1] "Introduction to Digital Image and Artefact Science" is the title of this lecture, and I welcome you to the first lesson: what is Digital Image and Artefact Science actually researching? The advantage of this digital lecture is that you can always stop at several points and start again, that you can listen to parts again or look at images more intensively. Take the time you need. This unit here is a condensed version of the original lesson I gave the years before.

[2] What is a Digital Image and Artefact Scientist?
My name is Martin Langner, and I hold the professorship for Digital Image and Artefact Science here in Göttingen. You might be asking yourself: What is a digital image and artefact scientist? Actually, I am a Classical Archaeologist, I studied Classical Archaeology and also habilitated in Classical Archaeology, but I am not an archaeologist like Indiana Jones or Lara Croft. I'm more interested in the digital component of archaeology. So I'm someone who spends most of the day sitting in front of his computer or checking emails with handhelds and searching for pictures on the internet. But I would much rather be, like Tom Cruise in Minority Report, someone who can whirl around and re-sort data in the air, who saves images by simply throwing them somewhere. I guess that's still pie in the sky!

3] CONTENT OF THIS LECTURE HOUR
However, I would like to introduce you to three areas in this lecture hour: the first part will be about what image and artefact studies actually are; I will therefore talk about Image Studies and about Material Culture Studies. The second part will be about Digital Humanities. Digital Image and Artefact Science is a component of the Digital Humanities. I will talk about the history, the tasks and goals of this new science, but also about the reservations and the opportunities it offers. The third part will deal with the areas of application: the acquisition and management of data, analysis and visualisation, presentation and simulation, and last but not least, about working digitally.

1. Basics of Image and Artefact Sciences

4] FUNDAMENTALS OF IMAGE SCIENCE
Digital image and artefact science is part of image science, which deals with the phenomenon of the image in any historical and medial form across all disciplines. It combines approaches and methods of the various image-related and image-using sciences, such as art history, ethnology, archaeology, but also computer science and medicine, if you think of X-ray images, for example. And it tries to find connecting commonalities of the phenomenon of the image. In this process, expansions of the traditional concept of the image are increasingly coming into view. When, for example, virtual spaces, complex images and invisible pictorial structures and ideas are examined. It therefore advocates an expanded concept of the image that encompasses all historical and medial forms of the image: i.e. two-dimensional images and graphics, sculptural pictorial works and artefacts, photographs, electronic and digital images and virtual spaces. Image Studies go beyond analogue and virtually distributed images - what we generally call pictures - and also explores immaterial images and ideas, or images in the mind.

5] Image Studies thus fundamentally explore the phenomenon of the image in all its facets. However, there is a controversial discussion as to whether image studies should concentrate on or focus on a general system of images. The question is: is there such a thing as a grammar of the image that applies to all images? And this is precisely very unlikely, because a universal concept of the image would cover up the historical, social and religious differences that images exhibit in their creation, but especially in their reception. If you look at the illustration here on the advertising pillar, then this is perhaps an illustration that every viewer perceives the image differently and that it has a different effect on them. So the perception and the effect of images is also part of image studies.

6] FUNDAMENTALS OF MATERIAL CULTURE
Digital image and artefact science, however, is also interested in objects and thus also in the foundations of material culture. In the last two decades, Material Culture Studies, which examines things not as objects surrounding people, but as subjects influencing human action, has led the way. Accordingly, Material Culture Studies attempt to interpret things not as expressions of an idea, but as expressions of human actions and emotions, and to determine their meaning in the everyday lives of their owners and users. These objects primarily have a materiality, i.e. in contrast to content and function, there are external characteristics of an object such as size, colour, weight, material, surface design and workmanship, and so on. These are all things that can be measured and thus objectively evaluated digitally. For some years now, the social and cultural sciences have been intensively researching the material side of cultures and understand the material not only as an expression of a society or culture, but as closely interwoven with it.
Here, the concept of thing-importance is used when talking about an affect-occupied and emotionally charged giving of meaning to objects that goes beyond the usual use and circumstances of everyday life. The fact that things have a life of their own does not only occur in primitive societies or in superstition, but also has a firm place in our everyday lives, for example when a key falls to the floor, cannot be found or does not fit into the keyhole. This independence of things becomes particularly clear when it comes to incomprehensible technology or unforeseen events.
Especially sentences like "What's the computer doing now!" make this fact clear. This means that the objects can be considered on two levels, on the one hand as the actual objects that we can measure, and on the other the inherent meaning of these objects in people's everyday lives, just as here, for example, a Greek crater also stands for mixing wine and thus for the symposion, or a Greek strigilis, used to scrape the dirt off one's skin, for cleaning, an alabastron for cosmetics and a coin for payment. So there is a function that goes beyond the objects, but which shape the everyday life of the owners, in that the use of this object makes it self-sufficient in a particular way.

