Are Human Beings Becoming Dumb Terminals? Notes and Works CitedChris Boese
Notes (not too extensive) and Works Cited from my talk at the 2009 IA Summit in Memphis, titled "Are Human Beings Becoming Dumb Terminals? Implications for Deep Structure Interfaces."
Are Human Beings Becoming Dumb Terminals? Notes and Works CitedChris Boese
Notes (not too extensive) and Works Cited from my talk at the 2009 IA Summit in Memphis, titled "Are Human Beings Becoming Dumb Terminals? Implications for Deep Structure Interfaces."
Collective learning sets humans apart from all other species, and language magnifies the impact of that learning.
Register to explore the whole course here: https://school.bighistoryproject.com/bhplive?WT.mc_id=Slideshare12202017
Culture and learning in the digital age: experiences from Brussels and the w...Frederik Questier
F. Questier, Culture and learning in the digital age: experiences from Brussels and the world, Guest lecture at Communications University of China, School of Distance and Continuing education, 14/10/2010. On request of the audience, an introduction to Belgian culture was added.
"It's 2010: 20 Technologies to Watch, and How to Cope" for SLA's Click University. The real secret is that the best way to cope is to remain positive and reframe our perception of the changes. They don't happen to us. We make them happen. Create the future. Who is better qualified to help invent the information and knowledge based economy than us?
Digital Nativity: Education in the Generation of the Tech-SaavyChris Mogensen
"The newest generation of learners arriving at our shores have never been without technology in their lives…how does this simple fact change their perception of education? What does it mean for them, and us? Explore the paradigm of teaching to the Digital Native."
Presentation given at the Association of Adult Educators conference on October 23rd, 2015 at Nova Scotia Community College - Waterfront Campus in Dartmouth, Nova Scotia, Canada.
Bibliography available on request.
Final report for SD5520 Concept Workshop. The concept is about the sustainable reading behavior. Talking about sustainable disposal ways for free newspaper in Hong Kong.
Fragments, Pivots and Jumps that Relate and NarrativeRuth Tringham
This presentation discusses the broader implications of digital documentation, presentation and publication for long-term sustainable preservation of humanities research, using the example of our archaeological project from Çatalhöyük, Turkey.
It was a keynote presentation at the 5th International Conference of Digital Archives and Digital Humanities, held in Taipei, Taiwan, December 2014
Canonical conceptions of narrative might find such a story-game equation problematic but the borders between the narrative and the ludic have always been fluid and allowed varying degrees of overlap between the two. With older games, this might not have been as obvious but with the sophisticated machinic narratives developing within and through computer games, it is clear that current conceptions about narrative have to take into account the ludic and the machinic nature of stories to be able to explain the functioning of problematic forms, like the narratives created within computer games. Such changing conceptions of narrative also need to address the participatory and constructive role that the reader has in the development of the narrative. In computer games, the narratives are formed within the game system (i.e. a base narrative) but through a complex identification with the in-game protagonists whose actions (and therefore the player’s) play the story into existence, thus establishing a constant interplay between playing and reading. Keeping the above in view, this paper will try to analyse the workings of narratives with reference to computer games and other new media as well as by identifying how older media also incorporate similar characteristics, hitherto ignored. It will therefore try to re-examine some key issues that inform essential conceptions of narratives and also show how Alice, in both kinds of texts, plays a videogame.
Re membering and dismembering: Memory and the (Re)Creation of Identities in V...Souvik Mukherjee
This is my presentation for the Philosophy of Computer Games Conference 2011. The accompanying paper is available at: http://gameconference2011.files.wordpress.com/2010/10/re-membering-and-dismembering-final.pdf.
Collective learning sets humans apart from all other species, and language magnifies the impact of that learning.
Register to explore the whole course here: https://school.bighistoryproject.com/bhplive?WT.mc_id=Slideshare12202017
Culture and learning in the digital age: experiences from Brussels and the w...Frederik Questier
F. Questier, Culture and learning in the digital age: experiences from Brussels and the world, Guest lecture at Communications University of China, School of Distance and Continuing education, 14/10/2010. On request of the audience, an introduction to Belgian culture was added.
"It's 2010: 20 Technologies to Watch, and How to Cope" for SLA's Click University. The real secret is that the best way to cope is to remain positive and reframe our perception of the changes. They don't happen to us. We make them happen. Create the future. Who is better qualified to help invent the information and knowledge based economy than us?
