| Presentation:
Session leader Riva opened the session by posing the question:
Is there a difference between research-based teaching and teaching-based
research? He himself has been attempting to discern which it is
that he does. He noted that another conference session, on “The
reciprocal relationships among research, teaching, and learning,"
led by UC Berkeley Professor Robert Full, was concerned with a similar
question. For Professor Full, research-based teaching and teaching-based
research are more or less equivalent; Professor Riva sees a continuous
feedback loop between the two.
One of the most impressive aspects of Professor Full's work is
the direct connection between the research he does in his lab and
the outside world (particularly his connections with several different
industries). Humanists however do not have labs, unless one considers
the library as their laboratory. Perhaps, as the library changes,
it will become more like a lab. The changes may be as seemingly
trivial as creating more inviting spaces within the library in which
to work and meet, or as conspicuous as installation and use of new
technologies.
The new context of higher education, shaped in part by the mindsets
and experiences our students bring to the university, is radically
altering the way we humanists think of ourselves as researchers,
and as teachers. A shift is taking place in the academic (and "lay")
culture: our tools for thought are changing. A new breed of thinkers
and scholars is coming into existence.
Professor Riva played a short video clip of Vannevar Bush talking
about the Memex in the late 1940s:
"...And the relations, the resemblances between the brain's
operations and the operations of a boarding analytical machine is
a fascinating aspect of it."
He then noted connections and profound analogies between what was
happening during the Renaissance (particularly the rise of Humanism)
and what is happening now: A social re-imagination of technology.
We are living today in the age of digital incunabula.
During the Renaissance there existed a strong connection among
engineering, arts, and rhetorical studies. A quote by Michelangelo
Buonarroti has served as a mantra for Professor Riva: “Sometimes
I think and imagine that there is a single art and science and this
is painting or design, and everything else derives from it…
”
Virtual laboratory/library spaces have existed for a long time:
Some examples are Federico da Montefeltro's studiolo [1],
and the School of Athens as portrayed by Raphael [2].
The mind was viewed as theatre, as expressed in Giulio Camillo Delminio's
"theatre of memory." [3]
We are the digital scribes. One of the great tasks for humanists
today is to take advantage of this technological moment and context,
to engage in a futuristic way the great task of preserving, rethinking
and keeping alive our archive of the past. We are transcribing works
from the past onto a different platform, into a different mode.
How is Information Technology (IT) reshaping our very notion of
cultural creativity? Session leader Riva introduced the concept
of participatory culture, as described in “Confronting the
Challenges of Participatory Culture: Media Education for the 21st
Century, " a white paper Henry Jenkins recently published on
the MacArthur Foundation site [4]." In this
paper, Jenkins cites eight elements inherent in a participatory
culture. They are also essential in contemporary educational practices:
- Play – the capacity to experiment with your surroundings
as a form of problem-solving
- Performance – the ability to adopt alternative identities
for the purpose of improvisation and discovery
- Simulation – the ability to interpret and construct dynamic
models of real world processes
- Appropriation – the ability to meaningfully sample and
remix media content
- Multitasking – the ability to scan one's environment
and shift focus as needed to salient details.
- Distributed Cognition – the ability to interact meaningfully
with tools that expand mental capacities
- Collective Intelligence – the ability to pool knowledge
and compare notes with others toward a common goal
- Judgment – the ability to evaluate the reliability and
credibility of different information sources"
These elements coincide with the new skills that humanists’
need in order to pursue their learning and research since they underlie
new creative forms that are shaping up new media literacy in new
media environments.
Similarly, the National Research Council has recently emphasized
the centrality of technological creativity for the synergy of other
endeavors (scientific, economic and cultural).
Can colleges and universities be viewed as creative industries?
According to economist Richard Florida, the United States risks
losing ground in the global competition for creative talent. Perhaps
Brown University, Professor Riva’s campus, and colleges like
Brown should think of themselves as creative industries. For example,
think of the campus of Peter Jackson in New Zealand producing the
Lord of the Rings. Such an enterprise requires a cross-fertilization
of the arts, computing, storytelling, engineering and other knowledge
work. Professor Riva proposed such an enterprise as being at the
cutting edge of culture, and invited debate on the topic.
As academe must keep up with cultural developments, humanists must
upgrade themselves to participatory culture or else be left behind.
