Digitizing The Stage: registration open

Registration is now open for this joint Folger Shakespeare Library and Bodleian Libraries conference!

C. Walter Hodges (1909-2004), “Cutaway view sketch of the Globe Playhouse,” Folger Shakespeare Library Collection.

What: Digitizing the Stage: Rethinking the Early Modern Theatre Archive

When: 10–12 July 2017

Where: Weston Library, Bodleian Libraries, Broad Street, Oxford OX1 3BG (map)

Access: all are welcome to attend and to submit a proposal for a contribution (see below)

Admission: £150; £100 for students/unwaged/early career researchers (up to 3 years after award of highest degree)

Registration: registration is required

The Bodleian Libraries and the Folger Shakespeare Library will convene a conference from 10-12 July, 2017, on digital explorations of the early modern theatre archive. We are interested in applying approaches from other disciplines, genres, and time periods which can prompt new thinking about the ways we preserve, describe, research, and teach the early modern stage; as well as in hearing from early modernists who engage with their subject through digital means. Seeking to foster a spirit of collaborative experimentation, we invite proposals in the full range of project completion taking the form of 20-minute papers, as well as “lightning talks,” panel discussions, multimedia presentations, and others.

Invested in both material and method, Digitizing the Stage is a singular opportunity to consider the future of the early modern archive. Attendance will be limited to 100 participants, with registration opening shortly.

For more information, please see the conference website.

Digitizing the Stage is organized by the Centre for Digital Scholarship, Bodleian Libraries; the Folger Shakespeare Library; and Professor Tiffany Stern, Royal Holloway, University of London.

Research workshop—Digital Research with OUP Data: a workshop

Book a place!

What: Digital Research with OUP Data: a workshop

When: 10:00—12:30, Friday 26 May 2017

Where: Weston Library Lecture Theatre (map)

Access: all members of the University are welcome

Admission: free

Booking is required

 

Are you interested in working with OUP data?

Oxford University Press is offering members of the University the opportunity to work directly with the data that underpins some of its most popular digital content. The resulting digital research projects will be able to unlock more scholarly potential in these resources, beyond what is available through their current interfaces. The resources involved at this stage are as follows:
  • Oxford Dictionary of National Biography (ODNB) and American National Biography (ANB)
  • Oxford English Dictionary (OED) and related resources
  • Grove Art and Music
  • Oxford Scholarly Editions Online (OSEO)
This workshop provides a rare opportunity to hear from OUP staff working on these resources and their data, and from academic experts who use them, in a meteor-shower of brief talks. It will include an introduction to digital research, to potential sources of funding to pursue projects, and to relevant issues of intellectual property and terms of use. Break-out groups will give you the opportunity to discuss ideas with OUP and academic experts, and with your peers. A concluding discussion will look towards practical next steps.
Whether your interest is in the content or the technology, and whatever your experience level with digital projects, this workshop will be of interest both for its content and the opportunity to meet potential collaborators from across the University.
Potential uses could involve making OUP data available by for discrete projects, or linking the data to research resources or to University collections. Any project will depend on the availability of collaborative resource from OUP, which may give priority to work in fields of its particular interest. During the workshop there will be the opportunity to discuss and shape project ideas with fellow researchers and colleagues from OUP. As projects born out of the workshop take shape, we will host future events where the ongoing research and its results can be discussed and showcased.
The workshop is free to attend and is organized by TORCH Digital Humanities, the Centre for Digital Scholarship, and Oxford University Press.

Programme

  • 10.00    David De Roure (Oxford e-Research Centre): welcome and introduction from TORCH Digital Humanities and the Centre for Digital Scholarship
  • 10.05    Ruth Langley and Judy Pearsall (OUP): welcome and introduction from Oxford University Press
  • 10.10    Andrew Fairweather-Tall (Humanities Division): Funding
  • 10.15   Session 1: ODNB and ANB: Jo Payne (OUP) with Howard Hotson (History Faculty) and Chris Warren (Carnegie Mellon University)
  • 10.35   Session 2: OED: James McCracken (OUP) with Janet Pierrehumbert (Oxford e-Research Centre)  and Alfie Abdul-Rahman (Oxford e-Research Centre)
  • 10.55   Session 3: Grove: Jo Payne (OUP) with Jonathan Cross and Julia Craig McFeely (Music Faculty)
  • 11.15   Session 4: OSEO: Rupert Mann (OUP) with Miranda Lewis (History Faculty)
  • 11.35   Break-out groups
  • 12.15   General discussion chaired by Pip Willcox (Centre for Digital Scholarship): next steps
  • 12.30   Close
For each of Sessions 1-4 OUP staff will introduce the product and suggest possibilities for research; University staff will then present brief potential case studies.

