Your browser does not support the video tag.
Your browser does not support the video tag.
Marco Cadioli - The Whirlpool
  • © ARSHAKE | ISSN 2283-3676
  • CONTACT
  • Login
Arshake
  • ABOUT US
    • ABOUT US
    • PROJECT
    • MEDIA/PARTNERSHIPS
    • CONTACT US
  • FOCUS
    • All
    • focus
    • From the Past
    • Interview
    Concrete by Nicola Di Giorgio

    Concrete by Nicola Di Giorgio

    Aesthetics of New AI at the Creative AI Lab

    Aesthetics of New AI at the Creative AI Lab

    The Belgian Pavilion at the 59th Venice Art Biennale

    The Belgian Pavilion at the 59th Venice Art Biennale

    «Il video rende felici». Giovanotti Mondani Meccanici in Rome

    «Il video rende felici». Giovanotti Mondani Meccanici in Rome

    La Sapienza fotografata: i luoghi, la storia, la quotidianità

    La Sapienza fotografata: i luoghi, la storia, la quotidianità

    Videocittà 2022 in Rome

    Videocittà 2022 in Rome

    Ars Electronica 2022

    Ars Electronica 2022

    Interview |  Delphine Valli

    Interview | Delphine Valli

    Club Zero. La Turbo Avedon

    Club Zero. La Turbo Avedon

  • FRAME
    FRAME > Novel Stimuli

    FRAME > Novel Stimuli

    FRAME > NEOM

    FRAME > NEOM

    FRAME > Archaeologies of Climate

    FRAME > Cosmic Cliffs

    FRAME > Cosmic Cliffs

    FRAME > SPECTRAL LANDSCAPES

    FRAME > SPECTRAL LANDSCAPES

    FRAME > Sunset in Delft

    FRAME > Sunset in Delft

    FRAME > Ophelia

    FRAME > Ophelia

    FRAME > Botto

    FRAME > Botto

    FRAME > CellF

    FRAME > CellF

  • VIDEO POST
    VIDEO POST > Odoshi Cloud Sequence

    VIDEO POST > Odoshi Cloud Sequence

    VIDEO POST > And Between Us, An Ocean

    VIDEO POST > And Between Us, An Ocean

    VIDEO POST >  Perpetual Phases

    VIDEO POST > Perpetual Phases

    VIDEO POST > Fog

    VIDEO POST > Fog

    VIDEO POST > Bi0film.net

    VIDEO POST > Bi0film.net

    VIDEO POST > Lasermice dyad

    VIDEO POST > Lasermice dyad

    VIDEO POST > Concerto para piano e pandemia

    VIDEO POST > Concerto para piano e pandemia

    VIDEO POST > Transient

    VIDEO POST > Transient

    VIDEO POST > Echo Chamber

    VIDEO POST > Echo Chamber

  • SPECIAL PROJECT
    • ARSHAKE’S BANNER
    • CRITICAL GROUNDS
    • YOUNG ITALIAN ARTISTS
    • GAME OVER
      • GAME OVER • Loading
      • GAME OVER • CALL FOR IDEAS (5.0)
    • EXTERNAL PROJECTS
      • BACKSTAGE | ONSTAGE
      • PERCORSI • 6 years of the Terna Prize
      • TEMPO IMPERFETTO
  • RESOURCES
    • CALLS
    • ARCHIVE
    • ONLINE RESOUCES
  • en
    • it
No Result
View All Result
  • ABOUT US
    • ABOUT US
    • PROJECT
    • MEDIA/PARTNERSHIPS
    • CONTACT US
  • FOCUS
    • All
    • focus
    • From the Past
    • Interview
    Concrete by Nicola Di Giorgio

