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Humanist Archives: Oct. 8, 2019, 7:46 a.m. Humanist 33.302 - events: graphing text; imaging (Sydney)

                  Humanist Discussion Group, Vol. 33, No. 302.
            Department of Digital Humanities, King's College London
                   Hosted by King's Digital Lab
                Submit to: humanist@dhhumanist.org

        Date: 2019-10-08 05:26:37+00:00
        From: Francesco Borghesi 
        Subject: Iian Neil on Codex and Emily Pugh on the Getty and Digital Art History: Two Sydney Digital Humanities Research Group events in October

Dear All,

I am writing to inform you about our two upcoming seminars. Please add
these dates to your calendars: I hope to see you there.

All the best,

Francesco Borghesi


Date: Friday, the 18th of October 2019

Time: 10-11am

Venue: Kevin Lee Room, Quadrangle, The University of Sydney

The Sydney Digital Humanities Research Group and the Medieval and Early
Modern Centre are pleased to introduce:

Iian Neil

The Codex: Building a Graph of History

The Codex is a web-based digital humanities project that attempts to
achieve the deep integration of text and data. Standoff properties are
used to mediate between the plain text stream and entities modelled in a
Neo4j graph database. It uses a dynamic standoff property text editor to
enable real-time changes to text and annotations without invalidating
standoff property indexes. Annotations map back to text at the character
level and can be overlapped without constraint. The ability to overlap
(and comment) annotations offers a system for exploring the
multidimensional affordances of text-as-a-graph in a practical editing
environment. This talk proposes to look at the way Codex has been used
to model such corpora as the 1913 Carden English translation of
Michelangelo's letters  and the 1927 Rosen Jervis translation of Luca
Landucci's "A Florentine Diary".

Iian Neill is a graduate of the University of Queensland in Art History
and English Literature, and a Visiting Researcher at the Digital Academy
of the University of Mainz. One of the founders of the Art Renewal
Center (ARC), an American fine arts education non-profit, he also is the
technical lead at the same institution. He developed Codex out of an
interest in the graph database modelling of historical events. Since the
addition of a custom standoff property text editor, the focus of Codex
has become towards a generalised text-as-a-graph solution.


Date: Friday, the 25^th of October 2019

Time: 3-4:30pm

Venue: Kevin Lee Room, Quadrangle, The University of Sydney

The Sydney Digital Humanities Research Group and the Power Institute
Foundation for Art and Visual Culture are pleased to introduce:

Emily Pugh, The Getty Research Institute

Images of Technology, Technologies of Imaging: Digital Art History at
the Getty Research Institute

How has photography shaped art history? How are digital images
continuing to shape the discipline even now? Emily Pugh, Principal
Research Specialist and head of the Digital Art History department at
the Getty Research Institute, will provide an overview of the ways the
GRI's DAH team is exploring the relationships between imaging
technologies and art-historical research and scholarship as part of two
DAH projects in particular:

PhotoTech (https://protect-
which uses emerging technologies such as computer vision and machine
learning to discover new research possibilities within the GRI's Photo
Archive, and 

Ed Ruscha, Streets of Los
Angeles (https://protect-
an effort to digitize and make accessible 130,000 images of LA streets
from an archive Ruscha began compiling in 1965. She will also discuss
her own research into the use of 3D imaging of architecture and
architectural models.

Emily Pugh is the Digital Humanities Specialist at the Getty Research
Institute, where she oversees the scholarly components of GRI digital
art history projects, such as the Getty Provenance Index Remodeling
project and the Harald Szeemann Digital Seminar. Prior to her time at
the GRI, she served as the first Robert H. Smith Postdoctoral Research
Associate, with special responsibilities for digital humanities
projects, at the Center for Advanced Study in the Visual Arts. She has
several years of experience with digital publication in particular,
having served from 2001 to 2013 as the lead web developer for the online
peer-reviewed journal Nineteenth-Century Art Worldwide. She was also the
lead developer for NCAW's "Digital Humanities and Art History" series
and co-authored a report on this series, which was published in the
journal in Spring 2016. Emily received her PhD in Art History from the
CUNY Graduate Center in 2008, where her studies focused on modern and
contemporary architectural history. She is the author of Architecture,
Politics, & Identity in Divided Berlin (University of Pittsburgh Press,
2014), and her essays on the Cold War urban built environment have
appeared in the Journal of the Society of Architectural Historians,
Centropa, and Space and Culture.

graph-history.JPG: https://dhhumanist.org/att/75790/att00/ 

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