Digital humanities refers to the use of digital methods and tools in humanities fields like history, literature, and theology. It includes approaches from media studies to specialized computing. While early digital humanities focused on methods, this document will emphasize the challenges of humanities domains and explore human behavior and culture, which is complex, contradictory, and rich in layers of meaning. The humanities aims to explore these complexities without reaching definite conclusions.

1. Digital Humanities
• Digital humanities umbrella term for the use of
digital methods in such humanities subjects as
linguistics, history, literature, theology, etc.
• Ranges from approaches akin to media studies to
specialist linguistic computing
• Earlier focus on method (‘methodological
commons’); I will focus more on domain content
(will emphasise humanities challenges, and less
the digital)

2. Our challenge is the human
• Humanities studies human behaviour and culture
• Human behaviour and culture is complex, messy, contradictory,
deceptive and rich in layers of meaning
• The humanities explores these complexities, and never reaches
firm conclusions (or wishes to)
• V.H. Galbraith: ‘The past itself is dead, and the books we write
tombs of learning, except insofar as they live in the consciousness
of their readers. So conceived, we travel pleasantly, but by the
nature of things we never arrive’
• Stuart Hall: humanities data is always reread in the light of the past,
the present and the future

3. @NUMBER = VITELLIUS C.XV
@NOTE = RENUMBERED: NOW FAUSTINA C.V
@NUMBER = VITELLIUS C.XVI, VOLUME ONE
@NOTE = CONTAINS FOLIOS 1-302
@NUMBER = VITELLIUS C.XVI, PART TWO
@NOTE = CONTAINS FOLIOS 308-545
@NUMBER = VITELLIUS C.XVII
@NUMBER = VITELLIUS D.I (ARTICLES 2-7 ONLY)
@NUMBER = VITELLIUS D.II
@NUMBER = VITELLIUS D.III (ARTICLES 3, 4 AND 9 ONLY)
@NUMBER = VITELLIUS D.IV (ARTICLES 3, 5 AND 7 ONLY)
@NUMBER = VITELLIUS D.V (ARTICLES 5-6 ONLY)
@NUMBER = VITELLIUS D.VI
@NUMBER = VITELLIUS D.VII
@NUMBER = VITELLIUS D.VIII (ARTICLE 6)
@NUMBER = VITELLIUS D.IX
@NUMBER = VITELLIUS D.X
@NUMBER = VITELLIUS D.XI (ARTICLES 1, 3, 8 AND 11 ONLY)
@NUMBER = VITELLIUS D.XII (ARTICLES 1-4 AND 10 ONLY)
@NUMBER = VITELLIUS D.XIII (ARTICLES 5-12 ONLY)
@NUMBER =
@NUMBER = VITELLIUS D.XIV
@NOTE = BURNT IN 1731
@NUMBER = VITELLIUS D.XV (ARTICLES 2 AND 4 ONLY)
@NUMBER = VITELLIUS D.XVI
@NUMBER = VITELLIUS D.XVII
@NUMBER = VITELLIUS D.XVIII
@NUMBER = VITELLIUS D.XIX
@NOTE = MISSING: WANTING IN 1696
@NUMBER = VITELLIUS D.XX (ARTICLES 3 AND 10 ONLY)
@NUMBER = VITELLIUS E.I
@NUMBER = VITELLIUS E.II (ARTICLES 22-23 ONLY)
@NUMBER = VITELLIUS E.III
@NUMBER = VITELLIUS E.IV (ARTICLES 8-9 ONLY)
@NUMBER = VITELLIUS E.V
@NUMBER = VITELLIUS E.VI
@NUMBER = VITELLIUS E.VII (ARTICLES 1, 3, 6, 8 ONLY)
@NUMBER = VITELLIUS E.VIII
@NUMBER = VITELLIUS E.IX (ARTICLE 3 ONLY)
@NUMBER = VITELLIUS E.X
@NUMBER = VITELLIUS E.XI
@NUMBER = VITELLIUS E.XI, OLD COVERS
@NUMBER = OTHO D.VI
@NOTE = MISSING: WANTING IN 1696
@NUMBER = OTHO D.VII
@NUMBER = OTHO D.VIII
@NUMBER = OTHO D.IX
@NUMBER = OTHO D.X
@NUMBER = OTHO D.XI
@NOTE = CONTAINS ARTICLES 1-3, 8, 9 AND 11 ONLY
@NUMBER = OTHO E.I
@NUMBER = OTHO E.II
@NOTE = BURNT IN 1731
@NUMBER = OTHO E.III
@NUMBER = OTHO E.IV
@NUMBER = OTHO E.V
@NOTE = BURNT IN 1731
@NUMBER = OTHO E.VI
@NUMBER = OTHO E.VII
@NUMBER = OTHO E.VIII
@NUMBER = OTHO E.IX
@NUMBER = OTHO E.X
@NUMBER = OTHO E.XI
@NUMBER = OTHO E.XII
@NUMBER = OTHO E.XIII
@NUMBER = OTHO E.XIV
@NUMBER = TIBERIUS A.I
@NOTE = TRANSFERRED TO BRITISH LIBRARY ORIENTAL COLLECTIONS
@NUMBER = TIBERIUS A.II
@NUMBER = TIBERIUS A.III
@NUMBER = TIBERIUS A.IV
@NUMBER = TIBERIUS A.V
@NUMBER = TIBERIUS A.VI
@NUMBER = TIBERIUS A.VII
@NOTE = ARTICLES 5*, 5**, 5*** ARE PLACED SEPARATELY
@NUMBER = TIBERIUS A.VII, ARTICLES 5*, 5**, 5***
@NOTE = FORMERLY APPENDIX XXXIX, ARTICLES 1-3

