Humanist Discussion Group, Vol. 39, No. 376.
Department of Digital Humanities, University of Cologne
Hosted by DH-Cologne
www.dhhumanist.org
Submit to: humanist@dhhumanist.org
[1] From: Franz FISCHER <franz.fischer@unive.it>
Subject: Venice Summer School in Digital and Public Humanities - VeSSDPH 2026, 6-10 July 2026 (80)
[2] From: Franz FISCHER <franz.fischer@unive.it>
Subject: Submission deadline extended [Re: CfP: Editopia. On the Future of Documentology and Scholarly Editing in the Post-Digital Age] (193)
[3] From: Intelligent Systems for Screen Archives (ISSA) <issa@kcl.ac.uk>
Subject: Invitation: ISSA Demonstrator Event (Online, 25 March, 10:00–12:00) (41)
--[1]------------------------------------------------------------------------
Date: 2026-03-20 07:48:31+00:00
From: Franz FISCHER <franz.fischer@unive.it>
Subject: Venice Summer School in Digital and Public Humanities - VeSSDPH 2026, 6-10 July 2026
Dear digital humanists,
We are pleased to announce the Venice Summer School in Digital and Public
Humanities - VeSSDPH 2026 which takes place at Ca' Foscari University of
Venice from 6 to 10 July 2026.
The Venice Summer School in Digital and Public Humanities provides advanced
and in-depth training in theories, technologies and methods applied to
historical monuments, artefacts and texts. Focussing on cultural,
archaeological, historical, literary, and artistic materials from Venetian
sites and cultural heritage institutions, participants will engage in
debates about digital cultural heritage and public humanities while
enhancing their competences and skills in digitising materials and sources
and in modelling, analysing and visualising multimedia humanities data.
The Summer School takes place at historical sites and cultural venues
across the city of Venice and its surroundings. Each day is dedicated to a
specific academic field: archaeology, history, art history and textual
scholarship. Teaching formats include lectures, hands-on workshops, guided
tours and experimental performances. Units are planned and delivered by
local experts and invited specialists. All classes will be taught in
English. The programme includes “Pimp my Project” sessions for discussing
the participants’ individual research projects with domain experts.
Eligibility and admission criteria
The Summer School warmly welcomes PhD students, postdocs and practitioners
from the private, public, and non-governmental sectors. Applicants must
hold at least a Master’s degree or equivalent at the time of application.
Precedence will be given to those candidates whose cover letter will show
that their research projects or profession will benefit from the Digital
and Public Humanities methods that they will learn during the summer
school. A fair balance among genders and among disciplinary backgrounds
will be preserved.
Availability of positions
The School will host max. 25 participants.
Up to five positions are reserved for applicants from the EUTOPIA DigIn
Connected Community, and one position for an applicant from the Scuola di
Archivistica, Paleografia e Diplomatica of the Venetian State Archives.
Participation costs
- NO FEES
- Biennale entry ticket: €20 (includes three non-consecutive days for both
Giardini and Arsenale)
- Optional booking of a single room (99 EUR per night) or double room (121
EUR per night) at Camplus University Residences (up to 6 nights)
How to apply
Your application must contain
- a curriculum vitae (max. 2 pages)
- a cover letter (max. 2 pages) stating your motivations for joining the
School and your expectations about it.
- Your CV and cover letter should be sent in pdf via the following online
form: https://forms.gle/rH9tZnkbq4aUWqLt5
Important dates
Deadline for applications: 13 April 2026 (11:59 p.m. CEST)
Notification of acceptance: 29 April 2026
Full programme and further information: https://www.unive.it/pag/39288/
Contact: vedph@unive.it
Please disseminate widely!
Best wishes,
Franz
--
Franz Fischer
Head of Venice Centre for Digital & Public Humanities (VeDPH)
Dipartimento di Studi Umanistici
Università Ca' Foscari
Palazzo Malcanton Marcorà
Dorsoduro 3484/D - 30123 Venezia
https://www.unive.it/persone/franz.fischer
https://www.unive.it/vedph, https://www.i-d-e.de/
https://edizionicafoscari.unive.it/en/edizioni4/riviste/magazen/
https://edizionicafoscari.unive.it/en/edizioni4/collane/disclosing-collections/
--[2]------------------------------------------------------------------------
Date: 2026-03-19 10:48:15+00:00
From: Franz FISCHER <franz.fischer@unive.it>
Subject: Submission deadline extended [Re: CfP: Editopia. On the Future of Documentology and Scholarly Editing in the Post-Digital Age]
Dear textual scholars,
The submission deadline for the Call for Papers of the “Editopia”
conference has been extended.
The (ridiculously short) deadline of 22 March no longer applies. The new
deadline for the submission of abstracts is 5 April.
