Digital Medievalist Executive Board Elections 2018 – Tally

Election can be accessed on heliosvoting.org (accessible to the voters):

Tally

Question #1
Who would you like to elect as members of the Executive Board of Digital Medievalist? (choose up to 5 candidates)

ALBERTO CAMPAGNOLO, Library of Congress –Standing for re-election– 61
JEAN-BAPTISTE CAMPS, PSL Research University 31
ROBERTO DEL MONTE, NUME International Research Group 12
FRANZ FISCHER, University of Cologne –Standing for re-election– 65
MIKE KESTEMONT, University of Antwerp –Standing for re-election– 50
LYNN RANSOM, University of Pennsylvania Libraries –Standing for re-election– 69
ERIN SEBO, Flinders University 30
ENGIN CIHAD TEKEN, Hacettepe University Technopolis 24
GEORG VOGELER, University of Graz –Standing for re-election– 52
HEATHER WACHA, University of Wisconsin, Madison 38

 

Elections 2018

Election to the DM board 2018-2020, 25th June until Sunday 6th July 2018, 23:59 GMT.

To vote in the election you must be one of the subscribers to the Digital Medievalist mailing list, . To vote, use the link and the voting token that have been sent to the email address that you have used to register to DM.
Board positions are for two year terms and incumbents may be re-elected. Members of the board are responsible for the overall direction of the organisation. This is a working board and candidates should be willing and able to commit time to Digital Medievalist.
For more information about the election procedure, board roles and bylaws, see:

https://digitalmedievalist.wordpress.com/about/
https://digitalmedievalist.wordpress.com/about/board-roles/
https://digitalmedievalist.wordpress.com/about/election-procedures/
https://digitalmedievalist.wordpress.com/about/bylaws/

Election results

2018-2020 CANDIDATES:

Alberto Campagnolo

Alberto Campagnolo trained as a book conservator (in Spoleto, Italy) and has worked in that capacity in various institutions, e.g. London Metropolitan Archives, St. Catherine’s Monastery (Egypt), and the Vatican Library. He studied Conservation of Library Materials at Ca’ Foscari University Venice, and holds an MA in Digital Culture and Technology from King’s College London. He pursued a PhD on an automated visualization of historical bookbinding structures at the Ligatus Research Centre (University of the Arts, London). He is now finishing a CLIR Postdoctoral Fellowship in Data Curation for Medieval Studies at the Library of Congress (Washington, DC). Alberto, in collaboration with Dot Porter (SIMS, UPenn Libraries, Philadelphia, PA), has been involved from the onset in the development of VisColl, a model and tool for the recording and visualization of the gathering structure of books in codex format. Alberto has served on the Digital Medievalist board since 2014, first as Deputy Director, and as Director since 2015.

Jean-Baptiste Camps

I started my training in digital medieval scholarship by a MA ‘Digital Technologies applied to History’ at the École des chartes in 2006-2008, with a thesis on the quantitative study of troubadour manuscripts. After working as a library curator, I did my PhD (Univ. Paris-Sorbonne) on the edition of the `Chanson d’Otinel’, with the aim to develop models to closely integrate ecdotics with digital methods (modelling, statistics, algorithmics and artificial intelligence), both for data production and analysis. I have been course leader for the master’s degree `Digital Technologies applied to History’ in 2013-2017, and now supervise the new research MA ‘Digital & Computational Humanities’ (PSL University). I teach computational philology, digital scholarly editing and  quantitative methods in the historical sciences. My main research interests are in stemmatology, stylometry, quantitative palaeography and codicology, as well as ecdotics, for Old French and Old Occitan texts and manuscripts.

Roberto Del Monte

I have a Master’s degree in History of Medieval Art, achieved in 2013 at the University of Florence, Italy (final marks 110/110 with distinction). For three years I have been leading the NUME International Research Group, developing a digital network of scholars around the world, coordinating the organization of conferences on medieval studies, the publication of specialist studies, the creation of interdisciplinary events and digital projects (e.g. the 3D reconstruction of some italian churches hit by earthquake in 2016). I’ve published articles on History of Medieval Art in Italy and France, worked with scientific journals and attended international conferences. I have experience in networking management, editing and managing digital contents: I would like to run for Journal Associate Editor, News Feed Administrator or Facebook Administrator position.

