Suchergebnisse

No longer distributed to depository libraries in a physical form after FY 2000 ; Latest issue consulted: Vol. 25, no. 4 (July/Aug. 2004) ; Index to U.S. Government periodicals ; Issue for Jan./Feb. 1996 not published ; Mode of access: Internet. ; UPD

In contemporary societies, the humanities are under constant pressure and have to justify their existence. In the ongoing debates, Humboldt's ideals of 'Bildung' and 'pure science' are often used to justify the unique function of the humanities of ensuring free research and contributing to a vital and self-reflective democracy. Contemporary humanities have adopted a new orientation towards practices, and it is not clear how this fits with the ideals of 'Bildung' and 'pure science'. A possible theoretical framework for this orientation towards practices could be found in John Dewey's pragmatic philosophy. Contrary to Humboldt's idea that the non-practical is the most practical in the long run, philosophical pragmatism recommends to the humanities to situate knowledge in practices and apply knowledge to practices. ; In contemporary societies, the humanities are under constant pressure and have to justify their existence. In the ongoing debates, Humboldt's ideals of 'Bildung' and 'pure science' are often used to justify the unique function of the humanities of ensuring free research and contributing to a vital and self-reflective democracy. Contemporary humanities have adopted a new orientation towards practices, and it is not clear how this fits with the ideals of 'Bildung' and 'pure science'. A possible theoretical framework for this orientation towards practices could be found in John Dewey's pragmatic philosophy. Contrary to Humboldt's idea that the non-practical is the most practical in the long run, philosophical pragmatism recommends to the humanities to situate knowledge in practices and apply knowledge to practices.

Across the humanities and in the performative arts the experiment — commonly associated with the empirical sciences — is gaining ground. These diverse endeavours understand the experiment as a formalized (re)staging of an encounter that may produce unforeseen results. Such encounters put greater emphasis on the research environment and foreground the participation of previously neglected human and non-human actors. As a consequence, increasing attention is paid to the constitution, agency, and surfaces of objects of knowledge. The lectures and discussion aim to examine the relation, distinction, and interplay between experimental practices, laboratory settings, and creative processes, as well as the status of repetition, restaging, and novelty within knowledge production in the humanities and the performative arts. Nishant Shah Error 400 – Bad Request: Authorship, Authority, Authenticity in the Experimental Setup The model of the experiment often comes with the imagined attributes of neutrality and openness, particularly made glamorous by the promise of failure. Ideas of replication, verification, and scalability further reinforce the idea of the experiment as a pure form of knowledge production that can be constructed and repeated as a universal given, thus offering a truth that can be evidenced. Shah proposes that experimental setups depend upon the political, contested, and exclusionary constructions of authorship, authority, and authenticity, which are hidden in the description of the experimental setup. Looking at a postcolonial feminist history of digital technologies, computational networks, and cybernetics, this talk will dismantle the experimental setup by looking at the conditions of asking questions and the need to expand the idea of the experiment beyond the logistics of apparatus, process, and replication. Nishant Shah is the Vice-President of Research at ArtEZ University of the Arts and a research mentor with the Hivos Foundation's 'Digital Earth' programme. His current preoccupation is with ...

The essays in this collection offer a timely intervention in digital humanities scholarship, bringing together established and emerging scholars from a variety of humanities disciplines across the world. The first section offers views on the practical realities of teaching digital humanities at undergraduate and graduate levels, presenting case studies and snapshots of the authors' experiences alongside models for future courses and reflections on pedagogical successes and failures. The next section proposes strategies for teaching foundational digital humanities methods across a variety of scholarly disciplines, and the book concludes with wider debates about the place of digital humanities in the academy, from the field's cultural assumptions and social obligations to its political visions.

