dh101 2013/2014 course 3 - panoramic intensifcation, narrative crise and introduction to the venice...
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Digital Humanities 101 - 2013/2014 - Course 3
Digital Humanities Laboratory
Frederic Kaplan
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Who create the framapad today ?
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 2o
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Semester 1 : Content of each course
•19.09 Introduction to the course / Live Tweeting and Collective note taking
•25.09 Introduction to Digital Humanities / Wordpress / First assignment
•2.10 Introduction to the Venice Time Machine project / Zotero
•9.10 No course
•16.10 Logistics of massive digitization / Digitization techniques / Photogrammetry /
Deadline first assignment
•23.10 Transcription / XML / Presentation of projects
•30.10 Pattern recognition / OCR / Deadline peer-reviewing of first assignment
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Semester 1 : Content of each course
•6.11 Semantic modelling / RDF
•13.11 Historical Geographical Information Systems / Deadline Project selection
•20.11 Procedural modelling / City Engine
•27.11 Crowdsourcing / Wikipedia
•4.12 Group work on the projects
•11.12 New narrations and museographic experiences / Deadline Projet blog
•18.12 Oral exam / Presentation of projects
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Structure of today’s course
•A short introduction to Zotero
•A long introduction to the Venice Time Machine•Why do we need a Venice Time Machine ? Because we are living in a Big Now•Panoramic intensification
•Narrative crisis
•What is the Venice Time Machine ?•The idea
•The spinal cord
•The multidimensional case studies
•What are the consequences of the Venice Time Machine•Algorithms as mediators
•A new scale
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Zotero
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FromWikipedia
•Zotero is free and open-source reference
management software to manage
bibliographic data and related research
materials.
•The name Zotero is loosely derived from
an Albanian verb meaning to master.
•Zotero was developed by Center for
History and New Media (CHNM) at
George Mason University (GMU)
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FromWikipedia
•On many websites such as library
catalogs, PubMed, Google Scholar,
Google Books, Amazon.com, Wikipedia,
and publisher’s websites, Zotero shows
an icon when a book, article, or other
resource is being viewed. By clicking this
icon, the full reference information can
be saved to the Zotero library.
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FromWikipedia
•Zotero users can generate citations and
bibliographies through word processor
plugins, or directly in Zotero, using
Citation Style Language styles. Zotero
allows users to create their own
customized citation style.
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FromWikipedia
• In 2008, Thomson Reuters sued the
Commonwealth of Virginia and George
Mason University, based on the claim
that Zotero’s developers had, in
violation of the EndNote EULA,
reverse-engineered EndNote and
provided Zotero with the ability to
convert EndNote’s proprietary .ens styles
into Citation Style Language styles
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Ex : Create a new entry in Zotero
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Introduction to the Venice Time Machine
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(1) Panoramic intensification
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1900
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1931
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1954
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1972
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2005
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2011
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2012
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1956
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The narrative crisis
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1991
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http ://arturo.over-blog.com/
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The narrative crisis
•20th century culture was built onnarration. Ex :•War is not a crisis but a path towards liberation
•Democraty is not a mode of governance it is force
to free humanity
•Apple does not sell computer and phones, it the
story of two men with a vision : Giving power to
the creative people
• the Y2K millenium bug was the last
great narration.
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The narrative crisis
•Narration has become more complex
over time.
•TV series are much more complex than
before.
•This has been measure by a group of
DH101 student last year
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Infinite stories
•A transformation of story arcs
•ex 1 : Grey’s anatomy and the
neverending story.
•ex 2 : World of Warcraft and
personalized narration
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Time as a variable
•ex 1 : CSI and spatiotemporal puzzles
•ex 2 : Lost and multiple temporal
threads
•ex 3 : Heroes and time as a narrative
variable
• Infinite stories in four dimensions
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How can the past be more present ?
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1896
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1896 : Relief Magnin
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Can we add a slider on Google maps ?
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Garzoni project / Valentina Sapienza et. al.
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Garzoni project / Valentina Sapienza et. al.
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1500
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808
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Visualizing Venice / Academia / Svalduz, di Lenardo et al
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 70o
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Visualizing Venice / Academia / Svalduz, di Lenardo et al
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 71o
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900
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 72o
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1000
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 73o
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1100
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 74o
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1200
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 75o
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1300
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 76o
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1400
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 77o
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1500
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 78o
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Doris Stockly
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 79o
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incanti.dhlab.ch
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 80o
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Multidimensional case studies
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 81o
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 82o
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 83o
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The central scientific challenge of the project isqualifying, quantifying and representing uncertainty andinconsistency at each step of this process.
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 84o
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How can we detect and correct inconsistencies ? How canwe represent uncertainty ?
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 85o
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(1) Such kind of projects needs an ethics ofrepresentation. An ethics of representation imposes acertain level of formalism.
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 86o
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(2) Aligning different data sets also imposes an additionallevel of formalism. There is a need for semanticframework capable of coding historical information andmeta-historical information.
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 87o
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(3) Eventually, with simulation, algorithms tend to play abigger role in historical debates.
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 88o
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These three evolutions create a shift in historicalpractices, introducing algorithms as new mediators.
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 89o
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How should we communicate this new research to a largeaudience ? Venice with its 30 million visitors / year is oneof the best place to imagine the museum of the future.
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 90o
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 91o
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 92o
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 93o
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 94o
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What about a Facebook of the past ?
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 95o
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Is research in the Humanities about to undergo anevolution similar to what happened to life sciences 30years ago ?
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 96o
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This evolution is characterized by projects at a new scale,beyond what any single research team can do.
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 97o
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We need to foster a new generation of Digital Humanistsready for this shift.
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 98o
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These students will not only benefit from such large scaleprojects, they will play an active role for their success.
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 99o
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[email protected] / dhlab.epfl.ch
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Digital Humanities 101 - 2013/2014 - Course 3 | 2013 100o