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Received today — 2026年8月4日

Universität Heidelberg: Research Data Engineer 100% E13 (w/m/d)

2026年8月3日 16:38

Heidelberg University is a comprehensive university with a strong focus on research and international standards. With around 32,200 students and 9,540 employees, including numerous top researchers, it is a globally respected institution that also has outstanding economic significance for the Rhine-Neckar metropolitan region.

The Heidelberg Center for Digital Humanities is one of Germany′s leading institutions in the fields of digital and computational humanities. Its key areas of focus are digital linguistics, digital heritage, and AI/machine learning. Thanks to its close ties with the Interdisciplinary Center for Scientific Computing (IWR), the HCDH pursues the computational humanities with particular intensity.

The Research Data Engineer full-time position (E13, 100%) for a term of 4 years, with the option to extend is available at the Heidelberg Center for Digital Humanities (HCDH) starting December 1, 2026 (or earliest possible).

Your responsibilities:

  • Bridging the gap between cultural heritage data and advanced computational research: Design and build data storage layers and data processing pipelines that enable our humanities researchers to create and analyze massive, heterogeneous datasets (including legacy data)—ranging from historical texts and archives to multimedia, 3D and spatial data
  • Research Collaboration: Act as the technical consultant for humanities scholars, translating complex research questions into viable computational and database requirements
  • Data Pipelines: Design, implement, and maintain scalable pipelines to ingest, clean, and harmonize diverse cultural heritage and other data and create interoperable datasets for research
  • Data architecture: Design, implement, and maintain data structures and connect to existing data storage layers and infrastructure
  • Semantic Web & Knowledge Graphs: Develop and optimize graph databases, ontologies, and semantic models (e.g., using RDF, OWL, CIDOC-CRM) to interconnect complex historical and cultural data
  • Tool Development & Automation: Build custom APIs, and scripts (primarily in Python) to automate data ingestion, text-mining, and natural language processing (NLP) workflows
  • FAIR and FAIR4RS principles: Collaborate with the Research Data Unit and Scientific Software Center and its Data Science Unit at the IWR, and the University Computing Centre (HPC and storage infrastructure)

Your profile:

  • Education & Background: Preferably a PhD, but MA/MSc are encouraged to apply
  • Soft Skills: Strong communication skills to effectively collaborate across interdisciplinary teams of software engineers and traditional humanities scholars
  • Core Tech Stack: Excellent knowledge of Python (plus libraries like Open3D, Pandas, SpaCy, or NLTK) and version control using Git, experience with Rust and/or PyTorch is a plus
  • Database & Semantic Web Skills: Strong experience with databases (e.g., Neo4j, GraphDB, NoSQL, SQL) and semantic web technologies (e.g., SPARQL, JSON-LD)
  • DH Standards: Ideally knowledge of text encoding standards (e.g., TEI-XML) and metadata schemas (e.g., Dublin Core, MODS, LIDO); desirable: Experience with working with humanities’ data
  • Independent and structured work style, ability to work in teams and to fixed timelines
  • Language requirements: Very good English language skills, desirable: basic German skills

We offer:

  • The opportunity to work at the cutting edge of digital and computational humanities using modern AI and data engineering methods
  • Work in an innovative environment with the opportunity of professional training and qualification in the emerging professional field of research data engineering
  • A highly collaborative, interdisciplinary, and international research environment
  • Support for active contributions to the Open Source and Digital Humanities communities
  • Excellent opportunities for independent research and further academic training
  • Flexible working hours and a good work-life balance; part-time remote work is possible
  • Opportunity for further training and building a professional network by participating in national and international conferences
  • A dedicated team that supports each other
  • Workplace in the very Center of Heidelberg Altstadt with good public transport
  • Access to university sports offers
  • Support for employee mobility through a subsidized Deutschlandticket

The position is a 4-year fixed-term position with the possibility of extension. Remuneration is based on the TV-L collective agreement (pay group 13). The position is suitable for job-sharing.

We look forward to receiving your application (in English), including the following documents: cover letter, CV including a project list, proof of academic degree, employment references and list of references (2-3 names and contact details), by 14 September 2026, sent to as a single PDF file via email to nele.schneidereit@uni-heidelberg.de (max. of 25 MB).

There will be a two-stage process, with online interviews taking place in the first half of October. We will invite the remaining candidates to an in-person interview on October 23. Please save the date.

Heidelberg University stands for equal opportunities and diversity. Qualified female candidates are especially invited to apply. People with severe disabilities will be given preference if they are equally qualified. Information on job advertisements and the collection of personal data is available at www.uni-heidelberg.de/en/job-market.

More Gender, Little Feminism: <em>Technology and Culture</em> and the Gendered Historiography of Technology, 1960-2025

2026年8月3日 18:00

Technol Cult. 2026;67(3):973-7. doi: 10.1353/tech.2026.a996506.

ABSTRACT

This article offers the first comprehensive review of women's contributions and gender-focused research in Technology and Culture (T&amp;C) from its early years through 2025. Using a mixed-methods approach that combines distant reading of digital publication datasets with qualitative mapping of milestones and turning points in the history of T&amp;C, the article examines how the gender composition of authors evolved over time, how this has influenced the journal's content, and what broader role feminist theory has played in shaping new scholarly directions in the history of technology. Findings reveal that while women authors and gender-focused studies have steadily increased in number, engagement with feminist theory followed a less linear trajectory. Early historians advanced feminist approaches that influenced fields such as feminist science and technology studies and feminist digital humanities. Yet the normalization of gender analysis within the history of technology did not produce a similarly consolidated feminist historiographical tradition. The article concludes by outlining possible directions for recovering a more explicit feminist historiographical and methodological conversation within the field and across adjacent interdisciplinary domains.

PMID:42544481 | DOI:10.1353/tech.2026.a996506

Received before yesterday

Julia Flanders Awarded Roberto Busa Prize

2026年8月1日 21:35
Julia Flanders has been awarded ADHO’s Roberto Busa Prize. Julia Flanders has spent over three decades building and sustaining the digital infrastructure that humanities scholarship depends on, most notably as director of the Women Writers Project since 2000. She is a founding editor and, since 2007, editor-in-chief of Digital Humanities Quarterly (DHQ), one of the… Read More »Julia Flanders Awarded Roberto Busa Prize

DH 2029 a Padova!

