The computational turn: thinking about the digital humanities

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Indiana Jones and the Joystick of Doom: understanding the past via computer games

In 1997 Jane Murray published "Hamlet on the holodeck: the future of narrative in cyberspace", which forecast the computer as a future platform for interactive drama. Yet a great deal of recent literature has focused on the failure rather than success of virtual environments (particularly three-dimensional ones) as an engaging medium of entertainment and education. In this article I will discuss three key problems in designing virtual environments that in some way depict the values of past cultures. The first problem is how to create a feeling of immersion or of presence in a virtual environment - how we make the past come alive for people so that they feel they are transported "there". This goal is often seen as limited by technical constraints such as the speed of the Internet or network connection, limited processing power, or the computer's capacity to render a large number of objects on the screen in real-time that are seen to impede the production of realistic virtual scenes. By contrast, this article emphasises the need to foster engagement not through realism but interaction. Secondly, our idea of what reality is may be at odds with understanding the past or a distant place from a local perspective. What does reality mean when we are trying to recreate and understand cultural perspectives? Is it useful, desirable or even possible to interact with digital reconstructions of different cultures in a meaningful way? Culture understood from the distance of a hotel or guidebook is obviously not the same as the culture that guides, constrains and nourishes a local inhabitant. I would like to bring the same distinction to culture experienced through virtual environments, and argue that a virtual traveler is not the same as a virtual tourist. Despite or perhaps because they have a goal to solve, and have more constraints and more direct immersion in the local way of doing things, people who travel rather than tour arguably have richer and more interesting experiences. Thirdly, if we do manage to create an engaging and believable virtual environment, will the novelty or entertainment value actually interfere with the cultural understanding gained by the users? In virtual heritage environments this is particularly evident in the conflict between individual freedom to explore and the more pragmatic need to convey historical information. We may for example create an entertaining game but will that allow us to convey varying levels of historical accuracy in reconstructing the past

A Social Dimension for Digital Architectural Practice

Merged with duplicate record 10026.1/1296 on 14.03.2017 by CS (TIS)This thesis proceeds from an analysis of practice and critical commentary to claim that the opportunities presented to some architectural practices by the advent of ubiquitous digital technology have not been properly exploited. The missed opportunities, it claims, can be attributed largely to the retention of a model of time and spaces as discrete design parameters, which is inappropriate in the context of the widening awareness of social interconnectedness that digital technology has also facilitated. As a remedy, the thesis shows that some social considerations essential to good architecture - which could have been more fully integrated in practice and theory more than a decade ago - can now be usefully revisited through a systematic reflection on an emerging use of web technologies that support social navigation. The thesis argues through its text and a number of practical projects that the increasing confidence and sophistication of interdisciplinary studies in geography, most notably in human geography, combined with the technological opportunities of social navigation, provide a useful model of time and space as a unified design parameter. In so doing the thesis suggests new possibilities for architectural practices involving social interaction. Through a literature review of the introduction and development of digital technologies to architectural practice, the thesis identifies the inappropriate persistence of a number of overarching concepts informing architectural practice. In a review of the emergence and growth of 'human geography' it elaborates on the concept of the social production of space, which it relates to an analysis of emerging social navigation technologies. In so doing the thesis prepares the way for an integration of socially aware architecture with the opportunities offered by social computing. To substantiate its claim the thesis includes a number of practical public projects that have been specifically designed to extend and amplify certain concepts, along with a large-scale design project and systematic analysis which is intended to illustrate the theoretical claim and provide a model for further practical exploitation

Re-animating Climate Change: Abstract Temporalities in Augmented Reality

This article explores how animation and augmented reality (AR) can create compression and re-distribution of moving image to convey the temporal scales at play in climate change. Animation inherently fosters experimentation with the expression and understanding of time. AR combines the temporal quality of animation with the physical environment, creating a hybrid space of moving image, technology and physical objects that operate on different time scales. This presents an opportunity to engage imaginatively with aspects of climate change that science communication research has identified as problematic to comprehend, such as the immense timescale on which it occurs. My practice-based research explores techniques, including limited animation, AR image targets and layering of two-dimensional moving image in physical space, to demonstrate how these ideas can be implemented both in a gallery and in the natural environment

