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NYU #nycdhweek workshops a great success!

#nycdhweek word cloud

Word cloud of tweets with #nycdhweek hashtag.

NYU Digital Scholarship Services participated in the first annual NYCDH Week, a week-long celebration of all things digital humanities in New York City, February 8-12, 2016.

NYCDH Week, organized by the New York City Digital Humanities Group, offered open workshops across the city, networking sessions, a meeting of the DH community, and of course social events.

The 6 NYU workshops for NYCDH Week were a great success, covering topics such as Omeka, social media scraping for qualitative research, APIs for humanities research, and an introduction to working at the command line. We had 84 total attendees representing every school at NYU as well as the larger NYCDH community.

A few quotes from workshop instructors:

The event succeeded in helping attendees feel more comfortable with the command line, and also demonstrated several ways this tool can be incorporated in research projects.

In the Social Media Scraping workshop, attendees used NCapture and NVivo and learned methods to incorporate the context from web pages, online PDFs, and social media into their research design.

Keep an eye out on this space, subscribe to liblink, and to the NYUDH group to learn about upcoming workshops and other events.

Digital Scholarship Services team featured in NYU Libraries’ Progressions magazine

NYU Digital Scholarship Services team

With the fitting title “Library Services go Way Beyond the Website,” the fall/winter 2015-2016 issue of NYU Libraries’ Progressions magazine features the work of Digital Scholarship Services. Check out the 2-page spread with pictures of the DSS team and a description of some of the work we’re doing.

Celebrating NYCDH Week, February 8-12, 2016


Come celebrate NYCDH Week 2016 with NYU Digital Scholarship Services and the rest of the NYCDH community!

DHWeek is a week-long celebration of all things DH in New York City that includes networking sessions, a meeting of the DH community, open workshops offered across the city, and of course social events.

That week, we are offering 5 workshops at  Bobst Library. Registration is required so sign up now.

Introduction to Omeka

Omeka is a free, flexible, and open source web-publishing platform for the display of library, museum, archives, and scholarly collections and exhibitions. This workshop will explain the basics of why and when to use Omeka and include a walkthrough of how to use Omeka to manage online collections and create digital exhibitions.

Date: Monday, February 8, 2016
Time: 10:00am – 12:00pm
Location: Bobst Library, Rm. 619, 6th Floor

Advanced Omeka

Building on the Introduction to Omeka workshop, this workshop will show you how to gain greater control of your Omeka installation. Participants will learn the difference between different deployments of Omeka, how to manage your own hosted Omeka installation, and how to use plugins, themes, HTML, CSS, and PHP to customize your collections and exhibitions. Some familiarity with web file transfers, web design, and content management system administration is recommended.

Date: Monday, February 8, 2016
Time: 1:00pm – 3:00pm
Location: Bobst Library, Rm. 619, 6th Floor

Public Participation in Humanities Research: Using APIs and Crowd Sourcing Platforms (Intro level)

Participants will learn how to use Internet Archive’s API to pull a set of documents from the web. They will then test a hypothesis by loading those documents onto a crowd sourcing website and asking others to answer questions about those documents.

Note: You must bring your own laptop with Vagrant and Virtual Box pre-installed. (Instructions on sign-up page)

Date: Monday, February 8, 2016
Time: 1:00pm – 3:00pm
Location: Avery Fisher Center, East Room, 2nd Floor

Intro to the Command Line

Learn how to use the command line to perform basic tasks. We’ll begin by discussing why humanists would want to learn something so technical, then jump into learning how to create and edit files and directories. Knowledge of the command line can be applied in many contexts, including several of the other workshops offered this week!

Date: Wednesday, February 10, 2016
Time: 3:00pm – 5:00pm
Location: Bobst Library, 613, 6th Floor

Social Media Scraping for Qualitative Research (Introductory Level)

This workshop will introduce the basics of using small-scale web scraping of social media for qualitative analysis. Using NCapture, a web browser extension, and NVivo, a qualitative analysis software package, this session will focus on methods to incorporate the context from web pages, online PDFs, and social media into your research design. Presenters will provide detailed examples for importing and coding Facebook and Twitter data using the NVivo software platform. In addition, discussions may include topics such as collecting, storing, and reporting social media data as academic researchers. Brief overview of aims of Qualitative Research and NVivo Software will be provided. Please note that this workshop will not cover larger data sets and web scraping using tools like Python or R.

