[Humanist] 29.148 events: big data; electronic music; Ada Lovelace

Humanist Discussion Group willard.mccarty at mccarty.org.uk
Tue Jul 7 21:40:30 CEST 2015


                 Humanist Discussion Group, Vol. 29, No. 148.
            Department of Digital Humanities, King's College London
                       www.digitalhumanities.org/humanist
                Submit to: humanist at lists.digitalhumanities.org

  [1]   From:    Kanta Dihal <kanta.dihal at ELL.OX.AC.UK>                    (53)
        Subject: CfP Ada Lovelace Postgraduate Workshop

  [2]   From:    Boon Tim <Tim.Boon at SCIENCEMUSEUM.AC.UK>                   (53)
        Subject: CFP: Alternative Histories of Electronic Music (AHEM)

  [3]   From:    Andrew J Iliadis <ailiadis at purdue.edu>                    (23)
        Subject: Extended Deadline July 24th - CFP: "Critical Data Studies"


--[1]------------------------------------------------------------------------
        Date: Tue, 7 Jul 2015 12:22:47 +0100
        From: Kanta Dihal <kanta.dihal at ELL.OX.AC.UK>
        Subject: CfP Ada Lovelace Postgraduate Workshop


Texts and Contexts: The Cultural Legacies of Ada Lovelace

"That brain of mine is more than merely mortal; as time will show."
A workshop for graduate students and early career researchers

Tuesday 8th December 2015
Mathematics Institute and St Anne's College, Oxford

The mathematician Ada Lovelace (1815-1852), daughter of poet Lord Byron, is
celebrated as a pioneer of computer science. The notes she added to her
translation of Luigi Menabrea's paper on Charles Babbage's analytical engine
(1843) are considered to contain a prototype computer program. During her
short life, Lovelace not only contributed original ideas to the plans for
this early computer; she also imagined wider possibilities for the engine,
such as its application to music, and meditated on its limitations. Lovelace
leaves a legacy not just as a computer scientist, but also as a muse for
literary writers, a model to help us understand the role of women in science
in the nineteenth century, and an inspiration for neo-Victorian and
steampunk traditions.

As part of the University of Oxford's celebrations to mark the 200th
anniversary of Lovelace's birth, this one-day workshop will bring together
graduates and early career researchers to discuss the varied cultural
legacies of this extraordinary mathematician. The day will feature an expert
panel including graphic novelist Sydney Padua and biographer Richard Holmes.

The day will conclude with a reception and buffet when there will be
opportunities to meet with speakers from the Ada Lovelace 200 Symposium,
which will also take place in the Mathematics Institute on the following two
days (9th-10th December). Researchers from all disciplines are invited to
submit proposals for papers on the influences of Lovelace's work, on topics
including, but not limited to, literature, history, mathematics, music,
visual art, and computer science. This might include:

*	Lovelace's place in the study of the history of science.
*	Lovelace and women in science in the nineteenth century
*	Early nineteenth-century scientific networks, including Lovelace's
relationship with such individuals as Charles Babbage and Mary Somerville.
*	Lovelace and discussions about the role of the imagination in
scientific practice in the nineteenth century.
*	Lovelace as translator and commentator.
*	Mathematics and music, and the musical possibilities Lovelace
envisaged for Babbage's engine.
*	Lovelace's own textual legacies, such as her correspondence,
childhood exercises and mathematical notes held in the Bodleian.
*	Lovelace's technological legacies, from her seminal work on
Babbage's Analytical Engine to her impact on computer programming today.
*	Lovelace's role in the steampunk tradition, from Gibson and
Sterling's The Difference Engine to Sydney Padua's The Thrilling Adventures
of Lovelace and Babbage, and neo-Victorian fashion.
*	Efforts and activities to commemorate and memorialise Lovelace, from
the recent Google Doodle to the annual Ada Lovelace Day.

Proposals, not exceeding 250 words, for 15-minute papers should be submitted
to adalovelaceworkshop at ell.ox.ac.uk by 5pm, Friday 28th August 2015. 

Those who are accepted to speak at this graduate workshop will also be offered 
free registration for the Ada Lovelace 200 Symposium taking place on the
following two days. For more information, please visit
https://adalovelaceworkshop.wordpress.com.

 


--[2]------------------------------------------------------------------------
        Date: Tue, 7 Jul 2015 12:02:17 +0000
        From: Boon Tim <Tim.Boon at SCIENCEMUSEUM.AC.UK>
        Subject: CFP: Alternative Histories of Electronic Music (AHEM)


The call for papers is now open for an international conference on 'Alternative Histories of Electronic Music' (AHEM), to be held at The Science Museum Research Centre (London) in April 2016.

Invited speakers will include: Sarah Angliss, Georgina Born, Simon Emmerson, Leigh Landy, Trevor Pinch.

Full details of the call, including submission guidelines and some suggested thematic areas, are given below, and can also be found online at http://ahem2016.wordpress.com/call-for-papers.

The deadline for abstract submissions is 31 October 2015.

--------------------------------------------------------------------------------------------
CALL FOR PAPERS: ALTERNATIVE HISTORIES OF ELECTRONIC MUSIC (AHEM)

The story of the genesis and development of electronic/electroacoustic music is often told in the same familiar way. Experiments in musique concrète in Paris and elektronische Musik in Cologne played a central role in European developments, while activities in New York such as those of the Columbia-Princeton Electronic Music Center, John Cage and his Music for Tape-Recorders group, and Louis and Bebe Barron are frequently proffered as the most prominent American contributions. These activities were significant, of course; but they were not the only progenitors of modern-day electronic music. There are many, many other ways in which the story of electronic music’s history and development could be told.

For example… What does electronic music look like if we focus on the contributions of individuals whose work is less widely known; less widely recognised? What happens if we step away from the Western European and North American institutions that are normally figured as central to the genesis and development of electronic music? Or, what happens if we question, or explore the mechanisms of, their authority? What happens if we change our object(s) of study; if we look at artefacts and objects rather than composers and works, for instance? Are there tools, techniques, instruments that played an important role in shaping electronic music that remain under-recognised or misunderstood? What about when we listen to the marginalised voices; what versions of electronic music’s history do they tell? Or, what happens if we change our methods of study, so as to highlight aspects that hitherto went unnoticed, such as underlying social, political, or economic dimensions? How does current music draw on the origins of the form?

This conference is being staged as part of an AHRC-funded project exploring the work of the English musician and musicologist Hugh Davies (1943-2005). In the late 1960s, Davies produced a comprehensive inventory of electronic music compositions, entitled International Electronic Music Catalog (1968), in which he documented the output of 560 studios in 39 countries. This challenged the hegemony of the Paris, Cologne, and New York schools, whose activities dominated the literature of the 1950s and 60s. As such, Davies provided what was perhaps the first alternative version of electronic music’s history. While this conference is not directly ‘about’ Hugh Davies, then, it does explore some of the broader issues raised by his work.

There are many ways in which an ‘alternative’ history could be framed. The purpose of this conference is to explore all possibilities; to focus upon different ways of telling the story of electronic music; to explore its alternative histories.

Call for Papers

We seek proposals for papers/presentations that fall under the rubric of ‘alternative histories of electronic music’, as sketched out above. We welcome submissions that focus on any one or combination of the following (note that these are suggestive rather than prescriptive):


·         Pathways from electronic music’s past to electronic music’s present that are ‘a little bit different’ from what one might expect.

·         Individuals, institutions, inventions, or perspectives that have been neglected or under-represented up to now.

·         Alternative methodological and/or theoretical perspectives; studies that encourage us to look at the history of electronic music in a different way.

·         Ethnographic, anthropological, and/or interdisciplinary approaches; implementation of methods native to science and technology studies (STS); other methodological approaches that are apt to reveal ‘alternative histories’.

·         Alternative narratives; studies that compel us to attend to, or listen to, different things as we navigate electronic music’s history.

·         Marginalised voices; stories of electronic music’s history and development that have been sidelined, for whatever reasons.

·         Non-Western European, Non-North American developments, and/or activities that happened outside those typically considered in electronic music histories.

·         Unconventional or DIY approaches; work that has flouted the norms and expectations of its epoch.

·         Developments that have shaped or changed the direction of electronic music, but which remain as yet under- or un-recognised.

·         Notions of genre/style/idiom as a lens for alternative histories.

·         Studies that might be thought of as continuing the work that Hugh Davies started with his International Electronic Music Catalog, for example by focusing on the electronic music of under-represented nations.

·         Tools, techniques, instruments (etc.) that played an important role in shaping electronic music, but which remain under-recognised or misunderstood.

·         Interrogating the (perhaps invisible) driving forces behind institutions of cultural production, so as to reveal why certain models of electronic music dominate, or appear to dominate.

·         Historic perspectives on relationships between electronic music and other musical/cultural practices.

·         We are interested in how electronic music came to be the way it currently is; and in the developments and perceptions that have shaped this. Proposals are therefore likely to incorporate a strong historical element, either focusing directly upon historic developments, and/or framing the current state of affairs in the light of historic perspectives. (Proposals from individuals to discuss their own creative work are discouraged unless they provide strong insights in the above areas.)

Submissions are welcomed from all disciplines, but particularly from electroacoustic music studies, science and technology studies, history/philosophy of science/technology, and sound studies.

Submission Guidelines

Please submit an abstract of approximately 500 words, plus brief biographies of approximately 100 words for each author, using the template provided, by email to ahem at leeds.ac.uk<mailto:ahem at leeds.ac.uk>. The template can be downloaded here in MS Word and RTF (Rich Text Format).

