.gitignore

+scripts/results.txt
+scripts/results.csv
+*.DS_Store

CONTRIBUTING.md

+# Contributing guidelines
+
+Everyone is welcome to add content to this repository. In fact, at various points in the semester, contributing will be part of your homework!
+
+The simplest ways to contribute are by adding to the Wiki and Issues pages. These actions can both be completed using nothing but your browser.
+
+However, one key outcome of this course is that you'll learn how to use Git to pull and push changes to repositories like this one. In Week 2, we will run a workshop that will set up your machines for Git use, and teach you basic Git workflows.
+
+There are two main workflows for adding to/modifying a git repository: via *branch*, and via *fork*.
+
+## Branching
+
+By default, you are looking at the *master* branch of this repository. However, other branches (versions) can also be created, and the changes from one branch can be merged into another (typically, into the master branch). The basic steps are:
+
+1. *clone* the repository to your local machine: `git clone https://gitlab.uzh.ch/lit/digizeit`
+2. *checkout* (create and switch to) a new branch: `git checkout -b typo-fix` (create a branch called `typo-fix`
+3. Modify the checked-out branch in any way you like (in this case, by fixing some typo you found)
+4. Add the changed files to staging area: `git add README.md` (to add changes made to `README.md`)
+5. Commit the changes to your local repository with a message `git commit -m "fixed the typo in the readme"`
+6. Push changes to GitLab, which will create the `typo-fix` branch on the remote: `git push`
+7. Use GitLab website interface to make a *merge request* from `typo-fix` into `master`
+8. Changes will be reviewed, commented on and accepted/rejected by an admin
+9. Once finished, you can delete your branch: `git branch -d typo-fix`
+
+## Forking
+
+When you fork a repository, you copy an entire project, potentially including all the branches of the original project. This is the workflow you need if you do not have write access to the repository you are modifying (i.e. if you are submitting a bugfix on someone else's project).
+
+1. Click the *fork* button in GitLab to make a version of the project under your namespace
+2. Clone the forked repository; `git clone https://gitlab.uzh.ch/my-username/digizeit`
+3. Modify the master branch in any way you like (i.e. fix the bug you found)
+4. Add the changed files to staging area: `git add code/buggy.py` (to add your fixes to the buddy Python file)
+5. Commit the changes to your local repository with a message `git commit -m "fixed the bug in buggy.py"`
+6. Push changes to GitLab, which will show up in your work
+7. Use GitLab website interface to make a *merge request* from your fork's `master` into the original (upstream) `master`
+8. Changes will be reviewed, commented on and accepted/rejected by an admin
+9. Once finished, you can delete your fork on GitLab. Otherwise, if you want to make more changes still, you will want to update your fork to match the latest upstream master branch: `git fetch upstream`, then `git merge upstream/master`
+
+This is all quite complicated at first, but after a little while, it will start making more conceptual sense. You might even find it fun!
+
+Good luck!
\ No newline at end of file

