CFP: Mapping Place: GIS and the Spatial Humanities

Call for lightning talks and poster presentations: Mapping Place: GIS and the Spatial Humanities Friday-Saturday, February 25-26, 2011
Interdisciplinary Humanities Center, UC Santa Barbara

Mapping Place will examine the intersection between Geographic Information Systems (GIS) and the spatial turn in the humanities. Participants have been asked to describe their mapping projects in relation to humanities methodologies, research objects and/or concerns. In particular, the conference will examine the contributions that GIS make to our evolving ideas of place. We welcome proposals for 3-5 minute lightning talks and poster presentations. Please send a 500 word abstract and brief CV to by January 14, 2011.

For further information about mapping place, visit

UCLA job opening – Librarian for Digital Research and Scholarship

The UCLA Library has initiated recruitment for the position of Librarian for Digital Research and Scholarship in the Collections, Research & Instructional Services Department, and is actively seeking nominations and applications. The first consideration date for this position is December 1, 2010. More info is available here.

USC Digital Studies Symposium fall line-up

Fall 2010
All presentations will be held in the Fanny Brice Theatre, SCA 110, unless otherwise noted. For more information about location, please click here.

8/31, 7:00 pm James Frost
geometric informatics: capturing visual information

9/7, 7:00 pm Sue Huang
experiential and mobile art

9/14, 7:00 pm Peter Brinson | Kurosh ValaNejad
intersections of history and interactive games

9/21, 7:00 pm Sean Donahue
media design and design research

9/28, 7:00 pm Pia Tikka | Mauri Kaipainen
database cinema, neuroimaging and embodiment

10/12, 7:00 pm Peter Samis
digital engagement : empowering public education

10/19, 7:00 pm Craig Dietrich | Darren Butler | Ricky Smith | Ronan Hallowell | Jake de Grazia
The Network of Ecology: Panel Discussion

11/2, 7:00 pm Dan Goods
visual strategy : communicating science through art

11/9, 7:00 pm Natalie Bookchin
new notions of documentary practice and research

11/16, 7:00 pm Anne Bray
urban screens: creating and transforming mobile environments

11/23, 7:00 pm Rachel Mayeri
intersections of art, science, and society

11/30, 7:00 pm Doreen Nelson
design-based learning: empowering student creation

For more information on the Digital Studies Symposium and the Institute for Multimedia Literacy at USC, click here.

UCLA Digital Humanities Reading Group, 2010-2011 Line-up

Fall Quarter:
November 9: Marie Saldana (UCLA Department of Architecture and Urban Design), Using CityEngine for architectural analysis

Winter Quarter:
Jan 11: Willeke Wendrich and Jacco Dieleman (UCLA Department of Near Eastern Languages and Cultures), on the UCLA Encyclopedia of Egyptology
Feb 8: Chris Johanson (UCLA Department of Classics) and Seraphina Goldfarb-Tarrant, “A Walk with the Dead”

Spring Quarter:
May 10: Two projects funded by Google Digital Humanities Awards:
Timothy R. Tangherlini (UCLA Scandanavian Section) and Peter Leonard (University of Washington Department of Scandanavian Studies) “Northern Insights: Tools & Techniques for Automated Literary Analysis, Based on the Scandinavian Corpus in Google Books.”
Todd Presner (UCLA Department of Germanic Languages and Comparative Literature), Chris Johanson, and David Shepard (UCLA Department of English), “HyperCities Geoscribe: A Tool for Geo-temporal Reading”

CFP: Reimagining the Archive

Reimagining the Archive

A Three-Day Symposium
November 12-14, 2010
James Bridges Theater
School of Theater, Film & Television
University of California, Los Angeles

Organized by:
UCLA Film & Television Archive
UCLA M.A. Program in Moving Image Archive Studies (MIAS)
Institut National de l’Audiovisuel (INA), Paris
INA’Sup / European Centre for Research, Training and Education on Digital Media
With additional support from:
National Digital Information Infrastructure Preservation Program (NDIIPP),
U.S. Library of Congress
Department of Information Studies /
Graduate School of Education & Information Studies, UCLA Cinema & Media Studies Faculty, Department of Film, Television & Digital Media /
School of Theater, Film & Television, UCLA

