“The problem is to begin with a conception of power relations that grants that resistance is always possible but not always successful.” ~ David Sholle, “Resistance: Pinning Down a Wandering Concept...
While ideas of this kind appear just that little bit too neat and symmetrical to be entirely convincing, this so-called 'scientific turn' in the humanities has been attributed by some to a crisis of confidence.
What does open access mean in relation to the Digital Humanities? There are many answers to this question: digital humanists support open access publishing; digital humanists want to share their data with one another; ...
Real life data visualization is to be an upcoming trend, called physical infographics or real world visualization. They visualize data with real objects, often combined with typography.
Real Life Infographics are different than other inforgraphics in that they rely much more on photographs instead of a purely digital medium. Moving away from the Everthing-Is-Possible-Unicorn-Utopia of Illustrator is an interesting limitation, as well as a simplifying one. As designers we like to come up with creative ways to display information that will still blow your mind, despite any technical limitations. The real world isn't perfect, and therefore it may not be as accurate as abstract shapes like graph bars. Even though these visualizations still strive for accuracy, you will notice that the context of these graphics will become much more important than precision.
Why? Justified by the oft-repeated, but rarely substantiated claim that the humanities is undergoing a crisis, digital humanities constructs the high technology of the present moment in much the same way as proponents of the now largely-forgotten field of new media —as a shift in the means of production that is synonymous in its historical and cultural implications to the introduction of the printing press. The crucial difference, though, is that for proponents of new media, this technological determinism is almost always symptomatic of a larger positivism. Convinced that society is in the throes of a far reaching “information revolution,” they construct computers and the various innovations that computers enable as a means of remedying, and, ultimately, transcending the inherent limitations of human subjectivity.
By contrast, digital humanists imagine computers and the innovations they enable as a means of returning to and thereby recovering the types of performances that, in various formulations, they celebrate as embodying human subjectivity in the ideal. Fascinated with the potential of digital technologies to re-imagine what they construct as great or valuable works, they turn to e-editions and digital archives not as a means of remedying the limitations of human subjectivity but of perfecting it: of teaching a generation of born digital subjects how to appreciate the timeless values manifested in classic (analog) works of art and literature.
Films stashed in shed open 'priceless' window on past Omaha World-Herald “The specialists are gobsmacked and excited almost beyond belief what the collection is revealing,” said Christopher Rossi, director of Humanities Iowa, an Iowa City-based...
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