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Humanist Archives: Dec. 5, 2019, 6:32 a.m. Humanist 33.460 - events: textual visualisation; folk music; design & making

                  Humanist Discussion Group, Vol. 33, No. 460.
            Department of Digital Humanities, King's College London
                   Hosted by King's Digital Lab
                Submit to: humanist@dhhumanist.org

    [1]    From: Alexandre Gefen 
           Subject: CFP : Visual features and visualizations of digital literary text (179)

    [2]    From: Peter Van Kranenburg 
           Subject: CfP 10th International Workshop on Folk Music Analysis (FMA2020) (63)

    [3]    From: Costas Papadopoulos 
           Subject: Call for Papers: Design Thinking & Maker Culture: Sticky Learning for the 21st Century, 24-26 March 2020, Vienna (91)

        Date: 2019-12-04 17:38:13+00:00
        From: Alexandre Gefen 
        Subject: CFP : Visual features and visualizations of digital literary text

Visual features and visualizations of digital literary text

International symposium
June 17, 18 and 19, 2020
University of the Sorbonne new
UMR THALIM (Sorbonne nouvelle / CNRS)

Deadline for submission of proposals: 3 February 2020
Date of notification of successful proposals: 17 February 2002

Proposals, of 200 to 300 words, should be sent to the organizer before the
deadline, accompanied by a brief bio-bibliographic notice.

Web page of the conference

http://www.thalim.cnrs.fr/appels-a-contribution/[coming soon]


Pascal MOUGIN - pascal.mougin@sorbonne-nouvelle.fr

Scientific committee:

Michel Bernard - Sorbonne nouvelle / THALIM
Serge Bouchardon - Université de technologie de Compiègne
Johanna Drucker - Université de Californie à Los Angeles
Ioana Galleron - Sorbonne nouvelle
Alexandre Gefen - CNRS / THALIM
Pascal Mougin - Sorbonne nouvelle / THALIM
Alexandra Saemmer - Université Paris 8
Stéphane Vial - Université du Québec à Montréal

Digital offers literature new environments and writing tools, new ways of
publishing printed works and archives, and new ways of investigating texts and
literary history.

In any case, the "digital ontophany" (Vial 2013) increases the importance of the
visible in the readable. Whether it is natively digital or comes from
digitization, the text on screen no longer systematically sticks to the cautious
mimicry of the standards of literary print, which, since the nineteenth century,
most often limits the visual and favors a typography supposedly invisible or
"neutral" (Richaudeau and Binisti 2005), linked to an idealistic conception of
literature detaching the essence of the text of its spatial and concrete
realization (Mougin 2019) - the counter examples, from Mallarmé to Roubaud
passing by visual poetry, being an exception. Required by the plasticity and
specific 'materiality' (Hayles 2012) of digital, web writers and designers
of electronic editions explore the specific visual options of the screen and the
corresponding functionalities. Similarly, where traditional literary studies
rely almost exclusively on discourse and abstraction, computational approaches -
textometry, distant reading - give rise to novel "literary imagery" (Gefen 2015)
for the presentation of data provided by algorithms: maps, graphs and trees
(Moretti 2005), word clouds and other networks diagrams imported from the
sciences of statistics, linguistics of corpus and information science.

New visual features as well as new literary visualizations bring writers and
researchers closer to designers of sites and applications, graphic designers,
graphic designers and visual artists. They encourage new collaborations, tilings
or combinations of practices, or even a redefinition of functions and positions
according, ideally, the aspirations and skills of each.

One of the consequences of this situation is the increasing role played by the
interfaces. If the phenomenon characterizes, before the literature, all areas
affected by digital technology, research has been looking for some years at the
challenges of designing interfaces in the human and social sciences (Thély et
al., 2012, Vial 2016, Masure 2017) and distinguishes three types of design in
the field, corresponding to the three historical strata of digital humanities
(Citton 2015):

The first design is a default design, administrative and minimal, that of
graphic interfaces based on preformatted and interchangeable templates, styles
and themes, designed as a means of a neutral or decorative presentation, at the
end of the chain and at lower cost, funds digitized or computational search

A second, more creative design challenges the primacy of computer engineering
and highlights the challenges of visualization. In fact, the interface of a
search tool suggests uses and interrogation scenarios - a poorly designed
interface that can condemn a digital humanities project if it involves
collaboration between designers and users. On the other hand, since the results
of data mining do not in themselves have intrinsic visual forms, their
representation implies aesthetic choices that make sense and constitute the
production of knowledge. Because it conditions new experiences of contents,
helps the researcher to free himself from his presuppositions and stimulates his
creativity, the visual can be a factor of serendipity. Hence the need to think
of any digitization project, electronic publishing or development of research
tools from the interface rather than from the data. The principal initiator of
this "turning point in the design of the digital humanities" (Vial, 2016), the
American Johanna Drucker, a visual artist, poet, historian of the written word
and theorist of the digital humanities, insists on the role of perception in
conceptualization and calls for a real "visual epistemology" (Drucker, 2004).