Research Uncovered—Digitization for Research at the Bodleian: Creating Tools for Active Scholarship

Book a place!

What: Digitization for Research at the Bodleian: Creating Tools for Active Scholarship

Who: Judith Siefring and Emma Stanford

When: 13:00—14:00, Tuesday 16 May 2017

Where: Centre for Digital Scholarship, Weston Library (map)

Access: all are welcome

Admission: free

Booking is required

Institutions like the Bodleian Libraries have been digitizing their holdings for decades now. These digitized collections have not always been easy to find or use, but in the last few years the International Image Interoperability Framework (IIIF) has opened up a vast range of possibilities for creators and users of these collections. In theory, researchers can now compare, share, remix and annotate digitized objects from institutions across the world, whether to transcribe marginalia, read a damaged palimpsest, or reconstruct the leaves of a fragmented codex. In practice, however, this nascent technology can be difficult to use.
 
Two recent projects, Digital.Bodleian and the Digital Manuscripts Toolkit, have explored the possibilities of IIIF at the Bodleian, with a focus on creating usable tools for research. Using these projects as a jumping-off point, this talk will serve as an introduction to IIIF through the lens of scholarship. Judith and Emma will provide an overview of currently available
tools, discuss what works and what doesn’t, and share what they’ve learned about facilitating scholarly engagement with digitized materials. The talk will be aimed at researchers and library and museum staff, but all are welcome to attend.

Emma Stanford is the Digital Curator at Bodleian Digital Library Systems and Services (BDLSS). Among other things, she manages Digital.Bodleian and conducts IIIF training workshops in the Centre for Digital Scholarship.

Judith Siefring is the Head of Digital Research at Bodleian Digital Library Systems and Services, where she led the Mellon-funded Digital Manuscripts Toolkit project.

Access: Please meet at 12.55 by the Information Desk in the Weston Library’s Blackwell Hall to be taken to the Centre for Digital Scholarship. If you have a University or Bodleian Reader’s card, you can also get there through the Mackerras Reading Room on the first floor of the Weston Library, around the gallery, having checked any bags into a locker (£1 returnable deposit) before you head upstairs.

Research Uncovered—Fostering ‘the gift of confidence’ for women in the electronic music scene

Book a place!

What: Fostering ‘the gift of confidence’ for women in the electronic music scene

Who: Amy V Beeston and Liz Dobson

When: 13:00—14:00, Friday 12 May 2017

Where: Weston Library Lecture Theatre (map)

Access: all are welcome

Admission: free

Booking is required

Women are seriously underrepresented as composers, engineers, scholars and creators. In academia, for instance, 90% of applicants for undergraduate music technology courses were reported to be male (Born & Devine, 2015). Indeed, similar figures persist throughout all quarters of the music industry, as seen for instance at the Proms where over 90% of composers programmed are typically male (Women in Music, 2016).

Our talk explains how all-women spaces provide a possibility for change. We introduce socioculturally-framed research on collaborative learning (e.g., Claxton & Wells, 2002) and collaborative creativity (e.g., John-Steiner & Mahn, 2002), and relate stories of community orientated interventions for confidence building, risk taking and learning which led to the creation of the Yorkshire Sound Women Network in 2015. We subsequently outline the measurable achievements, narratives and insights gained from an all-women approach as a meaningful portal for change.

