 Right, so this is going to be a very tentative talk. I probably shouldn't have even used the University of Canterbury slides. It's deserving of just the blank sort of slide deck. So we'll see how it goes. And this is also going to be quite a personal account. I don't claim to know exactly what's going on in all New Zealand universities. So this is sort of my, I'm sharing with you what I know as much as anything. And as New Zealand's only permanent lecturer in Digital Humanities, I should know something. But the nature of universities are that I probably don't. There are probably lots of gaps in my understanding. So another aspect of this talk is to solicit some more information from people that might be able to fill in gaps in my knowledge. Right, so the focus is going to be on Canterbury because it's what I know most about. And because they've invested in Digital Humanities, I'm not sure, but I think we're a little bit further ahead of some other universities. So it might be a bit of a view of what the future of Digital Humanities in New Zealand might look like. But I'm also going to talk briefly about my understanding of the academic DHC nationally. There are lots of different ways to implement academic Digital Humanities or Digital Humanities within universities. Sometimes it's within libraries. Sometimes it's within colleges of arts or humanities. Sometimes it's within computer science departments. So every university is going to have to work out their own way of going about it. And again, I'm just presenting Canterbury's model here. And a last caveat is that I'm talking about academic Digital Humanities. And Digital Humanities, even within universities, is still conceived of very strongly as a broad discipline or field or community of practice that sits both inside and outside universities. So the glam sector is sort of key to academic Digital Humanities, which makes things a little bit different. I don't even know if we're a discipline. I don't think we really are. We're more a community of practice. So when I think about academic DH in New Zealand, I think of projects first and foremost. We don't have many, but I think we should be proud of them. And one way to work out what Digital Humanities might look like in New Zealand is to look at the handful of digital projects that we can definitely see characterised as academic. I'm not going to dwell on them, because most of you will know them already. We've got the New Zealand Electronic Poetry Centre, established in 2001 by Michelle Leggett and Brian Flaherty at Auckland University, well ahead of the game, and an excellent example, I think, of what could have been if Digital Humanities had been picked up by more universities. We could have had well over 10 years of development under our belt, but as it stands, we're sort of still just getting started. The New Zealand Electronic Teaks Collection here in Wellington, established 2002 as part of the School of English, and now part of the Victoria University of Wellington Library. And this is another project that I think is sort of flagship for New Zealand Academic Digital Humanities, and we should be proud of it. It's well-respected internationally for its implementation of the Text and Coding Initiative markup. Otago, as you're about to see, have recently launched the Marston Online Archive, a digital archive of Samuel Marston's letters. So this is a brand-new, shiny academic DH project, and that was developed by the library team. You'll hear more about that. And that's a huge deal. That project, by the way, in advance, is a huge deal, I think, for Digital Humanities in New Zealand. It's yet one more node sort of within the university system that we see flowering and growing. We need to seed initiatives, and that's what we've got at the moment across the country, is sort of these seed initiatives and a handful of universities. So NZEPC, NZETC and Marston are all fairly self-consciously DH projects, although the EPC and ETC might prefer the earlier label Humanities Computing. But there are probably other projects that I'm unaware of that use digital tools but don't identify as being digital humanities projects, and there could be lots of them that I don't know about. One example is the Cavishin project in Dunedin that was started about 30 years ago to create a database around the industrialisation of the Cavishin suburb in Dunedin, and I think it's got an online database component now. But that's a really important sort of precursor to digital humanities in New Zealand. I think, and correct me if I'm wrong again, but I think that Victoria is really quite advanced, a head of perhaps Otago and Auckland when it comes to digital humanities, particularly through Sydney's Print Cultural Research Hub. There's a lot of energy there. It's a hub for book history and digital history and has strong connections into information management and library science, which is yet another model, another way of sort of rolling out DH. They've got the Reading Experience Database, New Zealand Node and a global effort to capture people's reading experience, the Printer's Web, Digital Colenso, and I should also note that Danelle McKinley, who is one of Sydney's doctoral students, is actually from Canterbury, so she did Canterbury at Honours at Canterbury and shifted up to Vic. And that, to me, is another sort of nascent sign of an ecosystem, of an intellectual ecosystem growing of people sharing ideas and students moving around