Electronic Imaging & the Visual Arts. EVA 2013 Florence

Important Information Technology topics are presented: multimedia systems, data-bases, protection of data, access to the content. Particular reference is reserved to digital images (2D, 3D) regarding Cultural Institutions (Museums, Libraries, Palace – Monuments, Archaeological Sites). The main parts of the Conference Proceedings regard: Strategic Issues, EC Projects and Related Networks & Initiatives, International Forum on “Culture & Technology”, 2D – 3D Technologies & Applications, Virtual Galleries – Museums and Related Initiatives, Access to the Culture Information. Three Workshops are related to: International Cooperation, Innovation and Enterprise, Creative Industries and Cultural Tourism

Digital Collection Contexts: iConference 2014 Workshop Report

The "Digital Collection Contexts: Intellectual and Organizational Functions at Scale" workshop was held March 4, 2014, at the iConference in Berlin, Germany. The aim was to unite a community of faculty, students, system designers, and developers interested in digital collections, particularly in the context of cultural heritage aggregations. Organized by a team from the University of Illinois, the Europeana Foundation, and the University of Texas at Austin, the one-day workshop brought together an international group of experts representing diverse threads of current research and development to engage on the role of collections in the digital environment and to identify new directions for inquiry.This report compiles the position papers and includes synopses of the presentations by the authors and ensuing discussions.Ope

A Study in Digital Geospatial History

This study addresses the growing field of "Digital Humanities," specifically a subset of this field which makes use of digital geospatial technologies to represent historical events and places. The study explores literature surrounding the Digital Humanities in general, the involvement and collaboration of historians and archives in the Digital Humanities, and new possibilities afforded by the use of digital tools for engaging with the historical. Literature surrounding the use of Geographic Information Systems for history-focused digital projects is also reviewed. Three digital history projects with geospatial components are then examined as case studies: Digital Harlem, Going to the Show, and PhilaPlace. By examining similarities and differences between these projects, this study seeks to draw general inferences about current practices within this new approach to representing historical knowledge

"The emerging order of the poem": a critical study of John Montague's poetry, 1958-1999

This thesis explores the achievement of the contemporary Irish poet John Montague, concentrating on his major works published from the fifties to the nineties. Montague’s themes comprise not only Ireland and history, but also love, family, environment, the power and limits of poetry, the addressing of death and boyhood memories. Through close analysis of single poems and main sequences, the study attends to aesthetic, intertextual, psychological, historical and biographical issues. Its particular emphasis is on how Montague's language opens up ways of considering such issues. My readings try, therefore, to re-enact the subtle becoming and shifting that take place in individual poems and in his work as a whole. In order to illuminate the processes at work in Montague’s poetry, the chapters of the thesis are split into some that discuss themes and others that focus on volumes. Chapter one shows how Montague's concern with poetry surfaces in his work. It draws on poems from various stages in his career; the thesis also returns in subsequent chapters to Montague's addressing of poetry. The second chapter outlines Montague’s concern with exile and land in Forms of Exile and Poisoned Lands, and with family and love in A Chosen Light and Tides. Chapter three argues that Montague uses the journey as a structural device throughout The Rough Field. The fourth chapter concentrates on Montague's treatment of his family: the father in The Rough Field, A Slow Dance and The Dead Kingdom and the mother in A Slow Dance and The Dead Kingdom, which is read as the climax of Montague's return to family members. The fifth chapter analyses his main love-sequence. The Great Cloak, examines how his re-contextualisation’s of poems and use of pictorial illustration affect the reading of some love poems, and considers two love poems from Smashing the Piano. The sixth chapter demonstrates how Montague develops old and new themes in Mount Eagle and discusses how a net of crossings constitutes the collection's structural centre. The final chapter explores how in Time in Armagh Montague refines his transformation of autobiographical material into art. The analysis of Border Sick Call locates a concern with poetry itself in the late writing and brings out the sequence's shifting between the mysterious and familiar. "But in what country have we been?" is its final line, helping to define the general concern of the thesis, which is to explore the riches of the "country" mapped by Montague's poetry

