Recent high-profile reports from both Harvard University and the American Academy of Arts and Sciences suggest that the humanities as an academic discipline is under siege. The most eye-catching statistic from Harvard's report notes that the number of humanities majors has been cut in half over the past forty-five years. For one of these reports, technology is potentially part of the problem. Harvard's "Mapping the Future" raises the possibility that technological advances are making the skills engendered by the study of the humanities obsolete. By contrast, the AAAS argues that technology will be crucial to bringing the study of the humanities to new populations.
In this "Talk" session, I propose that we discuss the both the contents and the ramifications of these two reports with respect to the relationship between the humanities and technology. Can technology save the humanities? Does technology endanger the humanities' long-term survival? Or are reports of the humanities' demise exaggerated?
Records of performances, going back to Aristophanes and beyond, are gradually being made available online. Handwritten and printed scripts, scores, reviews and notes from before the digital age require different techniques to compile, archive, digitize, share and analyze.
<a href="http://performingarts2013.thatcamp.org/files/2013/06/f16.highres.png"><img class="alignleft size-medium wp-image-321" alt="f16.highres" src="http://performingarts2013.thatcamp.org/files/2013/06/f16.highres-300×214.png" width="300" height="214" /></a>My research explores the history of the French language as found in scripts of plays, from the twelfth century dramatization of the Adam and Eve story to the twentieth century Theater of the Absurd. I have drawn on texts digitized by others, books scanned by Google Books and the National Library of France, and my own scans of published books and microfilms.
What performances are you looking at? How are you finding them, bringing them together, converting them to digital, studying them and making them available to others?
We will be taking notes in <a href="https://docs.google.com/document/d/1s1okeHUcSrZv5gLR_4iYvJPlbBXOTlPK53-nzpYaiI0/edit">this google doc</a>.
Extending the conversation on the new invisibility/visibility of the library in the digital age begun by Tom Scheinfeldt in Nobody Cares about the Library, we (Mary Isbell and I) would like to discuss if/how creating a digital archive requires the scholar to step back as “the author” and instead become a curator of data and content. In his post, Scheinfeldt argues that the library should embrace invisibility by encouraging access to content through better search interfaces, APIs, and social media. How does this notion of visibility/invisibility help us think about the challenges facing DH scholars for whom visible authorship is the means to tenure and promotion? Is it fair to say that tools like Omeka have prompted a trend in curatorship amongst scholars who would otherwise rely on the library for that work? Has it also provided a way for the library to become more visible?
I propose a discussion on the possibilities and challenges of incorporating virtually reconstructed performance venues into scholarly research, cultural heritage management, and performance practices. I am trained as a literature and performance studies scholar and have just begun using Sketchup to reconstruct one of the venues I study. I would like to begin our discussion by introducing the London Charter for the Computer-based Visualisation of Cultural Heritage, which “seeks to establish what is required for 3D visualisation to be, and to be seen to be, as intellectually rigorous and robust as any other research method.” The charter emphasizes the importance of intellectual transparency in 3D visualization, which I hope will get us right into a discussion about why we might reconstruct performance venues virtually and how we might best ensure that this quite time-consuming work contributes productively to our respective fields.
I will lead a workshop on the basics of WordPress. I’ve been on WordPress since about 2009, after first being on Movable Type. I have a freestanding install for my main site and several WordPress.com hosted sites as well. I can talk about working with WordPress, compare/contrast custom installs vs. WordPress.com hosting and so forth.
Also I’d like to talk to people about scaling and integrating new platforms as they emerge. How do you create a content strategy that is integrated across all platforms, how do we you scale quickly and how do you work with new platforms like Storify or Rebel Mouse?