Emergent Ontologies, Modelling Interpretation, and Other Imaginative Possibilities in Digital Humanities
May 4, 12:30 PM – 2:00 PM, Perez 302
Bio: Johanna Drucker, Breslauer Professor of Bibliographical Studies at UCLA, is internationally known for her work in the history of graphic design, typography, experimental poetry, fine art, and digital humanities. Recent publications include What Is? (Cuneiform Press, 2013), Graphesis: Visual Forms of Knowledge Production (Harvard University Press, 2014), and Digital_Humanities , co-authored with Anne Burdick, Peter Lunenfeld, Todd Presner, and Jeffrey Schnapp, (MIT Press, 2012). In 2012, Drucker’s creative work was the subject of a retrospective, Druckworks: 40 years of books and projects. She is working on a database memoire, ALL the books I never wrote or wrote and never published. Recent projects include Diagrammatic Writing (Onomatopée, 2014), Stochastic Poetics (Granary, 2012), and Fabulas Feminae (Litmus Press, 2015). In 2014 she was elected to the American Academy of Arts and Sciences and awarded an honorary doctorate of Fine Arts by the Maryland Institute College of Art in 2017. DownDrift: An Eco-Fiction (Three Rooms Press, NY) and The General Theory of Social Relativity (The Elephants, Vancouver) will both be published in April 2018.
Peux-t’on penser les humanités numériques sans un centre?
May 5, 12:30 PM – 2:00 PM, Perez 302
Bio: Michael E. Sinatra is Professor of English at the Université de Montréal. He has published extensively on Leigh Hunt and other Romantic figures. He is also the founding director of the Centre de recherche interuniversitaire sur les humanités numériques (crihn.org)
Applied Media Poetics in Digital Humanities
Chris Funkhouser, New Jersey Institute of Technology (USA)
Our ability to prepare sophisticated forms of expression with digital media increases our ability to engage with others in the networked world and participate more fully with mass culture. As mediated communications have expanded over recent decades, exploring expressive and documentary practices in the Humanities has become my primary activity as researcher. Presently, my work focuses on producing and designing sound in public settings, on the Web, and in physical space. This realm of digital materiality invites many useful types of sensory immersion, and engineering sound in a range of public settings, including capturing and presenting compelling living moments with audio technology, is a central aspect of my activity as a scholar and radio programmer. This research embraces contemporary media techniques to produce audio in narrative and participatory realms using basic hardware, synthesizing materials with network interface and coding techniques. Developing methods of presenting interactive and layered audio on the World Wide Web, those working in the Humanities are able to harness new types of engagement uniting sound, person, and place in order to enhance and refine our literary and intellectual climates. This presentation will introduce examples of these experiments with interactive sound technology.
Bio: Multimedia artist and writer Christopher Funkhouser is author of Prehistoric Digital Poetry: An Archeology of Forms, 1959-1995, New Directions in Digital Poetry, Whereis Mineral: Selected Adventures in MOO, the chapbooks pressAgain, Subsoil Lutes, Electro Þerdix, and LambdaMOO_Sessions. He was a Visiting Fulbright Scholar at Multimedia University (Malaysia) in 2006; in 2009, the Associated Press commissioned him to prepare digital poems for the occasion of Barack Obama’s inauguration. Funk’s SoundBox 2012, nominated for a 2013 Digital Humanities award, interactively unites more than 400 recordings he produced. Funkhouser is Professor and Director of the Communication and Media program at New Jersey Institute of Technology, a Contributing Editor at PennSound, and hosts POET RAY’D YO on WGXC in Hudson, New York.
Digital Humanities, Embodied Technology, and Selves
Canada Research Chair in Digital Life, Media and Culture
University of Ontario Institute of Technology
Friday May 19, 04:45 PM – 6:00 PM Richcraft Hall (River Building) Room 2228
As networked culture progresses, wearable media devices will continue to evolve. Such devices will read our feelings, anxieties, delights, and fears in addition to mundane information about what we buy, where we go, and who we know. Our digital selves will accrue datafied emotional profiles through biofeedback geared to represent affect. Along these lines, implanted technology is poised as the next phase of embodiment in increasingly everyday contexts. The ambition to develop and adopt affective computing technologies reveals a utopian hope of a future that could be radically transformative, but in other ways it is fear that provokes us. The transhumanist response to feelings of vulnerability and precarity pushes society to become digital in ways that seem precautionary. For this talk, I will describe several multiyear digital humanities creation projects that respond to embodied technologies and affective computing. One project, Fabric of Digital Life is an open digital humanities archive that explores the emergence of digital devices through its broad archival mission, collections, curatorial practices, and metadata development. Several critical arts projects explore the juncture between human agency, mediation, affect, film, art, technoculture, and embodied technology. The critical humanities goal represented by these projects is to engender experiences that are creatively jarring, thought provoking, and methodological.
Bio: Dr. Isabel Pedersen, Canada Research Chair in Digital Life, Media and Culture focuses on wearable computers, networked culture, visual rhetoric and emergent media.