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Saturday, December 8, 2018

The Borg (Star Trek)

From Wikipedia, the free encyclopedia

The Borg
Logo Borg.svg
A Borg insignium, designed by Rick Sternbach
(first appeared in the episode Q Who)
FoundedA localized humanoid race for hundreds of thousands of years,
evolved cybernetic existence and started space travel before 1492
Base of operationsDelta Quadrant

The Borg are a fictional alien group that appear as recurring antagonists in the Star Trek franchise. The Borg are cybernetic organisms, linked in a hive mind called "the Collective". The Borg co-opt the technology and knowledge of other alien species to the Collective through the process of "assimilation": forcibly transforming individual beings into "drones" by injecting nanoprobes into their bodies and surgically augmenting them with cybernetic components. The Borg's ultimate goal is "achieving perfection". Aside from being recurring antagonists in the Next Generation television series, they are depicted as the main threat in the film Star Trek: First Contact. In addition, they played major roles in the Voyager series and serve as the way home to the Alpha Quadrant for the isolated Federation starship USS Voyager. The first encounter between humans and the Borg is depicted in the 2nd season of the series Enterprise in the episode "Regeneration" in which the phrase "you will be assimilated; resistance is futile" is heard by the crew of the Enterprise for the first time.

The Borg have become a symbol in popular culture for any juggernaut against which "resistance is futile".

Depiction

The Borg are cyborgs, having outward appearances showing both mechanical and biological body parts. Individual Borg are referred to as drones and move in a robotic, purposeful style ignoring most of their environment, including beings not deemed a threat. Borg commonly have one eye replaced with a sophisticated ocular implant. Borg usually have one arm replaced with a prosthetic one, bearing one of a variety of multipurpose tools in place of a humanoid hand. Since different drones have different roles, the arm may be specialized for a myriad of purposes such as medical devices, scanners, and weapons. Borg have flat, white skin, giving them an almost zombie-like appearance. 

Some Borg have been shown to be far stronger than humans; able to easily overpower most humans and similar species. Typical Borg have never been seen to run. Borg are resistant to phaser fire, many having personal shielding which adapts to phaser fire. In various episodes, phasers tend to become ineffective after time as the Borg is able to adapt to the phaser frequency. Later attempts to modulate phaser frequencies have limited success. Borg shields have not been seen to protect against non-energy weapons such as projectile or melee weapons. 

Borg possess a "cortical node" which controls other implanted cybernetic devices within a Borg's body, and is most often implanted in the forehead above the retained organic eye. If the cortical node fails, the Borg eventually dies. Successful replacement of the node can be carried out on a Borg vessel.

Borg Collective

An occupied Borg "alcove" prop on display at the Hollywood Entertainment Museum

Borg civilization is based on a hive or group mind known as the Collective. Each Borg drone is linked to the collective by a sophisticated subspace network that ensures each member is given constant supervision and guidance. The mental energy of the group consciousness can help an injured or damaged drone heal or regenerate damaged body parts or technology. The collective consciousness not only gives them the ability to "share the same thoughts", but also to adapt with great speed to tactics used against them. Drones in the Collective are never seen speaking, but a collective "voice" is sometimes transmitted to ships.

"Resistance is futile"

Individual Borg rarely speak, though they do send a collective audio message to their targets, stating that "resistance is futile", generally followed by a declaration that the target in question will be assimilated and its "biological and technological distinctiveness" will be added to their own. The exact phrasing varies and evolves over the various series episodes and film. 

The complete phrase used in Star Trek: First Contact is:
We are the Borg. Lower your shields and surrender your ships. We will add your biological and technological distinctiveness to our own. Your culture will adapt to service us. Resistance is futile.

Nanoprobes

Nanoprobes are microscopic machines that inhabit a Borg's body, bloodstream, and many cybernetic implants. The probes perform the function of maintaining the Borg cybernetic systems, as well as repairing damage to the organic parts of a Borg. They generate new technology inside a Borg when needed, as well as protecting them from many forms of disease. Borg nanoprobes, each about the size of a human red blood cell, travel through the victim's bloodstream and latch on to individual cells. The nanoprobes rewrite the cellular DNA, altering the victim's biochemistry, and eventually form larger, more complicated structures and networks within the body such as electrical pathways, processing and data-storage nodes, and ultimately prosthetic devices that spring forth from the skin. In "Mortal Coil", Seven of Nine states that the Borg assimilated the nanoprobe technology from "Species 149". In addition, the nanoprobes work to maintain and repair their host's mechanical and biological components on a microscopic level, allowing regenerative capabilities. 

Though used by the Borg to exert control over another being, reprogrammed nanoprobes were used by the crew of the starship Voyager in many instances as medical aids. 

The capability of nanoprobes to absorb improved technologies they find into the Borg collective is shown in the Voyager episode "Drone", where Seven of Nine's nanoprobes are fused with the Doctor's mobile emitter which uses technology from the 29th century, creating a 29th-century drone existing outside the Collective, with capabilities far surpassing that of the 24th-century drones.

The Borg do not try to immediately assimilate any being with which it comes to contact; in fact, Borg drones tend to completely ignore beings that are identified as too weak to be a threat and too inferior to be worth assimilating. Captain Picard and his team walk safely past a group of Borg drones in a scene from the film Star Trek: First Contact while the drones fulfill a programmed mission. In the Star Trek: Voyager episode "Mortal Coil", Seven of Nine told Neelix that the Kazon were "unworthy" of assimilation and would only detract from the Borg's quest for perceived perfection.

Travel

The Borg are a spacefaring race, and their primary interstellar transport is known as a "Borg Cube" due to its shape. A cube was first seen in the Next Generation episode "Q Who?" in 2365. Common capabilities of cubes include high speed warp and transwarp drives, self-regeneration and multiple-redundant systems, adaptability in combat, and various energy weapons as well as tractor beams and cutting beams. Additionally, different types and sizes of Cubes have been observed as well as Borg Spheres and some smaller craft.

As with most other Star Trek races, the Borg also have transporter capability.

Assimilation

Assimilation is the process by which the Borg integrate beings, cultures, and technology into the Collective. "You will be assimilated" is one of the few on-screen phrases employed by the Borg when communicating with other species. The Borg are portrayed as having found and assimilated thousands of species and billions to trillions of individual life-forms throughout the galaxy. The Borg designate each species with a number assigned to them upon first contact; humanity being 'Species 5618'. 

When first introduced, the Borg are said to be more interested in assimilating technology than people, roaming the universe as single-minded marauders that have assimilated starships, planets, and entire societies to collect new technology. They are discriminating in this area, finding certain races, for example the Kazon, to be technologically inferior and not worthy of assimilation. A Borg infant found aboard a Borg Cube in "Q Who?" shows that the Borg will even assimilate children. The Borg then place the assimilated children into maturation chambers to quickly and fully grow them into mature drones. 