LICENSE.md

+## creative commons
+
+# Attribution-NonCommercial-ShareAlike 4.0 International
+
+Creative Commons Corporation (“Creative Commons”) is not a law firm and does not provide legal services or legal advice. Distribution of Creative Commons public licenses does not create a lawyer-client or other relationship. Creative Commons makes its licenses and related information available on an “as-is” basis. Creative Commons gives no warranties regarding its licenses, any material licensed under their terms and conditions, or any related information. Creative Commons disclaims all liability for damages resulting from their use to the fullest extent possible.
+
+### Using Creative Commons Public Licenses
+
+Creative Commons public licenses provide a standard set of terms and conditions that creators and other rights holders may use to share original works of authorship and other material subject to copyright and certain other rights specified in the public license below. The following considerations are for informational purposes only, are not exhaustive, and do not form part of our licenses.
+
+* __Considerations for licensors:__ Our public licenses are intended for use by those authorized to give the public permission to use material in ways otherwise restricted by copyright and certain other rights. Our licenses are irrevocable. Licensors should read and understand the terms and conditions of the license they choose before applying it. Licensors should also secure all rights necessary before applying our licenses so that the public can reuse the material as expected. Licensors should clearly mark any material not subject to the license. This includes other CC-licensed material, or material used under an exception or limitation to copyright. [More considerations for licensors](http://wiki.creativecommons.org/Considerations_for_licensors_and_licensees#Considerations_for_licensors).
+
+* __Considerations for the public:__ By using one of our public licenses, a licensor grants the public permission to use the licensed material under specified terms and conditions. If the licensor’s permission is not necessary for any reason–for example, because of any applicable exception or limitation to copyright–then that use is not regulated by the license. Our licenses grant only permissions under copyright and certain other rights that a licensor has authority to grant. Use of the licensed material may still be restricted for other reasons, including because others have copyright or other rights in the material. A licensor may make special requests, such as asking that all changes be marked or described. Although not required by our licenses, you are encouraged to respect those requests where reasonable. [More considerations for the public](http://wiki.creativecommons.org/Considerations_for_licensors_and_licensees#Considerations_for_licensees).
+
+## Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International Public License
+
+By exercising the Licensed Rights (defined below), You accept and agree to be bound by the terms and conditions of this Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International Public License ("Public License"). To the extent this Public License may be interpreted as a contract, You are granted the Licensed Rights in consideration of Your acceptance of these terms and conditions, and the Licensor grants You such rights in consideration of benefits the Licensor receives from making the Licensed Material available under these terms and conditions.
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+
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+
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+
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+
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+
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+
+l. __Share__ means to provide material to the public by any means or process that requires permission under the Licensed Rights, such as reproduction, public display, public performance, distribution, dissemination, communication, or importation, and to make material available to the public including in ways that members of the public may access the material from a place and at a time individually chosen by them.
+
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+
+n. __You__ means the individual or entity exercising the Licensed Rights under this Public License. Your has a corresponding meaning.
+
+### Section 2 – Scope.
+
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+
+   1. Subject to the terms and conditions of this Public License, the Licensor hereby grants You a worldwide, royalty-free, non-sublicensable, non-exclusive, irrevocable license to exercise the Licensed Rights in the Licensed Material to:
+
+        A. reproduce and Share the Licensed Material, in whole or in part, for NonCommercial purposes only; and
