Bøker i Digital Research in the Arts and Humanities-serien

A collection of essays and interviews that investigates the practices which expand our understanding and experience of performance through the use of technologies. It explores the intersections between theatre, performance and digital technologies, challenging expectations and furthering discourse across the disciplines.

Much as art history is in the process of being transformed by new information communication technologies, often in ways that are either disavowed or resisted, art practice is also being changed by those same technologies. One of the most obvious symptoms of this change is the increasing numbers of artists working in universities, and having their work facilitated and supported by the funding and infrastructural resources that such institutions offer. This new paradigm of art as research is likely to have a profound effect on how we understand the role of the artist and of art practice in society. In this unique book, artists, art historians, art theorists and curators of new media reflect on the idea of art as research and how it has changed practice. Intrinsic to the volume is an investigation of the advances in creative practice made possible via artists engaging directly with technology or via collaborative partnerships between practitioners and technological experts, ranging through a broad spectrum of advanced methods from robotics through rapid prototyping to the biological sciences.

This edited collection brings together cutting-edge research written by leading experts in the field on the construction of word-lists for the analysis of both frequency and keyword usage. Taken together, these papers provide a comprehensive and up-to-date survey of the most exciting research being conducted in this subject.

Computer-Generated Images (CGIs) are widely used and accepted in the world of entertainment but the use of the very same visualization techniques in academic research in the Arts and Humanities remains controversial. The techniques and conceptual perspectives on heritage visualization are a subject of an ongoing interdisciplinary debate. By demonstrating scholarly excellence and best technical practice in this area, this volume is concerned with the challenge of providing intellectual transparency and accountability in visualization-based historical research. Addressing a range of cognitive and technological challenges, the authors make a strong case for a wider recognition of three-dimensional visualization as a constructive, intellectual process and valid methodology for historical research and its communication. Intellectual transparency of visualization-based research, the pervading theme of this volume, is addressed from different perspectives reflecting the theory and practice of respective disciplines. The contributors - archaeologists, cultural historians, computer scientists and ICT practitioners - emphasize the importance of reliable tools, in particular documenting the process of interpretation of historical material and hypotheses that arise in the course of research. The discussion of this issue refers to all aspects of the intellectual content of visualization and is centred around the concept of ''paradata''. Paradata document interpretative processes so that a degree of reliability of visualization outcomes can be understood. The disadvantages of not providing this kind of intellectual transparency in the communication of historical content may result in visual products that only convey a small percentage of the knowledge that they embody, thus making research findings not susceptible to peer review and rendering them closed to further discussion. It is argued, therefore, that paradata should be recorded alongside more tangible outcomes of research, preferably as an integral part of virtual models, and sustained beyond the life-span of the technology that underpins visualization.

Collaboration within digital humanities is both a pertinent and a pressing topic as the traditional mode of the humanist, working alone in his or her study, is supplemented by explicitly co-operative, interdependent and collaborative research. This is particularly true where computational methods are employed in large-scale digital humanities projects. This book, which celebrates the contributions of Harold Short to this field, presents fourteen essays by leading authors in the digital humanities. It addresses several issues of collaboration, from the multiple perspectives of institutions, projects and individual researchers.

What are the leading tools and archives in digital cultural heritage? How can they be integrated into research infrastructures to better serve their intended audiences? In this book authors from a wide range of countries, representing some of the best research projects in digital humanities related to cultural heritage discuss their latest findings, both in terms of new tools and archives, and how they are used (or not used) by both specialists and by the general public.

Based on the author's dissertation (doctoral)--University College London, 2014.

There has been an exponential explosion in the production and consumption of video online and yet there is a scarcity of knowledge and cases about video and the digital archive. This book seeks to address that through the lens of the project Circus Oz Living Archive. This project provides the case study foundation for the articulation of the issues, challenges and possibilities that the design and development of digital archives afford. Drawn from eight different disciplines and professions, the authors explore what it means to embrace the possibilities of digital technologies to transform contemporary cultural institutions and their archives into new methods of performance, representation and history.

This reader brings together the essential readings that have emerged in Digital Humanities. It provides a historical overview of how the term 'Humanities Computing' developed into the term 'Digital Humanities', and highlights core readings which explore the meaning, scope, and implementation of the field.

This reader brings together the essential readings that have emerged in Digital Humanities. It provides a historical overview of how the term 'Humanities Computing' developed into the term 'Digital Humanities', and highlights core readings which explore the meaning, scope, and implementation of the field.

The frequency with which particular words are used in a text can tell us something meaningful both about that text and also about its author because their choice of words is seldom random. This collection brings together research on the field on the construction of word-lists for the analysis of both frequency and keyword usage.

Presents a picture of realities of how ICT is being used in musicology as well as prospects and proposals for how it could be fruitfully used. This book highlights the breadth and inter-disciplinary nature of the subject matter. It is suitable for technologists, musicologists, musicians and music educators.

Browsing for information is a significant part of most research activity, but many online collections hamper browsing with interfaces that are variants on a search box. This book offers a discussion of this form of interface design, including a theoretical basis for why it is important, and examples of how it can be done.

Collaboration within digital humanities is both a pertinent and a pressing topic as the traditional mode of the humanist, working alone in his or her study, is supplemented by explicitly co-operative, interdependent and collaborative research. This book presents fourteen essays by leading authors in the digital humanities.

Addressing a range of cognitive and technological challenges, the authors make a strong case for a wider recognition of three-dimensional visualization as a constructive, intellectual process and valid methodology for historical research and its communication.

Digital technology has had a radical impact on all the disciplines associated with the visual arts. This book provides expert views of that impact. By looking at the advanced ICT methods, it details the long-lasting effects and advances that are made possible in art history and its associated disciplines.

Critically evaluates the virtual representation of the past through digital media. This title features experts in the field who approach digital research in history and archaeology from a variety of viewpoints, including philosophical, methodological and technical.

Offers an overview of the place of images in the changing information environment, and the use, function, and appropriation of digital images in both institutional and personal settings. This book covers the history, technical underpinnings, sustainability, application, and management of digital images.

Traditional critical editing is considered by many to be inadequate for the expression and interpretation of complex works of literature. This book discusses whether and how paradigms for developing and using critical editions are changing to reflect the increased commitment to and assumed significance of digital tools and methodologies.

Medieval Manuscripts in the Digital Age explores one major manuscript repository's digital presence and poses timely questions about studying books from a temporal and spatial distance via the online environment.

Much as art history is in the process of being transformed by fresh information communication technologies, often in ways that are either disavowed or resisted, art practice is also being changed by those same technologies. This book focuses on the idea of art as research and how it has changed practice.

Data and its technologies now play a large and growing role in humanities research and teaching. This book addresses the needs of humanities scholars who seek deeper expertise in the area of data modeling and representation. The authors, all experts in digital humanities, offer a clear explanation of key technical principles, a grounded discussion of case studies, and an exploration of important theoretical concerns. The book opens with an orientation, giving the reader a history of data modeling in the humanities and a grounding in the technical concepts necessary to understand and engage with the second part of the book. The second part of the book is a wide-ranging exploration of topics central for a deeper understanding of data modeling in digital humanities. Chapters cover data modeling standards and the role they play in shaping digital humanities practice, traditional forms of modeling in the humanities and how they have been transformed by digital approaches, ontologies which seek to anchor meaning in digital humanities resources, and how data models inhabit the other analytical tools used in digital humanities research. It concludes with a glossary chapter that explains specific terms and concepts for data modeling in the digital humanities context. This book is a unique and invaluable resource for teaching and practising data modeling in a digital humanities context.