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ISSN 1938-4122
Announcements
DHQ: Digital Humanities Quarterly
2020 14.4
Digital Humanities & Colonial Latin American Studies
Editors: Hannah Alpert-Abrams and Clayton McCarl
Front Matter
Introduction: Digital Humanities & Colonial
Latin American Studies
Hannah Alpert-Abrams, Independent Scholar; Clayton McCarl, University of North Florida
Articles
Modeling Amerindian Sea Travel in the Early
Colonial Caribbean
Emma Slayton, Carnegie Mellon University
Abstract
[en]
It is difficult to discuss pre- and early post-European contact
life in the Caribbean. In part, this is due to the nature of European record
keeping, which often failed to fully capture Amerindian practices.
Archaeologists have long attempted to resolve these difficulties through the
analysis of early colonial Caribbean materials and objects that reflect both
Spanish and Amerindian influence. Through the use of computer modeling it is
possible to approach this issue from a new perspective, that of discerning
mainland–island or inter–island connections across the pre–Columbian and
historic divide. Modeling hypothetical canoe routes based on the location of
inhabited sites (between 1000 AD – 1550 AD) across Trinidad and the mainland
coast of South America towards the Windward Islands can help to explore possible
avenues of travel that were changed or interrupted during the early colonial
period. This paper will approach this debate by looking for the location of
early colonial Amerindian sites and determining if connections between them
would reflect use of European influenced areas in this region.
Es difícil discutir la vida colonial en su etapa
inicial en el Caribe. En parte, esto se debe a la naturaleza de los
registros europeos, que a menudo no lograron capturar completamente las
prácticas amerindias. Los arqueólogos han intentado durante mucho tiempo
resolver estas dificultades mediante el análisis de materiales y objetos del
Caribe provenientes del período colonial temprano que reflejan tanto la
influencia española como la amerindia. A través del uso o modelado por
computadora, es posible abordar este tema desde una nueva perspectiva, que
distingue las conexiones entre las islas y el continente o entre las islas a
través de la división precolombina e histórica. El modelado de las rutas
hipotéticas de canoas basadas en la desaparición o aparición de sitios entre
Trinidad y la costa continental de Sudamérica hacia las Islas de Barlovento
puede ayudar a explorar posibles vías de viaje que fueron cambiadas o
interrumpidas durante el período colonial temprano. Este artículo aborda
este debate explorando la ubicación de los primeros sitios amerindios
durante el período colonial temprano y determinando si las conexiones entre
ellos pudieran reflejar esfuerzos para evitar las áreas controladas por
Europa en esta región.
[sp] El Catálogo Colectivo de Marcas de Fuego.
Avatares para conformar su canon de autoridades
Mercedes I. Salomón Salazar, México - Biblioteca Histórica José María Lafragua; Benemérita Universidad Autónoma de Puebla
Abstract
[sp]
In 2010, the José María Lafragua Historical Library (Benemérita Universidad
Autónoma de Puebla) and the Franciscan Library (Universidad de las Américas
Puebla - Province of the Holy Gospel of Mexico) published the “Catálogo Colectivo de Marcas de Fuego” (CCMF). Marcas de fuego (fire brands) are burned imprints made
with a heated iron instrument that capture the distinctive seal of a book’s
owner on one or several of the volume’s edges. The use of marcas de fuego to claim ownership over books proliferated mainly
in conventual libraries during the Colonial period in Mexico.
The first priority of CCMF was to go online with an initial selection of 120
marcas de fuego from various convents,
institutions, and individuals, in order to show the variety of provenance that
can be found in the print and manuscript collections of colonial libraries.
Arriving at this first stage of the project did not present exceptional
complications since it started as a collaboration between only two institutions.
As other libraries joined, however, it became necessary to work systematically
to standardize provenance as well as the names of authors. The complexities of
standardization and international collaboration are examined in this article, as
well as our experiences trying to make the catalog a reliable instrument for
other institutions that hold books that bear marcas de
fuego.
This article considers the inception and development of the project to date,
looking in particular at the experience of coordinating the efforts of multiple
institutions in different countries. We offer this essay as a case study and
analysis that may serve for other similar projects, especially in Latin America.
