[Cross-posted from http://www.mith.umd.edu/dhwi/]
The Editing Modernism in Canada (EMiC) project and the Digital Humanities Winter Institute (DHWI) are delighted to announce the 8th course for the upcoming 2013 institute. Digital Editions, led by EMiC director Dean Irvine, is designed for individuals and groups who are interested in creating scholarly digital editions. Topics covered will include an overview of planning and project management, workflow and labour issues, and tools available for edition production. Participants will be working with the Modernist Commons, a collaborative digital editing environment and repository designed by EMiC in collaboration with Islandora and its software-services company DiscoveryGarden.This course was made possible through the generous sponsorship of EMiC. We invite you to visit DHWI and EMiC to learn more about this training opportunity and this exciting international project.
EMiC participants (faculty, postdocs, graduate and undergraduate fellows) and other students affiliated with EMiC co-applicants and collaborators may apply to attend DHWI online at http://editingmodernism.ca/training/summer-institutes/demic/.
Read the new DEMiC, DEMiC Travel, and DEMiC Accommodations pages and Application Form carefully. There are new deadlines and new mechanisms of oversight for booking travel and accommodations for both DHSI at Victoria and DHWI at Maryland.
Looks like we’re going to have to update that summery URL. Welcome to winter training. Now there’s no off season for DH enthusiasts.
The editors of Book 2.0 invite articles on the rapidly growing application of digital tools to research and publishing strategies in the humanities and social sciences for a special issue scheduled for 2013.
Contributions may relate to curating online collections and archives, the design and implementation of new applications that support or enrich research, and emerging forms of cross-disciplinary scholarship that are supported by technology. In particular, we welcome submissions on innovative publishing and dissemination models that increase access to digitised and born-digital materials. Abstracts of no more than 200 words should be submitted to Dr Mark Turin <firstname.lastname@example.org> and Dr Mick Gowar by 4 August 2012.
Book 2.0 is a new, interdisciplinary peer-reviewed journal focusing on developments in book creation and design—including the latest in technology and software affecting illustration and production. Book 2.0 also explores innovations in distribution, marketing and sales, and book consumption, and in the research, analysis and conservation of book-related professional practices. Through research articles and reviews, Book 2.0 provides a forum for promoting the progressive practice in the teaching of writing, illustration, book design and publishing across all sectors.
It is with great pleasure that we announce the results of the 2012-14 Postdoctoral Fellowship and the 2012-13 MA and PhD stipend competitions. We received an impressive batch of outstanding applications at all levels. Many thanks to members of the postdoc and graduate awards committee (Paul Hjartarson [Chair], Neil Besner, and Alan Filewod) for their expert adjudication of these appplications.
EMiC has awarded one new postdoc fellowship to Emily Robins Sharpe (University of Guelph) and five graduate stipends to candidates working on EMiC-affiliated editorial projects (Melissa Dalgleish [York University], Christopher Doody [Carleton University], Alana Fletcher [Queen’s University], Freeda Wilson [University of British Columbia (Okanagan)], and Katherine Wooler [Dalhousie University]).
We hope that you’ll be able to watch these projects develop through posts on our community blog, but in the meantime here’s a foretaste of their proposed research:
Emily Robins Sharpe
University of Guelph
Postdoctoral Fellowship 2012-14
Supervisors: Alan Filewod and Susan Brown
Canada and the Spanish Civil War: A Digital Research Environment
My postdoctoral work contributes to a collaborative project, “Canada and the Spanish Civil War: A Digital Research Environment,” which I am co-directing with Dr. Bart Vautour, an EMiC co-applicant. The Digital Research Environment (DRE) is a long-term, multi-phase project that will provide integrated public access to the large amount of diverse Canadian cultural materials concerning the Spanish Civil War (1936–1939). The conflict animated Canadian public discourse, and inspired nearly seventeen hundred Canadians to travel to Spain where many joined the International Brigades as armed volunteers in the anti-fascist cause. The artistic community in Canada also adopted Spain as one of the most rigorously represented subjects of the time. Yet, while American and British scholarship on the conflict has persisted, Canadian cultural texts remain dispersed, difficult to access, and in some case completely undocumented. Our project begins to remedy this unfortunate critical disparity by seeking to develop a long-term research agenda for the recovery and remediation of Canadian responses to the conflict. Dr. Vautour and I envision “Canada and the Spanish Civil War” as a three-phase project that aims to alleviate this critical gap, representing the first scholarly effort to collate this Canadian material for public consumption in a systematic way. The first phase requires conducting archival research and gaining digital skills, as well as scholarly consultation and project development. The second phase of the project builds upon the first to see the preparation and publication of a clean-text print anthology, Selected Canadian Writing on the Spanish Civil War, with a scholarly apparatus housed in the DRE. The third phase of the project—perhaps the most logistically challenging—will see a massive collation and digitization in order to create a digital collection within the DRE. I am excited to take up my postdoctoral fellowship at the University of Guelph, where I will work under the supervision of Dr. Susan Brown and Dr. Alan Filewod.