Digitality has radically and dynamically transformed the role of traditional archives and museums as repositories for revered, to-be-safeguarded cultural objects. As de facto archives created by users and industry organizations proliferate online; as the social engagement and complexity of Web 2.0 culture expand; and as expansive copyright regimes entail ever more intrusive forms of monitoring and enforcement, archives’ traditional missions of custody and controlled access are being challenged by the new habits and expectations of scholars, researchers, and the general public alike.
The unquestioned trust and task of defining the authenticity, provenance, and movement of archival objects and collections – once the sole province and prerogative of legacy institutions and expert curators – has become more open, participatory, and fluid. In the face of “remix culture,” “archive fever,” and emergent “long tail” phenomena, institutions and rights holders are struggling to come to terms with these new, shared missions and responsibilities. The way ahead for reinventing cultural heritage institutions is uncharted, but inaction is not an altermative. They must adapt or risk irrelevance.
Reimagining the Archive will explore the changing role of archives and cultural heritage institutions, and the new opportunities presented by the remapping and remixing of traditional, cherished, and seemingly immutable institutional models and practices. How might archives build new relationships and professional paradigms, and perhaps ultimately a new philosophy of archives and archiving that embrace and enrich the contemporary “many to many” landscape of media culture?
The Symposium aims to bring together archival and cultural scholars, professionals from private and public cultural organizations, mainstream and independent creative artists who make digital media and artworks, and specialists from major information technology and media firms engaged in all aspects of digital asset management, conservation, and preservation. The Symposium will provide a forum for wide-ranging discussion and debate on all aspects of archival practice, technology, and research.
Symposium organizers invite the submission of competitive presentations in a range of formats (e.g., papers, posters, interactive demonstrations, media projects, artworks) related to any of the following conference themes, broadly conceived:
• Transition
New roles for archives: circulation, annotation, mediation and evaluation
Shifts in institutional focus from archives of objects to archives of events — from archive as entity/repository to archive as activity and performance
The proliferation of de facto archives
From “audiences” to “users”: from reception to engagement and social production
The documentation, annotation and evaluation of emergent and innovative objects, forms, genres, e.g., games, net apps, social media, “worlds”

• Navigation
The changing legal, regulatory, ethical, and policy landscape of digital cultural heritage, nationally and internationally; threats fair use and the public domain
Digital creation and clearance culture: remix and policing
Intellectual freedom v. digital rights management (DRM)
Peer-to-peer architectures and collections
The cloud and the archive
Internet, archives, or both? Does the Internet need to be archived? Is it a container of content, content in itself, or both? Can it be archived in the absence of designated archival responsibility or action?

• Curation
The future of archives as knowledge references and authorities
Digital challenges to core archival principles
Assigning value, selection, collecting
The significance of independent / amateur media production
Persistence of memory, ecstasy of forgetting: issues of exclusion, selection, sorting, and choice; what to keep and why? Where and when is memory, remembering, forgetting?
Archives as memory and knowledge. Digitization and new possibilities for scholarly, analytical and critical reading. Do digital media convey knowledge in a new way, and if so, what kinds of knowledge? What are the implications for education, cultural transmission, and pedagogy?

Submission Guidelines
All proposals must include the following information:
• Name, title and affiliation of each author (please indicate student authors)
• An extended abstract (500 words) describing the presentation, including illustrations or diagrams for installation as needed
• Requirements for technical support (e.g., AV, space, electrical) required for presentation or installation, if needed
• First author’s name and page numbers on all proposal pages
Student submissions are strongly encouraged.
Proposals should be submitted as attachments to email.
Please send proposals and other inquiries to:

Important Deadlines
• Proposals will be considered as they are received
• Preliminary deadline for receipt of proposals: August 1, 2010
• Acceptance notification by September 1, 2010

Jaimie Baron and Dawn Fratini

Call for submissions: 2010-2011 UCLA Digital Humanities Reading Group

If you are interested in presenting your work to the Digital Humanities Reading Group next year, please let me (David Shepard) know. We’re looking for any work using or investigating digital technology, in a relatively polished state, such as a dissertation or book chapter, digital project in alpha stage, or the like. If you have any questions, please let me know.

Tracy Fullerton, “Experimental Game Design: Process, Provocation and Play,” June 3, UCI

Experimental Game Design: Process, Provocation, and Play
Tracy Fullerton
6011 Donald Bren Hall
U.C. Irvine
Thursday, June 3, 2010

In the shadow of the commercial game entertainment industry, experimental
and serious game makers are exploring the nature of games, play and
learning in projects that have the potential to change the way that we
view and value participatory media. There are many different approaches
to experimental game design – some designers function best at frantic,
free-for-all “game jams,” others work on the edges of the commercial game
industry carving out a viable market for small indie games, still others
are working within the realm of artists grants or academia. There are
equally as many different ways in which we can “experiment” with games –
with their form, their feel, their function, their style, or their overall
place in our lives and experiences.

This presentation describes the work of a group of experimental game
designers in the USC Game Innovation Lab, led by Director Tracy Fullerton,
who spend their days asking risky, irreverent questions about what games
are and what they might become. This team looks at a range of unexpected
sources for inspiration, and does their best to evolve creative practices
that can allow elegant, meaningful solutions to come from their
impertinent design questions. Examples will be presented recent projects
that have come out of the Game Innovation Lab including The Night Journey,
an experimental game being created with media artist Bill Viola, and
Walden, a game, which is about the experience of author Henry David
Thoreau at Walden Pond.

Co-founder and director of the EA Game Innovation Lab, Tracy Fullerton is
a game designer, entrepreneur, and author of Game Design Workshop, a
design textbook in use at game programs worldwide. Among her courses are
Introduction to Interactive Entertainment, Intermediate Game Design and
Development and Advanced Game Project.