Patrick Stewart as Locutus, the assimilated Jean-Luc Picard

In their second appearance, "The Best of Both Worlds", they capture and assimilate Captain Jean-Luc Picard into the Collective, creating Locutus of Borg (meaning "he who speaks", in Latin).

The method of assimilating individual life-forms into the Collective has been represented differently over time. When we see the Borg in Star Trek: The Next Generation, assimilation is through abduction and then surgical procedure. In Star Trek: First Contact and Star Trek: Voyager, assimilation is through injection of nanoprobes into an individual's bloodstream via a pair of tubules that spring forth from a drone's hand. Assimilation by tubules is depicted on-screen as being a fast-acting process, with the victim's skin pigmentation turning gray and mottled with visible dark tracks forming within moments of contact. After assimilation, a drone's race and gender become "irrelevant". After initial assimilation through injection, Borg are surgically fitted with cybernetic devices. In Star Trek: First Contact an assimilated crew member is shown to have a forearm and an eye physically removed and replaced with cybernetic implants.

The Borg also assimilate, interface, and reconfigure technology using these tubules and nanoprobes. However, in Q Who? we see a Borg apparently trying to assimilate, probe or reconfigure a control panel in engineering using an energy interface instead of nanoprobes.

Some species, for various stated reasons, are able to resist assimilation by nanoprobe. Species 8472 is the only race shown to be capable of completely rejecting assimilation attempts. Other species, such as the Hirogen, have demonstrated resistance to assimilation as well as Dr Phlox who was able to partially resist the assimilation process in the Star Trek: Enterprise episode "Regeneration".

Concept

The Borg represented a new antagonist and regular enemy that was lacking during the first season of TNG; the Klingons were allies and the Romulans mostly absent. The Ferengi were originally intended as the new enemy for the United Federation of Planets, but their comical appearance and devotion to capitalist accumulation by free enterprise failed to portray them as a convincing threat. The Borg, however, with their frightening appearance, their immense power, and their sinister motive, became the signature villains for the TNG and Voyager eras of Star Trek. In Voyager episode "Q2", even Q tells his son "don't provoke the Borg." 

Star Trek: The Next Generation (TNG) writers began to develop the idea of the Borg as early as the Season 1 episode, "Conspiracy", which introduced a coercive, symbiotic life form that took over key Federation personnel. Plans to feature the Borg as an increasingly menacing threat were subsequently scrapped in favor of a more subtle introduction, beginning with the mystery of missing colonies on both sides of the Neutral Zone in "The Neutral Zone" and culminating in the encounter between Borg and the Enterprise crew in "Q Who?".

Borg Queen


Before the film Star Trek: First Contact (1996), the Borg exhibited no hierarchical command structure. First Contact introduced the Borg Queen, who is not named as such in the film (referring to herself as “I am the Borg. I am the Collective.") but is named Borg Queen in the closing credits. The Queen is played by Alice Krige in this film and in the 2001 finale of Star Trek: Voyager, "Endgame". The character also appeared in Voyager's two-part episodes "Dark Frontier" (1999) and "Unimatrix Zero" (2000), but was portrayed by Susanna Thompson. Whether or not all of these appearances represent exactly the same Queen is never confirmed. In First Contact, the Borg Queen is heard during a flashback of Picard's former assimilation, implying that she was present during the events of "Best of Both Worlds". 

The Borg Queen is the focal point within the Borg collective consciousness and a unique drone within the Collective, who brings "order to chaos", referring to herself as "we" and "I" interchangeably. In First Contact, the Queen's dialogue suggests she is an expression of the Borg Collective's overall intelligence, not a controller but the avatar of the entire Collective as an individual. This sentiment is contradicted by Star Trek: Voyager, where she is seen explicitly directing, commanding, and in one instance even overriding the Collective. The introduction of the Queen radically changed the canonical understanding of the Borg function, with the authors of The Computers of Star Trek noting "It was a lot easier for viewers to focus on a villain rather than a hive-mind that made decisions based on the input of all its members." First Contact writers Brannon Braga and Ronald D. Moore have defended the introduction of the Queen as a dramatic necessity, noting on the film's DVD audio commentary that they had initially written the film with drones, but then found that it was essential for the main characters to have someone to interact with beyond mindless drones.

Borg appearances

The Next Generation

The Borg first appear in the Star Trek: The Next Generation second-season episode "Q Who?", when the omnipotent life-form Q hurls the Enterprise-D across the galaxy to challenge Jean-Luc Picard's assertion that his crew is ready to face the galaxy's dangers and mysteries. The Enterprise crew is overwhelmed by the Borg, and Picard begs for and receives Q's help in returning the ship to its previous coordinates. 

The Borg next appear in The Next Generation's third-season finale and fourth-season premiere, "The Best of Both Worlds". Picard is abducted and assimilated by the Borg and transformed into Locutus, the Latin for "he who speaks". Picard's knowledge of Starfleet's strengths and strategies is gained by the Collective, and the single cube destroys the entire Starfleet armada at Wolf 359. The Enterprise crew manages to capture Locutus, gain information through him which allows them to destroy the cube, and then reverse the assimilation process. 

In the fifth-season episode "I, Borg", the Enterprise crew rescues an adolescent Borg they name "Hugh". The crew faces the moral decision of whether or not to use Hugh (who begins to develop a sense of independence as a result of a severed link to the Collective) as a means of delivering a devastating computer virus to the Borg, or return to the Borg with his individuality intact. They decide to return him without the virus, but in the sixth-season episode "Descent", a group of rogue Borg who had "assimilated" individuality through Hugh fall under the control of the android Lore, the "older brother" of Data. Lore also corrupts Data through the use of an "emotion chip", but in the end, Data's ethical subroutines are restored and he manages to deactivate Lore. Data recovers the emotion chip and the surviving Borg fall under the leadership of Hugh.

First Contact

The Borg return as the antagonists in the Next Generation film, Star Trek: First Contact. After again failing to assimilate Earth by a direct assault in the year 2373, the Borg travel back in time to the year 2063 to try to stop Zefram Cochrane's first contact with the Vulcans, change the timeline, and erase Starfleet from existence. The Enterprise-E crew follows the Borg back in time and restores the original timeline. First Contact introduces the Borg Queen.

Deep Space Nine

The only screen appearance made on this series was in the premiere episode Emissary. Benjamin Sisko (Avery Brooks) was an officer on the USS Saratoga, one of the ships in the Starfleet armada dispatched to confront the Borg at Wolf 359. The Saratoga is destroyed by the Borg, killing Sisko's wife, Jennifer. During that episode, Sisko's meeting with Picard is tense as he blames Picard for the actions of Locutus. Throughout the remainder of the series, references to the Borg are made occasionally, including the design of their ship, USS Defiant, and the battle from Star Trek: First Contact being used as a plot point in Season 5 when Starfleet is spread too thin to deal with a Dominion incursion.

