Category: Scholars 学者

[中文版]

As an Associate Fellow at the Higher Education Academy, she has worked as a Senior Teaching Assistant in the same Department. She also works as a Sworn Translator and an Interpreter. She was a former member of the seminar series organising committee at CSWG/Centre for the Study of Women and Gender at the same institution for two years. She is also the organiser of the international hybrid Conference Radical Traditions: The Role of Contemporary Arab Women in Revolutionising Arab Patriarchal Society at the University of Warwick in 2024 to be a basis for a volume she is currently editing for Routledge. https://warwick.ac.uk/fac/arts/schoolforcross-facultystudies/igsd/sdgnetwork/arab/.  

She was shortlisted for the Paula Svonkin Creative Art Award at the Pacific Ancient and Modern Language Association (PAMLA) Conference in Los Angeles, USA, 2022. In 2024, she was awarded the DAHL Hero Medal 2024 by The Digital Arts and Humanities Lab (DAHL) (University of Warwick). This recognition celebrates her groundbreaking digital project, Marginalization of Arab Women and Revolutionising Patriarchy. 

In 2025, she received an award from Duke University, USA, granting her the opportunity to participate in the International Annual Feminist Theory Workshop. This renowned workshop, hosted by Gender, Sexuality, and Feminist Studies at Duke. In 2022, she was awarded Barker Visiting Fellowship from Durham University, and in 2024 she received Balzan Award from Harvard University.

Prior to joining the University of Warwick, she worked as an English Lecturer at Damascus University and also as an English Lecturer and a Proofreader at the Syrian Private University. She also worked as an English tutor and a human rights activist with Gopa Derd in cooperation with UN and UNICEF.  She has several publications on feminism, war, AI, Miro software, and female issues in the Arab world and beyond as well as a book review on the representation of the human body, sexuality, and struggle in Contemporary Arab Art.

Research interests: Women’s Studies, Gender, Feminism in a Global Context, Sexuality, War, colonial and postcolonial studies, AI and Digital Humanities, the theory of world literature and the Muslim world.

1. How do you define Digital Humanities?

Digital Humanities is the interdisciplinary playground where technology and humanistic inquiry collide. It’s not just about using digital tools to study history, literature, or culture—it’s about reimagining the questions we can ask when data, algorithms, and creativity intersect. I see DH as a transformative lens: one that scales close readings into text mining, turns archives into immersive experiences, and challenges traditional boundaries between disciplines. It’s where the humanities evolve to meet the digital age—critically, ethically, and collaboratively.

2. How did you become interested in Digital Humanities?

My fascination with Digital Humanities began unexpectedly in a Warwick classroom, where Dr. Robert O’Toole’s Digital Humanities Course revealed how technology could breathe new life into humanistic inquiry — not as a passive tool, but as a disruptive force. That spark ignited when I used Miro to reimagine feminist pedagogy, turning static lectures into dynamic, decolonial dialogues. At the 119th PAMLA conference, I demonstrated how collaborative platforms like Miro could dismantle hierarchical narratives, a theme I expanded in my article on its pedagogical radicalism. Later, my digital project ‘Marginalisation of Arab Women and Revolutionising Patriarchy’ crystallized DH’s power: here was a discipline where theory became action, where interfaces like Miro or DAHL’s tools could literally reshape whose stories get told. Being shortlisted for the Paula Svonkin Creative Award (USA) in 2022 and earning the DAHL Hero Medal 2024 (University of Warwick) affirmed DH’s capacity to centre marginalized voices—not just in scholarship, but in the classroom, the conference hall, and beyond.

3. Tell us about one of your DH projects

One of my DH projects is titled Contemporary Arab Diasporas: Reimagining Nationhood in Arab Cultural and Digital Feminism. It is an interdisciplinary digital project that examines the literary and artistic contributions of Syrian and Palestinian women in the Western diaspora since the 1970s to nation-building.

By investigating how women leverage AI tools, such as Canva and Soundtrap, to create art, music, and literature that reflect their unique perspectives, her project highlights the interplay between transnational connections and their distinctive diaspora experience. It shows the relationship between the arts, technology, and society through showcasing how these elements interactively shape and influence nation-making narratives

By combining close readings with AI tools like Voyant Tools and Google Vision, the project reveals patterns and insights in cultural productions that traditional methods may overlook. This project will develop a searchable online database that serves as a comprehensive and accessible resource for researchers, educators, public engagement, and policymakers.

4. And a DH project you like?

“Politics, Popular Culture and the 2011 Egyptian Revolution” is a digital archive documenting the 25 January 2011 uprising and its aftermath through the prism of popular culture. It has been designed for both researchers and students interested in the 2011 Egyptian revolution, as well as contemporary Egypt and the relationship between politics and popular culture more broadly.  

From pop music to graffiti to satirical TV shows, popular culture played a vital role in articulating political meaning ‘from below’ in the wake of the 25 January 2011 uprising. The archive includes a wide range of Egyptian popular cultural texts and seeks to create a greater understanding of the significance of the 2011 uprising and its aftermath for everyday Egyptians as well as the relationship between politics and popular culture in a revolutionary context.

Rather than limiting itself to documenting those popular cultural texts that were ‘popular’ in the sense of being widely consumed or consumed by ‘ordinary’ people, this archive includes a wide range of cultural texts that, in some way, have sought to define who are ‘the people’ and what did they really want, in the context of the 2011 Egyptian revolution and its aftermath.  

In this way, the archive places ‘the people’ back at the centre of scholarly understanding of the tumultuous events after 2011, amidst official attempts to script a history-still-in-the-making and erase alternative narratives. 

介绍Raad Khair Allah博士

作为高等教育学院的副研究员（Associate Fellow），她曾在同一系担任高级助教（Senior Teaching Assistant）。她同时也是一名宣誓译员和口译员。她曾在该校妇女与性别研究中心（CSWG/Centre for the Study of Women and Gender）担任研讨会系列组织委员会成员，为期两年。她还于2024年在华威大学组织了一场国际混合形式会议——“激进传统：当代阿拉伯女性在革新阿拉伯父权社会中的角色”，该会议将作为她目前为Routledge编辑的一本论文集的基础。https://warwick.ac.uk/fac/arts/schoolforcross-facultystudies/igsd/sdgnetwork/arab/

她曾入围2022年在美国洛杉矶举行的太平洋古今语言协会（PAMLA）年会的保拉·斯文金（Paula Svonkin）创意艺术奖。2024年，她荣获由华威大学数字艺术与人文学实验室（DAHL）颁发的“2024 DAHL英雄奖章”（DAHL Hero Medal 2024），以表彰她开创性的数字项目《阿拉伯女性的边缘化与父权体制的革新》。

2025年，她获得美国杜克大学的奖项，并有机会参加该校举办的“国际女性主义理论年度研讨会”（International Annual Feminist Theory Workshop）。这一著名研讨会由杜克大学性别、性取向与女性主义研究系（Gender, Sexuality, and Feminist Studies）主办。2022年，她获得英国杜伦大学的巴克访问学者奖（Barker Visiting Fellowship），2024年又获得哈佛大学颁发的巴尔赞奖（Balzan Award）。

在加入华威大学之前，她曾在大马士革大学担任英语讲师，也曾在叙利亚私立大学担任英语讲师和校对员。同时，她还曾与联合国和联合国儿童基金会合作，在Gopa Derd组织担任英语辅导教师和人权活动家。