Digital Nativity: Education in the Generation of the Tech-SaavyChris Mogensen
"The newest generation of learners arriving at our shores have never been without technology in their lives…how does this simple fact change their perception of education? What does it mean for them, and us? Explore the paradigm of teaching to the Digital Native."
Presentation given at the Association of Adult Educators conference on October 23rd, 2015 at Nova Scotia Community College - Waterfront Campus in Dartmouth, Nova Scotia, Canada.
Bibliography available on request.
Final report for SD5520 Concept Workshop. The concept is about the sustainable reading behavior. Talking about sustainable disposal ways for free newspaper in Hong Kong.
Fragments, Pivots and Jumps that Relate and NarrativeRuth Tringham
This presentation discusses the broader implications of digital documentation, presentation and publication for long-term sustainable preservation of humanities research, using the example of our archaeological project from Çatalhöyük, Turkey.
It was a keynote presentation at the 5th International Conference of Digital Archives and Digital Humanities, held in Taipei, Taiwan, December 2014
Canonical conceptions of narrative might find such a story-game equation problematic but the borders between the narrative and the ludic have always been fluid and allowed varying degrees of overlap between the two. With older games, this might not have been as obvious but with the sophisticated machinic narratives developing within and through computer games, it is clear that current conceptions about narrative have to take into account the ludic and the machinic nature of stories to be able to explain the functioning of problematic forms, like the narratives created within computer games. Such changing conceptions of narrative also need to address the participatory and constructive role that the reader has in the development of the narrative. In computer games, the narratives are formed within the game system (i.e. a base narrative) but through a complex identification with the in-game protagonists whose actions (and therefore the player’s) play the story into existence, thus establishing a constant interplay between playing and reading. Keeping the above in view, this paper will try to analyse the workings of narratives with reference to computer games and other new media as well as by identifying how older media also incorporate similar characteristics, hitherto ignored. It will therefore try to re-examine some key issues that inform essential conceptions of narratives and also show how Alice, in both kinds of texts, plays a videogame.
Re membering and dismembering: Memory and the (Re)Creation of Identities in V...Souvik Mukherjee
This is my presentation for the Philosophy of Computer Games Conference 2011. The accompanying paper is available at: http://gameconference2011.files.wordpress.com/2010/10/re-membering-and-dismembering-final.pdf.
Bluff your way in Qualitative Research (in less than 40 mins).
A short overview as to why we do qualitative research, what it is, how to understand it, and how to recognise the poor stuff.
2019 DH downunder 9 December 2019 talk:
Digital heritage, Virtual Heritage, Extended Reality (XR): what are they?
Can gaming, AR or MR provide insight to the past?
OR: Are they a waste of money, expensive new technology?
Could, for example, digital heritage pose a threat to culture? Ziauddin Sardar 1995: “Cyberspace is a giant step forward towards museumization of the world: where anything remotely different from Western culture will exist only in digital form.”
Digital Heritage highlights and challenges (interactive + immersive examples).
Bex lecture 5 - digitisation and the museumBex Lewis
Lecture given on Thursday 6th May to first years on History module "Creating and Consuming History", encouraging them to think about the possibilities of digitisation in museums (the heritage sector/historical research), and the benefits and otherwise of some of the tools currently available.
Games as Serious Visualisation Tools For Digital Humanities, Cultural Heritage and Immersive Literacy
Are there social and cultural issues raised by virtual, mixed and augmented reality technologies of particular interest to Digital Humanities researchers? I will also discuss related emerging and merging themes in serious game research and a relatively new concept, immersive literacy.
The area of Digital Humanities has emerged as a transformational force in the Information Age, when digital technology permeates practically every aspect of our life. When technology meets the liberal arts, you get digital humanities, or DH for short. It's a wide-ranging discipline that uses computers to study, interpret, and produce new forms of cultural knowledge. In this blog, we will investigate Digital Humanities and to learn more about it you can pay someone to do my assignment writing assignments and discuss its value, practical uses, obstacles, and potential in the years to come.
New Futures for Education: Beyond the Information Age.Wendy Schultz
Keynote presented to the World Future Society's conference in Mexico City, 7 November 2003.
Note that the speech itself is written in the slidedeck notes, so if you view "notes" while clicking through the deck, you can read the speech in full.
