Tag: 数字人文学部

[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.

图片来源: 清华大学, 未提供日期

[English Version] 

名称

清华大学数字人文

成立年份

2020(網站), 2015(数字人文团队)

简要描述

清华大学数字人文项目由清华为核心的数字人文跨学科团队组成，该团队得到了清华大学的大力支持，以人文学院、计算机科学与技术系和统计学中心的师生为主，也得到了来自社科院、澳门理工大学和浙江大学等高校学者的支持。受国家社科基金重大项目资助，清华大学数字人文项目团队创建了数字人文刊物、门户网站和「璇琮数字人文智慧平台」，还开设了面向日新书院本科生的试验性课程。数字人文门户网站是该团队创办的综合性数字人文门户网站，由清华大学文科建设「双高」计划支持，中华书局、中国知网、国学网、中文在线等参与的。DHLIB是中文世界的第一家，旨在为方兴未艾的数字人文研究提供一个「学术交流、开放获取、跨界交互、共建共享」的平台。清华大学数字人文团队的核心成员为人文学院院长刘石、人工智能研究院常务副院长孙茂松，中文系副系主任李飞跃、和统计学中心原副主任邓柯。另外，清华大学数字人文团队还与中华书局共同创办了《数字人文》学术期刊。2022年11月12日至13日，由清华大学人文学院、《数字人文》编辑部主办，巴克内尔大学中国研究所协办的「声律·网络·未来——第三届清华数字人文国际论坛」，在清华大学以线上线下的形式成功举办。来自多个国家/地区的包括20所境外高校在内的40多家高校及科研机构的六十多位学者发表了他们的最新研究成果。

关键学者

刘石教授是清华大学人文学院院长，专攻文学与文化研究。

孙茂松教授是清华大学人工智能研究院常务副院长，研究重点包括人工智能、大型语言模型及其在社会科学、人文学科和艺术中的应用。

李飞跃教授是清华大学中文系副主任，专长于中国文学与数字人文。

邓柯副教授是清华大学统计中心前副主任，专攻统计方法及其在数字人文中的应用，如内容分析。

关键项目

清华大学数字人文中心的项目和成果提供了一系列支持数字人文研究和项目的数字工具和资源。其目标是促进学术合作、数据共享以及数字资源的开发。

1. 平台
   • 「明清水陆路程与文学」（Ming-Qing Routes and Literature, MQRL）是简锦松教授以「现地研究」方法，全面整理中国古代道路的数字化服务网站，也是明清文学创新研究的网站。
   • 「智慧古籍平台」是借鉴知识图谱理念，综合运用大数据的计量统计、定位查询、聚类查询、空间分析、数据关联、网络分析、机器标引、众筹众包等技术，将中国古典文献和研究成果图谱化、智能化，从而打造集浏览、查询、研究、欣赏于一体，熔审美阅读、知识学习、场景体验于一炉的古籍智慧大数据平台。
2. 工具
   • 中文古典诗词语义搜索 – AI九歌: 清华大学自然语言处理与社会人文计算实验室推出了一款AI「九歌」中国古诗词类义句搜奇（「搜奇」可视作是「检索」文学化一点的表述）工具（简称「九歌类义句搜奇」）。他们设计了一种基于深层神经网络模型BERT及针对古诗词特点的改进最长公共子序列匹配相融合的类义句检索算法，可以更好地反映古诗词中的复杂语义，其检索结果也因之更为准确、细致、丰富。此外，他们利用Annoy技术实现了一个以树为数据结构的近似最近邻搜索机制，以最大限度地提高两个稠密向量之间相似度计算的速度；还实现了一个基于倒排索引的最长公共子序列优化机制，以最大限度地提高字符串匹配速度。
   • THULAC:一个高效的中文词法分析工具包: 清华大学自然语言处理与社会人文计算实验室研制推出的一套中文词法分析工具包，具有中文分词和词性标注功能。THULAC集成了目前世界上规模最大的人工分词和词性标注中文语料库（约含5800万字）训练而成，模型标注能力强大。该工具包在标准数据集Chinese Treebank（CTB5）上分词的F1值可达97.3％，词性标注的F1值可达到92.9％，与该数据集上最好方法效果相当。同时进行分词和词性标注速度为300KB/s，每秒可处理约15万字。只进行分词速度可达到1.3MB/s。