PhD Stipend 2012-13
Supervisor: Stephen Cain
Anne Wilkinson’s Counterpoint to Sleep: A Digital Edition
I am currently at work on a digital social-text edition of Anne Wilkinson’s first collection, Counterpoint to Sleep (1951), which I’ve planned as the first of five modular editions that together will comprise the digital Collected Poems of Anne Wilkinson project. Rather than attempting to replace existing editions of Wilkinson’s work, my project seeks to reproduce them in digital form in order to illuminate the ever-evolving composition, transmission, and reception history of her poetry. The digital Counterpoint is image-based in order to foreground the reading experience in the edition as it was originally published and read; readers will also be able to view all of the variant versions of the poems in the collection, read embedded notes that highlight textual variance and provide bibliographic and explanatory information, and challenge or support my editorial decisions.
PhD Stipend 2012-13
Supervisor: Zailig Pollock
Digital Edition of P.K. Page’s Brazilian Journal
My project is to start creating a digital edition of P.K. Page’s Brazilian Journal, as part of the larger Digital Page Project. It will be a database, containing a reading version of the text, alongside all its variant versions—there are nine manuscript versions, and three variant print versions of the text. For each variant version, the database will contain both a high-quality image and a transcription of each page. This will allow users to quickly compare changes between the different versions of the text. It will also allow users to follow Page’s creative process as the text was transformed from a personal written diary in Brazil in the late 1950s to a published public text in the late 1980s.
PhD Stipend 2012-13
George Whalley: A Digital Edition of Selected Poetry Materials
The project I am currently undertaking with the assistance of an EMiC PhD stipend will produce an open-access, online database of the primary materials of George Whalley. One of the aims of this project is to make Whalley’s poetry manuscripts and typescripts and documents related to their production (such as related letters, personal papers, and photographs) available to a wider scholarly audience. The database is also foundational to subsequent digital and print editions of Whalley’s works Michael DiSanto (Algoma University) and I will produce, the first of which is a digital edition of selected materials that will provide rich insights into Whalley’s creative process as a poet. This digital collection will serve as the counterpart to a scholarly print edition of Whalley’s collected poems that Professor DiSanto is editing for McGill-Queen’s University Press, with an expected publication date of 2015.
University of British Columbia (Okanagan)
PhD Stipend 2012-13
Supervisor: Karis Shearer
Digital Visualization of the Evolution of Gabrielle Roy’s Bonheur d’occasion
The focal point of this project will be to present a digital visualization of the evolution of a given chapter of Gabrielle Roy’s Bonheur d’occasion. Under the supervision of Dr. Karis Shearer, I will focus on the major editions between 1945 and 1977, as well as the two English translations (The Tin Flute), and identify the differences (additions, changes, omissions) which occur between each of the editions and the original, and then proceed to determine the source (author, editor, translator) and reason (language, text length, etc.) for each change. The resulting data will be organized and structured in a digitized, 3D format in which the data can be manipulated, allowing for further research. Other scholars will be able to build on this work, expanding the research to cover an entire text, to include several or all of Roy’s texts [or other authors’ works] and to incorporate this research in larger projects.
