Humanist Discussion Group, Vol. 35, No. 376.
Department of Digital Humanities, University of Cologne
Hosted by DH-Cologne
www.dhhumanist.org
Submit to: humanist@dhhumanist.org
[1] From: Jo Parnell <annette.parnell@newcastle.edu.au>
Subject: cfp: Taking Control: critical and creative uses of digital tools in screen, literature, graphic texts, and visual culture narratives (128)
[2] From: Matteo Bosisio <matteo.bosisio@iisbassi.edu.it>
Subject: Aldus 2.0 CFP 2: Dante Alighieri (111)
[3] From: Matteo Bosisio <matteo.bosisio@iisbassi.edu.it>
Subject: Aldus 2.0 CFP 1 (44)
--[1]------------------------------------------------------------------------
Date: 2021-12-01 06:33:48+00:00
From: Jo Parnell <annette.parnell@newcastle.edu.au>
Subject: cfp: Taking Control: critical and creative uses of digital tools in screen, literature, graphic texts, and visual culture narratives
Taking Control: critical and creative uses of digital tools in screen,
literature, graphic texts, and visual culture narratives.
(Due to the coronavirus pandemic, we have extended the deadline date for
abstracts, now due: 30 April 2022)
The aim of Taking Control is to highlight the human-AI (think computer)
blend in creativity as a vibrant inter- and multidisciplinary area where
we urgently need better understanding and clear parameters to judge
success and failure.
Taking Control seeks to examine the current uses, and the potential for
expansion and extension, and possible future uses of AI in relation to
screen and literature, including e-books and electronic literature
genres and graphic texts, and visual culture narratives; as well as the
little explored angles of cultural criticism and cultural meaning in
those human-AI (computer) assisted productions.
Suggestions for potential contributions to consider, include, but are
not limited to, are, how the use of AI (computer) in creative
productions may:
• expand the range of imaginative invention through new techniques and
themes;
• challenge the audience’s perception of the boundary between human and
machine;
• introduce entirely new genres and modes;
• reach audiences in new ways born of big-data studies of human cognition;
• provide new immersive interactivity for audiences;
• include perspectives from a vastly increased range of groups and
individuals globally; and
• eliminate the limitations of included content based on the cognitive
capacities of the human creative team and analogue physical formats.
Potential contributions in relation to critical and interpretative
methods include, but are not limited to, how the use of AI and machine
learning may:
• allow entirely new insights, especially into large collections of
creative works;
• provide models of the reception of creative works in audiences, which
can be interrogated to test theories of how creative works have their
impact, at levels down to the subliminal; and lead to new hypotheses
about works of art based on multiple overlapping layers of context in
time, space, other works in the same and different genres, cultures, and
physical and mental environments.
Technology can be misused; yet in the human-AI (computer) blend humans
have the power to intervene. In these interactions, there is the
potential to take things to a different level. The power of the human,
the ability to think differently, and critically and creatively,
together with the technical abilities of the computer for holding,
sorting, and providing masses of big data, hold out the possibility of
expanded human creativity. When you use the computer, and choose and use
information fairly, it makes the outcome compelling and accurate. AI
affects what people look for, what they enter into the computer and how
they respond, and what that reveals and changes about the people can
affect our societies and cultures. Wherever you add questions about our
environment, for instance, AI it sharpens it so we can relate to it.
Thus, how it relates to the human experience, to our world, and human
society, much depends on how we manage it, where we take it and what we
do with it.
Questions remain: In what ways can human-AI (computer) assisted
treatment and examination of screen, literature, graphic texts and
visual culture narratives expand, grow, and bring deeper understanding
of ourselves, our worlds, our environment, our culture and society, and
bring about change? How do these works address cultural criticism, and
social and cultural meanings, and add to our understanding of our
cultures and society? What is the potential for exploring human
experience and that connect to our world, and the possible import of
these productions for the future? Admittedly, there are differing views
and opinions on the future of AI (the computer). Some think an
Artificial General Intelligence can or has the potential to exist
independently of human input, and others think not—that artificial
intelligence requires human input, control, and computer skills. What
does all this mean for our future society and culture?
At this initial stage, in lieu of “chapters,” this proposed work, Taking
Control, is taking extended abstracts for consideration for inclusion in
the book.
Submission instructions:
1. The extended abstracts must be more than 1,000 and less than 1,700 words.
(Full-length chapters of approximately 7,000 words each will be
solicited from these abstracts.)
2. Please keep in mind that your essay-chapter will stem from your
extended abstract. Your abstract will carry the same title as your
essay-chapter.