2026年7月31日 16:01

Padova ospiterà la conferenza internazionale Digital Humanities 2029

Padova è stata scelta come sede di DH2029, la conferenza internazionale annuale dell’Alliance of Digital Humanities Organizations (ADHO). L’annuncio è stato dato oggi, 31 luglio, durante DH2026, in corso a Daejeon, Corea del Sud.

La conferenza si terrà nel luglio 2029 e avrà come tema “From Cultural Data to Multilingual Knowledge Infrastructures”. La candidatura riunisce l’Università di Padova insieme alla comunità di AIUCD e alla rete internazionale delle Digital Humanities.

Un risultato di grande rilievo per l’intera comunità italiana. Congratulazioni al gruppo promotore, in particolare a Giorgio Maria Di Nunzio, e a tutte le persone e le istituzioni coinvolte!

L'articolo DH 2029 a Padova! proviene da AIUCD.

DHARTI Logo

2026年7月31日 22:28

A New Symbol, The Same Soul Every logo that comes to represent an institution carries within it a small history of deliberation, of choices weighed and set aside, and of a community deciding, together, what it wishes to be seen as. DHARTI’s new logo is one such mark, born of a collective process and now […]

Digital Humanities Summer School 2026 | Concept Note

2026年7月30日 00:04

Concept Note Undergraduate humanities education in India has historically trained students within single-disciplinary silos. The engagement in the field of humanities has transformed with the advent of the digital tools and the interlinked spaces, breaking disciplinary boundaries and connecting, overlapping teaching-learning and research. This summer school proposes to address the possibilities of the ever expanding […]

ADHO Announces New SIG, Interactive Digital Narratives (SIG_IDN)

作者khemka
2026年7月31日 06:20
The Alliance of Digital Humanities Organizations (ADHO) is pleased to announce the formation of the Special Interest Group for Interactive Digital Narratives (SIG_IDN). The new SIG brings together scholars, artists, designers, technologists, and creative practitioners working on interactive and computationally mediated forms of storytelling. Interactive Digital Narratives encompass works in which computation, interface, and user… Read More »ADHO Announces New SIG, Interactive Digital Narratives (SIG_IDN)

ADHO Welcomes the Hong Kong Association for Digital Humanities (HKADH) as a New Constituent Organization

2026年7月29日 17:35
The Association for Digital Humanities Organizations (ADHO) is pleased to announce that the Hong Kong Association for Digital Humanities (HKADH) has joined ADHO as its newest constituent organization. The Hong Kong Association for Digital Humanities (HKADH) is a non-profit, non-political scholarly organisation promoting digital humanities in the Hong Kong SAR. The Association is dedicated to… Read More »ADHO Welcomes the Hong Kong Association for Digital Humanities (HKADH) as a New Constituent Organization

ADHO announces the election of four new members to the Executive Board

2026年7月29日 17:19
We are delighted to announce that four new members will join the Executive Board (EB) of ADHO for three-year terms (2026-2029), beginning after the DH2026 conference. Thanks to everyone who applied for the positions. Chair-Elect – Eduard Arriaga-Arango, Chair and Associate Professor, Language, Literature, and Culture, Clark University, USA Deputy Secretary – Silvia-Adriana Tomescu, Research librarian, National University of Political Studies… Read More »ADHO announces the election of four new members to the Executive Board

DADH 2026 Call for Paper 延期至8月10日,歡迎投稿!

2026年7月30日 02:22

「第十七屆數位典藏與數位人文國際研討會(DADH 2026)」徵稿啟事
CFP: The 17th International Conference of Digital Archives and Digital Humanities (DADH 2026)

DADH 2026 Poster

時間:2026年10月31(六)~11月1日(日)
地點:國立中山大學

摘要截稿:7月31日(五) 延期至8月10日(一) 17:00 (任何時區)
審查通知:8月15日(六)
全文截止:10月2日(五)

歡迎踴躍投稿!
會議網站:https://sites.google.com/view/2026dadh/

Call for Hosts DHd2029

2026年7月29日 21:27

DHd20xx ist die jährliche, internationale Fachtagung der Digital Humanities im deutschsprachigen Raum (DHd, https://digitalhumanities.de) und die führende wissenschaftliche Konferenz für die Digital Humanities im deutschen Sprachraum (Vergangene Konferenzen: https://digitalhumanities.de/vergangene-konferenzen/). Der Fachverband Digital Humanities im deutschsprachigen Raum bittet nun um Bewerbungen um die Ausrichtung für die fünfzehnte Tagung (DHd2029). Da der Fachverband anstrebt, die Konferenz wechselnd in Deutschland und außerhalb Deutschlands zu veranstalten, freuen wir uns besonders über Bewerbungen von Einrichtungen aus dem deutschsprachigen Raum außerhalb Deutschlands.

Bisherige Konferenzen haben bis zu 650 Teilnehmer:innen aus dem deutschsprachigen Raum und angrenzenden Ländern angezogen. Die Tagungsprogramme sahen jeweils zwei Tage für Workshops und drei Tage für das Hauptprogramm bestehend aus Keynotes, parallelen Sektionen mit wissenschaftlichen Vorträgen, Paneldiskussionen, Posterpräsentationen und Doctoral Consortia vor. Die Einführung neuer Formate ist in Abstimmung mit dem Verband und dem Programmkomitee möglich.
Das wissenschaftliche Programm der Tagung wird durch ein vom Fachverband eingesetztes internationales Programmkomitee auf Grundlage eines Call for Papers und eines anschließenden Review-Verfahrens erstellt. Das Konferenzprotokoll des DHd-Verbands muss berücksichtigt werden (https://digitalhumanities.de/konferenzprotokoll/).