Ist Facebook eine zeithistorische Quelle, und wer archiviert die Tweets der Politiker? Wie nutzt man digitale Quellen, und wie verändert sich die Quellenkritik, wenn die Kopie sich vom Original nicht mehr unterscheiden lässt? Seit Beginn der 2010er-Jahre wird unter dem Stichwort "Digital Humanities" insbesondere im angelsächsischen Raum eine intensive Debatte über neue Potenziale für die Geisteswissenschaften geführt: Peter Haber zeichnet in seinem Beitrag die Entwicklung der Digital Humanities nach und fragt, ob sich mit der Digitalisierung nicht nur die Qualität und Quantität der Quellen, sondern auch der gesamte Arbeitsprozess von Zeithistoriker/innen verändert hat.

In the present paper, we analyze the publication strategies of researchers in the humanities, including their choices of language, publication type and co-authorship. Based on data from Denmark, we compare the publication profile of the humanities with the other major fields of science in 2012 and analyze changes in publication strategies within the humanities between 1992 and 2012. We show that the publication strategies of humanities (and social science) researchers differ systematically from the publication strategies of researchers in the medical sciences, natural sciences and engineering. We also show that while the publication strategies of humanities researchers have been relatively stable around the turn of the millennium, English has replaced Danish as the preferred language. We consider various causal mechanisms that have shaped the linguistic strategies of humanities researchers. While disciplinary variations in publication strategies can be explained by the censorship of the individual disciplines and their audience structures, an explanation of the general increase in the use of English language has to be sought outside the field of humanities. We argue that the specific conjuncture of the European Union's internationalization policies in the 1990s and 2000s and a change in the international scientific hierarchy during the 20th century has contributed to the universalization of English in the Danish (and European) scientific field.

International audience ; We must keep in mind some numerical data when we evoke the transition from the paper to the digital age. In particular, the following contrast speaksfor itself:1. All the books ever written represent 50 billion bytes.2. The information produced in 2006 represents 150 quintillion (150 x 1018) bytes. That is to say, during 2006 alone, the world produced three milliontimes the informational content of all the books ever written.3. Things continue in this way at high speed: the only internet track of May 2009 has generated 500 billion bytes.Thus, our paper-based heritage is already a tiny fraction of what the human race has produced and this fraction decreases, relatively, every day. Viewingthese data, the conception of a digitization enterprise should be thought of and considered by humanists as enlarged. The narrow acceptance of theproject – the view that it is merely a technical process of converting our paper-borne heritage into electronic form – is dramatically insufficient. Toparaphrase Clemenceau's famous words about war and militaries, digitization may be too serious a thing to be left to the digitizers alone. Scholarsmust face the issue and understand it as one of the most important problems they have to deal with and, as I will argue, as a real opportunity to renewtheir practices and disciplines.

International audience ; We must keep in mind some numerical data when we evoke the transition from the paper to the digital age. In particular, the following contrast speaksfor itself:1. All the books ever written represent 50 billion bytes.2. The information produced in 2006 represents 150 quintillion (150 x 1018) bytes. That is to say, during 2006 alone, the world produced three milliontimes the informational content of all the books ever written.3. Things continue in this way at high speed: the only internet track of May 2009 has generated 500 billion bytes.Thus, our paper-based heritage is already a tiny fraction of what the human race has produced and this fraction decreases, relatively, every day. Viewingthese data, the conception of a digitization enterprise should be thought of and considered by humanists as enlarged. The narrow acceptance of theproject – the view that it is merely a technical process of converting our paper-borne heritage into electronic form – is dramatically insufficient. Toparaphrase Clemenceau's famous words about war and militaries, digitization may be too serious a thing to be left to the digitizers alone. Scholarsmust face the issue and understand it as one of the most important problems they have to deal with and, as I will argue, as a real opportunity to renewtheir practices and disciplines.

