Results for digital humanities

Students explore exemplary historical works based on oral histories and develop a range of practical skills while completing their own interviews. Topics include oral history and narrative theory, interview techniques, transcript preparation, and digital archiving. Students also learn how to analyze interviews using both qualitative and quantitative methods, practice writing history using oral evidence, and experiment with digital humanities approaches for disseminating oral history, including the Stanford Oral History Text Analysis Project. This course forms part of the "Doing History" series: rigorous undergraduate colloquia that introduce the practice of history within a particular field or thematic area.

This is a survey course designed to acquaint master¿s and doctoral students in East Asian Studies with the latest English-language scholarship on modern China, broadly defined, across the humanities and interpretive social sciences. Each time the course is offered (once every two or three years), the disciplinary/thematic emphasis shifts and the readings are completely different. The course may be repeated up to 3 times. This year, we focus on innovative scholarship in the ¿New Humanities,¿ including environmental humanities, health humanities, and digital humanities. Future topics include sinophone studies, film and visual culture, sensory studies, translation studies, genre fiction, queer studies, animal studies, new media and internet literature, world literature, cognitive approaches, literature (& philosophy, law, anthropology, history, psychology, religion, etc.), and so on.

This is a survey course designed to acquaint master¿s and doctoral students in East Asian Studies with the latest English-language scholarship on modern China, broadly defined, across the humanities and interpretive social sciences. Each time the course is offered (once every two or three years), the disciplinary/thematic emphasis shifts and the readings are completely different. The course may be repeated up to 3 times. This year, we focus on innovative scholarship in the ¿New Humanities,¿ including environmental humanities, health humanities, and digital humanities. Future topics include sinophone studies, film and visual culture, sensory studies, translation studies, genre fiction, queer studies, animal studies, new media and internet literature, world literature, cognitive approaches, literature (& philosophy, law, anthropology, history, psychology, religion, etc.), and so on.

This course will introduce students to methods for computationally analyzing literary, archaeological and historical evidence from the ancient Mediterranean world. Students will acquire programming skills in Python and experience with data science practices, while reading and discussing foundational essays in digital humanities as well as case studies of digital research in classics. Final projects will offer students' the opportunity to explore acquired skills in their areas of interest. No prior programming experience required.

What kind of data is literature? What different methods are available to scholars who work with it, and what are the philosophical assumptions that underpin those methods? In this course, we will survey major critical approaches to literature from the last century as well as emerging methods from the digital humanities, and try them out for ourselves. Students will construct their own portfolio of texts and each week they will (re)analyze them using a different approach; they will record their findings and reflect on their experiences in a weekly log. The course will comprise asynchronous activities (lectures, presentations, assignments, readings) and one synchronous meeting per week to discuss the readings. Approaches may include: formalism, structuralism, Marxism, psychoanalysis, critical approaches to identity and performance (gender, race, sexuality and disability), network analysis, topic modeling, stylometry, and word embeddings. No prior programming knowledge is expected. This course will not offer detailed training in computational analysis; rather, the focus will be on the theoretical implications of computational tools. All readings will be in English.

What if you could take a handwritten manuscript, or a pile of 100 books, and map all the locations that are referenced, or see which characters interact with one another, or how different translators adapted the same novel -- without reading through each text to manually compile those lists? Digital humanities tools and methods make it possible, but most tools and tutorials assume the texts are in English. If you work with text (literature, historical documents, fanfic, tweets, or any other textual material) in languages other than English, DLCL 204 is for you. No previous programming or other technical experience is required, just a reading knowledge of a language other than English (modern or historical). We'll cover the whole process of using digital tools, from start to finish: text acquisition, text enrichment, and analysis/visualization, all of which have applications in a wide range of job contexts within and beyond academia.

Interested in applying digital tools and methods to text, images, or other humanities research materials? This hands-on course will support you in planning and implementing your own digital project, using materials in any language. Working directly with a digital humanities expert, you will identify your own research question that can be addressed by digital methods, define a reasonable scope, and learn how to implement the methods you need to answer your research question. The course will include workshops on topics including data management, project management, and how to talk about your work both in academic contexts, and as part of your portfolio for applying to jobs in other fields.