This sort of "upgrade" inevitably requires thinking beyond
the boundaries of our declared disciplines. A debate has been going
on about whether to call this sort of work interdisciplinary or
crossdisciplinary. Session leader Riva prefers “transdisciplinary:”
The transdisciplinary worker does not dabble in the fields, but
instead develops such expertise in all of these fields as is necessary
for the completion of a project or task. Such a broad approach to
knowledge work is necessarily task-oriented; the project dictates
what you learn, and by extension requires scholars to work in collaboration
– with other scholars, with technical experts, with students.
When we talk about the use of computers (Ted Nelson’s 'ooga-booga
box') in the humanities, what specifically are we talking about?
Humanities computing, or humanistic informatics, or digital humanities?
The role of this new “transdiscipline” of many names
can help us re-think our own identity, and can help us with the
concrete task of teaching in the age of computing. Humanities computing
is a unit that has to find its own place in the academic universe.
As an example, session leader Riva brought up recorder Vika Zafrin's
dissertation RolandHT, part of which is an electronic hypertext
that cannot be printed on paper. The only way that Zafrin conceived
to achieve what she needed to achieve[5] was to
use a humanities computing approach. Exploring such a variegated
body of work is best done not in a historical sequence but in a
cognitively different way.
Should this new discipline, this new mode of thought, be integrated
into the university? If yes, then how? Should it be part of Information
Technology services, embedded in departments, or a single service
unit working with faculty from different departments, or part of
a reinvented library? Must we scholars acquire and transmit these
competencies to our students, and perhaps learn from our students
how to rethink our own identity as humanists within this frame of
mind? Professor Riva believes that we must, even though doing so
requires the acquisition of new knowledge. He himself was trained
before computers became an integral part of everyday life and research.
The acquisition of new knowledge as described above is dynamic.
There are several ways in which it can be (and is) expressed in
practice:
- Curricular redesign, both on the undergraduate and graduate
levels, with an eye to creating partnerships between advanced
students and beginner students;
- Creating and supporting new career paths; how can humanities
computing be recognized and engaged in academe?
- Development of training methods for shaping tomorrow's scholars,
and for assessing/evaluating production.
Professor Riva pointed to a recent Chronicle of Higher Education
article about Wikipedia [6] in which a researcher
describes having entered incorrect information into an article,
and finding that the article was corrected by the community within
two hours. Since then several other high-profile studies have confirmed
that the site does a fairly good job at getting its facts straight,
particularly in articles on science, an area where Wikipedia excels.
Among academics, however, Wikipedia continues to receive mixed —
and often failing — grades. Wikipedia's supporters often portray
the site as a brave new world in which scholars can rub elbows with
the general public. But doubters of the approach — and in
academe, there are many — say Wikipedia devalues the notion
of expertise itself:
. . . But as the encyclopedia's popularity continues to grow,
some professors are calling on scholars to contribute articles to
Wikipedia, or at least to hone less-than-inspiring entries in the
site's vast and growing collection. Those scholars' take is simple:
If you can't beat the Wikipedians, join 'em (Read, 53;10).
The example of Wikipedia illustrates the fundamental change in
the forms and formats of knowledge work described above.
Although Brown University has been a pioneer of digital humanities,
the several projects pursued in the Department of Italian Studies
(in collaboration with Brown's Scholarly Technology Group) could
not have happened without NEH funding. These projects are:
The NEH support also enabled Professor Riva to launch or advance
the beginning careers of several graduate students.
The Decameron Web was conceived during the time when Web was just
beginning to be used for scholarly purposes and there was a dearth
of scholarly and pedagogical projects. The impetus for the project
was pedagogical: It was thought that a way to teach the Boccaccio
course was to engage the students (who were beginning to be producers
as well as consumers of digital media objects) in producing a digital
edition of this text, along with supplementary materials. Ultimately
the Brown team produced a hypertextual archive, both creating a
tool for teaching this masterpiece of medieval literature and becoming
acquainted with humanities computing as a process. A question to
be deliberated is how/whether reading this text on a digital platform
affects our understanding of the text?
Graduate students were engaged in the project as both teaching
and research assistants. Together with undergraduates, they semantically
encoded the Decameron, which was quite a daunting task. The process
involved understanding that the connection between the text and
the book is not univocal.
Given that the electronic medium presents a different set of opportunities
than the book does, what is interesting to encode? What searches
would it be interesting to perform on this particular text? These
research-oriented questions guided the Decameron Web's development.