The Form of the Content: The Digital Archive
Nahuatl/Nawat in Central America
Laura Matthew, Marquette University; Michael Bannister, Independent Programmer Analyst
Abstract
[en]
The digital archive “Nahuatl/Nawat in Central America”
(NECA) assembles and makes publicly available a growing corpus of Nahuan-language
documents produced in Spanish Central America. Many are fragments within larger
Spanish-language documents and difficult to locate in the archive. NECA has succeeded
in bringing attention to this understudied corpus but has so far failed to attract
users to its transcription and translation tool. We consider the reasons for this
creative failure based on user data, and suggest that the specialized skills and
distinct academic communities needed to move this project forward require other
workspaces, including the non-digital, in advance of online collaboration.NECA
is a joint effort between the authors that has also depended on the generous
support of others. We thank Marquette University's College of Arts and Sciences
for start-up funding, Sergio Romero for helping assemble the core document list
and translations of sample text, Héctor Concohá Chet for photographing documents
in the Archivo General de Centroamérica in Guatemala City, Rafael Lara Martínez
for Spanish translations of the primary pages, and Jorge Lemus for his
collaboration in El Salvador. Ann Hanlon at the Digital Humanities Lab, University
of Wisconsin-Milwaukee, Adriana Álvarez, Davíd Dominguez Herbón, and Miriam Peña
Pimentel of the Red de Humanidades Digitales, Universidad Autónoma de México,
Sharon Leon at the Roy Rosenzweig Center for History and New Media, George Mason
University, and David Bodenhamer of the Polis Center, Indiana University-Purdue
University were invaluable sounding boards, as were advisory board members Michael
Swanton, Janine Gasco, Matilde Ivic de Monterroso, and Karl Offen. Julia Madajczak
and Agnieszka Brylak tested the transcription tool, and graduate assistants Ben
Nestor and Cory Haala explored mapping applications. We especially thank the many
contributors of documents to the site, listed at http://nahuatl-nawat.org/aboutus.
Decolonizing “The Digital” in the Classroom:
Reflections on the Intersection of Colonial Latin American Art History and Digital
Art History Pedagogy
Lauren G. Kilroy-Ewbank, Independent Art Historian
Abstract
[en][en]
This essay explores the challenges of using “the digital,” both
scholarly and pedagogically, for understanding and analyzing colonial Latin American
art. It argues that digital art history (DAH) tools and methods offer new ways to
think about the non-neutrality of how we access, collect, and understand information
discovered online. Specifically, it focuses on responses to a questionnaire and the
development of a collaborative Omeka project (involving students) to consider how
knowledge is produced in the digital environment. It reflects on issues of digital
and visual epistemology, digital visuality, the ontology of art history,
accessibility, and neocolonialism, and how these topics have been broached with
undergraduate students in a class focused on Spanish colonial art.
Este ensayo explora los desafíos de usar “lo digital,” tanto académica como
pedagógicamente, para comprender y analizar el arte colonial latinoamericano.
Sostiene que las herramientas y los métodos de la historia del arte digital (DAH)
ofrecen nuevas formas de pensar sobre la no neutralidad de cómo accedemos,
recopilamos, y entendemos la información descubierta en línea. Específicamente, se
centra en las respuestas al cuestionario y en el desarrollo de un proyecto
colaborativo Omeka (con estudiantes) para considerar cómo se produce el conocimiento
en el entorno digital. Reflexiona sobre temas de epistemología digital y visual,
visualidad digital, ontología de la historia del arte, accesibilidad y
neocolonialismo, y cómo estos temas han sido abordados con estudiantes en una clase
enfocada en el arte colonial.