4. Cotton MS Otho E.xiv was added to the
collection between 1695 and 1734,
probably by Casley. Not in Smith or
Planta so has remained effectively
concealed until recently.
Galba E.xiv also added after 1695 and
before 1734, and not in Smith or Planta.
However, probably never owned by
Cotton.

7. Map showing location of bombs falling on London during the Blitz,
1940-1941:
www.bombsight.org

8. Bomb on Balham tube sta.on, 14
Oct. 1940: omi9ed from the bomb
census.

9. Unstructured time-based
media (film, sound, tv) very
important in many domains,
but presents complex
problems of representation

10. Extract from a visual field analysis of Ken Loach’s
Poor Cow (1967). Even if we can locate the placing of
the camera, it is the direction of the shot which is
significant.
Cinematic location comprises many different
components (time, space, gaze, sequence, etc.) but
cinematic geographies are still fictitious.

12. • In the humanities, no such thing as ‘good’ or ‘bad’ data. It
is the exploration and interrogation of data which is at the
heart of the humanities
• Bowker (2006): Raw data is both an oxymoron and a bad
idea; to the contrary, data should be cooked with care
• Huggett (2014): Data are not 'out there', waiting to be
discovered; if anything, data are waiting to be created.
Information about the past is situated, contingent, and
incomplete; data are theory-laden, and relationships are
constantly changing depending on context.
• Kitchen and Lauriault (2014): Data are situated,
contingent, relational, and framed, and used contextually
to try and achieve certain aims and goals

13. Over-arching themes of the
humanities
• Layers of Meaning: shifts in meaning, patterns of meaning, close
reading, thick description, intertextuality
• Archaeologies: the accumulations of data, meaning and significance;
the layered meaning for place
• Power: structures of power (gender, class, race); canonicities; cultural
forms
• The gaze: how do we as readers / observers / creators interact with
cultural objects?
• Materialities: in a manuscript, music or painting, there is no separation
between information and the medium carrying it. The information is
shaped by and dependent on its material carrier. Transforming the carrier
transforms the information