References

  • Born, G and Devine, K (2015). Music Technology, gender and Class: Digitization, Educational and Social Change in Britain, Twentieth-Century Music, 12(2), pp 135-172
  • Claxton, G., & Wells, G. (2002). Introduction: Sociocultural Perspectives on the Future of Education in G Claxton & G Wells (Eds.), Learning for life in the 21st century. (pp 1-18). Oxford: Blackwell Publishing.
  • John-Steiner, V., & Mahn, H. (2002). The Gift of Confidence: A Vygotskian View of Emotions. In ibid.
  • Women in Music (2016). BBC Proms Survey 2016. http://www.womeninmusic.org.uk/proms-survey.htm

Dr Amy V Beeston

I am a postdoctoral researcher at the University of Sheffield, working in the ‘Speech and Hearing’ and ‘Music Mind Machine’ research groups. I develop tools to extract meaningful data from audio signals, and am particularly interested in using principles of human audition to improve the performance of machine listeners in everyday environments.
 

Dr Liz Dobson

I am a senior lecturer in music technology at the University of Huddersfield with an OU PhD in education and social psychology. My academic work examines relationships between community, learning and creative practice in music technology, leading me to create informal communities for knowledge sharing. 

Research Uncovered—A Linked Open Data Buddhist Text Archive

Book tickets!

We are delighted to co-host this talk from visiting  expert Jeff Wallman with our colleagues at the University of Oxford’s Oriental Institute.


What: A Linked Open Data Buddhist Text Archive

Who: Jeff Wallman

When: 15:30—16:30, Monday 8 May 2017

Where: Weston Library Lecture Theatre (map)

Access: all are welcome

Admission: free

Booking is required

Buddhist thought and culture has been expressed in a surprisingly large number of languages from a huge variety of sources, spanning an immense temporal and geographical range. The earliest works were written in an Indic language closely related to Sanskrit, but the first actual Buddhist canon was compiled in Pali in Sri Lanka in the early centuries of the first millennium A.D. While Sanskrit versions of early writings were never compiled into a canon as such, Pali, Sanskrit, and Prakrit texts began to be translated into Chinese in the first century CE.  By the sixth century, the Chinese had compiled their first version of the canon. Chinese Buddhists also wrote many other valuable and important works on Buddhist ritual, story, literature, biography, monastic law, and philosophy outside of the canon itself.   Later, the Tibetans began translating Buddhist scriptures into their own language. The first Tibetan canon was systematized in the late thirteenth century. In addition to the canon, Tibetans wrote tens of thousands of important extra-canonical works as well. Beginning in the thirteenth century, the Tibetan canon was translated into Mongolian. In Southeast Asia, where the Pali canon is used, we find many extra-canonical works of Buddhist narrative, poetry, ritual, philosophy, and monastic law, written in the vernacular languages of Sinhala, Burmese, Thai, Cambodian, and Lao. Canonical and important extra-canonical literature is also to be found in Western and Central Asia as well as in Indonesia.  The same is true for East Asian countries such as Korea, Japan, and Vietnam. Finally, many works that have been written in or translated into English and other Western languages.

Buddhist Digital Resource Center (BDRC) has developed a preservation ecosystem to digitally preserve source texts and document Buddhist cultural heritage.  The preservation of Buddhist texts requires the ability to document the complex and multi-faceted elements of textual history. Relationships between texts in different languages, encoded in regional scripts spanning a broad historical range requires scholarly analysis and validation. Using the power of the semantic web, cultural heritage and digital asset metadata is modeled as linked open data governed by an RDF ontology and expressed as JSON-LD documents.  Source documents are scanned in a rapidly growing 12 million page image archive with open APIs to provide page-level access. A full-text resource generated from transcripts and optical character recognition, based on a multi-layer text architecture, provides a deep search environment. In this presentation I will explore BUDA’s architecture and capabilities, including deep search, faceted browse, SPARQL querying, multi-layer texts and web annotations, and strategies for multi-language scholarly metadata creation and management.

Jeff Wallman is the Executive Director of the Buddhist Digital Resource Center (formerly Tibetan Buddhist Resource Center).