Ticha: Collaboration with Indigenous communities
to build digital resources on Zapotec language and history
George Aaron Broadwell, University of Florida; Moisés García Guzmán, pueblo of San Jerónimo Tlacochahuaya; Brook Danielle Lillehaugen, Haverford College; Felipe H. Lopez, Haverford College Libraries; May Helena Plumb, University of Texas at Austin; Mike Zarafonetis, Haverford College Libraries
Abstract
[en][en]
There are hundreds of alphabetic texts in Zapotec languages dating back to the
16th century. Today, however, Zapotec speakers are generally unable to read
these texts, due to lack of access to the texts and an unfamiliarity with the
orthographic practices. Moreover, significant changes have taken place in the
grammar in the intervening centuries. This results in a situation where Zapotec
people may not have access to history in their own language. Ticha is an online
digital text explorer that provides access to images, transcriptions, analysis,
and translations of the Colonial Zapotec texts. The Ticha project includes
in-person workshops with Zapotec community members as part of an iterative
development process. Feedback from these interactions inform design decisions
for the project. Here we reflect on transnational collaboration with
stakeholders in building a digital scholarship project that seeks to use the
power of digital humanities to democratize access to materials and resources
which were previously the exclusive domain of a few experts. When community
members have access to important documents from their own history, archiving,
scholarship, and community engagement can be brought together in a powerful
synthesis.
Resumen. Hay cientos de textos alfabéticos en lenguas zapotecas desde el siglo
dieciséis. No obstante, hoy en día los zapoteco-hablantes generalmente no pueden
leer estos textos, debido a una falta de acceso a los textos como también por
falta de familiaridad con las prácticas ortográficas. Además, la gramática ha
cambiado mucho en los siglos intermedios. Por consiguiente, muchos zapotecos no
tienen acceso a su historia escrita en su propia lengua. Ticha es un explorador
digital de texto que brinda acceso en línea a las imágenes, transcripciones,
análisis y traducciones de los textos en zapoteco colonial. El proyecto de Ticha
incluye talleres con miembros de la comunidad zapoteca como parte de un proceso
de desarrollo interactivo. Los comentarios y reacciones que resultan de estas
interacciones informan las decisiones del diseño para el proyecto. Aquí
analizamos y reflexionamos sobre la colaboración transnacional con los
“stakeholders” en la construcción de un proyecto digital
que indaga el uso del poder de las humanidades digitales para democratizar el
acceso a los materiales y recursos que previamente habían sido un dominio
exclusivo de unos pocos expertos. Cuando los miembros de la comunidad tienen
acceso a los documentos importantes de su propia historia, entonces el archivar,
la investigación, y el involucramiento con las comunidades pueden crear una
síntesis detonante.
Digital Humanities & Film Studies: Analyzing the Modalities of Moving Images
Editors: Manuel Burghardt, Adelheid Heftberger, Johannes Pause, Niels-Oliver Walkowski, Matthias Zeppelzauer
Front Matter
Film and Video Analysis in the Digital Humanities –
An Interdisciplinary Dialog
Manuel Burghardt, Leipzig University, Germany; Adelheid Heftberger, Bundesarchiv, Germany; Johannes Pause, Université du Luxembourg, Luxembourg; Niels-Oliver Walkowski, Université du Luxembourg, Luxembourg; Matthias Zeppelzauer, St. Pölten University, Austria
Abstract
[en]
This editorial introduces the special issue on “Digital Humanities & Film Studies: Analyzing the Modalities of Moving Images,” which contains a total of eight exciting contributions. Moreover, this editorial aims to highlight the complementary disciplinary perspectives on the computer-aided analysis of moving images, which are important prerequisites to better understand and situate a common DH perspective
Articles
The Phenomenon of Interwar City
Symphonies: A Combined Methodology of Digital Tools and Traditional
Film Analysis Methods to Study Visual Motifs and Structural Patterns
of Experimental-Documentary City Films
Eva Hielscher, Independent Scholar
Abstract
[en]
The 1920s and 1930s saw the rise of the city symphony, a film phenomenon
of experimental-documentary city films that took the modern metropolis
as their protagonist and presented it in its multiple facets and
kaleidoscopic nature. While Ruttmann’s Berlin. Die Sinfonie der
Grosstadt (1927) and Vertov’s Chelovek s kinoapparatom (1929) gained canonical status
and exert a considerable influence on filmmaking to this very day, the
city symphony has remained a somewhat downplayed and neglected
phenomenon in film history. Indeed, besides the handful of well-known
titles, there have been more than eighty films made around the globe,
many of which fell into oblivion and have received little or no
scholarly attention at all. Moreover, even the canonical examples have
never systematically and structurally been analyzed in detail in a
comparative way. The result is the lack of a sophisticated and clear
definition of the city symphony, based on both the canonical films and
the greater city symphony corpus. My research sets in at this point,
addressing the conspicuous absence of an analysis of city symphony
characteristics. It does so by making use of a combined methodology of
traditional film analysis methods and digital tools. This article
reflects on the methodology applied and tools chosen and put into
practice to study and analyze the visual material of city symphonies,
which with their highly complex structure, dense imagery, and themes
as well as their experimental techniques and striking editing
patterns, are a perfect fit for a computational film analysis.
