The Digital Vibrations of Contours

This Dialogues is a curated discussion of Latinx digital humanities emphasizing digital visual culture and the digital visualization of culture by scholars and artists with diverse backgrounds and projects. Envisioned as a foundational text in the growing Latinx visual digital humanities field, this Dialogues is not striving to be comprehensive. Instead, through its discussion, participants define Latinx digital humanities and visual culture broadly, with authors and artists finding common ground through their decolonial practices and community-based methods, as well as sharing concerns about and resistance to inevitable co-option by capitalism as their respective Latinx digital humanities projects work against community erasure and toward visibility. Contributors also map antecedents and futures for Latinx digital humanities projects of visual culture.

This Dialogues is a curated discussion of Latinx digital humanities emphasizing digital visual culture and the digital visualization of culture by scholars and artists with diverse backgrounds and projects. Envisioned as a foundational text in the growing Latinx visual digital humanities field, this Dialogues is not striving to be comprehensive. Instead, through its discussion, participants define Latinx digital humanities and visual culture broadly, with authors and artists finding common ground through their decolonial practices and community-based methods, as well as sharing concerns about and resistance to inevitable co-option by capitalism as their respective Latinx digital humanities projects work against community erasure and toward visibility. Contributors also map antecedents and futures for Latinx digital humanities projects of visual culture.

This Dialogues is a curated discussion of Latinx digital humanities emphasizing digital visual culture and the digital visualization of culture by scholars and artists with diverse backgrounds and projects. Envisioned as a foundational text in the growing Latinx visual digital humanities field, this Dialogues is not striving to be comprehensive. Instead, through its discussion, participants define Latinx digital humanities and visual culture broadly, with authors and artists finding common ground through their decolonial practices and community-based methods, as well as sharing concerns about and resistance to inevitable co-option by capitalism as their respective Latinx digital humanities projects work against community erasure and toward visibility. Contributors also map antecedents and futures for Latinx digital humanities projects of visual culture.

This Dialogues is a curated discussion of Latinx digital humanities emphasizing digital visual culture and the digital visualization of culture by scholars and artists with diverse backgrounds and projects. Envisioned as a foundational text in the growing Latinx visual digital humanities field, this Dialogues is not striving to be comprehensive. Instead, through its discussion, participants define Latinx digital humanities and visual culture broadly, with authors and artists finding common ground through their decolonial practices and community-based methods, as well as sharing concerns about and resistance to inevitable co-option by capitalism as their respective Latinx digital humanities projects work against community erasure and toward visibility. Contributors also map antecedents and futures for Latinx digital humanities projects of visual culture.

This Dialogues is a curated discussion of Latinx digital humanities emphasizing digital visual culture and the digital visualization of culture by scholars and artists with diverse backgrounds and projects. Envisioned as a foundational text in the growing Latinx visual digital humanities field, this Dialogues is not striving to be comprehensive. Instead, through its discussion, participants define Latinx digital humanities and visual culture broadly, with authors and artists finding common ground through their decolonial practices and community-based methods, as well as sharing concerns about and resistance to inevitable co-option by capitalism as their respective Latinx digital humanities projects work against community erasure and toward visibility. Contributors also map antecedents and futures for Latinx digital humanities projects of visual culture.

This Dialogues is a curated discussion of Latinx digital humanities emphasizing digital visual culture and the digital visualization of culture by scholars and artists with diverse backgrounds and projects. Envisioned as a foundational text in the growing Latinx visual digital humanities field, this Dialogues is not striving to be comprehensive. Instead, through its discussion, participants define Latinx digital humanities and visual culture broadly, with authors and artists finding common ground through their decolonial practices and community-based methods, as well as sharing concerns about and resistance to inevitable co-option by capitalism as their respective Latinx digital humanities projects work against community erasure and toward visibility. Contributors also map antecedents and futures for Latinx digital humanities projects of visual culture.

