Matching Computational Analysis and Human Experience: Performative Arts and the Digital Humanities.

The affordances of the digital age have precipitated a crisis of authority. Whom do we trust? How do we prove ourselves trustworthy? The heuristics of authority, in particular at the information filtering and presentation layers, can be co-opted by actors able to manipulate them, and us. At the same time, social tolerance for uncertainty and complexity is low, to the extent that removing them has become a key success metric within both backend systems and user interface design. This rapid shifting of knowledge technologies, in particular as regards the manner in which sources convey their authority in the transition from their affordances as analogue to digital media (where unfiltered source availability is high and the visual languages of authority, from web design to ‘deep fakes,’ are easily appropriated), is an incomplete process that has muddied our ability to judge he signals of trustworthiness and credibility. These are problems democratic societies are struggling with on a fundamental level. Unfortunately, however, too often the solutions being proposed emerge from the same culture of software development that created the problems in the first place: as Pasquale describes it, ‘...authority is increasingly expressed algorithmically ... Silicon Valley and Wall Street tend to treat recommendations as purely technical problems. The values and prerogatives that the encoded rules enact are hidden within black boxes’ (Pasquale, 2015). Hiding the ‘encoded rules’ informing knowledge creation within ‘black boxes’ is precisely the kind of process the work of scholarly editors, in particular digital scholarly editors, has evolved over decades to avoid. Instead, this is an expertise that documents the complexities resulting from the work of filtering accounts, establishing authority, managing uncertainty, and documenting provenance. The clear link between the problems of information overload and technological overreach and the affordances of digital scholarly editorial expertise to “situate knowledges” (Haraway, 1988) is yet to be systematically explored, however. This chapter proposes a framework for negotiating trust and authority that exploits the affordances of digital scholarly editing by privileging the iterative rather than the definitive (McGann, 1996; Schreibman, 2013; Sahle, 2016; Broyles, 2020), the process rather than the product (Siemens et al., 2012; Pierazzo, 2014; Sahle, 2016; Doran, 2021), and the active, even radical role, of the editor, transparently acting as an active collaborator in the sensemaking process, rather than an ‘invisible hand’ (Siemens et al., 2012). It will draw together the long tradition of digital scholarly editing with the emerging subfield of critical digital humanities (see Hall, 2011; Liu, 2012; Berry, 2019) and address in particular the two key points of a) how we can explore and expand the current norms within analogue, digital and indeed hybrid scholarly editing processes toward a model that emphasises the constructed and consensual nature of knowledge, embraces the uncertainty, complexity and contextual dependency of cultural materials and makes knowledge claims and decision-making processes transparent; and b) how this model can be documented and expanded to become applicable in other kinds of human, machine and hybrid knowledge-making processes, in particular systems wielding algorithmic authority. References Berry, D. (2019) “Critical Digital Humanities.” Conditio Humana - Technology, Ai and Ethics (blog), January 29, 2019.Broyles, P.A. (2020) “Digital Editions and Version Numbering.” DHQ 14, no. 2, 2020. Doran, M. (2021) “Reflections on Digital Editions: From Humanities Computing to Digital Humanities, the Influence of Web 2.0 and the Impact of the Editorial Process.” Variants., 2021. Haraway, D. (1988) “Situated Knowledges, The Science Question in Feminism and the Privilege of Partial Perspective. Feminist Studies, vol 14.3, pp. 589-599. Hall, G. (2011) “The Digital Humanities Beyond Computing: A Postscript.” Culture Machine, 2011, 11. Liu, A. (2012) “Where Is Cultural Criticism in the Digital Humanities?” in Debates in the Digital Humanities. McGann, J. (1996) “Radiant Textuality.” Victorian Studies 39, no. 3 (Spring 1996): 379-390. Pasquale, F. (2015) The Black Box Society. Cambridge, Massachusetts: Harvard University Press.Pierazzo, E. (2014) “Digital Documentary Editions and the Others.” Scholarly Editing 35 Sahle, P. (2016) “What is a Scholarly Digital Edition?” Digital Scholarly Editing Theories and Practices, ed. M. J. Driscoll and E. Pierazzo. Open Book Publishers, 19-39. Schreibman, S. (2013) “Digital Scholarly Editing.” Literary Studies in the Digital Age MLA. Siemens, R. et al. (2012) “Towards Modeling the Social Edition.” Literary and Linguistic Computing 27, no. 4,445-461.

