[Humanist] 25.5 events: several & diverse

Humanist Discussion Group willard.mccarty at mccarty.org.uk
Mon May 9 09:34:05 CEST 2011


                  Humanist Discussion Group, Vol. 25, No. 5.
         Centre for Computing in the Humanities, King's College London
                       www.digitalhumanities.org/humanist
                Submit to: humanist at lists.digitalhumanities.org

  [1]   From:    "Berry D.M." <D.M.Berry at swansea.ac.uk>                    (34)
        Subject: Digital Shakespeare Monday 16 May 2011 (Workshop)

  [2]   From:    Elisabeth Andre <andre at informatik.uni-augsburg.de>        (37)
        Subject: cfp: Interactive Digital Storytelling - ICIDS 2011

  [3]   From:    "Summerfield, Michelle" <michelle.summerfield at kcl.ac.uk>  (37)
        Subject: CMCI Symsposium: Cultural consumers and copyright, 19 May
                2011

  [4]   From:    Simon Dixon <s.dixon at QMUL.AC.UK>                          (18)
        Subject: London Digital Humanities Group: Academic Journals in the
                DigitalWorld - 19 May

  [5]   From:    Willard McCarty <willard.mccarty at mccarty.org.uk>          (21)
        Subject: Visualisations and Simulations


--[1]------------------------------------------------------------------------
        Date: Sun, 8 May 2011 11:17:15 +0100
        From: "Berry D.M." <D.M.Berry at swansea.ac.uk>
        Subject: Digital Shakespeare Monday 16 May 2011 (Workshop)


Digital Shakespeare
Monday 16 May 2011

Workshop and Talks

SWANSEA UNIVERSITY
4th floor SmallTalk Room, Faraday Building

Organised by Dr. David M. Berry and Dr. Tom Cheesman

Few dispute that digital technology is fundamentally changing the way in which we engage in the research process. Indeed, it is becoming more and more evident that research is increasingly being mediated through digital technology. Many argue that this mediation is slowly beginning to change what it means to undertake research, affecting both the epistemologies and ontologies that underlie a research programme (sometimes conceptualised as 'close' versus 'distant' reading, see Moretti 2000). Of course, this development is variable depending on disciplines and research agenda, with some more reliant on digital technology than others, but it is rare to find an academic today who had no access to digital technology as part of the research activity and there remains fewer means for the non-digital scholar to undertake research in the modern university (see JAH 2008). Not to mention the ubiquity of email, Google searches and bibliographic databases which become increasingly crucial as more of the worlds libraries are scanned and placed online. These, of course, also produce their own specific problems, such as huge quantities of articles, texts and data suddenly available at the researcher's fingertips, indeed, "It is now quite clear that historians will have to grapple with abundance, not scarcity. Several million books have been digitized...and nearly every day we are confronted with a new digital historical resource of almost unimaginable size" (JAH 2008).

In this workshop we will look at how we might use the new digital tools of text aggregation, processing and information or data visualisation to provide the ways of looking at and thinking about Shakespeare. From making data patterns, to narrativising through algorithms and visualisation we aim to examine how these approaches and methods can assist in undertaking humanities research into textual materials.

 Programme

11.30-12.00     Registration (4th floor SmallTalk Room, Faraday Building)

12 noon:        Introduction and Welcome (David Berry)

12.15-12.50:    The Swansea VVV Project: Visualising Version Variation (Tom Cheesman)

13.00-13.45:    Understanding through Visualisation (Stephan Thiel, Potsdam)

13.45-14.00:    Coffee Break

14.00-14.30:    Shakespeare in Arabic (Sameh Hanna, Salford)

14.30-15.00:    Visualising Textual Corpora (Geng Zhao, Swansea University)

15.15-16.15:    Computational Information Design  (Stephan Thiel, Potsdam)

16.15:  Reflections on the workshop (Tom Cheesman, Robert S. Laramee)

16.45:  Ends
 
 
There is no charge for the workshop but as space is limited please email d.m.berry at Swansea.ac.uk if you are interested in attending.

http://www.delightedbeauty.org/

Funded by the Research Institute for Arts and Humanities (RIAH)

---

Dr David M. Berry
Department of Political and Cultural Studies
School of Arts and Humanities
Swansea University.
Swansea
SA2 8PP
Wales, UK

Tel: x2633
Web: http://www.swansea.ac.uk/staff/academic/ArtsHumanities/berryd/



--[2]------------------------------------------------------------------------
        Date: Sun, 8 May 2011 08:37:06 +0100
        From: Elisabeth Andre <andre at informatik.uni-augsburg.de>
        Subject: cfp: Interactive Digital Storytelling - ICIDS 2011