Voyager

The Borg make frequent appearances in Star Trek: Voyager, which takes place in the Delta Quadrant. The Borg are first seen by Voyager in the third-season episode "Blood Fever" in which Chakotay discovers the body of what the local humanoids refer to as "the Invaders"; which turns out to be the Borg. In "Scorpion", the Borg are engaged in a war of attrition against Species 8472, whose biological defenses are a match for the Borg's nanoprobes. In one of the few instances of the Borg negotiating, in exchange for safe passage through Borg space, the Voyager crew devises a way to destroy the otherwise invulnerable Species 8472. A Borg drone, Seven of Nine, is dispatched to Voyager to facilitate this arrangement. After successfully driving Species 8472 back into their fluidic space, Seven of Nine is severed from the Collective and becomes a member of Voyager's crew. Seven of Nine's rediscovery of her individuality becomes a recurring theme throughout the series. 

In the fifth season, we see the Borg in "Drone", where an advanced Borg drone is created when Seven of Nine's nanoprobes are fused with the Doctor's mobile emitter in a transporter accident, "Infinite Regress", and "Dark Frontier", where Voyager steals and uses a transwarp coil to travel 20,000 light-years before it burns out. 

In the sixth season episode, "Collective", the crew of Voyager encounter a damaged cube that is holding Tom Paris, Neelix, Harry Kim and Chakotay hostage. With all the adult drones dead, the ship is run by five Borg children who are saved by Voyager and deassimilated. 

In the seventh season we see the Borg in "Q2", where Q's son brings Borg onto Voyager and in the series finale, "Endgame", where Admiral Janeway from the future tries to bring Voyager back to Earth using a Borg transwarp hub. During this episode, Janeway infects the Borg with a neurolytic pathogen which infects the collective and kills the Queen.

Enterprise

In the Star Trek: Enterprise episode "Regeneration", the remnants of the destroyed sphere from Star Trek: First Contact are discovered in the Arctic along with two frozen drones. The Borg steal a research ship and send a transmission toward the Delta Quadrant before they are destroyed.

Origin

The origin of the Borg is never made clear, though they are portrayed as having existed for hundreds of thousands of years (as attested by Guinan and the Borg Queen). In Star Trek: First Contact, the Borg Queen merely states that the Borg were once much like humanity, "flawed and weak", but gradually developed into a partially synthetic species in an ongoing attempt to evolve and perfect themselves. 

In TNG's "Q Who?", Guinan mentions that the Borg are "made up of organic and artificial life [...] which has been developing for [...] thousands of centuries." In the later episode of Star Trek: Voyager, "Dragon's Teeth", Gedrin, of the race the Vaadwaur, says that before he and his people were put into suspended animation 892 years earlier (1482), the Borg had assimilated only a few colonies in the Delta Quadrant and were considered essentially a minor nuisance. Now awake in the 24th century, he is amazed to see that the Borg control a vast area of the Delta Quadrant. Seven of Nine comments that the Borg's collective memories of that time period are fragmentary, though it is never established why that is.

Non-canon origin stories

The Star Trek Encyclopedia speculates that a connection could exist between the Borg and V'ger, the vessel encountered in Star Trek: The Motion Picture. This idea of a connection is advanced in William Shatner's novel The Return. The connection was also suggested in a letter included in Starlog no. 160 (November 1990). The letter writer, Christopher Haviland, also speculated that the original Borg drones were members of a race called "the Preservers", which Spock had suggested in the original series episode "The Paradise Syndrome" might be responsible for why so many humanoids populate the galaxy. It was confirmed in the TNG episode "The Chase" that an ancient species seeded hundreds, if not thousands of planets with their DNA, creating the Humans, Vulcans, Klingons, Romulans, Cardassians, and many more.

The extra section of the game Star Trek: Legacy contains the supposed "Origin of the Borg", which tells the story of V'ger being sucked into a black hole. V'ger was found by a race of living machines which gave it a form suitable to fulfilling its simplistic programming. Unable to determine who its creator could be, the probe declared all carbon-based life an infestation of the creator's universe, leading to assimilation. From this, the Borg were created, as extensions of V'ger's purpose. Drones were made from those assimilated and merged into a collective consciousness. The Borg Queen was created out of the necessity for a single unifying voice. With thoughts and desires of her own, she was no longer bound to serve V'ger

In the graphic novel Star Trek: The Manga, the Borg resulted from an experiment in medical nanotechnology gone wrong. An alien species under threat of extinction by an incurable disease created a repository satellite containing test subjects infused with body parts, organs, and DNA of multiple species along with cybernetic enhancements put in place by advanced medical technology. The satellite was maintained by nanomachines, which also maintained the medical equipment on board. The medical facility is parked in orbit by a black hole, and along with the relativistic state of time around the black hole, allows long-term research to continue at an accelerated time scale rather than in real-time speed. As the medical facility deteriorates, so does the programming of the nanomachines. The nanomachines began infusing themselves into the patients, interpreting them as part of the satellite in need of repair. Among the patients is the daughter of the head medical researcher of the satellite. The satellite eventually falls apart in an encounter with an away team from the Enterprise under the command of James T. Kirk. In the final moments of the satellite's destruction and the escape of the crew members of the Enterprise with the patients, the subjects display qualities inherently resembling the Borg: injection of nanomachines in a fashion similar to assimilation, rapid adaptation to weaponry, and a hive mind consciousness, as all the subjects begin following the whim of the daughter. As succumbing to the disease was inevitable, and the corrupt nanomachine programming infused itself into the bodies, the final image of the page of the manga Borg origin is left with the daughter turned Borg Queen, stating, "Resistance is futile." 

In the novel Lost Souls (the third book in the Star Trek: Destiny trilogy), the Borg are revealed to be the survivors of the Caeliar city Mantilis. Thrown across the galaxy in the Delta Quadrant and back in time to about 4500 BC by the destruction of Erigol at the climax of Gods of Night, the first book in the trilogy, a group of human survivors from the starship Columbia (NX-02) and Caeliar scientists try to survive in a harsh arctic climate. Most of the human survivors die of exposure, while several Caeliar are absorbed into their race's gestalt to give life to the others in their group mind. The Caeliar offer the remaining humans a merging of human and Caeliar, to allow both groups to survive. The human survivors are resistant and as time goes on, the Caeliar called Sedin becomes the sole survivor of her group, her mental processes and her form both degrading as time goes on. When the humans return to Sedin for help, she forces them to merge with her, unwilling to allow herself to die when a union can save her life. The forced merging of the humans and the mostly decayed Caeliar results in the creation of the first Borg. The gestalt group mind is perverted to become the collective, driven by Sedin's desperate hunger and need to add the strength, technology, and life-force of others to her own. Ironically, while the Caeliar were–albeit accidentally–involved in the creation of the Borg, they also provide the means to end it; in the 24th century, the Caeliar absorb the entire Borg collective back into themselves, ending the cyborgs' centuries-long reign of terror.

