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Archive for the ‘informal musings’ Category

2009 Year In Review

Tuesday, January 5th, 2010

On my flight home from MLA in Philadelphia last week I took a moment to think about how NINES has changed since  last year’s conference in San Francisco. In December of 2008 the first phase of the NINES redesign had just been launched as part of a major re-organization and outreach effort. Since then, phase 2 of the site has been launched, complete with the Discussion Forum and numerous other features and enhancements, and NINES was even featured on NPR (WMRA)! We didn’t quite make that (lofty) goal of reaching one million digital objects, but we did add over 25,000 new objects from 20 new sites over the course of the year.

Here are some fun metrics:

  • New users: 215
  • Objects collected: 1,122
  • Objects tagged: 1,520

Our most active sites in 2009 were Romantic Circles (especially the newly launched Bloomfied and Southey editions), The Poetess Archive and The Rossetti Archive.

In 2010, we’re looking forward to renewing development on Juxta, as well as refining our Exhibit Builder content for print-on-demand. Our sister site, 18thConnect will go live this year, making access to scholarly projects and primary resources in the long eighteenth century much easier.

Please keep sending us feedback about the site, and if you know of any scholarly projects going live that would benefit from NINES peer review, don’t hesitate to contact us!

Control your vocab (or not)

Thursday, November 19th, 2009

[Jean Bauer ( Ph.D. Candidate, Corcoran Department of History, University of Virginia), NINES Fellow for 2009-2010 school year]

Yesterday I had two conversations about controlled vocabulary in digital humanities projects (a.k.a. my definition of a really good day).  Both conversations centered around the same question: what is the best way to associate documents with subject information?  If you don’t attach some keywords or subject categories to your documents then you can forget about finding anything later.  There are, in my estimate, two main camps for doing this in a digital project — tags and pre-selected keywords.

In my humble opinion, tags are best when you want your users to take ownership of the data.  They decide the categories, so in some sense, they have a stake in the larger project and how it evolves.  You might even be able to tell why people are using the data in the first place, by looking at what tags they associate with your (or their) content.  On the downside, tags can be problematic for first time users who need to search (rather than explore) your data.  On several occasions I have been confronted with tag clouds that have descended (or ascended) into the realm of performance art.  They are fascinating in of themselves, but fail to provide a meaningful path into the data.

Pre-selected keywords often work best when a clearly defined set of people are in charge of marking up the content.  They are great for searching, and if indexed in a hierarchical structure, can provide semantically powerful groupings (especially for geographical information).   And if you have a Third Normal Form database, then you never have to worry about misspellings or incorrect associations between your keywords (Disclaimer: I love 3NF databases.  I know they don’t work for every project, but when your data fits that structure life is good). As a historian, however, I am wary of keywords that are imposed on a text.  If someone calls himself a “justice,” I balk at calling him as a “judge” even if it means a more efficient search.

Of course, it all depends on your data and what you want to do with it, but my favorite solution is have, at minimum, two layers of keywords.  The bottom layer reflects the language in the text (similar to tagging), but those terms are then grouped into pre-selected types.  So “justice,” “justice of the peace,” “judge,” “lawyer,” “barrister,” counselor” all get associated with type “legal.”  You can fake hierarchies with tags, but it requires a far more careful attention to tag choices than I typically associate with that methodology.

I implemented the two-tiered approach in Project Quincy, but I would love to hear other suggestions and opinions.

Accessibility Debate

Tuesday, October 13th, 2009

[Heather Bowlby (Ph.D. Candidate, Department of English, University of Virginia) is a graduate intern at NINES for the 2009-2010 school year]

I attended an interesting presentation last week by Timothy Powell on his digitalization project at the Penn Museum’s Native American Center. As director of the Digital Partnerships with Indian Communities group, Mr. Powell works closely with the Ojibwe people to create a digital resource for preserving and disseminating traditional, oral-based Ojibwe culture. The website he’s developed—entitled “Gibagadinamaagoom: An Ojibwe Digital Archive”—is a truly collaborative effort on the part of both the guardians of the Ojibwe cultural tradition and scholars like Powell who possess the technical and academic expertise necessary to realize this project. Mr. Powell has certainly encountered unique challenges in the ongoing process of creating this resource, but some of the issues he’s grappled with are also relevant to other digital projects in a more general sense.

