A symposium on the digital humanities to address such topics as: What is digital humanities? What is does it mean to engage with humanities digitally, to use digital tools for research and to present the results of your study in digital form? The digital world is not just a substitute for books and journals; it offers entirely new tools, formats, and types of access. Its audiences may be different, and authorship may be differently defined. What tools exist for these new forms of research? What are the challenges in terms of funding, sustaining, and collaborating on DH projects? Can the infrastructure that sustains our paper-based scholarship incorporate similar functions for digital work? What should the peer-review process be for digital research and publishing?
Dan Edelstein, Faculty Director of Humanities+Design Research Lab, and Professor of French and History, Stanford University
Nicole Coleman, Staff Director of Humanities+Design Research Lab, and Academic Technology Specialist, Stanford University
2:00 Digital Research & Website Presentations
Justin Underhill, Lecturer, History of Art, UC Berkeley
Elizabeth Honig, Associate Professor, History of Art, UC Berkeley
Almerindo Ojeda, Professor, Linguistics and Director, Center for the Study of Human Rights in the Americas and Project for the Engraved Sources of Spanish Colonial Art, UC Davis
3:00 Roundtable Discussion: Logistics of Initiating, Sustaining, and Validating a Digital Humanities Project
Patrick Schmitz, Associate Director, Architecture & Development, Research IT, UC Berkeley
Quinn Dombrowski, Digital Humanities Coordinator, Research IT, UC Berkeley
Eric Schmidt, Classics and Religion Editor, UC Press
Joan Starr, Manager, Strategic and Project Planning and EZID Service Manager, California Digital Library
Erik Mitchell, Associate University Librarian, UC Berkeley
(wine and cheese reception to follow)
Dan Edelstein is Professor of French and, by courtesy, of History at Stanford University. He is also Director of French and Italian, and Chair of Undergraduate Studies, French. Additionally, he serves as Faculty Director for the Humanities+Design Research Lab at Stanford and as a Chair of the Digital Humanities Focal Group (DHFG).
Edelstein primarily works on eighteenth-century France, with research interests at the crossroads of literature, history, political theory, and digital humanities. He is the author of The Terror of Natural Right: Republicanism, the Cult of Nature, and the French Revolution (University of Chicago Press, 2009) and The Enlightenment: A Genealogy (University of Chicago Press, 2010). He works with a number of colleagues at Stanford and around the world, on a large-scale, NEH-funded, digital humanities project, Mapping the Republic of Letters. The project aims to map the correspondence networks of major intellectual figures during the Enlightenment, such as Locke, Newton, and Voltaire, using the metadata for about 50,000 letters provided by the University of Oxford.
Nicole Coleman is the Academic Technology Specialist for the Stanford Humanities Center, and Staff Director of the Humanities+Design Research Lab. She also serves as a Co-Manager of the Academic Technology Specialist Program.
Coleman's work involves the application of networked resources and digital technologies in humanities research, with an emphasis on distance collaboration, interdisciplinary collaboration, data visualization, and interface design. She works in collaboration with faculty, graduate students, and individuals outside of academe to explore and develop new directions in humanities research. In 2012 Coleman co-founded Humanities+Design, a program that offers fellowships to graduate students to help prepare them for research in the digital age through the design and development of digital research tools. Her work with the Stanford Humanities Center has included: establishing a laboratory for graduate research; an online collaborative research environment (humanitiesnetwork.org); a seed-funding program for collaborative research projects; and a speaker series entitled, “New Directions in Humanities Research”.
Event co-sponsored by the History of Art department and the UCHRI Early Modern Patterns research group
In support of the strike this Thursday by the UC Student-Workers Union on campus and system-wide, the Lecture Committee will be cancelling "In My Backyard: Conversations with Art History Neighbors" (5:30pm). We will reschedule this important event in the fall semester.
Gwen Allen, Santhi Kavuri-Bauer, and Valerie Soe from San Francisco State University, Department of Art and Department of Asian Studies, in conversation with Berkeley History of Art faculty.
In folklore studies, scholars have tended to draw a major distinction between pre- and post-archival folklore. The mode of circulation is regarded as being different, tradition is said to end at the door to the archive, and archival documents are considered dead artifacts. This talk will discuss the idea of viewing the archive as a link, rather than a cut, in the circulation of folklore. It will focus on two aspects in this circulation: intersemiotic translation in folklore collecting, and the subsequent act of curation.
Pertti Anttonen is University Lecturer in folklore studies at the University of Helsinki in Finland. He is a docent in folklore studies at the University of Helsinki and the University of Turku, as well as a docent in ethnology at the University of Jyväskylä. His publications include Tradition Through Modernity: Postmodernism and the Nation-State in Folklore Scholarship.
In Conversation With:
Mario Wimmer teaches Modern European Cultural and Intellectual History in the Dept. of Rhetoric. His research focuses on the cultural and institutional history of knowledge, the critical history of rationality, and the history of an historical sense.
Deniz Göktürk is Associate Professor and currently Chair in the Dept. of German at the UC Berkeley. Her publications include a book on literary and cinematic imaginations of America in early twentieth-century German culture as well as seminal articles on migration, culture, and cinema.
Sponsored by Berkeley Folklore Program, the Graduate Assembly, and the Townsend Center for the Humanities. For more information: email@example.com.
A conversation with Jane DeBevoise moderated by Winnie Wong (Department of Rhetoric, U.C. Berkeley). Jane DeBevoise is Chair of the Board of Directors of Asia Art Archive in Hong Kong and New York.