Digital approaches for the arts - 2013 - Unthinkable ConsultingJustinSpooner
A set of slides from my talk for IT4Arts in February 2013. The focus of the talk was to look at a range of digital approaches that organisations and artists have used over the last few years and consider how we might apply the lessons learnt to our future activity. I have included some speaker's as part of the slides so that it makes more sense a stand-alone piece of content.
Justin Spooner - Director - Unthinkable Consulting
Notational systems and cognitive evolutionJeff Long
October 29, 2005: “Notational Systems and Cognitive Evolution”. Presented at the 2005
Annual Conference of the American Society for Cybernetics. Paper published in conference proceedings.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
Palestine last event orientationfvgnh .pptxRaedMohamed3
An EFL lesson about the current events in Palestine. It is intended to be for intermediate students who wish to increase their listening skills through a short lesson in power point.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
Welcome to TechSoup New Member Orientation and Q&A (May 2024).pdfTechSoup
In this webinar you will learn how your organization can access TechSoup's wide variety of product discount and donation programs. From hardware to software, we'll give you a tour of the tools available to help your nonprofit with productivity, collaboration, financial management, donor tracking, security, and more.
3. From Humanities computing there was a shift to new media and now New media has
lost out on popularity among researchers; there were people who went to extremes
in their objection to the term: in the early years of my PhD I would secretly start
avoiding people who said they were working on new media. There were times when I
even stopped playing videogames with them.
Anyway, almost in response to this: Digital humanities is the now current term for
digital mediations in the Humanities. I can’t say I like it very much but I’m being
super-fussy.
------
3
4. The borders of DH are at best still fuzzy. And for me, that’s a good thing.
4
5. The general perception might be different even negative (talk about the ‘Presidency
videogame parlour’) but whatever it is , DH has attracted the attention of academia
and the media.
5
6. The key question is ‘What is different with digital humanities?’. Why all the interest
the world over?
At a digital humanities session at the SHARP conference in Dublin this year, I was
given this postcard by some digital humanists from the Bodleian. They sent out an
unambiguous message and I haven’t forgotten it. The message is intriguing: old
words, new tools. So are we then using digital media to do what we did before in
Humanities without much changing the concepts? There is a proclivity amongst
commentators to argue for a repetition of traditional tasks via the often much quicker
and easier digital means.
J-C Carriere talking to Umberto Eco sees nothing new in USB drives except the much
larger space. Sawday and Rhodes are aware of the playful instability of the hypertext
and are quick to distance this from the comparatively stable nature of print culture.
Yet, they too join the old words new tools party – maybe hypertexts aren’t like print
but they are certainly like medieval scrolls.
I find this problematic.
The postcard is now a treasured keepsake but I’ve modified it for myself, slightly: I’ve
added a word - ‘really???’.
6
7. Old Words New Tools image. Is it really old words and new tools?
The computer, through its possibilities for interactivity, ‘play’ and the creativity of
hypertext, is
now rapidly undoing that idealization of stability, and returning us to a kind of
textuality which may have more in common with the pre-print era. Thus, Vincent
Gillespie has argued that the
contemporary user’s experience of hypertext ‘… seems to me to be similar to a
medieval reader’s
experience of illuminated, illustrated and glossed manuscripts containing different
hierarchies of
material that can be accessed in various ways’. Computer-generated texts, now, are
beginning to
exist as far more provisional entities than we have ever been used to since Gutenberg
first printed
books from moveable (that is, redistributable) type. ‘Ink and paper’ writes Leah
S.Marcus ‘are
relatively stable media by comparison with the computer screen’. This shift
represents not so much
the oft-proclaimed ‘Death of the author’ but, rather, the possibility of multi-
authorship, where an
individual’s contribution to a scholarly or scientific debate is just one voice amongst
many which go
to make up the totality of responses. (‘Imagining the Renaissance Computer’, p. 10 –
11)
Also compare Jean-Claude Carriere : Then there are our USB sticks and other ways of
storing and carrying information. These too are nothing new. At the end of the
eighteenth century, the upper classes would pack a small library in trunks and take
them on their travels […] these libraries, of course, were not measured in gigabytes
but it was the same idea. (p.50)
Discuss ‘remediation’
6
10. I find something that Jacques Derrida says quite useful in this context:
Derrida’s Archive Fever :
This is another way of saying that the archive, as printing, as writing, prosthesis or
hypomnestic technique in general is not only the stockroom and the conservatory for
archivable contents of the past which would exist in any case, and just the same,
without the archive.