Understanding old content through new media was also a focus of
the course: What is the best interface between the book and the
digital environment?
Like session leader Riva’s other projects, the Decameron
Web is not a finished work. The hypertextual project is open-ended--which
presents problems of assessment and preservation. Professor Riva
stressed that he could not have gotten the Decameron Web to its
present state without the assistance of the graduate students, who
were simultaneously learning how to be professionals in the area
of Humanities Computing. To illustrate the collaboration in the
humanities that this kind of project fosters, he demonstrated the
Arts section of the site [7], which contains a
music project [8] created under the direction of
a music professor. Another illustration of transdisciplinary work
could be seen in the demonstration of the History section on the
history of Medieval medicine [9], which bases its
approach in cultural studies as well as history, biology, and history
of science.
The Decameron Web is not perfect. For one thing, Professor Riva
noted, it is becoming obsolete and needs constant updating. Its
overall design reflects an early stage of development in the history
of Web interfaces (we may call them “digital incunabula”).
But its need for updating presents an interesting opportunity for
a collaboration with the libraries, which are developing digital
collections in a way that can be tied to student and faculty projects.
How can scholars, teachers and learners at all levels participate
in such initiatives as those launched by Google print or the Content
Alliance? The answer is by working together to create intelligent
digital library collections as curricular resources. Digitizing
books is not enough: What we need is to create the environment for
today and tomorrow’s knowledge work in the humanities. These
collections are created not only to support teaching, but to create
a synergy and figure out what it means to digitize something –
in terms of labor, rewarding students for doing something that is
practical and applying critical thinking to the process.
Discussion:
A question-and-answer session was followed by a more general discussion.
Q: I'd like to hear more specifics about structuring what the graduate
students are doing and what the undergraduates are doing. How is
quality control executed?
A: We have a formalized process of assessment, though it does not
touch upon student performance, which is a problem of assessment
in the humanities—though speaking anecdotally, the quality
of student contributions dramatically improved over time. With reference
to assessment, initial approval of undergraduate projects was done
by Professor Riva and by the graduate students who were pursuing
studies on related subjects. The Boccaccio course had a lecture
and lab component. The latter was conducted at one of Brown's MultiMedia
Labs, which is equipped for sound and video editing as well as web
design and text encoding. The lab was led by graduate students who
supervised the execution of the undergraduate research projects.
Q: How many undergraduates are in the course?
A: Very few, 20-25 at most, on average 10-12. This is actually a
lot; the ideal number for this course would be ten because of the
narrative structure of the Decameron. Every student is assigned
one of the Decameron's ten narrator identities and then proceeds
to play out the text, entering into the book and thinking about
ways in which it can be re-envisioned from a different perspective
(such as non-linear ways of reading the text, for example by narrator
instead of by sequence in the text).
Q: So the graduate students would be quite advanced in their studies?
A: They could be, but they could also be involved with the technical
aspects of the project. Working on this digital project began largely
as a labor of love for the graduate students, with some financial
support coming in eventually from the University, and then more
support from the NEH in the form of research fellowships. But particularly
in the first couple of years it was mostly volunteer-based. Brown
University contributed by providing an undergraduate research fellowship
during the summer.
Q: What kind of support is required for a project of this magnitude?
A: The money is never enough. We discovered as our projects evolved
that the crucial need was for support for a project director other
than Professor Riva, who serves as Principal Investigator. When
he started the Decameron Web, Professor Riva was already tenured
but still on an upward career path, and he needed to teach and publish,
serve on University committees ,etc. Brown University was persuaded
to support the project’s operational plan, including funds
for a one-time post-doctoral fellow, for a period of two years,
and to provide minimal but continuous support as well, in the form
of research funds for Professor Riva.
Q: To what degree does this sort of undertaking require financial
infrastructure from the NEH if it is to be part of a curriculum?
A: Sustained technical and financial infrastructure is certainly
essential. However, the NEH is now only one of a number of potential
funding sources.
Session leader Riva restated his main points, namely that there
is currently a need to:
- Introduce an experimental dimension into the studies of humanities;
and
- Work with the media literacy that students already have and
teach them to apply it to the study of humanities.
A handout with discussion questions
was distributed. One question asks, "How does your institution
promote faculty members' creative/innovative use of digital technology?"
Technology is not just a new tool for pursuing old modes of work;
it is a tool for a new way of thinking. Institutions need to find
a way of supporting this new mode of research. Moreover, the support
must extend beyond routine applications such as courseware and course
management systems which are useful, but limited and may not be
engaging to students, who remain consumers/users instead of becoming
producers/contributors.