PurposeThis paper aims to determine if the digital humanities technique of topic modeling would reveal interesting patterns in a corpus of library-themed literature focused on the future of libraries and pioneer a collaboration model in librarian-led digital humanities projects. By developing the project, librarians learned how to better support digital humanities by actually doing digital humanities, as well as gaining insight on the variety of approaches taken by researchers and commenters to the idea of the future of libraries.Design/methodology/approachThe researchers collected a corpus of over 150 texts (articles, blog posts, book chapters, websites, etc.) that all addressed the future of the library. They ran several instances of latent Dirichlet allocation style topic modeling on the corpus using the programming language R. Once they produced a run in which the topics were cohesive and discrete, they produced word-clouds of the words associated with each topic, visualized topics through time and examined in detail the top five documents associated with each topic.FindingsThe research project provided an effective way for librarians to gain practical experience in digital humanities and develop a greater understanding of collaborative workflows in digital humanities. By examining a corpus of library-themed literature, the researchers gained new insight into how the profession grapples with the idea of the future and an appreciation for topic modeling as a form of literature review.Originality/valueTopic modeling a future-themed corpus of library literature is a unique research project and provides a way to support collaboration between library faculty and researchers from outside the library.

Graduate students in the humanities increasingly view training in the use of digital tools and methodologies as critical to their success. Graduate students' interest in becoming familiar with digital tools often accompanies their awareness of a competitive academic job market, coupled with a recognition that teaching and research positions increasingly call for experience and skills in the Digital Humanities (DH). Likewise, recent debates over DH's role in the future of humanities scholarship have heightened the sense that DH skills can translate to crucial job skills. While many graduate students receive encouragement from faculty to pursue digital scholarship, individual academic departments often have limited resources to prioritize the development of these skills at the expense of existing curricular components. This chapter looks at initiatives at the University of Michigan Library that demonstrate the ways in which subject librarians, in collaboration with data and technology specialist librarians, can fill this gap by creating opportunities for graduate students to develop DH skills.

Within the scope of this paper we discuss the possibilities of newly immersive interactive technologies in the field of Digital Humanities (DH). We define Digital Humanities, its basic concept, and various criteria as intersection between computation and humanities. We review immersive interactive technologies in the context of DH, and attempt to develop a framework how interactive immersive technologies can be utilized within the scope of this research field. We also discuss interactivity and human experience in relation to DH and interactive immersive environments. The paper rounds up with a few practical example cases, which shall illustrate the use of immersive interactive technologies in DH, and underlines the potentials.

Introduction: The Interactive Relations Between Science and Technology and Literary Studies

Tres mundos diferentes: la sociedad, el teatro y el Trabajo Social; a veces concéntricos y a menudo en intersección: la sociedad, el teatro y el arte de la performance y el Trabajo Social. Mundos diversos que viven, reflejan, se reflejan e interactúan, y que también son una ocasión de encuentro, desencuentro y confrontación, y sobre todo ofrecen la posibilidad de un cambio profundo.En el artículo se relata y se reflexiona sobre la experiencia de una compañía de teatro, Tedacà, que lleva trece años moviéndose en los límites de estos tres universos; de estos tres mundos que encierran, además, una infinidad de palabras con un enorme significado: territorio, encuentro, cultura, diversidad y búsqueda. Se trata de una experiencia artística que ha optado por crear escenarios de debate y que profundiza en las dificultades, en las contradicciones humanas y en la confrontación constante e inagotable con la experiencia humana. En el corazón de esta acción teatral se busca el equilibrio entre narración, encuentro, indagación y la dimensión artística. En este encuentro entre sociedad, teatro y Trabajo Social se busca también la sustentabilidad de esta empresa cultural, en una Italia destrozada por la crisis, no solo económica, sino de valores y sobre todo de puntos de referencia.La profesión del autor, como trabajador social, le ofrece una apertura de perspectivas: psicológica, sociológica y jurídica y un espacio de encuentro y afrontamiento con el mundo del Trabajo Social. Lucha para conciliar los tiempos de estudio con los laborales y el del itinerario teatral al que no puede reenunciar. Es una lucha en el terreno de lo que hasta entonces había sido el mundo de la enfermedad mental, o el mundo de la cárcel, cuando como consultor en la cárcel de Ivrea, participó en un proyecto de acompañamiento a personas que van a salir de la cárcel, una vez cumplida la pena, y que tienen un pasado de drogadicciones. Es la forma de estar en el mundo del trabajador social, es como llevar una alianza en el dedo. El arte, la sociedad y el Trabajo Social se han encontrado en muchos proyectos: con todo tipo de escuelas, con el problema del acoso y de la diversidad; proyectos que tratan de la exclusión y que relatan la profunda violencia, el sufrimiento y la soledad que se encierran en estas dimensiones. Ha tratado también el tema de acogimiento familiar, trabajando con los niños para llegar a sus padres. Ha realizado talleres de arte para toda la ciudadanía, con los jóvenes, usuarios de los Servicios Sociales de los pisos tutelados, sin crearles itinerarios ad hoc, sino tratando de insertarlos en los de sus coetáneos, tratando de eliminar así cualquier etiqueta que pudiera diferenciarlos, y simplemente buscando el encuentro entre ellos. El hilo conductor no siempre era consciente, aunque siempre ha estado presente, porque era tan esencial como lo es la búsqueda de la belleza.