MA Stipend 2012-13
Supervisor: Dean Irvine
Editing Evolution: Assembling and Analyzing bpNichol in a Digital Edition
I will be creating a digital critical edition of bpNichol’s works that highlights Dada aesthetics within his writing. Using genetic criticism to emphasize the evolutionary nature of his multi-versioned works, the edition will highlight Nichol’s use of intermedia, word processors, and unconventional forms. A digital medium will expand the functionality of genetic criticism to encompass Nichol’s attention to bibliographic codes. Nichol’s poetry, prose, and drawings deserve a non-traditional textual apparatus, a redefinition of the standard systems of criticism, and the adoption of new bibliographic codes to better reflect the text and the purposes of the paratext. By implementing these changes, my critical edition will become a direct extension of the creative work, as opposed to a format in which the text and the textual apparatus are completely different species.
MITH will host the first annual Digital Humanities Winter Institute (DHWI), from Monday, January 7, 2013, to Friday, January 11, 2013, at the University of Maryland in College Park, Maryland. We’re delighted to be expanding the model pioneered by the highly-successful Digital Humanities Summer Institute (DHSI) at the University of Victoria to the United States.
DHWI will provide an opportunity for scholars to learn new skills relevant to different kinds of digital scholarship while mingling with like-minded colleagues in coursework, social events, and lectures during an intensive, week-long event located amid the many attractions of the Washington, D.C. region.
Courses are open to all skill levels and will cater to many different interests. For the 2013 Institute we’ve assembled an amazing group of instructors who will teach everything from introductory courses on project development and programming, to intermediate level courses on image analysis, teaching with multimedia, and data curation. DHWI will also feature more technically-advanced courses on text analysis and linked open data. We hope that the curricula we’ve assembled will appeal to graduate students, faculty, librarians, and museum professionals as well as participants from government and non-governmental organizations.
An exciting program of extracurricular events will accompany the formal DHWI courses to capitalize on the Institute’s proximity to the many cultural heritage organizations in the region. This stream of activities, which we’re calling “DHWI Public Digital Humanities,” will include an API workshop, a hack-a-thon, and opportunities to contribute videos and other materials to the 4Humanities campaign to document the importance of the humanities for contemporary society.
Both the outward-looking DHWI Public Digital Humanities program and the week of high-caliber, in-depth digital humanities coursework will be kicked off by the Institute Lecture. This year’s speaker will be Seb Chan, currently the Director of Digital & Emerging Media at the Smithsonian, Cooper-Hewitt, National Design Museum in New York City.
We hope that many of you will join us this winter in Maryland for what promises to be a terrific event. Registration is now available at this site.
Like DHSI, we will be offering a limited number of sponsored student scholarships to help cover the cost of attending the Institute. The scholarships are made possible through the generosity of this year’s DHWI Instructors and the Maryland Institute for Technology in the Humanities
Great news for EMiC scholars: The MLA has released its guidelines for evaluating digital scholarship. I encourage everyone to look through this important document as a way of thinking about your own projects. http://www.mla.org/guidelines_evaluation_digital. Does your individual project meet these basic guidelines? How can EMiC help you attain the goals set forth in this document?
In other news: in the next few weeks we’ll be launching a new “resources” page put together by Kaarina Mikalson. We’ll make sure these guidelines are a part of this new resource.
2012 has been a very eventful time for the EMiC community. To keep everyone informed about some of the exciting advancements and contributions made by our project members this year, we have put together a Spring Bulletin full of updates, upcoming events and recent publications.
We are taking this as an opportunity to introduce some of our new co-applicants and graduate fellows, as well as to highlight on-going research and new publications. Enjoy!
[Excerpt of editorial cross-posted from Canadian Literature.]
Canadian Literature’s winter 1995
Marx and Other Dialectics issue watched over the changing of disciplinary and literary old guards—or, if you will, an old left guard. This was the same number that announced the establishment of the journal’s home page (canlit.ca) and the creation of the Canadian Literature Discussion Group listserv (CANLIT-L) hosted by the National Library. It was “an hour / Of new beginnings,” as F.R. Scott said in his 1934 poem “Overture.” That same year observed the deaths of Earle Birney and George Woodcock. Dorothy Livesay passed away the year following. These deaths signaled the passing of a generation that put into practice the dialectics of modernism and political radicalism. With the appearance of an issue devoted to Marxism and Canadian literature, it may have seemed at the hour of their death that their generation’s literary and political legacies had for the moment been granted reprieves and survived the fall of the Berlin Wall and the collapse of European communism.