Introductory level.

Date: Thursday, February 11, 2016
Time: 1:00pm – 2:30pm
Location: Bobst Library, Rm. 617, 6th Floor


The year behind, the year ahead

DSS flyerThe DSS team recently completed our annual report for 2014-2015 and wanted to share a recap.  As a still-new department (in only our second full year) we continue to expand, explore, and test new services. We also like to respond to new opportunities. This past year provided good examples on all those fronts.

Expansion of services

Digital Scholarship Services was created in 2013 to support a wide range of activities by NYU researchers (including, but not limited to, Digital Humanities.) We are a small group: only one full-time staff member, with four others contributing part of our time, amounting to about 2 FTE. We support NYU’s institutional repository, the Faculty Digital Archive; provide guidance on digital publishing, website creation, copyright, and project management; and offer training in Digital Humanities tools and methods. A crucial element of our service model is to “connect the dots,” ensuring that our patrons find the help they need when their projects require support from other groups in the Libraries and NYU IT. Our most frequent service partners are Data Services, Digital Library Technology Services,  and the Digital Studio.

We track the number of researchers with whom we meet, the services they need, how we helped, and to whom we referred them. These statistics help us demonstrate not only what we’re doing but also what we cannot yet do–the gaps in our service portfolio. Having such data means we can demonstrate the need for new tools and (we hope) for new colleagues to help us support them.

This year we held 96 consultations–a 30% increase over the previous year. Of those,  65% were faculty and graduate students (34 and 29 consultations respectively), and the rest were library colleagues, administrators, post-docs, and undergrads. The pie chart below shows the range of these researchers’ interests (click to enlarge).

Research activities discussed.

In our first year as a team, we did a lot of “in-reach,” meeting with colleagues throughout the Libraries to ensure they understood and could refer patrons to our new services. The 30% rise in consultations suggests the previous year’s in-reach worked, so in this past year we emphasized outreach, by creating a flyer (see above), and this web site, plus doing considerable promotion for events (on which more below).

New opportunity

Early in Fall 2014 we learned that we would share with NYU’s Graduate School of Arts and Sciences in a grant from the Polonsky Foundation to support graduate student internships in Digital Humanities. We were asked to organize training for the interns, and produced a series of nine workshops and four public lectures by the visiting instructors, Molly O’Hagan Hardy, Miriam Posner, Mark Algee-Hewitt, and Jennifer Guiliano. All the Polansky workshops were fully enrolled (average attendance 12) and the lectures audiences averaged 40 people. During the year we also offered eight other workshops and one public talk, equally well-received.

These events were an excellent way to provide hands-on training on a wide range of digital scholarship tools and methods, and promoting them had the extra benefit of  spreading the word about our services.

Pilot projects

Whiskey Rebellion screenshot

One of the gaps that emerged in our first year of service was the open-source content management tool Omeka, which enables the creation of web exhibits of digital objects, with associated timelines and maps. Having shown last year that a number of patrons wanted to use it, this year we ran a pilot project to test how we would support it and whether that support could scale. A related project was to investigate a web hosting service for Omeka and WordPress (for sites more complex than our university-wide service, on which this blog runs).  We concluded that rather than locally hosting such tools for the many potential NYU users, we should work with a vendor who could provide one-click access to the software on servers the vendor manages.

The year ahead

In the year just begun we’ll be piloting that service, testing whether the vendor can integrate with our campus authentication log-in service and trouble-shooting installation or other problems. Our team will continue to advise our users on managing projects, creating metadata, rights concerns, and so on.

A related need that has emerged is to provide server space that’s essentially an empty box for those who want a sandbox space to install software, test it, and learn. In the past year we documented the user needs and investigated scalable options for meeting them. In the year ahead we will define and pilot a service model that can be offered through cloud servers, with support from NYU IT.

Our other goals for the year include working more closely with Educational Technology colleagues in each of NYU’s colleges, upgrading our institutional repository software, and participating in planning NYU’s next-generation repository services. Beyond NYU, we are tracking issues such as providing access to humanities data and the emergence of standards for evaluating digital scholarship for promotion and tenure.

We have plenty to keep us busy! And we’ll continue to share news as our work evolves.