她在女性主义、战争、人工智能、Miro软件、阿拉伯世界及更广泛范围内的女性问题等领域发表了多篇学术作品，并撰写了关于当代阿拉伯艺术中人体、性与抗争表现的书评。

研究兴趣：女性研究、性别研究、全球背景下的女性主义、性研究、战争、殖民与后殖民研究、人工智能与数字人文学、世界文学理论与穆斯林世界。

1. 你如何定义数字人文？

数字人文学是一个跨学科的“游乐场”，在这里，技术与人文探索相互碰撞。它不仅仅是利用数字工具来研究历史、文学或文化，更是在数据、算法与创造力交汇之时，重新想象我们能够提出的问题。我认为数字人文学是一种变革性的视角：它将精读扩展为文本挖掘，把档案转化为沉浸式体验，并挑战学科之间的传统界限。这是人文学科在面对数字时代时的演变之路——以批判性、伦理性与协作精神为核心。

2. 你是如何对数字人文产生兴趣的？

我对数字人文学的兴趣，始于一次意想不到的经历——在华威大学的课堂上，罗伯特·奥图尔博士（Dr. Robert O’Toole）的数字人文学课程向我展示了技术如何为人文探索注入新生命。技术不再是一个被动的工具，而是一种颠覆性的力量。那一刻的灵感火花源于我使用Miro重新构想女性主义教学法，将静态的讲座转化为充满活力的、去殖民化的对话。在第119届PAMLA大会上，我展示了像Miro这样的协作平台如何打破等级叙事，这一主题也成为我关于其激进教学潜力的文章的核心思想。

随后，我的数字项目《阿拉伯女性的边缘化与父权体制的革新》进一步凝练了数字人文学的力量：这是一个理论可以转化为行动的学科，是一个通过Miro或DAHL工具等界面真正重塑“谁的故事被讲述”的场域。2022年，我入围美国保拉·斯文金创意艺术奖（Paula Svonkin Creative Award），2024年又荣获华威大学颁发的DAHL英雄奖章（DAHL Hero Medal），这些经历证明了数字人文学不仅能够在学术研究中凸显边缘声音，也能在课堂、会议厅乃至更广阔的空间中让这些声音居于中心。

3. 请介绍你的论文课题。

我的其中一个数字人文学项目名为《当代阿拉伯侨民：在阿拉伯文化与数字女性主义中重新构想国家认同》。这是一个跨学科的数字项目，旨在探讨自1970年代以来，叙利亚与巴勒斯坦女性在西方侨民中对国家建构的文学与艺术贡献。

通过研究这些女性如何利用Canva、Soundtrap等AI工具创作艺术、音乐和文学，项目突显了跨国联系与她们独特侨居经验之间的互动关系。项目展现了艺术、技术与社会之间的关联，揭示这些元素如何交互作用，共同塑造和影响国家叙事的建构过程。

该项目结合精读与Voyant Tools、Google Vision等AI分析工具，揭示文化产出中的模式与洞见，这些往往是传统方法难以察觉的。最终，项目将开发一个可搜索的在线数据库，作为一个全面而易于获取的资源，面向研究人员、教育工作者、公众和政策制定者开放。

4. 有什么让你印象深刻的数字人文项目？

《政治、大众文化与2011年埃及革命》是一个数字档案馆，通过大众文化的视角记录了2011年1月25日起义及其后续影响。该档案馆面向对2011年埃及革命、当代埃及，以及政治与大众文化关系感兴趣的研究人员和学生。

从流行音乐、涂鸦，到讽刺电视节目，大众文化在2011年1月25日起义后以“来自下层”的方式表达政治意义，扮演了至关重要的角色。该档案馆收录了各种形式的埃及大众文化文本，旨在加深人们对2011年起义及其后果对普通埃及人意义的理解，并探讨政治与大众文化在革命语境中的互动关系。

该档案并不限于收录那些“受欢迎”或“被普通人广泛消费”的大众文化文本，而是广泛纳入各种在某种程度上试图界定“人民是谁”以及“他们真正想要什么”的文化文本，聚焦于2011年埃及革命及其后续的背景下。

通过这种方式，该档案馆将“人民”重新置于学术理解2011年后激荡动荡事件的核心位置，在官方试图书写仍在发展中的历史、并抹除替代性叙事的同时，保留并突显了那些来自民间的声音与视角。

[中文版]

Lei is a final-year PhD candidate in the SOAS History department. Her research focuses on the transformations in economic thought and practices in late Qing China, particularly the role of the intricate interconnections among the Qing central government, literati-officialdom, and comprador-merchants in the shift in economic thought, policies and the ownership of modern enterprises amid the global rise of neomercantilist ideas. Throughout her doctoral studies, she has presented portions of her work at several national and international symposiums and contributed to conference compilations. She is a member of the EACS, the EHS and the Association for the History of Chinese Economic Thought. Prior to her PhD, Lei completed her Master’s degree in Economic History at the London School of Economics and her Bachelor’s degree at the University of Liverpool. Lei aims to pursue a career in academia, combining digital humanities research methods with an economic perspective on ancient Chinese books.

1.How do you define Digital Humanities?

Digital Humanities (DH) is an innovative interdisciplinary approach that integrates traditional humanistic inquiry with modern digital and computational technologies. It enables scholars to explore questions that were previously unapproachable due to the scale, complexity, or inaccessibility of data. 

2. How did you become interested in DH? 

My interest in digital humanities methods was sparked by my academic supervisor and deepened after a 2024 academic symposium on Chinese economic thought where I presented a chapter focusing on the Huangchao jingshi wenbian collections, applying digital text mining and critical source analysis to quantify the use of key works and evaluate their significance. During the symposium, a chair recommended I apply the Term Frequency-Inverse Document Frequency (TF-IDF) technique. 

3. Tell us about your dissertation

My research focuses on the transformations in economic thought and practices in late Qing China, particularly the role of the intricate interconnections among the Qing central government, literati-officialdom, and comprador-merchants in the shift in economic thought, policies and modern enterprises amid the global rise of neomercantilist ideas. 

4. And a DH project you like?

One digital humanities project that impressed me was a digital scholarship initiative by the British Library. The number of early printed books involved is enormous—around 23,000 volumes published between 1908 and 2007. Moreover, PhD candidates who are interested in collaborating can propose their own projects and consult with the library’s teams. The scale of the collection and the flexibility in project design made me realize how efficient and innovative digital humanities can be.

介绍Lei Lei

Lei 是伦敦大学亚非学院（SOAS）历史系的一名博士毕业年级学生。她的研究聚焦于清朝晚期经济思想和实践的转变，特别关注清朝中央政府、士大夫官僚阶层与买办商人之间错综复杂的联系，在经济思想、政策及现代企业所有权转变过程中所起的作用，这一切都发生在新重商主义思想全球兴起的背景下。在攻读博士学位期间，她曾在多个国内外学术研讨会上展示过部分研究成果，并为会议论文集作出贡献。她是欧洲汉学学会（EACS）、经济史学会（EHS）以及中国经济思想史学会的成员。

在攻读博士学位之前，雷曾在伦敦政治经济学院 (London School of Economics) 获得经济史硕士学位，并在利物浦大学(the University of Liverpool)完成了本科学业。她计划在学术界发展职业生涯，将数字人文学研究方法与中国古籍的经济视角相结合。

1. 你如何定义数字人文？

数字人文（Digital Humanities, DH）是一种创新的跨学科研究方法，将传统的人文学术研究与现代数字和计算技术相结合。它使学者能够探索过去因数据规模、复杂性或难以获取而难以研究的问题。