3. Abstracts must be in English, and submitted as a Word document.
4. When writing your abstract use Times New Roman point 12, and 1.5
spacing.
5. At the beginning of your extended abstract, immediately after the
title of your work and your name, add 5 to 8 keywords that best relate
to your work.
6. Use the Chicago Manual of Style 16th Edition.
7. Use English spelling not American English spelling.
8. Use endnotes, not footnotes, use counting numbers not Roman numerals,
and keep the endnotes to a bare minimum, working the information into
the text where possible.
9. Do cite all your work in your extended abstract as you would in a
full chapter.
a) in the body of the abstract, add parenthetical in-text citations
(family name of author and year, and page number/s) (e.g. Smith 2019, 230);
b) fully reference all in-text citations in alphabetical order, in the
References list at the end of your abstract.
10. Please send your abstract and your documents as attachments to an
email. At the same time as submitting your extended abstract, in
separate documents please send the following:
a) Your covering letter, giving your academic title/s, affiliation, your
position, and your home and telephone, and email contact details;
b) A short bio of no more than 200 words;
c) Your C.V., giving your publications to date, and the publishing
details and dates.
Papers should be forwarded to:
Jo Parnell Jo.Parnell@newcastle.edu.au alternatively
annette.parnell@newcastle.edu.au or joandbobparnell@bigpond.com
Dr Jo Parnell. PHD. | Honorary Lecturer
School of Humanities and Social Science
College of Human and Social Futures
M: +61 (0)421 993 253
E: Jo.Parnell@newcastle.edu.au
W: newcastle.edu.au/profile/Jo-Parnell
--[2]------------------------------------------------------------------------
Date: 2021-11-30 18:08:23+00:00
From: Matteo Bosisio <matteo.bosisio@iisbassi.edu.it>
Subject: Aldus 2.0 CFP 2: Dante Alighieri
ALDUS 2.0
CFP: DANTE ALIGHIERI
On the occasion of the 700th anniversary of Dante Alighieri’s death, the journal
Aldus 2.0 wants to dedicate a monographic issue to the Florentine poet. The aim
is to critically investigate the links between Digital Humanities and the poet’s
works, as well as research possibilities offered by the exegetical approaches
implied by the use of new technological tools.
The use of online applications is now a common and pervasive practice globally,
both in facilitating and redefining accessibility to manuscripts, printed texts,
ancient and modern commentaries, archival and library materials. Therefore, the
journal aims not only to celebrate Dante as a poet, but also to highlight how
and to what extent Digital Humanities have affected national and international
Dante studies and the modus operandi of individual researchers. For this
purpose, three thematic sections have been designed to meet the heterogeneous
research perspectives that emerged from the union between Dante and the digital
world.
Saggi
The ‘Essay’ section will consider contributions concerning the vast relation
between Digital Humanities and Dante studies. The authors could investigate this
relationship by considering a wide range of cases, taking into account both the
consequences that new technologies have on specific types of texts and more
general and technical issues. Preference will be given to proposals related, but
not limited, to the following thematic contexts:
how digital resources can contribute to the development and diversification of
philological and critical studies on Dante and how computer science is affected
by a textual tradition codified according to procedural schemes globally
endorsed by the scientific community;
what are the limits and the risks of such hybridity and how they can be resolved
(or controlled) in order to better define textual research;
what are the implications that a collective and unmediated access to Dante’s
works online can have on the spread and/or on the reception of Alighieri’s
lectio, from the advantages of massive circulation of information among
heterogeneous users to the dangers brought about by less critical reflection in
selecting open access material;
studies on digital textuality in relation to the figure and works of Dante, both
in an academic context and with reference to community projects of divulgative
nature;
critical examination of the current state of textual and iconographic
digitization of manuscripts and printed texts of Dante’s works, including case
studies and working strategies.
Projects
The ‘Projects’ section will host contributions aimed at examining digital
products related to Dante’s world (websites, digital scholarly editions,
databases, electronic archives, etc.), which will be included in a database of
digital projects managed by Bembus. In the last few years, many projects of
digitization and practical application of Digital Humanities theories to Dante’s
heritage were set, whose outcomes fostered several reflections in the scientific
community. In addition to Italian research groups, special attention should be
paid to the initiatives of foreign universities and research centres which stand
out for their varied and diversified proposals. By considering initiatives in
this field of study (such as DanteSearch, Dante Medieval Archive, DanteSources
and Dante Lab Reader), authors are asked to critically reflect on the range of
actions taken by these initiatives, their influence on more traditional
disciplinary sectors, the goals achieved and new objectives. Besides the most
well-known web tools, authors are also invited to propose works dealing with
unpublished or little-known projects in the field of Dante textual digitization.
