Digital research is taking the humanities by storm. This can be read not only from the many digital humanities programs in education and research in universities around the world but also from the attention for new media practices in humanities and art departments. Famously, and thought-provokingly, media theorist Lev Manovich—strongly rooted in film and media studies—set out to develop a means by which the visual analysis of big data sets of digitized cultural materials could help the study of art and culture transition into the era of big data or, as he calls it, 90the era of “more media” (Manovich, 2009). Often met with scrutiny by art historians, not in favor of a quantitative approach to the arts, Manovich insisted with this “cultural analytics” program on expanding the study of culture by including the vast amounts of user-generated content. As he wrote as early as 2009: “Think about this: the number of images uploaded to Flickr every week is probably larger than all objects contained in all art museums in the world.” Manovich developed the Software Studies Initiative, where he and his team developed software such as Image Plot, for the analysis of large visual data sets. Manovich applies his methods both to digitized materials (such as Time magazine covers) as well as—more recently—to born-digital content (such as selfies on Instagram).
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Technological developments go fast and are interrelated and multi-interpretable. As consumer needs change, the technological possibilities to meet those needs are constantly evolving and new technology providers introduce new disruptive business models. This makes it difficult to predict what the world of tomorrow will look like for an organization and that makes the risks for organizations substantial. In this context, it is difficult for organizations to determine what constitutes a good strategy to adopt digital developments. This paper describes a first step of a study with the objective to design a method for organizations to formulate a future-proof strategy in a rapidly changing, complex and ambiguous context. More specifically, this paper describes the results of a sequence of three focus groups that were held with a group of eight experts, with extensive experience as members of the decision making unit in organizations. The objectives of these sessions were to determine possible solutions for the outlined challenge in order to provide direction for continuation and scoping of the following research phases.
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This article examines the organisation of collaborative digital methods and data projects in the context of engaged research-led teaching in the humanities. Drawing on interviews, field notes, projects and practices from across eight research groups associated with the Public Data Lab (publicdatalab.org), it provides considerations for those interested in undertaking such projects, organised around four areas: composing (1) problems and questions; (2) collectives of inquiry; (3) learning devices and infrastructures; and (4) vernacular, boundary and experimental outputs.Informed by constructivist approaches to learning and pragmatist approaches to collective inquiry, these considerations aim to support teaching and learning through digital projects which surface and reflect on the questions, problems, formats, data, methods, materials and means through which they are produced.
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This project develops a European network for transdisciplinary innovation in artistic engagement as a catalyst for societal transformation, focusing on immersive art. It responds to the professionals in the field’s call for research into immersive art’s unique capacity to ‘move’ people through its multisensory, technosocial qualities towards collective change. The project brings together experts leading state-of-the-art research and practice in related fields with an aim to develop trajectories for artistic, methodological, and conceptual innovation for societal transformation. The nascent field of immersive art, including its potential impact on society, has been identified as a priority research area on all local-to-EU levels, but often suffers from the common (mis)perception as being technological spectacle prioritising entertainment values. Many practitioners create immersive art to enable novel forms of creative engagement to address societal issues and enact change, but have difficulty gaining recognition and support for this endeavour. A critical challenge is the lack of knowledge about how their predominantly sensuous and aesthetic experience actually lead to collective change, which remains unrecognised in the current systems of impact evaluation predicated on quantitative analysis. Recent psychological insights on awe as a profoundly transformative emotion signals a possibility to address this challenge, offering a new way to make sense of the transformational effect of directly interacting with such affective qualities of immersive art. In parallel, there is a renewed interest in the practice of cultural mediation, which brings together different stakeholders to facilitate negotiation towards collective change in diverse domains of civic life, often through creative engagements. Our project forms strategic grounds for transdisciplinary research at the intersection between these two developments. We bring together experts in immersive art, psychology, cultural mediation, digital humanities, and design across Europe to explore: How can awe-experiences be enacted in immersive art and be extended towards societal transformation?
The scientific publishing industry is rapidly transitioning towards information analytics. This shift is disproportionately benefiting large companies. These can afford to deploy digital technologies like knowledge graphs that can index their contents and create advanced search engines. Small and medium publishing enterprises, instead, often lack the resources to fully embrace such digital transformations. This divide is acutely felt in the arts, humanities and social sciences. Scholars from these disciplines are largely unable to benefit from modern scientific search engines, because their publishing ecosystem is made of many specialized businesses which cannot, individually, develop comparable services. We propose to start bridging this gap by democratizing access to knowledge graphs – the technology underpinning modern scientific search engines – for small and medium publishers in the arts, humanities and social sciences. Their contents, largely made of books, already contain rich, structured information – such as references and indexes – which can be automatically mined and interlinked. We plan to develop a framework for extracting structured information and create knowledge graphs from it. We will as much as possible consolidate existing proven technologies into a single codebase, instead of reinventing the wheel. Our consortium is a collaboration of researchers in scientific information mining, Odoma, an AI consulting company, and the publisher Brill, sharing its data and expertise. Brill will be able to immediately put to use the project results to improve its internal processes and services. Furthermore, our results will be published in open source with a commercial-friendly license, in order to foster the adoption and future development of the framework by other publishers. Ultimately, our proposal is an example of industry innovation where, instead of scaling-up, we scale wide by creating a common resource which many small players can then use and expand upon.
GAMING HORIZONS is a multidisciplinary project that aims to expand the research and innovation agenda on serious gaming and gamification. The project is particularly interested in the use of games for learning and cultural development. Gamification - and gaming more broadly – are very important from a socio-economic point of view, but over the past few years they have been at the centre of critical and challenging debates, which highlighted issues such as gender and minority representation, and exploitative game mechanics. Our project’s key contention is that it is important for the European ICT community to engage with design trends and social themes that have affected profoundly the mainstream and ‘independent’ game development cultures over the past few years, especially because the boundaries between leisure and serious games are increasingly blurred. GAMING HORIZONS is a direct response to the official recognition by the H2020 programme of work that multidisciplinary research can help to advance the integration between Responsible Research and Innovation (RRI) and the Social Sciences and the Humanities (SSH). The project’s objective is to enable a higher uptake of socially responsible ICT-related research in relation to gaming. This objective will be achieved through a research-based exchange between communities of developers, policy makers, users and researchers. The methodology will involve innovative data collection activities and consultations with a range of stakeholders over a period of 14 months. We will interrogate the official ‘H2020 discourse’ on gamification – with a particular focus on ‘gamified learning’ - whilst engaging with experts, developers and critical commentators through interviews, events, workshops and systematic dialogue with an Advisory Board. Ultimately, GAMING HORIZONS will help identify future directions at the intersection of ethics, social research, and both the digital entertainment and serious games industries.EU FundingThe 14-month research project 'Gaming Horizons' was funded by the European Commission through the Horizon 2020 research and innovation programme.
