Humanist Discussion Group, Vol. 36, No. 49.
Department of Digital Humanities, University of Cologne
Hosted by DH-Cologne
www.dhhumanist.org
Submit to: humanist@dhhumanist.org
[1] From: MORRAS, Maria <maria.morras@upf.edu>
Subject: Summer Course 'Humanities Skills for a Digital World' (Barcelona + Virtual) (66)
[2] From: Metilli, Daniele <d.metilli@ucl.ac.uk>
Subject: Multimodal Digital Oral History: the forward-view seminar (79)
[3] From: Barbara Romero Ferron <bromerof@uwo.ca>
Subject: VII DIGITAL ART HISTORY SUMMER SCHOOL - DAHSS22 (159)
--[1]------------------------------------------------------------------------
Date: 2022-06-03 12:50:45+00:00
From: MORRAS, Maria <maria.morras@upf.edu>
Subject: Summer Course 'Humanities Skills for a Digital World' (Barcelona + Virtual)
Dear colleagues,
Please find below information on the Summer course 'Humanities Skills for a
Digital World' to be held in hybrid format (Virtual+Presential) at the
Universitat Pompeu Fabra, 11-17 July.
Invited lecturers: Arianna Ciulana, Feng Zhu (King's College) and CEO's
from Digital startups in Barcelona.
For more information on fees and enrollment, please visit the web:
https://www.upf.edu/web/barcelonasummerschool/courses-and-syllabi
Apologies for cross-posting
Best,
María Morrás
Director International Programs
Description
In the context of the digitalization of the world, the need for hybrid
profiles with interdisciplinary skills is a fact of the present-future of
students of a diversity of disciplines, in special those majoring in IT,
Engineering, Computing, Biology, Medicine, Environmental, Scientific and/or
any other Technical and Technological related studies -not exclusive-.
The main objective is offer students a practice Module that will set the
overview and enable relevant contributions on the challenges faced within a
technological and digital world, focusing on the humane and ethical
approaches in face of the dilemmas and opportunities arising in a variety
of traditional sectors and also in new fields within our present and future
societies.
The Content Core Program is conceived to give an overview of the relevant
Humanities theme topics that need to be addressed within each specific
sector’s challenges, incorporating lectures and case study reviews that
will trigger critical thinking and foster reflection and practical academic
and professional contributions. The new program enhances a cross-discipline
open debate in the face of the implications of the technological and
digital advances and its affections in basic human universal needs and life
standards; both as they stand today and as we project them into the future.
The program lectures, practice and tutoring sessions conducted by in-house
UPF professors, invited professors and professional external Barcelona
based companies, start-ups, spin-offs and other relevant business and
social agents, is in all structured to focus each in a field such as
Cultural Industry, Nutrition, Health, Urbanism, Culture, Environment, etc,.
and in that framework field raise the most relevant questions, challenges
and opportunities from a humanistic point of view, being able to showcase
examples of how specific project innovations in progress, are addressing
these issues.
The structure will consist of a Context Introduction with lectures (1) and
Core Sectors Program (2).
Both parts will tackle specific themes related to the use and dissemination
of digital tools in the social sciences and Humanities, while the
pre-selected fields of study included in part 2 are a preliminary approach
based on the local expertise and strategic hubs within the city of
Barcelona; thus giving access to on-site real case studies and networking
possibilities that can include: special speakers, visits and content
related field trips, as well as the intention of ending with a project
based on real-life case studies.
--[2]------------------------------------------------------------------------
Date: 2022-06-03 12:40:26+00:00
From: Metilli, Daniele <d.metilli@ucl.ac.uk>
Subject: Multimodal Digital Oral History: the forward-view seminar
MULTIMODAL DIGITAL ORAL HISTORY: THE FORWARD-VIEW SEMINAR
If the first “digital turn” in oral history was largely a passive affair,
concerned with the online dissemination of retro-digitised and born digital oral
history recordings, what might the incipient “sound as data” turn herald? What
gains and losses might result from data-driven enquiries of oral history
interviews as sonic or multimodal artefacts, individually or at scale? Which
digital tools, processes and platforms can best be utilized in the data-driven
analysis of oral history as sonic and multimodal artefact? What rationale and
ethical commitments should guide processes of tool selection and creation for
this work? What new research questions and trans-disciplinary collaborations may
follow? And what are the implications for oral history of participating in this
research, as may be illuminated through the emerging sub-field of digital
hermeneutics?
This seminar series takes as its jumping off point, that the time is right to
pursue a Multimodal Digital Oral History, or one that engages with oral history
artefacts in all their representational modalities: transcript, sound, waveform,
metadata and more. Accordingly, it features papers that explore any of the
questions posed above, and in doing so contribute to the task of imagining a
Multimodal Digital Oral History turn, where the digital is active rather than
passive; where digital oral history modalities are positioned as analytical
categories of inquiry and also as sites of data-driven analysis; where
reflexivity is a core aspect of digitally-mediated research; and as an endeavour
that nevertheless remains attuned to oral history as a subjective and
intersubjective meaning-making process, situated in space, time, culture and
technology.
