• DARIAH EU
• 2013-2022close
• OpenEdition close

In recent years, a variety of initiatives have been funded with the aim of producing software tools or environments of a type variously known as virtual research environments, research infrastructures, or cyberinfrastructures. These initiatives vary in their scale, specialization, scope, and level of funding. One issue that they face in common, however, is that of sustainability: how can the continued--and useful--existence of a system or tool be guaranteed, or at least facilitated, once a project's funding has been spent? In this paper, we examine how such sustainability has been enabled, in the particular case of infrastructures for textual scholarship, in the context of three international projects: TextGrid,1 TEXTvre,2 and DARIAH3. Firstly, we will address the inter-project collaboration and crossfertilization between TextGrid and TEXTvre, including architectural decisions and shared data infrastructures, and investigate how the projects benefited from the exchange. We will then discuss how this existing collaboration can be taken forward by the loosely-coupled and distributed framework being developed by the DARIAH community, and how it can serve as a model for the sort of collaborations that DARIAH plans to enable. International audience

Autor przybliża sylwetkę polskich humanistów cyfrowych na podstawie wyników europejskiego sondażu praktyk oraz potrzeb cyfrowych w humanistyce i naukach o sztuce przeprowadzonego na przełomie 2014 i 2015 roku przez Obserwatorium Cyfrowych Metod i Praktyk (Digital Methods and Practices Observatory – DiMPO) – grupę roboczą europejskiego konsorcjum DARIAH. Wyniki analizowane są w kontekście obecnej w literaturze przedmiotu koncepcji o falach humanistyki cyfrowej: pierwsza to prosta digitalizacji, druga – zastosowanie zaawansowanych metod cyfrowych, trzecia – krytyczny namysł nad epistemologią cyfrowych instrumentów. Autor proponuje stopniowalne definiowanie humanistów cyfrowych przez umieszczanie ich na spektrum, od tych korzystających z podstawowych narzędzi po najbardziej zaawansowanych użytkowników. To sketch a profile of Polish digital humanists, Maryl draws on the results of a European survey on scholarly practices and digital needs in the arts and humanities. This survey was conducted in 2014 and 2015 by the Digital Methods and Practices Observatory (DiMPO), a working group of the European consortium DARIAH. The results are analysed in the context of the concept of waves of digital humanities: the first wave is simple digitization, the second entails the use of advanced digital methods, the third harnesses critical reflection on the epistemology of digital instruments. Maryl proposes to classify digital humanists by placing them on different points on a spectrum, from those using basic tools to the most advanced users.