Tracing image and bodily displacement in modern and postmodern dance

Through time the dancer has been both celebrated and disadvantaged by antithetical ideas: the division of soul and body, form and matter, life and death, artist and audience. For the romantics, the dancing body stood in a relationship to poetic thought in much the same way as the dancer stood to the body. Notions of the body in early modernism arose from cultural and political constructs through which poets and writers examined the nature of truth. These poets, Yeats in particular, hinted at a premise that a whole history of culture may be necessary to explain why women and art may not be considered as \u27thinking bodies\u27. The notion of truth and of the female dancing form became bound up in the idea of the symbol of art, beauty and truth. Contemporary dance forms have evolved in various movements which either celebrated and lauded or rejected and satirised the dancer and the dancing image. Either way, the cultural and political movements of the twentieth century have bequeathed a residue of impressions surrounding bodily image. The current processes employed in today\u27s dance practice, all of which contour the scope and diversity of contemporary dance, are couched in the multifaceted presence of postmodernism. Alongside such constructs is the fact that the twentieth century has been centred in the desire to \u27create an image\u27 and a subsequent preoccupation whole bodily image. But there are also many other channels through which the idea and use of image in postmodern dance are expressed. For instance, postmodern artists orchestrate and play with the idea of image to deconstruct forms, to lay bare the object of the dance process and in so doing, they disrupt, fragment and question established precepts and perceptions of culture. Postmodern theorists and artists also examine the literary, cultural and philosophical phenomena of politics, technology, identity and change. An examination of postmodern treatment of imagery can illuminate some of the particular processes by which choreographers explore ideas and incorporate them into their work. Postmodern dance can produce positive images for women and illuminate the conditions of men and women in defiance of the dominant constructions of gender and the hegemonic views of existence working in our culture. Gendered constructions in modernist dance forms have effected the evolution of body image whilst postmodern dance offers a complexity that \u27deconstructs\u27 these images

Telling interactive stories: A practice-based investigation into new media interactive storytelling

This thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.Telling Interactive Stories is a practice-based thesis, which theoretically and practically probes the field of digital fictional interactive storytelling. The submission takes the form of the interactive cinema installation Crossed Lines together with a written element of the thesis which interrogates historical, contextual, theoretical, technical and critical aspects of the field of interactive narrative using new media. Crossed Lines is an original fictional interactive AV piece, amalgamating multiform plots, a multi-screen viewing environment, an interactive interface and an interactive story navigation form. The installation tells the stories of nine characters in a way that the viewer can constantly explore and switch between all nine forms, using a telephone keypad and handset as an interface, and can simultaneously observe all characters’ presence between the nine remote locations. Several research methodologies are utilised to analyse and evaluate the installation. Quantitative methodologies include the use of user tracking systems where the computational output of the installation provides measurements and timings of user choices and behaviours. Qualitative methodologies include theoretical and visual analysis, and in depth analysis of user responses using interviews, questionnaires, video recordings and cuttingedge eye-tracking technologies

Online leadership discourse in higher education: a digital multimodal discourse perspective

As leadership discourses in higher education are increasingly being mediated online, texts previously reserved for staff are now being made available in the public domain. As such, these texts become accessible for study, critique and evaluation. Additionally, discourses previously confined to the written domain are now increasingly multimodal. Thus, an approach is required that is capable of relating detailed, complex multimodal discourse analyses to broader sociocultural perspectives to account for the complex meaning-making practices that operate in online leadership discourses. For this purpose, a digital multimodal discourse approach is proposed and illustrated via a small-scale case study of the online leadership discourse of an Australian university. The analysis of two short video texts demonstrates how a digital multimodal discourse perspective facilitates the identification of key multimodal systems used for meaning-making in online communication, how meaning arises through combinations of semiotic choices (not individual choices), and how the results of multimodal discourse analysis using digital technology can reveal larger sociocultural patterns – in this case, divergent leadership styles and approaches as reflected in online discourse, at a time of immense change within the higher education sector

Paradigmatic Tendencies in Cartography: A Synthesis of the Scientific-Empirical, Critical and Post-Representational Perspectives