Convened by: Andrew Flinn (UCL) & Julianne Nyhan (TU Darmstadt/UCL)
A joint virtual seminar co-hosted by the Centre for Critical Heritage Studies
UCL; the Chair of Humanities Data Science and Methodology, TU Darmstadt,
Germany; the International Centre for Archives and Records Management Research,
UCL; and the UCL Centre for Digital Humanities. Co-organised by Hannah Smyth
(UCL) & Daniele Metilli (UCL).
Website: https://multimodaldigitaloralhistory.omeka.net
REGISTER HERE: https://www.eventbrite.co.uk/e/multimodal-digital-oral-history-
the-forward-view-seminar-tickets-347865253337
Seminar 1 – 8 June 2022
* Douglas Lambert (University at Buffalo, United States) – Audio/video
thematic indexing: meaning mapping for oral history access and usage
* Alexander Freund (University of Winnipeg, Canada) – Historicizing
modalities: a few thoughts on oral history under surveillance capitalism
Time: 18:00–19:30 CEST / 17:00–18:30 BST • Platform: Zoom
Seminar 2 — 22 June 2022
* Tanya Clement (University of Texas at Austin, United States) – Dissonant
records: close listening to cultural resistance in audio archives
Time: 18:00–19:30 CEST / 17:00–18:30 BST • Platform: Zoom
Seminar 3 — 6 July 2022
* Almila Akdag Salah & Francisca Pessanha (Utrecht University, Netherlands)
– More than words: a computational look at non-verbal cues in Oral History
Archives
* Myriam Fellous-Sigrist (King's College London, United Kingdom) –Between
access and protection: applied ethics for curating digital oral history
Time: 18:00–19:30 CEST / 17:00–18:30 BST • Platform: Zoom
Seminar 4 — 13 July 2022
* Machteld Venken (University of Luxembourg, Luxembourg) – Talking borders,
history and digital hermeneutics
* Elspeth Brown (University of Toronto, Canada) – Is there anybody out
there? Multimodal research creation and queer oral history
Time: 18:00–19:30 CEST / 17:00–18:30 BST • Platform: Zoom
Seminar 5 — 20 July 2022
* Sharon Webb (University of Sussex, United Kingdom) – Streams of data:
methods for distant and close listening for oral histories
* Tara Brabazon (Flinders University, Australia) – The auditory academic:
transforming the soundscape of scholarship
Time: 18:00–19:30 CEST / 17:00–18:30 BST • Platform: Zoom
--[3]------------------------------------------------------------------------
Date: 2022-06-03 08:04:08+00:00
From: Barbara Romero Ferron <bromerof@uwo.ca>
Subject: VII DIGITAL ART HISTORY SUMMER SCHOOL - DAHSS22
Dear all,
We are pleased to announce that the International Summer School
onDigitalArtHistory(DAHSS), a joint initiative of the University of
Málaga and the University of Berkeley, with the collaboration of the
Ludwig Maximilian University of Munich, the Western Ontario University,
the University of Cambridge, the Fundación General de la Universidad de
Málaga, and the HDH, will celebrate the seventh edition from August 29th
to September 3rd (2022).
This year we will meet again in person in Málaga.
The application period is now open (until June 15th, 2022). Please,
visit: https://dahss.iarthislab.eu/2022/index/
2022 Theme: Collapse, Creativity, and Imagination
The ideas of progress, growth and expansion, which for a long time
defined the visions about the future in Western cultures, and marked the
action strategies (social, economic and political) undertaken have been
replaced in the last few years by the idea of "collapse". Recent events
(pandemic, invasion of Ukraine, etc.) and systemic facts (global
warming, resource depletion, etc.) lead us to believe that the world, as
we have known it up to now, is heading towards a total collapse.
Different authors have defended in recent years the need toarticulate a
debate on collapse that helps us to think about how such collapse could
be triggered and what its implications would be (Servigne and Stevens,
2015). Within the framework of DAHSS22, we propose to think about
creativity as a mechanism to ameliorate the causes that lead us to a
collapse and to imagine possible alternative futures. Thus, the DAHSS22
five tracks will revolve around the following central question: How can
creativity and imagination, in alliance with contemporarydigital,
technological and computational developments, become an asset to replace
the idea of collapse with that of rebirth for thinking and making a new
future?
The DAHSS schedule is divided into three different types of sessions:
plenary sessions, coffee talks and track sessions. We will also give the
DAHSS participants the opportunity to explore the cultural and
historical life of the city, offering a package with museum and
historical site tickets.
The course is organized around five tracks. Each participant can only
join one of the tracks. During your application, you should select the
tracks in your preferred order.