Organized by the Department of History of Art and the Townsend Working Groups in Contemporary Art, and Asian Art and Visual Culture. Co-sponsored by the Department of Rhetoric, the Arts Research Center, the Center for Chinese Studies and the Institute of East Asian Studies.
The Circulation of Japanese and Mexican Art in the Colonial World
Sofia Sanabrais, Getty Research Institute.
A talk by Gray Brechin, Project Scientist, Department of Geography. Followed by a round-table discussion with Margaretta Lovell, Professor of History of Art, and Roberta Park, Professor Emerita, Department of Integrative Biology.
As costly new structures rise around the campus perimeter, neglect eats the historic buildings at its core. Do administrators regard the older structures as sites of opportunity for yet more revenue-enhancers? In 1898, Phoebe Hearst launched an international competition to make the University of California an incomparable "Acropolis of Learning" facing the Golden Gate. Her subsequent generosity built a preeminent public university available to all eligible Californians. After her death in 1919, William Randolph Hearst paid for a magnificent women's gymnasium to launch a vast memorial to his mother. As Hearst Gym approaches irreparability and other extant structures of the two Hearst plans face a similar fate in the midst of a manic building boom, the Berkeley campus offers a textbook of changing priorities in a time of forgetting. Audience participation is invited.
Henry Glassie, Professor Emeritus, Indiana University
During years of ethnographic work in Bangladesh, living with creators and talking with them about their work, Henry Glassie came to an understanding of their idea of art. Their ideas, grounded in ecology and religious principle, united use and beauty, need and aspiration, providing a challenge to Western conventions. History of Art is happy to have the annual Alan Dundes Lecture in Folklore in Doe Library this year.
Until 8:00 pm | 02/27/2014
David Bindman, Professor Emeritus, University College London and Visiting Professor, Harvard University, Spring 2014
Andrew Watsky, Princeton University
Chanoyu has always entailed multiple overlapping activities, including the preparation and consumption of tea, the collecting and use of a repertoire of requisite objects, and the understanding and articulation of the relative quality of those objects. This paper focuses on sixteenth-century chanoyu, for which there are both extant objects and a rich trove of textual evidence, and especially on ōtsubo, “large jars,” then the most highly valued of all chanoyu objects. We will consider how sixteenth-century tea men assessed and amplified the significances of treasured ōtsubo, through the formulation of aesthetic criteria, the bestowal of proper names, and an inclination for anthropomorphic embrace.
Co-sponsored by the Center for Japanese Studies.
Edward William and Jane Marr Gutgsell Professor of Art History Emeritus
University of Illinois at Urbana-Champaign
Patrick Hajovsky, Southwestern University
Patrick Hajovsky, Assistant Professor of Art History at Southwestern University, has submitted the following abstract for his January 30 talk:
On March 31, 1650 a catastrophic earthquake ravaged the city of Cuzco, Peru, yet its Cathedral survived and soon after housed a colossal votive painting of the event—a panorama of the city during its turmoil. This painting is one of the earliest city views of Latin America, and a visual heteroglossia of the disaster, bringing together multiple evidentiary sources into its grand perspective. While it was a collaborative project between its unidentified Andean artist and its Spanish patron, its painted image and its text-caption credit two different miraculous images for intervening on behalf of the city. This begins an era of competition between these two images—a Spanish painting of Nuestra Señora de los Remedios and a sculpted crucifix named Taytacha Temblores—whose efficacies, it appears, correlate with ethnic divisions of viewership and ritual participation into the eighteenth century.
Atreyee Gupta is a candidate for our faculty position in Global Modern Art History.
Mariola V. Alvarez
Mariola Alvarez is a candidate for our faculty position in Global Modern Art History.
Anneka Lenssen is a candidate for our faculty position in Global Modern Art History. A summary of her presentation follows.
The global exceeds the nation-state. The expectation that this transition – keenly anticipated but perpetually deferred – must take place is one of the central promises of a global history of modern art, and also one of its most persistent methodological problems. In my talk, I examine this problem of forging a global conceptualization of modern art by a close historical reading of artworks that adopted a global mode, i.e. a mode of placing their spectators beyond the boundaries of state power. Specifically, I track a series of deployments of an arabesque line – a rhythmic arrangement of a continuous line that manifests itself as if in durational time rather than as gestalt effect or material presence – as a means to achieve an organization of space that rivaled the institutions of the state and their imperative to manufacture the experience of the real as different from representation. The talk begins with an elucidation of the radical qualities of the arabesque paintings that Syrian artist Adham Ismail made in the aftermath of French colonial control, and in particular the modern doctrine of self-determination that had placed the artist's hometown of Antioch in a disputed border region between Turkey and Syria into a crisis of political filiation (1936-1939). At the discursive heart of Ismail's “Arab abstraction” as he practiced it in 1950s Syria, one finds a claim to the ahistorical validity of line as pure form that derives from a lineage of French Modernist writing on the arabesque as unmediated sense-data. The second part of the talk considers contemporaneous deployments of unending or capricious lines as a site of recuperative corporeal experience – pieces by Egyptian artist Mounir Canaan, Lebanese artist Saloua Raouda Choucair, and Argentine-Italian artist Lucio Fontana – and analyzes them as analogous impulses to recalibrate the national against the state. My guiding concern is to treat these counter-deployments of Modernist theories of spatial composition not as mere colonial legacy, but rather as an effect of the modern crises of political representation that motivate the imagination of the global.