[7] Things thus constitute the everyday environment, the living environment and the living ambience of people and shape the possibilities of their actions. This is called environmental intentionality. This term, first used by animal psychologists to describe the "body-environment relationship", is also applied to things by Material Culture Studies to describe their pre-formed behaviour in relation to their environment. Eating a pizza when it is in a pizza box is a very different thing from putting the pizza on a specially made pizza plate. Not only are different user groups to be expected here, but also a completely different reaction of the person to this pizza. You can see it in the picture above: eating out of the box promotes a very different sociable mood than sitting at a set table with a specially made plate. Here, the pizza is much more integrated into dinner rituals, and of course people are not as hilarious as in the first case. So the things make the person a thing-owner and thus define his identity.

8] What Material Culture Studies is investigating can be exemplified by two book titles, both of which aptly bear the same title, namely "The meaning of things". That is precisely what is to be investigated. But it is examined in different ways: in one case, it is an analysis of reception. "domestic symbols and the self". It is about examining meaning as relevance to the individual, as subjective importance: what does it mean to me as a person as an individual? So it's really about the meaning that the perception of things has, or the meaning that plays a role as an expression of experience. A wedding dress is then the epitome of this one day, the memory of the big wedding, of what one experienced there in terms of happiness and expectations. The other book is subtitled "Material Culture and Symbolic Expression". Here, the meaning of things is examined on a symbolic level. Meanings are understood as signs. The structures that connect these signs are examined on a theoretical level! Things therefore mean what is communicated with them. The wedding dress then stands for all married women, for this act of going into marriage or being in marriage and so on. So either the actual reception, the meaning for the individual, or the symbolic meaning and the meaning for society as a whole is examined.

9] Disciplines of visual studies
A typical discipline of visual studies has of course always been Art History, or to use Horst Bredekamp's term: art history is a paradigmatic discipline of visual studies, i.e. one that deals with images particularly in an exemplary way. I’d rather adhere to Hans Belting's idea that art history or image studies is an interdisciplinary research area that combines stylistic and art-historical research with scientific analyses and media-analytical methods; or in our case, much more strongly with computer science.

10] A somewhat different position is taken by empirical disciplines such as ethnology, where a distinction is made between objectivations and subjectivations. That is, between materially tangible and physically perceptible images, which can be studied as such, and inner images such as pictorial memories, ideas, prejudices and stereotypes, which can be empirically studied via questionnaires. To give you an example of the practice of using images, let's take a nineteenth-century painting: The Slave Market by Jean-Léon Gérôme, painted in 1866. Here, at the height of Romanticism, a naked woman stands in an exotic setting at the centre of the painting and addresses the male viewer as a voyeur who is precisely studying the naked female body. Today, in a different social situation, this image has a completely different effect. If, for example, the German right wing party AFD in the European election campaign puts a section of this picture on its election poster in a very contrasting way, then something very threatening becomes of this situation in this other section. Now it is Arab men who are harassing a woman, and the slogan "So that Europe does not become Eurabia" shows this other use of the image even more clearly. Almost nothing of the exotic, voyeuristic content is left here. Accordingly, the practice of image use represents a central research focus in which production methods, distribution (i.e. dissemination and marketing), reception (or perception) and communication (such as passing on and transmission) of images are examined.