Franz Fischer

Franz Fischer has been serving on the Digital Medievalist Executive Board since 2014 and is editor-in-chief of the Digital Medievalist Journal. He is coordinator and researcher at the Cologne Center for eHumanities (CCeH), University of Cologne. He studied History, Latin and Italian in Cologne and Rome and has been awarded a doctoral degree in Medieval Latin for his digital edition of William of Auxerre’s treatise on liturgy. From 2008-2011 he created a digital edition of Saint Patrick’s Confessio at the Royal Irish Academy (RIA), Dublin. From 2013-2017 he coordinated the EU funded Marie Curie Initial Training Network on Digital Scholarly Editions DiXiT. Franz Fischer is a founding member of the Institute for Documentology and Scholarly Editing (IDE), teaching at summer schools and publishing SIDE, a series on digital editions, palaeography & codicology, and RIDE, a review journal on digital editions and resources.

Mike Kestemont

I enjoy research in computational text and image analysis for the Humanities, in particular for medieval European literature. Authorship attribution and stylistics are my main areas of expertise: in stylometry, we try to design intelligent algorithms which can automatically identify the authors of anonymous texts through the quantitative analysis of individual writing styles. I warmly recommend the documentary about this topic and which we published in the public domain: “Authorship and Stylometry: Hildegard of Bingen” (vimeo.com/70881172). I am an assistant professor (department of literature) at the University of Antwerp and regularly teach workshops on Digital Text Analysis and Programming for the Humanities. Currently, I am co-authoring a monograph on data science for humanists (with Princeton UP) and was involved in co-editing a recent special supplement of Speculum on digital medieval studies. I live in Brussels, code in Python (github.com/mikekestemont), and tweet in English (@Mike_Kestemont).

Lynn Ransom

Lynn Ransom is the Curator of Programs at the Schoenberg Institute for Manuscripts Studies at the University of Pennsylvania Libraries. Since 2008 she has directed the Schoenberg Database for Manuscripts, an online, user-driven, community-maintained tool and database for the study of the movement of manuscripts across time and geography. She has also been the primary organizer for the Annual Schoenberg Symposium on Manuscript Studies in the Digital Age since 2008. Prior to coming to Penn, Dr. Ransom has held curatorial and research positions at the Free Library of Philadelphia and the Walters Art Museum in Baltimore and at the Index of Christian Art at Princeton University. She received her PhD in Art History from the University of Texas at Austin, specializing in 13th-century French manuscript illumination in 2001. She has published on the role of imagery in devotional practice from the 13th to the 16th century.

Erin Sebo

Erin is a specialist on Anglo-Saxon heroic poetry and historical linguistics. She has taught at Monash University (Melbourne), University College Dublin, Trinity College Dublin and Queen’s University Belfast. She is currently Lecturer in Anglo-Saxon Literature at Flinders University (Adelaide). She is a collaborator with the Australian Research Council Centre of Excellence for the study of the History of Emotion and winner of the Faculty Prize for Excellence in Teaching. Her first monograph, In Enigmate: the history of a riddle from 400-1500, is forthcoming from Four Courts Press.

Engin Cihad Tegin

He is now working on building a new digital library project called “readment.com”. Readment is unique and comprehensive multi lingual encyclopedic digital library project. Previously, he has worked as an academic advisor to the Executive Board of Hacettepe University Technopolis for electronic documents and archival sources. He completed his Ph.D. in Library and Information Science. His studies focus on European and Ottoman book history between 1450-1700. His dissertation discussed Ottoman Book Culture from the perspective of European Travellers between 1453-1699 with 122 European travellers. Engin has also built and managed Turkey’s first Digital Library Project ( pecya.com ) between 2006-2010. Pecya was funded by Turkey’s scientific state funds and it has a full text search cloud based library system with a digital copyright agreement of 220 foundations, archives and publishers in Turkey, as well as 3.5 million pages of copyrighted materials, manuscripts and rare books. Engin studies book history, digital history, digital humanities, search engine technologies and digital technologies for text mining and new text technologies. He also focuses on rare books, Ottoman manuscripts, as well as book history and prohibited books of Europe. He is a member of the Islamic manuscript Association in Cambridge and he served as the Turkish representative for the Azerbaijani Institute of Manuscripts between 2010-2013. He is also looking for a academic position outside Turkey.