Die Tagung finanziert sich über Teilnahmegebühren und von der ausrichtenden Institution bereitgestellte oder über Partner:innen oder Sponsor:innen eingeworbene finanzielle Mittel. Die erhobene Tagungsgebühr ist mit dem Vorstand des Fachverbandes abzustimmen und soll vier Kategorien umfassen: reguläre und ermäßigte Mitglieder des DHd (letztere im Sinne der Regelung zur ermäßigten Mitgliedschaft im DHd-Verband) sowie reguläre und ermäßigte Nicht-Mitglieder des DHd.

Die Bewerbung um die Ausrichtung der DHd2029 soll umfassen:

  • einen Vorschlag für ein Tagungsmotto sowie zwei Terminvorschläge (bevorzugt im Zeitraum Februar bis März). Bei der Terminplanung soll auf potentiell konkurrierende Konferenzen, Semesterzeiten und Feiertage sowie Schulferien geachtet werden.
  • einen Überblick über die für die Konferenz bereitgestellte Infrastruktur (vor allem Tagungsräume für Workshops, AG-Sitzungen, parallele Sektionen und Plenarveranstaltungen)
  • Aussagen über die Unterstützung der Ausrichtung vor Ort (z.B. durch die Universitätsleitung)
  • eine Aussage über die Verwendung von Management- und Bezahlsystemen (das System Conftool ist dafür etabliert und soll zumindest für die Einreichungen genutzt werden)
  • eine Aussage über die Unterstützung der Publikation der Tagungsbeiträge in Kooperation mit dem Data Steward des DHd-Verbands
  • Angaben zur Erreichbarkeit des Tagungsortes (bzw. ggf. der Tagungsorte) und die Verfügbarkeit von Unterkünften (inkl. Preisschätzungen)
  • eine Einschätzung zu den Möglichkeiten einer teilweisen virtuellen Partizipation
  • Ideen für Social Events
  • Vorschläge zur Erreichung einer hohen Sichtbarkeit der Tagung
  • Maßnahmen zur Förderung von Nachwuchswissenschaftler:innen (inkl. Studierende)
  • eine vorläufige Kostenkalkulation und Vorstellungen über die Tagungsgebühr
  • ggf. Preiskonzept bei Planung einer vollständigen Hybridkonferenz
  • eine Erklärung, dass die Konferenz entsprechend der im Konferenzprotokoll dargelegten Bedingungen ausgerichtet wird.

Der Verband begrüßt Maßnahmen, die auf Inklusion und Minimierung des Ressourcen-Fußabdrucks abzielen.

Bewerbungen werden bis 31.10.2026 entgegengenommen (formlos per E-Mail an den Tagungskoordinator im Vorstand des Fachverbandes, Nils Reiter: nils.reiter@uni-koeln.de). Interessierte Ausrichter:innen werden gebeten möglichst frühzeitig, in jedem Falle aber vor Einreichung ihrer Bewerbung, mit Nils Reiter Kontakt aufzunehmen. Die Bewerbung sollte zehn Seiten möglichst nicht überschreiten. Die Vergabe der Tagung erfolgt durch den Vorstand des Fachverbandes bis spätestens 31.01.2027.

Digital Humanities in Child and Adolescent Mental Health Services: A Review

2026年7月28日 18:00

Children (Basel). 2026 Jul 22;13(7):967. doi: 10.3390/children13070967.

ABSTRACT

BACKGROUND/OBJECTIVES: Artificial intelligence (AI) is increasingly used in youth mental health services, including clinical decision support, risk prediction, and digital therapeutics. However, existing frameworks provide limited guidance for integrating ethical, cultural, and relational considerations into the design, governance, and implementation of AI-enabled mental health technologies. This scoping review examined how digital humanities-informed approaches have been incorporated into AI-supported mental health interventions for children and adolescents.

METHODS: A scoping review was conducted following the PRISMA Extension for Scoping Reviews (PRISMA-ScR) guidelines. Peer-reviewed literature published between 2015 and 2025 was searched using PubMed and supplemented by semantic searches through Elicit. Systematic reviews, scoping reviews, and meta-analyses examining AI-enabled digital mental health interventions and digital humanities perspectives were included. Data were synthesized using inductive thematic analysis.

RESULTS: Seventeen review-level studies met the inclusion criteria. Six recurring themes were identified: engagement, participatory co-design, human oversight, equity, ethical governance, and implementation. Across the included reviews, humanities-informed approaches were associated with greater attention to relational engagement, stakeholder participation, transparency, contextual adaptation, and culturally responsive implementation. Evidence supporting intervention effectiveness was strongest in systematic reviews and meta-analyses, whereas findings related to ethics, governance, equity, and implementation were derived primarily from scoping reviews and conceptual syntheses.

CONCLUSIONS: This review suggests that digital humanities provides a valuable interdisciplinary perspective for informing the design, governance, and implementation of AI-enabled youth mental health interventions. Although the current evidence base remains heterogeneous, integrating humanities-informed approaches may support the development of AI systems that are more ethical, equitable, and developmentally responsive. Future research should evaluate these approaches through empirical implementation studies and emerging generative AI applications.

PMID:42509992 | PMC:PMC13406150 | DOI:10.3390/children13070967

Event Series: DH@rts Drop-in Sessions (Fall 2026)

2026年7月23日 16:41

Have you been meaning to set up an appointment to ask about research data management for your project, an aspect of your research workflow, or a specific DH tool or method? Visit one of our drop-in sessions and we will help you on the spot! No need to make an appointment!

The sessions are designed to support researchers, students, and staff members in all areas of digital scholarship. The initiative is a collaboration between Artes Research, DH-support staff and researchers at the Faculty of Arts, and ICTS at the Faculty of Arts.

Some areas we can help you with:

  • Providing resources for various DH and RDM tools
  • Advice on DMPs and Research Data Management in general
  • Suggesting DH tools or methods for your specific research questions
    • Relational databases in FileMaker
    • Social Network Analysis and network visualizations
    • Computational tools for working with texts
  • Getting started with Zotero or optimizing Zotero use with an existing Zotero library
  • Advice on scholarly communication
  • Advice on Lirias
  • … and much more!

Don’t have a question about any of the above but want to learn more about DH? No problem! Come and use our space for co-working! It’s a great moment to develop digital skills by starting a Programming Historian tutorial, for instance!