ICIDS 2011:The International Conference on Interactive Digital Storytelling

*** ICIDS 2011: Call for Papers ***
The Fourth International Conference on Interactive Digital Storytelling
November 28 - December 1, 2011: Vancouver, Canada

http://icids2011.wp.rpi.edu/

Submission Deadline: June 24, 2011

ICIDS is the premier international conference on Interactive Digital 
Storytelling (IDS), bringing together researchers from a wide variety of 
fields to share novel techniques, present recent results, and exchange 
new ideas.  Having been hosted successfully in Europe for the past three 
years, ICIDS 2011 marks the conference's first venture to an entirely  new
continent: North America.

Enabled by the advent of interactive digital media, Interactive Digital 
Storytelling redefines the experience of narrative by allowing its 
audience to actively participate in the story. As such, IDS offers 
interesting new possibilities for games, training, and learning, through 
the enriching of virtual characters with intelligent behavior, the 
collaboration of humans and machines in the creative process, and the 
combination of narrative knowledge and user activity into novel,
interactive artefacts.

IDS draws on many aspects of Computer Science, and specifically on 
research in Artificial Intelligence and Virtual/Mixed Reality; topics 
include multi-agent systems, natural language generation and
understanding, player modelling, narrative intelligence, drama
management, cognitive robotics, and smart graphics. Furthermore, IDS is 
inherently an multidisciplinary field. To create novel applications in 
which users play a significant role together with digital characters and 
other autonomous elements, new concepts for Human-Computer Interaction 
are needed, and novel concepts from theoretical work in the Humanities 
and interactive art are important to incorporate as well.

We welcome research papers and demonstrations -- including interactive 
narrative art -- presenting new scientific results, innovative
technologies, case studies, creative insights, best practice showcases, 
or improvements to existing techniques and approaches in the
multidisciplinary research field of Interactive Digital Storytelling and 
its related application areas, e.g. games, virtual/online worlds, 
e-learning, edutainment, and entertainment.

[...]

--[3]------------------------------------------------------------------------
        Date: Mon, 9 May 2011 08:02:25 +0100
        From: "Summerfield, Michelle" <michelle.summerfield at kcl.ac.uk>
        Subject: CMCI Symsposium: Cultural consumers and copyright, 19 May 2011 


Culture, Media & Creative Industries (CMCI) symposium: 
Cultural consumers and copyright

Date: Thursday, 19 May 2011
Time: 1-6pm
Venue: K2.31 (2nd floor, King's Building), Strand Campus, King's College London

This symposium aims to broaden the scope of copyright discussion by bringing in cultural consumers' perspectives. The papers question how copyright policy/law understands cultural consumers and their consumption practices, how cultural consumers perceive copyright and its protection/infringement and whether copyright law's conceptual dichotomies between idea and expression and between production and consumption can be sustainable. The tension around copyright protection is also identified from the context of global inequality of music production and consumption capacities. In addition, the current copyright protection term is critically examined from both the producers' and consumers' stance. The symposium, involving researchers from law, cultural sociology, media studies and creative industries research, presents an exciting, interdisciplinary space for re-thinking copyright. The event is hosted by Culture, Media & Creative Industries (CMCI), King's College London. Not only researchers/students but also policy makers, cultural practitioners and members of the general public are welcome.

1.00-1.10 Introduction

1.10-1.45 (including Q&A)
Viewing cultural consumers through the lens of copyright law
Dr Tanya Aplin, Law, King's College London
Copyright law characterizes cultural consumers according to their status as either 'individual' or 'institutional' consumers, 'digital' versus 'analogue' consumers, 'legitimate' users versus 'pirates', or 'commercial' versus 'non-commercial' users.  Copyright owners, in particular, argue that digital consumers, 'pirates' and commercial users pose the greatest threat to the copyright system, whereas many scholars, educational institutions and cultural repositories argue that copyright law is failing 'institutional', 'legitimate' and 'non-commercial' users and treating them unfairly. This paper will examine these different categories of consumers/users and the concerns that relate to each of them.