We warmly welcome further submissions addressing the themes outlined in
the call and look forward to receiving additional proposals. The link to
the call for papers is available here: https://editopia2026.i-d-e.de/
<https://editopia2026.i-d-e.de/>
Franz
Il giorno lun 9 mar 2026 alle ore 21:22 Franz FISCHER
<franz.fischer@unive.it <mailto:franz.fischer@unive.it>> ha scritto:
Dear textual scholars,
Call for Papers: Editopia. On the Future of Documentology and
Scholarly Editing in the Post-Digital Age
Conference of the Institute for Documentology and Scholarly Editing
(IDE), University of Wuppertal, Germany; 2–4 September 2026. Local
organization: Digital Humanities Team (DH@BUW), supported by
Interdisciplinary Center for Editing and Document Studies (IZED).
What comes after the digital edition?
Digital editions have become an everyday scholarly practice. The
critical representation of historical documents is now routinely
digital, networked, openly accessible, and simultaneously available
in multiple forms of representation. As the analogue–digital debate
has largely come to an end, new questions come to the fore. We no
longer ask whether digital methods are epistemically justified and
viable, but howand to what endthey are best used. Alongside
persistent or newly emerging technical challenges, other challenges
gain prominence in this shift. By way of example: What constitutes
“the text” in the post-digital age, where principles of stability
and processuality, material transmission and processual data
streams, and authority and democratization coexist? How do source
criticism and textual criticism and their processes of knowledge
generation change under the influence of generative AI when machines
act as “first readers” transcribing, interpreting, and annotating
documents? Moving beyond its incunabula phase, how will the
affordances of digital media shape concepts of publications? Are we
moving towards an era of media presentation as a (as we used to say)
mash-up or (as it is called now) transclusion of ubiquitously
reusable building blocks? What responsibility do editions bear for
the authenticity and trustworthiness of the edited material? How can
editions be made more open, accessible, and future-proof? Does the
edition as a formstill persist under these conditions, or does it
dissolve? And how might we need to rethink the models and processes
that lead to data in the first place?
One fundamental observation underlies all these questions: data
constitute the content and core of the edition, and data themselves
are primarily fluid, processual and networked.
On the occasion of its 20th anniversary, the Institute for
Documentology and Scholarly Editing (IDE) invites scholars to engage
with these questions at the international conference Editopia. By
post-digitalwe understand a condition in which digital tools and
modes of thinking are no longer conceived primarily in opposition to
the analogue, but as the foundation of humanities scholarship and,
consequently, as the basis for further-reaching questions.
We therefore invite contributions addressing, but not limited to,
the following thematic areas:
The Post-Digital Document. What does materiality mean in the digital
realm, from file formats and storage media to infrastructures? Which
documentological properties characterize digitized or born-digital
sources such as emails, websites, or social media? How do we address
versioning, ephemerality, and the processual nature of digital
artefacts? What challenges arise from multimodal documents combining
text, image, audio, video, and interactive elements?
Identity and Coherence of the Edition. What constitutes an edition
when its components are fluid and networked, or when externally
created digital objects are integrated and reused? What roles do
authorship, boundaries, closure, and authority play when editions
become permanently updatable? What might establish coherence under
such conditions, and is coherence still a relevant claim at all?
Scholarly Editing and Artificial Intelligence. How do machine-based
methods transform editorial practice, from automated transcription
to annotation and contextualization? Where do they expand
possibilities, and where do new dependencies emerge? Which new
objectives arise, and which traditional aims may fade from view? How
should we deal with machine-generated uncertainty and opacity? What
does it mean when AI-generated texts themselves become objects of
editing? How can the influence of AI on the emergence and formation
of an edition be documented and critically reflected?
Source Criticism, Forensics, and Authentication. How does source
criticism change when documents are created digitally, migrated
between media states or data models, and are inherently manipulable?
Which methods of provenance research and authentication become
necessary? How can trust in digital editions be established, and
what responsibilities do editors bear with regard to transparency,
traceability, and credibility?
Transmedial Representation and Aesthetics. How does the edition
change between print, screen, and other conceivable digital media?
What design possibilities do interactive or immersive formats offer?
How does the visual and sensory dimension of digital editions affect
not only their use but also the scholarly process of knowledge
production?
Labour, Economy, and Institutions. How can editorial projects be
organized between project-based logic and long-term sustainability?
Do editions require new business models, and if so, which are
compatible with open access and scholarly independence? How do roles
and professional profiles change as editions become more
collaborative, technical, and data-intensive? How can the entire
process of producing an edition be fully documented? Under what
conditions is good editorial work possible today?
Community, Accessibility, and Knowledge Transfer. Who has access to
digital editions, and who remains excluded? What do communities such
as the TEI community contribute to editorial practice, and where are
their limits? How can collaborative modes of work and open
infrastructures be designed? How can scholarly editing be taught
when digital competencies are assumed, and when documentological
foundations as well as other technical skills must be newly conveyed?