Everyone is welcome to attend, you do not need to register!

Stop by on one of the following dates and we will be glad to help you:

  • 24/09/2026: 13:30h -15:30h, Het Salon LETT 00.24, Erasmushuis
  • 22/10/2026: 13:30h -15:30h, Het Salon LETT 00.24, Erasmushuis
  • 10/11/2026: 13:30h -15:30h, Het Salon LETT 00.24, Erasmushuis
  • 10/12/2026: 13:30h -15:30h, Het Salon LETT 00.24, Erasmushuis

Open Access journals published in Belgium without author fees

2026年6月24日 05:09

This blog post was written by Demmy Verbeke and Laura Mesotten.

A first version of the dataset dedicated to the landscape of Belgian Open Access (OA) journals which do not charge author fees has been published with DOI 10.5281/zenodo.20760254.

This overview, compiled by Laura Mesotten and Demmy Verbeke, provides a comprehensive list of Belgian Diamond OA journals – defined as journals that are published in OA without charging author fees and that are governed by the academic community. The dataset includes a range of bibliographical, editorial, and technical details, such as ISSNs, publishing software used, funding sources, and peer review status. In addition, the dataset documents the operational Diamond OA criteria for journals as developed in the context of the DIAMAS and CRAFT-OA projects. As such, it serves as a practical tool for identifying journals that are eligible for inclusion in the Diamond Discovery Hub maintained by the European Diamond Capacity Hub.

The “About” section of the dataset outlines the methodological choices and scope. For instance, it specifies the criteria used to determine whether a journal qualifies as Belgian. For the purposes of this dataset, a journal is considered Belgian if its publisher or publishing entity (i.e., the institution or society responsible for the journal) is legally based in Belgium. In cases of co-publishing, a journal is also considered Belgian if at least one co-publisher or publishing entity is legally based in Belgium, even if the registered publisher is located elsewhere. By contrast, indicators such as the nationality or institutional affiliations of editors, funding from Belgian institutions, or distribution via Belgian platforms are not considered as sufficient grounds for classifying a journal as Belgian.

The dataset further includes a “Belgian delayed OA journals” tab, which provides information on journals whose content is made openly available after an embargo period. Inclusion in this category is restricted to journals where OA applies to the issue as a whole (rather than to individual articles) and where such access is unconditional – that is, authors can be assured that their publication will become openly accessible after a defined embargo period. No restrictions are imposed on the length of the embargo, and, where identifiable, the duration of embargo period is explicitly recorded in the dataset. Journals are excluded from this category if it is not clearly stated that they provide delayed OA, or if it remains uncertain whether the availability of open content reflects an established embargo policy or merely the opening up of the journal’s archive, without reassurance that newly published material will become openly accessible over time. This section should be viewed as an initial exploratory effort to map delayed OA journals in the Belgian context. While distinct from Diamond OA, delayed OA regularly shares certain features with it, notably the absence of author-facing fees. Further research will be required to validate and refine the identification of such journals. Including them at this stage enables their separate documentation and supports the monitoring of changes in access conditions over time.

As a first release, the dataset should be regarded as a living resource rather than a definitive inventory. It is intended to support research and analysis on scholarly communication and Diamond Open Access publishing in Belgium, while also facilitating the visibility and monitoring of community-led journals. The dataset will be periodically updated to reflect changes in journal policies, platforms, and indexing statuses. Users are encouraged to consult the most recent version and to share additions, corrections, or comments with the authors.

AIUCD 2027: la conferenza si terrà a Salerno e Napoli dall’8 al 10 giugno

2026年7月28日 17:18

La prossima Conferenza annuale dell’Associazione per l’Informatica Umanistica e la Cultura Digitale si terrà dall’8 al 10 giugno 2027 tra Salerno, presso il Campus di Fisciano, e Napoli, presso l’Università degli Studi della Campania Luigi Vanvitelli.

L’edizione 2027 riunirà come ogni anno studiose e studiosi, ricercatrici e ricercatori, professioniste e professionisti impegnati nei diversi ambiti dell’Informatica Umanistica e delle Digital Humanities.

Nei prossimi mesi saranno pubblicate ulteriori informazioni relative al tema della conferenza, alla call for papers, al programma e alle modalità di partecipazione.

L'articolo AIUCD 2027: la conferenza si terrà a Salerno e Napoli dall’8 al 10 giugno proviene da AIUCD.

Effortless Digital Humanities

2026年7月28日 12:00

When I first read Kenny Werner’s book Effortless Mastery: Liberating the Master Musician Within, I was in college studying jazz improvisation and musical performance. At the time, the book was powerful and transformative for its approach to thinking through performance anxiety and imposter syndrome— things I still struggle with in relation to musical performance. Recent conversations about GenAI and digital humanities left me wanting to revisit Werner’s approach to thinking through craft and difficulty.

The central conceit for Effortless Mastery is this: the degree to which we care about an activity can get in the way of our ability to do it. When we care deeply about doing something well, about performing at a high level, this sincere anxiety and the tension that follows interfere with our ability to prepare for the excellence we want to achieve. Approaching our craft with this heightened sense of the stakes reinforces a fraught relationship to our craft that comes out in practice, play, and performance. Effortless Mastery is about choosing a different path, centering mindfulness in our craft in a way that can be practiced. In the prototypical Effortless Mastery exercise, one sits at the piano and only practices a single note for 5-10 minutes a day. The goal is to approach this isolated note with such intention and care that it becomes effortless. Let your finger, in a childlike way, press down on a key with as little tension as possible. Only add new notes when the first one has become the most perfect and effortless thing that it could possibly be. According to Werner, performers will likely find this approach to practice excruciating. We feel like we have too much material to learn. Too much to do—not enough time. But Werner argues that, if approached diligently, his form of practice will actually pay dividends and elevate all parts of our performance. Our relationship to our instrument and to music will improve, and we will find it easier to enter a heightened state of flow and bliss as we perform. There are also affirmations that focus on changing the way you relate to the instrument.