While current students have opportunities for formal digital training, most digital humanists working today point to workshops as one of their primary means for training in the field. In part, this is a result of the paucity of digital humanities programs in the 1990s and 2000s, but it is also a result of how resources have been allocated and deployed by the various sites of digital humanities work: departments, libraries, digital scholarship centers, and digital humanities research centers. Digital humanities (DH) workshops provided a way for the discipline to anchor itself and welcome newcomers without formal curricula. This volume represents the expansive definition of digital humanities that we encounter in our research and teaching, that is, a constellation of practices that engage with and interrogate the role of computing in understanding, analyzing, and representing human experience. As such, it incorporates many terms that you may be familiar with: digital scholarship, digital heritage, digital practice, and digital research. We do not firmly demarcate the boundaries, for example, between digital humanities and digital scholarship in this volume as the methods, tools, and practices often overlap. Nor, for example, do we limit ourselves by excluding work taking place in digital heritage contexts. Whether termed digital humanities, digital scholarship, or digital heritage, workshops often deploy similar pedagogical and methodological approaches and outcomes. They appeal to the same audiences and thus overlap in their goals and strategies for audience and community. Thus, this volume represents the ecosystem that digital humanities workshops exist within. Sometimes they take place in digital humanities or digital scholarship centers; other times in libraries and museums; some are recurring, and others, ad hoc. The chapters in this volume are written to appeal to the same broad audiences as the workshops themselves: to students, teachers, administrators, novices, and experts alike.

The article offers a philosophical reflection on the digital reality, digital urbanism, and digital humanities, posing fundamental questions about the nature of these phenomena and their potential risks. Shedding light on aspects of digital urbanism, researchers explore how technological transformations impact the structure, organization, and transformation of living spaces. In the context of digital humanities, the influence of new technologies on humanistic disciplines and ethical aspects is evaluated. Philosophical reflection on the impact of the digital environment on cultural and social aspects of urban life allows for the consideration of the importance of open data and collective knowledge exchange in the digital era. The article proposes an integrative view of digital modernity, emphasizing the relevance of a phenomenological perspective on understanding the complex relationships between humans and technologies in the contemporary world. The research identifies the influence of digital transformation on human existence, raising concerns about the possible loss of human identity in the conditions of the new reality. However, the article offers a new perspective on the issue, emphasizing that it is not the flexibility but the plasticity of human consciousness that could be the key to rethinking the digital age. The authors argue that the plasticity of human thinking can provide humanity not only with a means of adaptation but also with a new source of creativity. As a result, it is concluded that despite the challenges of digital reality, the plasticity of consciousness could become the foundation for creating new, exciting perspectives. The authors see this transition as an opportunity to form a more harmonious interaction between humans and the digital environment and to create unique realities. Thus, the article challenges stereotypes about human vulnerability in the digital age, asserting that the plasticity of human consciousness can open new horizons for creative interaction with the changing world.