Introduction to Project Development with Jennifer Guiliano

Today we learned about project development from Jennifer Guiliano, Assistant Professor in the Department of History, Indiana University-Purdue University Indianapolis. Guiliano’s concept of project management hinges on communication. If you have a great project but can’t communicate about it, it won’t be successful. Every good project has a good question, problem, or provocation; an analytical activity; an audience; and concrete products.

What’s a project?
  • a sequence of related activities
  • derived from a question, issue, or problem
  • that requires the development of resources
  • and requires an audience and/or other participants
  • and results in a product

(NB: a dissertation is a project!)


Guiliano asked us “What is your question, problem, or provocation?” and helped us to explain and clarify our research topics (“How would you explain that to an 11 year old?”). She also urges us to be as explicit and succinct as possible because grant and job applications frequently limit the number of characters you can use in your submission.

Interdisciplinary Work

What kind of difficulties do you envision as you work in an interdisciplinary space? Imagine future questions/criticism from scholars in other disciplines, fields, or areas of specialization. Your answers to this question should be included in your research outputs (dissertation, book, articles, presentations, etc.). This will make your work stronger and less open to critique from scholars outside your specialized research area.


Key at the outset of a project is to identify the significance of your project and communicate that clearly to multiple audiences. Answer these questions: How does your project contribute to a particular discipline or field? How does it contribute to the humanities more generally? What is the impact of your research? Why and how is your research innovative? Guiliano also recommends communicating your research topic to the larger scholarly community early on in order to tell people about what you’re working on and possibly discover other scholars working in related areas.


Guiliano says that failure is an option in the digital humanities. You learn so much from failure; it helps you and other scholars know what to work on next or what just simply doesn’t work.


Lay out your objectives in order to have conversations with other project members (stakeholders, dissertation advisors, collaborators, etc.). Ask yourself: “What constitutes success for my project?” You may have individual objectives and group objectives, and that’s OK as long as they’re not in opposition to each other.

Working with Data

How do you get data? Go to for federal government data including census data; to analyze content on JSTOR, visit Jstor Data for Research; use ARTstor for image data (if your institution subscribes — NYU does). Plus, remember that your librarian can help you find and acquire data, including from licensed resources. Guiliano suggests that you keep two copies of your data: an original/archival form plus a working copy. You need to be able to go back to the original. Other tips:

  • work in non-proprietary file types (e.g., .txt not Word; .jpg or .tif)
  • keep a list of where you got your data, contact info, and license or rights issues about reuse and publication
  • don’t keep copies only on your local machine – keep data and work in progress somewhere else. Keep multiple backups: in the cloud, on external hard drive, and email copies to a friend for safe keeping just in case.
Sharing the Products of your Research

Make the most of your scholarship by sharing what you’ve done and getting credit for it on your CV. For example: blog posts, press releases, twitter/social media, websites, apps, books, articles (peer-reviewed vs. non), presentations,  lessons and guides, etc. You can present all the activities around a research project on your CV as a “portfolio” of activity. This is especially important for early-career professionals. Then track the results of your products: set up a google search and a google scholar search to discover citations; track engagement via comments & visits to blog posts. Some tools: Twitter Archiving Google Spreadsheet TAGS v6; (for announcements); Google Analytics. Hootsuite is also helpful, but costs $$.

Make sure your products match the kind of scholar you want to be and how you want to be seen. This is a way to announce your expertise to the world; it’s easier to get a job if people already know your name and your work. Think about timing: talk about your work in the weeks leading up to a conference in your field; think about the academic calendar and whether or not people will be paying attention.

Branding can make a statement about your work, who it will impact, and how  you want to be perceived as a scholar. Guiliano even suggests we consider job titles; here’s a blog post she write a few years ago on the difference between being called a “project manager” and a “project developer”: Don’t Call Me.

Why Collaborate and How?

To share expertise. A team may consist of roles such as: a subject researcher, public humanities specialist, computational researcher, information specialist, project manager. A common staffing model:

  • Project Director (intellectual & strategic leadership)
  • Associate Director (development & outreach)
  • lead programmer (technical vision & day-to-day supervision)
  • programmers (hackers, coders)
  • systems administrator
  • graphic designer (logos, brochures, etc.)
  • website designer (CMS installs, custom sites, etc.)
  • curriculum specialist
  • etc.

When assembling a team thank about what kinds of things do you need done that you don’t know how to do yourself.