I’m interested in how we can apply the same kind of approach to the work that we do in the academy. In some ways, the concept of effortless practice cuts against the way I tend to teach and write about DH. I’ve argued in the past that frustration is a feature for DH students. Learning is hard in a way that we can’t avoid, and we have to teach students how to live with these challenging emotions. But lately I’ve been thinking about how perception of difficulty can get in the way of our pedagogies, particularly as we all try to reckon with the impact of GenAI on our teaching. When a humanist sits down to learn something new, it can be easy to reach for GenAI as soon as they start to feel frustrated. Is it useful for them to sidestep challenging emotions? Would we rather they sit with the difficulty longer? How do we help students shift their own understanding of what is difficult and what is not? Finally, to talk back to myself, how might it change the possibilities students see for themselves if we framed DH instead as a space of effortlessness rather than one of frustration and difficulty?

The domains are different—how many of us would describe our DH work as a space of artistic bliss? But I still think there can be utility in thinking through the shape of an effortless digital humanities. What is the DH equivalent of putting your finger to a single note? What are the building blocks for all other digital humanities work? And how might we practice these techniques daily in 10 minutes to promote an effortless approach to doing so? To begin answering these questions for myself, I sat down at my laptop and mapped out how this sequence might work in my classroom. In what follows, I map out a way you might extrapolate this kind of approach over the course of a sixteen-week semester, slowly building up a daily practice in the spirit of developing an effortless digital humanities. Try it with your students and let me know how it goes.

Terminal

One of the first things I do when sitting down for DH work is open my terminal, so this is where my daily practice begins. The terminal is an essential tool for so many other DH activities, but it adds a layer of abstraction to learning that can take a while for students to overcome. Here are some ideas for playing one note on the terminal each day. Under each week I describe a sequence of activities meant to be performed daily, early each morning, in about 10 minutes. Each new week adds one or two new elements to the repeated sequence. Only advance to a new week when you feel you can perform the previous week with complete effortlessness. Feel free to repeat weeks. Better to go slow. And be sure to include (or adapt!) the light affirmations that I include. Our primary statement will be one directly from Werner’s text: “It is not hard, it is just unfamiliar.” A few caveats: in what follows, unless otherwise specified, code blocks represent lines that should be entered into the terminal. Throughout this post I am sharing MacOS terminal commands. Programming Historian has some useful lessons for those looking to adapt these for Windows. And, finally, things will, by design, become very repetitive. It is quite possible I will leave out a step while copying things over. Let me know if you find such a thing and I will edit accordingly.

  • Week 1:
    • Open the terminal. Say, “I have opened my terminal. It is not hard, it is just unfamiliar.”
  • Week 2:
    • Open the terminal. Say, “I have opened my terminal.”
    • Print out your current directory with pwd. Say “I am currently in my user folder. It is not hard, it is just unfamiliar.”
  • Week 3:
    • Open the terminal. Say, “I have opened my terminal.”
    • Print out your current directory with pwd. Say, “I am currently in my user folder.”
    • Change to your Desktop with cd Desktop. Confirm you are in your desktop with pwd. Say, “I have changed to my Desktop. It is not hard, it is just unfamiliar.”
  • Week 4:
    • Open the terminal. Say, “I have opened my terminal.”
    • Print out your current directory with pwd. Say, “I am currently in my user folder.”
    • Change to your Desktop with cd Desktop. Confirm you are in your desktop with pwd. Say, “I have changed to my Desktop.”
    • List out the contents of your desktop with ls. Say, “I am looking at the contents of my desktop. It is not hard, it is just unfamiliar.”
  • Week 5:
    • Open the terminal. Say, “I have opened my terminal.”
    • Print out your current directory with pwd. Say, “I am currently in my user folder.”
    • Change to your Desktop with cd Desktop. Confirm you are in your desktop with pwd. Say, “I have changed to my Desktop.”
    • List out the contents of your desktop with ls. Say, “I am looking at the contents of my desktop.”
    • Make a new folder with mkdir test_folder. Say, “I have made a new folder.”
    • Clean up your workspace by deleting the folder with rm -rf test_folder. Say, “I have deleted the new folder. It is not hard, it is just unfamiliar.”
  • Week 6:
    • Open the terminal. Say, “I have opened my terminal.”
    • Print out your current directory with pwd. Say, “I am currently in my user folder.”
    • Change to your Desktop with cd Desktop. Confirm you are in your desktop with pwd. Say, “I have changed to my Desktop.”
    • List out the contents of your desktop with ls. Say, “I am looking at the contents of my desktop.”
    • Make a new folder with mkdir test_folder. Say, “I have made a new folder.”
    • Change into the new folder with cd test_folder. Say, “I have changed into my new folder called test_folder.”
    • Return to your desktop with cd ... Say, “I have returned to my desktop.”
    • Clean up your workspace by deleting the folder with rm -rf test_folder. Say, “I have deleted the new folder. It is not hard, it is just unfamiliar.”

For many experienced DH practitioners, these steps would take maybe 10 seconds. But if you’re new to the terminal entirely each of these things could take quite a bit longer and cause a great deal of anxiety. Encourage students to move slowly, repeating each week’s steps regularly moving on to the next step. After several weeks, hopefully, they will feel a greater sense of comfort with the idea of what the terminal is, where to find it, and how to use it. Working incrementally in this way can take something from challenging to rote practice.

Git

Version control systems seem especially good for this kind of regular work. Git and GitHub are tools that students often find very difficult to conceptualize and master, but 90% of what you need to do can be handled by the same set of steps. Perhaps by making Git practice an everyday routine we can make more room for understanding the concepts. The next several weeks will build on the previous terminal sequence.