Editorial Commentary

This study investigates how digital representation practices shape spatial meaning-making, aesthetic coherence, and narrative construction in interior design education. Responding to a notable gap in the literature regarding the limited examination of student-produced visuals as visual–cultural artifacts, the research analyzes how emerging designers employ digital tools to construct spatial identity and atmosphere. The dataset consists of 816 images produced by 34 fifth semester interior design students within a design studio project focused on the adaptive reuse of a standardized school building. The study adopts a hybrid methodological framework that combines Gillian Rose’s multi-sited visual analysis with Braun and Clarke’s reflexive thematic analysis, alongside a semiotic interpretation informed by Kress and van Leeuwen, Barthes, and Manovich. The analysis reveals three recurring themes across the projects: a fluid spatial identity articulated through guided circulation and rhythmic compositional strategies; digital nature abstractions developed through software-mediated organic metaphors; and institutional comfort atmospheres characterized by symmetry, tonal neutrality, and controlled relationships between material and light. Overall, the findings demonstrate that digital visualization tools function not only as technical means of representation but also as mediating environments that interact with students’ design intentions, visual culture exposure, and pedagogical frameworks, shaping spatial thinking and aesthetic coherence. In this respect, the study provides critical and timely insights into the evolving pedagogical structure of digital interior design education.

Across the last 25 years, digital projects on the visual culture of Latin America have begun to shape, ever more fundamentally, both research and teaching environments. To be sure, books and journal essays remain the dominant mode of publishing (and significantly so), but digital projects—made possible in part because of increasingly accessible databases and less expensive editing platforms—are becoming widely recognized as key elements in the visual and intellectual landscape. The visual culture of Spanish America (also known as colonial visual culture or viceregal visual culture) extends across three centuries, dating from roughly 1520 to 1820. Yet its history, which embraces both the physical traces of everyday life and ephemeral experiences, is arguably the least familiar of Latin America’s artistic and material legacies, especially outside Latin American Studies. Nonetheless, the period has inspired a suite of projects that, considered together, highlight the current potentials (and limits) of digital work, provide useful models for future research, and open onto debates relevant across the digital humanities (as they are currently called). If this is the basic landscape, then what are the important issues when it comes to the intersections of digital technologies and colonial visual culture? This question is considered here along three avenues. First, what can be achieved with existing software, particularly imaging software, and the inherent epistemological assumptions imbedded in software commonly used? This topic receives the most attention because future research depends so heavily upon our perceptions and understandings of present technological capabilities. The second theme considered is accessibility. Given that institution-driven projects, most often online ventures sponsored by a museum or a library, have opened certain collections to an online public, what are the implications of the accessibility they offer, and how might such databases shape the parameters of research—both in the data they provide and in the kinds of questions their technologies make it possible to pose and answer? Finally, consideration is given to the possibilities and potentials for collaboration that the online environment offers in the study of visual culture of Latin America. To set a framework for discussion, this article begins with a broad view, “The Object(s) of Visual Culture,” and then turns to examples of scholar-driven projects currently online. Typically, these are generated by scholars working at universities and dependent upon both internal and external funding. The sections “Seeing Images, Knowing Landscapes” and “Epistemological Assumptions” not only describe examples, but also explore the modes of interpretation that digital environments enable and the habits of viewing that are produced as a result. Because scholar-driven projects do not exist in isolation, the article turns to institution-driven projects, represented primarily by digitized museum collections and archives, which have become central components of the research environment. Many projects in this vein are well-described elsewhere—our focus therefore rests on the effects on the larger research landscape, in a section called “Accessibility, Canonicity, Finance.” Lastly, issues related to collaboration are dealt with, in order to both address ideas that are being explored through digital work in other fields, but which have not yet surfaced with much force in the field of colonial visual culture, and to ask why.

