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From the open, largely unstructured text of the novel, to the structured world of social-network entries, to the automated comparison of photographs on a pixel-by-pixel basis, data mining has a broad set of applications for arts & humanities folks. We'll use your research question or object as the entry point to make sense of the world of data mining and send you home with an activity you can adapt and use to introduce your students to data mining in your discipline.
Digital image manipulation, social network analysis, and data mining can change our perceptions of the world around us, but they also require careful, critical use. This presentation will take arts & humanities practitioners through mapping, data mining, network analysis, data visualization, 3D rendering, computationally aided vision, and other digital methods in a variety of disciplines and tackle some of the critical issues for digital arts and humanities practitioners.
Data mining encompasses a several different approaches to exploring large swaths of information, from the open largely unstructured text of the novel to the structured world of social-network entries to the automated comparison of photographs on a pixel-by-pixel basis. We'll use your research question or object as the entry point to make sense of the world of data mining and send you home with an activity you can adapt and use to introduce your students to data mining in your discipline.
This presentation is part of a series of workshops offered by the Institute for Digital Arts and Humanities called Choosing a Digital Method.
Kalani L. Craig, Michelle Dalmau, Institute for Digital Arts and Humanities
Summary:
Digital image manipulation, social network analysis and data mining can change our perceptions of the world around us, but they also require careful critical use. This presentation will take arts & humanities practitioners through mapping, data mining, network analysis, data visualization, 3D rendering, computationally aided vision and other digital methods in a variety of disciplines and tachle some of the critical issues for digital arts & humanities practitioners. We'll also provide a clear list of IU resources that can support these efforts. Finally, we'll all engage in a practical white-board-based activity that doesn't require digital tools to demonstrate how analog methods can enhance understanding of some of these digital-methods applications in a variety of environments (including the classroom).
From installations overlaid on the world around us to reprints of otherwise inaccessible archaeological finds that we can handle at will, digital objects help us interact with and understand the world differently. This workshop will walk through a wide variety of digital-making methods, from the 3D scanning of real world objects to laser cut mixed-media structures, and offer a clear view of the analog skills that underpin these digital approaches. We'll use your research question or object as the entry point to make sense of the world of digital making and rendering, and we’ll also send you home with an activity that will help you bring digital making into your classroom.
This presentation was part of a series of workshops offered by the Institute for Digital Arts and Humanities called Choosing a Digital Method.
The maker movement, a subculture affiliated with a do-it-yourself ethos and, more recently, a passion for digital technologies, has been growing over the last two decades and is making its way onto the university campus . Digital humanities (DH) centers in particular have taken up the maker ethos, incorporating digital technologies such as 3D printers and microcomputers into their spaces. While recent literature acknowledges both the lack of female presence in makerspaces and a desire for more diversity in the digital humanities, no study of making has yet employed a feminist approach to understanding why and how these issues arise in the first place. The Centering Gender Project aims to do just this, by employing Wajcman’s (2004) theory of TechnoFeminism in an examination of public and academic examples of making. Martin's talk will showcase preliminary findings from her first on-site visits to makerspaces, and challenge the audience to think through ways their learning spaces could diversify their population.
Lino Mioni, Institute for Digital Arts & Humanities
Summary:
This project is part of my ongoing doctoral research which investigates the establishment of recipe collections and cookbooksas a genre in the early days of print. Building from the anonymous recipe collections from the Italian peninsula of the XIII and XIV centuries, Maestro Martino’s manuscript Libro de Arte Coquinaria– composed in the second half of the XV century– lead to the monumental treatises of the XVI century, Messisbugo’s Banchetti (1549) and Bartolomeo Scappi’s Opera (1570). I analyze these cookbooks through a network analysis of ingredients in order to study historic culinary practices, gustatory culture, and the cookbooks as a form.
How can the curation of a digital exhibit amplify the voices of underrepresented scholars? With my research I aim to unbury, understand, and amplify the voices of Afro-Colombian artists, activists, and scholars, Delia and Manuel Zapata Olivella. For this, I focus on the collaborations between these Afro-Colombian siblings and U.S. ethnomusicologist George List - former faculty and director of the Archives of Traditional Music at Indiana University.
This exhibit is the starting point of my dissertation project which examines how hemispheric dialogues contributed to the construction of the discipline of ethnomusicology. A field was formalized in the United States, but that was (and continues to be) constructed from reverberations, resonances, and echoes of intellectual thinking from the hemisphere (and the globe).
Indiana University houses two collections from George List: one resides at the Indiana University Archives and the other at the Archives of Traditional Music. In them, multiple field notes, sound recordings, photographs, video recordings, and correspondence reside. The memories, histories, and voices contained in these repositories can shed light on how the ideas and work of Delia and Manuel Zapata Olivella were key in the construction of List’s scholarship on Colombian music.
In this short presentation, I will explain my process for unburying, understanding (or making sense), and amplifying the voices of these two Afro-Colombian scholars.I aim to reflect on the “behind the scenes” of the construction of the first prototype of a digital exhibit that showcases materials living in the physical archives.
This project engages with two key questions in the field of empirical ecocriticism: How can literature matter in an era of climate crisis? And, what impact do environmental texts have on their audiences? I seek to expand this emergent field through a study of ecopoetry in social media spaces, examining how people interact with environmental poetry on Instagram. My project has primarily been concerns with laying a foundation for future research by 1) developing a methodology for studying user engagement, and 2) using text analysis tools such as Voyant to develop productive research questions. Ultimately, I argue that studying environmental poetry on Instagram can contribute to the field of empirical ecocriticism in two important ways: analyzing popular poems to understand how ecopoetry might reorient readers toward the nonhuman world, and analyzing poems with a high number of tagged users to understand what poetic elements tend to elicit a community-building reader response.