2. 你是如何对数字人文产生兴趣的？

我对数字人文方法的兴趣最初来自我的学术导师，在2024年一场关于中国经济思想的学术研讨会上得到了进一步深化。在会上，我展示了关于《皇朝经世文编》文献的研究章节，采用数字文本挖掘与批判性文献分析的方法，量化关键著作的使用频率，并评估其思想意义。会议期间，一位主持人建议我尝试使用“词频-逆文档频率”（TF-IDF）技术来进一步分析文本。

3. 请介绍你的论文课题。

我的研究关注晚清中国经济思想与实践的转型，尤其是清中央政府、士大夫官僚群体与买办商人之间复杂互动关系在经济思想、政策和现代企业发展中的作用。这一转变也与全球重商主义思潮的兴起密切相关。

4. 有什么让你印象深刻的数字人文项目？

让我印象深刻的一个数字人文项目是由英国图书馆发起的数字学术研究计划。该项目涉及的早期印刷书籍数量庞大，约有23,000册，出版时间从1908年到2007年不等。同时，任何有意参与的博士研究者都可以提出自己的项目，并与图书馆的研究团队进行合作。这一项目在资源规模和研究设计上的灵活性让我深刻认识到数字人文在学术研究中的高效性与创新性。

[中文版]

Spending long hours in the library had an unexpected side effect—he caught an interest in book collecting. Today, he owns a vast collection of “Klubówka” — pirated editions of science fiction and fantasy books printed in Poland during the collapse of communism, between 1980 and 1990. These were the first Polish editions of iconic works such as Conan, Star Wars, and I, Robot by Isaac Asimov. Often poorly translated, crudely printed, and unquestionably illicit, these books are relics of a time when literature slipped through the cracks of censorship — smuggled in ink and paper.

1. How do you define Digital Humanities?

This is where curiosity meets computation—using technology to deepen our understanding of culture, history, language, and society. Whether it’s exploring why 11th-century scribes in the Middle East chose specific inks or recovering erased text from an ancient palimpsest, Digital Humanities (DH) offers innovative ways to uncover answers. It brings together scholars, coders, librarians, photographers, and others to collaborate across disciplines. Tools like multispectral photography, reflectance transformation imaging, and 3D scanning reveal insights that would otherwise remain hidden. By bridging the past and the present through digital tools, DH not only transforms how we study the humanities—it redefines what’s possible when we ask new questions in new ways.

2. How did you become interested in DH?

It wasn’t love at first sight—mainly because I simply didn’t know what it was. At first, I was just a photographer, and my task was to make images. I joined the Parker on the Web project at Corpus Christi College, Cambridge, in the same year Apple introduced the first iPhone, Netflix launched its streaming service, Amy Winehouse’s Rehab played on the radio, and the Doomsday Clock moved from 7 to 5 minutes to midnight.

It took some time before I realized I could be more involved in Digital Humanities. When new technology came along, I jumped right on it. Today, I’m working with MSI, RTI, and 3D scanning, helping researchers uncover the mysteries of some of the most beautiful items in the library.

I consider myself lucky to have witnessed the growth of DH—from a time when barely anyone applied for the job. It was an amazing time—though today, we’re just 89 seconds to midnight.

3. Tell us about one of your DH projects

It’s dragons and magic. In 1899, when Wang Yirong—a Chinese scholar and official—visited a medicine shop, he noticed inscriptions on what were being sold as “dragon bones.” This marked the beginning of oraculology and the study of the earliest known form of Chinese writing.

Today, the Wong Avery Project—a collaboration between the University of Cambridge and UC San Diego—is cataloguing and digitising the Chinese Collection. We’ve already photographed all of the oracle bones and created several 3D scans with cross-polarised textures. There’s still plenty to do, and—as is typical in Digital Humanities—I’m waiting for someone to ask a new question—preferably one that would allow me to create a CT scan of CUL.52 

4. And a DH project you like?

Small Performances is an interdisciplinary project exploring the history and future of printing through the unique collection of typographic punches made by John Baskerville (1707–1775), now housed at Cambridge University Library. Supported by the CHERISH Hub, it brings together historians, scientists, and craftspeople to reconstruct 18th-century punch-cutting using a combination of pioneering scientific and artisanal methods. These efforts benefit both modern industry and education. While my role is limited due to commitments with the Wong Avery Project, I’m contributing 3D models and a short film documenting stone letter carving.

介绍Błażej Mikuła

长时间待在图书馆意外激发了他对藏书的兴趣。如今，他拥有大量被称为“Klubówka”的书籍收藏——这些是波兰在20世纪80至90年代共产主义崩溃期间印制的科幻与奇幻类盗版书籍。这些书包括《科南》,《星球大战》,以及艾萨克·阿西莫夫的《我，机器人》等著名作品的波兰首译版。这些书往往翻译粗糙、印刷简陋，显然属于非法出版物，却是那个时代的历史遗物——当文学通过油墨与纸张，在审查制度的缝隙中流通传播。

1. 您如何定义数字人文？

数字人文是好奇心与计算技术的相遇——运用科技加深我们对文化、历史、语言与社会的理解。无论是探究11世纪中东文士为何选择特定墨水，还是从古老的重写羊皮纸中恢复被抹去的文字，数字人文（DH）都为我们提供了创新的方法去寻找答案。它汇集了学者、程序员、图书馆员、摄影师等各类专业人士，共同开展跨学科合作。多光谱摄影、反射变换成像（RTI）、三维扫描等工具揭示了原本隐藏的细节。通过数字工具连接过去与现在，数字人文不仅改变了我们研究人文学科的方式，更重新定义了当我们用新方式提出新问题时，研究能达到的可能性。

2. 您是如何对数字人文产生兴趣的？

这并不是一见钟情——主要是因为我一开始根本不知道它是什么。起初，我只是一个摄影师，我的任务就是拍照片。我是在苹果发布第一代 iPhone、Netflix 启动流媒体服务、艾米·怀恩豪斯的《Rehab》在广播中播放、末日时钟从午夜前7分钟拨到5分钟的那一年，加入了剑桥科珀斯克里斯蒂学院的“帕克网页项目”（Parker on the Web）。

过了一段时间，我才意识到自己可以更深入地参与数字人文。当新技术出现时，我毫不犹豫地投入其中。如今，我使用多光谱成像（MSI）、反射变换成像（RTI）和三维扫描，帮助研究人员揭示图书馆中最精美藏品背后的奥秘。

我觉得自己很幸运，见证了数字人文的成长——从几乎没人申请相关职位的时期走到今天。那是令人振奋的时光——尽管现在，我们距离“午夜”只剩下89秒。

3. 请告诉我们一个您的数字人文项目？

这个项目与龙和魔法有关。1899年，中国学者兼官员王懿荣在药铺中发现被称为“龙骨”的药材上刻有文字。这一发现开启了甲骨学的研究，并引发了对中国已知最早文字形式的深入探讨。

如今，“黄艾芙丽项目”（Wong Avery Project）是剑桥大学与加州大学圣地亚哥分校合作开展的项目，致力于整理和数字化中国馆藏。我们已经完成了全部甲骨的拍摄，并制作了多个带有交叉偏振纹理的三维扫描模型。目前还有大量工作待完成，而正如数字人文领域的一贯特点——我正在等待有人提出一个新的研究问题，最好是那种能让我为  CUL.52 进行CT扫描的问题！

4. 您特别喜欢的一个数字人文项目？

“微型演出”(Small Performances)是一个跨学科项目，通过剑桥大学图书馆收藏的约翰·巴斯克维尔（John Baskerville, 1707–1775）字体冲头，探索印刷术的历史与未来。在 CHERISH Hub 的支持下，该项目联合历史学家、科学家与工艺师，利用先进的科学与传统手工相结合的方法，重建18世纪字体雕刻工艺。这些努力不仅对现代工业有益，也推动了教育发展。

尽管我因参与黄艾芙丽项目而无法全程投入该项目，但我仍参与了三维建模，并制作了一部关于石刻字母雕刻过程的短片。

[中文版]

1.How do you define Digital Humanities?

