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Supporting Digital Humanities for Knowledge Acquisition in Modern Libraries

José da Silva Lisboa e as narrativas da emancipação brasileira

This annotated bibliography responds to and contextualizes the growing “Open” movements and recent institutional reorientation towards social, public-facing scholarship. The aim of this document is to present a working definition of open social scholarship through the aggregation and summation of critical resources in the field. Our work surveys foundational publications, innovative research projects, and global organizations that enact the theories and practices of open social scholarship. The bibliography builds on the knowledge creation principles outlined in previous research by broadening the focus beyond traditional academic spaces and reinvigorating central, defining themes with recently published research.

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Open Social Scholarship Annotated Bibliography

A area de investigacao das Humanidades Digitais agrega as ciencias sociais e humanas, as ciencias de computacao e as ciencias da informacao e documentacao. Apesar de se ter afirmado recentemente, e extremamente dinâmica, com um numero crescente de organizacoes associadas, eventos promovidos e de jornais editados. As Humanidades Digitais exibem simultaneamente, para cada disciplina, reptos proprios e grandes questoes transversais. Em termos gerais, as linhas de investigacao procuram o entendimento e gestao dos ciclos de vida da informacao de interesse historico e social, para reutilizacao como objeto de estudo pelas comunidades academicas e escolares. Os projetos existentes ou anunciados abrangem variadas areas, destacando-se aqui aqueles que tem relacao mais direta com as ciencias da informacao.

Humanidades Digitais: Novos desafios e oportunidades

Rhythm is critical; it ties together critical moments. Deleuze and Guattari A Thousand Plateaus: Capitalism and Schizophrenia In a contemporary mediascape now characterized more by a surplus of cultural production than by its scarcity (Ritzer and Jurgenson 14), the critical capacities and functions of intertextual appropriation and repurposing volubly declare that reports of the death of criticism are greatly exaggerated, although such practices of quotation and recontextualization are not widely enough recognized as forms of criticism and commentary. Around the turn of the 2010s, two cultural phenomena enjoyed a resurgence in their perennial popularity: DJ performance and dance music (Reynolds, "'How rave music'") and the discourse of "the death of criticism" The renewal of the former took shape around the emergence of new and rejuvenated dance music forms (for example, dubstep, the "progressive" and "electro" house of producers like David Guetta and Deadmau5) and around the tightly networked underground dance scene's re-framing of "raves," "Ecstasy," and "techno" as, respectively, "festivals," "Molly," and "EDM" (electronic dance music). The renewal of the latter took shape as a spate of essays, editorials, and books appeared, arguing one of two theses: either that criticism is dead or that criticism is more vital than ever. Oddly, both arguments point for their evidence to the read-write web: where professional critics are endangered, or where taste-making distinctions and recommendations are automated, or where "everyone is a critic" (Kaiser; see also Bayard and Miller). Where you place the emphasis here depends on which side you take, but critics arguing that criticism is in crisis could more capaciously consider the forms that criticism can take. In roughly the same time, the digitization of music production, distribution, and playback has precipitated an analogous (initially, in fact, an analogue) crisis of calling and purpose for the disc jockey, or DJ, the death of which profession (or art, or hobby) was being reported not long after its inception; reports of that death have been given new lease on life, amidst the popularization both of pocket-sized DJ applications and of EDM. In 2011, the IFC sketch comedy show Portlandia lampooned these trends with a sketch that imagines the popularization of amateur Djing as a zombie epidemic that engulfs the city of Portland. The tacit premises of the Portlandia sketch's humour are not just a wry remixing of music trend with horror story and the notion that said trend--everybody wanting to be a DJ--represents artistic aspiration--everybody wants to be in a band, everybody wants to be a rock star. Today, DJs are popularly figured as artists, authors, virtuosi, and even shamans. But given the abundance of content made available for creative appropriation by contemporary information and communication technologies (ICTS)--and given the intensification of corporate campaigns to control, contain, and confiscate such abundance--it is time to recognize more fully the DJ's role as a critic and to theorize the cultural functions of DJ work (which is play: the work of improvisational, inventive, and innovative playback) as criticism at the present time. In what follows, I argue that the DJ deserves fuller understanding as a critic by positioning this understanding amidst the literature on DJ culture, theorizing it according to poststructuralist and postmodernist contexts, surveying some historical precedents for appropriation as commentary, sampling a mix set by DJ Z-Trip, and considering the DJ's work as critic in the broader contexts of digital culture and the restrictive, globalized regime of intellectual property (IP) regulation. DJ Culture and clearance culture To theorize the capacities of appropriative cultural practices like Djing for criticism and commentary is a two-step attempt. First, it is to describe DJ practice that privileges and articulates its critical work (over and in some cases in counterpoint to other constructions of DJ practice, for example, as authorship or shamanism). …