    Concrete by Nicola Di Giorgio

    Aesthetics of New AI at the Creative AI Lab

    Aesthetics of New AI at the Creative AI Lab

    The Belgian Pavilion at the 59th Venice Art Biennale

    The Belgian Pavilion at the 59th Venice Art Biennale

    «Il video rende felici». Giovanotti Mondani Meccanici in Rome

    «Il video rende felici». Giovanotti Mondani Meccanici in Rome

    La Sapienza fotografata: i luoghi, la storia, la quotidianità

    La Sapienza fotografata: i luoghi, la storia, la quotidianità

    Videocittà 2022 in Rome

    Videocittà 2022 in Rome

    Ars Electronica 2022

    Ars Electronica 2022

    Interview |  Delphine Valli

    Interview | Delphine Valli

    Club Zero. La Turbo Avedon

    Club Zero. La Turbo Avedon

  • FRAME
    FRAME > Novel Stimuli

    FRAME > Novel Stimuli

    FRAME > NEOM

    FRAME > NEOM

    FRAME > Archaeologies of Climate

    FRAME > Cosmic Cliffs

    FRAME > Cosmic Cliffs

    FRAME > SPECTRAL LANDSCAPES

    FRAME > SPECTRAL LANDSCAPES

    FRAME > Sunset in Delft

    FRAME > Sunset in Delft

    FRAME > Ophelia

    FRAME > Ophelia

    FRAME > Botto

    FRAME > Botto

    FRAME > CellF

    FRAME > CellF

  • VIDEO POST
    VIDEO POST > Odoshi Cloud Sequence

    VIDEO POST > Odoshi Cloud Sequence

    VIDEO POST > And Between Us, An Ocean

    VIDEO POST > And Between Us, An Ocean

    VIDEO POST >  Perpetual Phases

    VIDEO POST > Perpetual Phases

    VIDEO POST > Fog

    VIDEO POST > Fog

    VIDEO POST > Bi0film.net

    VIDEO POST > Bi0film.net

    VIDEO POST > Lasermice dyad

    VIDEO POST > Lasermice dyad

    VIDEO POST > Concerto para piano e pandemia

    VIDEO POST > Concerto para piano e pandemia

    VIDEO POST > Transient

    VIDEO POST > Transient

    VIDEO POST > Echo Chamber

    VIDEO POST > Echo Chamber

  • SPECIAL PROJECT
    • ARSHAKE’S BANNER
    • CRITICAL GROUNDS
    • YOUNG ITALIAN ARTISTS
    • GAME OVER
      • GAME OVER • Loading
      • GAME OVER • CALL FOR IDEAS (5.0)
    • EXTERNAL PROJECTS
      • BACKSTAGE | ONSTAGE
      • PERCORSI • 6 years of the Terna Prize
      • TEMPO IMPERFETTO
  • RESOURCES
    • CALLS
    • ARCHIVE
    • ONLINE RESOUCES
  • en
    • it
No Result
View All Result
Arshake
No Result
View All Result
Home News focus

Digital Humanities

Elena Giulia Rossi by Elena Giulia Rossi
14/05/2014
in focus

RomeLab-1

 What does it mean to speak of Digital Humanities, Humanistic Informatics, or whatever name we assign to the encounter between the language of computer and the humanities? For quite some time literature has been accumulating on this topic. In Italy, Mondadori has just released in its Oscar collection Umanistica_Digitale [Digital_Humanities], a book published by the MIT in 2012, adapted and translated by Marco Bittanti.

 This book tackles the issue of Digital Humanities presenting itself as a revolutionary approach to research, as the entrance to a new era for Academia, and also as a guide to a vision of contemporary world: «It is a global approach to knowledge—it is said in the preface—trans-historical and trans-mediatic.» Thus, five visionary academics, Anne Burdick, Johanna Drucker, Peter Lunenfeld, Todd Presner, and Jeffrey Schnapp, have climbed over the «fences» of Academia to broaden their view beyond disciplinary borders, in order to open a path for a new way of «making» culture. This volume, which follows a Manifesto published in 2009, is an experimental project, both theoretical and practical, and is also a «metalogue», that is, a dialogue taking the shape of what it is discussing. If this very discussion stems from the deep crisis affecting the humanities in the United States, such a topic is—should be—of particular interest in Italy.

 digital_humanities

 Digital_Humanities offers some tools to exploit the digital world enormous potential in order to benefit the quality and the circulation of the humanistic culture, destined to be all but obsolete. For this to happen, one needs go beyond the mechanical transfer of culture into the digital dimension. Instead, it is rather necessary to adapt, interpret, elaborate, and make this culture alive through the several outputs at our disposition, so that it can establish an osmotic relation with the technological environment. We shall then be dealing with «Generative Humanities» that bring about «a mode of practice that depends on rapid cycles of prototyping and testing, a willingness to embrace productive failure, and the realization that any ‘solutions’ generated within the Digital Humanities will spawn new ‘problems’—and that this is all to the good.»

JapanViz

 The fundamental assumption is to consider digital humanities not as a discipline but as a «convergence» of disciplines, as well as to upgrade technology from a «mere» role of supporter to that of partner in creating new modes of production of knowledge through new «creative rationals». New tasks and competences come to play. Among these: «curation», which includes the delicate selection of the data to be preserved; «computational analysis», often connected to the visualization of data; «editing», which becomes a «productive» and «generative» activity; «modeling», which is the «giving shape» to a given topic also by exploiting layout, typographic elements, and format to the content’s avail. In the title Digital_Humanities, for instance, the continuity between humanities and the digital is symbolized by the underscore («_») that constitutes a close link between the two words. Therefore design, which in this approach is understood also as project, acquires a key role. So does “gaming”, where experience contributes to the process of accumulation of knowledge.

