“Like Morozov and Lanier, I find a similar Delusion, though one more academically minded, let’s call it the “DH Delusion.” The DH Delusion begins with a similar sort of cyber-utopianism. I remember the excitement of my first Digital History course in which it seemed not only possible, but probable that in a matter of years most scholarship would be produced in the digital medium. The Internet seemed to be promote the sort of intellectual freedom and scholastic democracy that could topple an oppressive and outdated structure of academia.”

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In sum, there’s a whole lot of new in the Digital Humanities, including what I think is already an extremely sophisticated intellectual move to cut through stale assumptions about old disciplinary boundaries, approaches to evidence, understandings of authorship, and more. The bits and bytes of the critical theory that Gibbs calls for is already happening, in my opinion, on numerous Twitter feeds, countless blogs, and at various conferences and un-conferences.

But even as we find ourselves experiencing the new, it’s just as worthwhile to locate Digital Humanities in relation to the old. For there is a return, a circling back, to pursue if we so choose. DH takes us back—in deeply illuminating ways—to age-old issues in various fields across the arts and sciences.

I have problems with the idea of infrastructure, particularly that of the e-research variety. It seems like we always end up talking about huge amounts of money and multi-institutional partnerships. It just doesn’t seem like a great model for innovation. As I’ve previously argued, I’d like to see something more like the funding schemes offered by the NEH Office for Digital Humanities. Encourage people with ideas, don’t just reward the good networkers. Build tools and apis, not portals and platforms.

Of course I’d still like to see the digital humanities well represented in the list of Virtual Laboratories and eResearch Tools currently under consideration by NeCTAR. It’s time the digital research needs of the humanities were properly recognised.

I want to talk about how the evolution of the forms of delivery and analysis of text inherent in the creation of the online, problematizes and historicises the notion of the book as an object, and as a technology; and in the process problematizes the discipline of history itself as we practise it in the digital present.

First, it has allowed us to begin to escape the intellectual shackles that the book as a form of delivery, imposed upon us.  If we can escape the self-delusion that we are reading ‘books’, the development of the infinite archive, and the creation of a new technology of distribution,  actually allows us to move beyond the linear and episodic structures the book demands, to something different and more complex.

Teaching historical empathy through gaming is an important area in digital media and learning, but collaborations between university professors and game designers aren’t always easy.  Nonetheless, UC San Diego Theater and Dance Professor Emily Roxworthy, who leads a National Endowment for the Humanities funded project about Japanese American  internment camps in the American South during World War II that also used resources from the San Diego Supercomputing Center to bring the action to life, argues that the challenges are well worth the rewards.