Are the (spatial/digital) humanities more than historical? (and a link to

So more on the spatial/digital humanities–

I’ll start by noting that  friend getting a degree in digital humanities recently told me the following: although her program stresses the need to bridge A) literary (English?) scholars with B) computer science/technologists–that is have an A person work with a B person on a project, she is being trained to be the B person in the literary-science pairing when her base is actually that of an A person and when she would like to continue to be the A person. I interpret this to mean that in collaborative projects, she would like to say ‘wouldn’t it be neat if literary scholars could have x’ to the B person and then have the B and A person work together on making that happen, assuming that a certain amount of unpredictable evolution would occur in the process. Sounds good–and I would venture to guess that this may not be an uncommon approach to digital humanities.

The idea or model of interdisciplinary pairings, clusters and research communities–in short, people working together on projects is certainly Continue reading


Three Spatial/Geo Humanities books…

I finally found time to grab a few books from the library that have looked interesting:

The Spatial Humanities: GIS and the Future of Humanities Scholarship (Indiana 2010)

Envisioning Landscapes, Making Worlds: Geography and the Humanities (Routledge 2011)

GeoHumanities: Art, History, Text at the Edge of Place (Routledge 2011) (this link is a review)

(let’s see if I can find time to read them)…

I’m particularly interested to gauge the extent to which geographers are engaging with the literary text without reducing it to content, something that seems to have been a temptation for David Harvey in particular. Just having reread the introduction to Engaging Film–a great book, but one whose introduction attempts to reinvent the wheel in that it simplifies the notion of film as a “representation of reality” and then seeks to provide an “antiessentialist” vision of film that of course can be traced back to the very complex nature of the theories it cites (e.g. Siegfried Kracauer’s theory of film)–it seems that a more thorough reconciliation of the humanities and social sciences is necessary.