Campus Medius erforscht und erweitert die Möglichkeiten der digitalen Kartografie in den Kultur- und Medienwissenschaften. Simon Ganahl dokumentiert die Entwicklung des Projekts von einer historischen Fallstudie zur Mapping-Plattform. Ausgehend von der Frage, was eine mediale Erfahrung ist, werden die Konzepte des Dispositivs und des Akteur-Netzwerks in ein Datenmodell übersetzt. Als Labor dient ein Zeit-Raum von 24 Stunden im Mai 1933 in Wien, der von einer austrofaschistischen »Türkenbefreiungsfeier« geprägt ist. Diese Massenkundgebung wird multiperspektivisch kartografiert und in medienhistorische Netzwerke eingeflochten, die sich vom 17. Jahrhundert bis in unsere Gegenwart aufspannen.
{"title":"Campus Medius: Digitales Kartografieren in den Kultur- und Medienwissenschaften","authors":"Simon Ganahl","doi":"10.14361/9783839456002","DOIUrl":"https://doi.org/10.14361/9783839456002","url":null,"abstract":"Campus Medius erforscht und erweitert die Möglichkeiten der digitalen Kartografie in den Kultur- und Medienwissenschaften. Simon Ganahl dokumentiert die Entwicklung des Projekts von einer historischen Fallstudie zur Mapping-Plattform. Ausgehend von der Frage, was eine mediale Erfahrung ist, werden die Konzepte des Dispositivs und des Akteur-Netzwerks in ein Datenmodell übersetzt. Als Labor dient ein Zeit-Raum von 24 Stunden im Mai 1933 in Wien, der von einer austrofaschistischen »Türkenbefreiungsfeier« geprägt ist. Diese Massenkundgebung wird multiperspektivisch kartografiert und in medienhistorische Netzwerke eingeflochten, die sich vom 17. Jahrhundert bis in unsere Gegenwart aufspannen.","PeriodicalId":44420,"journal":{"name":"Digital Humanities Quarterly","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73416391","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Campus Medius explores and expands the possibilities of digital cartography in cultural and media studies. Simon Ganahl documents the development of the project from a historical case study to a mapping platform. Based on the question of what a media experience is, the concepts of the apparatus (dispositif) and the actor-network are translated into a data model. A time-space of twenty-four hours in Vienna in May 1933, marked by a so-called »Turks Deliverance Celebration« (Türkenbefreiungsfeier), serves as an empirical laboratory. This Austrofascist rally is mapped from multiple perspectives and woven into media-historical networks, spanning from the seventeenth century up to the present day.
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Online-Rezensionen zu künstlerischen Artefakten können Bildungsprozesse anstoßen. Sowohl in der produktiven Auseinandersetzung mit einem Werk als auch in der Aufbereitung dieser Erfahrung in einem rezensiven Text und für ein spezifisches Publikum liegt ein hohes Potenzial hinsichtlich der kulturellen Teilhabe und Überwindung von Bildungsbarrieren. Aber welche Prozesse, Inhalte und Kontexte spielen dabei eine Rolle? Dieser Frage widmete sich das interdisziplinäre Forschungsprojekt Rez@Kultur, dessen Ergebnisse hier erstmals umfassend dargestellt werden. Ergänzt werden die Befunde um Anschlussperspektiven und Kommentare aus Forschung und Praxis.
{"title":"Rezensiv - Online-Rezensionen und Kulturelle Bildung","authors":"G. Graf, R. Knackstedt, Kristina Petzold","doi":"10.1515/9783839454435","DOIUrl":"https://doi.org/10.1515/9783839454435","url":null,"abstract":"Online-Rezensionen zu künstlerischen Artefakten können Bildungsprozesse anstoßen. Sowohl in der produktiven Auseinandersetzung mit einem Werk als auch in der Aufbereitung dieser Erfahrung in einem rezensiven Text und für ein spezifisches Publikum liegt ein hohes Potenzial hinsichtlich der kulturellen Teilhabe und Überwindung von Bildungsbarrieren. Aber welche Prozesse, Inhalte und Kontexte spielen dabei eine Rolle? Dieser Frage widmete sich das interdisziplinäre Forschungsprojekt Rez@Kultur, dessen Ergebnisse hier erstmals umfassend dargestellt werden. Ergänzt werden die Befunde um Anschlussperspektiven und Kommentare aus Forschung und Praxis.","PeriodicalId":44420,"journal":{"name":"Digital Humanities Quarterly","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84836795","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2007-01-01DOI: 10.1349/PS1.1938-6060.A.288
J. Looy, Jan Beatens
From a cultural studies point of view, electronic or e-poetry is more than just an "object," a "genre," or a "medium;" it is a cultural practice or a "cultural form" in Raymond Williams' words (1975). In this paper, we will tackle some of the issues raised by such a perspective, which will be cultural rather than technological and our starting point will be the relative ignorance toward e-poetry as a form. Indeed, compared to similar evolutions in other media, e-poetry is not only in quantitative terms small business - there has been no global shift from poetry in print to e-poetry as there has been, for instance, in photography or music - it is also in critical terms marginal and hardly researched, let alone thoroughly analyzed and described. E-poetry exists, but it hardly receives any critical attention compared to traditional, printed poetry. We can only regret this lack of interest, but unless we would assume that the e-poetry form is a non-entity reducible to a mere story of high-tech gadgetry deprived of any literary value, we can give no single answer to those willing to valorize or reject the literary and cultural importance of e-poetry. Actually, one can give two rather different answers and as we will try to show, one has to make a choice between them. Hence the aim of this article is threefold: first, to define the two major positions one can adopt when studying e-poetry (Part I); second, to give a more detailed presentation of e-poetry as a cultural form (Part II); and third, to illustrate the way in which e-poetry and print culture interact (Part III).
{"title":"E-poetry : Between image and performance, a cultural analysis","authors":"J. Looy, Jan Beatens","doi":"10.1349/PS1.1938-6060.A.288","DOIUrl":"https://doi.org/10.1349/PS1.1938-6060.A.288","url":null,"abstract":"From a cultural studies point of view, electronic or e-poetry is more than just an \"object,\" a \"genre,\" or a \"medium;\" it is a cultural practice or a \"cultural form\" in Raymond Williams' words (1975). In this paper, we will tackle some of the issues raised by such a perspective, which will be cultural rather than technological and our starting point will be the relative ignorance toward e-poetry as a form. Indeed, compared to similar evolutions in other media, e-poetry is not only in quantitative terms small business - there has been no global shift from poetry in print to e-poetry as there has been, for instance, in photography or music - it is also in critical terms marginal and hardly researched, let alone thoroughly analyzed and described. E-poetry exists, but it hardly receives any critical attention compared to traditional, printed poetry. We can only regret this lack of interest, but unless we would assume that the e-poetry form is a non-entity reducible to a mere story of high-tech gadgetry deprived of any literary value, we can give no single answer to those willing to valorize or reject the literary and cultural importance of e-poetry. Actually, one can give two rather different answers and as we will try to show, one has to make a choice between them. Hence the aim of this article is threefold: first, to define the two major positions one can adopt when studying e-poetry (Part I); second, to give a more detailed presentation of e-poetry as a cultural form (Part II); and third, to illustrate the way in which e-poetry and print culture interact (Part III).","PeriodicalId":44420,"journal":{"name":"Digital Humanities Quarterly","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2007-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66733514","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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