A variety of activists, community organizers, academics and data practitioners came together on Cooper Square for a day-long symposium called “Humanizing Data: Data, Humanities, and the City.”
I strive to uncover invisible, suppressed stories that lie in the geopolitical shadows of colonialism and migration. As the 2016-17 Artist-in-Residence at the Asian/Pacific/American Institute at NYU, I will research the social history of plants via spice routes and botanical expeditions to create a multiplatform project, Rhunhattan.
Central to the humanities is the theorization and practice of modes of attention (to cultural artifacts, and to other aspects of the world). Indeed, many of us devote much time to finding ways to redirect our students’ attention away from the distractions of their electronic gadgets. But what if we consider how their distributed focus might model new acts of attention and new ways of reading: how might we rethink pedagogy and/or our own research methods in an era of hyper-connectivity?
Urban planning as a profession shifted radically after World War II. A result of the military development of systems engineering and optimization processes for radar and missile control, planners attempted to apply complex systems models and new decision-making algorithms to create optimized solutions to dynamic problems.
During a keynote address given in 1990, prominent educator and scientist Seymour Papert ruminated on disciplinary innovation (13). Imagining both a nineteenth-century surgeon and teacher with the ability to time travel, he noted that the surgeon would be completely out of sorts in the world of modern medicine, though the teacher would find the contemporary scene more familiar than not.
Cinema Studies has always been attuned to technological developments and their impact on machine-made art. Even before the first cinematic experiments in interactive storytelling and database narratives in the 1990s (including USC’s The Labyrinth Project, led by Marsha Kinder, and UCLA experiments in cinema forensics, led by Stephen Mamber), the pre-digital work of visionary filmmakers such as Dziga Vertov, Sergei Eisenstein and Luis Buñuel prefigures the database logic that is exemplary of the ways in which digital culture now organizes and interacts with data (Manovich 2001; Kinder).
We are pleased to announce an NYU Digital Humanities Project Showcase to be held on Friday April 29th at NYU’s Center for the Humanities
If the purpose of these web pages is to connect, foster and promote work in the Digital Humanities, then the intent of this blog is as much to provoke, disrupt, and distract.