[Click here to read the rest of the editorial at canlit.ca]
Mount Allison University, Sackville NB, 20–23 September 2012
Poetic discourse in Canada has always been changing to assert poetry’s relevance to the public sphere. While some poets and critics have sought to shift poetic subjects in Canada to make political incursions into public discourses, others have sought changes in poetic form as a means to encourage wider public engagement. If earlier conversations about poetics in Canadian letters, such as those in the well-known Toronto Globe column “At the Mermaid Inn” (1892-93), sought to identify an emerging cultural nationalism in their references to Canadian writing, in the twentieth century poetics became increasingly focused on a wider public, with little magazines, radio, and television offering new spaces in which to consider Canadian cultural production. In more recent decades, many diverse conversations about poetics in Canada have begun to emanate from hyperspace, where reviews, interviews, Youtube/Vimeo clips, publisher/author websites, and blogs have increased the “visibility” of poetry and poetics.
Acknowledging the work that emerged from the 2005 “Poetics & Public Culture in Canada Conference,” as well as recent publications considering publics in the Canadian context, we are interested in examining a growing set of questions surrounding these and other discursive shifts connected with Canadian poetry and poetics. How have technological innovations such as radio, television, and the Internet, for example, made poetry and poetics more accessible or democratic? How does poetry inhabit other genres and media in order to gesture toward conversations relevant to political, cultural, and historical moments? What contemporary concerns energize those studying historical poetries and poetics? How do commentators in public and academic circles construct a space for poetry to inhabit?
The conference sets out to explore the changing shapes of and responses to poetic genres, aesthetic theories, and political visions from a diverse range of cultural and historical contexts. In the interest of reinvigorating conversations about the multiple configurations of poetics, poetry, and the public in Canada, we invite proposals for papers (15–20 minutes) on subjects including, but not limited to:
–Public statements/declarations of poetics
–Publics and counterpublics in Canadian poetry
–The politics of public poetics
–Tensions between avant- and rear-garde poetics in Canada
–Shifting technological modes of poetic and critical production (print/sound/video/born-digital)
–Poetics of/as Activism
–Public Intellectualism and Poetics
–Recovery and remediation of Canadian poetry and poetics
–Poetics and collaboration in Canada
–People’s poetry and /or the People’s Poetry Awards
–Poetry and environmental publics in Canada
Proposals should be no more than 250 words and should be accompanied by a 100-word abstract and a 50-word biographical note. Please send proposals to email@example.com by 29 February 2012. For more information visit www.publicpoetics.ca.
In conjunction with the conference, a one-day workshop will be hosted by The Canadian Writing Research Collaboratory / Le Collaboratoire scientifique des écrits du Canada. This purpose of this workshop (CWRCshop) is to introduce, in accessible and inviting ways, digital tools to humanities scholars and to encourage digital humanists, via a turn to close reading, to connect with the raw material, which is the basis of digitization efforts.
The PUBLIC POETICS conference is organized by Bart Vautour (Mt. A), Erin Wunker (Dal), Travis V. Mason (Dal), and Christl Verduyn (Mt. A). The conference is sponsored by the Centre for Canadian Studies at Mount Allison University, the Canadian Studies Programme at Dalhousie University, and The Canadian Writing Research Collaboratory / Le Collaboratoire scientifique des écrits du Canada. We plan to publish a selection of revised/expanded papers as a special journal issue and/or a book with a university press.
Interdisciplinary Multidisciplinary Woolf
7-10 June 2012
University of Saskatchewan
This conference invites explorations of Virginia Woolf’s work from a range of different disciplinary perspectives and practices. We welcome proposals on any aspect of Woolf studies, and especially papers or performances that:
• respond to Virginia Woolf and her texts from interdisciplinary or multidisciplinary approaches;
• respond to the inter- and multidisciplinary work carried out by Virginia Woolf and her circle; and/or
• respond to the implications of Virginia Woolf’s work by applying its themes and claims to other disciplinary, institutional, social, or cultural contexts.