Other Non-canon media appearances

In the Star Trek novel Probe, which takes place following the events of Star Trek IV: The Voyage Home, the Borg are mentioned obliquely in communication with the whale-probe as spacefaring "mites" (the whale-probe's term for humanoid races) who traveled in cubical and spherical spacefaring vessels; the Borg apparently attacked the whale-probe and damaged its memory in some fashion before the events of the film. 

In the Star Trek Game Star Trek: Legacy, the Borg are featured prominently throughout the Enterprise and TOS era's before becoming a major threat in the TNG era. In unlockable motion-comics that are unlocked after completing each era, it is revealed that the Vulcan T'Uerell experimented on Borg corpses left behind from the Enterprise episode "Regeneration", and became assimilated. It wasn't until the end of the TOS era that she made contact with the main Borg force and became a queen before she was finally killed in a fleet of Starfleet, Romulan, and Klingon ships led by Picard. 

The Peter David novel Vendetta reveals that the planet killer weapon from the Original Series episode "The Doomsday Machine" is a prototype for a weapon against the Borg. David revisited this concept in a 2007 sequel novel, Before Dishonor, which features the Enterprise-E working with Spock and Seven of Nine to reactivate the original planet killer to stop the Borg. 

In William Shatner's novel The Return, Spock is nearly assimilated by the Borg, but is saved because he mind-melded with V'ger, an earlier form of the Borg, and they assume that he is already a Borg. Using the information he subconsciously acquired in the meld, Spock is able to lead a crew of Enterprise officers (consisting of the Enterprise-D crew, himself, Admiral McCoy, and the resurrected Kirk) in a Defiant-class ship to destroy the Borg central node, severing all branches of the Collective from each other and limiting their future threat. 

In David Mack's novel trilogy Star Trek: Destiny, set over a year after Star Trek: Nemesis, the Borg stage a massive invasion of local space. Due to Kathryn Janeway crippling their infrastructure in "Endgame", the Borg fear for their survival and attempt to exterminate the Federation and its neighbors. They destroy the populations of numerous Federation worlds before being dismantled by the Caeliar, the advanced species that spawned them. The crews of the Enterprise-E, the Titan, and the Aventine had made contact with the Caeliar, learned of their role in the creation of the Borg, and convinced them to end the Borg once and for all. 

In the Doctor Who/Star Trek crossover comic, Assimilation2, the Borg join forces with the Cybermen. When the Cybermen subvert the Collective, the Enterprise-D crew work with the Eleventh Doctor and the Borg, restoring the Borg to full strength and erasing the Borg/Cyberman alliance from existence.

Writers Judith and Garfield Reeves-Stevens developed an unproduced idea for an episode which would have featured Alice Krige as a Starfleet medical technician who encounters the Borg and is assimilated – thereby becoming the Borg Queen.

In the video game Star Trek: Armada, the Borg invades a Dominion cloning facility to create a clone of Jean-Luc Picard to create a new Locutus.

In video games

The Borg appear as antagonists to the player in the following Star Trek videogame titles:
Activision planned to release Star Trek: Borg Assimilator, in which the player would play a Borg, but later canceled the game.

Critical reception and popular culture

The depiction of the Borg cube in "Q Who" garnered the episode an Emmy Award nomination.

TV Guide named the Borg #4 in their 2013 list of the 60 Nastiest Villains of All Time.

The phrase "resistance is futile" became prevalent in popular culture from its use in the television show TNG.

The Borg uttered the phrase in several Star Trek episodes and the film Star Trek: First Contact (which used the phrase as the tagline for the 1996 film). Patrick Stewart's delivery of the line, as Locutus, in "The Best of Both Worlds" was ranked no. 93 in TV Land's list of "The 100 Greatest TV Quotes and Catchphrases". It was used as the title for an episode of the TV series Dexter.

Cyborg anthropology

From Wikipedia, the free encyclopedia
 
Cyborg anthropology is a discipline that studies the interaction between humanity and technology from an anthropological perspective. The discipline is relatively new, but offers novel insights on new technological advances and their effect on culture and society.

History

Donna Haraway’s 1984 ""A Cyborg Manifesto" was the first widely-read academic text to explore the philosophical and sociological ramifications of the cyborg. A sub-focus group within the American Anthropological Association's annual meeting in 1992 presented a paper entitled "Cyborg Anthropology", which cites Haraway's "Manifesto". The group described cyborg anthropology as the study of how humans define humanness in relationship to machines, as well as the study of science and technology as activities that can shape and be shaped by culture. This includes studying the ways that all people, including those who are not scientific experts, talk about and conceptualize technology. The sub-group was closely related to STS and the Society for the Social Studies of Science. More recently, Amber Case has been responsible for explicating the concept of Cyborg Anthropology to the general public. She believes that a key aspect of cyborg anthropology is the study of networks of information among humans and technology.

Many academics have helped develop cyborg anthropology, and many more who haven't heard the term still are today conducting research that may be considered cyborg anthropology, particularly research regarding technologically advanced prosthetics and how they can influence an individual's life. A 2014 summary of holistic American anthropology intersections with cyborg concepts (whether explicit or not) by Joshua Wells explained how the information-rich and culture-laden ways in which humans imagine, construct, and use tools may extend the cyborg concept through the human evolutionary lineage. Amber Case generally tells people that the actual number of self-described cyborg anthropologists is "about seven". The Cyborg Anthropology Wiki, overseen by Case, aims to make the discipline as accessible as possible, even to people who do not have a background in anthropology.

Methodology

Cyborg anthropology uses traditional methods of anthropological research like ethnography and participant observation, accompanied by statistics, historical research, and interviews. By nature it is a multidisciplinary study; cyborg anthropology can include aspects of Science and Technology Studies, cybernetics, feminist theory, and more. It primarily focuses on how people use discourse about science and technology in order to make these meaningful in their lives. 

'Cyborg' origins and meaning

Originally coined in a 1960 paper about space exploration, the term is short for cybernetic organism. A cyborg is traditionally defined as a system with both organic and inorganic parts. In the narrowest sense of the word, cyborgs are people with machinated body parts. These cyborg parts may be restorative technologies that help a body function where the organic system has failed, like pacemakers, insulin pumps, and bionic limbs, or enhanced technologies that improve the human body beyond its natural state. In the broadest sense, all human interactions with technology could qualify as a cyborg. Most cyborg anthropologists lean towards the latter view of the cyborg; some, like Amber Case, even claim that humans are already cyborgs because people's daily life and sense of self is so intertwined with technology. Haraway's "Cyborg Manifesto" suggests that technology like virtual avatars, artificial insemination, sexual reassignment surgery, and artificial intelligence might make dichotomies of sex and gender irrelevant, even nonexistent. She goes on to say that other human distinctions (like life and death, human and machine, virtual and real) may similarly disappear in the wake of the cyborg.