One of these issues is the tension between the competing rationales for accessibility and non-accessibility. Determining how to balance the needs of the general public on the one hand, and those of specialized academic audiences on the other, can be difficult. While we often want to open our digital resources to as wide an audience as possible, both to justify the general value of our work and to disseminate our knowledge, greater accessibility can also dilute the functionality of a project for specialized research. Digital projects often have a greater potential for teaching and involving the general public that print resources, and I think that this potential should be capitalized on. At the same time, however, scholarly concerns are important as well, and subordinating them in order to reach a less-specialized audience undermines the academic effectiveness of digital projects.

Of course, many digital projects deal with the issue of accessibility by expressly aiming at a particular audience. I believe, however, that better options than choosing one audience over another might be possible. Ways in which digital projects can address multiple audiences, and successfully balance the needs of these different groups, seems to be a better issue to explore than the debate over whether resources should be accessible or not. Admittedly, putting this idea into practice is the hard part. Does anyone have any thoughts about how best to approach involving multiple audiences in digital projects?

Alternative sources for 19th-century images

Thursday, October 1st, 2009

Just yesterday I shared my excitement over the Library of Congress’ Flickr photostream in the NINES Forum. Today, I stumbled upon yet another fun resource on the web: the Smithsonian’s online gallery of seed catalogs, with objects dating back to the 1830s. More and more interesting objects are appearing online – even faster than NINES can aggregate them, which is why the Forum and Exhibit Builder both provide the option of linking to external websites.

Does anybody else have a favorite place for finding newly digitized gems from the 19th century? If so, share them with us in the comments below.

NINES as a creative space

Tuesday, February 17th, 2009

 

There has been a lot of discussion surrounding Facebook’s  newly revised Terms of Service (TOS), and for good reason. The wording has been changed to imply that Facebook reserves the right to do whatever it wants with the content you add to your profile, even after you have disabled your account.

 

Now that the matter has gotten so much press, Facebook’s founder Mark Zuckerberg and other site representatives have been quick to qualify  these changes to the TOS. While the matter may not be as dire as it originally seemed, the whole controversy has served a useful purpose: to remind people of the (potentially thorny) legal framework undergirding internet content. It is a matter that we have encountered many times in the construction of NINES as an  aggregator and peer reviewer of online scholarship.

 

It occurred to me to blog about this when I saw a colleague’s post on Twitter about the situation: he revealed that a couple of poets have decided to stop posting their working drafts on Facebook in light of their understanding of the Terms of Service. I completely understand their reservations, but what really struck me was this: in its essence, using a social software tool like Facebook to revise and comment upon each other’s work is a GREAT idea. However, to do it properly, one must use a site that respects and supports your authorship, perhaps through Creative Commons Licenses.

 

As a “thematic aggregator”, that is, we specialize in nineteenth-century studies, NINES doesn’t have anyone writing poetry in our (brand new) “Exhibit Builder“. The space was designed with this kind of workshopping in mind, though, and I’m interested to hear how many scholars would find such a discussion space useful. What would you do with this tool? What features would be important to include?

A short history of e-books

Monday, February 9th, 2009

(An informal musing by Dana Wheeles, NINES Project Manager)

The once and future e-book: on reading in the digital age“  recently came across my blog reader, and I clicked on the article out of casual curiosity. By the end,  I found myself completely absorbed by the subject: if people in tech-savvy circles are still thwarted by a general resistance to reading on a screen, then the situation in academia (the emergence of Digital Humanities aside) is dire. John Siracusa, the former employee of a press dedicated to publishing books in electronic form, takes the reader on a guided tour of the e-book landscape, all the while posing some important questions about why medium matters to so many people:

Part of the problem is right there in the name: e-book. In the print world, the word “book” is used to refer to both the content and the medium. In the digital realm, “e-book” refers to the content only—or rather, that’s the intention. Unfortunately, the conflation of these two concepts in the nomenclature of print naturally carries over to the digital terminology, much to the confusion of all.

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