Power, Participation, and Responsibility in Editing. How does
community-based knowledge production relate to academic gatekeeping
models? How can open workflows democratize editorial
decision-making? What may and what should be edited—what ethics of
visibility are required? Who edits whom, with what authority—and
which new perspectives, for example, gender-sensitive or decolonial
approaches, open up alternative paths? What responsibilities do
editors bear toward marginalized voices and sensitive content? How
is the role of the editor changing?
Theoretical Foundations. What is a “text” in the post-digital age?
How can the concept of the document be redefined between stability
and fluidity? What epistemic function does the edition fulfil—what
do we produce, what do we represent? How can post-structuralist,
neo-materialist, or other theoretical approaches renew scholarly
editing? Which concepts of authorship, work, transmission, and
document remain viable?
These thematic areas are intended as points of orientation. We also
welcome proposals that introduce additional perspectives.
We invite submissions for 20-minute papers. Abstracts should
comprise 2,000–4,000 characters (including spaces and references)and
clearly outline the research question, methodological approach, and
expected results. Please also include a short biographical note.
The submission deadline is 22. March 2026. Notifications of
acceptance will be sent by the end of April 2026. Selected
contributions are planned for publication in the SIDE book series.
The conference languages are English and German. Participation is
limited to 60 participants. No conference fee will be charged.
Please send abstracts and inquiries to editopia2026@i-d-e.de
<mailto:editopia2026@i-d-e.de>. Conference page:
https://editopia2026.i-d-e.de <https://i-d-e.github.io/editopia2026/>
*On behalf of the IDE,
Franz
--
Franz Fischer
Head of Venice Centre for Digital & Public Humanities (VeDPH)
Dipartimento di Studi Umanistici
Università Ca' Foscari
Palazzo Malcanton Marcorà
Dorsoduro 3484/D - 30123 Venezia
https://www.unive.it/persone/franz.fischer
<https://www.unive.it/persone/franz.fischer>
https://www.unive.it/vedph
<https://www.unive.it/vedph>,https://www.i-d-e.de/ <https://www.i-d-e.de/>
https://edizionicafoscari.unive.it/en/edizioni4/riviste/magazen/
<https://edizionicafoscari.unive.it/en/edizioni4/riviste/magazen/>
https://edizionicafoscari.unive.it/en/edizioni4/collane/disclosing-collections/
<https://edizionicafoscari.unive.it/en/edizioni4/collane/disclosing-
collections/>
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--[3]------------------------------------------------------------------------
Date: 2026-03-19 11:17:52+00:00
From: Intelligent Systems for Screen Archives (ISSA) <issa@kcl.ac.uk>
Subject: Invitation: ISSA Demonstrator Event (Online, 25 March, 10:00–12:00)
Dear All,
Can you circulate the information about our upcoming event:
Please join us for the morning sessions of the ISSA Demonstrator Event, which
will take place on Wednesday, 25 March 2026, 10.00am–12.00pm online.
The Intelligent Systems for Screen Archives
(ISSA)<https://www.kcl.ac.uk/research/issa> project explores the critical and
technical application of artificial intelligence (AI) technologies in the screen
heritage sector, with a particular focus on moving image archives in the UK. The
project brings together five film and television archive partners across the
four UK nations, National Library of Scotland, National Library of Wales,
Northern Ireland Screen, North West Film Archive, and Yorkshire Film Archive, in
collaboration with King’s Digital Lab, to develop the knowledge, tools, and
skills needed to rethink large audiovisual collections from a computational
perspective.
This demonstrator event marks an important milestone in the project. During its
first phase, ISSA focused on engaging with archive partners and developing
minimum viable prototypes (MVPs). At this event, the PI and King's Digital Lab
team will present the use cases and MVPs to project partners and invited sector
stakeholders, with the aim of gathering feedback and opening a conversation to
help shape the future direction of this work as we move towards situated
experimentation and application within archive contexts.
We would be delighted if you could join us. Please register using the following
link:
ISSA Demonstrator Event | Meeting-Join | Microsoft Teams<https://events.teams.mi
crosoft.com/event/1f81de04-dc4c-4d2c-8246-36883de6611c@8370cf14-16f3-4c16-b83c-7
24071654356> If you would like to attend in person, please email issa@kcl.ac.uk
and we will confirm if there is remaining capacity.
Programme (online session):
10:00 – 10:15 | Welcome and framing (Daniel)
10:15 – 11:15 | DEERIN prototype demonstrations (KDL)
11:15 – 11:45 | Q&A panel (moderated)
11:45 – 12:00 | Chain of development example (Stephen/Shihan)
Best regards,
The ISSA Project
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