Digital Humanities offers the possibility to ask old questions in new ways, to ask questions that would otherwise be impossible to ask, and more importantly, digital humanities also has a role in interrogating computing and AI in society and culture, and vice versa. So we’re looking at the digital through humanistic lens and not only the humanistic through a digital lens. 

2. How did you become interested in DH?

I think I can say that I am a digital humanist by training, and with seven years of working experiences within the museum sector, my background is more situated within the realm of digital cultural heritage. I became interested in DH when I realised the power of digital tools to surface hidden narratives, connect disparate collections, and engage broader communities. Over time, I’ve found DH to be a space where experimentation, interdisciplinarity, and social responsibility can come together, particularly in rethinking how we document, represent, and share cultural heritage.

3. Tell us about one of your DH projects

I’m currently leading a collaborative project between UCL and the V&A on Chinese Export Watercolours (CEW). We’re using digital tools, from cataloguing and image analysis, AR and interactive exhibitions, to explore the provenance and reinterpretation of this unique collection. It’s not just about digitisation but about understanding how digital storytelling and public engagement can open new pathways for research, access, and conversations. The project is still ongoing, and it also supports student researchers and is developing an AR exhibition for UCL East.

4. And a DH project you like?

I’ve always admired Transcribe Bentham for how it brings cultural heritage work into the public domain. It doesn’t just crowdsource transcription, it builds community, blurs the line between expert and volunteer, and shows how digital infrastructure can extend the life and relevance of historical materials. Projects like this remind me that DH is not only about technology but about trust, care, and imagination.

介绍高瑾博士

1. 您如何定义数字人文？

数字人文为我们提供了以全新方式提出传统问题的可能性，甚至使我们得以提出那些在以往不可能提出的问题。更重要的是，数字人文也在推动我们去审视计算技术和人工智能在社会与文化中的角色，反之亦然。因此，我们不仅是通过数字视角看人文学科，更是通过人文视角反思数字技术。

2. 您是如何对数字人文产生兴趣的？

我可以说自己是接受过系统训练的数字人文学者，同时也有七年在博物馆领域工作的经验，因此我的背景更贴近数字文化遗产。我开始对数字人文产生兴趣，是在意识到数字工具能够揭示被忽视的叙事、连接异地馆藏、并与公众进行更广泛的互动。随着时间推移，我逐渐意识到，数字人文是一个融合实验性、跨学科性与社会责任感的空间，尤其是在重新思考我们如何记录、呈现和分享文化遗产方面。

3. 请告诉我们一个您的数字人文项目？

我目前正开展一个UCL与V&A合作的“中国外销画（CEW）”项目。我们运用多种数字工具，包括编目、图像分析、增强现实（AR）与互动式展览，来探索这一独特藏品的来源及其当代表达。这不仅仅是一个数字化项目，更关乎我们如何借助数字叙事与公众参与，开辟研究、获取与对话的新路径。该项目仍在进行中，同时也支持学生研究工作，并正在UCL东校区策划一个小型AR展览。

4. 您特别喜欢的一个数字人文项目？

我一直很欣赏UCL的“Transcribe Bentham”项目，因为它成功地将文化遗产工作引入公共领域。这个项目不仅仅是众包转录，它更是建立了一个社区，模糊了专家与志愿者之间的界限，展现了数字基础设施如何延续历史材料的生命力与现实意义。像这样的项目提醒我们，数字人文不仅关乎技术，更关乎信任、关怀与想象力。

[English Version]

1. 你如何定义数字人文？

数字人文是一个新兴的跨学科研究领域，特别关注人文与数字信息技术交叉研究主题。主要包括三种类型的研究内容，一是基于数字资源的人文研究，包括数字资源建设与开发，以及使用这些数字信息资源和数字工具进行传统的人文研究；二是基于数字模型的人文研究，也就是利用数字建模技术对人文文本、图像、音视频等文献资料进行建模和统计分析；三是针对各种新兴数字现象的研究。

2. 是什么让你开始对数字人文感兴趣的？

我2007年从武汉大学信息管理学院管理科学与工程专业毕业以后留校工作，看到了日本立命馆大学京都数字文艺研究中心正在面向全球招聘博士后，我就申请了该职位，并成功获批。在立命馆大学从事博士后研究期间，我获知他们中心获得日本政府的一个GCOE项目，并在积极利用数字技术开展京都文艺的传承保护与活化利用研究，进而了解了数字人文这个新兴的研究主题。处于职业敏感，我感觉这是一个新兴的有价值的研究方向，并且会随着数字社会不可逆转的发展会越来越受关注，代表了人文研究的趋势，同时也是图书情报研究的前沿主题，所以我对此研究领域进行了较为深入的文献计量分析，也发现该领域在全球范围内快速发展，而且呈现出日益蓬勃的趋势，越来越多的研究主题开始浮现，并且都带有明显的跨学科特色，十分吸引人，由此，我越来越感兴趣，并积极投入其中。

3. 可以给我们分享一个你参与的数字人文项目吗？

从日本回国以后，在马费成教授指导下，我在武汉大学建立了中国首个数字人文研究中心，推广和宣传数字人文研究理念。并做了一些DH projects，其中我最喜欢的还是与中国敦煌研究院合作的敦煌壁画深度语义标注项目。该项目主要与敦煌研究院的信息中心夏生平主任合作，以敦煌壁画为例，探讨如何对文化遗产图像进行深度语义建模，以揭示历史性图像中蕴含的主题和文化知识，我们融合了图像学领域潘诺夫斯基的图像志理论和信息组织领域的主题标引理论，构建了一个整合性的图像深度语义标注模型，并在此基础上开发了一个针对敦煌壁画图像的主题词表和一系列可视化标注工具，来控制标引词的规范性和实施图像深度语义标注，在此基础上我们还探索了文化遗产数据增强理论以及文化遗产智慧数据建设方案。

4. 以及一个你喜欢的数字人文项目？

目前，我们正在基于文化遗产智能计算教育部哲学社会科学实验室，做长江文明平台项目，我们将开发一个数字平台，支持先秦与秦汉时代的考古与历史研究，我们利用三维建模技术、GIS技术、人工智能技术，已经构建一个在线的历史地图编绘系统，以及一个竹简智能缀合系统，还有一个在线的先秦墓葬地理信息平台，我们也构建了一个文化遗产数字演绎剧场，用于数智化实验和展示我们的科研成果。我们希望借助这些工具和平台整合楚文化相关的历史资料数据，并以此改变楚文化和长江文明研究的范式，为数字人文研究提供一个新型研究基础设施，推动楚文化的研究、教学与全球传播。

Meet Professor Wang Xiaoguang

1.How do you define Digital Humanities?

Digital humanities is an emerging interdisciplinary research field, with a particular focus on research themes at the intersection of the humanities and digital information technologies. It consists of three main types of research. One is humanities research based on digital resources, including the construction and development of digital resources, as well as the use of these digital information resources and digital tools for traditional humanities research. The second is humanities research based on digital models, that is, the use of digital modelling techniques to model and statistically analyse humanities texts, images, audio and video, and other documentary materials. The third is the research on various emerging digital phenomena.