Implicit Norm Creation in the U.S. Poetry Criticism in the 1990s

Käesoleva töö eesmärgiks on uurida implitsiitsete normide loomist USA luulekriitikas 1990-ndatel aastatel. Töö koosneb neljast peatükist. Sissejuhatuse ja teooria peatükis räägitakse kolmest peamisest kaanoni ja normide käsitlusest, mida töö kontekstis nimetatakse traditsiooniliseks, dekonstruktsionistlikuks ja sünkretistlikuks lähenemiseks niivõrd vaieldavale mõistele kui “kaanon”. Samuti selgitatakse implitsiitsete normide ehk kriitiku poolt artikli käigus avalduvate normatiivsete kriteeriumite mõistet. Metodoloogia ja andmete peatükis kirjeldatakse autori poolt töö tarbeks kohandatud Norman Fairclough meetodi Critical Language Study versiooni ja selle rakendamist 47 tekstist koosnevale korpusele, mis moodustati kolme USA luuleajakirja materjalide alusel. Diskursusanalüüsi ebatavaline rakendamine luulekriitika uurimiseks oli teadlik katse kontrollida, kas interdistsiplinaarse lähenemisega on võimalik saada tulemusi. Tulemuste peatükis selgitatakse detailselt analüüsiprotsessi ja võetakse kokku peamised tulemused, mis seonduvad implitsiitsete normidega. Analüüsi käigus tuvastati, et valimis kasutatakse positiivsete kategooriatena ennekõike intertekstuaalsust, võrdlust teiste luuletajatega, keele- ja luulevormide meisterlikku valdamist ning luuletaja staatust või senist karjääri. Negatiivsete kategooriatena mainiti peamiselt sisutühja vormimängu, poeedi piiratust, luule liigset pikkust või keele/teema ebapiisavat valdamist. Nii positiivne kui negatiivne kriitika keskendus sisu asemel ennekõike vormile. Lisaks tuvastati analüüsis, et kriitikud positsioneerisid sageli nii ennast kui kiidetud luuletajat väljapoole “peavoolu”. Teiseks tähelepanekuks oli vaidlusaluse mõiste “kaanon” vältimine kriitikas, ehkki arvustajad rõhutasid luuletaja püsivat väärtust, pikaajalist kõrget taset või ainulaadset staatust ameerika kultuuris, mida võib pidada just nimelt väljavalituse tunnustamiseks. Tulevaste uuringute tarbeks jäi silma, et kuigi valimist ei koorunud välja läbivaid jooni, kordusid mõned temaatilised kategooriad piisavalt sageli: intertekstuaalsus, võrdlus teiste luuletajatega, pastišš ja katkendlik stiil võiks viidata postmodernistliku lähenemise eelistamisele 90-ndate luules. Luuletaja eruditsiooni rõhutamine ja arvustuste keerukas keelekasutus võivad aga seada eeltingimusi ameerika luulediskursuses osalemisele, nõudes nii lugejalt kui luuletajalt kõrget kvalifikatsiooni ja hoides USA luulet suhteliselt marginaalsel kohal ühiskonnas

Metaphors of travel in the language of hymns: 1650–1800

This dissertation concentrates on the role of the conceptual metaphor LIFE IS A JOURNEY in English hymns of the 17th and 18th centuries, addressing the following research questions: 1) To what extent and in which contexts have elements of the lexical category of travel, applied metaphorically, been used in English spiritual language and literature in the period 1650–1800? 2) How has metaphorical extension affected the semantic development of this category? This dissertation discusses the use of travel metaphors as structural schemata for complete hymns, and analyzes the use of individual elements of travel-related terminology across a historical textual corpus. The analyses in this dissertation are undertaken in light of recent trends in semantics, and with the aim of contributing to the development of Cognitive Metaphor Theory as a tool for historical linguistic analysis and literary criticism

Institutional critique. A philosophical investigation of its conditions and possibilities

'Institutional critique' is a term that refers to a range of diverse artistic practices and discourses that emerged at the end of the 1960s and that continue in the present. In spite of their differences, they all share a concern with the institutional conditioning of artists and artworks. Various historicizations of institutional critique (Alberro and Stimson, 2009; Raunig and Ray, 2009; Welchman, 2006) concur that one could distinguish two 'phases': artists of the 1960s and 1970s allegedly investigated the possibilities of an escape towards an 'outside' of the art institution, whereas those of the 1990s analysed the ways in which the artistic subject reproduced the structures of the art institution. Since the beginning of the 2000s various artists and authors have revisited the histories and legacies of institutional critique. This growing interest was triggered by the perceived intensification of a process that began at the end of the 1960s; it refers to the recuperation and neutralization of artistic types of critique by what Boltanski and Chiapello (2005) have called the 'new spirit' of capitalism. In this context, the Austrian philosopher Gerald Raunig and the members of the European Institute for Progressive Cultural Policies have proposed the hypothesis that 'a new phase' of institutional critique was to emerge. However, this proposition was based less on empirical evidence, than on a 'political and theoretical necessity to be found in the logic of institutional critique' (Raunig, 2009, 3). This thesis is a response to this set of circumstances. By asking 'what are the conditions and possibilities of institutional critique?' it investigates the categories of institutional critique's logic. My main argument is that a 'phase change' of institutional critique could and should be understood through the apparatus of Derridean deconstruction. This implies a criticism of the idea that one needs to escape the art institution in order to respond to urgencies stemming from the social, economic, and political realms (Truth Is Concrete Platform, 2012). At the same time, I will also refute the idea that institutional critique is trapped in the art institution (Fraser, 2009a). Institutional critique works on the remainder and rest that necessarily escapes the instituting will and intention of defining and describing in an exhaustive manner the whatness of what (art) is (Boltanski, 2011). I show that between critique and the art institution there is an irreducible relation of symbiosis and cohabitation, and that the deconstructive logic of institutional critique allows it to be both partner and adversary, at the same time, of the art institution