+
+        B. produce, reproduce, and Share Adapted Material for NonCommercial purposes only.
+
+   2. __Exceptions and Limitations.__ For the avoidance of doubt, where Exceptions and Limitations apply to Your use, this Public License does not apply, and You do not need to comply with its terms and conditions.
+
+   3. __Term.__ The term of this Public License is specified in Section 6(a).
+
+   4. __Media and formats; technical modifications allowed.__ The Licensor authorizes You to exercise the Licensed Rights in all media and formats whether now known or hereafter created, and to make technical modifications necessary to do so. The Licensor waives and/or agrees not to assert any right or authority to forbid You from making technical modifications necessary to exercise the Licensed Rights, including technical modifications necessary to circumvent Effective Technological Measures. For purposes of this Public License, simply making modifications authorized by this Section 2(a)(4) never produces Adapted Material.
+
+   5. __Downstream recipients.__
+
+        A. __Offer from the Licensor – Licensed Material.__ Every recipient of the Licensed Material automatically receives an offer from the Licensor to exercise the Licensed Rights under the terms and conditions of this Public License.
+
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+
+        C. __No downstream restrictions.__ You may not offer or impose any additional or different terms or conditions on, or apply any Effective Technological Measures to, the Licensed Material if doing so restricts exercise of the Licensed Rights by any recipient of the Licensed Material.
+
+   6. __No endorsement.__ Nothing in this Public License constitutes or may be construed as permission to assert or imply that You are, or that Your use of the Licensed Material is, connected with, or sponsored, endorsed, or granted official status by, the Licensor or others designated to receive attribution as provided in Section 3(a)(1)(A)(i).
+
+b. ___Other rights.___
+
+   1. Moral rights, such as the right of integrity, are not licensed under this Public License, nor are publicity, privacy, and/or other similar personality rights; however, to the extent possible, the Licensor waives and/or agrees not to assert any such rights held by the Licensor to the limited extent necessary to allow You to exercise the Licensed Rights, but not otherwise.
+
+   2. Patent and trademark rights are not licensed under this Public License.
+
+   3. To the extent possible, the Licensor waives any right to collect royalties from You for the exercise of the Licensed Rights, whether directly or through a collecting society under any voluntary or waivable statutory or compulsory licensing scheme. In all other cases the Licensor expressly reserves any right to collect such royalties, including when the Licensed Material is used other than for NonCommercial purposes.
+
+### Section 3 – License Conditions.
+
+Your exercise of the Licensed Rights is expressly made subject to the following conditions.
+
+a. ___Attribution.___
+
+   1. If You Share the Licensed Material (including in modified form), You must:
+
+       A. retain the following if it is supplied by the Licensor with the Licensed Material:
+
+         i. identification of the creator(s) of the Licensed Material and any others designated to receive attribution, in any reasonable manner requested by the Licensor (including by pseudonym if designated);
+
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+
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+
+       C. indicate the Licensed Material is licensed under this Public License, and include the text of, or the URI or hyperlink to, this Public License.
+
+   2. You may satisfy the conditions in Section 3(a)(1) in any reasonable manner based on the medium, means, and context in which You Share the Licensed Material. For example, it may be reasonable to satisfy the conditions by providing a URI or hyperlink to a resource that includes the required information.
+
+   3. If requested by the Licensor, You must remove any of the information required by Section 3(a)(1)(A) to the extent reasonably practicable.
+
+b. ___ShareAlike.___
+
+In addition to the conditions in Section 3(a), if You Share Adapted Material You produce, the following conditions also apply.
+
+1. The Adapter’s License You apply must be a Creative Commons license with the same License Elements, this version or later, or a BY-NC-SA Compatible License.
+
+2. You must include the text of, or the URI or hyperlink to, the Adapter's License You apply. You may satisfy this condition in any reasonable manner based on the medium, means, and context in which You Share Adapted Material.
+
+3. You may not offer or impose any additional or different terms or conditions on, or apply any Effective Technological Measures to, Adapted Material that restrict exercise of the rights granted under the Adapter's License You apply.