[11] Image theory, as a complementary question of what an image is in the first place, is not concerned with what has already been categorised as an image, but with the categorisation itself. Lambert Wiesing in his book "Die Sichtbarkeit des Bildes" (The Visibility of the Image) attempts to pursue this formal aesthetic, i.e. to fundamentally ask about the image as a phenomenon. This also makes image theory an important aspect of image studies.

12] However, computational visualistics also belongs to image science as an informatic part of it. It encompasses all pictorial information, so to speak, image data such as computer graphics, digital image processing or information visualisation and its algorithmic formalisation. Computer science is therefore interested in what makes up the sum of pixels in their entirety and how this can now be made into an overall visual phenomenon.
In the digital realm, however, we no longer speak exclusively of images, but increasingly of image spaces that are organised as panoramas or virtually. Since the 2010s, Oliver Grau, for example, has been advocating a "theory of complex images" with which he attempts to express precisely this diversity of different image phenomena.

13] Orientation of image studies
Image studies is thus a cross-sectional discipline - or an interdisciplinary area - at the interface of archaeology, art history, philosophy, anthropology, psychology, aesthetics, cultural studies, visual communication and design, folklore/European ethnology, sociology, media studies, communication studies and film studies, but also semiotics, political science, history, computer science, cognitive science, psychology, biology, medicine or physics.

14] Fundamentals of image science
The image is therefore a communicative medium that plays a role in all sciences that deal with media. Accordingly, as with language, the foundations of image studies are formed by a syntax, by semantics and by pragmatics, as Klaus Sachs-Hombach has stated.

15] Image syntax
Image syntax is understood to be the formal structure of images and their relationships, i.e. all forms of identity, delimitability, distinguishability, compositionality and well-formedness of images. It is about measurable structures of visual phenomena, and this is  of course very easily recognisable by a computer. Computer vision or image retrieval or face recognition are areas of computer science that deal with the measurement and interpretation of shapes and colour values. And as you already know from autonomous driving, for example: the system immediately tries to classify all elements that move on the road in order to bring about an adequate driving situation. We are also interested in the scientific aspect: how can such classifications be made? How are these images structured in order to be measured and analysed in a meaningful way?

16] Image semantics
Image semantics encompasses image meaning in the narrower sense, i.e. all the relationships between the picture and the entities denoted by it. In the analysis of pictorial signs, a distinction is made in particular between the concrete meaning in an intentional sense (the pictorial content) and the transferred meaning in an extensional sense (the pictorial reference). So if we link images in their structures, we can measure similarities and also interpret them, e.g. in the form of networks or in the form of statistical evaluations. Accordingly, in the field of computer science, one would speak of Semantic Image Retrieval or Object Mining.

17] Image pragmatics
Image pragmatics, i.e. the use of images in the narrower sense, examines the network of actions that occur in a systematic connection with the presentation of an image understood as a sign. It is therefore about the use of images, it is about the comparison of the meaning of the sign with the situation of the use of the sign. If, for example, you imagine an eye tracker or a headset where you can examine exactly where the eye wanders, then you make this reception measurable and can reconstruct and precisely examine reception contexts. We're doing something like that here in Göttingen with virtual museums, for example.


2 From Humanities Computing to Digital Humanities

18] From 'Humanities Computing' to 'Digital Humanities
Digital image and artfeact science is also part of the Digital Humanities. The term Digital Humanities is not that old. If you look at this chart, for example, and see how the term was used on the Internet or in newspapers and specialist literature, you will see that the term Digital Humanities was not actually used until the twenty-first century. Before that, people spoke of humanities computing. In other words, the term humanities computing puts more emphasis on computer applications than on the humanities. Basically, however, both terms are more or less equally important. Both are devoted to researching questions in the humanities with digital methods. In contrast to the traditional humanities, the digital humanities see themselves as a method-oriented subject in which the evaluation and further development of computer-based methods are in the foreground. 