Georg Vogeler

I’m a trained medievalist with a specialisation in historical auxiliary sciences. I did my PhD on late medieval tax administration records and my habilitation on the use of the charters of Emperor Frederic II in Italy. Meanwhile I got intrigued with digital methods, started the Charters Encoding Initiative (http://www.cei.lmu.de), contributed to the technical development of largest charter portal monasterium.net (http://www.monasterium.net, http://github.com/icaruseu/mom-ca), became member of the Institut für Dokumentologie und Editorik (http://www.i-d-e.de) and engaged in other fields of digital methods in medieval studies. Finally I ended up as chair for Digital Humanities at the Centre for Information Modelling at Graz University, member of the board of the digital medievalist, and member of the board of directors of the TEI. In the DM board I try to support those in the front line from the background. If reelected this would not change. But I would hope and try to put effort into, that the DM community can broaden its self perception from people being subscribed to a mailing list to enthusiasts of digital tools applied to medieval studies who are engaged in lots of activities: social media, scholarly publications, conferences, research projects.

Heather Wacha

As a CLIR Postdoctoral Fellow in Data Curation for Medieval Studies, I would be delighted to serve on the Digital Medievalist Executive Board. My interest and passion for the digital humanities began while I was working on my doctorate, when a GIS class showed me how to ask new research questions of my 13th-century sources. I was also interested in disseminating public history projects via digital media and decided to create a set of educational videos about medieval manuscripts.  Since then I have taken on the digital edition of a 13th-century cartulary from northern France using TEI encoding, the editing of ten mappaemundi in Digital Mappa, a software environment developed by Martin Foys, professor of English at the University of Wisconsin, the use of social network analysis for visualizing the relationships between mappaemundi and their textual sources, and the multispectral imaging of stains (#StainAlive). For medievalists, it is crucial we continue to recognize the benefits of using digital technologies to advance scholarship in our discipline and I see my present and future careers continuing to inform myself and helping others put these technologies into practice.

 

What do digital medievalists do?

As is often the case in the Digital Humanities landscape, outsiders find it difficult to imagine what kind of work a digital medievalist would engage with. If the term Digital Humanities is often perceived as an oxymoron, this is even more so for Digital Medievalist. Digital and medieval do not seem to go together, and yet, as we know, they complement each other in our projects.

Digital Medievalist (DM) was born in 2003 as a project and an international ‘community of practice’ dedicated to the development and dissemination of best practice in the use of technology in Medieval Studies[1]. In 2005, the Digital Medievalist Journal (DMJ) was added as a more formal component of DM. A review of the papers published in DMJ and of the posts and webpages here at digitalmedievalist.org provides an idea and an overview of our scholarly activities. Digital archives, digital palaeography and codicology projects, medieval corpora, textual analysis and editions are among the most prominent activities, but DM does not wish to be solely involved in medieval manuscript culture. A recent review[2] of a project on Gothic Architecture is an example of the breath of activities carried out by digital medievalists.

To start a reflection on the scholarly interests and endeavours lead by members of our community, we are launching a series of blog-posts written by digital medievalists from around the world, focussing on some aspects of their research, and showcasing their particular views of the Digital Medievalist landscape.

We begin with contributions by a group of early career researchers who are (or have been) engaged in research projects as part of a series of postdocs in Data Curation for Medieval Studies, organized by the Council on Library and Information Resources (CLIR) and funded by the Mellon Foundation.

 

We would like to take this opportunity to encourage other researchers engaged in projects that fall within the umbrella of Digital Medievalist interests to contact us and submit blog-post proposals.


[1] Paul O’Donnell, D., (2005). Welcome to The Digital Medievalist. Digital Medievalist. 1. DOI: http://doi.org/10.16995/dm.1

[2] Werwie, K., (2017). Stephen Murray and Andrew Tallon, 2012-. Mapping Gothic France. http://mappinggothic.org/. Digital Medievalist. 10. DOI: http://doi.org/10.16995/dm.54

Digital Medievalist Executive Board Elections 2017 – Tally

Election URL (accessible to the voters):

https://vote.heliosvoting.org/helios/e/DMBoardElections_2017-2019

Tally

Question #1
Who would you like to elect as members of the Executive Board of Digital Medievalist? (choose up to 4 candidates)

ROMAN BLEIER, University of Graz 50
JEAN-BAPTISTE CAMPS, PSL Research University 45
ELS DE PAERMENTIER, Ghent University –Standing for re-election– 77
ROBERTO DEL MONTE, NUME International Research Group 35
LISA FAGIN DAVIS, Medieval Academy of America 100
GRETA FRANZINI, University of Goettingen –Standing for re-election– 97
ERIN SEBO, Flinders University 23
ENGIN CIHAD TEKEN, Hacettepe University Technopolis 35
HEATHER WACHA, University of Wisconsin, Madison 40

In memory of Christopher Clarkson, preserver of medieval manuscripts and bookbinding structures

Christopher Clarkson (Blackheath, UK 1938 – Oxford, UK 2017) was a distinguished conservator of medieval manuscripts and early printed books, and a thorough bookbinding historian, with a focus on the structural and material history of books from the birth of the codex to the early Renaissance.