+
+### Section 4 – Sui Generis Database Rights.
+
+Where the Licensed Rights include Sui Generis Database Rights that apply to Your use of the Licensed Material:
+
+a. for the avoidance of doubt, Section 2(a)(1) grants You the right to extract, reuse, reproduce, and Share all or a substantial portion of the contents of the database for NonCommercial purposes only;
+
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+
+c. You must comply with the conditions in Section 3(a) if You Share all or a substantial portion of the contents of the database.
+
+For the avoidance of doubt, this Section 4 supplements and does not replace Your obligations under this Public License where the Licensed Rights include other Copyright and Similar Rights.
+
+### Section 5 – Disclaimer of Warranties and Limitation of Liability.
+
+a. __Unless otherwise separately undertaken by the Licensor, to the extent possible, the Licensor offers the Licensed Material as-is and as-available, and makes no representations or warranties of any kind concerning the Licensed Material, whether express, implied, statutory, or other. This includes, without limitation, warranties of title, merchantability, fitness for a particular purpose, non-infringement, absence of latent or other defects, accuracy, or the presence or absence of errors, whether or not known or discoverable. Where disclaimers of warranties are not allowed in full or in part, this disclaimer may not apply to You.__
+
+b. __To the extent possible, in no event will the Licensor be liable to You on any legal theory (including, without limitation, negligence) or otherwise for any direct, special, indirect, incidental, consequential, punitive, exemplary, or other losses, costs, expenses, or damages arising out of this Public License or use of the Licensed Material, even if the Licensor has been advised of the possibility of such losses, costs, expenses, or damages. Where a limitation of liability is not allowed in full or in part, this limitation may not apply to You.__
+
+c. The disclaimer of warranties and limitation of liability provided above shall be interpreted in a manner that, to the extent possible, most closely approximates an absolute disclaimer and waiver of all liability.
+
+### Section 6 – Term and Termination.
+
+a. This Public License applies for the term of the Copyright and Similar Rights licensed here. However, if You fail to comply with this Public License, then Your rights under this Public License terminate automatically.
+
+b. Where Your right to use the Licensed Material has terminated under Section 6(a), it reinstates:
+
+   1. automatically as of the date the violation is cured, provided it is cured within 30 days of Your discovery of the violation; or
+
+   2. upon express reinstatement by the Licensor.
+
+   For the avoidance of doubt, this Section 6(b) does not affect any right the Licensor may have to seek remedies for Your violations of this Public License.
+
+c. For the avoidance of doubt, the Licensor may also offer the Licensed Material under separate terms or conditions or stop distributing the Licensed Material at any time; however, doing so will not terminate this Public License.
+
+d. Sections 1, 5, 6, 7, and 8 survive termination of this Public License.
+
+### Section 7 – Other Terms and Conditions.
+
+a. The Licensor shall not be bound by any additional or different terms or conditions communicated by You unless expressly agreed.
+
+b. Any arrangements, understandings, or agreements regarding the Licensed Material not stated herein are separate from and independent of the terms and conditions of this Public License.
+
+### Section 8 – Interpretation.
+
+a. For the avoidance of doubt, this Public License does not, and shall not be interpreted to, reduce, limit, restrict, or impose conditions on any use of the Licensed Material that could lawfully be made without permission under this Public License.
+
+b. To the extent possible, if any provision of this Public License is deemed unenforceable, it shall be automatically reformed to the minimum extent necessary to make it enforceable. If the provision cannot be reformed, it shall be severed from this Public License without affecting the enforceability of the remaining terms and conditions.
+
+c. No term or condition of this Public License will be waived and no failure to comply consented to unless expressly agreed to by the Licensor.
+
+d. Nothing in this Public License constitutes or may be interpreted as a limitation upon, or waiver of, any privileges and immunities that apply to the Licensor or You, including from the legal processes of any jurisdiction or authority.
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+>
+> Creative Commons may be contacted at creativecommons.org
\ No newline at end of file