数字人文教課

清华大学数字人文与文学研究国际工作坊由清华大学中文系和芝加哥大学 Text Lab在2017年6月联合举办。 来自芝加哥大学的霍伊特·朗、苏真和朱远骋，哥伦比亚大学的戴安德等十余位学者出席了本次会议并作主题发言，人文学院副院长刘石教授致辞，中文系系主任王中忱教授作会议总结和展望。这次会议吸引了校内外百余人参加。与会学者围绕数字人文的统计学方法、文本细读和历史主义三种研究方法进行了广泛而深入的探讨，并对国内外人文数据库、中国数字人文研究现状等进行了介绍。

Image credit: Tsinghua University, n.d.

Digital Humanities at Tsinghua University

Name

 Digital Humanities, Tsinghua University

Year of Foundation

2020 (website) , 2015 (DH research group)

Short Description

The Tsinghua University Digital Humanities project is led by an interdisciplinary team centered at Tsinghua University, with substantial support from the university itself. The core team comprises faculty and students from the School of Humanities, the Department of Computer Science and Technology, and the Centre for Statistics, as well as scholars from institutions such as the Chinese Academy of Social Sciences, the Macau University of Science and Technology, and Zhejiang University. Funded by a major project from the National Social Science Fund, the team has established a digital humanities journal, a comprehensive portal website, and the ‘Xuancong Digital Humanities Intelligence Platform’, and has introduced an experimental course for undergraduates at the Dayxin College.

The digital humanities portal website is a comprehensive digital humanities platform founded by the team, supported by Tsinghua University’s ‘Double-High’ plan and involving contributions from Zhonghua Book Company, CNKI, National Studies Network, and Chinese Online. DHLIB is the first of its kind in the Chinese-speaking world, aiming to provide a platform for ‘academic exchange, open access, interdisciplinary interaction, and collaborative sharing’.

Key members of the Tsinghua Digital Humanities team include Liu Shi, Dean of the School of Humanities; Sun Maosong, Executive Vice Dean of the Institute for Artificial Intelligence; Li Feiyue, Deputy Director of the Chinese Department; and Deng Ke, former Deputy Director of the Centre for Statistics. The team also co-founded the academic journal ‘Digital Humanities’ with Zhonghua Book Company.

On November 12-13, 2022, the ‘Voice, Network, Future: The Third Tsinghua Digital Humanities International Forum’, organized by Tsinghua University’s School of Humanities and the editorial office of ‘Digital Humanities’, and co-organised by the Bucknell University China Research Institute, was successfully held both online and offline at Tsinghua University. More than sixty scholars from over forty universities and research institutions, including twenty overseas institutions, presented their latest research findings.

Key Academics

Prof Liu Shi is the Dean of the School of Humanities at Tsinghua University, specializing in literature and cultural studies.

Prof Sun Maosong is the Executive Vice Dean of the Institute for Artificial Intelligence, focusing on artificial intelligence, large language model and its applications in social science, humanities and arts .

Prof Li Feiyue is the Deputy Director of the Department of Chinese, with expertise in Chinese literature and digital humanities.

Dr Deng Ke is the former Deputy Director of the Centre for Statistics, specialising in statistical methods and their application in digital humanities, such as content analysis.

Key Projects

Projects and achievements in the Centre for Digital Humanities at Tsinghua University provides a range of digital tools and resources designed to support digital humanities research and projects. It aims to facilitate academic collaboration, data sharing, and the development of digital resources.