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The DJ as Critic, "constructing a sort of argument"

Digital Studies / Le champ numerique (ISSN 1918-3666) is a refereed academic journal serving as a formal arena for scholarly activity and as an academic resource for researchers in the digital humanities. DS/CN is published by the Societe canadienne des humanites numeriques (CSDH/SCHN), a partner in the Alliance of Digital Humanities Organisations (ADHO). DS/CN was founded for CSDH/SCHN at the Electronic Textual Cultures Lab, University of Victoria, in 2008 by Ray Siemens and Christian Vanden...

Digital Studies / Le champ numérique

Este artigo apresenta uma revisao preliminar da literatura sobre digital humanities (DH), entendida como uma area que abrange as humanidades, as ciencias de computacao e as ciencias da informacao e da documentacao. E uma area de investigacao que agrega varias categorias institucionais, nomeadamente, universidades e organizacoes de profissionais. As atuais linhas de investigacao procuram dar visibilidade a informacao disponibilizada e reutiliza-la, alargando o âmbito de utilizacao pelas comunidades academicas e escolares. Os projetos desenvolvidos sao documentados e constituem a base do desenvolvimento da area de digital humanities, incluindo um conjunto de boas praticas para futuros trabalhos. No entanto, ainda ha um longo caminho a percorrer: por um lado, ha que convencer os ceticos de que a adocao de digital humanities nao vai desvirtuar a investigacao nas humanidades e que o computador e uma ferramenta adequada a investigacao neste dominio; por outro lado, e necessario moderar os mais entusiastas que encaram da area de digital humanities como a solucao para resolver todos os problemas, incluindo o financiamento dos projetos de humanidades. Os desafios concretos que a area de digital humanities enfrenta atualmente prendem-se sobretudo com a revisao do direito de autor, a preservacao digital e a metodologia a seguir.

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Bibliotecas Digitais para as Humanidades: novos desafios e oportunidades

A Association for Computers and the Humanities (ACH) fundada em 1978 e uma associacao de profissionais que junta representantes de mais de vinte e um pais por tudo o mundo que se dedicam ao digital humanities (humanidades digitais). Neste âmbito apoiam a investigacao assistida por computador, o desenvolvimento de programa e plataformas para o ensino das humanidades, pedagogia e software assim como o desenvolvimento de conteudos em disciplinas humanistas, como literatura e estudos da linguagem...

Association for Computers and the Humanities (ACH)

As Humanidades Digitais sao uma area do conhecimento dinâmica e interdisciplinar, assente na conexao e articu-lacao de dominios do conhecimento com diferentes metodologias de investigacao. No âmbito das Humanidades Digitais, tem particular relevância as bibliotecas digitais construidas para os investigadores. Atualmente, existem dois tipos de bibliotecas digitais, as que apresentam o acervo em modo de imagem e as que apresentam a informacao em modo texto. Estas ultimas, se nao forem devidamente estruturadas, nao permitem a reutilizacao da informacao atraves da programacao informatica. O modelo das bibliotecas digitais esta em evolucao e procura adaptar-se as atuais exigencias dos especialistas e do publico.

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Dalia Guerreiro

Papers

Humanidades Digitais: Novos desafios e oportunidades

Digital Studies / Le champ numérique

Bibliotecas Digitais para as Humanidades: novos desafios e oportunidades

Association for Computers and the Humanities (ACH)

Humanidades digitais: novos desafios e oportunidades