What if you could take a handwritten manuscript, or a pile of 100 books, and map all the locations that are referenced, or see which characters interact with one another, or how different translators adapted the same novel -- without reading through each text to manually compile those lists? Digital humanities tools and methods make it possible, but most tools and tutorials assume the texts are in English. If you work with text (literature, historical documents, fanfic, tweets, or any other textual material) in languages other than English, DLCL 204 is for you. No previous programming or other technical experience is required, just a reading knowledge of a language other than English (modern or historical). We'll cover the whole process of using digital tools, from start to finish: text acquisition, text enrichment, and analysis/visualization, all of which have applications in a wide range of job contexts within and beyond academia.

What does it look like to manage a collaborative project in a way that's both effective and ethical, taking into account the needs of people as well as the task? This class will cover project management and collaboration as they are practiced in digital humanities, "alt-ac" (alternative academic) jobs, and similar environments outside academia. In addition to readings and discussion, students will participate in a simulation of one year in the life of a digital humanities project (in the style of Dungeons and Dragons and similar role-playing games), with each student playing the role of a member on the project team.

What does it look like to manage a collaborative project in a way that's both effective and ethical, taking into account the needs of people as well as the task? This class will cover project management and collaboration as they are practiced in digital humanities, "alt-ac" (alternative academic) jobs, and similar environments outside academia. In addition to readings and discussion, students will participate in a simulation of one year in the life of a digital humanities project (in the style of Dungeons and Dragons and similar role-playing games), with each student playing the role of a member on the project team.

"Only a fool reads poetry for facts": To read a poem with the same fact-seeking attention required by using a dictionary, reading a newspaper article, or following a recipe is, perhaps, foolish. But if it is, it is so only because it means the reader has not understood what a poem is supposed to do. Consider Wittgenstein's famous warning: "Do not forget that a poem, even though it is composed in the language of information, is not used in the language-game of giving information." A poem, even though it is made of the same (kinds of) words as information, ought not to be treated as information (the sentence seems to say). Distinct in their respective functions, poetry and information form two ends of an opposition: one for the creative possibilities for human expression, the other for the practical and mechanical tasks of everyday life.nBut what really "is" information? Has poetry not, since the beginning of time, also functioned as vehicle for storing, quantifying, and communicating things¿from historical events, the law, to agricultural manuals, just as "informational" texts do? How has the emergence of technological media in our so-called Information Age altered, reinforced, or revolutionized the place of poetry in the realm of human communication?nThese questions will motivate this course, which is also a general introduction to poetry and poetics. We will closely read German texts from the Musipilli to digital-born poetry, and secondary material from thinkers and theorists such as Schlegel, Schleiermacher, Benjamin, Wittgenstein, Flusser, and Bense, to learn how various methods of reading and literary criticism - from formalism and structuralism to Digital Humanities approaches - have developed alongside something like "information" as literary quality and social form.nAssistant Professor Lea Pao will teach this course.

"Only a fool reads poetry for facts": To read a poem with the same fact-seeking attention required by using a dictionary, reading a newspaper article, or following a recipe is, perhaps, foolish. But if it is, it is so only because it means the reader has not understood what a poem is supposed to do. Consider Wittgenstein's famous warning: "Do not forget that a poem, even though it is composed in the language of information, is not used in the language-game of giving information." A poem, even though it is made of the same (kinds of) words as information, ought not to be treated as information (the sentence seems to say). Distinct in their respective functions, poetry and information form two ends of an opposition: one for the creative possibilities for human expression, the other for the practical and mechanical tasks of everyday life.nBut what really "is" information? Has poetry not, since the beginning of time, also functioned as vehicle for storing, quantifying, and communicating things¿from historical events, the law, to agricultural manuals, just as "informational" texts do? How has the emergence of technological media in our so-called Information Age altered, reinforced, or revolutionized the place of poetry in the realm of human communication?nThese questions will motivate this course, which is also a general introduction to poetry and poetics. We will closely read German texts from the Musipilli to digital-born poetry, and secondary material from thinkers and theorists such as Schlegel, Schleiermacher, Benjamin, Wittgenstein, Flusser, and Bense, to learn how various methods of reading and literary criticism - from formalism and structuralism to Digital Humanities approaches - have developed alongside something like "information" as literary quality and social form.nAssistant Professor Lea Pao will teach this course.