No, the technical structure of the archiving archive also determines the structure of
the archivable contents even as it comes into existence and its relationship to the
future. This means that in the past psychoanalysis would not have been what it was
(no more so than many other things) if electronic mail, for example, had existed. And
in the future it will no longer be what Freud and so many psychoanalysts have
anticipated now that E mail, for example, has become possible.
-----
So any move towards the digital archive effectively involves a thinking through of the
ways in which such archives function – the querying of digital databases is not
necessarily the same as it would be to search Diderot’s encyclopaedia. The creating
of such databases might involve the creation of structures that can be accessed by
the digital logic of systems like SQL etc. [??? Finish]
9
11. -------------
Anyway, for me digital humanities is not just about designing digital archives, creating
electronic texts, coding concordances or the very textual uses to which computing in
the humanities can be put.
------------
For me, there is a key element that is often left out of the consideration – culture. As
Derrida clearly says, the technical aspect relates to its relationship with the future.
There is a cultural shift that we cannot do without.
[speak about originary technicity]
There is no natural originary body: technology has not simply added
itself, from the outside or after the fact, as a foreign body. Or at least
this foreign or dangerous supplement is ‘originarily’ at work and in place
in the supposedly ideal interiority of the ‘body and soul’. It is indeed at
the heart of the heart (JD, Points)
------------------------
9
13. Locating the digital humanities – show wordle cloud
Social media, virtual worlds, roleplay, story creation, data-mining, concordances,
digital texts / hypertexts, videogames
Further, is it ‘digital humanities’ or ‘the digital humanities’: is it singular or plural?
11
14. This was part of a project on the impact of web 2.0 on professionals in Leicester, UK.
The case of Inspector Bill Knopp merits study in terms of digital culture.
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16. Game Studies as digital humanities
Barry Atkins’s quote.
One day, perhaps, the computer game will even produce its À la Recherche du Temps
Perdu or its Ulysses, its Casablanca or its Citizen Kane. It is, as yet, early days, and this
is a reading of those early days.
MacTavish - To date, the most common debates have been between ludological
approaches, which define digital games as primarily rule-based objects and activities,
and a collection of other approaches rooted in the study of narrative, theater, and
film. For many ludologists, remove the story-line and high-tech special effects and
you still have a game based upon rules. While this may be true, the fact remains that
many digital games include stories, performance, and audiovisual pleasures that are
configurable by the player in some fashion. Remove them from the game and you
might still have a game, but it won't be the same one you started with.
It is safe to say that digital games are currently an important object of study for
scholars of digital culture. If safety comes in numbers, then we need only to
acknowledge the growing number of conferences, monographs, essay collections,
14
17. and university courses and programs treating digital games as cultural artifacts that
express meaning and reflect and shape the world we live in.1 A far riskier claim would
be that digital games studies is a definable discipline. While there may be abundant
evidence that scholars are engaging with digital games, it's too early to see an
established discipline with a set of matured methodologies and canonical texts or a
broad base of institutional structures like departments and academic appointments.
This does not mean that digital games scholars are not trying to establish a discipline.
Indeed, an important component of academic discourse around digital games has
been less on gaming artifacts and practices, and more on defining appropriate
methodologies for analysis that are more or less unique to digital games. Many
scholars want to treat digital games with the same analytic seriousness as they treat
works of literature, theater, visual art, music, and film, but they are also concerned to
understand what is distinctive about digital games. The burning question at hand is,
should the study of digital games be guided by theories and methods unique to digital
games, or can we apply theoretical models developed to explain other cultural forms
such as narrative, theater, and film? On the one hand, this primarily political
dimension of digital games studies draws attention away from games and gameplay;
on the other hand, answering the question has very real and material effects on the
generation and distribution of knowledge around digital games.
