This book introduces programming to readers with a background in the arts and humanities; there are no prerequisites, and no knowledge of computation is assumed. In it, Nick Montfort reveals programming to be not merely a technical exercise within given constraints but a tool for sketching, brainstorming, and inquiring about important topics. He emphasizes programming’s exploratory potential—its facility to create new kinds of artworks and to probe data for new ideas.
The image of the scholar as a solitary thinker dates back at least to Descartes’ Discourse on Method. But scholarly practices in the humanities are changing as older forms of communal inquiry are combined with modern research methods enabled by the Internet, accessible computing, data availability, and new media. Hermeneutica introduces text analysis using computer-assisted interpretive practices.
Digital_Humanities is a compact, game-changing report on the state of contemporary knowledge production. Answering the question “What is digital humanities?,” it provides an in-depth examination of an emerging field. This collaboratively authored and visually compelling volume explores methodologies and techniques unfamiliar to traditional modes of humanistic inquiry—including geospatial analysis, data mining, corpus linguistics, visualization, and simulation—to show their relevance for contemporary culture.
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.
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.
This book takes a single line of code—the extremely concise BASIC program for the Commodore 64 inscribed in the title—and uses it as a lens through which to consider the phenomenon of creative computing and the way computer programs exist in culture. The authors of this collaboratively written book treat code not as merely functional but as a text—in the case of 10 PRINT, a text that appeared in many different printed sources—that yields a story about its making, its purpose, its assumptions, and more.
In this book, Astrid Ensslin examines literary videogames—hybrid digital artifacts that have elements of both games and literature, combining the ludic and the literary. These works can be considered verbal art in the broadest sense (in that language plays a significant part in their aesthetic appeal); they draw on game mechanics; and they are digital-born, dependent on a digital medium (unlike, for example, conventional books read on e-readers).
After little more than half a century since its initial development, computer code is extensively and intimately woven into the fabric of our everyday lives. From the digital alarm clock that wakes us to the air traffic control system that guides our plane in for a landing, software is shaping our world: it creates new ways of undertaking tasks, speeds up and automates existing practices, transforms social and economic relations, and offers new forms of cultural activity, personal empowerment, and modes of play.
In Scripting Reading Motions, Manuel Portela explores the expressive use of book forms and programmable media in experimental works of both print and electronic literature and finds a self-conscious play with the dynamics of reading and writing. Portela examines a series of print and digital works by Johanna Drucker, Mark Z. Danielewski, Rui Torres, Jim Andrews, and others, for the insights they yield about the semiotic and interpretive actions through which readers produce meaning when interacting with codes.
Beginning in the late eighteenth century, huge circular panoramas presented their audiences with resplendent representations that ranged from historic battles to exotic locations. Such panoramas were immersive but static. There were other panoramas that moved--hundreds, and probably thousands of them. Their history has been largely forgotten. In Illusions in Motion, Erkki Huhtamo excavates this neglected early manifestation of media culture in the making.