Particularly, the digital film/video annotation software ELAN, the
Cinemetrics method, a bar chart representation of shot lengths, and
the grid visualizations of multiple film frames created with ImageJ
play a role in this case study, which also broaches the aspect and
benefits of manual digital analysis.
Matching Computational Analysis and Human
Experience: Performative Arts and the Digital Humanities
Jan-Hendrik Bakels, Freie Universität Berlin; Matthias Grotkopp, Freie Universität Berlin; Thomas Scherer, Freie Universität Berlin; Jasper Stratil, Freie Universität Berlin
Abstract
[en]
This article presents a framework that reconciles the requirements of computational methods with a qualitative, phenomenological approach to the analysis of audiovisual media. In its temporality and multimodality we treat audiovisual media as exemplary with regard to the wider field of performative arts and their analysis in digital humanities approaches.
First, we argue in favor of grounding digital methodology explicitly in scholarly, theoretical approaches to the human experience of performative arts and outline a qualitative approach to compositional patterns and dynamics of affect in audio-visual media. To demonstrate this approach, an exemplary scene analysis highlights the specifics of analyzing experiential qualities based on micro-level descriptions of compositional structures.
Eventually, the main body of the article spells out three central challenges with regard to this use of computational tools: 1.) recasting common film analytical vocabulary into a machine readable semantic ontology; 2.) setting up a systematic and applicable annotation routine that is based on the developed semantic ontology and allows for the interpersonal and consistent description of larger corpora; 3.) developing visualizations and query tools that enable the identification and tracing of compositional patterns within complex sets of annotation data.
The article concludes by demonstrating the benefits of visualized annotation data by taking up the exemplary analysis sketched out earlier and, ultimately, reflects upon the implications of the outlined AdA filmontology as a programmatic starting point to addressing intersubjective bases of experience in the wider field of digital humanities.
Exploring Digitised Moving Image Collections: The
SEMIA Project, Visual Analysis and the Turn to Abstraction
Eef Masson, University of Amsterdam / Rathenau Institute; Christian Gosvig Olesen, Utrecht University / University of Amsterdam; Nanne van Noord, University of Amsterdam / Netherlands Institute for Sound and Vision; Giovanna Fossati, University of Amsterdam / Eye Filmmuseum
Abstract
[en]
In recent years, efforts to unlock digitized moving image collections have focused
primarily on the retrieval of collection items through semantic descriptors: keywords
or other labels produced either manually, or as (semi-)automatically generated
metadata. As a result, access to digital archives is still governed overwhelmingly by
a logic of search. In practice, this means that users not only need to know what they
are looking for, but are also constrained by the interpretive frameworks informing
the materials’ labelling. Arguably, this poses restrictions on what they can find,
how they can interrelate collection objects, and ultimately, how they can reuse or
reinterpret collections. Taking such issues as its starting point, the Sensory Moving Image Archive project (SEMIA) investigated
how visual analysis tools can help enable more exploratory forms of engaging with
digital archives. In doing so, it focused on sensory features, which are essential to
users’ experiences of audiovisual heritage objects but inadequately captured by
verbal description.
In this article, we discuss the project’s rationale and its early results. First, we
place SEMIA in a recent history of visual analysis for media scholarly research,
specifying how it both builds on and departs from this history (also in the epistemic
sense). Subsequently, we provide more details about the project’s approach to image
feature extraction and discuss some analysis results. In our conclusions, we confront
those results with what we had initially hoped to gain by applying computer vision
methods for enabling access to collections.