Maps have been important elements of visual representation in the development of different societies, and for this reason they have mainly been considered from a practical and utilitarian point of view. This means that cartographers or mapmakers have largely focused on the technical aspects of the cartographic products, and cartography has given little attention to both its theoretical component and to its philosophical and epistemological aspects. The current study is dedicated to consider these views. In this study the main trends, thoughts and different directions in cartography during positivism/empiricism, neo-positivism and post-structuralism are reviewed; and cartography is analysed under the modernism and post-modernism periods. Some of the arguments proposed by philosophers such as Ludwig Wittgenstein and Karl Popper are examined as important contributions in our understanding of the development of cartography and mapping. This study also incorporates the idea or concept of paradigm, which has been taken from the field of the epistemology of sciences. The aforementioned opens a space to analyse cartography in terms of a paradigm shift. In the analysis of each trend within contemporary cartography – from the second half of the twentieth century until today – it is necessary to keep in mind the theoretical scheme of a scientific discipline (object of study, research aims, methods and approaches, and results). This helps to determine the body of knowledge in cartography. It is also important to consider the epistemological context in which the tendencies are developed: positivism/empiricism, realism/structuralism and idealism/hermeneutic. In this way, by considering three epistemological levels - essentialist/ontical (scientific), deconstructive (sociological), and ontological (emergent) - some paradigmatic tendencies are postulated. The first level results in tendencies such as cartographic communication, cartographic semiotics, analytical cartography and cartographic visualisation - all of these belong to the scientific-empirical perspective. In the second level, we have critical cartography, belonging to the critical perspective and that confronts the scientific stances. Finally, in the third level the so-called post-representational cartography arises in open opposition to the traditional representational cartography.Im Entwicklungsprozess verschiedener Gesellschaften sind Karten immer wichtige Elemente visueller Darstellung gewesen. Karten wurden meist aus einer praktischen und utilitaristischen Sicht betrachtet. Das heißt, dass sich Kartographen oder Kartenmacher gezielt auf die technischen Aspekte kartographischer Produkte fokussiert haben, und Kartographie sich nur wenig mit den theoretischen Komponenten und philosophischen oder epistemologischen Aspekten auseinandergesetzt hat. Diese Arbeit verfolgt das Ziel, diese Sichten zu analysieren. Diese Studie untersucht die verschiedenen kartographischen Denkrichtungen, die während des Positivismus/Empirismus, des Neo-Positivismus und der Post-Strukturalismusperioden entstanden sind und analysiert Kartographie der Moderne und post-moderner Perioden. Argumente von Philosophen wie Ludwig Wittgenstein und Karl Popper werden untersucht als wichtige Beiträge zu unserem Verständnis der Entwicklung der Kartographie. Diese Arbeit berücksichtigt auch das Konzept des Paradigmas, welches aus dem Gebiet der wissenschaftlichen Epistemologie adaptiert wurde. Dies eröffnet die Möglichkeit, Kartographie hinsichtlich eines Paradigmenwechsels analysieren zu können. Wenn man die Tendenzen der zeitgenössischen Kartographie – von der zweiten Hälfte des zwanzigsten Jahrhunderts bis heute – studiert, muss der theoretische Rahmen einer wissenschaftlichen Disziplin (Forschungsobjekt, Forschungsziel, Arbeitsmethodik und Ergebnisse) berücksichtigt werden. Dies erlaubt es, das gesammelte Wissen der Kartographie zu ermitteln. Ebenfalls wichtig ist die Berücksichtigung des epistemologischen Kontexts, in dem diese Tendenzen entstanden: Positivismus/Empirismus, Realismus/Strukturalismus und Idealismus/Hermeneutik. Unter Berücksichtigung dreier epistemologischer Ebenen – Essenzialisten/ontisch (wissenschaftlich), dekonstructiv (soziologisch) und ontologisch (emergent) – werden ausgewählte paradigmatische Tendenzen postuliert. Die erste Ebene ergibt Tendenzen wie die kartographische Kommunikation, die kartographische Semiotik, die analytische Kartographie und die kartographische Visualisierung, die alle zu der wissenschaftlich-empirischen Perspektive gehören. Zur zweiten Ebene gehört die kritische Kartographie, welche der kritischen Perspektive zugeordnet ist und die wissenschaftliche Standpunkte konfrontiert. Die so genannte post-repräsentative Kartographie entsteht aus der dritten Ebene im offenen Widerstand zur traditionellen repräsentativen Kartographie