Projects as a Scholarly Genre: Readings 4-6

The first three readings of this week explore the project creation process of Digital Humanities. Readings 4 to 6 dive more into the specific products of Digital Humanities and its issues, such as Omeka platform and what it means to be “done” in a Digital Humanities project. 

Tom Scheinfeldt, who is an associate professor of Digital Humanities at the University of Connecticut, discussed in Omeka and Its Peers the existing types of Collections Management Systems and Content Management Systems used by collections professionals and interpretive professionals, and where Omeka falls in the landscape of these toolsets. Scheinfeldt argues that there is no alternative product like Omeka. Unique from many of the products on the market, Omeka provides its users the functions of both “back of the house” and “front of the house”. These mean that Omeka has the professional tools for digital collection and management systems “in the back”, and it provides the design-driven interactive content “in the front”. As Claire walked us through in her blog, you can start an Omeka site from the ground up by building collections and designing exhibition content. With Omeka initially realized in 2008, and the article written in 2010, Omeka was still a relatively new system. Therefore, I was very curious about the progress that had been made to the platform itself and what new products have been developed a decade later. According to Omeka’s website, the Omeka team launched Omeka S in 2017. The new version is designed for larger institutional users. At the same time, the original version, Omeka Classic, continues to exist and is being developed alongside the newer version. The collaboration of disciplines is one of the key components of the Digital Humanities. Scheinfeldt points out that one great benefit of Omeka’s combination of functionality is that it draws librarians, archivists, museum professionals, and scholars together. Through working on the platform, connections and communication between these fields could be enhanced. Do you think all museums and libraries should aim to transition to a platform like Omeka that combines both the collection and presentation functions?

The next article is from the National Endowment for the Humanities. Created in 1965, the NEH is one of the largest funders of humanities programs in the US. Its Office of Digital Humanities offers grants annually to organizations with innovative and experimental digital projects that encourage professional collaboration and public engagement in the humanities. The Digital Humanities Advanced Grants 2021 outline and the list of past example projects give us a better sense of the recent advancement of the Digital Humanities field today. I specifically looked at a project from the University of Virginia entitled The Development of Digital Documentary Editing Platforms. The project proposed that in order to create an all-inclusive digital platform for all aspects of editorial work from document collection to digital publication, it is essential that we possess content expertise and familiarity with documents themselves. Therefore, the project aimed to bring technical experts and editors from two existing technologies, Omeka and Drupal, in an attempt to build a groundwork of collaboration. Together, they reviewed the current use of the platforms and discussed the use and development of future platforms in creating and publishing digital documentary editions. What is your observation of the successful Grant applicant projects?

In the last article, Done: Finishing Projects in the Digital Humanities, Kirschenbaum raised an important question regarding the work involved with Digital Humanities: “How do we know when we are done?” The quality of innovation and extensibility of Digital Humanities makes it harder for people to define the “completeness” of a project. Kirschenbaum makes mention of the culture of the “demo” in the US, using the example of Digital Humanities start-up grants and their focus on innovation and experimentation of the projects, instead of “steady, measured progress”. This tendency is shared in the NEH grants where it emphasizes the value of innovation in projects and clearly stated that the grants cannot support “regular, ongoing maintenance of existing projects.” Do you think that a Digital Humanities project should have a definite endpoint or is the quality of open-ended and extensibility a valuable asset of the Digital Humanities? What do you think is the measurement of completeness? Does the development of newer versions of Omeka count as a sign of a never-ending project?

Looking forward to hearing your thoughts on Wednesday!

Mengshu’s Introduction

Hello everyone!

My name is Mengshu Ye, and I’m a first year graduate student in the Public History program. I graduated from the State University of New York at Binghamton in 2020, majoring in History and Asian and Asian American Studies. I am from Changchun, China. I moved to the US five years ago to start my undergraduate studies; my research interests include women’s history, Asian American history, and immigrant history.

I am looking forward to exploring different digital tools and learn how they influence the way historians communicating history. I am especially interested in the topics of Digital Analysis and Visualization, and Digital Exhibition. This is something I haven’t explored before in my studies and I am excited to learn another branch of documenting history. I hope that by understanding how new media is integral in preserving and interpreting historical documentation and objects, I can use these tools in the future when I want to present history in a thorough manner.