I början av oktober ska jag hålla en keynote på Södertörns högskola och deras bibliotekskonferens, “Digital humanities – where are the libraries?”. Det finns nu en konferenssida, där man bland annat kan läsa:
Virtually all researchers use now digital resources of various kinds. The digital humanities go beyond this making more systematic use of specialist digital technologies. Scholars in humanities were practically always the main target group for research libraries. Digital technologies have the power to transform humanities research, making it easier and more efficient, enabling new ways of working, opening up new questions and creating new knowledge, or answering existing questions more fully and systematically. Discussion on digital humanities and its connection to libraries has grown rapidly in the past several years. How do the libraries face the new challenge? Are they capable of handling huge amounts of data? Do the research support services meet the researchers’ needs?
Exakt vad jag ska prata om vet jag inte – men mitt abstract (med arbetstiteln, “Doing DH at the Library – Some Suggestions & Personal Reflections”) anger följande: “Crucial for DH-research is the collaboration between academics and programmers. Using the library, humanistic researchers will, hence, increasingly expect new and sophisticated services for digital scholarship. From a library perspective expertise in digital humanities requires new skills (regarding personnel), technology, novel infrastructure, as well as increased funding. In short, libraries should engage with digital humanists – but at what level of investment? My talk will address personal experiences in working with digitized heritage at the National Library of Sweden, predominantly focusing on audiovisual and press material. In addition – as a case study of the need DH-researchers have – I will use a new research project (funded by the Swedish Research Council) on streaming heritage located at HUMlab at Umeå University. The purpose of this so called ”Spotify-project” is on the one hand to track the development of online music cultures, and on the other hand it will follow files in digital music distribution by way of digital etnographic methods.”