Research Uncovered—A rock and a hard place: creating the Online Corpus of Inscriptions of Ancient North Arabia

What: A rock and a hard place: creating the Online Corpus of Inscriptions of Ancient North Arabia

Who: Daniel Burt

When: 13.00—14.00, Tuesday 2 May 2017

Where: Centre for Digital Scholarship, Weston Library (map)

Access: all are welcome

Admission: free

The Arabian Peninsula lies at the heart of the Middle East. Today, it is of enormous strategic and commercial importance and this was also the case in antiquity. Yet, most of what we know about its ancient history, languages and cultures comes from contemporaries looking at it from outside, such as the Assyrians, Greeks, and Romans, or from much later reports on what was considered the “Age of Ignorance”.

This talk gives an overview of inscriptions found in North Arabia, and outlines the process of creating the Online Corpus of Inscriptions of Ancient North Arabia (OCIANA) database. It will be of interest to anyone wanting to understand how complex databases are designed. In particular, it focusses on using FileMaker Pro for research databases.

Daniel Burt graduated from the University of Manchester in the early 1990s and went on to work in a variety of technical roles involving data architecture in the private sector and the computer games industry, before joining Cancer Research UK where he developed a prize-winning database managing clinical administration within the Medical Oncology Unit at the Churchill Hospital in Oxford.

Following on from his work for Cancer Research UK, Daniel worked on a number of development contracts for clients including The Department of Health and Oxford University Press, before joining the University of Oxford in 2005. Over the last 12 years he has been involved in creating databases and websites for individual departments and research projects across the Humanities Division, as well as for The Ashmolean Museum, The Museum of Natural History, and the Pitt Rivers Museum. During his time at Oxford, Daniel has worked on projects funded by, amongst others, the Arts and Humanities Research Council, the Leverhulme Trust, the Wellcome Trust, and the National Lottery Heritage Fund, and has taught courses on working with digital images and assets and database development to both undergraduate and postgraduate students.

Access: Please meet at 12.55 by the Information Desk in the Weston Library’s Blackwell Hall to be taken to the Centre for Digital Scholarship. If you have a University or Bodleian Reader’s card, you can also get there through the Mackerras Reading Room on the first floor of the Weston Library, around the gallery, having checked any bags into a locker (£1 returnable deposit) before you head upstairs.

Visualize Your Data for the Web using D3.js

We are very grateful to Alfie Abdul-Rahman from the Oxford e-Research Centre for offering this workshop. This is a fantastic opportunity to learn how to visualize your data from an expert with many years’ experience in the field.

What: Visualize Your Data for the Web using D3.js

Who: Alfie Abdul-Rahman

When: 09:30 – 17:00Wednesday 31 May 2017 and Thursday 1 June 2017

Where: Conference Room, University of Oxford e-Research Centre, Keble Road, Oxford OX1 3QG (map)

Access: open to members of the University of Oxford

Eligibility: the workshop is aimed at people with little or no programming experience who are interested in learning and using D3.js for data visualization

Admission: free

Booking is required: to reserve a place on this two-day workshop, please email Pip Willcox (pip.willcox@bodleian.ox.ac.uk) including:

  • your name
  • your University email address
  • your study level/job title/career stage
  • your faculty or department affiliation

This two-day hands-on workshop will provide you with a brief introduction to creating simple web-based data visualizations. You do not need any previous coding experience: the workshop will take you through the process of creating a webpage, loading a data file, creating a simple visualization, and adding some basic interactivity into your visualization. The workshop will use HTML, CSS, and SVG, as well as teaching its core technology, D3.js. D3.js is an open source JavaScript library developed by Mike Bostocks.

The goal of the workshop is to provide you with an idea of what is required in creating a visualization for the web using D3.js. The hands-on experience of the workshop will be useful when you are exploring D3.js examples of code that are available on the web, and modifying them to fit your own data and purposes. By the end of the workshop you will be able to visualize your data ready for publishing online.

Equipment

Participants must bring a laptop with a Mac, Linux, or Windows operating system with WebStorm installed. There is a currently a free 30-day evaluation license available. If you are a student, you can apply for a free license via the WebStorm website (https://www.jetbrains.com/webstorm/) using your University email address.

Places at this workshop are limited and require a commitment to two full days’ attendance: please consider this when registering. 

Alfie Abdul-Rahman is a Research Associate at the Oxford e-Research Centre, University of Oxford. She has been involved with Imagery Lenses for Visualizing Text Corpora and Commonplace Cultures: Mining Shared Passages in the 18th Century using Sequence Alignment and Visual Analytics, developing web-based visualization tools for humanities scholars, such as Poem Viewer and ViTA: Visualization for Text Alignment.

