Humanist Discussion Group, Vol. 33, No. 460. Department of Digital Humanities, King's College London Hosted by King's Digital Lab www.dhhumanist.org Submit to: email@example.com  From: Alexandre Gefen
Subject: CFP : Visual features and visualizations of digital literary text (179)  From: Peter Van Kranenburg Subject: CfP 10th International Workshop on Folk Music Analysis (FMA2020) (63)  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] Organization Pascal MOUGIN - firstname.lastname@example.org 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 (ThÃ©ly 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 results. 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 modernité" CNRS-UniversitÃ© 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. TOPICS 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 IMPORTANT DATES 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 SUBMISSION GUIDELINES 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" (https://www.springer.com/gp/computer-science/lncs/conference-proceedings- guidelines) 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. Conference 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 jamming * 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. ** Workshop 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 todays 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 challenges _______________________________________________ Unsubscribe at: http://dhhumanist.org/Restricted List posts to: email@example.com List info and archives at at: http://dhhumanist.org Listmember interface at: http://dhhumanist.org/Restricted/ Subscribe at: http://dhhumanist.org/membership_form.php
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