1.45-2.20
Cultural consumers' alternative ethics: A case study of anime fansubbing
Dr Hye-Kyung Lee, CMCI, King's College London
By investigating 'anime fansubbing', this paper discusses copyright and its infringement from the consumers' perspective. Anime fansubbing is a media fandom where avid anime (Japanese animation) fans copy anime, translate Japanese to another language, subtitle and release a subtitled version on the Internet to share it with other fans, without permission from the copyright holder. The case study of English fansubbing (fansubbing in English) of anime finds that this activity has been informed by fansubbers' own ethics that intend to help to grow the US anime industry by respecting US publishers' licenses and self-regulating fansubbed anime. However, the existing ethics have been increasingly challenged under the advancement of digital fansubbing, the rise of peer-to-peer distribution and the globalisation of fansubbing production and consumption. The case study demonstrates that the idea of copyright is contingent and open to cultural consumers' own understanding and interpretation. This paper will be published in Creative Industries Journal 3(3) in 2011.

2.20-2.55
Consumer uproar or net activism? The "pirate" movement in Sweden
Dr Jonas Andersson, Culture and Communications, Södertörn University, Sweden
>From a perspective influenced by actor-network theory and media ecology, I will discuss the agential specificities found in file-sharing as an activity and historical phenomenon. I will problematise the links between file-sharing and activism, taking the Swedish file-sharing debate as my primary example. Some relevant terms that I will discuss are visibility, measurability, agency, and the ontological presumptions of what the internet infrastructure is, and the political dispute over what it ought to be. Shared metaphors and views of the digital infrastructure are central to my analysis: What does our use of terms like 'downloading,' 'sharing,' 'seeding,' 'leeching,' and 'piracy' entail? How useful is it to compare file-sharing with gift cultures? Where does the perspectival horizon lie in digital networks? When individual agency is shown to be diffracted, where does that leave personal responsibility, and what does that mean for regulatory policies? I hope to raise several fertile questions like this, and some tentative answers as well.

2.55-3.30 Tea & Coffee at CMCI Workroom

3.30-4.05
4'33", or how the idea-expression dichotomy collapses when you listen to music
Professor Barry Shank, Comparative Studies, Ohio State University, US and Dr Jason Toynbee, Media Studies, Open University
The idea-expression dichotomy (IED) lies at the heart of copyright. According to it, the idea in a work is not copyrightable whereas expression of that idea is. As a result ideas can circulate freely and so benefit consumers, yet incentive is maintained for creators to go on creating. Copyright, in other words, finds a righteous balance in the dichotomous nature of symbolic works. However we argue that the IED is invalid on ontological grounds. Through an examination of 4'33" by John Cage, and the efforts to protect the copyright of this piece on the part of publisher CF Peters we demonstrate how the dichotomy collapses. The expression cannot be distinguished from the idea. Then, using 4'33" as a fulcrum point, we go on to explore the dichotomy in other cases such as sampling and Muzak. The IED breaks down here as well, revealing copyright to be nothing more than a species of the commodity form.

4.05-4.40
Can Western consumers really help development by buying 'world music'?
Professor Andy Pratt, CMCI, King's College London
This paper discusses the wider issues via a case study of music production web in Senegal and follows the tentacles of global production that spread back to Europe, and return profits there. The paper reflects upon the tensions between intellectual property rights in the cultural economy and global development. Does the current system of IPR serve the developing world, or does it serve to keep it in its place? Even within normative legal solutions, is enforcement, effective or wise?

4.40-5.15
Opening up back-catalogues through copyright term reversion: Why we need a coalition of artists and consumers
Professor Martin Kretschmer, Centre for IP Policy & Management, Bournemouth University
Copyright law awards exclusive rights that now often last more than 100 years (life + 70 years). Typically, these rights are transferred to third parties who accumulate back-catalogues of rights. A large percentage of works in these back-catalogues are not available for social and commercial innovation. We have reliable indicators of the scale of the problem. Studies conducted in the United States at the time of the constitutional challenge to the Copyright Term Extension Act (Eldred v. Ashcroft, 2002) found that only 2.3% of in copyright books and 6.8% of in copyright films released pre-1946 remained commercially available.  A study for the Library of Congress on the reissues of U.S. sound recordings found that of a random sample of 1521 records issued between 1890 and 1964, only 14 percent were available from rights owners.  A European Commission study has estimated "conservatively" that for 13% of the total number of books in copyright, the owner is unknown (i.e. they could not be reissued even if the will was there). This paper advocates copyright term reversion as a tool for opening up back-catalogues. Under the proposal, copyright will only be assignable for an initial term of 10 years, after which it will fall back to the creator.