  • Week 7:
    • Open the terminal. Say, “I have opened my terminal.”
    • Print out your current directory with pwd. Say, “I am currently in my user folder.”
    • Change to your Desktop with cd Desktop. Confirm you are in your desktop with pwd. Say, “I have changed to my Desktop.”
    • List out the contents of your desktop with ls. Say, “I am looking at the contents of my desktop.”
    • Make a new folder with mkdir test_folder. Say, “I have made a new folder.”
    • Change into the new folder with cd test_folder. Say, “I have changed into my new folder called test_folder.”
    • Make this folder a git repository with git init. Say, “I have made this folder into a git repository.”
    • Return to your desktop with cd ... Say, “I have returned to my desktop.”
    • Clean up your workspace by deleting the folder with rm -rf test_folder. Say, “I have deleted the new folder. It is not hard, it is just unfamiliar.”
  • Week 8:
    • Open the terminal. Say, “I have opened my terminal.”
    • Print out your current directory with pwd. Say, “I am currently in my user folder.”
    • Change to your Desktop with cd Desktop. Confirm you are in your desktop with pwd. Say, “I have changed to my Desktop.”
    • List out the contents of your desktop with ls. Say, “I am looking at the contents of my desktop.”
    • Make a new folder with mkdir test_folder. Say, “I have made a new folder.”
    • Change into the new folder with cd test_folder. Say, “I have changed into my new folder called test_folder.”
    • Make this folder a git repository with git init. Say, “I have made this folder into a git repository.”
    • Make a few file in your folder with touch index.html. Say, “I have made a new html file.”
    • Confirm you have a new file to add in git with git status. Say, “I have shown that git acknowledges the new file.”
    • Return to your desktop with cd ... Say, “I have returned to my desktop.”
    • Clean up your workspace by deleting the folder with rm -rf test_folder. Say, “I have deleted the new folder. It is not hard, it is just unfamiliar.”
  • Week 9:
    • Open the terminal. Say, “I have opened my terminal.”
    • Print out your current directory with pwd. Say, “I am currently in my user folder.”
    • Change to your Desktop with cd Desktop. Confirm you are in your desktop with pwd. Say, “I have changed to my Desktop.”
    • List out the contents of your desktop with ls. Say, “I am looking at the contents of my desktop.”
    • Make a new folder with mkdir test_folder. Say, “I have made a new folder.”
    • Change into the new folder with cd test_folder. Say, “I have changed into my new folder called test_folder.”
    • Make this folder a git repository with git init. Say, “I have made this folder into a git repository.”
    • Make a few file in your folder with touch index.html. Say, “I have made a new html file.”
    • Confirm you have a new file to add in git with git status. Say, “I have shown that git acknowledges the new file.”
    • Add your new file to your git staging area with git add index.html. Say, “I have added my file to staging.”
    • Confirm you added the file successfully with git status. Say, “Git status shows that I did this successfully.”
    • Return to your desktop with cd ... Say, “I have returned to my desktop.”
    • Clean up your workspace by deleting the folder with rm -rf test_folder. Say, “I have deleted the new folder. It is not hard, it is just unfamiliar.”
  • Week 10:
    • Open the terminal. Say, “I have opened my terminal.”
    • Print out your current directory with pwd. Say, “I am currently in my user folder.”
    • Change to your Desktop with cd Desktop. Confirm you are in your desktop with pwd. Say, “I have changed to my Desktop.”
    • List out the contents of your desktop with ls. Say, “I am looking at the contents of my desktop.”
    • Make a new folder with mkdir test_folder. Say, “I have made a new folder.”
    • Change into the new folder with cd test_folder. Say, “I have changed into my new folder called test_folder.”
    • Make this folder a git repository with git init. Say, “I have made this folder into a git repository.”
    • Make a few file in your folder with touch index.html. Say, “I have made a new html file.”
    • Confirm you have a new file to add in git with git status. Say, “I have shown that git acknowledges the new file.”
    • Add your new file to your git staging area with git add index.html. Say, “I have added my file to staging.”
    • Confirm you added the file successfully with git status. Say, “Git status shows that I did this successfully.”
    • Commit your new file with git commit -m 'My first commit. Say, “I am committing my new file to git.”
    • Confirm you added the file successfully with git status. Say, “Git status shows that I did this successfully.”
    • Return to your desktop with cd ... Say, “I have returned to my desktop.”
    • Clean up your workspace by deleting the folder with rm -rf test_folder. Say, “I have deleted the new folder. It is not hard, it is just unfamiliar.”

At this point, I might have students continue to repeat these steps for several weeks. Again, an experienced practitioner could do this in no time at all. Newcomers will find this to be quite a lot. At some point, after enough days have gone by, things might start to get annoying. Good! You’re experiencing effortlessness. Only add new steps when you feel like what you have done so far is effortless. Remember: it is not hard, it is just unfamiliar.

Building a basic website

At this point, my bulleted list is getting overly complicated, so I’ll simplify things going forward by using shorthand and sandwiching the new steps inside of a “set up” and “clean up” phase. Refer above for the associated commands. It is probably clear where I am going at this stage: I think designing a basic website and understanding how to view it on your computer is another foundational DH skill. And we can make this sequence a very light daily activity.

