[Humanist] 29.411 events: art history (Sydney); DH seminar (London); editing (Cambridge)

Humanist Discussion Group willard.mccarty at mccarty.org.uk
Wed Oct 21 07:26:37 CEST 2015


                 Humanist Discussion Group, Vol. 29, No. 411.
            Department of Digital Humanities, King's College London
                       www.digitalhumanities.org/humanist
                Submit to: humanist at lists.digitalhumanities.org

  [1]   From:    Stephen Whiteman <swhiteman at alumni.stanford.edu>          (62)
        Subject: 'Recasting the question: digital approaches in art history
                and the museum,' University of Sydney, 5 November 2015

  [2]   From:    Tessa Whitehouse <m.t.whitehouse at qmul.ac.uk>               (8)
        Subject: QM Digital Humanities Seminar 27 October

  [3]   From:    Andrew Prescott <Andrew.Prescott at glasgow.ac.uk>           (28)
        Subject: Digital Editing Now: Call for posters


--[1]------------------------------------------------------------------------
        Date: Tue, 20 Oct 2015 17:25:09 +1100
        From: Stephen Whiteman <swhiteman at alumni.stanford.edu>
        Subject: 'Recasting the question: digital approaches in art history and the museum,' University of Sydney, 5 November 2015


Digital approaches occupy an increasingly important place in the discipline
of art history today. Yet their potential remains largely untapped by many
in the field. What becomes possible in terms of substantive change in art
historical research and understanding? How do these tools change not only
the outcomes of our research (i.e., generating new insight or perspectives)
but how we think about the material we work upon? What new opportunities
for engagement with cultural heritage are made possible by the digital,
both within and beyond the museum? How might the digital impact pedagogy,
and what careers in the arts should we be preparing our students for? Do
these new methods mean leaving behind the approaches of the past, or is
there room for both the digital and the analog in art history?

*Recasting the Question: Digital Approaches in Art History and Museums* is
a day-long symposium exploring the application of digitally-based methods
to the study and presentation of art and architecture in universities and
museums. Bringing together international experts in digital art history and
exhibition with leaders in the field in Australia, *Recasting the Question*
offers the opportunity to explore the critical and scholarly issues that
animate this emerging discipline through a series of projects focused on
art and architecture from Australia and around the world.

Speakers will use current research projects as jump off points for thinking
through the ideas and issues that stand behind their projects and how those
ideas have evolved from (or relate to) the field as it has conventionally
been known and practiced.

Speakers include:

   - *Caroline Astrid Bruzelius*, A. M. Cogan Professor of Art and Art
   History, Duke University and co-founder of Visualizing Venice and Wired!
   - *Ross Harley*, Dean, UNSW Australia Art + Design
   - *Tim Sherratt*, Assistant Director of Trove, National Library of
   Australia and Associate Professor of Digital Heritage, University of
   Canberra
   - *Roland Fletcher, *Professor of Archaeology, University of Sydney
   - *Tom Chandler*, Senior Lecturer in the Faculty of Information
   Technology, Monash University
   - *Sabih Ahmed*, Senior Researcher at Asia Art Archive (AAA)
   - *Mitchell Whitelaw*, Associate Professor in the Faculty of Arts and
   Design, University of Canberra
   - *Jaye McKenzie-Clark*, Early Career Fellow in the Department of
   Ancient History, Macquarie University
   - *John Magnussen*, Visiting Professor of Radiology, Macquarie University
   - *Andrew Yip*, iGLAM Research Fellow, Art Gallery of New South Wales
   and the Laboratory for Innovation in Galleries, Libraries, Archives and
   Museums, UNSW
   - *Simon Ives*, Paintings Conservator at the Art Gallery of New South
   Wales
   - *Niall Atkinson*, Neubauer Family Assistant Professor of Art History,
   University of Chicago
   - *Lisa Beaven*, Post-Doctoral Research Fellow at the ARC Centre for
   Excellence in the History of Emotions, Melbourne University
   - *Darren Jorgensen*, Senior Lecturer and Chair of Art History,
   University of Western Australia
   - *Hussein Keshani*, Associate Professor in Art History & Visual
   Culture, University of British Columbia, Okanagan
   - *Glenn Roe*, Lecturer in Digital Humanities, ANU Centre for Digital
   Humanities Research
   - *Stephen Whiteman*, Lecturer in Asian Art History, University of Sydney
   - *Robert Wellington*, Lecturer at the Centre for Art History and Art
   Theory, Australian National University

For registration and further information:
http://whatson.sydney.edu.au/events/published/power-institute-recasting-the-question
Dr Stephen H Whiteman
Lecturer in Asian Art, Department of Art History
The University of Sydney



--[2]------------------------------------------------------------------------
        Date: Tue, 20 Oct 2015 11:10:28 +0000
        From: Tessa Whitehouse <m.t.whitehouse at qmul.ac.uk>
        Subject: QM Digital Humanities Seminar 27 October
        In-Reply-To: <7FA3D298-65DF-43FE-B480-0A26F1FB6B98 at qmul.ac.uk>


Please join us for the first seminar of the 2015-16 academic year:

Meredith Meredith, 'Poetic Categories and Digital Archives'

Meredith specializes in anglophone poetry, with interests in historical prosody, historical poetics, poetry and public culture, and disciplinary and pedagogical history. She is the Faculty Director of the Center for Digital Humanities at Princeton, which started under her leadership in 2014.

Tuesday 27 October

Queen Mary University of London

ArtsTwo Senior Common Room

5.30 pm

More information about Meredith and her work can be found on her profile page: <https://english.princeton.edu/people/meredith-martin>



--[3]------------------------------------------------------------------------
        Date: Tue, 20 Oct 2015 12:42:28 +0000
        From: Andrew Prescott <Andrew.Prescott at glasgow.ac.uk>
        Subject: Digital Editing Now: Call for posters
        In-Reply-To: <7FA3D298-65DF-43FE-B480-0A26F1FB6B98 at qmul.ac.uk>

The organisers of this conference have asked me to forward this call for posters. 

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 area. The selected posters will be presented during the course of the conference, and 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) by Friday 30 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?

2.	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?
 
3.	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?

4.	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?   


Andrew Prescott FSA FRHistS
Professor of Digital Humanities
AHRC Theme Leader Fellow for Digital Transformations
University of Glasgow

andrew.prescott at glasgow.ac.uk
@ajprescott
07743895209









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