5.15-5.25 Break

5.25-5.45 Panel discussion/further Q&A

There is a symposium registration fee of £10 (the concession fee for students is £5). Please book a place in advance by sending a registration form (available at http://www.kcl.ac.uk/artshums/depts/cmci/events/index.aspx) and a cheque (Payee: King's College London) to c/o Michelle Summerfield, CMCI, King's College London, Strand, WC2R 2LS.

The venue is located on the second floor of the King's Building, Strand Campus of King's College London. Please ask at reception for directions. For a map please see http://www.kcl.ac.uk/about/campuses/strand.html.

For further information please contact Michelle Summerfield at michelle.summerfield at kcl.ac.uk or Dr Hye-Kyung Lee (hk.lee at kcl.ac.uk).



--[4]------------------------------------------------------------------------
        Date: Sun, 8 May 2011 14:47:10 +0100
        From: Simon Dixon <s.dixon at QMUL.AC.UK>
        Subject: London Digital Humanities Group: Academic Journals in the DigitalWorld - 19 May
        In-Reply-To: <BANLkTin=Fw1qCiauCozc6C2gzm-jCEKNtA at mail.gmail.com>


The next meeting of the London Digital Humanities Group will take place at Dr Williams's Library, 14 Gordon Square, London, WC1H 0AR on Thursday 19 May at 5pm. The meeting will take the form of a panel discussion on the topic of 'The Future of Academic Journals in the Digital World'. Speakers will be Ian Rowlands (Professor of Information Science, UCL), and Victoria Bates and Thomas Beaumont (University of Exeter).

Ian Rowlands is a founding member of the UCL Centre for Publishing and the CIBER research group. His research interests include scholarly communication, bibliometrics and journal publishing.

Victoria Bates and Thomas Beaumont are co-founders of Ex-Historia, an online journal published by postgraduate history students at the University of Exeter. It publishes original, refereed articles and book reviews by postgraduate students on any historical topic. Victoria and Thomas will discuss how the online nature of Ex-Historia has both assisted and created challenges for its development. Despite being ostensibly a journal with a very traditional format, it has been fundamentally shaped by being online and open access. They will address how an e-journal for postgraduates can provide valuable publishing opportunities with widespread distribution, as well as being produced at a low cost. However, there are limitations to the online format, particularly with regard to permanency and the perception of the professionalism of such journals (by potential contributors and within the publishing industry). Victoria and Thomas will also address the future direction of Ex-Historia, and online journals in general, by considering how e-journals can use their online formats to be more innovative or interactive than traditional journals.

Dr Williams's Library is located in Gordon Square a short walk from UCL and the British Library. For directions see http://www.dwlib.co.uk/dwlib/visiting.html. All are welcome to attend. All are welcome. To confirm attendance or for further information please contact s.dixon at qmul.ac.uk<mailto:s.dixon at qmul.ac.uk>

The London Digital Humanities Group is supported by Queen Mary, University of London.

--
Dr Simon Dixon
Postdoctoral Research Fellow
Dissenting Academies Project
Dr Williams's Centre for Dissenting Studies
Department of English and Drama
Queen Mary, University of London
http://www.english.qmul.ac.uk/drwilliams/people/sdixon.html
http://qmul.academia.edu/SimonDixon/About

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--[5]------------------------------------------------------------------------
        Date: Mon, 09 May 2011 08:30:39 +0100
        From: Willard McCarty <willard.mccarty at mccarty.org.uk>
        Subject: Visualisations and Simulations
        In-Reply-To: <BANLkTin=Fw1qCiauCozc6C2gzm-jCEKNtA at mail.gmail.com>

My attention has been drawn to an article in The Observer highlighting 
the POCOS project (http://www.pocos.org/), "Preservation of Complex 
Visual Objects Symposia". The first symposium, "Visualisations and 
Simulations", is to be held 16-17 June, in the Anatomy Theatre & Museum, 
King's College London, organised by the King's Visualisation Lab based 
at the Department of Digital Humanities.

The two-day symposium on Visualisations and Simulations will provide a 
forum for participants to review and discuss the latest developments in 
the field, witness real-life case studies, and engage in networking 
activities. The symposium will  promote discussion of the following key 
topics:

--Intellectual “Transparency” In 3D Cultural Heritage Models
--The role of Virtual Museums
--Preservation of Mixed Reality Representations of Heritage Sites

Yours,
WM
-- 
Professor Willard McCarty, Department of Digital Humanities, King's
College London; Centre for Cultural Research, University of Western
Sydney; Editor, Interdisciplinary Science Reviews (www.isr-journal.org);
Editor, Humanist (www.digitalhumanities.org/humanist/); www.mccarty.org.uk/





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