The Stylometry of Film Dialogue: Pros and
Pitfalls
Agata Hołobut, Jagiellonian University in Kraków; Jan Rybicki, Jagiellonian University in Kraków
Abstract
[en]
We examine film dialogue with quantitative textual analysis (stylometry, sentiment
analysis, distant reading). Working with transcribed dialogue in almost 300
productions, we explore the complex way in which most-frequent-words-based stylometry
and lexicon-based sentiment analysis produce patterns of similarity and difference
between screenwriters and/or a priori IMDB-defined genres. In fact, some of our
results show that counting and comparing very frequent word lists reveals further
similarities: of theme, implied audience, stylistic patternings. The results are
encouraging enough to suggest that such quantitative approach to film dialogue may
become a welcome addition to the arsenal of film studies methodology.
The Voices of Doctor Who – How Stylometry Can be
Useful in Revealing New Information About TV Series
Joanna Byszuk, Institute of Polish Language, Polish Academy of Sciences
Abstract
[en]
This article presents possibilities of effectively using stylometric methods popular
in the analysis of literary texts in the study of texts written for television, on
the example of Doctor Who. The article examines the changes driving the development
of the show moving from character-oriented in the so-called “Classic Who”
(1963-1989) to showrunner-oriented in its revival started in 2005. It also seeks to
describe stability of the characterization of the protagonist as evidenced in the
dialogues, and to discuss authorial relations between showrunners and their teams.
Methods and Advanced Tools for the Analysis of Film
Colors in Digital Humanities
Barbara Flueckiger, University of Zurich; Gaudenz Halter, University of Zurich
Abstract
[en]
Colors are one of the most difficult stylistic elements of film to analyze, but — as
this paper elaborates — a most rewarding one too. A long-neglected topic in film
studies, film colors have gained increasing attention over the last decade. With the
development of database-driven analysis, deep-learning tools, and a large range of
visualization methods the research project ERC Advanced Grant FilmColors set out to provide a more comprehensive approach to analyzing
the manifold aspects of color in film. This paper focuses on a set of strong
theoretical and analytical concepts of film colors — including human interpretation —
that connect the stylistic, expressive, and narrative dimensions with the development
and evaluation of digital methods. A corpus of more than 400 films have been analyzed
with a computer-assisted workflow that has been integrated into the video annotation
and analysis software VIAN since 2017. VIAN is connected to the online platform VIAN
WebApp for the evaluation of results, queries, and visualizations on segment, film
and corpus level. Compared to traditional, mostly language-dominated approaches to
the aesthetics, technology, and narratology of film colors, the digital humanities
tools turn evidence created through the mapping of results into an instantly
accessible array of visual representations. By relating detailed human annotation and
interpretation to these visual representations, the integrated workflow consisting of
the VIAN visual analysis software in combination with the crowdsourcing portal VIAN
WebApp has created a comprehensive ecosystem for the investigation of film aesthetics
and narration. It thus significantly extends established methods in film studies.
Automated Visual Content Analysis for Film Studies:
Current Status and Challenges
Kader Pustu-Iren, Leibniz Information Centre of Science and Technology (TIB), Hannover, Germany; Julian Sittel, Institute for Film, Theatre and Empirical Cultural Studies, University of Mainz, Germany; Roman Mauer, Institute for Film, Theatre and Empirical Cultural Studies, University of Mainz, Germany; Oksana Bulgakowa, Institute for Film, Theatre and Empirical Cultural Studies, University of Mainz, Germany; Ralph Ewerth, Leibniz Information Centre of Science and Technology (TIB), Hannover, Germany; L3S Research Center, Leibniz University Hannover, Germany
Abstract
[en]
Lots of approaches for automated video analysis have been suggested since the
1990ies, which have the potential to support quantitative and qualitative analysis in
film studies. However, software solutions for the scholarly study of film that
utilise video analysis algorithms are still relatively rare. In this paper, we aim to
provide an overview of related work in this field, review current developments in
computer vision, compare machine and human performance for some visual recognition
tasks, and outline the requirements for video analysis software that would optimally
support scholars of film studies.