Christa Erickson, Professor of Art at Stony Brook University, observed
that as soon as handouts ceased being paper and were online and/or
involved student participation in their creation, students immediately
became more engaged. Professor Erickson, who led a conference breakout
session on "Within the Arts: New Media, New Strategies,"
teaches with technology. She and her students are creating things,
and function as "the arts end of the modern language group."
They are creating mostly-digital objects from the very beginning.
Professor Riva pointed out that this approach, which incorporates
interactions between arts and sciences, is extremely fruitful and
similar to approaches taken by Brown's music, visual arts and literary
arts departments and by the Rhode Island School of Design.
One university offers a summer series in which scholars co-teach
music and architecture courses and study abroad is integrated into
the curriculum. Although humanists generally say that their subjects
do not lend themselves to interdisciplinarity, it seems clear that
this is a mistaken assumption, and that we need to find ways to
involve students in research.
The University of Pittsburgh has a "first experiences in research"
program that attracts students in the sciences, but, because few
students see the humanities as a place for research, receives very
few applications for research projects in the humanities. We need
to change the image of humanities so that even students on a pre-med
track might be interested in participating in a supervised humanities
project. Image is a real problem.
At the University of South Carolina, humanities students want to
do research, but the faculty for the most part are reluctant to
supervise them. This reluctance occurs even in areas, such as the
study of the societal implications of nanotechnology that have both
humanities and sciences students working together. Many humanist
professors take the position that undergraduates do not have enough
background to do research and that it will take too long for them
to develop sufficient knowledge and skills to be useful. Since faculty
typically do not get “credit” for mentoring undergraduate
research, they tend to opt for the easier path of teaching their
usual courses.
The University of California at Irvine (UCI) has a course that
scientists co-teach with humanities and art professors. This kind
of course might be a good place to create the sort of transdisciplinary
culture for the students envisioned by Professor Riva. The University
of South Carolina has tried offering a similar course, but has had
difficulty in getting a critical mass of students to take it. UCI
has addressed this problem by awarding extra "breadth"
credits in writing in conjunction with the course.
UCI has a unit called Humanitech [10]. that supports
humanities research by providing tech support and promoting scholarly
uses of technology. Its staff, for example, helps instructors build
Web sites and design courses. Humanitech also holds conferences.
Its activities are designed address humanists' technophobia. Humanitech,
is "lodged" in the Humanities division and has its own
resources and a mini-curriculum for the faculty. Humamanitech would
like to be able to provide teaching assistants for specific courses,
but is not able to because UCI’s budget is tight and there
is limited funding for graduate student.
There was a general sentiment at the session that expectations
of how students conceive of learning and research should be changed.
At the University of Oregon, the Digital Teaching Unit (DTU) has
established a wired-humanities protocol for faculty members to submit
a course proposal. The DTU then helps them get resources for the
course. Two colleagues, for example, can apply to teach a course
on German poetry and music that will use musical scores and other
resources housed at the DTU. From today's conversation it seems
clear that student research papers could also be added to the DTU
as resources.
Two courses within Brown's Italian Studies department that use
the Web as a teaching and research tool and “thematize”
the literature-science connection are Digital Pinocchio [11]
and N2K: Narratives for the Next Millenium [12].
It is in Professor. Riva's interest to attract science students
to the Digital Pinocchio course, for example, and have them work
on their robotics project or computer game inspired by Pinocchio!
Q: As the book becomes a harder entity to get published, does this
publishing crisis affect the prospectives of humanities computing?
A: Certainly. Many online journals, both peer-reviewed and not,
have been created in recent years. One such example is Heliotropia:
Forum for Boccaccio Research and Interpretation [13],
housed at Brown and edited by Brown Ph.D. and Decameron Web co-editor,
Michael Papio (who teaches at the University of Massachusetts at
Amherst).
The Virtual Humanities Lab, referred to earlier, is an online space
that attempts to expand the possibilities of online publishing.
It places an explicit value on atomic input by its scholar-contributors,
who annotate literary and historical texts currently on the site.
By "atomic input" we mean any note at all, no matter how
short or seemingly insignificant, that contributes to an ongoing
conversation about the texts in question. Giving these notes a public
venue enables their expression, even if they are too small to make
it into a paper or a book.