He trained in design and graphic arts at the Camberwell College of Arts and Crafts (London, UK) and subsequently at the Royal College of Art (London, UK), where, almost by chance, he encountered the art of bookbinding and fine binding and was later taught by Peter Waters. He then went on to work with Anthony Cains at Douglas Cockerell & Son and with Roger Powell, where he deepened his understanding and knowledge about the repair of early printed books and manuscripts.

In 1966, he was invited to join the English Government team sent to respond to the cultural heritage emergency resulting from the devastating flood of 4th November in Florence, Italy. It was there that the principles of modern ‘book conservation’ (a phrase coined by Chris himself) were first formulated. These aimed at repairing books with a strong emphasis on the historical and archaeological significance of their materiality and structures, and not just on making the objects usable again or producing historical facsimiles, as was the custom, often in manners non-sympathetic to their materials, structures and historical evidence.

Chris went on to work at the Library of Congress (Washington, DC), The Walters Art Museum (Baltimore, MD), and the Bodleian Library (Oxford, UK), where he developed, in collaboration with David Cooper, the system of wedge book-supports now found in rare-book reading rooms worldwide.

In 1987, Chris embraced his calling as trainer and mentor of book conservation students and professionals. He moved to the Edward James Foundation at West Dean College (near Chichester, UK) and helped conservators from around the world develop a deeper understanding of the conservation of book materials. He was also involved from the very beginning in the shaping of the European Course in Preservation and Conservation of Book Materials held in Spoleto, Italy, since 1992, where he taught up to the early 2000s. He ran Staff Training programmes at the National Archives and the National Library of Slovenia (Ljubljana), the Bodleian Library, and the Wordsworth Trust at Dove Cottage (Grasmere, UK). He taught at the Rare Book School (USA) and run workshops and seminars in many countries, including Japan and South America.

In 2004, Christopher was awarded the Plowden Gold Medal of the Royal Warrant Holders Association in recognition of his invaluable contribution to training and educating conservators worldwide, fostering deep historical awareness of the materiality and structure of the books as objects. In 2012, he was awarded a Doctorate Honoris Causa by the University of the Arts London for his contributions to the history of bookbinding and archaeology of the book.

Throughout his career, Chris dedicated his research interests in the study and understanding of historical book materials and bookbinding structures, and medieval binding structures in particular.

Book conservation bridges a wide range of disciplines—history, science, engineering—, but also requires high levels of observational skills and craftsmanship. Advocating the close study of period materials and book structures, Chris, through thorough visual and tactile training sessions, taught his students to seek an ever-deeper knowledge of the historical integrity of artefacts.

Chris despised facsimile work—he called this ‘the danger of poor conservation training’—for past culture and artefacts cannot (nor should) be recreated by mindlessly applying historical typologies without an understanding of, and respect for, the unicum that each book is. Chris, thus, taught us how to see the object, with its peculiarities and unexpected characteristics: “to train the eye is to train the mind”, as he put it.

Understanding historical binding techniques, and the cultural significance of specific material characteristic of books, is a skill that has probably never been as relevant as it is today in our transition to the digital.

The teachings of Christopher Clarkson have influenced the new generations of book conservators globally, and for this we are all greatly in his debt, for his principles of conservation, aiming as they are at preserving the essence of each period artefact, safeguard historical material evidence in the collections of memory institutions the world over.

Now, this preserved information needs also to be transposed into the digital, and integrated with valuable digitization efforts of library and archive materials. Book conservators have been trained on how to see (and thus understand) period artefacts for their uniqueness: these skills should now also be taught to digital humanists engaged in the translation of our written cultural heritage into the digital medium.

If this happens, we will have a more complete representation of the object than we do nowadays, and for this we will also and always be thankful to Chris.

 

Alberto Campagnolo

 

Final note: On Monday, 26th June 2017, there will be a memorial for Christopher Clarkson at the University of the Arts London to celebrate his distinguished life with family, colleagues and friends. Unable to participate because of the distance, I would like to pay my respects to Chris with this post.