places. We want to really encourage that. And there's a lot going on in e-research at Vic as well under the direction of Johnny Flutie. I think it's really exciting stuff happening in that space, Matt Plummer, who has a background in art history as part of that team. So courses. I might get into trouble here, but it's the only way to sort of find out what's going on. I suspect there are DH-oriented courses floating around that I'm not aware of, and there'll be other humanities courses that have digital components brought into them. So here I'm really sort of trying to identify, obviously, courses that identify strongly as digital humanities courses. I think students at Vic will pick up some digital humanities through Sydney's book and print history offerings, perhaps information management, but I'm not aware of any dedicated DH courses, maybe digital history in the future, I'm not sure. Situations a bit different at Otago, where Dave Kikureko offers two really solid DH courses in English titled Digital Literature, Technologies of Storytelling and Story, Worlds and Cognition. Dave did his doctorate at Canterbury on hypertext novels and shifted south, so there's another sort of intellectual thing developing. And I've heard whispers that Otago's considering offering a course in digital history based on the back of the Marston Project, so you might see something there. And my only other knowledge of digital humanities-related courses in New Zealand is really pretty sketchy. I've heard there might be some digital history being taught at Waikato and possibly moves a foot at Massey, but that's about it. And if we broaden things out to include cultural and media studies, sort of it looks like we've got a lot more happening, but as far as digital humanities propaganda we haven't got much at all. So now on to stuff that I know about at Canterbury. I did a review of digital at our university and our school this year and found to my surprise that there were almost 20 active digital projects in our school, and that's a school of only about 30 academics at the moment. So we've got established ones like the seismic Canterbury Digital Archive, Jack Copeland and Diane Proudfoot's Turing Archive for the History of Computing, as well as two electronic journals. And of course, Dennis Dutton started arts and letters daily at Canterbury, so there's a bit of history there as well. There's a lot of other work happening too, though. Several staff in music, philosophy, history, art history and English are projects underway of various sizes. They range from texting coding of music scores to digitisation of rare editions of the King James Bible. I built an Ameka website for Richard Bullen and James Beattie's project on Rewie Alley, and the seismic project starting to build third-party archive sites for peak agency associated with the earthquakes. We've also got a person in history building a database to record reports of the Armenian genocide during World War I. And I'm part of a Digital Humanities Social Science research team that have access to 800,000 earthquake-related tweets which we're slowly analysing, probably using the university supercomputer. Problem of this, of course, is it's really patchy because none of it counts for the performance-based research fund, so I get marked and assessed for my journal outputs and my monographs, but none of my digital work counts in any meaningful way. So that's something we need to work on. At Canterbury, and I hope this doesn't come across as advertising, it's informational. We're trying to build out a full package of Digital Humanities courses from undergraduate right through to Masters. And it's a bit of a balancing act, but our main offerings at the moment are on this level. We've got two core papers, Digi 401 Digital Methods and Digi 403 Digital Project. And these courses are designed for students to take in addition to their major subject, so we'd like them to do an honours course in history or English and just throw in a couple of Digi courses as well. Digital Methods offers an introduction to Python programming, as well as a range of DH tools and methods from TEI to GIS and Digital Archiving. And then they can take those skills and build their own digital project and get assessed for that. They write a scope document, build the digital project and then produce a 4000-read essay that sort of contextualises it within Digital Humanities as a field in the primary scholarly domain. We've got another couple of honours papers sort of can be used as well. And there are big plans for 2016, which we'll hopefully achieve. The goal is to offer a minor that we're going to call Digital Practice. So students will start off in first year and again major in English history, art history and take a minor in Digital Practice that will involve applied work across first, second and third year level. And they'll take a set number of courses, some of which will be co-taught with Computer Science and the Human Interface Technology Laboratory, the HIT Lab, and involve introductory programming and robotics and 3D printing. So we're sort of going to get them involved in everything hands-on. And we're also going to wrap if QAP approve it, the powers that be approve it. Wrap Digi 401 and 403 into a Certificate in Digital Arts and Humanities. That'll be aimed at either new graduates or people already working who'd like to increase their skills. There seems to be demand there. I get emails even now and again from people