Where do team members come from? Your department, college and campus IT staff, library, , even other universities or other fields entirely.

How can you get potential collaborators to say ‘yes’? Find out what motivates them and what kind of research projects they’re interested in. Barter: your skills for theirs. Buy them a donut.


We wrapped up by talking about the value of work, giving and getting credit, and how not to be taken advantage of by creating agreements up front about roles, responsibilities, and credit. Guiliano is particularly concerned about the undervalued (and typically unpaid) work of people who have less power or are already underrepresented in the field. She is speaking tomorrow (1pm Bobst Library) on a related topic: Humanities Infrastructure versus the Digital Humanities: Confronting the Legacies of Intellectual Property, Resources, and Labor in the Academy.

Final References

For oh so much more on digital humanities, project development, data, teamwork, syllabi, grant writing,  etc., see DevDH.

To learn more about DH, consider attending HILT: Humanities Intensive Learning & Teaching.

This workshop was part of the spring 2015 Polonsky Foundation Graduate Student Workshops in Digital Humanities: Tools and Methods. Visit the NYU Libraries Digital Scholarship Services website and blog to learn about our services. To contact us, fill out our appointment request form or email us at We look forward to helping you with your digital projects.

DH DevOps: Core Skills and Foundations with Dennis Tenen

We storified our tweets for this one.

This workshop was part of the spring 2015 Polonsky Foundation Graduate Student Workshops in Digital Humanities: Tools and Methods. Visit the NYU Libraries Digital Scholarship Services website and blog to learn about our services. To contact us, fill out our appointment request form or email us We look forward to helping you with your digital projects.

Recap of the DH101 Workshop by Miriam Posner

At our DH 101 session, we had the great pleasure of learning from Miriam Posner, Coordinator and Core Faculty, Digital Humanities Program, University of California, Los Angeles. This workshop turned out to be a particularly reflective, even philosophical one. Miriam is interested in uncovering the typically unexamined actions, practices, assumptions, and decisions made over the course of a digital humanities project. She urged us to be more open and reflective when we talk and write about our projects, to explain the assumptions in our work and help our readers/users understand how and why decisions were made.

Here is Miriam’s DH101: A Highly Opinionated Resource Guide with links to all the resources discussed today and then some.

“What is DH?”

Miriam’s own preferred definition is “the use of digital tools to explore humanities questions.” She says “explore” rather than “answer” because she doesn’t want to be overly positivist and claim that digital methods give us one single interpretation of any humanities question. Miriam shared a list of project types—exhibit, digital edition, map, data visualization, text analysis, 3D imaging, multimedia narrative, timeline—and said that once you have a data set these can also be combined or layered.

When you’re considering a digital project, think about “sources, processes, and presentation.”

  • Sources: files, images, text, numbers, artifacts, etc.
  • Processed: what you do to the sources, for example organize, edit, enhance, digitize, quantify, etc.
  • Presented: visualized, mapped, made searchable or interactive, made web-accessible, etc.

We looked at examples of completed digital humanities, which can seem like “black boxes,” and asked how did they make that?”  Miriam showed us how to read about and investigate a project to understand how it was constructed, emphasizing the importance of making decisions thoughtfully. Miriam created How Did They Make That? to expose and explain the methods and technologies that went into the digital humanities projects presented on the site.


Data categorization is reductive and may not reflect the lived experience of the people who are reflected in the data. Miriam gives as an example the National Geographic’s The Changing Face of America, which presents photographs of people who self-identify as multiracial. We can see that the flexibility with which these individuals describe their own biracial identity conflicts with the rigid and limited choices offered by the US Census categories.

To illustrate how reductive metadata can be, we downloaded the metadata for the photographs in the Charles W. Cushman Photograph Collection at the University of Indiana. We then looked at the photos themselves and reflected on what can’t be captured in the metadata or what assumptions or perspectives are encoded in the metadata.

We then uploaded the Cushman metadata to Google Fusion Tables and explored many of the visualization options (maps, charts, etc.) to look at the data. (Note: staff at NYU Libraries Data Services can help you clean and visualize your data).

Text Analysis

As an introduction to text analysis, we explored the sample texts and tools available in Voyant Tools. Voyant includes tools for word cloud, keyword in context, frequency visualization for words, a customizable stopword list, the ability to load multiple data sets and compare them, and more. For output, you can create a link to your data within the tool, export your data to another analysis or visualization tool, download your analyzed data, etc. If you like this tool but want more control over the environment and your texts, you can download Voyant and run it on your own computer.