Digital vs. cyborg anthropology

Digital anthropology is concerned with how digital advances are changing how people live their lives, as well as consequent changes to how anthropologists do ethnography and to a lesser extent how digital technology can be used to represent and undertake research. Cyborg anthropology also looks at disciplines like genetics and nanotechnology, which are not strictly digital. Cybernetics/informatics covers the range of cyborg advances better than the label digital.

Key concepts and research

Actor–network theory

Questions of subjectivity, agency, actors, and structures have always been of interest in social and cultural anthropology. In cyborg anthropology the question of what type of cybernetic system constitutes an actor/subject becomes all the more important. Is it the actual technology that acts on humanity (the Internet), the general techno-culture (Silicon Valley), government sanctions (net neutrality), specific innovative humans (Steve Jobs), or some type of combination of these elements? Some academics believe that only humans have agency and technology is an object humans act upon, while others argue that humans have no agency and culture is entirely shaped by material and technological conditions. Actor-network theory (ANT), proposed by Bruno Latour, is a theory that helps scholars understand how these elements work together to shape techno-cultural phenomena. Latour suggests that actors and the subjects they act on are parts of larger networks of mutual interaction and feedback loops. Humans and technology both have the agency to shape one another. ANT best describes the way cyborg anthropology approaches the relationship between humans and technology. Similarly, Wells explain how new forms of networked political expression such as the Pirate Party movement and free and open-source software philosophies are generated from human reliance on information technologies in all walks of life.

Artificial intelligence

Researchers like Kathleen Richardson have conducted ethnographic research on the humans who build and interact with artificial intelligence. Recently, Stuart Geiger, a PhD student at University of California, Berkeley suggested that robots may be capable of creating a culture of their own, which researchers could study with ethnographic methods. Anthropologists react to Geiger with skepticism because, according to Geiger, they believe that culture is specific to living creatures and ethnography limited to human subjects.

Posthumanism

The most basic definition of anthropology is the study of humans. However, cyborgs, by definition, describe something that is not entirely an organic human. Moreover, limiting a discipline to the study of humans may be difficult the more that technology allows humans to transcend the normal conditions of organic life. The prospect of a posthuman condition calls into question the nature and necessity of a field focused on studying humans. 

Sociologist of technology Zeynep Tufekci argues that any symbolic expression of ourselves, even the most ancient cave painting, can be considered "posthuman" because it exists outside of our physical bodies. To her, this means that the human and the "posthuman" have always existed alongside one another, and anthropology has always concerned itself with the posthuman as well as the human. Neil L. Whitehead and Michael Welsch point out that the concern that posthumanism will decenter the human in anthropology ignores the discipline's long history of engaging with the unhuman (like spirits and demons that humans believe in) and the culturally "subhuman" (like marginalized groups within a society).. Contrarily, Wells, taking a deep-time perspective, points out the ways that tool-centric and technologically communicated values and ethics typify the human condition, and that cross-cultural and ethnological trends in conceptions of lifeways, power dynamics, and definitions of humanity often incorporate information-rich technological symbology.

Notable figures

Digital humanities

From Wikipedia, the free encyclopedia

Example of a textual analysis program being used to study a novel, with Jane Austen's Pride and Prejudice in Voyant Tools

Digital humanities (DH) is an area of scholarly activity at the intersection of computing or digital technologies and the disciplines of the humanities. It includes the systematic use of digital resources in the humanities, as well as the reflection on their application. DH can be defined as new ways of doing scholarship that involve collaborative, transdisciplinary, and computationally engaged research, teaching, and publishing. It brings digital tools and methods to the study of the humanities with the recognition that the printed word is no longer the main medium for knowledge production and distribution.

By producing and using new applications and techniques, DH makes new kinds of teaching and research possible, while at the same time studying and critiquing how these impact cultural heritage and digital culture. Thus, a distinctive feature of DH is its cultivation of a two-way relationship between the humanities and the digital: the field both employs technology in the pursuit of humanities research and subjects technology to humanistic questioning and interrogation, often simultaneously.

Definition

The definition of the digital humanities is being continually formulated by scholars and practitioners. Since the field is constantly growing and changing, specific definitions can quickly become outdated or unnecessarily limit future potential. The second volume of Debates in the Digital Humanities (2016) acknowledges the difficulty in defining the field: "Along with the digital archives, quantitative analyses, and tool-building projects that once characterized the field, DH now encompasses a wide range of methods and practices: visualizations of large image sets, 3D modeling of historical artifacts, 'born digital' dissertations, hashtag activism and the analysis thereof, alternate reality games, mobile makerspaces, and more. In what has been called 'big tent' DH, it can at times be difficult to determine with any specificity what, precisely, digital humanities work entails."

Historically, the digital humanities developed out of humanities computing and has become associated with other fields, such as humanistic computing, social computing, and media studies. In concrete terms, the digital humanities embraces a variety of topics, from curating online collections of primary sources (primarily textual) to the data mining of large cultural data sets to topic modeling. Digital humanities incorporates both digitized (remediated) and born-digital materials and combines the methodologies from traditional humanities disciplines (such as history, philosophy, linguistics, literature, art, archaeology, music, and cultural studies) and social sciences, with tools provided by computing (such as hypertext, hypermedia, data visualisation, information retrieval, data mining, statistics, text mining, digital mapping), and digital publishing. Related subfields of digital humanities have emerged like software studies, platform studies, and critical code studies. Fields that parallel the digital humanities include new media studies and information science as well as media theory of composition, game studies, particularly in areas related to digital humanities project design and production, and cultural analytics.

The Digital Humanities Stack (from Berry and Fagerjord, Digital Humanities: Knowledge and Critique in a Digital Age)

Berry and Fagerjord have suggested that a way to reconceptualise digital humanities could be through a "digital humanities stack". They argue that "this type of diagram is common in computation and computer science to show how technologies are ‘stacked’ on top of each other in increasing levels of abstraction. Here, [they] use the method in a more illustrative and creative sense of showing the range of activities, practices, skills, technologies and structures that could be said to make up the digital humanities, with the aim of providing a high-level map." Indeed, the "diagram can be read as the bottom levels indicating some of the fundamental elements of the digital humanities stack, such as computational thinking and knowledge representation, and then other elements that later build on these. "

History

Digital humanities descends from the field of humanities computing, whose origins reach back to the 1930s and1940s in the pioneering work of English professor Josephine Miles and Jesuit scholar Roberto Busa and the women they employed. In collaboration with IBM, they created a computer-generated concordance to Thomas Aquinas' writings known as the Index Thomisticus. Other scholars began using mainframe computers to automate tasks like word-searching, sorting, and counting, which was much faster than processing information from texts with handwritten or typed index cards. In the decades which followed archaeologists, classicists, historians, literary scholars, and a broad array of humanities researchers in other disciplines applied emerging computational methods to transform humanities scholarship.