README.md

-# digizeit
+# *MA Übung: History in a Digitized World* (digizeit)
 
-Course materials for History of the Contemporary World / Zeitgeschichte
\ No newline at end of file
+> This repository contains the course materials *History in a Digitized World* (MA Spezmaster History of the Contemporary World/Zeitgeschichte), and will also function as a digital hub for students and instructors throughout the semester.
+
+## Format of the course
+
+As befits both the new Spezmaster MA programme and the new type of “Übung” module, this course will be very experimental: while the content of the course will provide an overview and critical reflection on current and emerging trends in digital humanities, and digital history in particular, an important secondary aim of the course is to introduce students to key digital tools and resources used throughout the contemporary research process (i.e. for managing, analysing or storing data; for collaboratively authoring and sharing papers, etc).
+
+## Infrastructure
+
+Instead of using OLAT, the course will be hosted on the University of Zurich’s GitLab instance as [lit/digizeit](https://gitlab.uzh.ch/lit/digizeit). The *git* protocol, upon which GitLab is based, facilitates the management of collaborative digital projects through version-control and the ability to track changes.
+
+Git has become the defacto standard for software development, but is equally suitable for versioning other kinds of digital text, such as text documents or datasets. In the context of an increasingly digitised academia, familiarity with tools such as *git* are therefore increasingly central to the process of research. For these reasons, course materials will be shared via the *digizeit* repository, and students will receive introductory training in the use of various features of git and other key technologies as the course progresses.
+
+Students will be expected to engage with various features of git/GitLab throughout the course, contributing to issue boards and adding content via merge requests, thereby gaining valuable competencies while still engaging with a syllabus that explores the impact of digitisation on history and the study thereof.
+
+## Assessment(s)
+
+**Update as of 5 May 2020: as discussed in today's class, we will do full project pitches/presentations in an extended session on 26 May from 10-11 (2 projects) and 11.30-12.30 (2 projects). Please ask your final technical questions to Danny (and make final merge requests to the Digizeit master repository) by Friday 22 May at the latest. You can of course continue to work on your projects after 26 May with your 2nd semester reflection paper in mind, but the presentations of 26 May will be the 'time-stamp' on your work in this first semester. Looking forward greatly to seeing your work in this end-of-semester form!**
+
+**Update as of 15 April 2020: as discussed in virtual class last week, we shall have the final project pitch/feedback session on Tuesday 21 April. Thereafter (28 April, 5 May, 12 May), we shall have short 'stand-up meetings', where we each offer a 5-minute update on how our projects are progressing and what help we might need. We'll hope to have fuller project pitches/presentations on 19 and 26 May respectively (two in each session). These don't need to be fully finished projects, but rather an outline of what a more substantial project would be, if you had unlimited time/resources; and it should give us a hint of the kinds of issues you think you will reflect on in the second part of your assessment (point 2 below).**
+
+Because *History in a Digitized World* is not a regular MA Seminar, we will be requiring a mixture of assessments rather than a single Seminararbeit.
+
+1. During the “first” semester (FS20), we shall have an in-course assessment in the form of some kind of digital project (the exact form of this project will be discussed in Week 1’s session). This in-course project will be instead of individual oral presentations. We have scheduled April to be the “project month”, during which time you can develop an original idea, and receive feedback and guidance on how to realise this project in digital space.
+2. During the “second” semester (HS20), when you would normally submit a Seminararbeit, we will ask instead for a shorter written paper in which you reflect on your project with reference to relevant secondary literature. The deadline for this second assessment is Friday 4 December 2020. **Update: ideally we would like you to write this directly into GitLab, at the very least in the form of a README.md file. This would be instead of you submitting a paper copy of your project reflections. See also [here](https://docs.gitlab.com/ee/user/project/pages/) for potential ideas on how to publish your reflection piece as a webpage; with some technical help, you can also link your GitLab/GitHub repositories to sites such as [this](https://readthedocs.org) for nice presentational layout.**
+
+## Support
+
+In addition to Daniel McDonald (@daniel.mcdonald) who will be present in most classes during the semester, the Übung will also be supported by a Tutor, Leyla Feiner (@leyla.feiner). Martin Dusinberre (@martin.dusinberre) will also be available during regular office hours, which you can [book online](https://www.hist.uzh.ch/de/fachbereiche/neuzeit/lehrstuehle/dusinberre/sprechstunde.html).
+
+## Winging it
+
+This is the technical term for what is also known as "agile management". What this means in practice is that while we have a general course structure in mind, the way the course unfolds will depend on the feedback and interests of the students. Therefore, we shall try to liaise with you, the students, as much as possible about course content and assessment, expecting in return that you help maintain an ongoing dialogue that will shape the course according to your individual interests. **Update: classes will take the form of 'stand-up meetings' (to offer ongoing peer review of projects) from 28 April until final semester presentations.**
+
+## Feedback/interaction
+
+Part of what we're trying to do here is show you the utility of *git*, and get you aquainted with its features. For this reason, we will keep as much of our course content as possible inside the *digizeit* repository, and wherever possible, will use its features for announcements, managing assignments, and communication.
+
+For example, by providing technical support via the Issues page (#1), problems and solutions are tracked and visible to everyone in the course. Keeping issues public and searchable, you can benefit from, and everyone is saved from duplicating efforts and emails. Please only use email if you want to keep your correspondence private. Otherwise, everything you contribute here will be public; please assume that anyone can read what you are writing.
+
+You are encouraged to create your own issues, respond to issues of others, or submit merge requests with new content, corrections and the like. For example, if there's a particular part of digital history that interests you (e.g. an interesting project, an interesting paper, or a novel method), go ahead and make an issue or a markdown document about it, so that others can engage with your interests. **By semester's end, this repository will hopefully be a valuable resource for digital historians everywhere!**

classes/README.md

+# Information for sessions/lessons
+
+> Here, we keep class materials for the weeks that require them. This hasn't been necessary during our individual project-focussed weeks, but later weeks (after submission of first assignments, most likely) may see further docs added here.
+
+## Contributing
+
+Like any other part of this repo, students are welcome to submit merge requests updating content in these folders with more information, corrections and so on.