A third design, finally, is critical. While recognizing the heuristic and
emancipatory virtues of interfaces, it also highlights the conditioning they
produce as devices for controlling attention and prescribing behaviors. This
design aims to thwart the effects of capture and seduction by applying the
deconstructive methods of software studies - the critical study of software
(Fuller, Manovich) - to sites and applications developed for the human and
social sciences.

The purpose of the symposium is to extend the reflection on the role of design
in the digital humanities by applying it more specifically to the literary side
of these - namely, web-based creative writing, online publishing and
computational criticism - as invites the recent work by Christophe Schuwey
(Interfaces. L'apport des humanités numériques à la littérature, 2019), a
pioneer in this field in the French-speaking world.

It will be the occasion of a dialogue between the various actors concerned,
authors of the online writing and digital writing artists, designers of literary
sites, graphic and interface professionals, practitioners and theoreticians of
the design, specialists of relationships between the visual arts and literature,
researchers in the digital humanities and literature specialists interested in
the latter.

We expect contributors:

- a semiotic and historical approach of interfaces and visual aspects of writing
and digital publishing;

- a reflection on the imagery used in remote reading and textometry;

- experience reports or concrete case studies - web writing, digital literary
humanities projects - commenting on the visual options chosen or envisaged;

- broader theoretical approaches.

We will try to answer the following questions:

- How is the new sharing of responsibility for the visual dimension of writing
between the authors and the sites hosting their writings - be it personal pages,
collective platforms or generic environments - negotiated, but also between
online publishing project managers and computer scientists to whom they are
addressing? How do writers and researchers collaborate with artists, graphic
designers and designers, depending on whether they delegate or themselves
provide at least part of the typography, composition, animation, iconography and
interface of their work? productions?

- How do visual artists who are interested in text, narrative, literature
(Mougin 2017), question the visual dimension of writing via digital?

- What becomes of the research that has marked the avant-gardes of the twentieth
century - visual poetry, concrete poetry, typopoésie - but long remained on the
margins of printed literature? Do they meet the current forms of web writing?

- What would be the digital equivalent of the "invisible typography" that
prevails today in literary publishing on paper?

- What specific writing, reading and research practices condition these new
visualizations and visualizations of the literary?

- What intentional or unintended meaning effects do they produce? What
imaginaries, what mythologies, what ideologies of the text and the science of
the text, what figures of the author and the critic convey the screenings of
literature when they emerge from the codes of print, as well as the new imagery
who does the computational critique use?


Directeur Adjoint Scientifique
Section 53 - Interdisciplinarité - Genre - Humanités numériques - IA
Institut des Sciences Humaines et Sociales du CNRS

Directeur de recherche au CNRS
UMR THALIM, "Théorie et histoire des arts et des littératures de la
CNRS-Université Paris 3-Sorbonne nouvelle-ENS

Web : https://cv.archives-ouvertes.fr/alexandre-gefen
Twitter : @agefen
Tél. : +33 6 08 99 98 42

        Date: 2019-12-04 11:24:07+00:00
        From: Peter Van Kranenburg 
        Subject: CfP 10th International Workshop on Folk Music Analysis (FMA2020)

10th International Workshop on Folk Music Analysis (FMA2020)

Dates: 29 June - 1 July 2020
Location: Aalborg University, Aalborg, Denmark

General Chairs:
David Meredith (Aalborg University)
Darrell Conklin (University of the Basque Country UPV/EHU)

CfP Deadline: 1 April 2020.

The International Workshop on Folk Music Analysis features research on
traditional music and musical cultural heritage from interdisciplinary
perspectives, including musicology, cultural studies, computer science
and music information retrieval.

FMA 2020 in Aalborg will celebrate the 10th anniversary of the workshop
series. For the first time FMA will collaborate with Springer, and full
papers will be published by Springer in post-workshop proceedings in the
Communications in Computer and Information Science (CCIS) series.