19] The beginnings
According to legend, the origins of the Digital Humanities lie with the Jesuit Roberto Busa, who met Thomas Watson, the founder of IBM, in 1949. He was researching the concept of presence in the works of Thomas Aquinas, and he wanted an electronically generated concordance of the complete works so that he would not have to read through and index all 56 volumes, but could use the computer to pursue this very central theological concept of presence.

20] Later he described the meeting as follows: "I knew, the day I was to meet Thomas J. Watson, Senior, that he had on his desk a report which said IBM machines could never do what I wanted. I had seen in the waiting room a small poster imprinted with the words: 'The difficult we do right away; the impossible takes a little longer. (IBM always loved slogans.) I took it in with me into Mr. Watson's office. Sitting down in front of him and sensing the tremendous power of his mind, I was inspired to say: 'It is not right to say "no" before you have tried.' I took out the poster and showed him his own slogan. He agreed that IBM would cooperate ... 'provided that you do not change IBM into International Busa Machines. "

[21] The collaboration with IBM and Roberto Busa is always considered the founding legend of the Digital Humanities. But if one understands more generally the core of the Digital Humanities as the formalisation of humanities content in a way that becomes machine-readable, one could go back even further. Flinders Petrie, for example, the Egyptologist, prepared tombs in Egypt and their contents in such a mathematical way (I will explain this again later in another lesson) that they would actually be machine-readable today, only there were no computers at the end of the 19th century. So each discipline probably has its own founding legends for its digital branch. What is special about this digital research is that it is now possible to investigate questions collaboratively, independent of time and place, but computer-assisted, and that the older methods of card boxes, repeatedly corrected text manuscripts and re-sorted index cards are a thing of the past. Databases and versioning are now basic components of academic work. I would like to show you some examples of typical DH projects. Digital editions such as the works of Thomas Aquinas and databases are thus a central area where humanities content (texts and images) can be edited, researched together and archived.

22] Good practice examples: Digital editions and databases
However, digital editions and databases do not only concern texts and images but also, for example, sounds. The sound historian Emily Thompson, for example, has studied the sounds of New York City around 1930. All in all, the internet is a huge sound archive with an unimaginable wealth of historical sound recordings. The special thing about The Roaring Twenties, however, is not to present sound content, but to reconstruct the original sound environment in order to better understand the contexts and the sounds themselves. So it is about recovering the meaning of sound or noise and developing a historicised way of listening that brings our modern ears to the pitch of the past ...

[23] or to name a Göttingen project: Blumenbach online is about digitising Johann Friedrich Blumenbach's entire estate and putting it online. Blumenbach was the founder of zoology and anthropology as a scientific discipline. It involves 10,000 printed pages, about 8,000 analogue objects, which have to be digitised in 2D and 3D - and some of which are already available at blumenbach-online.de.

24] How does one proceed? You need a scientific description, which means you digitise the text, in this case a printed manuscript, with a corresponding formal and content-related indexing. This is then enriched with metadata, such as the title, the place names, the names of persons and so on. Often these printed manuscripts also contain illustrations. These illustrations are also to be included in the overall project as a digital copy and labelled with metadata. And often these illustrated objects (like the skull in this example) are also available as 3D digital copies or are produced and then also linked to the digital copy.

[25] In the end, the entire archive records will be accessible online. In a database-like form, one can then call up the collection objects, as well as their mention in Blumenbach's writings, which are enriched with metadata and linked to each other in many ways. This is a fine example of a digital edition where, according to modern standards, not only the printed text is presented again, but where all references are made available digitally.  

26] We are now in a situation where millions of books are accessible in digital form. Of the approximately 130 million books ever published in the world, it is estimated that about 30 to 40 million have already been digitised and are available digitally, for example, at google books or Guttenberg or Early English Books online and so on. So now we have the opportunity to do research here on a data basis that individual researchers could never manage with what they are able to read in a year.