1. Platforms
   • Ming-Qing Routes and Literature (MQRL) is a digital platform developed by Professor Jian Jinsong. It focuses on the comprehensive digitalization of ancient Chinese routes and is dedicated to innovative research in Ming and Qing literature. The MQRL platform provides digital services for the study of ancient Chinese roads, offering detailed and accessible data on historical routes. It supports innovative research into Ming and Qing literature, exploring how geographical routes influenced literary works and historical narratives.
   • Intelligent Ancient Books Platform  draws on the concept of knowledge graphs and integrates various technologies such as big data analytics, location-based queries, clustering queries, spatial analysis, data association, network analysis, machine indexing, and crowdsourcing. The platform aims to transform Chinese classical literature and research outcomes into a graph-based, intelligent format. This approach creates a comprehensive big data platform for ancient books, combining browsing, querying, research, and appreciation. It seamlessly integrates aesthetic reading, knowledge learning, and immersive experiences into one unified system.
2.  Tools
   • Chinese Classical Poetry Semantic Search – AI Jiuge: Tsinghua University’s Natural Language Processing and Social Humanities Computing Laboratory has introduced an AI tool abbreviated as “Jiuge Semantic Search,” utilizes a retrieval algorithm that combines a deep neural network model based on BERT with an improved longest common subsequence matching tailored specifically for the characteristics of classical Chinese poetry. This algorithm is better suited to capture the complex semantics of classical poetry, resulting in more accurate, detailed, and enriched search outcomes. Additionally, the team implemented an approximate nearest neighbor search mechanism using Annoy technology, which employs a tree data structure to maximize the speed of similarity calculations between two dense vectors. They also developed an optimized longest common subsequence mechanism based on an inverted index, further enhancing the speed of string matching.
   • THULAC (THU Lexical Analyzer for Chinese): This is a Chinese lexical analysis toolkit developed by the Natural Language Processing and Social Humanities Computing Laboratory at Tsinghua University. The toolkit offers functionalities for Chinese word segmentation and part-of-speech tagging.THULAC is trained using the world’s largest manually segmented and part-of-speech tagged Chinese corpus, containing approximately 58 million characters, which gives it robust tagging capabilities. On the standard dataset, Chinese Treebank (CTB5), THULAC achieves an F1 score of 97.3% for word segmentation and 92.9% for part-of-speech tagging, comparable to the best-performing methods on this dataset. The combined speed for word segmentation and part-of-speech tagging is 300KB/s, processing around 150,000 characters per second. When performing word segmentation alone, the speed can reach 1.3MB/s.

Teaching

The ‘Tsinghua University International Workshop on Digital Humanities and Literary Studies‘ hosted by the Department of Chinese Language and Literature at Tsinghua University in collaboration with the University of Chicago’s Text Lab, took place in June 2017.

Several prominent scholars attended the workshop, including Hoyt Long, Su Zhen, and Zhu Yuancheng from the University of Chicago, as well as Deandre from Columbia University, among others. Professor Liu Shi, Vice Dean of the School of Humanities, delivered the opening remarks, and Professor Wang Zhongzhen, Head of the Department of Chinese Language and Literature, provided a summary and outlook at the conclusion of the event. The workshop attracted over a hundred participants from both within and outside the university.

The attending scholars engaged in extensive and in-depth discussions on three primary research methods in Digital Humanities: statistical methods, close reading of texts, and historicism. They also provided an overview of domestic and international humanities databases and the current state of Digital Humanities research in China.

[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。

[中文版]

1. How do you define Digital Humanities? 

For me, Digital Humanities are a methodological laboratory for the humanities, where researchers can experiment with new computational and quantitative methods to answer old and new questions in the humanities.


2. How did you become interested in DH? 

I became interested in DH during my PhD in computational linguistics, when I worked on adapting techniques from computational linguistics to the study of the Latin language. I gradually realised the potential of using these methods beyond linguistics research, which has given the opportunity to work in many interdisciplinary projects.


3. Tell us about one of your DH projects? 

One of my favourite projects took place in 2018-2019 and was funded by a small grant by The Alan Turing Institute (described here). I put together a team involving two statisticians, a digital humanist, and a classicist to study the change in meaning of words in ancient Greek using Bayesian statistics. It was the first time I led such a diverse team to study an old phenomenon with new methods.


4. Tell us about a DH project you particularly like? 

I have worked on historical newspapers and I particularly like the Impresso project, which has digitized and enriched a vast collection of European historical newspapers, enabling researchers and the public to explore rich archives through advanced text mining and analysis tools. I like it because it democratizes access to valuable historical materials, fostering new ways of doing historical research.