Information has a history-- and it's not the one you've been told by Silicon Valley. In a series of propulsive, empirically rich, and provocative lectures and discussions, this course deep-dives into the history of information and IT, including moveable type, telegraphy, typewriting, personal computing, gaming, social media, algorithms, machine learning, Digital Humanities, and more. You will leave the course with entirely new perspectives on information, including how IT shapes-- and is shaped by-- culture, nationality, gender, ethnicity, economy, and environment.

Students explore exemplary historical works based on oral histories and develop a range of practical skills while completing their own interviews. Topics include oral history and narrative theory, interview techniques, transcript preparation, and digital archiving. Students also learn how to analyze interviews using both qualitative and quantitative methods, practice writing history using oral evidence, and experiment with digital humanities approaches for disseminating oral history, including the Stanford Oral History Text Analysis Project. This course forms part of the "Doing History" series: rigorous undergraduate colloquia that introduce the practice of history within a particular field or thematic area.

This course is designed to introduce students to the theories and methods of digital history. In keeping with the digital humanities- commitment to experimentation, public discourse, and praxis, we will compile a web presence for our seminar that includes blog posts from students that engage with the discussions and readings. A series of tutorials will provide hands-on experience with a range of common digital history tools. The course will culminate in a final project in which students apply DH methodologies to their own research interests.

Historians tell stories. Using digital methods, we can tell these stories in creative and innovative ways. This digital humanities course is a hands-on experience of working with different methods of digital storytelling. This course is best suited for students interested in mapping, podcasting, digital publishing, and creating visualizations to present research. Students will interpret historical primary sources in addition to secondary sources to engage in the process of interpreting stories like a historian. There is also a degree of creativity and freedom with the creation of your digital stories.This course is designed to not only teach practical digital storytelling skills, but to also analyze the practicalities of telling historical stories and how to present the information through digital means. In addition, students will have to consider copyright laws, ethics of digital publishing, and concepts of equity of digital storytelling methods. Students will engage in workshops and discussions. No prior technical experience is required.

Unless you subscribe to certain extreme life philosophies, animals probably constitute some of your existence and environment - whether living with pets, hearing birds around campus, or confronting our human selves every morning, most of us would struggle to completely avoid animals in daily life. In this course, we explore different types of media and texts - though predominantly Russian and Yiddish literatures from 19th-century Russia in English translation - ventriloquizing, problematizing, and otherwise instrumentalizing non-human animals. Through our animal readings on narration and theory, we reconsider concepts of relation, humanism, sustainability, responsibility. Students can apply their refined understandings to create art pieces of digital humanities projects using the Textile Makerspace.

Unless you subscribe to certain extreme life philosophies, animals probably constitute some of your existence and environment - whether living with pets, hearing birds around campus, or confronting our human selves every morning, most of us would struggle to completely avoid animals in daily life. In this course, we explore different types of media and texts - though predominantly Russian and Yiddish literatures from 19th-century Russia in English translation - ventriloquizing, problematizing, and otherwise instrumentalizing non-human animals. Through our animal readings on narration and theory, we reconsider concepts of relation, humanism, sustainability, responsibility. Students can apply their refined understandings to create art pieces of digital humanities projects using the Textile Makerspace.

How does Artificial Intelligence construct and reinforce social orders? How do human biases, values, and cultures shape AI? Starting with a descriptive introduction to different types and kinds of algorithms, we will first establish what AI is and what it does, on a technical level. With this shared framework in mind, we will then investigate how AI shapes, and is shaped by social interactions and imaginaries. Through scholarly works in the digital humanities, philosophy, internet studies, engineering, and popular culture, AI's influence on public perception, privacy, morality, popularity, equity, and justice will be critically examined. This course will feature guest lectures from controls engineers and others involved in using AI to protect science, technology, and society. Performance in this course will be evaluated through a data journalism project that asks students to peek behind the shiny User Interfaces of popular websites and identify how the code exerts power over various actors in the network.