classes/Session01-feb18/README.md

+# Week 1: The Digital Contemporary: Thinking like a Historian
+
+> This week, we are introducing the course, and GitLab, where the course materials will be stored. We'll also do a first basic exercise in GitLab concerning your reflections on the Venice Time Machine.
+
+## *Venice Time Machine*
+
+From [Wikipedia](https://en.wikipedia.org/wiki/Venice_Time_Machine):
+
+> The **Venice Time Machine** is a large international project launched by the École Polytechnique Fédérale de Lausanne (EPFL) and the Ca' Foscari University of Venice in 2012 that aims to build a collaborative multidimensional model of Venice by creating an open digital archive of the city's cultural heritage covering more than 1,000 years of evolution.
+
+## Links
+
+* [Venice Time Machine](https://www.epfl.ch/research/domains/venice-time-machine/)
+* A video introduction [*A virtual time machine for Venice*](https://www.youtube.com/watch?v=uQQGgYPRWfs)
+* (For your own free time) Frederic Kaplan's TED Talk (June 2013) on [*How to Build an Information Time Machine*](https://www.ted.com/talks/frederic_kaplan_how_to_build_an_information_time_machine?language=en).

classes/Session02-feb25/README.md

+# Week 2: A practical introduction to *git*/*GitLab*
+
+I'm giving you all edit access to [this document](https://docs.google.com/presentation/d/1Kg54GCAIRxQYe0mzz72e-rRlhCpZipLNi7MuYU4TKZE/edit?usp=sharing), so only honour stops you from destroying it.
+
+Note that I uploaded the `.pptx` document from today here as well, but it can't be nicely viewed by git, and changes to it won't be displayed nicely if we update and push again. The google docs link is therefore still preferable, unless anyone has tampered with it!
\ No newline at end of file

classes/Session03-mar10/README.md

+# Week 3: *Lives in Transit* (and more Git)
+
+> In this session, we'll build on your Git basics by looking at a current Digital History project, [*Lives in Transit*](https://livesintransit.org), and the underlying digital infrastructure that makes the project possible. We'll play the game, and share our experience as players. The fun really begins, however, when we undertake a critical reflection on *gamification* as a nascent means of research, pedagogy and knowledge dissemination in the context of digital history.
+
+> The aim of introducing you to LiT is to give you a sense of (i) how major IT projects are constructed and managed, often with some difficulty, and (ii) to expose you to one way of writing historical research which you might want to adopt yourselves as part of your first semester assignment.
+
+## *Lives in Transit*
+
+*Lives in Transit* is a modern, browser-based interpretation of text-adventure gaming. The game engine, its website, and each game's content are all kept under version control using various Git repositories. Martin—erm, Prof. Dusinberre—will introduce the *Lives in Transit* project, as well as *Plantation Lives*, an almost-finished game built using the system, in which the player takes on the identity of a graduate history student attempting to write a dissertation on transpacific labour history while navigating the perils of academic life.
+
+## Links
+
+* [*Lives in Transit*](https://livesintransit.org)
+* [Backend](https://github.com/uzh/marugoto) (Java)
+* [Frontend](https://github.com/uzh/marugoto-frontend) (vue.js)
+* [*Plantation Lives*](https://gitlab.uzh.ch/lit/lit-plantation-lives)
+* [Content wrangler](https://github.com/uzh/lit-content)

classes/Session04-mar17/README.md

+# Week 4: The whole (contemporary?) world as data
+
+> This week we'll be addressing the idea that it is possible to gather all the data necessary for global history into a single database. That database is the [*Seshat Global History Database*](http://seshatdatabank.info) project. In order to discuss this project, and to hone your by now magnificent GitLab skills, we shall be asking you to joint-author two position papers, which you'll edit and submit via Git.
+
+## *Seshat*
+(in their own words) Seshat: Global History Databank was founded in 2011 to bring together the most current and comprehensive body of knowledge about human history in one place. The huge potential of this knowledge for testing theories about political and economic development has been largely untapped. Our unique Databank systematically collects what is currently known about the social and political organization of human societies and how civilizations have evolved over time. This massive collection of historical information allows us and others to rigorously test different hypotheses about the rise and fall of large-scale societies across the globe and human history.
+
+## Links
+* For an introduction and overview by the Seshat authors, see: Pieter Francois et al, [“A Macroscope for Global History: Seshat Global History Database, a methodological overview”](http://digitalhumanities.org/dhq/vol/10/4/000272/000272.html), *Digital Humanities Quarterly* 10, 4 (2016)
+* For recent coverage in the media, see: *The Guardian*, [“History as a giant data set: how analyzing the past could help save the future,”](https://www.theguardian.com/technology/2019/nov/12/history-as-a-giant-data-set-how-analysing-the-past-could-help-save-the-future) 12 November 2019
+* For a critical view of what "data" actually is, see Johanna Drucker, [“Humanities Approaches to Graphical Display,”](http://www.digitalhumanities.org/dhq/vol/5/1/000091/000091.html) *Digital Humanities Quarterly* 5, 1 (2011)