As Tara McPherson has pointed out, the digital humanities also inherit practices and perspectives developed through many artistic and theoretical engagements with electronic screen culture beginning the late 1960s and 1970s. These range from research developed by organizations such as SIGGRAPH to creations by artists such as Charles and Ray Eames and the members of E.A.T. (Experiments in Art and Technology). The Eames and E.A.T. explored nascent computer culture and intermediality in creative works that dovetailed technological innovation with art.

The first specialized journal in the digital humanities was Computers and the Humanities, which debuted in 1966. The Association for Literary and Linguistic Computing (ALLC) and the Association for Computers and the Humanities (ACH) were then founded in 1977 and 1978, respectively.

Soon, there was a need for a standardized protocol for tagging digital texts, and the Text Encoding Initiative (TEI) was developed. The TEI project was launched in 1987 and published the first full version of the TEI Guidelines in May 1994. TEI helped shape the field of electronic textual scholarship and led to Extensible Markup Language (XML), which is a tag scheme for digital editing. Researchers also began experimenting with databases and hypertextual editing, which are structured around links and nodes, as opposed to the standard linear convention of print. In the nineties, major digital text and image archives emerged at centers of humanities computing in the U.S. (e.g. the Women Writers Project, the Rossetti Archive, and The William Blake Archive), which demonstrated the sophistication and robustness of text-encoding for literature. The advent of personal computing and the World Wide Web meant that Digital Humanities work could become less centered on text and more on design. The multimedia nature of the internet has allowed Digital Humanities work to incorporate audio, video, and other components in addition to text.

The terminological change from "humanities computing" to "digital humanities" has been attributed to John Unsworth, Susan Schreibman, and Ray Siemens who, as editors of the anthology A Companion to Digital Humanities (2004), tried to prevent the field from being viewed as "mere digitization." Consequently, the hybrid term has created an overlap between fields like rhetoric and composition, which use "the methods of contemporary humanities in studying digital objects," and digital humanities, which uses "digital technology in studying traditional humanities objects". The use of computational systems and the study of computational media within the arts and humanities more generally has been termed the 'computational turn'.

In 2006 the National Endowment for the Humanities (NEH) launched the Digital Humanities Initiative (renamed Office of Digital Humanities in 2008), which made widespread adoption of the term "digital humanities" all but irreversible in the United States.

Digital humanities emerged from its former niche status and became "big news" at the 2009 MLA convention in Philadelphia, where digital humanists made "some of the liveliest and most visible contributions" and had their field hailed as "the first 'next big thing' in a long time."

Values and methods

Although digital humanities projects and initiatives are diverse, they often reflect common values and methods. These can help in understanding this hard-to-define field.

Values
  • Critical & Theoretical
  • Iterative & Experimental
  • Collaborative & Distributed
  • Multimodal & Performative
  • Open & Accessible
Methods
  • Enhanced Critical Curation
  • Augmented Editions and Fluid Textuality
  • Scale: The Law of Large Numbers
  • Distant/Close, Macro/Micro, Surface/Depth
  • Cultural Analytics, Aggregation, and Data-Mining
  • Visualization and Data Design
  • Locative Investigation and Thick Mapping
  • The Animated Archive
  • Distributed Knowledge Production and Performative Access
  • Humanities Gaming
  • Code, Software, and Platform Studies
  • Database Documentaries
  • Repurposable Content and Remix Culture
  • Pervasive Infrastructure
  • Ubiquitous Scholarship.
In keeping with the value of being open and accessible, many digital humanities projects and journals are open access and/or under Creative Commons licensing, showing the field's "commitment to open standards and open source." Open access is designed to enable anyone with an internet-enabled device and internet connection to view a website or read an article without having to pay, as well as share content with the appropriate permissions.

Digital humanities scholars use computational methods either to answer existing research questions or to challenge existing theoretical paradigms, generating new questions and pioneering new approaches. One goal is to systematically integrate computer technology into the activities of humanities scholars, as is done in contemporary empirical social sciences. Yet despite the significant trend in digital humanities towards networked and multimodal forms of knowledge, a substantial amount of digital humanities focuses on documents and text in ways that differentiate the field's work from digital research in media studies, information studies, communication studies, and sociology. Another goal of digital humanities is to create scholarship that transcends textual sources. This includes the integration of multimedia, metadata, and dynamic environments (see The Valley of the Shadow project at the University of Virginia, the Vectors Journal of Culture and Technology in a Dynamic Vernacular at University of Southern California, or Digital Pioneers projects at Harvard). A growing number of researchers in digital humanities are using computational methods for the analysis of large cultural data sets such as the Google Books corpus. Examples of such projects were highlighted by the Humanities High Performance Computing competition sponsored by the Office of Digital Humanities in 2008, and also by the Digging Into Data challenge organized in 2009 and 2011 by NEH in collaboration with NSF, and in partnership with JISC in the UK, and SSHRC in Canada. In addition to books, historical newspapers can also be analyzed with big data methods. The analysis of vast quantities of historical newspaper content has showed how periodic structures can be automatically discovered, and a similar analysis was performed on social media. As part of the big data revolution, Gender bias, readability, content similarity, reader preferences, and even mood have been analyzed based on text mining methods over millions of documents and historical documents written in literary Chinese.

Digital humanities is also involved in the creation of software, providing "environments and tools for producing, curating, and interacting with knowledge that is 'born digital' and lives in various digital contexts." In this context, the field is sometimes known as computational humanities.

Narrative network of US Elections 2012

Tools

Digital humanities scholars use a variety of digital tools for their research, which may take place in an environment as small as a mobile device or as large as a virtual reality lab. Environments for "creating, publishing and working with digital scholarship include everything from personal equipment to institutes and software to cyberspace." Some scholars use advanced programming languages and databases, while others use less complex tools, depending on their needs. DiRT (Digital Research Tools Directory) offers a registry of digital research tools for scholars. TAPoR (Text Analysis Portal for Research) is a gateway to text analysis and retrieval tools. An accessible, free example of an online textual analysis program is Voyant Tools, which only requires the user to copy and paste either a body of text or a URL and then click the 'reveal' button to run the program. There is also an online list of online or downloadable Digital Humanities tools that are largely free, aimed toward helping students and others who lack access to funding or institutional servers. Free, open source web publishing platforms like WordPress and Omeka are also popular tools.

Example of a visualization tool used to study poetry in a new way with Poemage

Projects

Digital humanities projects are more likely than traditional humanities work to involve a team or a lab, which may be composed of faculty, staff, graduate or undergraduate students, information technology specialists, and partners in galleries, libraries, archives, and museums. Credit and authorship are often given to multiple people to reflect this collaborative nature, which is different from the sole authorship model in the traditional humanities (and more like the natural sciences).