2. How did you become interested in DH?

After graduating from Wuhan University in 2007 with a degree in Management Science and Engineering, I stayed there to work. Later, I saw that the Kyoto Centre for Digital Literature and Arts at Ritsumeikan University was recruiting postdocs from all over the world, I applied for the position, and I was accepted. During my postdoctoral research at Ritsumeikan University, I learned that the Centre had been awarded a GCOE project by the Japanese government and was actively using digital technology to conduct research on the preservation and revitalisation of Kyoto’s arts and culture.,This is when I came to understand digital humanities as an emerging research area. In my professional sensitivity, I felt that this is a new and valuable research direction, and with the irreversible development of the digital society will be more and more attention, representing the trend of humanities research, but also the cutting-edge of library and information science research. I carried out a more in-depth bibliometric analysis of this research field, and also found that this field is developing rapidly worldwide, more and more research themes are beginning to emerge, and all of them are with obvious interdisciplinary characteristics, which is very attractive. As a result, I have become increasingly interested and engaged.

3. Tell us about one of your DH projects

After returning from Japan, under the support of Prof. Ma Feicheng, I established China’s first Digital Humanities Centre at Wuhan University to promote and publicise the concept of digital humanities research. I have done some digital humanities projects, my favourite of which is the deep semantic annotation of Dunhuang murals in collaboration with the Dunhuang Research Academy in China. We worked with Xia Shengping, the director of the Information Centre of Dunhuang Research Academy to explore how to model the deep semantics of cultural heritage images as an example, in order to reveal the themes and cultural knowledge embedded in historic images. We fused Pannovsky’s theory of iconography in the field of iconology and the theory of subject indexing in the field of information organisation to construct an integrated model of deep semantic annotation of images. Based on this, we developed the subject headings and a series of visual annotation tools for Dunhuang mural images to control the normality of the tagged words and implement deep semantic annotation of the images. On this basis, we also explored the theory of cultural heritage data enhancement and the construction plan of cultural heritage smart data.

4. And a DH project you like?

Currently, we are working on the Yangtze River Civilisation Platform project based on the Intelligent Computing Laboratory for Cultural Heritage (Philosophy and Social Science Laboratory of the Ministry of Education). We will develop a digital platform to support the archaeological and historical research of the pre-Qin and Qin-Han eras. Using 3D modelling technology, GIS technology, and AI, we have already constructed an online historical map compilation system, as well as an intelligent conjugation system for bamboo slips and an online geographic information platform for pre-Qin and Qin tombs. We have also built a digital deduction theatre for cultural heritage, which is used for digital intelligence experiments and displaying our scientific research outcomes. We hope to use these tools and platforms to integrate the historical data related to Chu culture, and in this way change the research paradigm on Chu culture and the Yangtze River civilisation, provide a novel type of research infrastructure for digital humanities research, and promote the research, teaching, and global dissemination of Chu culture.

[English Version]

1. 你如何定义数字人文？

定义是对事物内涵与外延的界定。数字人文的内涵，我认为可以简单地表述为数字与人文相结合的领域，其外延则有鲜明的开放性特征，无法也没有必要做出确切界定。一方面“数字”和“人文”都没有明确的边界，数字世界常变常新，人文世界宽广无边。如《周易》所言，“文明以止，人文也”，包含人类社会各种文化现象的“文明”皆为人文，足见其广阔。另一方面，“数字”和“人文”多种元素的多样化交织交融，又不断生成很多新现象新事物，聚集在数字人文的大帐篷之下，内容和形态更为丰富。随着数字人文的多方位发展，我们对其本质的认知将逐步加深，从对其内涵的抽象将更为科学精准成熟，至少目前，尽可能保持“数字人文”概念的开放性是合理且有益的。

2. 是什么让你开始对数字人文感兴趣的？

 我的专业是档案学，档案学若干核心概念与数字人文的关联把我引进数字人文。一是“档案”概念，iSchools把数字人文作为发展方向之后，我从相关文献和学术活动中发现数字人文广泛使用“档案”(Archives）一词，与“档案学”中的“档案”概念有交叉有差异，让我看到了“档案”概念在新领域的新含义。二是“社会记忆”，它是档案的基本属性，也被历史、文学、哲学、艺术等人文学科所关注，纳入数字人文之中。三是 “档案资源开发”的数字化转型，其原理、路径、工具、方法、成果形式等与数字人文多有吻合，作为社会生活原始记录的档案是数字人文项目常用的优质资源。在这些概念、理论、方法的相遇中，我对数字人文产生了越来越浓厚的兴趣，走进了这个宽广且充满魅力的领域。

3. 可以给我们分享一个你参与的数字人文项目吗？

 我们团队十余年来从事“数字记忆”的研究和建构，从2013年起搭建了“北京记忆”数字资源平台(http://www.bjjy.cn)。古都北京有3000多年建城史，近900年建都史，其厚重悠久的文化底蕴也逃不脱时间冲刷的流失，我们希望在数字世界尽可能真实地复现这个伟大城市的过往。“北京记忆”的基本架构是前站后库，“前站”是用网站群形式开展数字叙事，为每一个专题制作一个文化网站，以大量文献为基础，使用图文、视频、动画、建模、游戏、数据可视化等方法，生动呈现其历史脉络和面貌，相当于一部部数字专题史；“后库”是将有关文献资料建成多模态数据库，按照知识组织规范，通过搜集、加工、组织、存储等实现北京历史文化资源的聚合和智能检索。这是一个长期持续性项目，复合应用多种数字人文方法，目前已上线23个专题网站，并在此基础上开发了图书、数字出版物、数字藏品(NFT)、线下光影展、跨时空教学场景等多种衍生产品，前后吸引了数十名教师、数百名学生以及多家数字文化公司的参与，为穿越时空传承传播大型城市历史文化做了很多创新性探索。

4. 以及一个你喜欢的数字人文项目？

我所在的中国人民大学已经开展了数字人文本硕博三个层次的专业教育，为了给学生们提供丰富的学习资源，我们建设了多模态“数字人文案例库”，目前已输入近千个案例条目，260个优秀案例，其中很多项目我都很喜欢，比如中国历代人物传记资料库（China Biographical Database, CBDB）、“影谷”（THE VALLEY OF THE SHADOW）、“上海年华”（上海图书馆）、“文都时空”（南京大学）等等。我想介绍一个我和很多学生感兴趣的项目——都铎网络（The Tudor Network）。 

这是一个由来自英国、德国不同大学、不同学术专长的研究人员合作开展的，基于英国国家档案馆收藏的15—16世纪都铎王朝时期12万封书信档案的数据分析项目，这些信件跨越近百年，涉及2万余人。该项目对全部书信内容做了文本挖掘，采用收信数、发信数、结点等多个指标进行相似度排序、整体趋势线分析、异常值分析等方法，显示每个人的通信对象、频度等特征，以及通信人之间的复杂关系，进而对书信内容加以分析，揭开了这些书信中的尘封历史。我们喜欢这个项目独特的历史价值和文献价值，项目团队唤醒了沉睡500多年的书信档案，对其中各种数据进行了可视化和科学严谨的分析，还原了一段鲜为人知的历史内幕，其中一些曲折离奇的史实令人惊叹。

Meet Professor Huiling Feng

1. How do you define Digital Humanities

A definition involves delineating the connotations and denotations of a concept. In my view, the connotation of Digital Humanities can be succinctly expressed as the field where digital technology and the humanities intersect. Its denotation, however, has a distinct characteristic of openness, making it neither necessary nor feasible to define it precisely. On the one hand, neither “digital” nor “humanities” has clear boundaries—the digital world is ever-changing, and the world of the humanities is vast and boundless. As the I Ching says, “civilization halts and becomes humanities,” indicating that “civilization,” encompassing various cultural phenomena of human society, is part of the humanities, showcasing its vastness. On the other hand, the diverse interweaving and merging of multiple elements from “digital” and “humanities” continuously generate new phenomena and new entities, all of which gather under the large tent of Digital Humanities, making its content and forms increasingly rich. As the multidimensional development of Digital Humanities continues, our understanding of its essence will gradually deepen, leading to a more scientifically accurate and mature abstraction of its connotation. At least for now, maintaining the openness of the concept of “Digital Humanities” is both reasonable and beneficial.