She completed her PhD in Computer Science at Swansea University, focusing on the physically-based rendering and algebraic manipulation of volume models. Before joining Oxford, she worked as a Research Engineer in HP Labs Bristol on document engineering, and then as a software developer in London, working on multi-format publishing. Her research interests include information visualization, computer graphics, and human-computer interaction. She is currently working on the Quill project, a platform for the study of negotiated texts.

Wikimedia for public engagement

By Dr Martin Poulter, Wikimedian in Residence at the University of Oxford

A takin is a Himalayan goat-antelope with whom I feel a personal connection, and the reason goes back to an event I attended in 2011. The wildlife charity ARKive had allowed some of its descriptions of threatened species to be copied into Wikipedia. After presentations introducing both ARKive and Wikipedia, we split up the room. One table took birds, another took lizards, and I must have been among the mammals. After carefully reading what ARKive and Wikipedia said about the takin, I found a couple of sentences that could be copied from one to the other. Everyone in the room made a small but concrete improvement to their target Wikipedia article.

The trainer at the event, Andy Mabbett, thanked me afterwards with a message through Wikipedia. Making that change, and being recognised for it, connected me to the topic that a film or lecture could not. Somehow the takin had become my endangered mammal. People had turned up with a general curiosity about threatened species, engaged with the question of how to describe a specific species and had a positive experience with a peer-reviewed source – the ARKive site.

How do we create similar events where people are not just informed about a topic or a resource, but engage with it in a way that makes a lasting impression? Here are some suggested requirements for a public engagement event:

  • a collaborative task around a topic;
  • that requires thinking and reading, but not expertise, so anyone can take part;
  • that can be broken down into small chunks, identified beforehand;
  • that can be done in-person or remotely;
  • with a way to track individual contributions. We want to thank and reward contributors, and it’s also useful to assess the quality of their work. For a big, long-term project we might want something like a leader-board or a participation award.

Wikimedia platforms

Wikipedia and its sister projects are ideal platforms for meeting the above criteria. They

  • cover all academic subjects;
  • support collaboration between experts and non-experts;
  • have various tools to generate lists of “targets”: things that need improvement;
  • can be accessed by anyone with an internet connection;
  • have contributor records which publicly show what changes each user has made, even allowing ‘thank you’ messages for individual changes.

Perhaps most relevant is that Wikimedia resources do not exist in isolation but are derived from something else. A fact in Wikipedia or Wikidata needs to be backed up with a citation of a reliable source. A photo in Wikimedia Commons needs a description of where it was taken, or a citation of the collection it is drawn from. A transcribed text in Wikisource needs a pointer to the page scans that were transcribed, and ultimately to the physical copy of the book. So a Wikimedia event is always necessarily about a Wikimedia project and something else: a scholarly site or database, or physical exhibits, books or artworks.

Four Wikimedia projects hold distinct types of information about the same subject.

The best-established type of public event is a Wikipedia editathon, in which visitors are invited to write Wikipedia articles. Newcomer participants in editathons usually achieve little, because a lot of time and thought is needed to get to grips with Wikipedia’s interface, with Wikipedia’s culture and norms, and with the sources they will be using. Editathons can be very productive if participants are confident wiki editors, but that confidence does not come immediately. Fortunately, the Wikimedia projects offer simpler, less demanding ways for the public to engage with a subject.

An example: a Wikisource transcribe-a-thon

Looking to create events for the Ada Lovelace Bicentennial in 2015, I read about Mary Somerville, a 19th century mathematician and scientist who tutored Lovelace and for whom Somerville College is named. I could find none of Somerville’s works in electronic form, but some were available as scanned documents in the Internet Archive. This suggested how we could engage an audience interested in women scientists.

Wikisource is a platform for sharing and connecting out-of-copyright or freely-licensed text. Wikipedia’s article about Lord Byron summarizes his life, with brief mentions or quotes from his work. Wikisource, on the other hand, has a brief description of who he was and the full text of many of his poems and other works. Naturally, the two profiles link to each other. Most works on Wikisource come from scanned books which have been put through Optical Character Recognition (OCR) and then manually fixed. Each page has to be checked and approved by at least two different users before it is considered “validated” and ready for public readers.