Research Article| September 01 2022 Illuminating Transparency in Digital Historical Visualizations: Notre-Dame of Paris, St Stephen’s of Westminster, and Visualizing Venice Meredith Cohen Meredith Cohen University of California, Los Angeles Search for other works by this author on: This Site PubMed Google Scholar Journal of the Society of Architectural Historians (2022) 81 (3): 389–393. https://doi.org/10.1525/jsah.2022.81.3.389 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Meredith Cohen; Illuminating Transparency in Digital Historical Visualizations: Notre-Dame of Paris, St Stephen’s of Westminster, and Visualizing Venice. Journal of the Society of Architectural Historians 1 September 2022; 81 (3): 389–393. doi: https://doi.org/10.1525/jsah.2022.81.3.389 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the Society of Architectural Historians Search Cutting-edge technologies, and particularly three-dimensional digital modeling, are transforming architectural history, especially in the area of premodern architecture. Gone are the days of hand-drawn elevations and sketchy illustrations of vanished monuments: by integrating laser scans and photogrammetry with graphic images and written documents, three-dimensional digital modeling can produce the most evocative illustrations of architecture to date. In the past decade or so, architectural historians have turned to such modeling as a means of reverse engineering parts of buildings as well as whole buildings to visually examine change over time. The innovations of 3D modeling are particularly generative for research on the medieval European built environment, whose corpus has been significantly altered and diminished by time. In addition to offering new insights from the fragments of old or vanished structures, these technologies allow for analyses that permit a new way of seeing and interacting with materials, interior spaces, urban environments, and... You do not currently have access to this content.

The development of information technologies, the widespread use of Internet content have led to a situation where the skills of working with visual materials are becoming more popular and make a necessary component of education in the XXI century. The would-be teacher, operating with visual images, must form the younger generation’s skills to evaluate critically, interpret and summarize information, i.e. must have a high level of visual and information culture. This problem is in focus for the preparation of wouldbe mathematics and computer science teachers, because their activities are designed to form students’ information picture of the world, scientifically competently and quickly to convey basic ideas and form fundamental ideas about the world and its laws under conditions of the intensification of the educational process. The nature of the phenomenon of “visual and information culture” is dualistic. It is a synthesis of two phenomena – visual culture and information culture. Analysis of the essence of the concepts “visual culture” and “information culture” allowed revealing the essence of the phenomenon “visual and information culture of would-be mathematics and computer science teachers”. The visual and information culture of would-be mathematics and computer science teachers is the integrative quality of personality, which combines values, aspirations for development in the field of visualization and informatization of education; computer and mathematical, psychological and pedagogical, technological knowledge; ability to perceive, analyze, compare, interpret, produce with the use of information technology, structure, integrate, evaluate visually presented educational material; ability to analyze, predict and reflect on their own professional activities in the visualization of educational material using computer visualization means, which provides professional self-development and self-improvement. So, it should include various components, among which we distinguish the following: professional-motivational, cognitive, operational-activity, and reflexive. The content of each of these components and the mechanism of their formation is developed both individually and in teams. The cognitive component is characterized by developed visual thinking, which we see in the ability to transform various problem situations in the structure of new knowledge, in the creation of cognitive structures in which information is presented by creating models, schemes and more. The operational component is also characterized by a communicative aspect: the ability to transmit educational information by visual means, on the one hand, and the ability to perceive and understand educational information presented visually, on the other. The components are characterized in full and quite widely, which makes it difficult to determine the levels of their formation. This determines the prospects for further exploration, which is to find criteria for determining the levels of formation of visual and information culture of pre-service mathematics and computer science teachers.

The diversity of skills, knowledge, and experience exhibited by librarians in the digital humanities continues to extend, deepen, and evolve. The Digital Humanities: Implications for Librarians, Libraries, and Librarianship is a special issue of College and Undergraduate Libraries that reflects some of the challenges that occupy librarians who are engaging the academic community in the digital humanities. Librarians are discovering scholarly opportunities by transforming traditional physical collections into digital projects that highlight new insights. A major theme that permeates any discussion of digital humanities work is the concept of collaboration in that there is a variety of challenges in working with the stakeholders involved. Developing planning and project management skills is part of the traditional librarian education yet such skills are essential for developing successful digital humanities projects and are often learned ‘on the job.’ Many librarians courageously have moved beyond the one-time, 50-minute information literacy session.

