditional argument?
• How does your planned project intersect with
what other people are doing?
• How can I share my process? To what extent and
for what reasons do I want to do so?
• What makes this a DH -- or multimodal -- project?
20. The life of your project
is in the way that
(other) people use it.
25. Balancing a DH project with a
graduate degree program
• Consider how and whether you
want to position your project
within the boundaries dictated
by your program and its degree
26. Balancing a DH project with a
graduate degree program
•Identify the people who are overseeing and
evaluating the work you do on your project.
•Meet with those people to discuss the
practical aspects of your project’s running
(adapted from Amanda Visconti’s “Five Tips For Getting Started On A Digital Humanities Dissertation”)
28. Project management
• creating and maintaining a schedule
• knowing your own skills
• being aware of and making use of resources
• having a realistic conception of all of the
29. Scheduling tips
• Develop granular goals.
• Make your schedule for increments of time
that work for you.
• Assess how well the schedule is working,
and adapt it as needed.
30. Know yourself
• What types of work do you have the most
• What types of work do you find
• What aspects of collaboration do you
embrace? What aspects do you struggle
BE HONEST ABOUT YOUR ABILITIES.
38. Stay tuned for our next workshop!
Saturday, May 4, 9:30a.m.-1:00p.m.
Available Tools: Free, Cheap, and Premium
• Finding tools, and deciding when they’re worth buying.
Thanks to our sponsors!