data/README.md

+# Data files
+
+Raw data files (right now, used in scripts) can go in here. Please don't upload anything over a few MB without a discussion first, as nobody likes large repos.
\ No newline at end of file

hopes-and-dreams/README.md

+# Hopes and dreams: what is this all about?
+
+Early in the course, we created biography pages by using *digizeit*'s [wiki](https://gitlab.uzh.ch/lit/digizeit/-/wikis/home). This served as a gentle introduction to digitial collaborative work, learning how to use Wikis, Markdown, and to add content through the browser.
+
+This folder, *Hopes and dreams*, similarly includes a contribution by each student/instructor in the class. In this case, however, the primary purpose was to learn about how to add and modify files via the *git* protocol from the local machine, rather than the GitLab website. Secondarily, it was a way to get to know one another a little better, and to provide a place for reflections if anybody wants to diarise throughout the course.
+
+With that in mind, everyone is free to update their documents with thoughts and feelings as they encounter them. But there is no expectation to make these documents into something particularly useful, as they were primarily an artefact of the technical exercise (which was passed with flying colours by all!)

hopes-and-dreams/anke.md

+## Anke's hopes and dreams for the course
+
+I am interested in **archives** so I would enjoy *talking* about digital/digitized archives and projects such as the *__Venice Time Machine__*
+"How does digitization change how we think and work as historians?"  
+What's [the best site on the web?](http://www.etue.ch)

hopes-and-dreams/danny.md

+# Danny's hopes for the course
+
+I'm a linguist, so I'd love to take you through some *'corpus linguistic tools'*, which visualise frequencies in very large amounts of language data.
+
+## Session 4 feelings
+
+I think face to face still has some value, though sometimes it's hard to say exactly what that is.

hopes-and-dreams/henrik.md

+## Henrik's hopes and dreams
+
+Is it working now? It is working now!
+
+At the moment I'm spending some time thinking about objects and *Materialität* in historical works. In my opinion there is an overproportional focus on text-based sources in scientific History and a lack of discussion of historical objects. In my project for this course it might be interesting to look at ways how to facilitate the access to objects in archives and how one could represent *Materialität* in an archival and historical context.
+
+They're just faint ideas but I think it would be interesting to do some thinking regarding these topics.
+
+
+Trying out forking
+
+Don't forget the newline! Try number 2
+
+So branching inside the GitLab interface is pretty intuitive, but I'm still struggling with using GitBash effectively for this.
+
+So I'm not exactly solving my problem at the moment, but I've been able to install git-plus to atom, so I can checkout differnet branches!

hopes-and-dreams/leyla.md

+## Leyla's hopes and dreams
+
+## Week 4 feelings
+
+I've just been in so many online meetings today and I think I need a nap.

hopes-and-dreams/manuel.md

+# Manuel's hopes for the course
+
+Being fairly new to data science and taking Data Analysis (Methods-Data-Society) in my minor, I'm just generally curious to see how this will be useful in researching and displaying large data sets. I've got a bit of experience working with R and RStudio, but Git is completely new to me.

hopes-and-dreams/martin.md

+# Martin's hopes and dreams
+
+## Week 4 feelings
+What we're seeing here, in using Microsoft Teams, is that it's competent but not quite the same "feel" as the classroom.

hopes-and-dreams/maryam.md

+# Maryam's hopes and dreams
+As a historian my dream is to learn how this digital stuff can help me and be useful. And my hope is to not be confused most of the time.