Reviews
The ‘Reviews’ section will welcome short reviews of Digital Humanities canonical
texts with special attention to the contribution of the DH in the study of
Dante’s profile and literary style. Reflections related to single scientific
articles or key texts in the modern technological debate, whose importance is
widely acknowledged for having laid the foundations or opened new lines of
investigation for philological analysis and criticism of Dante’s works, will be
particularly welcome. A non-exhaustive list of titles to be reviewed can be
found at https://aldus20.org/reviews.
We strongly encourage discussion of volumes which are not included in the list
as long as they are related to the themes of the journal.
Proposals in compliance with the editorial rules of the journal must be uploaded
on the online platform by January, 15, 2021, following the instructions outlined
on Aldus 2.0 official website (https://aldus20.org/proposal). We accept
proposals in Italian or English of a length between 15,000 and 60,000 characters
including spaces (including notes and bibliography) for the ‘Essays’ section and
a length of no more than 15,000 characters including spaces for the ‘Projects’
and ‘Reviews’ sections. For projects presented for the same section, you can
also fill in an optional short form whose data will be included in a database of
digital resources managed by Bembus.
For the ‘Essays’ section, preliminary assessment of abstracts is carried out by
the board. Abstracts can only be sent via the official platform by January, 31,
2022. Acceptance of abstracts does not necessarily involve publication, which
will be subjected to double-blind peer review. Following abstract acceptance,
submission of articles must be completed by March, 31, 2021.
The selection of papers to be published will be carried out by a scientific
committee composed of national and international experts and will comply with
double-blind peer review standards.
Deadline for submission of abstracts (only for the ‘Essays’ section): January,
31, 2022.
Deadline for submission of articles (for all sections and for accepted abstracts
for the ‘Essays’ section only): March, 31, 2021.
Guest editors. Beth Coggeshall (Florida State University), Akash Kumar (Indiana
University).
For more information, please email info@aldus20.org
--[3]------------------------------------------------------------------------
Date: 2021-11-30 18:07:12+00:00
From: Matteo Bosisio <matteo.bosisio@iisbassi.edu.it>
Subject: Aldus 2.0 CFP 1
Aldus 2.0 (https://aldus20.org), Bembus’ international platinum open access
journal, welcomes proposals for the first issue of the year 2022. Aldus 2.0 aims
to explore digital textuality by stimulating a debate around the main themes of
Digital Humanities in philological, literary and linguistic fields.
The diffusion of new technologies and their application indifferent areas of
Italian studies has offered new perspectives of study, analysis and research and
has opened technical, theoretical and methodological questions which are a
great challenge for philologists, linguists, publishers and a number of other
professionals. In this respect, the journal aims at being a shared space open to
comparison with other disciplines, such as communication sciences, which
welcomes contributions from experts in different domains. This interdisciplinary
approach fosters methods and perspectives that can shed light on several aspects
that couldotherwise be ignored or only partially discussed. For these reasons,
the journal intends to adoptan innovative approach within the current editorial
scenario and deal with topics concerning global networks and digital
texts.
Proposals in compliance with the editorial rules of the journal must be
uploaded on the online platform by January, 31, 2022, following the instructions
outlined on Aldus 2.0 official website (https://aldus20.org/proposal). We accept
proposals in Italian or English of a length between 15,000 and 60,000 characters
including spaces (including notes and bibliography) forthe ‘Essays’ section and
a length of no more than 15,000 characters including spaces for the ‘Projects’
and ‘Reviews’ sections. For projects presented for the same section, you can
also fill in an optional short form whose data will be included in a database of
digital resources managed by Bembus. For the ‘Essays’ section, preliminary
assessment of abstracts is carried out by the board. Abstracts can only be sent
via the official platform by March, 31, 2022. Acceptance of abstracts does not
necessarily involve publication, which will be subjected to double-blind peer
review. Following abstract acceptance, submission of articles must be completed
by January, 31, 2022. The selection of papers to be published will be carried
out by a scientific committee composed of national and international experts and
will compply with double-blind peer review standards.
Deadline for submission of abstracts (only for the ‘Essays’ section): January,
31, 2022.
Deadline for submission of articles (for all sections and for accepted abstracts
for the ‘Essays’ section only): March, 31, 2022.
For more information, please email info@aldus20.org
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