in the Glam sector wanting some sort of certificate qualification. And based on again inquiries from New Zealand and overseas, we're going to look at delivering a taught master's or 180-point masters in Digital Arts and Humanities. And that'll run for 12 months from January through to December. And people would take the Certificate in Digital Humanities plus a thesis and a couple of other core humanities papers. I'm not really sure we'll get that far by 2016 because I'm the only academic. We're a department of one. But so there's a massive paperwork to get through, but I think it's possible and there's quite a lot of support for it. So the goal is to develop a strong digital pathway for students from first year through to masters in collaboration with Computer Science and Engineering. And that's so we can be sure that the technical aspects are strong. We don't want to present Digital Humanities courses that computer scientists and engineers see as second and third rate. We want to make sure that we produce bylingor, as I'm calling them, arts and humanities graduates who can work in either the technical or humanities fields. And one of the other subsidiary goal is to bring Computer Science students into the arts and humanities. It's hard for them to find the space within their degree, but we've worked with quite a lot of them who want to take history and English papers. And they bring the strong computational skills to the arts and humanities community. And I think we should be encouraging them. Sorry, this is a bit of a blather, a bit of a rush, but to finish, I'll give you an insight into the kind of postgraduate projects that we're running. And it looks like Digital Humanities is going to be highly interdisciplinary at Canterbury anyway, but it's probably happened anywhere. We've got two data science projects in particular that will give you an idea of the flavour of things. Rebecca A.B. is doing an M.E.C. in maths and stats, so I've found myself strangely co-supervising maths and stats masters. But Rebecca's got an honours degree in philosophy, and we're working with the Centre for Digital History at the University of Western Ontario on their fill papers or philosophy papers archive, which is a major open access repository of 70,000 philosophy articles. So Rebecca's analysing it, doing text analysis of that archive, which will include using the University Supercomputer as part of an M.E.C. in data science. So we're finding that these data science students need knowledge domains to throw their technical skills at, and the arts and humanities data sets are really useful for them because they're difficult, they're fuzzy, they're poorly structured, they're just like real-world data, so that's positive. The other M.E.C. that I'm involved in is with Jasper McKenzie, who's doing something similar, except with the Old Bailey Online Online Archive of Historic Court Registers from 300 years, 1674 to 1913. There's a million words worth in this archive. And Jasper's got an interdisciplinary supervision team that's led by a data scientist, what includes me as sort of resident digital humanist. I do a lot of connecting of the dots across the campus, as well as Heather Wolf from the History Department, who's a specialist in 19th-century criminology. And Rebecca and Jasper are our first praxis network fellows, which is a global network involving universities in the US and the UK who have differently inflected humanities programmes. It sounds a bit odd, but it's basically an experimental group. We've all got experimental programmes and we're trying to run our different programmes up the flagpole so that people can look and pick and choose what sort of models they want to implement within the universities. We've been contacted by digital humanities groups in Ireland and Germany and we're developing a close relationship with the DH group at the University of Western Sydney. So student exchanges seem to be really on the cards as well. We have people from Germany and Ireland contact and are saying we have students who have to go overseas as part of their masters or part of their postgraduate study and we want to send them to you, so of course we're happy to oblige. The difficulty for us is working out how to make it a 360 exchange because we need to get funding to send our students back to them. But the demand's there. And it seems to be this internationalisation that seems to be a growing part of postgraduate research. So I'm pretty happy with the start we've made. I've been back at the university after a stint in IT for three years and in that time we've built the seismic digital archive, got that up and running and we've managed to sort of, by hook and by crook, cede this digital humanities programme. But the reason I wanted to present this particular view of DH in New Zealand is more to solicit responses from you because digital humanities when it comes down to it is for graduates is to make sure that our graduates get quality degrees that are marketable, but also for employers. So that employers get the sort of graduates that they want within the Glam sector. So this, at the moment, what we've seen in New Zealand and around the world, but in New Zealand, we're seeing Canterbury University throwing digital humanities at the wall and saying this is what it looks like. But we need to make sure that industry and students agree with this. So any feedback on this talk or perhaps what you think a digital humanities education