2. How did you become interested in DH?

My field of expertise is Archival Studies, and several core concepts in Archival Studies are closely related to Digital Humanities, which drew me into this field. First is the concept of “archives.” After iSchools adopted Digital Humanities as a development direction, I noticed through relevant literature and academic activities that the term “archives” (Archives) is widely used in Digital Humanities. This usage overlaps yet differs from the concept of “archives” in Archival Studies, which revealed to me new meanings of the concept of “archives” in this new field. Second is “social memory,” which is a fundamental attribute of archives and is also a focus in disciplines like history, literature, philosophy, and art, making it part of Digital Humanities. Third is the digital transformation of “archival resource development,” where its principles, pathways, tools, methods, and forms of outcomes often align with those in Digital Humanities. As original records of social life, archives are often valuable resources used in Digital Humanities projects. These encounters of concepts, theories, and methods led me to develop an increasingly strong interest in Digital Humanities, drawing me into this broad and fascinating field.

3. Tell us about one of your DH projects

For over ten years, our team has been engaged in the research and construction of “digital memory.” Since 2013, we have been developing the “Beijing Memory” digital resource platform (http://www.bjjy.cn). The ancient city of Beijing has over 3,000 years of history and nearly 900 years as a capital. Its rich and long-standing cultural heritage has not escaped the erosion of time, and we hope to recreate the past of this great city as authentically as possible in the digital world. The basic structure of “Beijing Memory” includes a “front-end” and a “back-end.” The “front-end” uses a website cluster to conduct digital narratives, creating a cultural website for each topic. Based on extensive literature, we use methods like text, images, videos, animations, modeling, games, and data visualization to vividly present its historical context and features, akin to a series of digital thematic histories. The “back-end” involves building a multimodal database of relevant literature and materials. Following knowledge organization standards, we gather, process, organize, and store these resources to achieve the aggregation and intelligent retrieval of Beijing’s historical and cultural resources. This is a long-term and ongoing project that applies a variety of Digital Humanities methods. Currently, 23 thematic websites are online, and based on these, we have developed books, digital publications, digital collectibles (NFTs), offline light and shadow exhibitions, cross-temporal teaching scenarios, and other derivative products. The project has attracted dozens of teachers, hundreds of students, and several digital cultural companies, contributing significantly to the innovative exploration of preserving and transmitting the history and culture of a major city across time and space.

4. And a DH project you like?

At Renmin University of China, where I work, we have already launched a Digital Humanities program offering master’s and doctoral degrees. To provide students with rich learning resources, we have built a multimodal “Digital Humanities Case Library,” which currently contains nearly a thousand case entries, including 260 outstanding cases. There are many projects that I like, such as the China Biographical Database (CBDB), “The Valley of the Shadow,” “Shanghai Memory” (Shanghai Library), “Wendu Time-Space” (Nanjing University), among others. I would like to introduce a project that both I and many students find intriguing—the Tudor Network.

This project was a collaborative effort by researchers with different academic specialties from various universities in the UK and Germany. It involves data analysis of 120,000 letters from the Tudor period (15th-16th centuries) held by the UK National Archives. These letters span nearly a century and involve more than 20,000 people. The project conducted text mining on all the letters, using metrics like the number of letters received and sent, nodes, and other indicators to perform similarity sorting, overall trend line analysis, outlier analysis, and more. This revealed the characteristics of each person’s communication patterns, including their correspondents and frequency, as well as the complex relationships between correspondents. Further analysis of the content of the letters unveiled the hidden history within them. We appreciate this project for its unique historical and documentary value. The project team awakened letters that had been dormant for over 500 years, conducted rigorous scientific analysis and visualization of the data within, and reconstructed a little-known segment of history. Some of the intricate and surprising historical facts uncovered are truly astonishing.

[中文版]

1. How do you define Digital Humanities? 

I consider DH as a burgeoning field of scholarly endeavour that exists at the crossroads of digital technologies and humanities disciplines. It fosters innovative scholarship methods that are collaborative, transdisciplinary, and computationally driven in research, teaching, and publishing. DH employs digital tools and methodologies to advance the study of humanities, utilizing digital resources creatively. The transdisciplinary nature of DH becomes particularly apparent when it involves the GLAM sector, an acronym for galleries, libraries, archives, and museums which are mainly cultural institutions usually resourced to provide access to cultural heritage knowledge.

2. How did you become interested in DH? 

During my tenure as a Senior Research Fellow, I developed an interest in Digital Humanities (DH). I was utilizing digital tools and innovative methods to tackle various research questions. It was then that I recognized the necessity of applying digital tools and methods to address research questions within the humanities. To boost research excellence at the University of Warwick, I decided to join a small team of research software engineers to advance DH research. My passion for interdisciplinary and transdisciplinary research, along with my experiences in various roles in the UK, Germany, and Ghana, likely contributed to my interest in Digital Humanities. Currently, as a Senior Research Software Engineer at the University of Warwick, I work with colleagues in several faculties, centres, and beyond the University. My work involves the application of digital tools and methods in the humanities, a key aspect of Digital Humanities, but my broader scope goes beyond DH and fall within the remit of research computing at the University of Warwick.

3. Tell us about one of your DH projects?  

I am leading digital research on various projects within the digital humanities at the University of Warwick. One such project is an innovative, interactive, multi-search interface I developed for the French Theatre Calendar from 1799-1804. The downloadable dataset is in French and includes both Gregorian and Revolutionary dates. The online database I developed likely surpasses others in its coverage of theatre from this period. Its multi-search functionality significantly enhances researchers’ understanding of early 19th-century theatre.

4. And a DH project you like? 

There are so many DH projects that I like! One of the DH projects that I like, which has already been featured on our website here, is the “Mapping Women’s Suffrage” project. This initiative amalgamates the most recent studies and resources from scholars, local history buffs, genealogists, record keepers, and the general public. Its aim is to uncover and geographically represent the frequently obscured lives and sites associated with everyday women’s suffrage advocates. Concurrently, it constructs an unparalleled depiction of the shape and geographies of the suffrage movement nationwide during this significant era in women’s history.