There are thousands of digital humanities projects, ranging from small-scale ones with limited or no funding to large-scale ones with multi-year financial support. Some are continually updated while others may not be due to loss of support or interest, though they may still remain online in either a beta version or a finished form. The following are a few examples of the variety of projects in the field:

Digital archives

The Women Writers Project (begun in 1988) is a long-term research project to make pre-Victorian women writers more accessible through an electronic collection of rare texts. The Walt Whitman Archive (begun in the 1990s) sought to create a hypertext and scholarly edition of Whitman’s works and now includes photographs, sounds, and the only comprehensive current bibliography of Whitman criticism. The Emily Dickinson Archive (begun in 2013) is a collection of high-resolution images of Dickinson’s poetry manuscripts as well as a searchable lexicon of over 9,000 words that appear in the poems. 

Example of network analysis as an archival tool at the League of Nations.

The Slave Societies Digital Archive (formerly Ecclesiastical and Secular Sources for Slave Societies), directed by Jane Landers and hosted at Vanderbilt University, preserves endangered ecclesiastical and secular documents related to Africans and African-descended peoples in slave societies. This Digital Archive currently holds 500,000 unique images, dating from the 16th to the 20th centuries, and documents the history of between 6 and 8 million individuals. They are the most extensive serial records for the history of Africans in the Atlantic World and also include valuable information on the indigenous, European, and Asian populations who lived alongside them. 

The involvement of librarians and archivists plays an important part in digital humanities projects because of the recent expansion of their role so that it now covers digital curation, which is critical in the preservation, promotion, and access to digital collections, as well as the application of scholarly orientation to digital humanities projects. A specific example involves the case of initiatives where archivists help scholars and academics build their projects through their experience in evaluating, implementing, and customizing metadata schemas for library collections.

The initiatives at the National Autonomous University of Mexico is another example of a digital humanities project. These include the digitization of 17th-century manuscripts, an electronic corpus of Mexican history from the 16th to 19th century, and the visualization of pre-Hispanic archaeological sites in 3-D.

Cultural analytics

"Cultural analytics" refers to the use of computational method for exploration and analysis of large visual collections and also contemporary digital media. The concept was developed in 2005 by Lev Manovich who then established the Cultural Analytics Lab in 2007 at Qualcomm Institute at California Institute for Telecommunication and Information (Calit2). The lab has been using methods from the field of computer science called Computer Vision many types of both historical and contemporary visual media—for example, all covers of Time magazine published between 1923 and 2009, 20,000 historical art photographs from the collection in Museum of Modern Art (MoMA) in New York, one million pages from Manga books, and 16 million images shared on Instagram in 17 global cities. Cultural analytics also includes using methods from media design and data visualization to create interactive visual interfaces for exploration of large visual collections e.g., Selfiecity and On Broadway. 

Cultural Analytics research is also addressing a number of theoretical questions. How can we "observe" giant cultural universes of both user-generated and professional media content created today, without reducing them to averages, outliers, or pre-existing categories? How can work with large cultural data help us question our stereotypes and assumptions about cultures? What new theoretical cultural concepts and models are required for studying global digital culture with its new mega-scale, speed, and connectivity? 

The term “cultural analytics” (or “culture analytics”) is now used by many other researchers, as exemplified by two academic symposiums, a four-month long research program at UCLA that brought together 120 leading researchers from university and industry labs, an academic peer-review Journal of Cultural Analytics: CA established in 2016, and academic job listings.

Textual mining, analysis, and visualization

WordHoard (begun in 2004) is a free application that enables scholarly but non-technical users to read and analyze, in new ways, deeply-tagged texts, including the canon of Early Greek epic, Chaucer, Shakespeare, and Spenser. The Republic of Letters (begun in 2008) seeks to visualize the social network of Enlightenment writers through an interactive map and visualization tools. Network analysis and data visualization is also used for reflections on the field itself – researchers may produce network maps of social media interactions or infographics from data on digital humanities scholars and projects.

Network analysis: graph of Digital Humanities Twitter users

Analysis of macroscopic trends in cultural change

Culturomics is a form of computational lexicology that studies human behavior and cultural trends through the quantitative analysis of digitized texts. Researchers data mine large digital archives to investigate cultural phenomena reflected in language and word usage. The term is an American neologism first described in a 2010 Science article called Quantitative Analysis of Culture Using Millions of Digitized Books, co-authored by Harvard researchers Jean-Baptiste Michel and Erez Lieberman Aiden.

A 2017 study published in the Proceedings of the National Academy of Sciences of the United States of America compared the trajectory of n-grams over time in both digitised books from the 2010 Science article with those found in a large corpus of regional newspapers from the United Kingdom over the course of 150 years. The study further went on to use more advanced Natural language processing techniques to discover macroscopic trends in history and culture, including gender bias, geographical focus, technology, and politics, along with accurate dates for specific events.

Online publishing

The Stanford Encyclopedia of Philosophy (begun in 1995) is a dynamic reference work of terms, concepts, and people from philosophy maintained by scholars in the field. MLA Commons offers an open peer-review site (where anyone can comment) for their ongoing curated collection of teaching artifacts in Digital Pedagogy in the Humanities: Concepts, Models, and Experiments (2016). The Debates in the Digital Humanities platform contains volumes of the open-access book of the same title (2012 and 2016 editions) and allows readers to interact with material by marking sentences as interesting or adding terms to a crowdsourced index.

Criticism

Lauren F. Klein and Matthew K. Gold have identified a range of criticisms in the digital humanities field: "'a lack of attention to issues of race, class, gender, and sexuality; a preference for research-driven projects over pedagogical ones; an absence of political commitment; an inadequate level of diversity among its practitioners; an inability to address texts under copyright; and an institutional concentration in well-funded research universities". Similarly Berry and Fagerjord have argued that a digital humanities should "focus on the need to think critically about the implications of computational imaginaries, and raise some questions in this regard. This is also to foreground the importance of the politics and norms that are embedded in digital technology, algorithms and software. We need to explore how to negotiate between close and distant readings of texts and how micro-analysis and macro-analysis can be usefully reconciled in humanist work." Alan Liu has argued, "while digital humanists develop tools, data, and metadata critically, therefore (e.g., debating the ‘ordered hierarchy of content objects’ principle; disputing whether computation is best used for truth finding or, as Lisa Samuels and Jerome McGann put it, ‘deformance’; and so on) rarely do they extend their critique to the full register of society, economics, politics, or culture." Some of these concerns have given rise to the emergent subfield of Critical Digital Humanities (CDH):
Some key questions include: how do we make the invisible become visible in the study of software? How is knowledge transformed when mediated through code and software? What are the critical approaches to Big Data, visualization, digital methods, etc.? How does computation create new disciplinary boundaries and gate-keeping functions? What are the new hegemonic representations of the digital – ‘geons’, ‘pixels’, ‘waves’, visualization, visual rhetorics, etc.? How do media changes create epistemic changes, and how can we look behind the ‘screen essentialism’ of computational interfaces? Here we might also reflect on the way in which the practice of making- visible also entails the making-invisible – computation involves making choices about what is to be captured.