should look like in New Zealand would be really welcome. There's a question. James, when I think about it, the archives and Te Papa in the National Library have some of the biggest collections of digital content in the country. What do you think they could do to better support digital scholarship in New Zealand? Is there anything they could do? The risk of taking things out of my university, I actually think we need some sort of initiative within Wellington where fellowships are offered to bring people from Canterbury or wherever and basically put computer scientists and maths and stats people and humanists together in a room for six months or three months or six weeks for a hackfair sort of day and let them loose on the data and see what they come up with. The problem we've got at the moment is that the humanists don't really have... We understand the data sets but we don't have the computational and statistical skills to do really robust works. So I think that if Wellington can enable those sorts of projects, we'll make some progress. And not only will we... We might not necessarily make progress, even if we don't make progress, but we'll see what the problems are. Because what I've found with large, especially large-scale computational research is that it's the preparation and licensing and getting the data set to a point where you can actually throw algorithms or models at it. That's the problem. It takes 80% or 90% of the time. So what we need is tools in front of our data sets both in Wellington and also that we could apply to all collections that can circumvent that preparation time for researchers and just let them get down to their research. I think too that the research is a broad spectrum, really, so that I might be interested in doing some investigation and research myself, say, on papers past. But the only tool, data mining tool I know is... I've just forgotten his name from Australia. He's done some work, but they don't seem to be tools for the laypeople to be able to actually do some investigation of using the digital content as well as high-performance computing type. There are lots of services out there, APIs that you can sort of copy and paste text into. Paper's past is a really good example. If I had enough time, I'd go to paper's past and my goal would be to go to paper's past and just create one big text string for all of paper's past. You know, you can do something with that. You can just feed it. There are several open-source algorithms that you could just feed that through immediately and get results from. So even if the National Library could make large, clean data sets of good chunks of paper's past, for instance, available, I'd use it in my first-year classes. They take this 10 years of 19th-century newspapers, first-year students, and feed it to the API and analyse the results that you get back. And the results that they get back will be fairly rudimentary and they'll probably end up saying, well, digital history isn't really much use. You really still need a historian, but that's the whole point. Thank you for that. Also, I'm just wondering if you've thought about collaborating with other departments and universities like Anthropology or Archaeology, because I think those are sort of faculties that could really do with getting their material, their research out there, and I think using digital projects. And if you think about the buildings that are destroyed in Christchurch, there's research going on about documenting them, and you could actually translate that into digital projects. Like the Marae talk that we heard before, the Wharanui talk. Yeah, there's a huge amount. Quite broadly, if you thought about that before. Yeah, we're doing a little bit with the seismic digital archive. We've got building records and stuff like that in there. But it's really a resource issue. I'm on the research team with social scientists who are sort of in the same position of developing capability. And it really, in my experience, comes down to the people across campus who... Anyone across campus who's interested in digital stuff within the arts, we tend to gravitate together. And if they don't happen to be people interested in your Anthropology department, they just...it doesn't come up in your radar. But you're absolutely right. There's enormous things that we could do. And the main problem, and if I really want to get on my soapbox, is PBRF and Marsden, they need to incentivise academics. Because at the moment, we've got a bunch of academics who are saying, well, I'm not going to get any benefit from increasing my skills or throwing stuff at the wall or experimenting with this digital stuff. And that's what we need to happen. We need that sort of groundswell. You know, I could count the people involved in digital humanities on one hand, really, in New Zealand who are seriously into doing stuff. We need to enable and incentivise the other 90%. We'll take one quick question because we're going to have to move between rooms in about 30 seconds. I just noted on the list of projects you didn't mention the early New Zealand works project. Yeah, of course. Yeah, that's a good one. Well, on that, I think you better go and update your presentation. But thank you, James, that's a great overview and insight into that world. We've got five minutes to move between rooms. If you want to stay here, you're more than welcome. We'll have Vanessa Gibbs up in a minute. And a round of applause for James, please.