介绍Barbara McGillivray博士

1. 你如何定义数字人文学？

对我来说，数字人文学是人文学科的方法实验室，研究人员可以在这里通过新的计算和定量方法来探索回答人文学科中的旧问题和新问题。

2. 你是如何对数字人文学产生兴趣的？

在攻读计算语言学博士学位期间，我对数字人文学产生了兴趣，当时我致力于将计算语言学的技术应用于拉丁语的研究。我逐渐意识到这些方法在语言学研究之外的潜力，这让我有机会参与许多跨学科的项目。

3. 请告诉我们一个你的数字人文学项目？

我最喜欢的项目之一是在2018-2019年进行的，并由艾伦·图灵研究所的小额资助（详见此处）资助。我组建了一个团队，包括两名统计学家、一名数字人文学者和一名古典学家，使用贝叶斯统计方法研究古希腊语中词义的变化。这是我第一次领导这样一个多样化的团队，用新方法研究一个古老的现象。

4. 你特别喜欢的一个数字人文学项目是什么？

我曾研究过历史报纸，特别喜欢Impresso项目，该项目数字化并丰富了大量欧洲历史报纸，使研究人员和公众能够通过先进的文本挖掘和分析工具探索丰富的档案。我喜欢这个项目，因为它使宝贵的历史资料变得更加普及，促进了历史研究的新方法。

[中文版] 

Name

King’s Digital Lab (KDL), it is a Research Software Engineering laboratory within King’s College London Faculty of Arts and Humanities (A&H)

Year of Foundation

2015

Short Description

Since the late 70s, King’s College London has applied computational methods to Humanities research becoming deeply rooted in the digital humanities sector from the 90s, initially with the establishment of the ‘Research Unit in Humanities Computing’, then ‘Centre for Computing in the Humanities’ (CCH) and later within the Department of Digital Humanities (DDH). To consolidate the development arm initially part of the department, in 2015 the Faculty of Arts & Humanities (A&H) founded King’s Digital Lab(KDL), a Research Software Engineering Laboratory now in its consolidation phase (Smithies, 2016; Ciula, Caton and Mellen, 2023). It consists of a team of Research Software experts with a critical understanding of the integration of digital technologies in arts and humanities scholarship, cultural heritage sector and creative practices. The team co-design, develop, maintain and extend software and associated products (from digital publications to data visualizations and immersive experiences) to enable diverse research and impact activities (Ciula, Caton and Mellen, 2023).

The lab’s primary focus is to increase capacity priamry in the Faculty of Arts & Humanities (A&H) and consolidate as a leading research facility for digital production, analysis, archiving, and consultancy within the A&H domain (UKRI, 2023).

Besides delivering its objective of supporting A&H’s digital research work, KDL supports a range of functions in collaboration with research and industry partners (UKRI, 2023). This includes designing and implementing systems, infrastructures, tools and processes necessary for producing a range of digital scholarly outputs (KCL, nd). Additionally, KDL offers expert consultancy as well as design and delivery of guest lecturers or other expert training and mentorship. In alignment with its objective to supporting the delivery of high-quality digital research, KDL also allocates a modest amount of resources to non-grant-funded activities within the Faculty and the college (KCL, nd)

Following a major infrastructure refresh in September 2021, when its founding director James Smithies left the role, KDL re-freshed the Lab Missions & Activities (2022-2025) in collaboration with Faculty senior management (Ciula, Caton and Mellen, 2023). The document summarised KDL’s ‘primary value and market position lie in its contribution to high-quality grant-funded projects with significant technical requirements’, leading KDL to continue to evolve and adapt to the changing digital research landscape (Ciula, Caton and Mellen, 2023).

At present, KDL website lists 67 projects the lab has worked on and contributed towards. However the list of resourcesd it maintains, including legacy is even more extensive (Archiving and Sustanability, nd). KDL is particularly interested in areas such as Digital Creativity, AI and Machine Learning, and Indigenous Digital Humanities (KCL, nd). With a diverse team comprising members from various backgrounds, KDL ensures the delivery of high-quality digital research across the A&H domain (KDL, 2015). Its collaborations extend beyond the Faculty and KCL, encompassing partnerships across the College  and with other higher education institutions, libraries, museums, cultural heritage bodies, and the performing arts and creative industries sector (KCL, nd).

Key KDL people

Dr Arianna Ciula, Director & Senior Research Software Analyst , experienced in digital humanities research and teaching, research management, and digital research infrastructures.

