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The Digital Humanities: BOOKS AT USC - DATA, MEDIA & TECHNOLOGY
This guide is intended to grow and evolve as new resources and research tools relating to the Digital Humanities become available so as to support the ongoing discovery and creation of knowledge by USC faculty and students
Publication Date: Boca Raton, FL: CRC Press, Taylor & Francis Group, 2018.
In the arts and humanities, the notion of big data is still in its embryonic stage, and only in the last few years, have arts and cultural organizations and institutions, artists, and humanists started to investigate, explore, and experiment with the deployment and exploitation of big data as well as understand the possible forms of collaborations based on it. This book explores: the meaning, properties, and applications of big data; the relevance of big data to the arts and humanities, digital humanities; the management of big data with and for the arts and humanities; and, the reasons and opportunities for the arts and humanities to embrace the big data revolution. The book also delineates managerial implications to successfully shape a mutually beneﬁcial partnership between the arts and humanities and the big data- and computational digital-based sciences. Big data and arts and humanities can be likened to the rational and emotional aspects of the human mind. This book attempts to integrate these two aspects of human thought to advance decision-making and to enhance the expression of the best of human life.
Publication Date: Ann Arbor, Michigan: University of Michigan Press, 2016.
Big Digital Humanities has its origins in a series of seminal articles Patrik Svensson published in the Digital Humanities Quarterly between 2009 and 2012. (...) Svensson's articles provided a widely sought after omnibus of Digital Humanities history, practice, and theory. In revising his original work for book publication, Svensson has responded to both subsequent feedback and new developments. (...) Svensson's own unique perspective and special stake in the Digital Humanities conversation comes from his role as director of the HUMlab at Umea University (...) an open, creative studio environment where "students, researchers, artists, entrepreneurs and international guests come together to engage in dialogue, experiment with technology, take on challenges and move scholarship forward." It is this last element "moving scholarship forward" that Svensson argues is the real opportunity in what he terms the "big digital humanities," or digital humanities as practiced in collaborative spaces like the HUMlab (...).
Publication Date: Minneapolis: University of Minnesota Press, 2011.
How to interpret and critique digital arts, in theory and in practice. In a world increasingly dominated by the digital, the critical response to digital art generally ranges from hype to counterhype. Popular writing about specific artworks seldom goes beyond promoting a given piece and explaining how it operates, while scholars and critics remain unsure about how to interpret and evaluate them. This is where Roberto Simanowski intervenes, demonstrating how such critical work can be done. Digital Art and Meaning offers close readings of varied examples from genres of digital art such as kinetic concrete poetry, computer-generated text, interactive installation.
The case studies in this book illuminate how arts and humanities tropes can aid in contextualizing Digital Arts and Humanities, Neogeographic and Social Media activity and data through the creation interpretive schemas to study interactions between visualizations, language, human behaviour, time and place.
This book explores technologies related to bodily interaction and creativity from a multi-disciplinary perspective. By taking such an approach, the collection offers a comprehensive view of digital technology research that both extends our notions of the body and creativity through a digital lens, and informs of the role of technology in practices central to the arts and humanities. Crucially, Digital Bodies foregrounds creativity, the interrogation of technologies and the notion of embodiment within the various disciplines of art, design, performance and social science. In doing so, it explores a potential or virtual new sense of the embodied self. (...)
Smithies grounds his claims in the engineered nature of computing devices and their complex entanglement with our communities, our scholarly traditions, and our sense of self. The distorting mentalité of the digital modern informs our attitudes to computers and computationally intensive research, leading scholars to reject articulations of meaning that admit the interdependence of humans and the complex socio-technological systems we are embedded in. By framing digital humanities with the digital modern, researchers can rebuild our relationship to technical development, and seek perspectives that unite practical and critical activity. This requires close attention to the cyber-infrastructures that inform our research, the software-intensive methods that are producing new knowledge, and the ethical issues implicit in the production of digital humanities tools and methods. (...)
Digital media has exploded over the past quarter century, and in particular the past decade. As varieties of digital media multiply, scholars are beginning to examine its origins, organization, and preservation, which present new challenges compared to traditional media. To examine issues from multiple perspectives, experts were invited to an invitation-only workshop on digital media. The participants were carefully chosen to represent a variety of backgrounds and perspectives, ranging from humanities and fine arts to communication theory. The papers collected here are the results of that workshop. Digital Media: Technological and Social Challenges of the Interactive World is organized in four parts, each representing a different perspective on digital media: preservation, humanities, organizational, and historical.
Publication Date: Abingdon, Oxon/New York, NY: Routledge, 2019.
With a view to investigating whether, and how, web studies and web historiography can inform and contribute to the Digital Humanities, this volume contains a number of case studies and methodological and theoretical discussions that both illustrate the potential of studying the web, in this case national web domains, and provide an insight into the challenges associated with doing so. Commentary on and possible solutions to these challenges are debated within the chapters and each one contributes in its own way to a web history in the making that acknowledges the specificities of the archived web. (...)
Publication Date: Milton Park, Abingdon, Oxon / New York, NY: Routledge, 2019.