介绍Godwin Yeboah博士

个人简介

Godwin Yeboah博士是华威大学的高级研究软件工程师。他的背景包括研究软件工程以及在研究或教学中应用地理空间技术，SHAPE（社会科学、人文与艺术）、计算机科学、地理信息系统（GIS）、地理信息学和摄影测量、测地/地理工程，以及在软件/地理工程方面的工业经验。

1. 你如何定义数字人文学？

我认为数字人文（DH）是一个新兴的学术领域，存在于数字技术与人文学科的交汇处。它在研究、教学和出版中促进了创新的学术方法，这些方法具有协作性、跨学科性和计算驱动性。数字人文运用数字工具和方法来推进人文学科的研究，并创造性地利用数字资源。数字人文的跨学科性质在涉及GLAM部门时尤为明显，GLAM是画廊、图书馆、档案馆和博物馆的缩写，这些主要是提供文化遗产知识访问的文化机构。

2. 你是如何对数字人文学产生兴趣的？

在担任高级研究员期间，我对数字人文（DH）产生了兴趣。我利用数字工具和创新方法来解决各种研究问题。那时，我认识到应用数字工具和方法来解决人文学科研究问题的必要性。为了提升华威大学的研究水平，我决定加入一个小型的研究软件工程师团队，推动数字人文研究。我对跨学科和跨领域研究的热情，加上在英国、德国和加纳担任各种角色的经验，可能促成了我对数字人文的兴趣。目前，作为华威大学的高级研究软件工程师，我与多个学院、研究中心及大学以外的同事合作。我的工作涉及在人文学科中应用数字工具和方法，这是数字人文的重要方面，但我的工作范围不仅限于数字人文，还涵盖了华威大学研究计算的职责范围。

3. 请告诉我们一个你的数字人文学项目？

我在华威大学的数字人文领域领导着多个项目的数字研究。其中一个项目是我为1799-1804年的《法国戏剧日历》开发的创新互动多搜索界面。这个可下载的数据集是法语的，包括公历和革命历日期。我开发的在线数据库在该时期的戏剧覆盖范围上可能超越了其他数据库。其多搜索功能显著提升了研究人员对19世纪初戏剧的理解。

4. 你特别喜欢的一个数字人文学项目是什么？

我喜欢的数字人文项目有很多！其中一个已经在我们网站上展示的项目是“女性选举权地图”项目。这个项目结合了学者、地方历史爱好者、家谱学家、档案管理员和公众的最新研究和资源。其目的是揭示并地理化展示与日常女性选举权倡导者相关的那些经常被忽视的生活和地点。同时，它构建了一个无与伦比的全国范围内选举权运动形态和地理分布的图景，展示了女性历史上这一重要时期的选举权运动。

[中文版]

1. How do you define Digital Humanities?

I see DH as any study of the human record which makes critical use of digital methods, and/or computational ways of thinking. Of course much of the human record itself is now digital, to a much greater extent than it was when I started out in the field.  This has broadened DH’s focus from a discipline which simply uses the digital to understand the humanities better, to include study ofthe digital itself from a humanities perspective. For me, this makes the roots of the field in the way that humanists think about the digital world  more important and interesting than ever.

2. How did you become interested in DH?

I came to DH relatively late in life, towards the end of my PhD. I was researching a very traditional, non-digital field, which involved reconciling different mechanisms for dating prehistoric events (if only I had known then what I knew now about the possibilities of, for example, network analysis). I discovered that a key need for my research was understanding relationships between different pieces of evidence from different locations – e.g. the relationship between deposits of the same type of pottery from Egypt and Cyprus, and how they relate to ancient layers of volcanic ash in the Aegean islands. This started me thinking about how such data could be systematically structured, compared and mapped. So having constructed a rudimentary database of all this data, I basically taught myself GIS so that I could analyse different concentrations of different types of evidence across different regions and at different times.

3. Tell us about one of your DH projects?

Over time, my interest in GIS and maps became my primary focus. A project which exemplifies this is the Heritage Gazetteer of Cyprus, which was funded by the A G Leventis Foundation. The HGC aims to provide a framework for thinking about place in Cypriot heritage, and a data resource to trace the evolution of placenames over time. Any toponyms occurring in literature before 1918 can be entered and associated with one or more existing locations, which enables us to build networks of references across the island. This allows us to ask, for example, what the differences are between the town of “Pano Calepia” described by Florio Bustron in 1549, and “Kallepia” described by George Jeffrey in 1918. How has its spatial footprint and relationships with other sites changed, and how do we document these changes?

4. And a DH project you particularly like?

There are so many! One I particularly admire is the Digital Periegesis project , which is using digital mapping methods to re-examine the work of Pausanias of Magnesia, and in the process asking exciting new questions about the relationships between text, time and place.

介绍 Stuart Dunn教授

1. 您如何定义数字人文？

数字人文是指对人类记录的研究中批判性地使用数字方法和/或计算思维。当然，如今的人类记录本身也比我刚进入该领域时要更加数字化了。这使得数字人文的焦点从一个仅仅使用数字手段来更好地理解人文学科的学科，拓展到从人文学科的角度来研究数字化本身。对我来说，这使得人文学者如何思考数字世界的根源变得比以往任何时候都更加重要和有趣。

2. 您是如何对数字人文产生兴趣的？

我在接近博士学位结束时才接触到数字人文。我当时正在研究一个非常传统的、非数字化领域，涉及协调不同的史前事件的年代测定机制（如果我当时知道现在关于例如网络分析的可能性就好了）。我发现我的研究的一个关键需求是理解来自不同地点的不同证据之间的关系——例如，埃及和塞浦路斯的相同类型陶器的沉积物之间的关系，以及它们与爱琴海岛屿上古代火山灰层的关系。这让我开始思考如何系统地构建、比较和映射这些数据。因此，我构建了一个初步的数据库，然后基本上自学了地理信息系统（GIS），以便我可以分析不同地区和不同时间的不同类型证据的不同浓度。

3. 请告诉我们一个您的数字人文项目？

随着时间的推移，我对GIS和地图的兴趣成为我的主要焦点。一个能够体现这一点的项目是由A G Leventis基金会资助的塞浦路斯遗产地名辞典。该项目旨在为思考塞浦路斯遗产中的地点提供一个框架，并作为一个数据资源来追踪地名随时间的演变。任何1918年之前的文献中出现的地名都可以输入并与一个或多个现有位置相关联，这使我们能够在岛上建立参考网络。例如，这使我们能够问，1549年Florio Bustron描述的「Pano Calepia」与1918年George Jeffrey描述的「Kallepia」有什么区别？它的空间范围和与其他地点的关系如何变化，以及我们如何记录这些变化？

4. 您特别喜欢的一个数字人文项目？

有很多项目我都非常喜欢！我特别欣赏的是数字游记项目，该项目使用数字地图方法重新审视马格尼西亚的帕萨尼亚斯的作品，并在此过程中提出了关于文本、时间和地点之间关系

[中文版]

1. How do you define Digital Humanities?

I always define Digital Humanities through the community of digital humanists who are willing to experiment with interdisciplinary methodologies applied to humanities scholarship. By pushing the boundaries and working at the frontier, this approach helps to see the bigger picture and makes the research more transparent, accessible, and interactive.

2. How did you become interested in DH?

Being a cultural historian by training, I landed my first academic job at a very STEM-based university and found myself quite lonely among computer scientists and web developers. So, I started googling whether there was any intersection between humanities and information technologies. That’s how I first came across ‘digital humanities.’ I then participated in NYC DH Week, where I met the community and felt very inspired. This experience motivated me to propose the launch of a small DH centre to senior management. This initiative evolved into an international and interdisciplinary effort, culminating in exciting collaborative DH projects and the launch of the first MSc in Digital Humanities in Saint Petersburg.


3. Tell us about one of your DH projects? 

My very first DH project as a PI was St. Retrospect, an interactive mapping project aimed at representing culturally significant landmarks in Saint Petersburg. The visualisation is structured around the relationships between locations and historical figures, supplemented by historical overviews of the sites and the notable people associated with them. To collect data, we applied machine learning algorithms, such as NER (Named Entity Recognition), to extract locations and names from openly available digitised and machine-readable sources and then verified this information through crowd-sourcing. As an open-source project, its mission is not only to raise awareness about culturally significant sites within the local community but also to engage the community in evaluating historic locations and collecting relevant data.