Negative publicity

Klein and Gold note that many appearances of the digital humanities in public media are often in a critical fashion. Armand Leroi, writing in The New York Times, discusses the contrast between the algorithmic analysis of themes in literary texts and the work of Harold Bloom, who qualitatively and phenomenologically analyzes the themes of literature over time. Leroi questions whether or not the digital humanities can provide a truly robust analysis of literature and social phenomenon or offer a novel alternative perspective on them. The literary theorist Stanley Fish claims that the digital humanities pursue a revolutionary agenda and thereby undermine the conventional standards of "pre-eminence, authority and disciplinary power." However, digital humanities scholars note that "Digital Humanities is an extension of traditional knowledge skills and methods, not a replacement for them. Its distinctive contributions do not obliterate the insights of the past, but add and supplement the humanities' long-standing commitment to scholarly interpretation, informed research, structured argument, and dialogue within communities of practice".

Some have hailed the digital humanities as a solution to the apparent problems within the humanities, namely a decline in funding, a repeat of debates, and a fading set of theoretical claims and methodological arguments. Adam Kirsch, writing in the New Republic, calls this the "False Promise" of the digital humanities. While the rest of humanities and many social science departments are seeing a decline in funding or prestige, the digital humanities has been seeing increasing funding and prestige. Burdened with the problems of novelty, the digital humanities is discussed as either a revolutionary alternative to the humanities as it is usually conceived or as simply new wine in old bottles. Kirsch believes that digital humanities practitioners suffer from problems of being marketers rather than scholars, who attest to the grand capacity of their research more than actually performing new analysis and when they do so, only performing trivial parlor tricks of research. This form of criticism has been repeated by others, such as in Carl Staumshein, writing in Inside Higher Education, who calls it a "Digital Humanities Bubble". Later in the same publication, Straumshein alleges that the digital humanities is a 'Corporatist Restructuring' of the Humanities. Some see the alliance of the digital humanities with business to be a positive turn that causes the business world to pay more attention, thus bringing needed funding and attention to the humanities. If it were not burdened by the title of digital humanities, it could escape the allegations that it is elitist and unfairly funded.

Black box

There has also been critique of the use of digital humanities tools by scholars who do not fully understand what happens to the data they input and place too much trust in the "black box" of software that cannot be sufficiently examined for errors. Johanna Drucker, a professor at UCLA Department of Information Studies, has criticized the "epistemological fallacies" prevalent in popular visualization tools and technologies (such as Google's n-gram graph) used by digital humanities scholars and the general public, calling some network diagramming and topic modeling tools "just too crude for humanistic work." The lack of transparency in these programs obscures the subjective nature of the data and its processing, she argues, as these programs "generate standard diagrams based on conventional algorithms for screen display...mak[ing] it very difficult for the semantics of the data processing to be made evident."

Diversity

There has also been some recent controversy among practitioners of digital humanities around the role that race and/or identity politics plays. Tara McPherson attributes some of the lack of racial diversity in digital humanities to the modality of UNIX and computers themselves. An open thread on DHpoco.org recently garnered well over 100 comments on the issue of race in digital humanities, with scholars arguing about the amount that racial (and other) biases affect the tools and texts available for digital humanities research. McPherson posits that there needs to be an understanding and theorizing of the implications of digital technology and race, even when the subject for analysis appears not to be about race.

Amy E. Earhart criticizes what has become the new digital humanities "canon" in the shift from websites using simple HTML to the usage of the TEI and visuals in textual recovery projects. Works that has been previously lost or excluded were afforded a new home on the internet, but much of the same marginalizing practices found in traditional humanities also took place digitally. According to Earhart, there is a "need to examine the canon that we, as digital humanists, are constructing, a canon that skews toward traditional texts and excludes crucial work by women, people of color, and the LGBTQ community."

Issues of access

Practitioners in digital humanities are also failing to meet the needs of users with disabilities. George H. Williams argues that universal design is imperative for practitioners to increase usability because "many of the otherwise most valuable digital resources are useless for people who are—for example—deaf or hard of hearing, as well as for people who are blind, have low vision, or have difficulty distinguishing particular colors." In order to provide accessibility successfully, and productive universal design, it is important to understand why and how users with disabilities are using the digital resources while remembering that all users approach their informational needs differently.

Cultural criticism

Digital humanities have been criticized for not only ignoring traditional questions of lineage and history in the humanities, but lacking the fundamental cultural criticism that defines the humanities. However, it remains to be seen whether or not the humanities have to be tied to cultural criticism, per se, in order to be the humanities. The sciences might imagine the Digital Humanities as a welcome improvement over the non-quantitative methods of the humanities and social sciences.

Difficulty of evaluation

As the field matures, there has been a recognition that the standard model of academic peer-review of work may not be adequate for digital humanities projects, which often involve website components, databases, and other non-print objects. Evaluation of quality and impact thus require a combination of old and new methods of peer review. One response has been the creation of the DHCommons Journal. This accepts non-traditional submissions, especially mid-stage digital projects, and provides an innovative model of peer review more suited for the multimedia, transdisciplinary, and milestone-driven nature of Digital Humanities projects. Other professional humanities organizations, such as the American Historical Association and the Modern Language Association, have developed guidelines for evaluating academic digital scholarship.

Lack of focus on pedagogy

The 2012 edition of Debates in the Digital Humanities recognized the fact that pedagogy was the “neglected ‘stepchild’ of DH” and included an entire section on teaching the digital humanities. Part of the reason is that grants in the humanities are geared more toward research with quantifiable results rather than teaching innovations, which are harder to measure. In recognition of a need for more scholarship on the area of teaching, Digital Humanities Pedagogy was published and offered case studies and strategies to address how to teach digital humanities methods in various disciplines.

Organizations

The Alliance of Digital Humanities Organizations (ADHO) is an umbrella organization that supports digital research and teaching as a consultative and advisory force for its constituent organizations. Its governance was approved in 2005 and it has overseen the annual Digital Humanities conference since 2006. The current members of ADHO are:
ADHO funds a number of projects such as the Digital Humanities Quarterly journal and the Digital Scholarship in the Humanities (DSH) journal, supports the Text Encoding Initiative, and sponsors workshops and conferences, as well as funding small projects, awards, and bursaries.

HASTAC (Humanities, Arts, Science, and Technology Alliance and Collaboratory) is a free and open access virtual, interdisciplinary community focused on changing teaching and learning through the sharing of news, tools, methods, and pedagogy, including digital humanities scholarship. It is reputed to be the world's first and oldest academic social network.

Centers and institutes

Conferences

Journals and publications

Occam's razor

From Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Occam%27s_razor In philosophy , Occa...