"A History of Place in the Digital Age" explores the history and impact of Geographic Information Systems (GIS) and related digital mapping technologies in humanities research. Providing a historical and methodological discussion of place in the most important primary materials which make up the human record, including text and artefacts, the book explains how these materials frame, form and communicate location in the age of the internet. This leads in to a discussion of how the World Wide Web distorts and skews place, amplifying some voices and reducing others. Drawing on several connected case studies from the early modern period to the present day, the spatial writings of early modern antiquarians are explored, as are the roots of approaches to place in archaeology and philosophy. This forms the basis for a review of place online, through the complex history of the invention of the internet, in to the age of the interactive web and social media. By doing so, the book explores the key themes of spatial power and representation which these technologies frame.
Publication Date: Minneapolis Minnesota: University of Minnesota Press, 2017.
Foregrounding the interdisciplinary character of experimental methods and hands-on research, this collection asks what it means to "make" things in the humanities. How is humanities research manifested in hand and on screen alongside the essay and monograph? And, importantly, how does experimentation with physical materials correspond with social justice and responsibility? Comprising almost forty chapters from ninety practitioners across twenty disciplines, Making Things and Drawing Boundaries speaks directly and extensively to how humanities research engages a growing interest in "maker" culture, however "making" may be defined. (...)
Call Number: Doheny Memorial Library: Z286.S37F58 2011
Publication Date: New York: New York University Press, c2011.
Planned Obsolescence is both a provocation to think more broadly about the academy's future and an argument for reconceiving that future in more communally-oriented ways. Facing these issues head-on, Kathleen Fitzpatrick focuses on the technological changes--especially greater utilization of internet publication technologies, including digital archives, social networking tools, and multimedia--necessary to allow academic publishing to thrive into the future. But she goes further, insisting that the key issues that must be addressed are social and institutional in origin. Springing from original research as well as Fitzpatrick's own hands-on experiments in new modes of scholarly communication through MediaCommons, the digital scholarly network she co-founded, Planned Obsolescence explores these aspects of scholarly work, as well as issues surrounding the preservation of digital scholarship and the place of publishing within the structure of the contemporary university. Written in an approachable style designed to bring administrators and scholars into a conversation, Planned Obsolescence explores both symptom and cure to ensure that scholarly communication will remain relevant in the digital future.
Publication Date: Urbana: University of Illinois Press, c2011.
Stephen Ramsay's intriguing study of computational text analysis examines how computers can be used as "reading machines" to open up entirely new possibilities for literary critics. Computer-based text analysis has been employed for the past several decades as a way of searching, collating, and indexing texts. Despite this, the digital revolution has not penetrated the core activity of literary studies: interpretive analysis of written texts. _x000B_Computers can handle vast amounts of data, allowing for the comparison of texts in ways that were previously too overwhelming for individuals, but they may also assist in enhancing the entirely necessary role of subjectivity in critical interpretation. Reading Machines discusses the importance of this new form of text analysis conducted with the assistance of computers. Ramsay suggests that the rigidity of computation can be enlisted by intuition, subjectivity, and play.
This book uses the discipline-specific, computational methods of the digital humanities to explore a constellation of rigorous case studies of modernist literature. From data mining and visualization to mapping and tool building and beyond, the digital humanities offer new ways for scholars to questions of literature and culture. With the publication of a variety of volumes that define and debate the digital humanities, we now have the opportunity to focus attention on specific periods and movements in literary history. Each of the case studies in this book emphasizes literary interpretation and engages with histories of textuality and new media, rather than dwelling on technical minutiae. “Reading Modernism with Machines” thereby intervenes critically in ongoing debates within modernist studies, while also exploring exciting new directions for the digital humanities--ultimately reflecting on the conjunctions and disjunctions between the technological cultures of the modernist era and our own digital present.
Publication Date: Ann Arbor: University of Michigan Press, 2019.
Seeing the Past with Computers is a collection of twelve thought-pieces on the current and potential uses of augmented reality and computer vision in historical research, teaching, and presentation. The experts gathered here reflect upon their experiences working with new technologies, share their ideas for best practices, and assess the implications of—and imagine future possibilities for—new methods of historical study. Among the experimental topics they explore are the use of augmented reality that empowers students to challenge the presentation of historical material in their textbooks; the application of seeing computers to unlock unusual cultural knowledge, such as the secrets of vaudevillian stage magic; hacking facial recognition technology to reveal victims of racism in a century-old Australian archive; and rebuilding the soundscape of an Iron Age village with aural augmented reality.
Switching Codes by Thomas Bartscherer; Roderick Coover (Editor)
Call Number: Doheny Memorial Library: AZ195.S95 2011
Publication Date: Chicago/ London: University of Chicago Press, 2011.
Half a century into the digital era, the profound impact of information technology on intellectual and cultural life is universally acknowledged but still poorly understood. The sheer complexity of the technology coupled with the rapid pace of change makes it increasingly difficult to establish common ground and to promote thoughtful discussion. Responding to this challenge, “Switching Codes” brings together leading American and European scholars, scientists, and artists--including Charles Bernstein, Ian Foster, Bruno Latour, Alan Liu, and Richard Powers--to consider how the precipitous growth of digital information and its associated technologies are transforming the ways we think and act. Employing a wide range of forms, including essay, dialogue, short fiction, and game design, this book aims to model and foster discussion between IT specialists, who typically have scant training in the humanities or traditional arts, and scholars and artists, who often understand little about the technologies that are so radically transforming their fields.