Battle for the internet

The Guardian has a great series on the Battle for the internet. This includes a number of interventions by Tim Berners-Lee including Tim Berners-Lee urges government to stop the snooping bill and Tim Berners-Lee: demand your data from Google and Facebook. There is an article, Web freedom faces greatest threat ever, warns Google’s Sergey Brin, about the dangers of walled gardens like FaceBook and Apple’s App Store. One might say the same about Google.

Digital Humanities in Italy: Tito Orlandi

I just got a complementary copy of La macchina nel tempo: Studi dei informatica umanistica in onore di Tito Orlandi (The Time Machine: Studies in humanities computing in honour of Tito Orlandi) which I blogged about before. This got me wondering how much of Prof. Tito Orlandi’s writings are available online and what his legacy is. It turns out that Orlandi has put together a list of his publications with links to online versions where possible. There are even some in English like the excellent Is Humanities Computing a Discipline?

But how might one summarize Orlandi’s contribution? In his prefatory “Controcanto,” one of the editors of The Time Machine, Domenico Fiormonte, writes about first encountering Orlandi in a bunker where Fiormonte then spent a summer. During that summer he learned 3 things:

  1. Everything that in the humanities is taken for granted (starting with the concept of text) has to be formalized in informatics.
  2. The passage from analogue to digital is process of profound redefinition for the “cultural object”.
  3. Thus, every act of encoding (or digital representation) presupposes (or forces us into) a hermeneutical act. (p. VI, my translation)

These three lessons seem about as good a starting place for the digital humanities as any. They also suggest some of what Tito Orlandi was interested in, namely formalization, redefinition, and interpretation. But surveying Orlandi’s writings, using the list of digital humanities publications from his personal site, you can see other themes. He believed that we needed to develop the theoretical foundations of humanities computing and that we should do that from the mathematical model of the computer, not how it works practically. (See Informatica, Formalizzazione e Discipline Umanistiche (in Italian.)) He believed that would help us understand how one can model culture on a computer. He discussed the importance of modelling before Willard McCarty did in Humanities Computing – something that should be recognized out of fairness to the pioneering work of Italian digital humanists since Busa.

Reading Orlandi and about Orlandi I also sense an impatience with those that follow him. This is what he writes in an unpublished talk given in London in 2000. He is talking about discussions by other scholars on the digital humanities.

I feel a sense of inadequateness, even disorder, in the overall change as presented by the same scholars. In fact, when they proceed to propose a definition of humanities computing, they tend to consider the products of computation, be they hardware (the Net) or software (applications like concordance programs or statistical packages), rather than the first principles of computing.

Orlandi wanted to ground the digital humanities in mathematics – a language common to informatics, science and potentially the digital humanities. That the digital humanities wandered off into hypertext, new media and so on seems to have annoyed him. He was also irritated that ideas he had been teaching and writing about for years were being ignored in the English-speaking world. Take a look at The Scholarly Environment of Humanities Computing: A Reaction to Willard McCarty’s talk on The computational transformation of the humanities. This web page discusses an outburst of his at a paper by McCarty with what Orlandi felt were ideas he had been discussing for a decade at least. It is instructive how he sets aside his pride to get at the issues that matter. He might be irritated, but he also wants to use this to reflect on more important issues.

Perilli and Fiormonte have done a great job bringing together a festschrift in honour of Orlandi. The Time Machine isn’t really about Orlandi’s thought so much as about his legacy in Italy. What we need now is for his foundational works to be translated and a retrospective interpretation of his contributions.

Google Art Project

An article in the New York Times led me to the Google Art Project. This project doesn’t feel like a Google project, perhaps because it uses an off-black background and the interface is complex. The project brings together art work and virtual tours of many of the worlds important museums (but not all.0 You can browse by collection, artist (by first name), artworks, and user galleries. You can change the language of the interface (and it seems to change even when you don’t want it to in certain circumstances.) When viewing a gallery you can get a wall of paintings or a street view virtual tour of the gallery. Above you see the “Museum View” of a room in the Uffizi with a barrier around a Filippino Lippi that is being treated for a woodworm infestation! In the Museum View you can pan around and move up to paintings much as you would in Google Maps in Street View. On the left is a floor plan that you can also use.
This site reminds me of what was one of the best multimedia CD-ROMs ever, the Musee d’Orsay: Virtual Visit. This used QuickTime VR to provide a virtual tour. It had the sliding walls of art. It also had special guides and some nice comparison tools that let you get a sense of the size of a work of art. The Google Art Project feels loosely copied from this right down to the colour scheme. It will be interesting to see if the Google Art Project subsumes individual museum sites or consortia like the Art Museum Image Consortium (Amico.)

I find it interesting how Google is developing specialized interfaces for more and more domains. The other day I was Googling for movies in Edmonton and found myself on a movies – Google Search page that arranges information conveniently. The standard search interface is adapting.

Collaborative Research in the Digital Humanities by Marilyn Deegan and Willard McCarty

A new digital humanities collection focusing on collaboration, Collaborative Research in the Digital Humanities, has been published by Ashgate. The collection is edited by Marilyn Deegan and Willard McCarty and was developed in honour of Harold Short who retired a few years ago from King’s College London where he set up the Humanities Computing Centre (now called the Department of Digital Humanities).