Comment: Scientists often do not really understand what humanists
do. This lack of understanding is readily apparent in the deliberations
of promotion and tenure committees. The electronic medium can help
yield them such understanding, yet in their deliberations, as well
as in performance reviews, the question of the published, paper-bound
book comes up again and again.
Q: Regarding the electronic dissertation by Vika Zafrin, was it
difficult to get it approved?
A: No: the approval process for the Special Studies PhD program
requires the support of a faculty committee at the outset. The dissertation
itself is then approved by the faculty committee, who become the
student's dissertation readers. What has proven to be difficult
is not getting approval for the dissertation itself, but justifying
its format within the actual dissertation, for academic readers
who are oriented towards more traditional research methods and are
skeptical of recent innovations.
Q: In an institution with vastly fewer resources than a Research
1 or 2 university, is there a way for an "average person"
who does not have graduate assistants to undertake the “herculean
effort” digital humanities teaching and research seems to
require. How does one do digital humanities in a practical way?
A: Florida State University is trying a research-apprenticeship
model. The University offers a semester-long course in humanities
research methods which prepares students to be research apprentices
and work with a faculty member on a research project. In order to
serve as an apprentice, the student must pass the “research
methods” course and another course in the student's major.
The apprentices are usually sophomores. They have the option of
receiving a modest stipend (around $800/semester) or college credit
for the course. Among other things, students are trained in using
library resources, although the library link is not very strong
right now. Students who take the research methods course are not
guaranteed placement, but the likelihood of their getting placed
with a faculty member is high.
One challenge has become clear: Faculty members want students who
are serious and have some expertise. The organizers of the apprenticeship
program hope that eventually professors will see that they do not
need a student who knows Latin, Greek, Italian and French to make
their research easier.
The University of South Carolina tried a similar apprenticeship
model, but was forced to jettison the research methods course because
of insufficient student interest. The dilemma was whether to make
the course a requirement and have too many students enroll or to
leave it as an elective and have too low an enrollment.
A common problem that faculty at the University of South Carolina
and other universities has encountered is the reluctance of promotion
and tenure committees to “count’ multidisciplinary collaborative
projects involving undergraduates in the review and promotion processes.
A history professor at South Carolina, for example, who collaborated
with a media-arts faculty member on a “fantastic” project
involving the history of an area of South Carolina, was advised
by his department not to include it in his promotion package. How
does this kind of effort get categorized and recognized? In the
University of South Carolina business school undergraduate research
mentoring is categorized as service and not teaching at all; thus
few faculty do it. The culture within a department is critical.
If a department recognizes such work, it will happen; if the department
does not recognize this kind of work, will not happen.
The University of Maryland has a cadre of Maryland Student Researchers—students
who volunteer to work for professors for four-six hours per week.
The program generally runs well, though a persistent problem has
related to faculty expectations of the students. Their expectations
are either too high and they give students sophisticated analysis
to do or too low and student spend their time on such tasks as going
to the library to fetch books or and photocopy. Hopefully, with
increased exposure to the program, both students and faculty will
modulate their expectations to meet in the middle.
As the session drew to an end, the group noted several factors
that impede the kind of creative activities discussed during the
session.
- A major one is the need to reward faculty. Although everyone
benefits from innovation, the question of reward still has not
been adequately addressed. One form of support that was proposed
is seed money to enable a faculty member to write a proposal to
the NEH or another funding agency.
The compensation problem exists on multiple levels. In the sciences,
undergraduates are frequently trained by graduate students and thus
become good workers in the lab; sometimes they are also supervised
by the graduate students. In the humanities, the supervision of
undergraduates falls solely to faculty. Since their work with students
is not part of their course load and does not count toward tenure
and promotion, they are essentially not compensated for this activity,
which may involve considerable time. Credit that is given for directing
theses and other research activities is very vague.
Thus the real question is whether there a shortage of students
who want to participate in programs such as the one at Florida State,
or a shortage of faculty members?
- There is a pressing need to change local cultures, including
the distribution of resources among disciplines and especially
between sciences and humanities, which is a big problem. Engagement
in transdisciplinarity may mediate the effects of uneven research
distribution. As UC Santa Barbara's Alan Liu pointed out at another
recent conference, collaborative projects tend to draw out small
amounts of money and other resources (i.e. technological, personnel)
that would otherwise go unused and that, when combined, together,
provide real support for such projects.