Key project with links

1. Glow3: Global Leadership of Women in Web 3
2. Living with Machines notebooks
3. The Community of the Realm in Scotland, 1249-1424
4. Radical Translations: The Transfer of Revolutionary Culture between Britain, France and Italy (1789-1815)
5. Digital Humanities Laboratory: Studying the Entanglement of Infrastructure and Technology in Knowledge Production
6. Room is sad
7. iREAL: Inclusive Requirements Elicitation for AI in Libraries to support respectful management of Indigenous knowledges
8. Crossreads Text, materiality and multiculturalism at the crossroads of the ancient Mediterranean
9. Critical Modelling of Extensive Literary Data
10. Brightening the Covenant Chain

Image credit: King’s Digital Lab, 2023 

图片来源: Pixabay, 2017

国王数字实验(KDL)

名稱

国王数字实验是一个位于伦敦国王学院艺术与人文学院的研究软件工程实验室(A&H)。

成立年份

1992

简要描述

自70年代末以来，伦敦国王学院已将计算方法应用于人文学科研究，并从90年代起在数字人文领域扎根，最初是通过建立「人文计算研究单位」，随后成立「人文计算中心」（CCH），再后来成立了数字人文学系（DDH）。为了整合最初属于该系的发展部门，艺术与人文学院（A&H）于2015年创立了国王数字实验室（KDL），一个研究软件工程实验室，目前正处于整合阶段（Smithies, 2016; Ciula, Caton和Mellen, 2023）。该实验室由一支对数字技术在艺术与人文学术、文化遗产部门和创意实践中的整合有深刻理解的研究软件专家团队组成。该团队共同设计、开发、维护和扩展软件及相关产品（从数字出版物到数据可视化和沉浸式体验），以支持多样的研究和影响活动 (Ciula, Caton和Mellen, 2023)。

该实验室的主要重点是提高艺术与人文学院（A&H）的能力，并巩固其作为A&H领域内数字制作、分析、存档和咨询的领先研究设施的地位(UKRI, 2023)。

除了完成支持A&H数字研究工作的目标，KDL还与研究和行业合作伙伴合作，支持多种功能(UKRI, 2023)。这包括设计和实施生产各种数字学术成果所需的系统、基础设施、工具和流程(KCL, nd)。此外，KDL还提供专业咨询以及设计和提供客座讲座或其他专家培训和指导。为了支持高质量数字研究的目标，KDL还为学院和大学内的非资助活动分配了一定数量的资源(KCL, nd)。

在2021年9月进行了一次主要的基础设施更新后，创始主任詹姆斯·史密斯辞去职务，KDL与学院高级管理层合作，更新了2022-2025年的实验室使命和活动文件(Ciula, Caton和Mellen, 2023)。该文件总结了KDL的「主要价值和市场地位在于其对高质量、具有显著技术需求的资助项目的贡献」，这使得KDL能够继续发展并适应不断变化的数字研究环境(Ciula, Caton和Mellen, 2023)。

目前，KDL网站列出了实验室参与和贡献的67个项目。然而，其维护的资源列表，包括遗留项目，甚至更为广泛(Archiving and Sustanability, nd)。KDL特别关注领域如数字创意、人工智能和机器学习，以及土著数字人文(KCL, nd)。拥有来自不同背景的多样化团队，KDL确保在A&H领域提供高质量的数字研究(KDL, 2015). 。其合作伙伴关系不仅限于学院和KCL，还包括其他高等教育机构、图书馆、博物馆、文化遗产机构以及表演艺术和创意产业部门(KCL, nd)。

KDL团队关键人员简介

Arianna Ciula博士, 主任兼高级研究软件分析师,在数字人文研究和教学、研究管理和数字研究基础设施方面具有丰富经验。

主要项目及链接

1. Glow3：Web 3时代全球女性领导力
2. 与机器共存笔记本
3. 苏格兰王国社区，1249-1424
4. 激进翻译：革命文化在英国、法国和意大利之间的转移（1789-1815）
5. 数字人文实验室：研究基础设施与技术在知识生产中的交织
6. 房间很悲伤
7. iREAL：支持土著知识尊重管理的包容性AI需求获取在图书馆中的应用
8. Crossreads：古地中海交汇处的文本、物质性和多元文化
9. 大规模文学数据的批判性建模
10. 亮化契约链

图像来源: King’s Digital Lab, 2023 

[中文版]

Name

The Department of Digital Humanities (DDH), it is a part of the Faculty of Arts and Humanities at King’s College London (KCL)