Attendees at the event were given a shortened URL for the transcription and each got a post-it note with the page number that they should fix. They adapted to Wikisource at different rates, but that worked out fine because the quicker, more confident people checked and tweaked the work of those who made slower progress. In two hours, we got through one paper and a large proportion of a book by Somerville. After some further checking, these texts were linked from the front page of Wikisource. Feedback on the event was very good: participants recognised they were doing something important; not just learning about Somerville but helping to republish her work. The “transcribe-a-thon” format has been repeated as a conference session.

A transcription project on Wikisource: pages are yellow when they’ve been approved by one user, and green for two users.

A transcribe-a-thon needs some careful preparation in choosing the text, importing it into Wikisource and preparing it for transcription. The import process on Wikisource is documented, but not very intuitive, even for experienced wiki editors. Not all scans are suitable: if the images are poor quality, the OCR does not produce usable text and if there is non-standard text such as mathematical formalism, transcription will be too difficult for newcomers. A little more work is necessary once all the pages are validated, to assemble them into a single work.

Photographs and WikiShootMe

Wikipedia articles about a place or building usually have a geographical point, defined by latitude/ longitude pairs, attached to them in a machine-readable way. For example, the article about Oxford has coordinates that correspond to the central junction at Carfax. Wikidata, another sister project, has many more entries with locations, for items such as listed buildings. On some historic streets, almost every building has a Wikidata entry.

WikiShootMe is an online mapping tool that shows these articles and Wikidata items, colour-coded according to whether they have an image. It also allows users to upload images, but they need to register an account first on Wikimedia Commons. The images do not have to be professional quality, and photos taken with a smartphone or cheap digital camera are often suitable. As more images are uploaded, red dots disappear from the map.

A WikiShootMe scan around the North end of St. Giles, Oxford

So for an event or campaign that gets people engaged with local history, public art, or architecture, the group can decide on places to photograph and describe, then go to the location, and either upload their images from home or return to a central computer room and transfer images from their devices.

A tip to monitor contributions: when uploading an image, users are prompted for image categories. If they all add the same category, then it is possible to track images uploaded with that tag using PetScan (explained below). However, categories are case-sensitive so you have to make sure people type the category tag exactly as instructed. Commons helps by colouring the text red if it does not correspond to an existing category.

Instructions to attendees:

  • Create an account on commons.wikimedia.org
    • A Wikipedia account will work if you already have one of those.
  • Open in another tab
  • Click on the red dot on the map where your photo was taken
  • Press the button to ‘Authorise uploading’
  • Click ‘Allow’. This will permit WikiShootMe to accept your photo, and return you to the map.
  • Navigate through the map to the red dot again. This time when you click the dot, the button says ‘Upload image’
  • Select the image on the computer or device
  • Give the image a title, description (say what you’ve photographed, e.g. the address of the building) and date.
  • In the Category box, type Buildings in Oxford with that exact capitalization.

PetScan is a tool for customised queries  If you are running an event or campaign where people create or upload images to a given category, use this procedure to get an overview of their contributions.

  • Go to https://petscan.wmflabs.org/
  • Click ‘Commons’
  • Enter the category “Buildings in Oxford”
  • Select the Page properties tab and click the checkbox next to File.
  • Select the Output tab, then choose Sort by date, Sort order descending.
  • Click ‘Do it!’ and on the resulting page, bookmark the link ‘for the query you just ran’.

This gives you a list of images in the category, most recent additions first. Clicking on an entry in the list will take you to the full description of that file, including the user profile of the uploader.

Other quick ideas

  • Use a biographical source to add individual facts, such as universities attended or birthplaces, to Wikidata entries or Wikipedia articles.
  • Examine a free image source (e.g. Europeana’s World War I collection) and find Wikipedia articles that the images can illustrate.
  • Search through audio archives for short clips that can be uploaded to Commons and embedded in Wikipedia articles about a person or event.