Proposals may reflect (but need not be limited to) methodologies and knowledge from disciplines such as:
Queer Studies, the Digital Humanities, Native Studies, Literary Studies, History, Translation Studies, Art and Art History, Drama, Psychology/ Psychoanalysis, Business Administration, Media and Communications, Music, Political Science, the Study of Sexualities, Postcolonial Theory, Children’s Literature and Studies, Editing and Publishing, Creative Writing, Religious Studies, Economics, Film, the Study of Teaching and Learning, Cultural Studies, Sociology, Ecocriticism, Health, Women’s and Gender Studies, Anthropology, Disability Studies, Law…
Submissions from artists, writers, community activists, administrators, “common readers,” independent scholars, teachers, academics, and students are welcomed.
For paper proposals, please send a 250-word abstract as a Word attachment. For panel proposals, please submit a 250-word description of each paper to be presented by the three panel participants along with the proposed panel title. Because we will be using a blind submission process, please do not include your name on your proposal. Instead, in your covering e-mail, please include your
name(s), institutional affiliation (if any), paper title(s), and contact information.
Proposals and inquiries should be directed to Ann Martin, Department of English
306.966.5527 • firstname.lastname@example.org
The deadline for submissions is: 1 February 2012.
We have come together…to make one thing, not enduring—for what endures?—
but seen by many eyes simultaneously. (The Waves)
I have been a Postdoctoral Research Fellow with Editing Modernism in Canada for just over a year now, so it gives me great pleasure at this midpoint in my position to announce two major partnership agreements signed last week. First, EMiC has finalized it contract with Islandora at the University of Prince Edward Island to build our very own Digital Humanities module. Second, EMiC has partnered with another DH project with which I am involved: The Modernist Versions Project. Both partnerships promise to provide resources, training, and infrastructure not only EMiC scholars, but to the DH community as a whole.
1. Integrated Digital Humanities Environments: Islandora
Anyone who has been in DH for a while knows that there is a long history of tool-creation for our scholarly endeavours. Some of these projects have been successful (The Versioning Machine, Omeka, etc.), and some, unfortunately, have not. One “problem” we face as DH’ers is that there is simply so much to do. Some of us are interested in visualization software and network relations (Proust Archive), some are interested in preserving disintegrating archives (Modernist Journals Project), and others of us are firmly rooted in TEI and textual markup. Moreover, with the growth of GIS software, mapping texts has become a great way to have students interact with texts in spatial terms and to communicate with a non-academic public using a language most of us are familiar with: maps.
But what happens in DH when we move into the classroom?
I recently read a stunning syllabus created by Brian Croxall at Emory University, in which he provides his students with a solid (and diverse) introduction to the Digital Humanities. But one thing researchers and teachers like Brian, or any other DH’er faces, is providing students integrated learning environments where they can edit texts in a common repository AND have all the tools they need at their disposal in the browser. If you want to teach TEI right now, you have to buy Oxygen (a life-saving program when it comes to XML markup); For versioning, you must install Juxta or The Versioning Machine. For publication/exhibition you must install Omeka. But what if we had ALL of those things in one learning environment, in one common and open system? This is what we’re trying to accomplish with the EMiC Digital Humanities Sprout.
EMiC Digital Humanities Sprout
An issue EMiC faces in providing tools for our researchers is the sheer diversity of work being undertaken right now by EMiC scholars who have varying levels of experience with digital environments. EMiC needed to find a way to allow its members to preserve, edit, and publish digital editions of archival material in an intuitive way; moreover, we wanted to make to sure our archival practices conformed to international standards. Moreover, most of us are teachers too. How do we teach our students what we are doing in our research? Enter Islandora.
Nine months ago, I Googled the phrase “TEI, ABBYY, XSLT” on a whim (actually, I was being lazy: I was looking for an XSLT sheet that would transform ABBYY HTML to simple TEI). The first result listed was a page from the University of Prince Edward Island—just down the road so-to-speak. Not knowing much about Prince Edward Island outside of L. M. Montgomery, I keep browsing, and to my amazement, found that the library at UPEI had created a project called “Island Lives,” a resource developed using the home-grown Islandora digital repository. Mark Leggott, Donald Moses, and others, had built precisely what I was looking for: a digital asset management system using a Fedora Commons repository wrapped in Drupal shell. Islandora allows users to easily upload an image of text to its database, edit that image (TEI), and then “publish” a complete text (book, pamphlet, etc.) to the web. Dean Irvine and I realized that if we could expand this system to fit EMiC’s needs, we could create a Digital Humanities module that would serve our members perfectly. We decided to focus on the core issues facing EMiC editors: Ingestion (including OCR based on Tesseract), Image Markup, TEI editing, Versioning, and Publication (for the full list of what we’re building, see below*). Moreover, Islandora is tested and true and is being used by NASA, the Smithsonian, among many other institutions.