Professor Erickson noted that, as an art professor doing digital
projects, she could not do her work without the IT/instructional
computing component of the University, which is supported in part
by a tech fee that all students pay. It is only through that collaboration
that she has anything with which to teach. Inter-departmental collaboration
may have the added benefit of breaking up intra-departmental "family
dysfunction."
Recommendations:
The group agreed that we must find ways to make institutions responsible
for robust study abroad programs and to determine who benefits from
international education activities. Understanding both of these
issues would help to direct future efforts at international education.
The group articulated two large concerns: 1) Key administrators
need to articulate that international education is a priority for
their campus and create or enhance an administrative infrastructure
to support internationally-oriented efforts; 2) Solutions need to
be found for the high costs of study abroad so that a broader and
more diverse student population can participate.
Recommendations for Individual Campuses
- Faculty interested in transdisciplinary work should be cross-appointed
in multiple departments. Faculty who are in a single department
but whose work is transdisciplinary should be able to have colleagues
outside the home department vote on tenure and promotion.
Recommendations for the Reinvention Center
- Tenure and promotion criteria must be re-evaluated. A strong
recommendation in favor of this should come from the Reinvention
Center, a respected and authoritative organization. It would also
be useful for the Reinvention Center to solicit different kinds
of ways that this re-evaluation is already being done, and make
those a part of its online resources.
- One of the tasks inherent in the process of becoming a humanities
scholar is finding one's own voice as a humanist. This is quite
different from the sciences, which emphasizes the "voice
of truth," and it changes the dynamics between teacher and
student in a fundamental way. This would be an interesting topic
for discussion for a future conference.
- In today's academic atmosphere of increasingly blurred disciplinary
boundaries, we should reconsider the perceived divide between
the sciences and the humanities. A Reinvention Center conference
would be a good place for dialogue on this topic.
- We should begin to reconceive the humanist, not as an individual
alone in a cell with a book, but as a collaborative creature.
Session participants were interested in finding out what kinds
of collaboration already exist in the humanities. Perhaps the
Reinvention Center could be a resource of this sort of information.
References/Resources:
[1] http://web.tiscalinet.it/unimn/mantova/cennistorici/foto/full/studiolo.jpg
[2] http://www.eee.metu.edu.tr/~akan/raphael30.jpg
[3] Additional information on the theatre of memory
as it applies to the present day is available at http://www.sfb-performativ.de/seiten/b7_ergebnisse_engl.html
[4] http://www.digitallearning.macfound.org
[5] The dissertation describes a corpus of works
existing in many artistic genres and created between roughly 1095
A.D. and now. The corpus is bound by the presence of a specific
fictional character, as well as themes and imagery recurrent therein.
[6] Read, Brock. "Can Wikipedia Ever Make the
Grade?" The Chronicle of Higher Education 53:10, http://chronicle.com/weekly/v53/i10/10a03101.htm
(subscription required)
[7] http://brown.edu/Departments/Italian_Studies/dweb/arts/index.shtml
[8] http://brown.edu/Departments/Italian_Studies/dweb/arts/music/mmmain.shtml
[9] http://www.brown.edu/Departments/Italian_Studies/dweb/history/index.shtml
[10] http://www.humanities.uci.edu/humanitech/
[11] http://www.brown.edu/Departments/Italian_Studies/DP/
[12] http://www.brown.edu/Departments/Italian_Studies/n2k/
[13] http://heliotropia.org/
The Humanist mailing list: http://www.princeton.edu/~mccarty/humanist/
. This is a good community-driven resource for current work in digital
humanities.
Publications
Read, Brock. "Can Wikipedia Ever Make the Grade?" The
Chronicle of Higher Education 53:10, http://chronicle.com/weekly/v53/i10/10a03101.htm
(subscription required)
Websites
- MacArthur Foundation Digital Media and Learning Initiative
(http://www.digitallearning.macfound.org)
- Decameron Web (http://brown.edu/decameron)
- Pico Project (http://www.brown.edu/Departments/Italian_Studies/pico/)
- Virtual Humanities Lab (http://golf.services.brown.edu/projects/VHL/)
- Digital Pinocchio (http://www.brown.edu/Departments/Italian_Studies/DP/)
- N2K: Narratives for the Next Millennium (http://www.brown.edu/Departments/Italian_Studies/n2k/)
- Heliotropia: Forum for Boccaccio Research and Interpretation,
online journal at Brown University (http://heliotropia.org/)
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