There is nothing new in scholars debating approaches to their subject matter,
especially when it comes to the study of new or updated forms and presentations of
culture. This is normally a sign of a healthy and growing field. In the area of digital
games studies, though, the stakes seem very high as participants bandy about the
rhetoric of colonialism to protect their turf against invasion from opposing teams of
scholars.2 One might imagine these debates in terms of team building in schoolyards
where groups select the players they want on their team, leaving those outside the
debate standing on the sidelines waiting to be picked or going off to play their own
game away from the popular kids. The danger of such team building, of course, is that
the popular kids would like to believe that they are the only game in town. In other
words, as important as these debates have been to establishing digital games as
legitimate objects of study, they have tended to divide scholars into camps, each with
particular methodologies defined to some extent in opposition to other camps.
Intentional or not, the result of such division can be an unfortunate blindness to the
remarkable diversity of digital games and gameplay practices.
To date, the most common debates have been between ludological approaches,
which define digital games as primarily rule-based objects and activities, and a
collection of other approaches rooted in the study of narrative, theater, and film.
While most ludological commentators grant that digital games can include story,
performance, and filmic convention, they often argue that these elements are
secondary to a game's gameness. For many ludologists, remove the story-line and
14
18. high-tech special effects and you still have a game based upon rules. While this may
be true, the fact remains that many digital games include stories, performance, and
audiovisual pleasures that are configurable by the player in some fashion. Remove
them from the game and you might still have a game, but it won't be the same one
you started with.
What most digital games scholars agree upon is that games require an active
participant for the game to proceed. Players must effect change within the game for
there to be a game. In this respect, game players are co-creators of the gaming
experience. Similar claims have been made for the way we consume most forms of
culture. The reader of a novel or the viewer of a film actively engages with the work
by interpreting it. This psychological interaction with the work can discursively affect
how others interpret it, but it does not change the work's fundamental structure or
organization. When we watch a movie, we might interpret it differently than others,
but we all experience the same sequence of images and sounds. While it is possible
to skip or review sections of a movie or novel, these actions are not necessary to the
realization of the work. Digital games, however, require that players physically
interact with the work, whether it's to guide characters through the game space,
modify the game world, or even to create new game elements.
Espen Aarseth conceptualizes the participatory nature of digital gameplay in terms of
ergodics. In ergodic works, "non-trivial effort is required to allow the reader to
traverse the text," while in nonergodic works, "the work to traverse the text is trivial"
(1997: 1). For Aarseth, who approaches digital games primarily from a ludological
perspective, flipping pages and scanning images with our eyes is nonergodic because
it does not require the user to cause the same kind or degree of physical change to
the work. Janet Murray thinks about the participatory user in terms of agency, stating
that "Agency is the satisfying power to take meaningful action and see the results of
our decisions and choices" (Murray 1997: 126). Concerned mainly with the narrative
potential of digital games, Murray adds that "we do not usually expect to experience
agency within a narrative environment" (Murray 1997: 126). Even though Aarseth and
Murray approach digital games from two different and sometimes opposing
perspectives, they agree that the participatory nature of digital games distinguishes
them from other textual and visual forms of culture. Regardless of perspective, the
realization of a digital game requires participating players whose interactions with the
game make them co-creators of work.
As digital games research begins to move its focus away from the ludology vs.
narratology debate and toward the kinds and qualities of participatory play, the
creative element of digital gameplay is receiving much more critical attention. Rather
than pronounce that gameplay is unproductive time, as influential play theorists
Johann Huizinga and Roger Callois have argued, a growing community of games
14
19. scholars are arguing that digital gameplay is a creative activity saturated with various
in-game and meta-game productive practices. Whether we conceive of creative
game-play in terms of ergodics or agency, our analysis should be guided by questions
around what kinds of creative practices are supported by digital games and how
social, cultural, and economic factors shape these practices.
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29. Hayles MSA.
If simulation is becoming increasingly pervasive and important, however,
MATERIALITY is as vibrant as ever, for the computational engines
and artificial intelligences that produce simulations require sophisticated
bases in the real world. The engineers who design these machines, the factory
workers who build them, the software designers who write programs
for them, and the technicians who install and maintain them have no illusions
that physical reality has faded away. If representation is an increasingly
problematic concept, materiality offers a robust conceptual framework
in which to talk about both representation and simulation as well as
the constraints and enablings they entail.
Although material criticism is highly developed in specialized fields
such as bibliographic criticism and textual studies, I think its value is
much more general and widespread. Accordingly, I want to call it
media-specific analysis (MSA), as a way to invite theorists and critics to
think more broadly about the connections between strands of criticism
that have not yet made common cause with one another. (29)
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