Thank You, DH.
We have years of successful work to emulate for this DH module. And just as the DH community has given to us, we expect the give back to the DH community by keeping the DH module open to use. Yes, we plan on creating an EMiC/Islandora DH install that you can download and use in your classrooms.
As part of this initiative, I have moved to Prince Edward Island to work with the Islandora crew as we develop this module. There’s some other news about what I’ll be digitizing there to “test” our system—but you’ll have to wait to hear about that. In the meantime, we are planning unveiling our functioning module at DHSI2012.
2. Modernist Versions Project
If you haven’t been to the Digital Humanities Summer Institute hosted by Ray Seimens at the University of Victoria, do plan on going! It is an incredible week of DH training, and it is one of the most memorable “unconferences” I have ever attended. One wonderful result of this year’s camp was the creation of the Modernist Versions Project (MVP), an international initiative to provide online resources for the editing and display of multiple witnesses of modernist texts. In what was truly a conversation over coffee, Stephen Ross shared with me his desire to create the MVP. Having served the Modernist Journals Project (MJP) at the University of Tulsa and Brown University for over six years, I said, “Stephen, let’s do this!” And we did. With the help of James Gifford, Jentery Sayers, and Tanya Clement (who along with Stephen and I serve as the Board of the MVP), we have secured tremendous support for a major SSHRC application this fall. The MVP promises to be an important project in the field of Digital Humanities and modernism.
But what does this have to do with EMiC?
I am impressed by two aspects of EMiC. First, the recovery of modernist Canadian texts in our project is truly spectacular. Second, the training EMiC facilitates at the University of Alberta, Dalhousie University, The University of Victoria, and Trent University (among many other institutions) is edifying. Just look at our graduate student editors who are engaged in serious textual editing projects across Canada: http://editingmodernism.ca/about-us/. We are really building the future of Canadian studies here.
As an international scholar, I am concerned, like many of you, with the networking of Canadian modernism across the globe. How does Canadian modernism fit into the greater narrative of modernity across the world? (this is a topic we’ll be exploring in Paris 2012: http://editingmodernism.ca/events/sorbonne-nouvelle/).
The Modernist Versions Project is one way of creating networks of modernist textual criticism and production across the world; that is, the MVP is interested in the editing and visualization of multiple textual witnesses no matter where those witnesses were created. Though located in Canada, the MVP’s scope is much larger, and EMiC’s partnership with the MVP will allow EMiC scholars interested in “versioning” to use MVP resources as they are developed. The MVP has already developed partnerships with the Modernism Lab at Yale University, Modernist Networks at Chicago, and NINES, which is letting us use and develop their Juxta software for periodicals and books.
Dean Irvine has been very generous in allocating my Postdoctoral hours towards the formation of the MVP. Once again, EMiC is nurturing young projects and helping create a truly global network of digital modernist studies. And I think I’ll end on this note: EMiC’s primary focus has been collaboration: collaboration among peers, and now collaboration among projects. And by collaborating with other projects around the world, we hope to create tools that will last, be useful, and really change the face of modernist studies.
Welcome to EMiC. Let’s go build something.
*Details of the EMiC Digital Humanities Sprout
Existing Islandora Code
1. Islandora Core
a. Integration with the Fedora repository and Drupal CMS
b. Islandora Book Workflow
c. Islandora Audio/Video
d. Islandora Scholarly Citations
New/Enhanced Functionality for the EMiC Module
1. Smart Ingest
2. Image Markup Tool
Proofs of concept and models:
Image Markup Tool (IMT)
3. TEI Editor
Proofs of concept and models:
Canadian Writing Research Collaboratory (CWRC) – CWRC Writer
Humanities Research Infrastructure and Tools (HRIT) – Editor
4. Collation Tool
Proofs of concept and models for development:
5. Version Visualization Tool
Proofs of concept and models:
6. Dynamic Version Viewer
Hypercities database: Transparent layers interface
7. Digital Collection Visualization Tool
Proof of concept: