[Humanist] 28.10 events: iLatin & eGreek; epistemological excess; digital paratext

Humanist Discussion Group willard.mccarty at mccarty.org.uk
Thu May 8 22:45:28 CEST 2014

                  Humanist Discussion Group, Vol. 28, No. 10.
            Department of Digital Humanities, King's College London
                Submit to: humanist at lists.digitalhumanities.org

  [1]   From:    Fabian Kraemer <Fabian.Kraemer at LMU.DE>                   (195)
        Subject: CfP Coping with Copia, Montreal, May 14-16, 2015

  [2]   From:    "Elton.Barker" <elton.barker at OPEN.AC.UK>                  (31)
        Subject: FW: iLatin and eGreek conference: presentations now
                available online

  [3]   From:    Daniel Apollon <Daniel.Apollon at uib.no>                    (77)
        Subject: CFC: Workshop: Paratext in Digital Culture:  Is Paratext
                Becoming the Story?  University of Bergen 28-29 August 2014

        Date: Thu, 8 May 2014 11:22:21 +0200
        From: Fabian Kraemer <Fabian.Kraemer at LMU.DE>
        Subject: CfP Coping with Copia, Montreal, May 14-16, 2015

(La version française suit)

Fabian Krämer (History of Science, Ludwig-Maximilians-Universität
Munich, Germany)
Itay Sapir (Art History, Université du Québec à Montréal, Canada)

Coping with Copia:
Epistemological Excess in Early Modern Art and Science
Call for papers for a conference in Montreal, May 14-16, 2015

We are living in an era of unprecedented information overload. This is
one of the most common clichés defining the early 21st century, both in
academic circles and in general public imagery. And, as clichés often
do, this one encapsulates some elements of truth. The Internet era is
indeed, quantitatively at least, the scene of the most formidable
multiplication of readily available information of any kind humanity has
ever experienced. A considerable portion of this information comes in
visual form: we have more and more images and diagrams of all kinds of
things at our disposal, and we often wish – this is perhaps a broader
anthropological phenomenon – to give visual figure to information that
is not quintessentially meant to address the eyes.

The "unprecedented" nature of our contemporary overload may be less
clear than we tend to think, however. Some periods in the past were
confronted with a similar cultural situation, considering both the
objective growth in available information and the subjective impression
of living in an era of unprecedented epistemological saturation. An
emblematic moment of this kind was the sixteenth and seventeenth century
in Europe, the two centuries that led up to, and witnessed, the now
often contested "Scientific Revolution", a period characterised also by
geographical expansion and aesthetic subversion. Then, as now, optimism
about the prospects of knowledge was inextricably mingled with fears of
having "too much to know," to borrow the title of Ann Blair's seminal
monograph – and of the impossibility of selecting, organizing, and
finally making sense of the ever increasing amount of information facing
our early modern predecessors. Then, as now, artists and scholars were
at the forefront of the struggle to digest and discipline knowledge –
or, conversely, to denounce its overabundance and express our human
failure to meaningfully organize what we know. Then, as now, they also
unwittingly contributed to the very copia that they so frequently

Indeed, epistemic abundance is a constant challenge to those people
whose function in society is to represent different facets of reality.
Arguably the two most prominent professions regularly producing visual
representations of the world – be they all-embracing or specific,
systematic or seemingly random – are those of scientists and visual
artists. In their professional universes, more often than not completely
separate from one another, practitioners of science and of art try – and
have tried in the past – to give form and order to the epistemological
saturation around them. Or they strive, on the contrary, to represent
precisely the irrepresentability of a multifaceted and seemingly
inexhaustible reality. At the same time, we should not conceive of
artists and scientists as purely reactive vis-à-vis the multiplication
of available knowledge but, rather, consider their role also in bringing
it about in the first place.

The different strategies conceived for the visual representation (or
denunciation) of information overload, as well as the sometimes
unintentional creation of even more information along the way, will lie
at the heart of the conference that Montreal will host in 2015,
welcoming historians, art historians, historians of science and of ideas
and scholars of related disciplines. While proposed papers for the
conference should address the early modern period, sessions will be
accompanied by respondents from the field of contemporary science and
art, who will comment on the relevance of the historical example to our
own time.

In the artistic field, the aesthetic and epistemological strategies of
contemporary artists and of painters and sculptors of the late
Renaissance, Mannerism and the early Baroque indeed offer fertile ground
for comparison, contrasting and mutual illumination. If one can
convincingly tell the story of sixteenth- and seventeenth-century art as
a series of attempts at visually representing knowledge and at
repressing the unbearable complexity of such an enterprise—a narrative
that this conference offers to verify and elaborate upon – one can
arguably claim that art around 2000 is concerned by a surprisingly
similar predicament and that, conversely, modernity in art has its roots
in a relatively distant past.

As for science and its own visual policies, the proliferation of images
in contemporary cognitive science, amongst other fields, and the high
expectations often attached to them, are reminiscent of a similar
upsurge of the use of images in sixteenth- and seventeenth-century
natural history, and the simultaneous rise of diagrammatical forms of
representing and ordering knowledge. Visual strategies were used both to
visualise epistemic objects and thus generate knowledge about them and
to order and parse this knowledge. The concerns with "Big Data" in
contemporary science also arguably have a precedent in the attempts of
early modern scholars to gather and parse the huge amounts of
information on all sorts of "natural particulars" (Grafton & Siraisi)
that they gathered and shared through their correspondence networks.

We invite proposals from the history of science, the history of art, and
adjacent disciplines. Please send abstracts of no more than 300 words
(including the title), for papers in English or in French, to Fabian
Kraemer (Fabian.Kraemer at lmu.de) and Itay Sapir (sapir.itay at uqam.ca) by
May 31, 2014.


Fabian Krämer (Histoire des sciences, Ludwig-Maximilians-Universität
Munich, Allemagne)
Itay Sapir (Histoire de l'art, Université du Québec à Montréal, Canada)

Coping with Copia :
Surabondance épistémologique entre art et science
dans la première modernité
Colloque à Montréal, 14-16 mai 2015

Nous vivons dans une ère de débordement d'informations sans précédent.
Voilà un des lieux communs les plus fréquemment utilisés pour
caractériser ce début du XXIe siècle, à la fois dans le débat
universitaire et dans l'imaginaire collectif. Comme souvent dans le cas
des lieux communs, celui-ci comporte une part de vérité. L'ère
d'Internet représente en effet, au moins d'un point de vue quantitatif,
la plus formidable multiplication d'informations disponibles que
l'humanité n'ait jamais vécue. Une grande partie de ces informations
prend une forme visuelle : nous avons à notre disposition toujours plus
d'images et de diagrammes représentant toutes sortes de choses, et nous
souhaitons souvent – ce qui est peut-être un phénomène anthropologique
plus général – donner un aspect visuel à des informations qui, à
l'origine, ne s'adressent pas nécessairement au regard.

Le caractère inédit du débordement épistémologique actuel mériterait
cependant d'être relativisé. En effet, certaines périodes du passé ont
connu des situations culturelles similaires si l'on considère, d'un
côté, l'augmentation objective de la quantité d'informations disponibles
et, de l'autre, le sentiment subjectif de vivre dans une époque de
saturation épistémologique sans précédent. Un moment emblématique où de
telles conditions ont été réunies sont les XVIe et XVIIe siècles en
Europe, une période où l'expansion des connaissances géographiques
côtoyait une activité scientifique accrue menant à la « Révolution
Scientifique », concept aujourd'hui souvent contesté mais toujours bien
ancré dans l'historiographie; une période d'intenses bouleversements
esthétiques aussi.

À cette époque, tout comme aujourd'hui, l'optimisme quant aux
perspectives ouvertes par les nouveaux savoirs était inextricablement
mêlé aux craintes d'avoir « trop à savoir » (« Too Much to Know », pour
reprendre le titre de l'ouvrage fondamental d'Ann Blair) – ainsi qu'à la
difficulté à comprendre, sélectionner et organiser des informations en
quantité constamment croissante. À l'époque, comme aujourd'hui, les
artistes et les chercheurs étaient à la pointe de l'entreprise visant à
digérer et à discipliner le savoir – ou, à l'inverse, cherchant à
dénoncer sa surabondance et à exprimer l'inévitable échec humain à
organiser tout ce que l'on sait et à y donner un sens. À l'époque, comme
aujourd'hui, les artistes et les érudits contribuaient, souvent à leur
insu, à cette même copia qu'ils critiquaient si souvent.

Le débordement épistémologique est un défi constant pour ces personnes
dont la fonction sociale est de représenter différentes facettes de la
réalité. Les deux professions qui sont appelées le plus souvent à
fabriquer des représentations visuelles du monde – générales ou
spécifiques, systématiques ou aléatoires – sont probablement les
scientifiques et les artistes. Dans leurs univers professionnels, le
plus souvent totalement séparés, les acteurs de la science et des arts
plastiques cherchent – et cherchaient dans le passé – à donner forme et
à organiser cette abondance épistémologique qui les entoure. Il arrive
aussi qu'ils cherchent, au contraire, à représenter justement
l'irreprésentabilité d'une réalité multiple et ostensiblement
inépuisable. Cela dit, les artistes et les scientifiques sont loin
d'être simplement réactifs vis-à-vis de la multiplication du savoir
disponible; ils sont parmi les responsables de l'existence même de ce
savoir, et ce rôle doit, lui aussi, être pris en compte.

Les différentes stratégies conçues pour la représentation visuelle du
débordement épistémologique seront au cœur de ce colloque organisé à
Montréal en mai 2015, et qui accueillera des historiens, des historiens
de l'art, des historiens de la science et des chercheurs de disciplines
connexes. Si les propositions d'interventions doivent traiter de la
première modernité (XVIe-XVIIe siècles), les séances seront quant à
elles commentées par des répondants spécialistes de la science
contemporaine et de l'art actuel, soulignant ainsi la pertinence de
l'exemple historique pour les débats et la création à notre propre

Dans le domaine artistique, les stratégies esthétiques et
épistémologiques des artistes contemporains et des peintres et
sculpteurs de la Renaissance tardive, du maniérisme et du Baroque
offrent, en effet, un terrain fécond de comparaisons. Si l'on peut
raconter l'histoire de l'art à l'aube de l'âge moderne comme une série
de tentatives pour représenter visuellement du savoir et refouler la
complexité insupportable d'une telle entreprise – un récit que ce
colloque cherchera à vérifier et à approfondir – l'art autour des années
deux mille est concerné par un défi étonnamment analogue.

Quant à la science et à ses propres politiques visuelles, la
prolifération des images dans les sciences cognitives actuelles, parmi
d'autres domaines, et les espoirs liés à ces représentations visuelles,
rappellent des phénomènes semblables au sein de l'histoire naturelle aux
XVIe et au XVIIe siècles ainsi que l'usage toujours plus fréquent, à
l'époque, de diagrammes afin de représenter et d'organiser les savoirs.
Des stratégies visuelles étaient utilisées à la fois pour figurer des
objets épistémiques et ainsi produire du savoir sur ceux-ci et pour
ordonner, classer et analyser ce savoir. Les questions autour du « Big
Data » dans la science de nos jours auraient, elles aussi, des
antécédents dans les tentatives d'assembler et d'analyser des
informations sur toutes sortes de « particuliers naturels » (Grafton &
Siraisi), recueillies par les érudits de la première modernité et
propagées à travers leurs réseaux tentaculaires de correspondance.

Nous invitons des propositions d'interventions en histoire de la
science, histoire de l'art et d'autres disciplines proches. Envoi de
propositions (maximum 300 mots, titre compris) pour des interventions en
français ou en anglais, à Fabian Kraemer (Fabian.Kraemer at lmu.de) et Itay
Sapir (sapir.itay at uqam.ca) avant le 31 mai 2014.

Dr. Fabian Krämer
Historisches Seminar der LMU
Abt. Wissenschaftsgeschichte
Geschwister-Scholl-Platz 1
80539 München


        Date: Thu, 8 May 2014 15:02:10 +0100
        From: "Elton.Barker" <elton.barker at OPEN.AC.UK>
        Subject: FW: iLatin and eGreek conference: presentations now available online
        In-Reply-To: <LISTSERV%201405081356258250.4F1E at LISTSERV.LIV.AC.UK>

> From: James Robson [j.e.robson at OPEN.AC.UK]
> Sent: 08 May 2014 13:56
> To: CLASSICISTS at liverpool.ac.uk
> Subject: iLatin and eGreek conference: presentations now available online

Dear list members,

We are delighted to announce that videos of the presentations delivered at
the conference iLatin and eGreek: Ancient Languages and New Technology are
now available online.

These can be accessed via the following link:

This conference was held at the Open University Regional centre in London
on February 1, 2014.  Talks include:

James Robson (Open University) Open access Latin and Greek resources at the
OU: current projects and future directions

Alison Sharrock (University of Manchester) Online Training for Reading Latin

Nick Lowe (Royal Holloway, University of London) Adventures in 24/7 Latin:
VLEs, spaced repetition, and roll-your-own apps

Mair Lloyd (Open University) Finding the gap: some contrasts between
ancient and modern language eLearning

Steve Hunt (University of Cambridge) The digital classics classroom:
plaything or catalyst for pedagogical improvement?

Bartolo Natoli (University of Texas) eLearning in the Flipped Classroom

Best wishes,

James Robson and Mair Lloyd

Dr James Robson
Senior Lecturer and Head of Department of Classical Studies
The Open University

Mair Lloyd
PhD student - eLearning for Ancient Languages
Open University

        Date: Thu, 8 May 2014 12:28:03 +0000
        From: Daniel Apollon <Daniel.Apollon at uib.no>
        Subject: CFC: Workshop: Paratext in Digital Culture:  Is Paratext Becoming the Story?  University of Bergen 28-29 August 2014
        In-Reply-To: <LISTSERV%201405081356258250.4F1E at LISTSERV.LIV.AC.UK>

Paratext in Digital Culture: 
Is Paratext Becoming the Story?

University of Bergen
28-29 August 2014


In december 2012, a one-day workshop Exploring Paratexts in Digital Contexts was organized at the University of Bergen by the Digital Culture   Research Group. The point of departure of this first workshop was paratextual theory as it was first articulated by Gérard Genette in 1987 (Seuils / English translation Paratexts. Thresholds of Interpretation 1997). This event was followed by the book Examining Paratextual Theory and its Applications in Digital Culture edited by Nadine Desrochers and Daniel Apollon (forthcoming Spring 2014). These two initiatives have revealed a strong interest in the academic community for appraising the potential and limits of paratextual theory in digital culture.

The Digital Culture and Electronic Literature Research Groups at UiB invite potential contributors and attendants to a new workshop Pasts, Presents and Futures of Paratext in Digital Culture: Is Paratext Becoming the Story? The goal of this workshop is to share ongoing research on paratextual devices, functions and strategies in digital culture and brainstorm about new research opportunities. The participants will explore further how paratext and related concepts may contribute to a better understanding of the nature and function of digital objects.

paratextual theory, paratext, digital culture, digital objects, digital literacy, multiliteracy, multimedia, digital content, electronic literature, digital art, remediation, digital materiality, ebooks, text technology, metadata, markup.


The submission and acceptance of an abstract is required. Attending participants without presentation are also welcome. This workshop is opened to all interested. Feel free to spread this call to whom may be interested.



Digital Culture Research Group and 
Electronic Literature Research Group
Dpt.  of Linguistic, Literary and Aesthetic Studies
Faculty of Humanities
University of Bergen , Norway

Workshop Advisory Committee
Nadine Desrochers, UdeM, EBSI, Montréal
Scott Rettberg, UiB Digital Culture
Patricia Tomaszek, UiB Digital Culture
Jill Walker Rettberg, UiB Digital Culture
Daniel Apollon, UiB Digital Culture

Workshop start: 28 August 2014 09H00
Workshop end: 29 August 2014 13h00

University of Bergen, Humanities Faculty, HF-bygget, 
Sydnesplassen 7, 
5007 Bergen, Norway

Participation is open to:
Participants with accepted abstract
Participants only interested in attending the workshop

Contributions welcomed:
- Short oral presentation of maximum 20 minutes followed by a 10 minute discussion (abstract between 300 and 800 words).
- Book or chapter presentation by author(s) or editor(s) of maximum 15 minutes followed by a 5-minute discussion (required: book description maximum one page and /or copy of brochure in PDF format).
- Presentation of resources, metadata tools and technologies 20 minutes followed by a 10-minute discussion (abstract between 300 and 800 words). 

Participation in the workshop is free to all. 
Participants will cover their own travel and lodging expenses. 
Food and beverages will be provided during the workshop.

A dinner will be offered by the University of Bergen to contributing participants Thursday evening 28 
Review form:

Submitted abstracts will be reviewed for acceptance by the Workshop Advisory Committee.

To register to the workshop:

1. Download the workshop package at

2. Email your registration form and your abstract (two MS Word documents) to Daniel.Apollon at uib.no  DEADLINE June 5, 2014

Deadline for abstract submission : 5 June
Notification of acceptance: 20 June 
Preliminary program:  21 June 
Final registration of attending non-contributing participants: 7 August 
Arrival of participants: 27 August
Workshop start: 28 August 09h00 
Workshop end: 29 August 13h00
Business meeting(for those who would like to discuss future research collaboration):29 august 15h00-17h00


Daniel Apollon
Digital Culture Research Group
Dpt. of Linguistic, Literary and Aesthetic Studies
University of Bergen
Postal address: PB 7805, 5020 BERGEN, Norway
Office address: Room 349, HF-bygget Sydnesplassen 7, 5007 Bergen
Phone: +47 55 58 24 27
Mobile: (+47) 480 45 347

Email: Daniel.Apollon at uib.no

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