  • Week 11:
    • Set up:
      • Open your terminal, change to your desktop, and make a new folder called “test_folder.” Change into it. Initialize a new git repository. Make a new file called index.html. Add and commit this change. Describe what you have done. Say, “It is not hard, it is just unfamiliar.”
    • New:
      • Add a new line inside your index.html file that says, “This is a basic webpage.” Describe what you have done.
      • Open that file in the web browser of your choice. Say, “I am viewing my html file in a web browser.”
    • Clean up:
      • Change back to your Desktop and delete the folder. Describe what you have done. Say, “It is not hard, it is just unfamiliar.”
  • Week 11:
    • Set up:
      • Open your terminal, change to your desktop, and make a new folder called “test_folder.” Change into it. Initialize a new git repository. Make a new file called index.html. Add and commit this change. Add a new line inside your index.html page and open it in a browser. Describe what you have done. Say, “It is not hard, it is just unfamiliar.”
    • New:
      • Stage your change with git add . Describe what you have done.
      • Commit your change with git commit -m 'Made a change'. Describe what you have done.
    • Clean up:
      • Change back to your Desktop and delete the folder. Describe what you have done. Say, “It is not hard, it is just unfamiliar.”
  • Week 12:
    • Set up:
      • Open your terminal, change to your desktop, and make a new folder called “test_folder.” Change into it. Initialize a new git repository. Make a new file called index.html. Add and commit this change. Add a new line inside your index.html page and open it in a browser. Describe what you have done. Say, “It is not hard, it is just unfamiliar.”
    • New:
    • Clean up:
      • Add and commit all changes.
      • Change back to your Desktop and delete the folder. Describe what you have done. Say, “It is not hard, it is just unfamiliar.”
  • Week 13:
    • Set up:
      • Open your terminal, change to your desktop, and make a new folder called “test_folder.” Change into it. Initialize a new git repository. Make a new file called index.html. Add and commit this change. Add a new line inside your index.html page and open it in a browser. Paste the basic skeleton of an HTML page into your index.html. Describe what you have done. Say, “It is not hard, it is just unfamiliar.”
    • New:
      • It’s a review week. Each day, write down comments, in your index.html file, explaining what one of the lines in the HTML file does.
    • Clean up:
      • Add and commit all changes.
      • Change back to your Desktop and delete the folder. Describe what you have done. Say, “It is not hard, it is just unfamiliar.”
  • Week 14:
    • Set up:
      • Open your terminal, change to your desktop, and make a new folder called “test_folder.” Change into it. Initialize a new git repository. Make a new file called index.html. Add and commit this change. Add a new line inside your index.html page and open it in a browser. Paste the basic skeleton of an HTML page into your index.html. Describe what you have done. Say, “It is not hard, it is just unfamiliar.”
    • New:
      • Each day, write down comments, in your index.html file, explaining what one of the lines in the HTML file does.
    • Clean up:
      • Add and commit all changes.
      • Change back to your Desktop and delete the folder. Describe what you have done. Say, “It is not hard, it is just unfamiliar.”
  • Week 15:
    • Set up:
      • Open your terminal, change to your desktop, and make a new folder called “test_folder.” Change into it. Initialize a new git repository. Make a new file called index.html. Add and commit this change. Add a new line inside your index.html page and open it in a browser. Paste the basic skeleton of an HTML page into your index.html. Describe what you have done. Say, “It is not hard, it is just unfamiliar.”
    • New:
      • Make a CSS file with “touch style.css”. Describe what you have done.
      • Link it to your index.html file by adding the following line within your <head> tag: <link rel="stylesheet" href="style.css">
    • Clean up:
      • Add and commit all changes.
      • Change back to your Desktop and delete the folder. Describe what you have done. Say, “It is not hard, it is just unfamiliar.”
  • Week 16:
    • Set up:
      • Open your terminal, change to your desktop, and make a new folder called “test_folder.” Change into it. Initialize a new git repository. Make a new file called index.html. Add and commit this change. Add a new line inside your index.html page and open it in a browser. Paste the basic skeleton of an HTML page into your index.html. Make a new CSS file and link it to your index file. Describe what you have done. Say, “It is not hard, it is just unfamiliar.”
    • New:
      • Change the background color of your <body> tag to be:
        body{
        background-color: red;
        }
        
      • Save your file. Refresh your browser to see the new page. Describe what you have done.
    • Clean up:
      • Add and commit all changes.
      • Change back to your Desktop and delete the folder. Describe what you have done. Say, “It is not hard, it is just unfamiliar.”

Again, step away from things if at any point the exercise starts to feel like they are causing effort or friction. Reduce what you’re asking yourself to do for the next session. I think you will find if you proceed like this for a week or two you will very quickly develop proficiency with a range of DH building blocks. A webpage with red background (my go-to example for teaching CSS because it is very obvious something has happened) might not feel very exciting to an advanced practitioner, but I would be immensely pleased with a student able to go from nothing to this level over the course of a semester.

These kinds of exercises might feel trite and meaningless, but you can’t put a price on confidence. Effortless fluency and literacy with the basics provide a strong foundation for more advanced study. Spend 5 to 10 minutes on them every day. As Werner would say, “What do you have to lose?” We can all find 5 or 10 minutes, and that unit of time is a small sacrifice that ultimately will not take that much away from other work. Wouldn’t it be great for students to approach their work with a sense of confidence that they can inhabit a DH space that works for them? Exercises like these can help our students make DH a daily part of their lives. Daily work building a personal, effortless digital humanities will prepare our students to face the bigger and more advanced problems they will inevitably face. They will do so with confidence that they can find the answers within themselves and their own process. The next time they reach for a GenAI prompt when faced with a problem, they just might pause and look inwards first.

30. AWK: Data Ethics for Archival Science and Historical Research, Marburg 26./27.8.2026

2026年7月28日 19:55

Im Ausland ist Datenethik bereits ein großes Thema, wie der Internationale Archivrat im Juni mit einer Veranstaltungswoche gezeigt hat. Mehr als 140 Beiträge aus der weltweiten Archivcommunity drehten sich um Archives for Justice: Rights, Memory & Futures.
Im deutschen Sprachraum ist das Thema dagegen noch kaum angekommen. Die Archivschule Marburg freut sich, mit ihrem diesjährigen Kolloquium dazu beizutragen, „Archivethik“ auch nach Deutschland zu bringen.

Wir haben eine gute Mischung zwischen allgemeineren Beiträgen (es eröffnen PD Dr. Dr. Grischka Petri, FIZ Karlsruhe: Datenzugang zwischen Offenheit und Verantwortung und Prof. Dr. Dr. Rainer Hering/Dr. Ole Fischer, Landesarchiv Schleswig-Holstein: ‚Historische Gerechtigkeit‘ als Element archivischer Ethik?) und einzelnen Aspekten (Trauma-informierte Archivarbeit und soziale Gerechtigkeit, Maria Benauer BA MSc, Technische Informationsbibliothek Hannover und Dipl.-Archivarin (FH) Mag.a Tamara Kefer, Stadtarchiv Graz), eine Sektion zu archivischen Fachaufgaben sowie internationale Beiträge aus Indien, Südafrika, Österreich und der Türkei. Auch Sammlungsaspekte aus Museen und Bibliotheken sind im Kolloquium vertreten.

Ein Kolloquium für alle, die sich über ethische Aspekte der Archivarbeit informieren möchten. Archivar*innen halten die Daten vor, Historiker*innen werten sie aus. Wenn wir uns heute nicht gemeinsam um diese Fragen kümmern, werden wir morgen große Probleme bekommen.
Programm und Anmeldung.

