Source: @fickers2013

Hinzugefügt am 2022-11-06

While enthusiasm and excitement about the digital turn in humanities2 by far outweigh more critical or reflexive voices3 (p. 1)

Evgeny Morozovs latest book To Save Everything: Click Here (p. 1)

Bod’s provocative statements of ‘the end of humanities 1.0’ can be interpreted as a perfect embodiment of a specific state of mind within contemporary academia. A mindset that the Austrian Professor of Digital Methods in Architecture and Space Planning Georg Franck has aptly dubbed ‘mental capitalism’. (p. 2)

While archivists and cultural heritage institutions have been debating the…substantial impact of the digital revolution in their field with some passion8, historians as their professional users, have remained surprisingly silent on this question. (p. 2)

Roy Rosenzweig (p. 3)

‘Historians need to be thinking simultaneously about how to research, write, and teach in a world of unheard-of historical abundance and how to avoid a future of record scarcity’. (p. 3)

Roy Rosenzweig,’Scarcity or Abundance?: Preserving the Past’, in: Roy Rosenzweig, Clio Wired: The Future of the Past in the Digital Age (New York 2011) 6. (p. 3)

New technologies have always impacted on the practice of the historian – be it in teaching, research or international collaboration, and the introduction of and socialisation with these facilities in return has always resulted in a tension between old and new user generations of specific technologies. (p. 4)

That the ‘analogue born’ generation of historians might experience the current transitions in historical practice as more ‘radical’ or ‘revolutionary’ than the ‘digital born’ is a classic phenomenon of generational shift, but doesn’t justify the prediction of an epistemological ‘paradigm shift’ in the humanities. (p. 4)

future generations of historians will have to be trained in the critical analysis of the creation, enrichment, editing and retrieval of digital data as much as in the classical internal and external source critique (p. 5)

‘data’ in humanities are complex, fuzzy and incomplete (p. 5)

Dilthey emphasised the individuality of perception, imagination and reasoning in order to develop a critical approach (p. 6)

doing history is the ‘art of not being too sure’ or, in other words, historical criticism means contributing to the ‘Entselbstverständlichung’ (the making less self-evident) of the world (p. 7)

one of the major challenges in digital history therefore is to cope with the shift of the Internet from a…text-based medium to a predominantly visual medium (p. 7)