Convergence of scientific and artistic language in the interpretation of the unknown natural reality Marina Iorio Istituto di Scienze Marine Consiglio Nazionale delle Ricerche (ISMAR-CNR) marina.iorio@cnr.it The scenic transcoding of virtual scientific realities, invisible to the human eye (for example the morphology of the ocean floor or the discovery of buried geothermal reservoirs) through the search for new artistic and aesthetic forms in the performative thought and in the field work of Marina Iorio: ten years of dialogue with an extra-scientific audience. Science Art, Virtual images, Digital Art, Abstract Art, Oceans Transpositions of languages Ékphrasis, or a transcoding experiment The Observation Wheel Lorena Grigoletto Università degli Studi di Napoli Federico II Accademia di Belle Arti di Napoli lorigrigoletto@gmail.com The purpose of this essay is to examine the process of transcoding by which certain philosophical concepts have been translated into the characters of my fairy tale The Observation Wheel. This fairy tale is about a giant merry-go-round to which a motor is added and which, as a result, undergoes such an acceleration that its perceptual capacity is profoundly transformed, as well as its ability to know itself and others. In the introductory essay, I comment on the relationship between philosophy and fairy tales, on the rhythmic character of this literary genre, and on the concepts on which my own fairy tale is built, namely temporality, technologization, acceleration, alienation, and death. However, given that the essay is written in a phase subsequent to the creation of the tale, it carries out a double movement, namely the representation of the experience of transcoding concepts towards the specific characters and structure of the tale and, at the same time, from these towards the recovery, of the same concepts through a mnemonic operation, which is therefore necessarily retroactive and deformative, revealing the essential ekphrastic nature of the thought processes. Ekphrasis, Fairy Tale, Philosophy, Rhythm, Acceleration. A Dialog about Passions: Malebranche and Gaetani Alessandro Stile Istituto per la Storia del Pensiero Filosofico e Scientifico Moderno Consiglio Nazionale delle Ricerche (ISPF-CNR) stile@unina.it In this virtual interview between Nicolas Malebranche ad Niccolò Gaetani dell'Aquila d'Aragona, the philosophers discuss the theme of Passions, and the answer they give to the interviewer's questions faithfully reproduce the texts of the two authors. Interview, virtual dialogue, stoicism, pleasure, virtue Rebellion and recognition Albert Camus Fiorinda Li Vigni Istituto Italiano per gli Studi Filosofici fiorinda.livigni@gmail.com Le premier homme, the posthumous novel by Albert Camus, offers the key to the whole of the writer's work and to his sensitivity. It is linked to the first notes of the Cahiers (1935) and to the writings collected in the book L'envers et l'endroit (1937), where the nostalgia for a lost poverty and the image of a silent mother come to the fore. In the setting of the Algiers of his childhood, a world of light and freedom, Camus's choice to fight for the humiliated is outlined, without renouncing to beauty and admiration: the rebellion keeps men united in the name of a value that binds and transcends them. Poverty, World, History, Value, Solidarity Camus 2020 Working Notes Rosario Diana Istituto per la Storia del Pensiero Filosofico e Scientifico Moderno Consiglio Nazionale delle Ricerche (ISPF-CNR) rosariodiana61@gmail.com Text of the melologue that closes the Trilogy on Recognition. The show has not yet been made due to the pandemic. In the work, the Author presents a critical analysis of the absurd in Albert Camus in the form of reading notes. Absurd, Music, Theater, Commitment, Politics L'Infinito by Leopardi melologue for thre reciting voices, viola and cello Rosario Diana Istituto per la Storia del Pensiero Filosofico e Scientifico Moderno Consiglio Nazionale delle Ricerche (ISPF-CNR) rosariodiana61@gmail.com The Author presents an experiment of linguistic transposition between poetry and music. Leopardi's famous poem, L'Infinito, and some thematically related