We touched on topic modeling, but didn’t get any hands-on experience. Instead we discussed our qualms about the process of topic modeling, which seemed to some to be an opaque process. Miriam suggested giving the aptly named Topic Modeling Tool a try.

Network Analysis

The basic process for creating a network analysis is to specify a question, find the data that stipulates the relations you want to depict, specify nodes and explore and analyze your data, and interpret your results. Like all data analysis processes, this is a very iterative activity.

We downloaded sample data from a survey and used Raw to visualize the relationships among the people surveyed. We then used Gephi, which Miriam warned us is a bit buggy, especially on a Mac. In fact some of us couldn’t even get it to open on our Macs! If you are having this problem, this blog post might help: How to fix Gephi on Mac OS & Windows.

We wound down the day by sharing what we plan to do with our new knowledge and skills.

To learn more about what notable scholars are doing in digital humanities, attend one of our upcoming public events:

♦ Miriam Posner on Head-and-Shoulder-Hunting in the Americas: Lobotomy Photographs and the Visual Culture of Psychiatry

Date: Thursday, May 28, 2015
Time: 1:00pm – 2:30pm
Location: Avery Fisher Center, Avery Room, 2nd Floor, Bobst Library

♦ Mark Algee-Hewett on Data and the Critical Process: Knowledge Creation in the Digital Humanities

Date: Thursday, June 4, 2015
Time: 1:00pm – 2:30pm
Location: Avery Fisher Center, Avery Room, 2nd Floor, Bobst Library

♦ Jennifer Guiliano on Humanities Infrastructure versus the Digital Humanities: Confronting the Legacies of Intellectual Property, Resources, and Labor in the Academy

Date: Tuesday, June 9, 2015
Time: 1:00pm – 2:30pm
Location: Avery Fisher Center, Avery Room, 2nd Floor, Bobst Library


This workshop was part of the spring 2015 Polonsky Foundation Graduate Student Workshops in Digital Humanities: Tools and Methods. Visit the NYU Libraries Digital Scholarship Services website and blog to learn about our services. To contact us, fill out our appointment request form or email us at We look forward to helping you with your digital projects.

Recap of our Workshop on Copyright in Digital Humanities

This copyright workshop, the third in our series designed specifically for graduate students interested in digital humanities, was taught by NYU Libraries’ April Hathcock, Scholarly Communications Librarian, and Monica McCormick, Digital Scholarly Publishing Officer.

(See their workshop notes with links to key resources.)

Before the workshop, students were asked to prepare by reading 3D Scanned Statue Copyright Debacle: How A University Got It Wrong. It tells about a legal challenge to an artist who was 3D scanning a sculpture that is over 400 (!) years old (and definitely not under copyright).

April Hathcock provided a brief introduction to copyright and shared Cornell’s grid on when things pass into the public domain. She explained that cultural heritage institutions like archives and museums can require that you ask them for permission to re-use or re-publish copyrighted works in their collections. But if they create a scanned reproduction of something that is in the public domain, that scan won’t be copyrightable.

If you’re using digital resources that were acquired or made available under a license, then your use is governed by the license and not by copyright. For example, NYU students using ARTstor are governed by the license that NYU Libraries signed in order to make ARTstor images available to the NYU community. Hathcock showed examples of usage restrictions in the licenses of ARTstor and of the UK National Gallery.

Hathcock then walked us through the four factors of fair use analysis and which kinds of uses weigh in favor of asserting fair use. To wrap up her portion of the workshop, she brought licensing, copyright, and fair use all together into a single workflow diagram for determining when to seek permission to use a copyrighted work.

Monica McCormick talked about publishing agreements and encouraged us to negotiate when we’re faced with a publishing contract. We looked closely at parts of two typical contracts and discovered that they required the author to sign away all rights in perpetuity to the publisher. The SPARC Addendum to Publication Agreement can be used as a template for negotiating a better publishing contract.

We also looked at the Creative Commons licenses which allow creators to make explicit how they want to share their online work with users. These licenses provide the copyright holder with a spectrum of options for giving users more or less permission of their works. As well, Creative Commons licenses do not preclude users asserting their fair use rights of a copyright holder’s material.