4. Tell us a DH project you particularly like?

This small-scale project, Pages of Early Soviet Performance, holds significant importance despite its size. The project utilises machine learning to generate multiple datasets from early Soviet illustrated periodicals related to the performing arts. The project’s importance lies in its attempt to answer crucial questions, such as: what if this collection could be accessed as data? what patterns—of words, phrases, or images—can be discovered across the entire collection? By employing computer vision techniques and training a YOLO (You Only Look Once) real-time object detection model, textual and image data are being produced to facilitate new avenues of research on Soviet culture during the first decades after the October Revolution. Although this may seem like a niche project, it significantly contributes to the methods and approaches for working with digitised sources, extracting valuable data, and making it publicly accessible to foster further research.

介绍Antonina Puchkovskaia博士

1. 你如何定义数字人文学？

我总是通过那些愿意尝试跨学科方法来研究人文学科的数字人文学者群体来定义数字人文。通过突破边界和在前沿探索，这种方法有助于看到更大的图景，并使研究更加透明、可访问和互动。

2. 你是如何对数字人文学产生兴趣的？

作为一名受过文化历史学训练的人，我在一所以STEM为主的大学获得了第一份学术工作，发现自己在计算机科学家和网页开发者中间感到非常孤单。于是，我开始在网上搜索人文学科与信息技术之间的交集。就这样，我第一次接触到了“数字人文”。后来，我参加了纽约市的数字人文周活动，认识了这个社区，并深受启发。这次经历激励我向高层管理人员提议建立一个小型的数字人文中心。这个倡议逐渐发展为一项国际和跨学科的合作，最终促成了多个令人兴奋的数字人文项目，并在圣彼得堡推出了第一个数字人文学硕士课程。

3. 请告诉我们一个你的数字人文学项目？

我作为主要研究者的第一个数字人文项目是「圣彼得堡回顾」，这是一个互动的地图项目，旨在展示圣彼得堡的文化重要地标。该可视化围绕着地点与历史人物之间的关系结构，并补充了这些地点和相关著名人物的历史概述。为了收集数据，我们应用了机器学习算法，例如命名实体识别（NER），从开放获取的数字化和机器可读资源中提取地点和名称，然后通过众包验证这些信息。作为一个开源项目，其使命不仅是提高当地社区对文化重要地标的认识，还通过评估历史地点和收集相关数据来吸引社区参与。

4. 你特别喜欢的一个数字人文学项目是什么？

尽管这是一个小规模项目，但「早期苏联表演的页面」项目具有重要意义。该项目利用机器学习从与表演艺术相关的早期苏联插图期刊中生成多个数据集。其重要性在于试图回答关键问题，如：如果这个收藏能作为数据访问，会怎样？在整个收藏中可以发现什么模式——单词、短语或图像？通过使用计算机视觉技术和训练一个YOLO（You Only Look Once）实时对象检测模型，生成文本和图像数据，以促进对十月革命后最初几十年苏联文化的新研究途径。尽管这似乎是一个小众项目，但它在处理数字化资源、提取有价值数据和公开获取以促进进一步研究的方法和方法方面做出了重要贡献。

[中文版]

1. How do you define Digital Humanities?

Digital Humanities is an interdisciplinary field that studies the integration of computational methods and software engineering processes in the arts and humanities research and education as well as in the cultural heritage sector and creative practices. Increasingly, it addresses wider issues around the design and use of digital technologies and their impact on digital cultures and societies. 

 2. How did you become interested in DH?

As a teenager, I enjoyed scientific disciplines – math in particular – but was also fascinated by ancient cultures and societies. I was lucky in high school to be part of an experimental programme that combined classics with STEM disciplines including computer sciences. I went on to get a degree in communications studies with a specialization in technologies to then follow up with a PhD that combined manuscript studies with software-intensive research. This is when I found out that an active international humanities computing community existed; I enrolled in an MA at KCL on those topics in parallel with my PhD and became active in Digital Humanities projects and networks.

 3. Tell us about one of your DH projects?

I have been involved in many projects over the years, but one I would like to highlight relates to my research on one of the methodologies of cross and inter-disciplinary collaboration which I believe is foundational in DH, namely (data) modelling. This activity has been analysed mainly from a STEM perspective but it is the research in DH that makes emerge the epistemological value of modelling: by modelling objects and phenomena into data structures we know things differently. A collaborative project which resulted in a book (Modelling between Digital and Humanities: Thinking in Practice) reflected on the topic by making emerge the importance of language in modelling as well as its pragmatic dimension (modelling is creative and contingent). I hope the book demonstrated how humanities disciplines can give an important contribution to the conceptualisation of modelling specifically and more in general to how we shape our conceptual and physical world with the design and use of digital technologies.

 4. And a DH project you particularly like?

This is a project I have bene involved in only tangentially to support its funding and delivery. It is called Digital Ghost Hunt. Led by KDL Senior RSE, Elliott Hall, it was a very inventive collaboration with theatre and performance professionals, schools and pupils, cultural heritage institutions and the public. By integrating digital technologies into well designed experiences, it showcases the imaginative power of collaboration across sectors and generations and the value of thinking creatively and of tinkering with digital technologies.

介绍Arianna Ciula博士

1. 你如何定义数字人文？

数字人文是一个跨学科领域，探讨如何整合计算方法和软件工程过程于艺术、人文学科研究、教育、文化遗产部门以及创意实践中。随着技术的进步，数字人文越来越多地涉及数字技术的设计、应用，以及它们对数字文化和社会的广泛影响等诸多问题。

2. 你是如何对数字人文产生兴趣的？

在青少年时期，我对科学学科，特别是数学，有浓厚的兴趣，同时也对古代文化和社会非常着迷。在高中时，我有幸参加了一个实验项目，将古典学与包括计算机科学在内的STEM学科结合起来。随后我获得了传播学学位，专注于技术领域，并继续攻读将手稿研究与软件密集型研究相结合的博士学位。正是在这个阶段，我发现了一个充满活力的国际人文学科计算社区。我在攻读博士学位的同时，申请并参加了伦敦国王学院的数字人文硕士课程，并积极参与数字人文项目和网络。

3. 介绍一个你的数字人文项目？

多年来，我参与了许多项目，但我想特别强调一个与我研究的跨学科和跨领域合作方法相关的项目，即数据建模。在数字人文中，数据建模被视为基础性工作。这项活动主要从STEM的角度进行分析，但是数字人文的研究揭示了建模的认知论价值：通过将对象和现象建模为数据结构，我们能够以不同的方式理解事物。我们的合作项目最终出版了一本书《数字与人文学科之间的建模：实践中的思考》，这本书通过强调语言在建模中的重要性以及建模的实际维度（建模是创造性和偶发的过程），深刻反映了这个主题。我希望这本书能展示人文学科在概念建模方面的贡献，特别是在如何通过设计和应用数字技术来塑造我们的概念和物理世界。

4. 你特别喜欢的一个数字人文项目是什么？

这是一个我在资金支持和交付方面略有参与的项目，名为「数字猎鬼」。由KDL高级RSE Elliott Hall领导，这个项目展示了极具创意的合作，涉及戏剧和表演专业人士、学校和学生、文化遗产机构以及公众。通过精心设计的体验融入数字技术，它展示了跨部门和跨代合作的想象力，以及数字技术实验的创造性思维和价值。