fragments from Zibaldone become the text of a melologue in which the poetic text interacts with the sound and helps to indicate the principles of musical composition. Dissemination, Composition, Restricted view, Atonality, Counterpoint _Imitation_ melologue for two reciting voices, viola, cello and recorded voice Rosario Diana Istituto per la Storia del Pensiero Filosofico e Scientifico Moderno Consiglio Nazionale delle Ricerche (ISPF-CNR) rosariodiana61@gmail.com The Author presents an experiment of linguistic transposition in which the structure, the pitches of the sounds and the compositional techniques of the melologue are obtained with the title and content of a poem by Giacomo Leopardi, Imitation, inspired by a composition by a French poet Antoine-Vincent Arnault, Le Feuille [The leaf]. Dissemination, Transposition, Composition, Giacomo Leopardi, Antoine-Vincent Arnault The Intermediality between Writing and Music About a Recent Book Rossella Gaglione Università degli Studi di Napoli Federico II Accademia di Belle Arti di Napoli rossellagaglione@hotmail.com The paper aims to highlight some themes from a recent book by Franco Gallo and Paolo Zignani, Nietzsche e Schumann. Musica, scrittura, forma e creazione, about the relationship between Schumann's music and Nietzsche's thought. Within the interpretative horizon of the paradigm of intermediality, the writing first analyzes the compositional forms of both artists, gestures of breaking with respect to tradition. However, Schumann and Nietzsche are also the pretext to explore other foundational themes of the relationship between music and philosophy. Philosophy, Theorein, Praktein, Musical Composition Tribute to Stravinsky Fifty Years after his Death Benedetta Tramontano Accademia di Belle Arti di Napoli bene_98@hotmail.it Four illustrations commissioned by RTH / PTH to Benedetta Tramontano and dedicated to Stravinskij for the fifty years of the composer's death. Theodor W. Adorno, The Rite of Spring, Sergej Pavlovič Djagilev, Composition, Poetics of music ; Convergenza del linguaggio scientifico e di quello artistico nell'interpretazione della realtà naturale ignota Marina Iorio Istituto di Scienze Marine Consiglio Nazionale delle Ricerche (ISMAR-CNR) marina.iorio@cnr.it La transcodificazione scenica di realtà virtuali scientifiche invisibili all'occhio umano (per esempio la morfologia dei fondi oceanici o il ritrovamento di serbatoi geotermici sepolti) attraverso la ricerca di nuove forme artistiche ed estetiche nel pensiero performativo e nel lavoro sul campo di Marina Iorio: dieci anni di dialogo con un pubblico extrascientifico. Arte scientifica, Immagini virtuali, Arte digitale, Arte astratta, Oceani Trasposizioni di linguaggi Ékphrasis, ovvero un esperimento di transcodifica La ruota panoramica Lorena Grigoletto Università degli Studi di Napoli Federico II Accademia di Belle Arti di Napoli lorigrigoletto@gmail.com Questo lavoro si propone di esplorare il processo di transcodifica attraverso cui determinati concetti filosofici sono stati tradotti nelle figure della mia fiaba La ruota panoramica, che narra di una gigantesca giostra animata cui viene implementato un motore e che, pertanto, subisce un'accelerazione tale da trasformare nel profondo tanto la sua capacità percettiva quanto la possibilità di riconoscere e di riconoscersi. Nel saggio introduttivo si riflette sulla relazione tra filosofia e fiaba, sul carattere ritmico di questo genere letterario, nonché sui concetti a partire dai quali la fiaba è stata costruita, ovvero temporalità, tecnologizzazione, accelerazione, alienazione, morte. Tuttavia, essendo stato scritto in una fase successiva alla creazione narrativa, il saggio realizza un doppio movimento, di presentazione dell'esperimento di transcodifica dai concetti alle figure e alla struttura specifiche della fiaba e, al tempo stesso, da queste al rinvenimento, attraverso un'operazione mnemonica, quindi necessariamente retroattiva e deformante, di quegli stessi concetti, rivelando la natura essenzialmente ékphrastica dei processi di pensiero. ékphrasis, Fiaba, Filosofia, Ritmo, Accelerazione Dialogo sulle Passioni: Malebranche e Gaetani Alessandro Stile Istituto