Owing to unforeseen scheduling issues The Archive Unbound symposium is postponed until early spring. Apologies for the inconvenience – stay tuned for further updates.
The Archive Unbound a one-day symposium
Friday, 3 February 2017
Keynote Speaker: TBC
Download PDF here: the-archive-unbound-cfp
We invite proposals of up to 300 words for 20-minute papers that explore any aspect of the curation, build, (re)mediation and creative re-use of archives, including demonstrations of current projects. The deadline for submission of abstracts is 20th January 2017. Please send proposals or enquiries to Michael Goodman (GoodmanMJ@cardiff.ac.uk). Attendance at the Symposium is free and limited to no more than 30 delegates. While non-speaking delegates are welcome, priority will be given to speakers.
Formed in December 2015, and funded by Cardiff University’s College of Arts, Humanities and Social Science, the Cardiff Digital Cultures Network is an interdisciplinary grouping that aims to bring together researchers, creative practitioners and library/museum professionals involved with digital work to share expertise and best practice. As part of our programme of activities, we are hosting four Symposia on various aspects of digital culture, focusing on: Word, Image, Digital (November 2016); The Archive Unbound (February 2017); Remediation and Adaptation (March 2017); and Big Data (May 2017). More information about the Network and its events can be found on our website (cardiffdigitalnetwork.org) and by following us on Twitter (@CUdigitalnet).
Symposium organisers: Hanna Diamond, Jenny Kidd and Anthony Mandal.
1st November 2016, Cardiff University
The interplay between word, image and the digital is one of the most pertinent and topical areas for research and discussion in the humanities. Whilst important work has been done previously theorising word and image (see, for example, W.J.T Mitchell’s Picture Theory), the addition of the digital to this already complex relationship problematises, amplifies and disrupts our understanding of what it means to be human and consequently challenges us to re-think how we understand visual culture. On 1st November, Cardiff Digital Culture’s Network held its first symposium that interrogated this very subject and in the process acted as kind of prelude for the discussions that the rest of the world would be having a week later when, as result of Donald Trump winning the American Presidential election, concerns were raised over the way the digital allows for the widespread dissemination of words juxtaposed with images in the form of memes to denigrate, abuse and often tell outright lies about political opponents.
Cardiff University, 17th November
On the 17th November 2016, Cardiff University hosted its first postgraduate conference on Gender and Digital Cultures. Conceived by members of the University’s Gender and Sexualities Research Group and Digital Cultures Network, the conference aimed to provide space for postgraduate researchers to share and debate emerging interdisciplinary scholarship on Gender and Digital Culture as well as build capacity amongst postgraduate students in digital research practice.
In this blog piece, Joachim Buur, who has just completed his MA in English Literature at Cardiff University discusses his work on Andrew Hussie’s webcomic Homestuck and the implications it has for fans in the digital world.
I’m honoured to be here as a rookie scholar and a fan to tell you a bit about the paper I gave at the Word. Image. Digital. Symposium, whose full title is ‘The Symbionic Cybertext Machine: Andrew Hussie’s Homestuck and its Fans as a Cyborg Collective’. Unfortunately I don’t have nearly enough room here to make the title make sense, so instead I hope to give you some idea of the general thrust of my paper. Shortly put, it’s about the webcomic Homestuck and the ways in which its author Andrew Hussie and his fans have gone through a co-evolution process, together working to create a narrative experience which could only have arisen (and only makes sense) in an online social context.
The Royal Shakespeare Company have been working with Intel and Imaginarium Studios on a new production of The Tempest that uses technology to blur the line between reality and the digital. This piece briefly explores why The Tempest has been so attractive to film-makers over the past century.
On 28th December 1895 Georges Méliès, a Parisian magician, sat in amazement at what he was witnessing. He was attending a demonstration of the Lumière brother’s new invention: the cinématographe. It was a machine that allowed both the recording and the projection of moving images. In a darkened room at the Salon des Indien, the audience were transfixed, especially Méliès, who instantly saw the potential of this new machine: ‘We were positively stupefied. I immediately said “That’s the thing for me…an extraordinary trick!”’ The films that were projected onto a makeshift screen can only be described as short documentaries – workers leaving a factory, a locomotive arriving at a station – but Méliès recognised the creative and imaginative potential of this new medium. He would eventually go on to use cinema he said ‘not for the servile reproduction of nature, but for its spectacular expression of artistic and creative ideas of all kinds.’ Soon after, Méliès built his own camera and the world’s first film studio and set about making his own idiosyncratic films which would incorporate special effects with traditional theatre techniques that evoked a ‘dreamlike atmosphere’ and an ‘unreal world wholly obedient to the whims of the imagination’. Through cinema Méliès had, like Shakespeare’s Prospero three hundred years earlier, created and discovered his own ‘rough magic’.
As part of our recent Word. Image. Digital. Symposium, Othniel Smith presented a brilliant paper on The Poetry Storehouse. You can read the full paper here and watch the videos.
The Poetry Storehouse opened its metaphorical doors in October 2013.
A website put together by a panel of poets and literary academics, mostly in the US, its twin aims were (a) to utilise online technology to attempt to find a wider audience for contemporary poetry which might otherwise remain restricted to small-press print editions and (b) to stimulate creativity in other artists – whether they be actors, photographers, painters, filmmakers or composers – who might feel inspired to respond ekphrastically to the poems which were showcased.
In this fascinating post, Jannat Ahmed, an MA student in English Literature at Cardiff University, asks us to think about a new kind of poetry…
In our digital age, are tweets a new form of poetry? This is a question I have asked myself after seeing how people engage with specific types of posts on Twitter, Tumblr and Facebook. While tweets themselves have their own restrictions (their 140 characters, interestingly, can remind us of the restrictive 14 lines in a sonnet, for example), it is not the straightforward 140 character restriction of a tweet that I correspond with an idea of poetry, but another kind of post prevalent on social platforms that offers poetic engagement: Having gathered force for several years as MSN Messenger statuses, the phenomena of inspirational quotes and narrative posts has found its way onto all kinds of social media channels.
From stories about real people on the “Humans of New York” page on Facebook to @PoemsPorn on Twitter, today the poetry and stories consumed by the world are comprised of short quotations and screenshots that evidently speak to, and resonate with, people. Comparing the personal impact and function of modern day quotation/narrative posts with the social importance and function of poetry from poets like Pope, Montagu and Shelley, I ask whether it is possible to start thinking seriously about these new genres of writing (or rewriting?) produced through the new medium of the digital.