Year of Foundation

1992

Short description

King’s College London has a rich history of research in the digital humanities (DH) field, dating back to the early 1970s. During this period, computing centre staff at King’s collaborated with academics, providing assistance in tasks such as generating concordances and creating thesaurus listings, marking the start of ‘Humanities Computing’ at the university. The arrival of Professor Roy Wibsey, a Professor of German in 1971 played a pivotal role in the development of humanities computing at Kings (KCL, 2020; Dunn, 2020). In 1973, King’s hosted the inaugural meeting of the Association of Literary and Linguistic Computing (ALLC), where Wisbey was elected as the first Secretary of the ALLC. Holding the position of Vice-Principle at King’s in the 1980s, Wisbey proposed the formation of a ‘Humanities and Information Management’ group within the restructured Computing Centre.

The subsequent arrival of Professor Harold Short in 1988 as the Assistant Director of Computing Service for Humanities and Information Management further propelled the centre’s advancement (Short, Nyhan, Welsh and Salmon, 2012). In 1992, Professor Short officially founded ‘The Centre for Computing in the Humanities’ (CCH) as a joint initiative of the School of Humanities and Information Service & Systems (Centre for Computing in Humanities, 2018). In 2002, CCH became an independent academic department within the School of Humanities, serving as both a teaching department as well as a research centre (Dunn, 2020). King’s CCH is therefore among, if not one of the first institutes that offer DH courses, incorporating digital methods into humanities studies. Together with Professor William McCarty, they developed the PhD in Digital Humanities at King’s in 2005 (McCarty, 2012; KCL, nd). 

By 2010, the interdisciplinary nature of  Digital Humanities doctoral research gained recognition, and in 2011 the Centre became the Department of Digital Humanities (DDH) (McCarty, 2012). Since then, DDH has continuously grown in its research and teaching endeavours, encompassing areas beyond Digital Humanities. As of today, the department has a total of 70 staff and 57 academics (KCL, nd), and give main areas of expertise: digital cultures – past and present; Technology, media and participation; Data worlds; Digital economy and society, and Digital epistemology and methods (KCL, nd). While DDH’s research reaches beyond the 5 listed themes, at present, Digital Humanities-centric research is primarily conducted by academics in the Computational Humanities Research Group, who study computational analysis of cultural and social phenomena, open humanities data, critical technical practice and the calculation of meanings and synthetic media and generative approaches in computational humanities.

Teaching on DH

Since 2012, the department has consistently expanded its academic offerings to include a diverse array of Digital Humanities courses. Notably, its postgraduate master’s programs, which includes the Digital Humanities MA, Digital Culture & Society MA, Digital Economy MSc, Digital Asset & Media Management MA, and Big Data in Culture & Society MA, have garnered significant recognition during this period (KCL, nd). Today, DDH ranks third in the UK for research power and seventh overall in the latest Research Excellence Framework for the ‘Communication, Cultural and Media Studies, Library and Information Management’ unit of assessment category. This achievement is shared with the Department of Culture, Media & Creative Industries (REF, 2021).

Key academics working in cultural and computational Digital Humanities

Dr Andrea Ballatore, Senior Lecturer in Cultural Data Science, interested in digital geographies, cultural analytics and the spatial humanities. He worked on a number of projects in the museum sector.

Prof Tobias Blanke, affiliated with DDH as Professor in Social and Cultural Informatics, and University Professor of Artificial Intelligence and Humanities at the University of Amsterdam, interested in computer science and philosophy. He has led the EHRI projects

Prof Marilyn Deegan, Professor Emerita of Digital Humanities and Honorary Research Fellow, interested in English Language, Medieval medical and herbal texts, Medieval pilgrimage, Textual editing, Digital imaging, Medieval manuscript studies. She has led the Sudan Memory: Conserving and Promoting Sudanese Cultural and Documentary Heritage project

Prof Stuart Dunn, Professor of Spatial Humanities, interested in the history of cartography, digital approaches to landscape studies, and spatial humanities. He was a part of the Ancient Itineraries: The Digital Lives of Art Historyproject 

Dr Laura Gibson, Lecturer in Digital Content Management Education, interested in Decolonisation, Digitalisation, Cultural Heritage, and Sub-Saharan Africa

Dr Mark Hedges, Reader in Cultural Informatics (digital impact on society), interested in Digital i.e., crowdsourcing, and other participatory methods, digital and computational methods in humanities, digital curation, digital archives and research infrastructures, social and cultural impact of digital technologies and information, particularly in a development context. He was a part of the Creative AI: machine learning as a medium in artistic and curatorial practice 

Dr Barbara McGillivray, Lecturer in Digital Humanities and Cultural Computation, interested in the intersection between computational and quantitative methods and research questions in the Humanities. She was Co-Investigator of the Living with Machines project.