Timeline

Call for papers: 7 July 2015
Deadline for abstracts: 31 October 2015
Notification of results: 1 December 2015
Conference: 15-16 April 2016

Publication Plans

There are plans for a thematic issue of Organised Sound (http://journals.cambridge.org/action/displayJournal?jid=OSO). A separate call for submission will be released in due course. Conference delegates interested in publication are encouraged to conceive of their conference papers/presentations such that they could be developed into full-length journal articles (c. 6-7000 words); a deadline for submission of articles for peer review is provisionally anticipated around 5 months after the conference (September 2016).

Contacts and Other Information

For any enquiries please contact ahem at leeds.ac.uk<mailto:ahem at leeds.ac.uk>.

This conference is being staged as part of an Arts and Humanities Research Council funded project led by Dr James Mooney, School of Music, University of Leeds, in partnership with Dr Tim Boon, Head of Research and Public History, The Science Museum.

--
Dr James Mooney
Lecturer in Music Technology
Principal Investigator, Hugh Davies Project
School of Music, University of Leeds
http://music.leeds.ac.uk/people/james-mooney/
http://hughdaviesproject.wordpress.com/
--
CONFERENCE: ‘Alternative Histories of Electronic Music’
Deadline for abstracts: 31 October 2015
Conference: 15-16 April 2016, Science Museum, London
http://ahem2016.wordpress.com/call-for-papers/



--[3]------------------------------------------------------------------------
        Date: Tue, 7 Jul 2015 10:43:20 -0400 (EDT)
        From: Andrew J Iliadis <ailiadis at purdue.edu>
        Subject: Extended Deadline July 24th - CFP: "Critical Data Studies" 


*Extended Deadline July 24th* - CFP: “Critical Data Studies” – Big Data & Society Special Theme

Guest Editors: Andrew Iliadis (Purdue University) and Federica Russo (Universiteit van Amsterdam)

Critical Data Studies (CDS) is a growing field of research that focuses on the unique theoretical, ethical, and epistemological challenges posed by “Big Data.” Rather than treat Big Data as a scientifically empirical, and therefore largely neutral phenomena, CDS advocates the view that data should be seen as always-already constituted within wider data assemblages. Assemblages is a concept that helps capture the multitude of ways that already-composed data structures inflect and interact with society, its organization and functioning, and the resulting impact on individuals’ daily lives. CDS questions the many assumptions about data that permeate contemporary literature on information and society by locating instances where data may be naively taken to denote objective and transparent informational entities.

CDS may be viewed as an emerging field connected to Information Ethics, Software Studies, and Critical Information Studies in that it seeks to question the ethical import of information and Big Data for society. Problems of causality, quality, security, and uncertainty concern CDS scholars. Recent articles outlining the theoretical program of CDS offer a new platform from which to question data in this manner. We seek essays for this special volume that broaden these latest commitments in CDS to include new empirical research projects on information and communication technologies (ICTs) that fall under the umbrella of Big Data, while also seeking to question their attendant epistemological shifts. Through the critical lens of ethics and morality, this special volume opens up CDS to localizations where Big Data can no longer be seen as neutral, and where an ethics of Big Data might emerge.

Issues of interest include (but are not limited to):
- Causality: how should we find causes in the era of ‘data-driven science?’ Do we need a new conception of causality to fit with new practices?
- Quality: how should we ensure that data are good enough quality for the purposes for which we use them? What should we make of the open access movement; what kind of new technologies might be needed?
- Security: how can we adequately secure data, while making it accessible to those who need it? How do we protect databases?
- Uncertainty: can Big Data help with uncertainty, or does it generate new uncertainties? What technologies are essential to reduce uncertainty elements in data-driven sciences?

Proposals of 1000 words are invited for consideration and inclusion in the Special Theme to be published in Big Data & Society (BD&S), an open access peer-reviewed scholarly journal that publishes interdisciplinary work principally in the social sciences, humanities and computing and their intersections with the arts and natural sciences about the implications of Big Data for societies.

Manuscripts should be 8,000 words for an Original Research Article, 3,000 words for a Commentary, and 1,000 words for an essay in the Early Career Research Forum section. All submissions of Original Research Articles to BD&S are double-blind, and triple peer-reviewed. Commentaries and ECR submissions are reviewed by the Guest Editors.

Proposals should be sent to the Guest Editors: ailiadis at purdue.edu and f.russo at uva.nl

Manuscript Guidelines:

http://www.uk.sagepub.com/msg/bds.htm#PEERREVIEWPOLICY

Style Guidelines:

http://www.uk.sagepub.com/repository/binaries/pdf/SAGE_UK_style_guide_short.pdf

Proposal Deadline: July 10, 2015 *Extended Deadline July 24th*

Notification of Acceptance: end of July

Paper Deadline: October 4, 2015

Reviews Returned: end of December

Revised Paper Deadline: February 29, 2016

Anticipated Publication Date: Spring/Summer 2016

CFP link: http://bigdatasoc.blogspot.co.uk/2015/06/call-for-proposals-special-theme-on.html




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