12 research outputs found

    Exploring the possibilities of Thomson’s fourth paradigm transformation—The case for a multimodal approach to digital oral history?

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    This article seeks to reorientate ‘digital oral history’ towards a new research paradigm, Multimodal Digital Oral History (MDOH), and in so doing it seeks to build upon Alistair Thomson’s (Thomson, A., 2007, Four paradigm transformations in oral history. Oral History Review, 34(1): 49–70.) characterization of a ‘dizzying digital revolution’ and paradigmatic transformation in oral history (OH). Calling for a recalibration of the current dominance of the textual transcript, and for active engagement with the oral, aural, and sonic affordances of both retro-digitized and born digital OH (DOH) collections, we call for a re-orientation of the digital from passive to generative and self-reflexive in the human–machine study of spoken word recordings. First, we take stock of the field of DOH as it is currently conceived and the ways in which it has or has not answered calls for a return to the orality of the interview by digital means. Secondly, we address the predominant trend of working with transcriptions in digital analysis of spoken word recordings and the tools being used by oral historians. Thirdly, we ask about the emerging possibilities—tools and experimental methodologies—for sonic analysis of spoken word collections within and beyond OH, looking to intersections with digital humanities, sociolinguistics, and sound studies. Lastly, we consider ethical questions and practicalities concomitant with data-driven methods, analyses and technologies like AI for the study of sonic research artefacts, reflections that dovetail with digital hermeneutics and digital tool criticism and point towards a new MDOH departure, a sub-field that has potential to inform the many fields that seek patterns in audio, audio-visual, and post-textual materials, serially and at scale

    Digital Sound Studies

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    The digital turn has created new opportunities for scholars across disciplines to use sound in their scholarship. This volume’s contributors provide a blueprint for making sound central to research, teaching, and dissemination. They show how digital sound studies has the potential to transform silent, text-centric cultures of communication in the humanities into rich, multisensory experiences that are more inclusive of diverse knowledges and abilities. Drawing on multiple disciplines—including rhetoric and composition, performance studies, anthropology, history, and information science—the contributors to Digital Sound Studies bring digital humanities and sound studies into productive conversation while probing the assumptions behind the use of digital tools and technologies in academic life. In so doing, they explore how sonic experience might transform our scholarly networks, writing processes, research methodologies, pedagogies, and knowledges of the archive

    A Thousand Words: Advanced Visualization for the Humanities

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    Picture This: Advanced Visualization for the Humanities is a Level II proposal to develop software tools that will open up the potential of high-resolution displays to researchers from the humanities. These tools will provide humanities users simplified access to advanced visualization resources, using the popular open-source programming environment, Processing. The short-term results of this start up project will be the development of open-source software that enables Processing to work with high-resolution tiled displays

    Mining oral history collections using music information retrieval methods

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    Recent work at the Sussex Humanities Lab, a digital humanities research program at the University of Sussex, has sought to address an identified gap in the provision and use of audio feature analysis for spoken word collections. Traditionally, oral history methodologies and practices have placed emphasis on working with transcribed textual surrogates, rather than the digital audio files created during the interview process. This provides a pragmatic access to the basic semantic content, but obviates access to other potentially meaningful aural information; our work addresses the potential for methods to explore this extra-semantic information, by working with the audio directly. Audio analysis tools, such as those developed within the established field of Music Information Retrieval (MIR), provide this opportunity. This paper describes the application of audio analysis techniques and methods to spoken word collections. We demonstrate an approach using freely available audio and data analysis tools, which have been explored and evaluated in two workshops. We hope to inspire new forms of content analysis which complement semantic analysis with investigation into the more nuanced properties carried in audio signals

    Analyzing Audio/Visual Data in the Digital Humanities

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    The Bloomsbury Handbook to the Digital Humanities reconsiders key debates, methods, possibilities, and failings from across the digital humanities, offering a timely interrogation of the present and future of the arts and humanities in the digital age.Comprising 43 essays from some of the field\u27s leading scholars and practitioners, this comprehensive collection examines, among its many subjects, the emergence and ongoing development of DH, postcolonial digital humanities, feminist digital humanities, race and DH, multilingual digital humanities, media studies as DH, the failings of DH, critical digital humanities, the future of text encoding, cultural analytics, natural language processing, open access and digital publishing, digital cultural heritage, archiving and editing, sustainability, DH pedagogy, labour, artificial intelligence, the cultural economy, and the role of the digital humanities in climate change. From this chapter: We offer an observation, perhaps even provocation: DH is undergoing an A/V turn. The combination of access to data either through digitization or born-digital sources alongside advances in computing from memory to deep learning is resulting in a watershed moment for the analysis of audio and visual data in the field

    A Digital Humanities Bibliography

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    An extensive Digital Humanities bibliography with over 1,500 citations covering a variety of disciplines and topics

    Variable Format: Media Poetics and the Little Database

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    This dissertation explores the situation of twentieth-century art and literature becoming digital. Focusing on relatively small online collections, I argue for materially invested readings of works of print, sound, and cinema from within a new media context. With bibliographic attention to the avant-garde legacy of media specificity and the little magazine, I argue that the “films,” “readings,” “magazines,” and “books” indexed on a series of influential websites are marked by meaningful transformations that continue to shape the present through a dramatic reconfiguration of the past. I maintain that the significance of an online version of a work is not only transformed in each instance of use, but that these versions fundamentally change our understanding of each historical work in turn. Here, I offer the analogical coding of these platforms as “little databases” after the little magazines that served as the vehicle of modernism and the historical avant-garde. Like the study of the full run of a magazine, these databases require a bridge between close and distant reading. Rather than contradict each other as is often argued, in this instance a combined macro- and microscopic mode of analysis yields valuable information not readily available by either method in isolation. In both directions, the social networks and technical protocols of database culture inscribe the limits of potential readings. Bridging the material orientation of bibliographic study with the format theory of recent media scholarship, this work constructs a media poetics for reading analog works situated within the windows, consoles, and networks of the twenty-first century

    Saving New Sounds

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    "Over seventy-five million Americans listen to podcasts every month, and the average weekly listener spends over six hours tuning into podcasts from the more than thirty million podcast episodes currently available. Yet despite the excitement over podcasting, the sounds of podcasting’s nascent history are vulnerable and they remain mystifyingly difficult to research and preserve. Podcast feeds end abruptly, cease to be maintained, or become housed in proprietary databases, which are difficult to search with any rigor. Podcasts might seem to be highly available everywhere, but it’s necessary to preserve and analyze these resources now, or scholars will find themselves writing, researching, and thinking about a past they can’t fully see or hear. This collection gathers the expertise of leading and emerging scholars in podcasting and digital audio in order to take stock of podcasting’s recent history and imagine future directions for the format. Essays trace some of the less amplified histories of the format and offer discussions of some of the hurdles podcasting faces nearly twenty years into its existence. Using their experiences building and using the PodcastRE database—one of the largest publicly accessible databases for searching and researching podcasts—the volume editors and contributors reflect on how they, as media historians and cultural researchers, can best preserve podcasting’s booming audio cultures and the countless voices and perspectives podcasting adds to our collective soundscape.
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