Against the backdrop of increasing integration between digital humanities and psychological narrative research, theatre, as a performative art combining language, movement and emotion, is gradually being recognized as a potential intervention tool for trauma memory reconstruction and emotional regulation. However, the mechanism by which multimodal theatrical information activates emotional processing and influences trauma narrative in audiences remains underexplored. This study focuses on four stylistically distinct versions of Chekhovs Uncle Vanya, constructing a structured multimodal dataset comprising text, facial expressions, speech, and movement. A multimodal Transformer and Graph Attention Network were employed to automatically map performance information to emotional structures, and a behavioral experiment was conducted to evaluate its effectiveness in trauma narrative intervention. The results show that the model significantly enhances participants abilities in emotional recognition, narrative coherence, and emotional integration, with more pronounced effects observed in trauma-experienced individuals. Moreover, stylistic differences among theatrical versions exhibited significant moderating effects on emotional activation intensity and propagation pathways, underscoring the critical value of multimodal synergy in emotional reconstruction. This research offers a technical pathway for emotion modeling and intervention via theatre mapping and expands the practical boundaries of performative arts in psychological reconstruction and educational applications.

This chapter investigates literary prose of the realist era in Russia using digital humanities methods. It focuses on how computational analysis can enhance an understanding of descriptions of literary characters, geographical locations, and lexical composition in literary texts. Using a corpus of more than five hundred texts (forty-six million word occurrences), it eschews the focus on individual writers and puts Russian realism within the broader context of nineteenth-century Russian literature. The authors employed word embeddings and vector semantics to analyze character descriptions in realist literature. The results indicated that the “typical” aspects of literary characters often overshadowed their individuality, reflecting the realist focus on common human experiences. The study utilized geocoding techniques to map mentions of geographical locations within the texts. This analysis showed that realist literature turned from portraying historical (and largely mythical) settings of Muscovite Rus’, Poland, Ukraine, and the Baltics to the then-new capital Saint Petersburg, to western Europe, and to the “new” eastern and southern peripheries of the Russian Empire as it continued to expand. With the help of a contrastive corpus analysis approach the authors examined the general lexical composition of the texts. This analysis showed that realist prose diverges from its romantic predecessor in its higher degree of dialogism, focusing more attention on depictions of everyday life, and in more explicit portrayal of thought, conscience, and human experience. However, it also showed that the poetry of the realist era did not undergo the same transition and maintained much of the romantic aesthetics, remaining a refuge for more conservative genres.

Following up on the seminal work of late 1990s/early 2000's Silicon Valley theory collective C5 Corporation, Stalbaum will discuss a a number of legacy projects that speculated on the literal return of Geographic Information Systems (GIS) to the actual landscapes from which that was derived, order to produce new kinds of co-agency between big and human experience as performance art in the wild. Under the banner of Earth Computing, the walkingtools.net laboratory (UNIFESP/UCSD) is exploring how today similar may return to that landscape an even more literal way: through distributed computing and the property of data locality inherent contemporary compute platforms such as Hadoop. Indeed, not only through locality, but through solar power and the literal placement of compute power the landscape itself, all as a way to explore new options for land art and performance art. Brett Stalbaum is an Associate Teaching Professor the Department of Visual Arts at the University of California, San Diego where he coordinates computing related courses of study (majors) and teaches computer programming and the histories of computing media art. Stalbaum is a founding member of the Electronic Disturbance Theater (1997), which is known for its activist projects such as FloodNet and the Transborder Immigrant Tool. In 2013 he released the Gun Geo Marker Android app, a pro gun rights gesture that nevertheless confused and outraged radical right-wing gun locos the United States. (Which is not hard to do.) Currently he is working on the concept of Earth Computing the bi-national UNIFESP/UCSD Walkingtools.net laboratory (with co-PI Cicero Silva.).

The article examines the international and Russian experience in teaching and learning digital humanities. Existing formats such as online courses (incl. MOOCs), university courses, minors, BA and MA programs, summer schools are identified and analyzed, examples are given. The institutions that provide educational activities are described. The article proposes a methodology for constructing a Russian-language course and teaching digital humanities, describes the concept of the "Learning Digital Humanities" platform and the first experience of its use.

This study is to analyze the general cause of the crisis of humanities in Korea and suggest the introduction of ‘Digital Humanitas’ which encourages and improves the ability of ‘consilience’ by using digital tools in the various fields of conventional humanities. To carry out the study, a method of approaching ‘digital humanities’ is shown through ‘S(Search)-C(Connect)-S(Share)’ reading strategy of Shakespeare’s Hamlet. Since the widespread use of internet browser and digital media, the world has seen some significant change in the way people read, write, learn and communicate. And the value of the humanities which pursues the mental meaning and value of human life and existence has been underestimated, and many people even ignore the necessity of the humanities. It is natural for us to face the crisis of humanities in our society. This isn’t a fad or a trend but a permanent change in our society that needs to be addressed-and needs to be addressed by humanists. Digital age requires a new method and perspective to be understood its culture. This is why ‘digital humanitas’ is strongly requested to us as time goes by and as IT is developed day by day. However, as it is shown in the study of the examples of digital humanities in Korea and in the United states, they are all focused on the training of using digital tools to improve students’ information literacy. They cannot connect digital technology with the humanities in the real meaning. Digital humanitas, as a concept, should include the ability of consilience of the humanities as well as the usage of digital tools. As a method of connecting digital skills with the humanities, this study shows a reading strategy of ‘S(Search)-C(Connect)-S(Share)’ and applies the strategy to reading Hamlet. The result suggests that the humanist should positively accept and include digital skills, and help students improve their abilities of consilience which unites different areas and produces some creative ideas.

The word ‘Humanities’ in its condensed form is generally associated with teaching of English. But it has a major role to play in area of arts and literature, philosophy, language, history etc. It also involves analytical practices, interpretation and critique: annotation and editing, historical research, interplay of self and society. Associating one more term ‘digital’ with Humanities gives a new perspective to look at humanities. One can say that it is persuasion of knowledge with digital methods/digital tools. The activities of DH scholars include enhance of digital section where human experience remain the central concern. Digital tools illuminate efforts for humanities. There has been gradual transformation of traditional humanities to Digital Humanities since the invasion of computer and computational methods. Present upheavals in world due to Covid -19 have forced all of us to change our each and every conventional definition of socio-cultural life and life standards. Almost complete dependency on technology for knowledge sharing by using different digital tools has made us think about possibilities never thought before. For ex. Work from home culture, a digital off shoot of traditional working method, was never taken a serious note before Covid -19. In time to come, it would also affect literature and history or any dominated discipline of Humanities, as the prime job of humanities is to pen-down all these historical changes. The raw material of Humanities itself has changed and hence the final product has to be and shall be entirely different. Present paper aims at an indication and possibilities in rise of Digital Humanities during this pandemic time of Covid -19. Humanities has a familiar world of knowledge that depends on library or classrooms that is basically associated with print and books. But terms like social distancing, quarantine, WFH culture has positively boosted a new perspective to look at geo-political, cultural, economic experiences. It has provided raw material to both- Humanities and Digital Humanities. Traditional Humanities would pen down the experience in print form. Digital humanities would help create coexistence of traditional knowledge along with effective use of digital technologies.

Digital Humanities (DH) is a scientific domain, albeit an elusive one. Broadly, DH studies digital cultural objects in a computational way. There is no commonly accepted definition. The challenge in defining DH stems from the wide variety of disciplines involved, like cultural heritage, linguistics, literature, digital archaeology, history, arts, philosophy, etc. that all have their own methodology and tools. A common misunderstanding is that the DH is concerned only with the conversion of physical objects like manuscripts, maps, cultural artefacts, sounds, into a machine-readable format. But this is only the first step: ob¬taining the object of study. The most challenging part is the computational processing of the digital objects by operations such as interrogation, editing, annotating, visualization, Data Mining, automatic classification, clustering, pattern recognition, information extraction, etc. Only a decade ago, all of these could have been performed exclusively by scholars with computer science background, but now the tendency is to develop user-friendly tools, or use prompt engineering for large language models, to make it easy for humanists to benefit from these computational analysis methods. In the last half of the decade, we witnessed a fourth industrial revolution, with the fulminating rise of Artificial Intelligence technologies. In this dynamic context, the role of DH scholars increases. Smart, creative, adaptive, and visionary digital humanists are needed to use AI systems to benefit people. In short, we need digital literacy on a large scale and adapting to continuous learning. An example of such good practice is the array of dissertation topics proposed by students graduating the Digital Humanities master Program at FLLS, like the computational analysis of the discourses of the last four Romanian presidents, the automatic detection and classification of mental illnesses from social media posts, the diachronic analysis of semantic shift of gender representation in corpora, the comparative semi-automatic analysis of literary cur¬rents, the automatic classification and sentiment analysis on a textual corpus of dreams, the comparison of human and AI-generated fanfiction texts, or testing the verbal creativity of large language models and compare it with human performance, etc. Pannapacker predicted as soon as 2012 that “It won’t be long until the Digital Humanities are, quite simply, The Humanities”. That moment has already passed.