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New Media and Digital Humanities

New Media and Digital Humanities

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How a Small Band of Innovators Will Make College Accessible and Affordable

Colleges and universities have become increasingly costly, and, except for a handful of highly selective, elite institutions, unresponsive to twenty-first-century needs. But for the past few years, technology-fueled innovation has begun to transform higher education, introducing new ways to disseminate knowledge and better ways to learn—all at lower cost. In this impassioned account, Richard DeMillo tells the behind-the-scenes story of these pioneering efforts and offers a roadmap for transforming higher education.

Art after New Media

As curator Steve Dietz has observed, new media art is like contemporary art—but different. New media art involves interactivity, networks, and computation and is often about process rather than objects. New media artworks are difficult to classify according to the traditional art museum categories determined by medium, geography, and chronology and present the curator with novel challenges involving interpretation, exhibition, and dissemination. This book views these challenges as opportunities to rethink curatorial practice.

Since the 1960s, artworks that involve the participation of the spectator have received extensive scholarly attention. Yet interactive artworks using digital media still present a challenge for academic art history. In this book, Katja Kwastek argues that the particular aesthetic experience enabled by these new media works can open up new perspectives for our understanding of art and media alike.

Attention in the Age of Embodied Information

The world is filling with ever more kinds of media, in ever more contexts and formats. Glowing rectangles have become part of the scene; screens, large and small, appear everywhere. Physical locations are increasingly tagged and digitally augmented. Amid this flood, your attention practices matter more than ever. You might not be able to tune this world out. So it is worth remembering that underneath all these augmentations and data flows, fixed forms persist, and that to notice them can improve other sensibilities.

Bell Labs, the S-C 4020, and the Origins of Computer Art

In 1959, the electronics manufacturer Stromberg-Carlson produced the S-C 4020, a device that allowed mainframe computers to present and preserve images. In the mainframe era, the output of text and image was quite literally peripheral; the S-C 4020—a strange and elaborate apparatus, with a cathode ray screen, a tape deck, a buffer unit, a film camera, and a photo-paper camera—produced most of the computer graphics of the late 1950s and early 1960s. At Bell Laboratories in Murray Hill, New Jersey, the S-C 4020 became a crucial part of ongoing encounters among art, science, and technology.

Between Humanities and the Digital offers an expansive vision of how the humanities engage with digital and information technology, providing a range of perspectives on a quickly evolving, contested, and exciting field. It documents the multiplicity of ways that humanities scholars have turned increasingly to digital and information technology as both a scholarly tool and a cultural object in need of analysis.

Digital Transformations of the Sciences and Humanities

In Knowledge Machines, Eric Meyer and Ralph Schroeder argue that digital technologies have fundamentally changed research practices in the sciences, social sciences, and humanities. Meyer and Schroeder show that digital tools and data, used collectively and in distributed mode—which they term e-research—have transformed not just the consumption of knowledge but also the production of knowledge. Digital technologies for research are reshaping how knowledge advances in disciplines that range from physics to literary analysis.

Bio Art and Beyond

Bio art is a new art form that has emerged from the cultural impact and increasing accessibility of contemporary biotechnology. Signs of Life is the first book to focus exclusively on art that uses biotechnology as its medium, defining and discussing the theoretical and historical implications of bio art and offering examples of work by prominent artists.Bio art manipulates the processes of life; in its most radical form, it invents or transforms living organisms. It is not representational; bio art is in vivo.

Today educational activities take place not only in school but also in after-school programs, community centers, museums, and online communities and forums. The success and expansion of these out-of-school initiatives depends on our ability to document and assess what works and what doesn’t in informal learning, but learning outcomes in these settings are often unpredictable. Goals are open-ended; participation is voluntary; and relationships, means, and ends are complex.

Our encounters with websites, avatars, videos, mobile apps, discussion forums, GIFs, and nonhuman intelligent agents allow us to experience sensations of connectivity, interest, desire, and attachment—as well as detachment, boredom, fear, and shame. Some affective online encounters may arouse complex, contradictory feelings that resist dualistic distinctions. In this book, leading scholars examine the fluctuating and altering dynamics of affect that give shape to online connections and disconnections.

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