per la Storia del Pensiero Filosofico e Scientifico Moderno Consiglio Nazionale delle Ricerche (ISPF-CNR) stile@unina.it In questa intervista virtuale tra Nicolas Malebranche e Niccolò Gaetani dell'Aquila d'Aragona, i due filosofi discutono sul tema delle passioni. Le risposte che danno all'intervistatore riproducono fedelmente i testi dei due Autori. Intervista, dialogo virtuale, stoicismo, piacere, virtù Rivolta e riconoscimento Albert Camus Fiorinda Li Vigni Istituto Italiano per gli Studi Filosofici fiorinda.livigni@gmail.com Le premier homme, il romanzo postumo di Albert Camus, offre la chiave del complesso dell'opera dello scrittore e fornisce la cifra della sua sensibilità. Esso si riallaccia alle prime note dei Cahiers (1935) e agli scritti raccolti nel volume L'envers et l'endroit (1937), dove a venire in primo piano sono la nostalgia per una povertà perduta e l'immagine di una madre silenziosa. Sullo sfondo dell'Algeri della sua infanzia, di un mondo di luce e di libertà, si delinea così la scelta di Camus di lottare per gli umiliati senza rinunciare alla bellezza e all'ammirazione, in una rivolta che tiene gli uomini uniti in nome di un valore che li lega e li trascende. Povertà, Mondo, Storia, Valore, Solidarietà Camus 2020 Note di lavoro Rosario Diana Istituto per la Storia del Pensiero Filosofico e Scientifico Moderno Consiglio Nazionale delle Ricerche (ISPF-CNR) rosariodiana61@gmail.com Testo del melologo che chiude la Trilogia sul riconoscimento. Lo spettacolo non è stato ancora realizzato a causa della pandemia. Nel lavoro l'Autore presenta un'analisi critica dell'assurdo in Albert Camus nella forma di note di lettura. Assurdo, Filosofia, Musica, Teatro, Politica L'Infinito di Leopardi melologo per tre voci recitanti, viola e violoncello Rosario Diana Istituto per la Storia del Pensiero Filosofico e Scientifico Moderno Consiglio Nazionale delle Ricerche (ISPF-CNR) rosariodiana61@gmail.com L'Autore presenta un esperimento di trasposizione linguistica fra poesia e musica. La famosa poesia di Leopardi, L'Infinito, e alcuni frammenti tematicamente affini tratti dello Zibaldone diventano il testo di un melologo in cui il testo poetico interagisce con il suono e contribuisce a indicare i principi della composizione musicale. Disseminazione, Composizione, Veduta ristretta, Atonalità, Contrappunto _Imitazione_ melologo per due voci recitanti, viola, violoncello e voce registrata Rosario Diana Istituto per la Storia del Pensiero Filosofico e Scientifico Moderno Consiglio Nazionale delle Ricerche (ISPF-CNR) rosariodiana61@gmail.com L'Autore presenta un esperimento di trasposizione linguistica in cui si ricava l'intera struttura, le altezze dei suoni e le tecniche compositive del melologo dal titolo e del contenuto di una poesia di Giacomo Leopardi, Imitazione, ispirata a un componimento di un poeta francese Antoine-Vincent Arnault, Le Feuille [La foglia]. Disseminazione, Trasposizione, Composizione, Giacomo Leopardi, Antoine-Vincent Arnault L'intermedialità tra scrittura e musica A proposito di un recente libro Rossella Gaglione Università degli Studi di Napoli Federico II Accademia di Belle Arti di Napoli rossellagaglione@hotmail.com Il lavoro ha lo scopo di rilevare alcuni temi che emergono da un recente libro di Franco Gallo e Paolo Zignani, Nietzsche e Schumann. Musica, scrittura, forma e creazione, a proposito della relazione tra la musica di Schumann e il pensiero di Nietzsche. All'interno dell'orizzonte interpretativo del paradigma dell'intermedialità, lo scritto analizza anzitutto le forme compositive di entrambi gli artisti, gesti di rottura rispetto alla tradizione. Schumann e Nietzsche sono però anche il pretesto per approfondire altri temi fondativi del rapporto tra musica e filosofia. Filosofia, Theorein, Praktein, Composizione musicale Omaggio a Stravinskij A cinquant'anni dalla morte Benedetta Tramontano Accademia di Belle Arti di Napoli bene_98@hotmail.it Quattro illustrazioni commissionate dalla RTH/PTH a Benedetta Tramontano e dedicate a Stravinskij per i cinquant'anni della morte del compositore. Theodor W. Adorno, Sagra della primavera, Sergej Pavlovič Djagilev, Composizione, Poetica della musica