 This all means to broadens one’s view and to start «perceiving» a reality where real, virtual, technology, communication, language, and anything that gets included in the new technological ecosystems interconnect. Design, for instance, with its function of data visualization, helps detect and map newly-born geographies, stemmed from the superimposition with invisible data architectures, as well as follow its continuous changing. It is through the lenses of this multiplicity of interconnections that each single discipline and technology must be understood. Print has not come to an end. Nevertheless we should relocate it within the larger network of models of communication that replace a culture that is exclusively dictated by print.

cover

 The humanities are historically rooted, the word speaks for itself, in man and in the human condition. Man is still at the center of everything. The point is then to understand what we mean for «center» and for the «whole». We live indeed in a space and time dimension that is polycentric and ubiquitous, where technology, from being «man’s extension» has eventually been inscribed in the genes. The empirical handbook here in review, addressed to researchers and academics, becomes a general guide, and help to tune our senses. They help us face the technological environment we live in, so that we can finally be in charge and be able to navigate it consciously, in order to attune with technology and turn it from torturer to accomplice.


Anne Burdick, Johanna Drucker, Peter Lunenfeld, Todd Presner, Jeffrey Schnapp, Digital Humanities, The MIT Press, 2012. This article is translated from Italian by Francesco Caruso and it appeared on Sole 24 ore with the title Ri_creazione digitale, on Sunday April, 27, 2014 on the occasion of the release of the Italian edition, Umanistica_Digitale, (traduz.italiana), Mondadori, Oscar saggi, Aprile 2014 (translated by Matteo Bittanti).

Images

(cover and 1) Image by RomeLab, a multi-disciplinary research group led by UCLA Classics and Digital Humanities faculty member Chris Johanson (2) Digital Humanities, cover of the American edition (The MIT, 2012) (3) a group led by Todd Presvner,Chair of the UCLA Digital Humanities Program, created this visualization of emotional content of 650,000 tweets over 30 days after the earthquake, tsunami, and nuclear disaster in Japan (March 11, 2011 – April 10, 2011) (4) Umanistica_Digitale, Mondadori, 2014, cover, Italian edition.

 

ShareTweetShareSend
Previous Post

Call for proposals > ICIDS 2014

Next Post

Aakash Nihalani. Street art Inside and Outside the Space

Next Post

Aakash Nihalani. Street art Inside and Outside the Space

CALLS

Terna.  Driving Energy Prize
Calls

Terna. Driving Energy Prize

13/06/2022
Call for submissions>  Research grant for Italian Art
Calls

Call for submissions> Research grant for Italian Art

07/04/2022
Call for submissions> ISPA (Italian Sustainability Photo Award)
Calls

Call for submissions> ISPA (Italian Sustainability Photo Award)

17/02/2022
Call for submissions > Residenze Digitali
Calls

Call for submissions > Residenze Digitali

01/02/2022

CRITICAL GROUNDS

Critical Gounds #13 – Massimo Maiorino, The Artist as Archaeologist.
Critical Grounds

Critical Gounds #13 – Massimo Maiorino, The Artist as Archaeologist.

08/07/2020
Critical Gounds #12 – Filiberto Menna «PROGETTARE» IL FUTURO
Critical Grounds

Critical Gounds #12 – Filiberto Menna «PROGETTARE» IL FUTURO

26/11/2019
Facebook Twitter Instagram

Arshake is a collaborative artistic project, blurring the borders between art, science and technology, information and production.

  • Focus
  • Video post
  • Frame
  • Special Project
  • Interview
  • Calls
  • Exhibitions

One more step - Check your email and click the confirmation link

© 2012-2022 – ARSHAKE

No Result
View All Result
  • ABOUT US
    • ABOUT US
    • PROJECT
    • MEDIA/PARTNERSHIPS
    • CONTACT US
  • FOCUS
  • FRAME
  • VIDEO POST
  • SPECIAL PROJECT
    • ARSHAKE’S BANNER
    • CRITICAL GROUNDS
    • YOUNG ITALIAN ARTISTS
    • GAME OVER
      • GAME OVER • Loading
      • GAME OVER • CALL FOR IDEAS (5.0)
    • EXTERNAL PROJECTS
      • BACKSTAGE | ONSTAGE
      • PERCORSI • 6 years of the Terna Prize
      • TEMPO IMPERFETTO
  • RESOURCES
    • CALLS
    • ARCHIVE
    • ONLINE RESOUCES
  • en
    • it

© 2012-2022 – ARSHAKE

Welcome Back!

Login to your account below

Forgotten Password?

Retrieve your password

Please enter your username or email address to reset your password.

Log In
This website uses cookies. By continuing to use this website you are giving consent to cookies being used. Visit our Privacy and Cookie Policy.