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1. A New Companion to Digital Humanities

   This highly-anticipated volume has been extensively revised to reflect changes in technology, digital humanities methods and practices, and institutional culture surrounding the valuation and publication of digital scholarship. 

   • A fully revised edition of a celebrated reference work, offering the most comprehensive and up-to-date collection of research currently available in this rapidly evolving discipline 
   • Includes new articles addressing topical and provocative issues and ideas such as retro computing, desktop fabrication, gender dynamics, and globalization 
   • Brings together a global team of authors who are pioneers of innovative research in the digital humanities 
   • Accessibly structured into five sections exploring infrastructures, creation, analysis, dissemination, and the future of digital humanities
   • Surveys the past, present, and future of the field, offering essential research for anyone interested in better understanding the theory, methods, and application of the digital humanities

     (Source: Publisher's website) 

    

   Alvaro Seica - 01.06.2016 - 11:35

2. Speed Readers and Predictive text: Encounters with New Media Through the Glitch Poetics of Caroline Bergvall and Erica Scourti

   This paper performs a reading of the ‘glitch poetics’ of Caroline Bergvall and Erica Scourti pivoting between analyses of their works via two specific contemporary technologies. As well as reflecting on the artworks themselves, the paper aims to show how the various of forms of error they employ, allow for new perspectives on conditions for contemporary textuality. Glitch poetics is a framework for reading and writing, it refers to a set of tactics in which errors are captured, mimicked or induced to produce moments of “critical sensory encounter” with the technics of language. This perspective on linguistic error is influenced by the ways that glitches and malfunctions have been valorised in media arts’ “glitch art” movement – particularly the way these practices reveal the formally withdrawn aspects of ‘black-boxed’ devices and software. But the glitch is a highly subjective categorisation, and new media – by their very newness – can also be said to constitute ruptures in what was formally inaccessible. Our encounter with new media, in this sense, is often indistinguishable from the unsettling encounter we associate with glitch.

   (Source: Abstract ICDMT 2016)

   Hannah Ackermans - 08.12.2016 - 14:55