For FMA 2020 we invite contributions on the computational study of folk,
traditional and world musics. Topics of interest include but are not
limited to:

* Computational ethnomusicology
* Computational musicology
* Digital music libraries and archives
* Empirical and statistical approaches to music
* Formal and computational music analysis
* Machine learning for music analysis and generation
* Methods for music transcription and annotation
* Models of oral transmission of music
* Philosophical and aesthetic aspects
* Psychological and cognitive aspects
* Representation and modelling
* Retrieval systems for non-Western and folk musics


Submission Deadline: 1 April 2020
Notification of Acceptance: 3 May 2020
Workshop: 29 June - 1 July 2020
Full Papers ready for inclusion in Springer proceedings: 22 July 2020


FMA 2020 invites submissions in the form of Extended Abstracts (4 pages
Springer template, including headers and references) or Full Papers
(12-15 pages Springer template, including headers and references).
Submissions should be made via EasyChair.

Author instructions and templates (Latex or Word) are available on the
Springer website under "Information for Authors of Springer Computer
Science Proceedings"

For further details see the FMA website: https://fma2020.aau.dk.

        Date: 2019-12-02 11:24:21+00:00
        From: Costas Papadopoulos 
        Subject: Call for Papers: Design Thinking & Maker Culture: Sticky Learning for the 21st Century, 24-26 March 2020, Vienna

The IGNITE project is delighted to announce a conference (25-26 March
2020) and workshop (24 March 2020) in Vienna, Austria around the twin
concepts of design thinking and maker culture in teaching and learning.


Design Thinking & Maker Culture: Sticky Learning for the 21st Century.
University of Applied Arts, Vienna, Austria

To apply, please register your interest via the Google Form
Applications will be accepted to 18 December 2019

Sticky learning is a fairly new concept that promotes methods for
teaching/training so that it is retained more effectively afterwards  --
hence the stickiness. This is clearly the goal of all learning
activities, but with recent technology development and with the concept
of Industry 4.0, stickiness has also become a concept for learning
outcomes with user-oriented design. User-centred design is key to not
only improving efficiency, but also citizen engagement. It also provides
new ways to co-create across sectors and on a larger scale, and ways for
those in the humanities and heritage to take on and create solutions for
global challenges. We know that such solutions will include new
technologies, but also that they will rest on human and humanities
knowledge for a sustainable (digital) transition of society.

This conference seeks to explore these themes within the wider areas of
education within the digital humanities, cultural studies, and the
creative and cultural industries, both as part traditional educational
curricula as well as lifelong learning. We welcome abstracts for long
papers (20 minutes + 5 minutes for questions); short papers (10 minutes)
and posters which address themes related to the conference more
generally, but which especially address:

   * Sticky learning in teaching technology within a humanities setting
   * Digital innovation in teaching and learning in the humanities
   * Flipped classroom teaching
   * Lifelong learning in the digital transformation for the heritage sector
   * Design thinking for the humanities and heritage
   * Maker Culture as new forms of meaning-making and knowledge creation
   * Novel ways to teach technology at Masters level, including 3D
     modelling, augmented and virtual reality, digital storytelling, game
   * How do we prepare humanities students for a new labour market in the
     creative and cultural industries

There is no fee for the conference or workshop. They are underwritten by
the Creative Media Europe Directorate of the European Union and the
IGNITE project. There are a limited number of bursaries for presenters
from EU Member States who plan on attending both events.



Online, blended, & flipped classrooms for teaching new
technologies to humanities studies and heritage professionals

University of Applied Arts, Vienna, Austria

To apply, please register your interest via the Google Form

Applications will be accepted to 18 December 2020

This workshop will explore how we can integrate new modalities of
teaching (online, blended and flipped classrooms) and enhance and
empower students to apply critical thinking through design and making.
There are a myriad of new forms of knowledge creation engendered by the
digital transition.  It is crucial that students are able to participate
in the knowledge economy, not just by learning today’s technologies, but
by being prepared to create new knowledge, processes, services, and
products in formats and media that have yet to be invented.

This workshop will focus on ways to integrate alternative modalities of
knowledge creation (team, project-and problem-based learning) to better
prepare graduates for a wide variety of roles both in and supporting the
creative and cultural sector, from publishing, to GLAM institutions, to
grant management.

The workshop will be co-designed by participants and will centre around
the challenges that participants bring, including:

   * Integrating design thinking and making into the curriculum
   * The challenges of teaching with online, blended, and flipped classrooms
   * The institutional challenges of embedding alternative forms of
     knowledge creation into the curriculum
   * Preparing humanities students for a new labour market in the
     creative and cultural industries
   * Further directions for the IGNITE curriculum in meeting these

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