My research during the IDAH fellowship year employed critical digital humanities frameworks to understand and analyze the proliferation of a specific, teleological, homogenized narrative of racialized intergenerational trauma across a spectrum of analog to digital sites. This work bolsters my dissertation’s broad argument: that embodied signifiers of intergenerational trauma have become “metrics” to validate the intrinsic knowledge of the racialized body.
For my talk, I will offer a case study based on ongoing research on Instagram and Reddit. In this project, I analyze 60 instances of an infographic that brings together race and “intergenerational trauma” by positing that major, life altering events such as slavery, genocide and partition are catalysts for triggering pathological behaviors–alcoholism, eating disorders, abuse etc.–in future generations. I suggest that digital media infrastructures and affective publics enable the circulation of this post and cement its catchall explanatory power. I will use this example to illustrate how critical digital humanities interventions have helped build out my project.
In 2012, before beginning an overhaul of its public communications service that produced LinkNYC, the City of New York relied on 13 telecom companies to provide service to its network of public payphones. Built on the remains of Bell Telephone infrastructure, the telecoms were differentiated only by their branding. From 2000-2014, telecom companies in New York maintained a geographic monopoly, with specific areas of the city designated as certain corporate territories. Using an unique archived GIS dataset from 2012, this project examines how telecom companies approached New York City as a market space, defining the territories between each phones as the domain of a particular telecom company. Analyzing these market territories within the space of the city will show the ways that urban space is understood, segmented, and produced by assemblages of capital. Through multiple maps of New York City telecom territories, this project reveals the complex structure of public utilities that undergirds everyday objects like a payphone.
Despite the proliferation of community-based archives that aim to shift control away from archivist and to ward records creators, existing models, including community-based and post-custodialism, however well intentioned, have been insufficient in disrupting systems of authority and power in archives. The turn toward digital collections and community-university partnerships ultimately perpetuates some of the same pitfalls of traditional models, and even creates new ones. Archives could and should go beyond the logics of possession, whether of physical or digital records, to prioritize human centered-values that position record creators not only as subjects, but as active agents in their own liberation.
This presentation puts forth a “regenerative” praxis that aims to realize the emancipatory potential of archives by prioritizing community ownership, affectivity, and solidarity. Regenerative practices calls on archivists and archival scholars to foster long-term relationships rather than division and separation; to engage in acts of service and reciprocity rather than in power and authority. Such a framework necessarily moves away from traditional archival principles of records acquisition and control over community intellectual property and, instead, moves toward the sharing of wealth and resources through archives-focused mutual aid projects in solidarity with record creators and keepers who wish to control their narratives on their own terms.
This presentation will highlight the regenerative tactics of ImaginX en Movimiento (IXeM), a digital archives collective based in Tongvaar (Los Angeles basin) that seeks to support archival projects being imagined and built outside of cultural heritage institutions by Black, Indigenous, women and LGBTQIA+ of color, and diasporic groups. IXeM uses minimal computing solutions (cloud storage, social media, photo scanning applications) to build new digital infrastructure for supporting personal archives projects and to co-develop multimedia public history projects with grassroots museums, libraries, and organizations that rebuilds connection, collective power, and deepens our sense of responsibility to one another.
How might we conceptualize "the digital” as a kind of mediation that articulates the time and space of diasporic experience? In answer, Parham's talk will explore rememory, affective excess, and glitch aesthetics in Toni Morrison’s Beloved, Hiro Murai’s video for Flying Lotus & Kendrick Lamar’s “Never Catch Me,” and Zun Lee’s digital project, “Fade Resistance.
Mary Borgo Ton, Institute for Digital Arts & Humanities
Summary:
Are you eager to try new forms of assignments but are not sure where to start? Looking for resources to help students build engaging and interactive final projects? In this workshop, we'll explore alternatives to the essay, ranging from digital maps to interactive digital posters to video and multimedia. Like essays, these assignments give students the opportunity to demonstrate their mastery of course material, but they go one step further by helping students learn and refine digital skills. As we consider examples, we'll discuss best practices for designing assignment instructions and grading rubrics as well as identify local resources for training, tools, and equipment. Presented by Mary Borgo Ton.
Mary Borgo Ton, Institute for Digital Arts and Humanities
Summary:
Giving a poster presentation for a class or a conference? In the throes of a research project and need some clarity? This workshop explores poster design as a tool for organizing your research and presenting the results. We’ll discuss project management techniques that not only lead to dynamic and engaging posters but can also help you write papers, articles, and strong grant applications. We’ll share tips for designing your poster as well as identify easy-to-use design tools and on-campus printing resources. Bring a project or an idea to practice with!
Safarium (from the Persian for ‘travel’) is a database of travel and travel writing that enables researchers to identify and visualize historic journeys of the early modern period (14th-18th centuries). The project endeavors to promote transregional historical studies that involve complementary sources produced by authors of disparate cultures and geographies. By searching locations in Safarium's database, users can identify travel accounts across languages that comment on the queried locale as well as view maps of the associated travel itineraries. The project strives to put users in touch with sources they may be unaware of due to research specialties or language limitations. To extract information from travelogues and present it to researchers, this project utilizes text analysis and mapping methodologies. Beyond research, Safarium aspires to be a pedagogical platform that familiarizes students and the public with both early modern history and the digital humanities.