McCormick concluded the workshop with a discussion about collaboration and provided some examples of best practices developed by scholars for collaborative work. Interesting models include the Digital Humanities Best Practices (in draft), a  Collaborators’ Bill of Rights, and INKE’s very detailed document on attribution, shared authorship, joint IP, and more.

There is more information in the workshop document. And you can find lots of great information on copyright, fair use, and licensing on April Hathcock’s copyright research guide.

Visit the NYU Libraries Digital Scholarship Services blog to see the full list of workshops and public lectures. To contact us, fill out our appointment request form or email us at We look forward to helping you with your digital projects.

Bibliographic Metadata Lecture and Workshop Wrap-up

Last week, NYU Libraries hosted Molly O’Hagan Hardy, Digital Humanities Curator at the American Antiquarian Society. After giving a public lecture discussing some of the theoretical aspects of using bibliographic metadata in digital humanities projects, Hardy led a workshop the following day that taught graduate students some of the skills and methods for utilizing bibliographic metadata in their own research. The events marked a successful beginning to the Polonsky Foundation Graduate Student Workshops in Digital Humanities: Tools and Methods series, which is supported by a grant to the Graduate School of Arts and Science by the Polonsky Foundation.

On Thursday, April 2, 2015, Hardy gave a talk entitled “The Presence of the Past: Histories of the Eighteenth-Century Transatlantic Book Trade in the Digital Age.” During the talk she discussed how the digitization of early modern texts offers an encounter with temporal dislocation as new and old media meet. She examined how the presence of the past in objects that have been retained and remediated is at once foregrounded and elided in the digital moment. Using examples from the eighteenth-century transatlantic book trade as represented in library catalogs and content databases, Hardy gave examples of time’s traces in the archives and how such traces can be re-conceived or eclipsed in digital humanities projects, ultimately asking how dueling temporalities define scholarly practices of research on archival materials in the digital age.

The following day, Hardy led a workshop on Bibliographic Metadata for Digital Humanists. After explaining how extraction of metadata from online public access catalogs (OPACs) can be a powerful first step in creating a digital humanities project, she introduced different types of special collections and union catalogs and gave a brief overview of Machine-Readable Cataloging (MARC), the chief format for bibliographic information. The students learned how to use MarcEdit to transform catalog records into Dublin Core, CSV, and other formats useful for online exhibitions, visualization, and bibliometric analysis.

The workshops in the Polonsky Foundation Graduate Student Workshops in Digital Humanities: Tools and Methods series offer graduate students an intensive introduction to tools and methods for digital scholarship through day-long, hands-on sessions with experts in the field. Workshops will explore diverse approaches to research ranging from text markup and analysis to data visualization and mapping. Visit the Digital Scholarship Services blog to see the full list of workshops and public lectures.

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Spring 2015 Public Lectures in Digital Humanities

Polonsky Foundation Public Lectures in Digital Humanities

These events are open to the public; registration is not required. All workshops will be held in Bobst Library’s Avery Fisher Center. Attendees without an NYU ID card should enter at the guard’s desk in the library’s atrium.

Follow the links below for more information.

Molly O’Hagan Hardy: The Presence of the Past April 2nd, 5-6:30pm
With examples from the eighteenth-century transatlantic book trade as represented in library catalogs and content databases, Molly O’Hagan Hardy will examine time’s traces in the archives and how such traces can be re-conceived or eclipsed in digital humanities projects.

Miriam Posner: Head-and-Shoulder-Hunting in the Americas May 28th, 1-2:30pm
Between 1936 and 1967, Walter Freeman, a prominent neurologist, lobotomized as many as 3,500 Americans. In this presentation, Miriam Posner will detail her efforts to understand why Freeman was so devoted to this practice, using computer-assisted image-mining and -analysis techniques.

Mark Algee-Hewitt June 4th, 1-2:30pm
This talk explores the meaning behind the practical aspects of Digital Humanities analyses and probes the delicate balance we maintain as we apply the critical methodologies of the humanities to the algorithmically derived, statistically significant data that lies behind our results.

Jennifer Giuliano: Humanities Infrastructure versus the Digital Humanities June 9th, 1-2:30pm
This lecture will explore the ways in which digital humanities and its associated research projects have challenged the often-overlapping, but frequently problematic, technical and social architectures of the academy.

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