From the GitHub repository:
Humaniformat is a human names parser for R. With it, you can parse names, distinguishing salutations, suffixes, and first, middle and last names. Humaniformat recognises compound last names (and preserves them) from a wide range of cultures, although the name format itself is somewhat Western-centric (it assumes, for example, that first name comes before last name, which is not always the standard).
See the GitHub repository here
The following is a version of the talk I gave as part of a panel at ALA sponsored by the Women and Gender Studies Section of ACRL and organized by Heather Tompkins (Carleton College). The title of the panel was “Digital Humanities and Libraries: Power and Privilege, Practice and Theory,” and included Jane Nichols, Elvia Arroyo-Ramirez, and Megan Wacha.
Thank you, Heather, and the Women and Gender Studies Section for inviting me to be here on this panel. I want to start out by noting that the title of the panel is “Digital Humanities and Libraries” – but what I am here to talk about today is actually digital humanities and librarians.
First, I’m going to assume that you all have a basic understanding of the digital humanities, and Jane’s done a fantastic job of explaining the type of work that gets done in this area, so I’m not going to get into the definitional question. I will say that a lot of my talk is based on an understanding that there is a great deal of overlap in the kind of scholarship that digital humanists are doing and activities that are based in the library. My talk will also focus exclusively on U.S. librarianship, though I am interested in learning how this relationship takes shape in other countries.
Read the full post here: Reproducing the Academy: Librarians and the Question of Service in the Digital Humanities | Roxanne Shirazi
From the announcement:
This person is responsible for, or will assist with, supporting the College of Arts & Humanities’ Center for Humanities & Digital Research (CHDR) digital infra-structure along with various CHDR initiatives, including the conceptualization, design, and implementation of faculty digital humanities (DH) projects; the submission of federal and other grants to support new research; the development of DH skills workshops for faculty and students; and, as needed, the support of undergraduate and graduate student projects. The successful candidate will also be expected to communicate effectively with other technical staff, and will work on digital collaboration between the humanities and other disciplines. The position is pending budgetary approval.
Find out more: Specialist, Computer Research
Museums are in the business of metadata. Behind the galleries of every great museum is a meticulously organized card catalog, file cabinet, or collection database being reshaped and repackaged for digital appetites. The museum collection is both a means and an end; the museum exists to seek out and display works, but also to act as their final resting place.
The collecting does not stop with artworks, artifacts, and specimens. With each object acquired, there is an explicit and implicit type of collecting occurring; the acquisition of the object itself, and the collection of contextual information surrounding that object. For every painting, vase, or diorama of wooly mammoths within a museum’s repository, there are accession forms, provenance documentation, and catalog records that describe their significance. This object metadata–that is, the data that describes the objects–is just as valuable to researchers as the objects themselves. Metadata provides insights to an object’s previous history, ownership, and valuation. Metadata takes an intriguing, but otherwise mysterious artifact and helps unlock its secrets.
It is not enough to collect anymore. We must also share.
No matter how altruistic in intention, collecting also carries the stigma of gate-keeping, or worse, hoarding. In the not-too-distant past, a museum’s worth laid in the exclusivity of its content. As the concept of the museum evolved, it took on the role of an institution of learning, but was still very much grounded in terms of physical access.
This well-intentioned, but restrictive access made sense in the analog age: how else would you learn about the provenance of a piece of artwork than come and consult the yellowed provenance papers in person? This sort of control starts to seem absurd in the digital age, though, and museums have been well aware of this conundrum as they continue to amass collections data and seek new ways of sharing it.
Source: Dealing With Data in Museums.
This article considers two digital assignments for courses at The Graduate Center, The City University of New York. In one, students developed digital site reports in the form of individual websites about archaeological sites in the Greco-Roman Near East and Egypt (Art and Archaeology of the Greco-Roman Near East and Egypt, Spring 2013), and in the other (Islamic Art and Architecture, Spring, 2014), students published digital essays about works of Islamic Art for the course website on the CUNY Academic Commons, some of which are in the process of being published on Smarthistory at Khan Academy, which is one of the most popular art history websites in the world. By assigning these projects I sought to support and mentor MA and PhD students to develop a range of digital skills including basic website building and using images in publications and online. I also wanted the students to develop a writing style that enables them to convey their academic findings to the larger public and to value public engagement and scholarship. The possession of strong digital skills is proving vital for young scholars to win grants and jobs in a highly competitive academic environment. This article focuses on the challenges, successes, and failures of integrating digital technology in the teaching of archaeology and art history in order to prepare graduate students to be active and successful contributors in these fields. Appendixes A – G include links to the syllabi, digital project overviews, digital portfolio guide, and grading rubrics that were used in the courses.
Read More: Transforming the Site and Object Reports for a Digital Age: Mentoring Students to Use Digital Technologies in Archaeology and Art History