I contributed a chapter on crowdsourcing entitled, “Crowdsourcing the humanities: social research and collaboration”.

How Star Trek artists imagined the iPad… 23 years ago

How Star Trek artists imagined the iPad… 23 years ago is an article in Ars Technica about the design of the iconic Star Trek interfaces from those of PADDs (Personal Access Display Devices) to the touch screens used on the bridge. It turns out that one of the reasons for the flat touch screen interfaces was that they were cheap (compared to panels with lots of switches as contemporary spacecraft had.)

What could be simpler to make than a flat surface with no knobs, buttons, switches, or other details? Okuda designed a user interface dominated large type and sweeping, curved rectangles. The style was first employed in Star Trek IV: The Voyage Home for the Enterprise-A, and came to be referred to as “okudagrams.” The graphics could be created on transparent colored sheets very cheaply, though as ST:TNG progressed, control panels increasingly used video panels or added post-production animations.

The Art of Video Games at the Smithsonian

Arts Technica has a photo essay on the Smithsonian American Art Museum show The Art of Video Games. The Smithsonian site for the exhibit is here.

From the photographs it looks like they didn’t just do the usual think of showing screen shots and concept art as art, but they have sequences of screens titled “Avances in Mechanics” that show, for example, how jumping has changed in games over time. The exhibit also seems to have a historical bent:

The Art of Video Games is one of the first exhibitions to explore the forty-year evolution of video games as an artistic medium, with a focus on striking visual effects and the creative use of new technologies. It features some of the most influential artists and designers during five eras of game technology, from early pioneers to contemporary designers. The exhibition focuses on the interplay of graphics, technology and storytelling through some of the best games for twenty gaming systems ranging from the Atari VCS to the PlayStation 3. (from the exhibit site)

After the Day of DH 2012

Well the Day of Digital Humanities 2012 seems to have gone well. You can see all the activity here. Participants are still catching up with their posts and commenting on each other’s posts. This year we had over 300 participants (332 at last count) though many may not have filled in their blog or registered more than once.

A common concern is that the Day of DH could degenerate into navel gazing. Dan Cohen described the uncharitable possibility succinctly in his post What Is Day of DH? Charitable and Uncharitable Views:

24 hours of navel-gazing and obsessive self-recording by members of a relatively young, slightly insecure field that already spends too much time defining itself or arguing over the definition of digital humanities, even though they basically agree.

I’m obviously the last person anyone should ask about the Day of DH project as I’m part of the team that thought it up and runs it. I do, however, think Dan has put his finger on something important, and that is the youth of the field and the dangers/gifts of youth. Despite decades of humanities computing activities (I’ve been going to conferences since 1989), the field is just becoming a discipline and in this transformation we are likely to exhibit some of the enthusiasms of youth.

But first, Why do I say that we are young? While I believe we have been an interdisciplinary field since the journals in the 1960s and the conferences of the 1970s, I don’t think we became a discipline until we developed the graduate courses, projects, apprenticeships, and programs capable of reproducing practices. When did that happen? I could point to the Kings College London MA in Digital Humanities running in the 1990s, the courses, programs and department I helped develop at McMaster in the 1990s, or the University of Alberta’s MA in Humanities Computing developed by Susan Hockey before she left for UCL. Perhaps it was when the question of disciplinarity itself was debated over a year at the Institute for Advanced Technology in the Humanities at the University of Virginia in a symposium entitled, Is Humanities Computing an Academic Discipline? Sometimes asking the question is its own answer.

Or it could be the extraordinary experiment taking place right now in Ireland with their Structured PhD in a Digital Arts and Humanities. While the rest of us are still thinking and consulting about PhD programs, a network of Irish universities accepted 46 PhD students last year. While I knew about the proposal, only being here for a month and meeting the DAH students have I come to realize what an extraordinary venture this is. Very little seemed to be happening in Ireland before the Digital Humanities Observatory started in 2008, though that may just my impression. Now, four years later, you have a coordinated network of seven universities collaboratively running a PhD program with support from the government and the involvement of the DHO. Of course there are all sorts of wrinkles they have to work out (like the fact that the government funded the students, but not new faculty lines), but there is no denying that this PhD has changed the landscape. 46 students (along with the M. Phil students also admitted at some of the universities) are negotiating what the field is and with relatively little hard supervision. There is no canon, few experienced faculty, and no tradition as to what a PhD in Digital Arts and Humanities should be; so these students and their supervisors are working it out. That is youth! We have much to learn from what they do.

And such negotiation by new digital humanists is what I noticed reading the Day of DH 2012 feed. A cohort of new scholars comfortable with new media are using the Day of DH to have an unconference about what it is to do the digital humanities. I don’t think it is navel gazing; nor do I think it is a sign of insecurity. If anything there is a enthusiasm of being part of something. It is us older folk who are insecure about these new types of events that, frankly, we can’t control. We are also tired of defining the field, but that doesn’t mean that we should deny the pleasure of redefining it to others. The Day of Digital Humanities, like the discipline, is what youthful new scholars will make of it.

So then, what are some of the dangers and gifts of this disciplinary youth?