Dr Antonina Puchkovskaia, Lecturer in Digital Humanities, interested in Cultural heritage data representation, Cultural heritage data visualisation, Spatial humanities, and Digital public humanities

Dr Gabriele Salciute Civiliene, Senior Lecturer in Digital Humanities Education, interested in cross-linguistic computing & modelling, aesthetic prototypes of computing, VR ethnographies, Data visualization and epistemologies, and semiotics of pre-/digital media

Paul Spence, Reader in Digital Humanities, interested in Culture, Digital and Languages. He was a part of the Language Acts and Worldmaking project where he analysed the power of language to disrupt digital monolingualism in knowledge infrastructures, methods and data.

Key projects with links

1. European Holocaust Research Infrastructure (EHRI) series of projects
2. Creative AI: machine learning as a medium in artistic and curatorial practice
3. Language Acts and Worldmaking
4. Ancient Itineraries: The Digital Lives of Art History
5. Living with Machines
6. Scoping a Data Service for Complex 3D Data in the Arts and Humanities
7. SAWS: Sharing Ancient Wisdom: exploring the tradition of Greek and Arabic wisdom literatures
8. Sudan Memory: Conserving and Promoting Sudanese Culture and Documentary Heritage
9. UK Museum during the COVID-19 crisis: Assessing risk, closure, and resilience

Other info

King’s Digital Lab (KDL) also plays an important part in the department of digital humanities’ history. While the two are both actively involved in DH research today, before 2015 KDL operated as part of DDH/ CCH (King’s Digital Lab, 2023). At present, KDL stands as an environment where a team of Research Software engineers design and implement systems, infrastructures, tools, and processes necessary for producing a range of digital scholarly outputs (KCL, nd). The profile of KDL is here.

Image credit: KCL, nd

图片来源: KCL, nd

伦敦国王学院数字人文学部（DDH）

名稱

数字人文学部（DDH）是伦敦国王学院（King’s College London，简称KCL）艺术与人文学院的一部分。

成立年份

1992

简要描述

伦敦国王学院在数字人文（DH）领域有着丰富的研究历史，可以追溯到20世纪70年代初。在这一时期，国王学院的计算中心工作人员与学者合作，协助完成生成协调索引和创建词表等任务，标志着大学的「人文计算」起步。1971年，德国文学教授Roy Wibsey加入伦敦国王学院，为人文计算的发展做出了关键贡献(KCL, 2020; Dunn, 2020)。 1973年，国王学院主办了文学和语言计算协会（Association of Literary and Linguistic Computing，简称ALLC）的首次会议，Wibsey当选为ALLC的第一任秘书。在80年代担任国王学院副校长期间，Wibsey提议在重组后的计算中心内成立一个「人文与信息管理」小组。

1988年，Harold Short教授以人文与信息管理计算服务助理主任的身份加入成為伦敦国王学院, 进一步推动了中心的发展（Short, Nyhan, Welsh和Salmon, 2012）。 1992年，Short教授正式创办了「人文计算中心」（Centre for Computing in the Humanities，简称CCH），作为人文学院和信息服务与系统的联合倡议（Centre for Computing in Humanities, 2018）。 2002年，CCH成为人文学院内部的独立学术部门，既是一个教学部门也是一个研究中心(Dunn, 2020)。 因此，国王学院CCH可能是最早提供数字人文课程的学院之一。与William McCarty教授一起，他们于2005年在国王学院开设了数字人文博士课程(McCarty, 2012; KCL, 未提供日期)。