27] A new paragdigm?
If soon all the books that humanities scholars work on will be available in digital form and can be researched with computer science methods, the question arises whether a new paradigm is not emerging here, a new kind of humanities research that is much closer to the natural sciences, namely a kind of data penetration and quantifying evaluation. There is even talk of the end of theory, in that facts are now only of interest if they are made measurable and thus evident. This is perhaps somewhat exaggerated, but nevertheless the question must be asked whether the humanities will now fundamentally reposition themselves and research entirely new things.

28] Close and Distant Reading
One such new method is distant reading, i.e. the quantitative and statistical study of texts by looking at a corpus of countless texts from a distance, so to speak. In contrast to conventional close reading, which examines a small number of texts in detail and from a qualitative point of view, here huge quantities of texts are subjected to analysis. One searches indirectly for formal patterns in millions of sources. Novel explorative visualisation methods support the gain of knowledge. This method is particularly widespread in the digital humanities and promises new insights. 

29] Close and Distant Viewing
These concern not only Distant Reading, but also Distant Viewing. Similarly, millions of images can be examined and compared at once.

[30] Extension of methods: Algorithmic Critique
To the methods traditionally established in the humanities, a new one has now been added: algorithmic criticism. The formalisation of things, whether it is the shape analysis of vessels or text analysis, is done with algorithms. For humanities working digitally, the critique of methods and theories is accordingly also a critique of the algorithmic procedures used. It therefore examines the formalisation of questions and algorithmic thinking just as much and questions these procedures as the statistical methods or the standards of description. Digital Humanities thus means investigating formal questions as well as critically analysing and improving these procedures. Accordingly, learning statistical methods is essential. 

31] 'Digital Turn
One therefore also speaks of the digital turn: in the 2000s, new social changes or transformations in research orientation were proclaimed in increasingly rapid succession. One of these is the digital turn, which has changed the world of work and leisure just as much as it has changed research conditions, research methods and research topics. Even the humanities, which are far removed from technology, are now using computer-based methods and digital infrastructures to solve existing challenges, just as the digital transformation of society and the sciences is being intensively researched.
This digital transformation includes, on the one hand, technical or technological prerequisites of historical research, which have improved considerably. There are new formats and tools such as databases, GIS or 3D modelling; there are new forms of communication (keyword web 2.0). There is the possibility of digital publishing and there are new forms of visualisation. 
The statistical analysis of large amounts of data, i.e. Big Data phenomena, now also enable new questions and also new answers in combination with conventional hermeneutics. 
But the question also arises as to who is driving the development here? Is it a control or a process from below? Are flat hierarchies coming into professional communication with digital content, because now everyone is researching the problem together? Does the stronger networking lead to a power grab by the nerds or rather to a much better community of subject groups?

[32] Are digital humanities a discipline in its own right?
This raises the question: are the digital humanities actually a discipline in their own right? If we look at the research tradition, it consists of the systematic development of infrastructure, the production of corpora, of digital editions, of fundamental digital data on all research subjects. The aim is to find precise answers to traditional questions and perhaps also new answers to old questions or even completely new questions. The working methods depend on the limitedness or even the unlimitedness of the sources. So in the Digital Humanities we are investigating enabling tools such as databases and digital editions that generate new research questions through the processes of quantification and visualisation. This creates a dynamic, it creates new possibilities for knowledge discovery, it creates an empirical turn in the humanities and thus the genesis of a new discipline. Here in Göttingen, we are convinced of this and have founded a disciplinary Institute for Digital Humanities, with its own degree programmes, with its own professorships.


3. areas of application of digital image and object science

33] Methods of the Digital Humanities
The methods are not all that different from those used in traditional humanities. In a sense, these methods represent the application areas of the Digital Humanities. In his article "Scholarly Primitives", John Unsworth has compiled these methods in a concentrated way. There are seven characteristics that make up the humanities and which the Digital Humanities also use as methods at their core. First, there is discovering, retrieving, i.e. collecting, collating and saving data; then annotating, attributing data, comparing, analogical reasoning as the most important hermeneutic tool; fourth, referring, i.e. referring to other research positions and scholarly discussion. Sampling as the arranging of data, copying and statistical evaluation would then be a fifth procedure that has always been common in the humanities. The results have to be visualised. For this there are procedures of imaging and visualisation, illustrating is what John Unsworth calls it, and finally the results are presented, in an essay or as a database or even in some other form of presentation.