This post licensed under a CC-BY-SA 4.0 license

Call for Papers—Digitizing the Stage: Rethinking the Early Modern Theatre Archive

The Folger Shakespeare Library and the Bodleian Libraries are delighted to announce a jointly convened conference and welcome proposals for papers.

C. Walter Hodges (1909-2004), “Cutaway view sketch of the Globe Playhouse,” Folger Shakespeare Library Collection.

What: Digitizing the Stage: Rethinking the Early Modern Theatre Archive

When: 10–12 July 2017

Where: Weston Library, Bodleian Libraries, Broad Street, Oxford OX1 3BG (map)

Access: all are welcome to attend and to submit a proposal for a contribution (see below)

Admission: £150; £100 for students/unwaged/early career researchers (up to 3 years after award of highest degree)

Registration: registration is required and will open shortly

 

The Bodleian Libraries and the Folger Shakespeare Library will convene a conference from 10-12 July, 2017, on digital explorations of the early modern theatre archive. We are interested in applying approaches from other disciplines, genres, and time periods which can prompt new thinking about the ways we preserve, describe, research, and teach the early modern stage; as well as in hearing from early modernists who engage with their subject through digital means. Seeking to foster a spirit of collaborative experimentation, we invite proposals in the full range of project completion taking the form of 20-minute papers, as well as “lightning talks,” panel discussions, multimedia presentations, and others.

Invested in both material and method, Digitizing the Stage is a singular opportunity to consider the future of the early modern archive. Attendance will be limited to 100 participants, with registration opening shortly.

Submissions

Submissions should relate to one or more of the following topics and themes:

  • Materiality and methods
  • Early modern theatre and film
  • Working in audio, text, and image
  • Performance and theatre history
  • Challenges and experiments in the archive
  • Digital archiving and cataloging

Proposals for conference papers, panel discussions, lightning talks, multimedia and interactive demonstrations should not exceed 250 words.

Please include your name, contact information, academic affiliation (if relevant), and a brief biographical description including relevant interests. Submit proposals within the text of an email to digitalconf@folger.edu.

Proposals are due 9 April 2017. 

Some fee waivers and travel bursaries are available; please enquire.

For more information, please see the conference website.

Digitizing the Stage is organized by the Centre for Digital Scholarship, Bodleian Libraries; the Folger Shakespeare Library; and Professor Tiffany Stern, Royal Holloway, University of London.

The Music of Sound: call for contributions

Image from Johns Hopkins University: http://hub.jhu.edu/2012/11/07/timbre-hearing-prosthetics/.

The University of Oxford e-Research Centre and Centre for Digital Scholarship are delighted to announce a day’s symposium on sonification.

What: The Music of Sound: a sonification symposium

When:10:00–16:00, 21 April 2017

Where: University of Oxford e-Research Centre (directions)

Access: all are welcome to attend and to submit a proposal for a contribution (see below)

Admission: £20; £10 for students and unwaged

Registration: registration is required by 10 April 2017

Sounds surround us everywhere, and in our urban and industrial environments we are permanently immersed in music and noise—alarms, vending machines, phones have familiarized us with mechanical sound as signal. Sonifications, or audiograms, are attracting attention as a method of re-presenting data, yet this area of study continues to be less studied than, for example, visual analytics.

The celebrations of Ada Lovelace’s 200th birthday demonstrated a larger interest in the intersection of machinery, music, and culture, and pushed existing disciplinary boundaries. The symposium will build on this and we look forward to developing ideas and approaches together.

We invite proposals for papers (including audio-papers) and posters on sound, its production, reception, public engagement, technologies, sonic re-presentation, and exploration of the sonic world from all fields of research and learning.

Proposal submissions

Proposals must be submitted online.

The deadline for submissions is Monday 20 March 2017.

Acceptances will be notified by Monday 27 March 2017.

All submissions should include a title, abstract, a brief biography of each author, and up to five keywords.

Word counts apply to the text of the abstract, excluding titles, biographies and keywords.

Speakers will be given 30 minutes each for papers and audio-papers: 20 minutes for presentation, and 10 minutes for discussion. Lightning talks to present the posters will be given 5 minutes each, with discussion taking place during poster sessions.

Proposals should not exceed 300 words.