Track A: DigitalDisplay Spaces. Niemeyer will work with participants in
configuringdigitalspaces for exhibitions on virtual platforms such as
newart.city and modzilla hub. Techniques include basic modeling and
animation, .fbx or .glb file format, spatial strategies for virtual
engagement, data visualization and local sound synchronization in
virtual spaces. Track A participants will create content and curate
content produced in the other Tracks to cumulate in an online virtual
exhibit about DAHSS 2021.
Track B: Data Science. Cultural data–well used, managed and analysed–is
of immense value for the understanding ofarthistoryand its impact on
society. Open data is an opportunity to engage the public with cultural
heritage, foster diversity and create knowledge. In this track, led by
Harald Klinke (LMU Munich), we will investigate open data sources, learn
the fundamentals of cultural data analysis, and use simple but powerful
computational tools. No prior experience is necessary. Bring your own
data. You can find more information at:http://dahss22.harald-klinke.de/
<http://dahss22.harald-klinke.de/>
Track C: 3D Data, Modeling, and Rendering. This track will explore 3D
data acquisition techniques, such as photogrammetry and laser scanning,
and their use in VR and related virtual environments. We will
experiment with different ways of exploring virtual space and will see
how we might use augmented and virtual reality to
practiceDigitalArtHistory. We will also ask ourselves how to best design
visualizations and historical reconstructions for these environments.
Track D: Computer Vision, Machine Learning, AI. Track D, led by Leonardo
Impett (University of Cambridge), will think about applications of AI
and computer vision to thehistoryofartand visual studies. Thinking about
‘the visual’ is a major difference betweendigitalarthistoryand
‘digitalhumanities onarthistory’. We will look at the longhistoryof the
computer analysis of images from the late 1980s to today, as well as
thinking about the implicit theories of vision that underpin computer
vision systems today. We’ll learn to use some basic image processing
tools and more sophisticated AI and machine learning algorithms to
search within, organise, or study large image sets. Using tools like
Scikit-Image, Tensorflow, and ImageGraph (a visual AI tool which we
wrote specifically for DAHSS), we will build systems that deal with
genuinely big image datasets. For the first time, we will also look at
AI systems that generate images like DALL·E, and ask how we might use
them asarthistorians.
Track E: Natural Language Processing (NLP), led by Yadira Lizama Mué
(CulturePlex Lab, Western Ontario University) will explore the
applications of NLP to understand what textual big data can tell us
aboutart. By combining the power of linguistics and computer science,
NLP considers the guidelines and structure of language and creates
intelligent systems that comprehend, break down, and separate meaning
from text and speech. We will explore a wide range of NLP topics
relevant to the context ofDigitalArtHistory, starting with the basics
like word tokenization & tagging, semantic similarity, named-entity
recognition, topic modelling, and leading to deep learning applications
to sentiment analysis, text classification, and human-like text
generation. We will gain practical experience using tools such as Spacy,
and TensorFlow while exploring collections ofart-related texts in the
H.W. Wilson'sArtFull Text database, Project Muse, Wikipedia, and social
media platforms. You are welcome to bring your own data and ask
questions about the applications of NLP to your own research.
Plenary Sessions
No matter what track you pick, you will also see what students do in
other tracks in our daily plenary session. In the plenary sessions,
notable alumni of the DAHSS program will also share feedback and
observations about how DAHSS helped them in their work.
Coffee Talks
Each day, we will have lighting talks from DAHSS alumni, to promote
their projects, research and networking between the current students and
the alumni. Over the years, we have settled a strong DAHSS alumni
network and community. We also organize online coffee talks during the
whole year to continue promoting and building aDigitalArtHistorycommunity.
Intended audience: postgraduate students, academic researchers,
independent scholars and professionals related to the following
disciplines:ArtHistoryand Visual Studies, FineArts, Graphic Design,
Computer Sciences, Media and New Media Studies, Museum Studies, and
Humanities.
Fee: 200€
The price includes daily lunch and a special tapas lunch on the last day.
Unfortunately, we do not provide accommodation, but email us and we are
happy to give suggestions and tips on transportation and accommodation
while you are planning your stay here.
Places: 40
Important dates
Deadline: June 15th
By June 20th: Notification about accepted applications
June 20th – July 7th: Registration phase
August 28th: Start of Summer School
September 3th: Closure of the Summer School
For more information, please
visit:https://dahss.iarthislab.eu/2022/index/
Kind regards,
Bárbara Romero-Ferrón | she/her/hers
Ph.D. Candidate, Department of Languages and Cultures
Research Assistant,////Cultureplex Lab <http://www.cultureplex.ca/>//,
Western University,
London, Ontario, Canada
Western University is located on the traditional lands of the
Anishinaabek, Haudenosaunee, Lūnaapéewak and Attawandaron peoples, on
lands connected with the London Township and Sombra Treaties of 1796 and
the Dish with One Spoon Covenant Wampum.//
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