Die Veranstaltung findet hybrid statt.

Mit freundlichen Grüßen,

Robert Meier

Lecture: Tackling Data Gaps in Digital Humanities, 09.09.26, online

2026年7月28日 17:29

We invite you to the online lecture by Dr. Sarah Lang (Max Planck Institute for the History of Science) on 09.09.2026 from 10:00 to 11:30, organised as a part of the seminar series ‘Legal History Meets Digital Humanities’ at the Max Planck Institute for Legal History and Legal Theory.

Digital humanities (DH) has long presented itself as a field committed to openness, collaboration, and innovation. Yet, alongside its many achievements, it also exhibits a number of persistent „dark sides“, ranging from infrastructural inequalities and invisible forms of labour to exclusionary data practices and the reproduction of historical and contemporary biases through digital methods. This chapter argues that one of the most pressing challenges currently facing the field is the persistence of data gaps, understood not merely as missing information but as the result of social, historical, and technical processes that systematically privilege some forms of knowledge while marginalising others. Building on work in critical digital humanities, critical archival studies, critical data studies, critical code studies, and feminist scholarship (including feminist AI ethics), the chapter examines how these traditions have conceptualised and addressed such absences, and considers how their insights can be mobilised more systematically within DH research and practice. It further situates these discussions within the recent shift towards data-centric approaches in artificial intelligence (DCAI), where the quality, documentation, and representativeness of datasets have become central ethical and technical concerns. By bringing these conversations into dialogue, the chapter argues that DH can benefit from engaging more directly with emerging debates on datasets while simultaneously contributing its own long-standing expertise in historical sources, documentation, and critical interpretation.

Please register here: https://plan.events.mpg.de/event/802

Pubblicato il numero 24 di Umanistica Digitale

2026年7月27日 14:24

È stata completata la pubblicazione del numero 24 (2026) di Umanistica Digitale, la rivista scientifica dell’AIUCD, disponibile integralmente ad accesso aperto.

Il fascicolo si apre con l’editoriale del direttore Fabio Ciotti, “Una Agenda sull’AI generativa per le Digital Humanities”, che riprende e sviluppa il paper presentato alla conferenza AIUCD 2026 di Cagliari, proponendo una riflessione sulle priorità scientifiche, metodologiche ed etiche poste dall’intelligenza artificiale generativa alla comunità delle Digital Humanities.

Il numero raccoglie dodici articoli e tre contributi nella sezione Recensioni e report.

Articoli

  • H. Sezgi Sarac, Funda Ölmez-Çağlar, Oğuzhan Atabek, Adilia Charmier, Cristina Guerra, Candida Rocha, Nicola Barbuti, Mauro De Bari, Noemí Rando, Raúl Esteban, Özge Bakay, “Integrating STEM Education with Digital Storytelling in Primary Education: A Systematic Review Across Four Mediterranean Countries”
  • Francesca Cristiano, Emiliano Giovannetti, “Can Large Language Models Support Critical Discourse Analysis? A Pilot Experiment”
  • Roberta Priore, Beatrice Nava, “Digital Editions in the Practice of Authorial Philology. Proposals for the Case of Giacomo Leopardi’s Canti
  • Michele Lacriola, “A Media Shift. A Historical Approach to YouTube Italy”
  • Maria Niari, “Beyond Automation: AI as a Pedagogical Mediator in Collaborative Learning”
  • Selma Khouri, Houda Oufaida, Sara Allaouchiche, Sabrina Kacher, Izdihar Belmrabet, Yassmin Bachikh, “Knowledge Graph for Materials Capitalization of Algeria’s Built Heritage: Leveraging Automated Knowledge Extraction and Processing”
  • Floriana Carlotta Sciumbata, “A ‘Distant’ and Diachronic Reading of Artificial Places in a Corpus of Italian and Translated Literary Prose (19th–21st Century)”
  • Vanessa Leonardi, Patrizia Giampieri, “Phrasal Verbs in Legal English: Challenging Traditions in British and European Contexts”
  • Daniel Raffini, Agnese Macori, Marco Angelini, Tiziana Catarci, “An Ethical and Rhetorical Framework to Analyze LLM-Generated Texts”
  • Alessandro Re, “Applications of Digital Analysis Techniques to Classical Languages and Literatures”
  • Tommaso Battisti, Marilena Daquino, “Conservative by Design: Epistemic Limits in Digital Humanities Visualisation Practices”
  • Anna Lombardi, Lorenzo Bertucelli, “Public Representations of Italian Women Partisans on Social Media: A Corpus Linguistics Analysis”

Recensioni e report

  • Sara Gallegati, “Coding Genesis: The Digital Alfieri Experience”
  • Eleonora De Longis, recensione a Anna Bilotta, Al confine tra biblioteconomia e digital humanities. Contesti, confronti e sviluppi interdisciplinari, Milano, Ledizioni, 2026
  • Fabio Ciotti, recensione a Claudio Paolucci, Nati cyborg. Cosa l’intelligenza artificiale generativa ci dice dell’essere umano, Roma, Luca Sossella editore, 2025

I contributi affrontano temi che spaziano dall’intelligenza artificiale generativa all’analisi critica del discorso, dalla filologia d’autore alle edizioni digitali, dalla linguistica dei corpora alla storia dei media, dai knowledge graph per il patrimonio culturale alle implicazioni epistemiche ed etiche delle tecnologie digitali.

Ricordiamo che Umanistica Digitale è riconosciuta come rivista scientifica per le aree 10 e 11 e come rivista di fascia A per i settori concorsuali 10/E1, 10/F1, 10/F2, 10/F3, 10/F4, 11/A1, 11/A2, 11/A3 e 11/A4. La rivista è inoltre indicizzata in Scopus.

La redazione di UD rinnova l’invito alla comunità scientifica a inviare proposte e contributi alla rivista italiana delle Digital Humanities.

Il numero completo è disponibile ad accesso aperto:
https://umanisticadigitale.unibo.it/issue/view/1540

L'articolo Pubblicato il numero 24 di Umanistica Digitale proviene da AIUCD.

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