Recent credits include game designer for The Night Journey, a unique
game/art project with artist Bill Viola; game designer for Liberty Under
the Law, a collaboration with Activision and KCET funded by the
Corporation for Public Broadcasting; and faculty advisor for the
award-winning student games Cloud and flOw. Prior to joining USC, she was
president and founder of the interactive television game developer,
Spiderdance, Inc. Spiderdance’s games included NBC’s Weakest Link, MTV’s
webRIOT, The WB’s No Boundaries, History Channel’s History IQ, Sony Game
Show Network’s Inquizition and TBS’s Cyber Bond.

Before starting Spiderdance, Fullerton was a founding member of the New
York design firm R/GA Interactive, creative director at the interactive
film studio Interfilm and a designer at Robert Abel’s early interactive
company Synapse. Notable projects include Sony’s Multiplayer Jeopardy! and
Multiplayer Wheel of Fortune and MSN’s NetWits, the first multiplayer
casual game. Her work has received numerous industry honors including an
Emmy nomination for interactive television and Time Magazine’s “Best of
the Web”

RSVP required:

UCSB Literature.Culture.Media Center Third Annual Research Slam

The Literature.Culture.Media Center proudly presents the schedule for our Third Annual Research Slam, taking place on Friday, May 21. We are fortunate to have a group that spans disciplines from Computer Science to Women’s Studies to History and an historical range from the early modern to the present day. Please join us for a hyperactive afternoon of interdisciplinarity and temporal disruption to celebrate the myriad ways that humanities research can meet with technological disciplines.

UCSB’s Literature.Culture.Media Center is devoted to investigating and highlighting innovative ways of combining traditional humanities research with concepts and methodologies related to information media and technology. The goal of the Research Slam is to combine the best features of traditional academic humanities venues like lectures and roundtables and combine them with the free-flowing, hyperattentive and participatory focus of the poster session and poetry slam. The format includes a series of parallel presentations, followed by a plenary discussion at the end of the afternoon. Glow necklaces will be provided!

3rd Annual Research Slam

Opening Remarks: 12:50 (South Hall 2635)

Session 1: 1:00 pm – 2:00 pm (SH 2635)

Salman Bakht (Media Arts and Technology) – Nodes and Passages
Anne Cong-Huyen (English) – The Transnational Geo-Social Configurations of Catfish and Mandala
Zach Horton (English)/Lindsay Thomas (English) – Academic Media Production as Generative Circuit: The Collaborative Media Commons
Jana Remy (UCI History) – Scholars and the Social Web
Amanda Phillips (English) – The Potentials of Network Mapping for Hypertext Studies

Session 2: 2:10 – 3:10 (Early Modern Center – SH 2510)

Roberta Gilman (Linguistics, History) – In Place, Out of Place: “Bordertown” Hip Hop
Zach Horton (English)/Alison Reed (English) – Language as Pure Affect: Emoticon Shakespeare
Penny Richards (UCLA Center for the Study of Women) – Letters from Sanquhar/The Mordecai Female Academy: Transcribing Women’s History Through Blogging
Liberty Stanavage (English) – Speaking Revenge: Analyzing Revengers’ Rhetoric Through Language Visualization

Session 3: 3:20 – 4:20 (Literature.Culture.Media Center – SH 2509)

Harrison Desantis (English)/Jonathan Svilar (English, Philosophy) – Monster Mashup
Laura Devendorf (Computer Science) – Association Constellations
Pehr Hovey (Media Arts and Technology) – Tweet Delete: Visualizing Erasure Online
Amanda Phillips (English) – On the Download: The Sexual Economies of Second Life
Dana Solomon (English) – Twitter Urban Sensorium Project

Closing Remarks/Plenary Session 4:30 – 5:30 (South Hall 2635)

Reception to follow.

Conference at USC on Critical Code Studies (announcement and call for submissions)

Announcing a 1-Day conference on Critical Code Studies at the University of Southern California

Critical Code Studies @ USC
July 23, 2010
Hosted by The Center for Transformative Scholarship & The Institute for Multimedia Literacy
Keynote: Wendy Hui Kyong Chun, Brown University

As digital humanitarians continue to turn their attention to the software and hardware that shape culture, the interpretation of source code offers a rich set of symbols and processes for exploration.

Critical Code Studies names the practice of explicating the extra-functional significance of source code. Rather than one specific approach or theories, CCS names a growing set of methodologies that help unpack the symbols that make up software. While still in its initial state, this nascent area of study has been growing rapidly over the course of 2010.

Following the massively successful Critical Code Study Working Group, we will be gathering at USC for a one-day conference to present readings of code. We are currently exploring the innovative publication of conference proceedings through Vectors and others partnerships.

Wendy Hui Kyong Chun, author of Control and Freedom: Power and Paranoia in the Age of Fiber Optics, will present a keynote address. During the Working Group, she presented a powerful chapter from her monograph, Programmed Visions: Software, DNA, Race (forthcoming MIT, 2010).

Please submit a 250-word abstract to markcmarino at gmail dot com by June 1, 2010 (Subject: “CCS @ USC 2010”). Presenters will be notified by June 15.

Visit Critical Code Studies Working Group at: