[Humanist] 29.356 events: editing; publishing

Humanist Discussion Group willard.mccarty at mccarty.org.uk
Tue Oct 6 08:56:55 CEST 2015


                 Humanist Discussion Group, Vol. 29, No. 356.
            Department of Digital Humanities, King's College London
                       www.digitalhumanities.org/humanist
                Submit to: humanist at lists.digitalhumanities.org

  [1]   From:    Wim Van-Mierlo <W.Van-Mierlo at LBORO.AC.UK>                 (35)
        Subject: FW:  Digital Editing Now: Call for digital posters

  [2]   From:    Melissa Terras <m.terras at ucl.ac.uk>                       (35)
        Subject: im]Possible Constellations: Publishing in the digital age


--[1]------------------------------------------------------------------------
        Date: Mon, 5 Oct 2015 11:40:31 +0000
        From: Wim Van-Mierlo <W.Van-Mierlo at LBORO.AC.UK>
        Subject: FW:  Digital Editing Now: Call for digital posters
        In-Reply-To: <8BC7B545-3B92-448A-9956-460981D8196F at cam.ac.uk>


[cross-posted from SHARP-L]

> From: Orietta Da Rold [mailto:od245 at cam.ac.uk]
> Sent: 05 October 2015 11:36
> To: sharp-l at list.indiana.edu
> Subject: [SHARP-L] Digital Editing Now: Call for digital posters

Dear Colleagues,

Please, see call for posters below. Feel free to forward to any interested party.

Best wishes,
Orietta
-----

Digital Editing Now: Call for digital posters

7-9 January 2016     Centre for Research in the Arts, Social Sciences and Humanities (CRASSH)
University of Cambridge

Graduate students and early career scholars with interests in digital edition work are invited to submit proposals for digital posters relating to this field. The selected posters (a main page either in web page format, with the option of links to one or two additional pages, or in pdf) will be projected for five-minute presentations during the course of the conference. Those presenting will receive a bursary towards the costs of attendance.

Please send your proposal (maximum 200 words) to Tom Taylor (tmt24 at cam.ac.uk<mailto:tmt24 at cam.ac.uk>) by Friday 23 October 2015.

In recent years, there has been a significant shift in scholarly culture and funding strategies towards digital formats for edition projects. This is driven by the potential for new forms of production, presentation and access that the digital promises. And it involves a reassessment of the conventions that have determined editorial practice in the age of print. This conference will gather interested parties together to exchange ideas about the state of digital editing and its future potential. It will also provide the opportunity to ask critical questions about the limits of the digital. How should we place ourselves relative to fundamental issues of authority/openness, durability/fluidity? Can we establish a set of ideal types for digital editorial method, or would its optimal strengths rather lie in more hybrid forms, including a productive mode of cohabitation with the print formats that it appears to want to supersede?
While the conference will be fully open in historical and disciplinary terms, the exchange that is proposed here will be focused around four key sets of concerns, which cut across differences of material and context:

  1.  Material texts and digital forms

What possibilities does digital editing provide to do justice to the material character of the texts it seeks to present, to their physical bedding and the means of their inscription? Can it find creative and meaningful ways of getting close to the experience of the archive? And how does it respond to the need for the kinds of durability and reliability associated with its physical counterparts?

  1.  Editorial agents and agencies (providers, in various roles, and users)

Digital editions are the collaborative product of a range of types of expertise. They bring different agents together (academics, archivists, information technologists) in what can be a delicate process of negotiation between systems of knowledge. At the same time, users – expert and otherwise – experience, and in some cases reconfigure, digital editions, in various ways. How can the collective agency of these networks be made most fruitful?

  1.  Chronology and topography (genetic and diplomatic methods)

Critical editions always have to deal with the tension between presenting the historical genesis of their material and the spatial lay-out of its iterations. How can digital functions convey the relations between the two in dynamic and enlightening fashion?

  1.  Digital edition and performance practices

Digital editing offers the means to open up and enliven a range of different cultural materials. How might it provide a new basis for performance practices, in both live and digitally mediated forms, and in combinations of the two? And how might this extend beyond material self-evidently for performance (music, drama) to other types of resource?
***********************************
Dr Orietta Da Rold
University Lecturer in Literature and the Material Text: 1100 to 1500
Faculty of English
9 West Road, Cambridge, CB3 9DP
01223 335089

Fellow of St John´s College
Cambridge, CB2 1TP
01223 768181

od245 at cam.ac.uk<mailto:od245 at cam.ac.uk>



--[2]------------------------------------------------------------------------
        Date: Mon, 5 Oct 2015 20:07:04 +0100
        From: Melissa Terras <m.terras at ucl.ac.uk>
        Subject: im]Possible Constellations: Publishing in the digital age
        In-Reply-To: <8BC7B545-3B92-448A-9956-460981D8196F at cam.ac.uk>

im]Possible Constellations: Publishing in the digital age

Saturday 31 October 2015, 11.30-5, University of Lincoln *

ATTENDANCE IS FREE, and includes the option of attending a very special lights, lasers and sound event at Lincoln Castle, part of Frequency Festival of Digital Culture 2015 and the Magna Carta 800 anniversary celebrations, starting at 7pm.

See http://www.eventbrite.com/e/impossible-constellations-publishing-in-the-digital-age-tickets-18730234636 

This symposium, supported as part of the AHRC-funded Academic Book of the Future project, considers the possibilities for the circulation, publication and exhibition of new ideas in the digital age, aiming to challenge and expand current perceptions of what high quality research outputs might look like in the 21st century, particular for those working in media subjects.

Our keynote speaker is Catherine Grant from the University of Sussex, a highly respected champion and producer of the video essay format. She established (and continues to curate for) the open access campaigning website Film Studies For Free, and the Audiovisualcy video group, and is also founding editor of the academic digital publishing platform REFRAME. Grant has published widely on theories and practices of film authorship and intertextuality, and has edited volumes on world cinema, Latin American cinema, digital film and media studies, and the audiovisual essay. A relatively early and prolific adopter of the online short video form, she is founding co-editor of [in]Transition: Journal of Videographic Film and Moving Image Studies. This new peer-reviewed publication was awarded the Society for Cinema and Media Studies’ Anne Friedberg Innovative Scholarship Award of Distinction for 2015.

MONOGRAPHIC? VIDEOGRAPHIC? PLURIGRAPHIC? TOWARDS (AN) ENRICHED MEDIA STUDIES

In her presentation Catherine Grant will examine current multimodal approaches to research and digital publishing in film and media studies. She will focus on two recent examples of audiovisual essays published online alongside written texts to argue that not only would film and media studies benefit from moving "Beyond the Book" as a presentational mode, but also from embracing the new networked and digitally enriched research methods and processes that lead to these enriched scholarly media forms, too.

This event,featuring speakers engaged in the commissioning, publishing, creation, archiving and housing of digital publications, is also part of the programme for the third edition of the Frequency Festival of Digital Culture (23 Oct-1st Nov 2015). Frequency Festival is a partnership event that involves the University plus a range of city organisations and which receives support from the Arts Council, Foyle Foundation and local authorities. Projects discussed as part of this event will include examples of digital ‘practice-as-research’ exhibited as part of Frequency Festival.

As part of the event schedule, participants will have the opportunity to explore the Festival trail throughout the city, and will be offered complementary tickets to the provocative and immersive digital projection extravaganza at Lincoln Castle as the final event of the magnificent Magna Carta 800 anniversary celebrations. **

In short, our debate will focus on:

	• what it means to create and share ideas in the digital age, drawing attention to different forms of digital publishing;

	• what it means to be an ‘author/creator’ in an age of increasing digital collaboration;

	• what it means to be a ‘reader/consumer/participant’ of such outputs

and should be of interest to creative media practitioners, academics, publishers, commissioners, students ... anyone interested in debating the changing shape of publication in the digital age.

www.frequency.org.uk                                               http://academicbookfuture.org/

* Thanks to Virgin East Coast, a special direct ‘Festival’ train service from London to Lincoln will be available on Sat 31st Oct (leaving London at 9.10am, arriving Lincoln at 11.03) at super-discounted rate. Additionally, a free upgrade to first class, with symposium/Festival goodie bags, will be available on request. For those who need to return to London the same day, there’s a direct service that leaves Lincoln at 5.15pm arriving at 7.11pm.

** The One, The Few, The Many, by the seeper digital arts collective (www.seeper.com), will offer an incredible immersive digital version of Lincoln Castle, illuminating the dynamics of individual and collective power, past and present.

For further information and/or to book a place at this symposium (places limited to 30) please contact Sarah Barrow at sbarrow at lincoln.ac.uk
-----------------
Melissa M. Terras MA MSc DPhil CLTHE CITP FHEA
Director, UCL Centre for Digital Humanities
Vice Dean of Research, UCL Faculty of Arts and Humanities
Professor of Digital Humanities
Department of Information Studies
Foster Court
University College London
Gower Street
WC1E 6BT
 
Tel: 020-7679-7206 (direct), 020-7679-7204 (dept), 020-7383-0557 (fax)
Email: m.terras at ucl.ac.uk
Web: http://www.ucl.ac.uk/dis/people/melissaterras
Blog: http://melissaterras.org
Twitter: @melissaterras





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