Unknowable Facts and Digital Databases: Reflections
on the Women Film Pioneers Project and Women in Film History
Sarah-Mai Dang, Institute of Media Studies, Philipps-Universität Marburg
Abstract
[en]
Due to the increasing production of digital artifacts, data-driven approaches are
gaining more and more importance in the humanities. In order to understand how they
affect film and media studies, this article reflects on databases in the context of
feminist film historiography. Focusing on the collaborative Women Film Pioneers Project (WFPP) (https://wfpp.cdrs.columbia.edu/),
it considers the methodological matters when presenting and accessing research
results online. One of the biggest challenges for film and media historians today is
not only to retrieve and preserve historic sources but also to make both historical
records and research outcomes accessible, while taking into account the
“unknowability” of history. How can we identify and include the many blind
spots when trying to reconstruct the past? In this article, it is made the case that
due to their openness and variable use, digital databases, such as the Women Film Pioneers Project, seem to be perfectly suited to
respond to this challenge.
Articles
“Vivas to those who have failed:” Walt Whitman
Electric and the (Digital) Humanities
Nicole Gray, University of Nebraska-Lincoln
Abstract
[en]
Digital methods in the humanities have helped to create the potential for
resurrecting an experimental, recuperative critical mode that approaches literature
in terms of its transformability. This essay draws on Walt Whitman’s poems and his
material practices to model this mode by interweaving the transformative logics of
poetry and code. This can help to illuminate the structural mechanics of each, as
well as their mutual dependence on figurative language. These resonances speak to the
diverse human voices, practices, and forms of creativity that define digital
humanities work today no less than the poetry and print of past centuries.
Playing With Unicorns: AI
Dungeon and Citizen NLP
Minh Hua, University of California, Santa Barbara; Rita Raley, University of California, Santa Barbara
Abstract
[en]
AI Dungeon 2 is an indie text adventure game that caught
traction within the gaming and hobbyist machine learning communities for its promise
of “infinite” customizable adventures, which are generated and narrated by
GPT-2, OpenAI’s 1.5 billion parameter language model. Samples of gameplay illustrate
AID’s remarkable linguistic competence and domain knowledge, as well as its capacity
for what can only be described as wackiness. More striking are AID’s innovative
gameplay mechanics, which reimagine how we interact with large language models. Game
play entails a procedural and incremental process of engaging with GPT-2 that opens
up the possibility of developing a holistic and interdisciplinary framework for
meaningful qualitative evaluation of language models that does not have commercial
use as its necessary endgame. With respect to both evaluation and writing itself, AID
situates human players inextricably “in the loop” as necessary partners with
autonomous systems. Our article thus reads AID both as an example of current hobbyist
relations with machine learning and as a responsible model for future human-AI
collaborative creative practices.
Reviews
Review of Sean Cubitt’s Finite Media: Environmental Implications of Digital
Technologies
Richard Snyder, Washington State University
Abstract
[en]
In Finite Media, Sean Cubitt first examines a myriad of
situations in which our media have material consequences for the earth and its
inhabitants, clearly laying out the need for change on a massive scale.
Thorough, complex, and effective, Cubitt’s book makes its largest contribution
to ongoing discussions of digital humanities in the Anthropocene in arguing that
humanity must change its relationship to media by embracing a new eco-political
aesthetic.
Author Biographies
URL: http://www.digitalhumanities.org/dhq/preview/index.html
Last updated:
Comments: dhqinfo@digitalhumanities.org
Published by: The Alliance of Digital Humanities Organizations and The Association for Computers and the Humanities
Affiliated with: Digital Scholarship in the Humanities
DHQ has been made possible in part by the National Endowment for the Humanities.
Copyright 2005 -
This work is licensed under a Creative Commons Attribution-NoDerivatives 4.0 International License
Last updated:
Comments: dhqinfo@digitalhumanities.org
Published by: The Alliance of Digital Humanities Organizations and The Association for Computers and the Humanities
Affiliated with: Digital Scholarship in the Humanities
DHQ has been made possible in part by the National Endowment for the Humanities.
Copyright 2005 -
This work is licensed under a Creative Commons Attribution-NoDerivatives 4.0 International License
