DigitalKoans

A cross-institutional team has built a a simulation of Rome as it was in 320 A.D. called Rome Reborn 1.0.

Here’s an excerpt from the press release:

Rome’s Mayor Walter Veltroni will officiate at the first public viewing of "Rome Reborn 1.0," a 10-year project based at the University of Virginia and begun at the University of California, Los Angeles (UCLA) to use advanced technology to digitally rebuild ancient Rome. The event will take place at 2 p.m. in the Palazzo Senatorio on the Campidoglio. An international team of archaeologists, architects and computer specialists from Italy, the United States, Britain and Germany employed the same high-tech tools used for simulating contemporary cities such as laser scanners and virtual reality to build the biggest, most complete simulation of an historic city ever created. "Rome Reborn 1.0" shows almost the entire city within the 13-mile-long Aurelian Walls as it appeared in A.D. 320. At that time Rome was the multicultural capital of the western world and had reached the peak of its development with an estimated population of one million.

"Rome Reborn 1.0" is a true 3D model that runs in real time. Users can navigate through the model with complete freedom, moving up, down, left and right at will. They can enter important public buildings such as the Roman Senate House, the Colosseum, or the Temple of Venus and Rome, the ancient city’s largest place of worship.

As new discoveries are made, "Rome Reborn 1.0" can be easily updated to reflect the latest knowledge about the ancient city. In future releases, the "Rome Reborn" project will include other phases in the evolution of the city from the late Bronze Age in the 10th century B.C. to the Gothic Wars in the 6th century A.D. Video clips and still images of "Rome Reborn 1.0" can be viewed at www.romereborn.virginia.edu. . . .

The "Rome Reborn" project was begun at UCLA in 1996 by professors Favro and Frischer. They collaborated with UCLA students from classics, architecture and urban design who fashioned the digital models with continuous advice from expert archaeologists. As the project evolved, it became collaborative at an international scale. In 2004, the project moved its administrative home to the University of Virginia, while work in progress continued at UCLA. In the same year, a cooperative research agreement was signed with the Politecnico di Milano. . . .

Many individuals and institutions contributed to "Rome Reborn" including the Politecnico di Milano (http://www.polimi.it), UCLA (http://www.etc.ucla.edu/), and the University of Virginia (www.iath.virginia.edu). The advisors of the project included scholars from the Italian Ministry of Culture, the Museum of Roman Civilization (Rome), Bath University, Bryn Mawr College, the Consiglio Nazionale delle Ricerche, the German Archaeological Institute, Ohio University, UCLA, the University of Florence, the University of Lecce, the University of Rome ("La Sapienza"), the University of Virginia and the Vatican Museums.

Several individuals, including John Unsworth, have issued a call for the formation of a network of digital humanities centers.

Here’s an excerpt from the call:

If you represent something that you would consider a digital humanities center, anywhere in the world, we are interested in including you in a developing network of such centers. The purpose of this network is cooperative and collaborative action that will benefit digital humanities and allied fields in general, and centers as humanities cyberinfrastructure in particular. It comes out of a meeting hosted by the National Endowment for the Humanities and the University of Maryland, College Park, April 12-13, 2007 in Washington, D.C., responding in part to the report of the American Council of Learned Societies report on Cyberinfrastructure for the Humanities and Social Sciences, published in 2006.

We leave the definition of "digital humanities" up to you, but we intend to be inclusive, and we know that there will be cross-over into the social sciences, media studies, digital arts, and other related areas. If you think your center is a digital humanities center, in whole or in part, then we’d be glad to have you as part of the network. This might include humanities centers with a strong interest in or focus on digital platforms. The definition of "center" is only slightly more prescriptive: a center should be larger than a single project, and it should have some history or promise of persistence.

Some early initiatives are likely to include

• workshops and training opportunities for faculty, staff, and students
• developing collaborative teams that are, in effect, pre-positioned to apply for predictable multi-investigator, multi-disciplinary, multi-national funding opportunities, beginning with an upcoming RFP that invites applications for supercomputing in the humanities
• exchanging information about tools development, best practices, organizational strategies, standards efforts, and new digital collections, through a digital humanities portal

For further information (including how to respond), see the call.

Position papers from the NSF/JISC Repositories Workshop are now available.

Here’s an excerpt from the Workshop’s Welcome and Themes page:

Here is some background information. A series of recent studies and reports have highlighted the ever-growing importance for all academic fields of data and information in digital formats. Studies have looked at digital information in science and in the humanities; at the role of data in Cyberinfrastructure; at repositories for large-scale digital libraries; and at the challenges of archiving and preservation of digital information. The goal of this workshop is to unite these separate studies. The NSF and JISC share two principal objectives: to develop a road map for research over the next ten years and what to support in the near term.

Here are the position papers:

• Bill Arms: "Repositories for Large-Scale Digital Libraries"
• Fran Berman, Brian E. C. Schottlaender: "The Need for Formalized Trust in Digital Repository Collaborative Infrastructure"
• Laura E. Campbell: "How Digital Technologies Have Changed the Library of Congress: Inside and Outside"
• Sayeed Choudhury: "The Relationship between Data and Scholarly Communication"
• Bas Cordewener: "Institutional Repositories in the Netherlands, a National and International Perspective"
• Gregory Crane: "Repositories, Cyberinfrastructure and the Humanities"
• Linda Frueh: "Access Tools: Bridging Individuals to Information"
• Jerry Goldman and Andrew Gruen: "Complexity and Scale in Audio Archives"
• Babak Hamidzadeh: "Scale: A Repository Challenge"
• Ken Hamma: "Professionally Indisposed to Change"
• Rick Luce: "NSF/JISC Repositories Workshop Position Paper "
• Janet H. Murray: "Genre Creation as Cognition and Collective Knowledge Making"
• Peter Murray-Rust: "Data-Driven Science—A Scientist’s View"
• Michael L. Nelson: "I Don’t Know and I Don’t Care"
• Joyce Ray: "Discussion Group on Individual Users"
• Jürgen Renn: "From Research Challenges of the Humanities to the Epistemic Web (Web 3.0)"
• David Rosenthal: "Engineering Issues in Preserving Large Databases " (PDF)
• Abby Smith: "Thoughts on Scale and Complexity"
• Beth Stewart: "NEH and Digital Humanities"
• Eric F. Van de Velde: "Workshop on Data-Driven Science & Scholarship: Organizations"
• Donald J. Waters: "Doing Much More Than We Have So Far Attempted"

Dan Cohen has created a Digital Humanities Wiki in response to "a common need expressed at the digital humanities centers summit at NEH in April, 2007."

It currently includes sections on:

• Centers
• Discussion Groups
• Journals and Series
• Professional Societies, National and International Organisations
• Tools

A Companion to Digital Humanities is now freely available in digital form.

This important 2004 book was edited by Susan Schreibman, Ray Siemens, and John Unsworth. It includes chapters by such notable experts as Howard Besser, Greg Crane, Susan Hockey, Willard McCarty, Allen H. Renear, Abby Smith, C. M. Sperberg-McQueen, John Unsworth, and Perry Willett (to name just a few).

What is Collex? The project’s About page describes it in part as follows:

Collex is a set of tools designed to aid students and scholars working in networked archives and federated repositories of humanities materials: a sophisticated COLLections and EXhibits mechanism for the semantic web.

Collex allows users to collect, annotate, and tag online objects and to repurpose them in illustrated, interlinked essays or exhibits. It functions within any modern web browser without recourse to plugins or downloads and is fully networked as a server-side application. By saving information about user activity (the construction of annotated collections and exhibits) as ‘remixable’ metadata, the Collex system writes current practice into the scholarly record and permits knowledge discovery based not only on the characteristics or ‘facets’ of digital objects, but also on the contexts in which they are placed by a community of scholars.

A detailed description of the project is available in "COLLEX: Semantic Collections & Exhibits for the Remixable Web."

You can see Collex in action at the NINES (a Networked Interface for Nineteenth-Century Electronic Scholarship) project, which also uses IVANHOE ("a shared, online playspace for readers interested in exploring how acts of interpretation get made and reflecting on what those acts mean or might mean") and Juxta ("a cross-platform tool for collating and analyzing any kind or number of textual objects").

The About 9s page identifies key objectives of the NINES project as follows:

• It will create a robust framework to support the authority of digital scholarship and its relevance in tenure and other scholarly assessment procedures.
• It will help to establish a real, practical publishing alternative to the paper-based academic publishing system, which is in an accelerating state of crisis.
• It will address in a coordinated and practical way the question of how to sustain scholarly and educational projects that have been built in digital forms.
• It will establish a base for promoting new modes of criticism and scholarship promised by digital tools.