Based on the concept of the cyberpunk librarian, we attempt to offer a cartography of the digital humanities in an attempt to move towards the defense of information as a public good in which access to it is a priority. In this paper, we consider that the Digital Humanities, beyond possible methodological, ontological and epistemological implications; we must identify all possible ethical, aesthetic and political issues that these humanities may contain.

The humanities today use digital tools for their research projects. This training is an opportunity to review research data and FAIR principles in humanities projects. In this session, we provide an introduction to the research data life cycle, and then discuss how the digital humanities produce and must manage research data. We show what it means to create FAIR data, even before a project begins. We also see the management differences between the physical objects, their various digital forms and metadata, as well as the research data produced during the project. Finally, we finish with a review of tools and good practices, before showing examples, such as data reuse and the use of the CIDOC CRM ontology. ; Co-funded by the Erasmus+ Programme of the European Union

Composting is a material labor whereby old scraps are transformed—through practices of care and attention—into nutrient-rich new soil. In this provocation, we develop "composting" as a material metaphor to tell a particular story about the environmental humanities. Building on Donna Haraway's work, we insist "it matters what compostables make compost." Our argument is twofold. First, we contend that certain feminist concepts and commitments are foundational to the environmental humanities' contemporary emergence. Second, we advocate for more inclusive feminist composting for the future of our field. We begin with a critical cartography of some of the field's origin stories. While we discover that feminism is named or not named in several different ways, what most interests us here is a particular trend we observe, whereby key feminist scholars or concepts may be mentioned, but their feminist investments are not incorporated as such. Following this cartography, we dig into the stakes of these missed opportunities. A failure to acknowledge the feminist context that grows some of our field's foundational concepts neutralizes their feminist politics and undermines the potential for environmental humanities to build alternative worlds. To conclude, we propose feminist composting as a methodology to be taken up further. We call for an inclusive feminist composting that insists on feminism's imbrication with social justice projects of all kinds, at the same time as we insist that future composting be done with care. Sometimes paying attention to the feminist scraps that feed the pile means responding to feminism's own potential assimilations and disavowals, particularly in relation to decolonization. Like both the energy-saving domestic practice and the earlier social justice struggles that inspire it, composting feminism and environmental humanities involves messy and undervalued work. We maintain, however, that it is a mode of scholarship necessary for growing different kinds of worlds.

The starting point of our considerations is the two books published in 2010: "Ill Fares the Land" by the late Tony Judt and "Not for Profit" by Martha Nussbaum. The authors of both books share the conviction that neoliberal changes in the world of global capitalism radically impoverish culture and their consequences may be dramatic and irreversible. In our paper we would like to emphasize the dangers to solidarity and social cohesion posed by neoliberal postulates. We also claim that promoting the neoliberal ideology in the context of higher education and institutions of civic society endangers the very democracy understood as reasonable pluralism (in John Rawls' terminology), consisting in rationality, plurality of opinions, lifestyles and conceptions of good, as well as consensus as the aim of social and political practices.

Th is article examines collaboration in the digital humanities through a sociological lens, focusing on the social relations, including hierarchies, that form in the digital humanities. It argues that the digital humanities can be seen as a form of third culture (Snow, 1971) in which people from computing science and the humanities form new relationships and in some cases move towards an embodiment of third culture. While the humanities are still seen as largely driving the digital humanities, there is increasingly recognition of the importance of technology and programmers. Significant strides are being taken towards involving those with computing and technical expertise in the design and conception of the digital humanities although this transition is not always smooth or democratic.

With toxic pollutants as a rising threat, important questions about environmental justice, gender, and the sexual politics of environmental movements issue an urgent challenge to intersectional gender and science studies; to anticolonial, queer, and trans theory; as well as to environmental and human-animal studies at large. Taking up this challenge, this piece aims at attending to the ways toxic embodiment disturbs or aligns with multiple boundaries of sexes, generations, races, geographies, nation-states, and species and how toxicity has re-dynamized corporeality and the biochemical materiality of bodies. ; QC 20191105 ; The Posthumanities Hub and The Seed Box