34] Acquisition and management
In other words, in digital image and artefact science we are concerned on the one hand with the acquisition and management of cultural property. Accurate 3D digitisation of collections, for example, documents the current state of cultural objects, makes them globally accessible in repositories and enables further analysis.

35] Analysis and visualisation
However, the analysis and visualisation of these cultural assets is also important. For example, one can use dimensional comparisons to determine similarities in terms of workshops and trade networks. One can create new insights in object mining or in the reconstruction of historical perception.

36] Presentation and simulation
And thirdly, presentation and simulation is an important aspect. For example, we are researching the arragement and perception of ancient sculptures in the nineteenth century. We can reconstruct lost exhibitions virtually and thus make them tangible again.

37] Digital work
In general, digital work is a completely new form of work and the Association for European Research Libraries has launched the FAIR Guidelines. Research results in digital form should be findable, accessible, interoperable and reusable. Unfortunately, very few projects currently adhere fully to these four principles. In principle, however, they are possible. They make work, of course.

38] Tasks of digital image and artefact science
What are the tasks of digital image and artefact science? On the one hand, we need to further develop the digital acquisition of images and objects with regard to their respective optimal digitisation strategies; we need to develop and further develop database and archiving strategies for visual media products, and we also need to further develop the working tools for historical comparative image and object analysis. We are just as interested in imaging methods for visualising our results, which we analyse and discuss. We try to deepen interdisciplinary research in the field of visual especially pictorial processes of thinking, learning and understanding. We explore historical and contemporary contexts of production, reception, adaptation, manipulation and distribution of designed works with digital methods, and we also strive for a theoretical specification of the term the "digital image". 

39] Strengths and weaknesses of the Digital Humanities
Digital Humanities is a new subject, and as a new subject there are of course strengths and weaknesses that are also being discussed and against which we must also somehow position ourselves. First of all, there are the problems that traditional research has with the Digital Humanities in the area of the normative, that is, in the area of rights of use. We need large amounts of data, but this data is usually not freely available. This means that there are severe restrictions, and one sometimes has the impression that research is being done primarily on what is available without a licence, and not on what the humanities would actually like to research.
Another point of criticism is at the level of the referential. How do we actually make the individual performance of group research possible? How can we verify citations at all? Often one has the impression that information, that opinion is provided in an unscientific way. You know the criticism of wikipedia, for example. But wikipedia in particular is a positive example. Through versioning, through the fact that you can always check which author wrote which part of the article, how the discussion about this passage went, what the older versions of the respective formulation looked like. But still, the aspect of source criticism is much more difficult in the digital than with printed books, which are unchangeable.
But there is also economic criticism: of course digitisation is time-consuming. It is much quicker to read through a short text and express an opinion on it. Digitisation, the processing, the annotation of such texts, the survival of digital projects even in the future, costs a lot of money and a lot of time and is therefore an economic factor.
But there are also mental barriers. Researchers want to use their data exclusively, when they have spent so much time on digitisation. Single-user research still prevails in people's minds, and research groups that now jointly evaluate these data have not yet spread to the extent that is already possible in the natural sciences, for example. Here, too, much more educational work actually needs to be done in the future.
There are also institutional problems. Universities as the heart chambers of knowledge seem to be becoming superfluous. Especially now that all knowledge is put online, even lectures are online, you ask yourself, what do universities actually still need them for? And of course I also have an opinion on this, namely that the discussion about these things must always have a place, that infrastructures must have a place. And universities are ultimately predestined for that.
But the question of materiality also plays a role. Digitised objects can of course no longer be experienced haptically. You can't touch them. You could never really touch them when they were in showcases, but you still have the feeling that the knowledge of materiality is lost.
And then there is a general consideration: is it the case that feasibility determines the solution of DH projects, and the question is actually based on what can be researched at the moment?
Therefore, the credo of the Digital Humanities on these traditional research problems is that the needs of the researcher or the research must be the yardstick. The question must determine the methods, not the data. That is why a DH project must state content and goals, as a roadmap of research, so to speak. The algorithms must be made transparent and the data must be published in such a way that quality assurance and quality control are readily possible.