到了2010年，数字人文博士研究的跨学科性得到了认可，2011年，该中心成为数字人文学部（Department of Digital Humanities，简称DDH）（McCarty, 2012）。 从那时起，DDH在研究和教学方面不断发展，涵盖了数字人文以外的领域。 截至目前，该部门共有70名员工和57名学者（KCL,未提供日期），主要专业领域包括数字文化-过去和现在； 技术，媒体和参与； 数据世界； 数字经济与社会； 以及数字认识论和方法(KCL, 未提供日期）。 尽管DDH的研究超越了这5个主题，但目前数字人文中心的研究主要由「计算人文研究小组」的学者进行，他们研究文化和社会现象的计算分析，开放式人文数据，关键技术实践以及意义和计算人文中的合成媒体和生成方法。

数字人文教学

自2012年以来，该部门不断扩大其学术课程，包括多种数字人文课程。特别是其研究生硕士课程，包括数字人文硕士、数字文化与社会硕士、数字经济硕士、数字资产与媒体管理硕士以及文化与社会大数据硕士，这些课程在此期间获得了显著的认可（KCL, 未提供日期)。 現時，DDH与文化、媒体和创意产业部在「传播、文化和媒体研究、图书馆和信息管理」评估单元的最新研究卓越框架中，研究力量排名第三，总体排名第七（REF, 2021）。

在文化和计算数字人文领域工作的关键学者

Andrea Ballatore 博士，社会与文化信息学讲师，对数字地理学、文化分析学和人文地理可视化感兴趣。他领导了英国博物馆在COVID-19危机期间的项目。

Tobias Blanke 教授，社会与文化信息学教授，对计算机科学和哲学感兴趣。他领导了EHRI项目。

Marilyn Deegan 教授，数字人文学荣誉教授及荣誉研究员，对英语、中世纪医学与草药文本、中世纪朝圣、文本编辑、数字图像处理、中世纪手稿研究感兴趣。她领导过 苏丹记忆：保护与推广苏丹文化和文献遗产项目。

Stuart Dunn 教授，空间人文学教授, 对地图制作的历史、数字化的景观研究方法和空间人文学感兴趣。他参与了古代行程：艺术史的数字生活项目。

Laura Gibson，数字内容管理教育讲师，对去殖民化、数字化、文化遗产和撒哈拉以南非洲感兴趣。

Mark Hedges博士，文化信息学副教授（数字对社会的影响），对数字即众包和其他参与方法、人文学中的数字和计算方法、数字策展、数字档案和研究基础设施、数字技术和信息的社会和文化影响，特别是在发展背景下感兴趣。他参与了 创意AI：机器学习作为艺术和策展实践媒介的项目。

Barbara McGillivray 博士，数字人文学与文化计算讲师，关注计算和定量方法与人文学科研究问题的交叉领域。她曾是与机器共存项目的共同研究者。

Antonina Puchkovskaia 博士，数字人文学讲师，对文化遗产数据呈现、文化遗产数据可视化、空间人文学和数字公共人文学感兴趣。

Gabriele Salciute Civiliene 博士，数字人文教育高级讲师，对跨语言计算与建模、计算美学原型、虚拟现实民族志、数据可视化与认知论、前/数字媒体符号学感兴趣。

Paul Spence ，数字人文学读者，关注文化、数字与语言。他参与了语言行为与世界构建项目，在该项目中，他分析了语言在知识基础设施、方法和数据中打破数字单语现象的力量。

主要项目及链接

1. 欧洲大屠杀研究基础设施（EHRI）系列项目
2. 创意人工智能：机器学习作为艺术和策展实践的媒介
3. 语言行为与世界创造
4. 古代艺术史的数字生活
5. 与机器共生
6. 为艺术和人文领域中的复杂3D数据提供数据服务的范围
7. SAWS：分享古代智慧：探索希腊和阿拉伯智慧文学传统
8. 苏丹记忆：保护和促进苏丹文化和文献遗产
9. COVID-19危机期间英国博物馆：评估风险、关闭和恢复

其他信息

国王数字实验室（KDL）也在数字人文学部的历史中发挥了重要作用。虽然两者今天都积极参与数字人文研究，但在2015年之前，KDL作为DDH/CCH的一部分运作(King’s Digital Lab, 2023）。 目前，KDL作为一个环境，其中研究软件工程师团队设计和实施系统、基础设施、工具和过程，以生产各种数字学术产出（KCL, 未提供日期）。KDL的简介可以在这里查看。

图像来源：KCL, 未提供日期