Journal Article Digital visualization as a scholarly activity Get access Martyn Jessop Martyn Jessop Centre for Computing in the Humanities, King's College London, UK Search for other works by this author on: Oxford Academic Google Scholar Literary and Linguistic Computing, Volume 23, Issue 3, September 2008, Pages 281–293, https://doi.org/10.1093/llc/fqn016 Published: 05 September 2008

Song in the Sumatran Highlands

Digital Humanities as Appendix Robert K. Nelson (bio) “The Geographic Imagination of Civil War–Era American Fiction.”By Matthew Wilkens. American Literary History 25 ( Winter2013): 803– 40. “Space, Nation, and the Triumph of Region: A View of the World from Houston.”By Cameron Blevins. Journal of American History 101 (06 2014): 122– 47. Sometimes the digital humanities can seem like an inversion rather than a branch of the humanities. Self-described digital humanists often emphasize, even celebrate, how their practice differs from that of their disciplinary colleagues. Whereas most humanities scholars do their research more or less in isolation, digital humanists typically collaborate in teams that include technologists, librarians, and students. While the quintessential product of most humanities research is an interpretation presented in a monograph or an essay, digital humanists more often experiment with form, developing broad archives, interactive maps, and computer-generated models. Books and essays usually go through peer review before appearing with the imprimatur of a university press or scholarly journal; digital humanities projects are evaluated at a later point, undergoing, to borrow a couple of phrases from Kathleen Fitzpatrick, “crowdsourcing review” to receive (or not) “community imprimatur.” 1Finally, digital humanities projects often are not organized around substantiating an argument but instead prompt their audiences to independently investigate a subject through a more participatory, open-ended, and nonlinear process. While experimentation with alternative ways to practice and present the humanities can be exhilarating, there are of course trade-offs. Many humanities scholars continue to look askance at digital humanities work. Because such work often does not foreground specific arguments, many digital humanities projects can seem peripheral to the debates and questions that animate their own research. Take, as evidence, the differences between book and digital history reviews in the Journal of American History. The JAHhas shown a greater interest in encouraging digital scholarship than many journals, as the [End Page 131]presence of the digital history reviews section attests. But these reviews can make digital humanities scholarship seem preparatory to or distinct from the kinds of historical research assessed in book reviews. Whereas reviews of books almost always critically assess the contributions of an argument, that is very seldom the case in the digital history reviews. Much more often those review online archives, evaluating their utility in providing scholars with easy access to important materials or providing instructors a teaching resource for their students. Judging by these reviews, many humanists might understandably think that digital humanists produce valuable public humanities projects and useful tools for research but not necessarily, taking arguments and interpretation as the measure, scholarship. If the two articles under consideration here are any indication, that opinion is likely to change. Matthew Wilkens’s “Geographic Imagination of Civil War–Era American Fiction,” published in American Literary Historyin 2013, and Cameron Blevins’s “Space, Nation, and the Triumph of Region: A View of the World from Houston,” published in the JAHin 2014, signal that digital humanists and digital humanities methods are beginning to yield significant arguments. They are two examples of how digital humanities methods and digital humanities research are increasingly paying interpretative dividends, generating insights that will be of interest and value to humanities scholars who have little if any specific investment in DH qua DH. These two articles share a remarkable amount in common. Wilkens and Blevins both sketch and analyze the cultural construction of space in the United States in the second half of the nineteenth century. Wilkens seeks to survey the “geographic imagination” (804) of Civil War–era American fiction, Blevins the “imagined geography” (124) constructed by one Texas newspaper, the Houston Daily Post, around the turn of the twentieth century. The transposition of noun and modifier does suggest one important difference in their approaches and their preoccupations. Blevins is primarily interested in readers, not actual but imagined ones. He argues that the number of times people encountered particular place-names in the paper’s pages helped determine the ways they negotiated and navigated geographic space. In his account, the imagined geography of the Houston Daily Postwas first and foremost a commercial geography that both reflected and helped actively shape economic activity in the region...