41] Associations
Lastly, I would like to draw your attention to some aspects of the DH research infrastructure. These are actually compilations that you can call up again and again, for example a list of associations in which DH research takes place very strongly. I won't read them all out now, you can look them up yourself.

42] Literature
There are a number of introductions to the Digital Humanities. I can recommend the third one mentioned here by Fotis Jannidis, Hubertus Kohle and Malte Rehbein, which, however, is less question-oriented and more like a kind of computer science for humanities scholars. The latest version of the "Companion to Digital Humanities", published in 2016, is question-oriented. The older version, which provides very good information on various areas of the digital humanities, is available online in corresponding overview articles. There is only an overview of Digital Image and Object Studies by Hubertus Kohle, which we now - seven years later - also want to get beyond, and online you can find, for example, the virtual DH Museum of the University of Trier, where you can find the contents of the Digital Humanities in four rooms.

43] Outline of this lecture
In this lecture, which is divided into twelve lessons, I am interested in five areas. The Challenges area: what does digital image and object studies actually explore? was the subject matter in this lesson. In the next lesson we will start with the area of digitisation and data management. We will talk about text digitisation, about image science and the digital image, we will look more closely at the notion of materiality and object data, and also look at databases. Then we come to the core of our science, analysis. In separate lessons, we are interested in the analysis of images, the analysis of objects, the analysis of space and time, and overarching quantifying methods.

44] The fourth part then concerns presentation. Here we are concerned on the one hand with reconstruction, simulation and virtual reality, and on the other hand with communication to a broad public in the form of virtual museums, augmented reality and gamification. And fifthly, we talk about working in the digital age, i.e. project planning, collaboration and research data management, but also data security, and the effects of digitalisation on law and society.
There will be a tutorial to accompany the lecture. Please register for this on Stud.IP.

45] What you should know
What should you actually know after listening to the first lesson? You should have the basic concepts of image studies at hand. You should know the tasks and goals of Digital Humanities and you should have learned some good practice examples. There will be more of these in the course of this lecture.

46] But you should also get to know the wiki on the Digital Humanities, which is still under construction and will become a kind of handbook in the course of the next few semesters, on all questions including further reading. There is the Digital Humanities subject group, which you can access via its Instagram account teamdh_goettingen, for example, and there is the mailing list, which I will also show you here.

47] The Institute for Digital Humanities also has a homepage, of course, which you should visit regularly. There you will find information about the courses and generally about studying and information about the degree programmes. But you can also look up the people, the staff of the Institute there. You can get to know research projects and find out about the Institute's events. The Institute is part of the Faculty of Humanities. However, digital humanities are also conducted outside the Faculty of Humanities in Göttingen, for example in the SUB or in the Academy. But the other faculties also run Digital Humanities and meet in a different setting in the GCDH, formerly Göttingen Center, today Göttingen Community for Digital Humanities, and this community also has a homepage that you can access.

48] Possible exam questions
At the end, you may still ask yourself, what could be on the exam? I will present possible exam questions at the end of each lesson. For example, I could ask today, what challenges do you think digital image and artefact science face? or I could ask what reservations there are about digital humanities and how to counter them. What is meant by Distant Reading or Distant Viewing would be a definitional question I could ask, or what concept of image underlies digital image studies? I could also ask in general terms, what are the tasks of digital image and artefact science, and I could of course also ask questions about your opinion: What would you like to see in the study of Digital Humanities, for example? I hope that you were able to follow this presentation, which was still quite short this time, and I wish you a pleasant week, until next week!