Étude comparative du vocabulaire de description de la danse dans les archives et du vocabulaire de représentation de la danse dans la littérature

Notre recherche s’insère dans la mouvance des humanités numériques; nous y faisons dialoguer les arts et les sciences de l’information. Depuis quelques décennies, la danse est un sujet d’études et de recherche à part entière. Il devient donc nécessaire de mieux décrire la danse dans les archives, sachant que la description en amont influe grandement sur l’accès en aval. Les méthodes d’extraction automatique de connaissances nous semblent offrir de nouvelles possibilités. L’objectif de notre recherche est de contribuer au développement d’outils de gestion de l’information dans les archives de la danse en comparant un vocabulaire de description de la danse dans les archives et un vocabulaire de représentation de la danse dans la littérature, recueilli grâce à des méthodes d’extraction automatique de connaissances, pour en distinguer une possible complémentarité, particulièrement en ce qui a trait au vocabulaire de l’expérience esthétique. D’abord, nous analysons un vocabulaire de description de la danse dans les archives. Nous décrivons certains outils de description des archives de la danse et nous analysons le thésaurus de descripteurs Collier. Nous constatons que le vocabulaire de description de la danse dans les archives ne semble pas prendre en compte l’expérience esthétique. Ensuite, nous analysons un vocabulaire de représentation de la danse dans la littérature. Un vocabulaire structuré de l’expérience esthétique de la danse moderne est ainsi extrait d’un corpus de textes de l’écrivain français Stéphane Mallarmé et analysé. Puis nous comparons les deux vocabulaires afin d'en distinguer la complémentarité quant à la description de l’expérience esthétique. Nous formulons une première suggestion d’amélioration de certains thésaurus employés dans les archives de la danse : un thésaurus au vocabulaire essentiellement factuel, comme le thésaurus de descripteurs Collier, peut être enrichi de termes à propos de l’expérience esthétique. Le vocabulaire de représentation de la danse dans la littérature est jusqu’à un certain point complémentaire au vocabulaire de description de l’expérience esthétique de la danse dans les archives. Nous menons ainsi une première expérimentation qui justifie en partie la pertinence de certaines méthodes d’extraction de connaissances dans le développement et la maintenance de ressources documentaires pour le domaine des arts d’interprétation tels que la danse.

La littérature à l’ère photographique : mutations, novations, enjeux : de l’argentique au numérique

Travail réalisé en cotutelle avec l'Université Rennes 2 (France)

Citation rhetoric examined

In his influential monograph «The Rhetoric of Citation Systems», Connors (1999) elaborates on the principle that scholars working with different forms of citation find themselves thinking differently, since the citation format has natural consequences in the way it interacts with the material in the practice of the writer. [...]

Promoting Open Access and Innovations : From Synergies to Le Centre de recherche interuniversitaire sur les humanités numériques

This article discusses the relationship between digital humanities and disciplinary boundaries in the last decade, primarily in the context of the national project Synergies. It offers first an overview of Synergies as a concrete example of the way technological change impacts the very notion of disciplines by trying to create a platform that was interdisciplinary by nature, then discusses the creation of a new Digital Humanities centre in Québec—Le Centre de recherche interuniversitaire sur les humanités numériques – and the ways it was conceived as encompassing a range of disciplinary approach.

Histoire des humanités numériques

Parallèlement à l’histoire du développement d’Internet et du web, une autre histoire est fondamentale pour comprendre les enjeux de l’édition numérique : celle des humanités numériques. Il y a encore quelques décennies, on pouvait penser que les ordinateurs et les technologies numériques étaient destinés uniquement aux sciences dures, les sciences exactes dont le calcul et les mathématiques sont les principaux outils. Cette idée est manifestement fausse aujourd’hui : le numérique habite l’ensemble de nos vies et touche aussi, et surtout, à nos activités purement « humanistes », ou même « humaines ». Ce chapitre a pour ambition de retracer l’histoire du rapport complexe entre les sciences humaines et l’informatique qui a mené des premières expériences de recherche assistée par ordinateur, dans le domaine des sciences humaines (humanities computing), aux actuelles digital humanities, ou à un possible humanisme numérique.

WAIS seminar: Linked Cultural Media

Wednesday 9th April 2014 Speaker(s): Guus Schreiber Time: 09/04/2014 11:00-11:50 Location: B32/3077 File size: 546Mb Abstract In this talk I will discuss linked data for museums, archives and libraries. This area is known for its knowledge-rich and heterogeneous data landscape. The objects in this field range from old manuscripts to recent TV programs. Challenges in this field include common metadata schema's, inter-linking of the omnipresent vocabularies, cross-collection search strategies, user-generated annotations and object-centric versus event-centric views of data. This work can be seen as part of the rapidly evolving field of digital humanities. Speaker Biography Guus Schreiber Guus is a professor of Intelligent Information Systems at the Department of Computer Science at VU University Amsterdam. Guus’ research interests are mainly in knowledge and ontology engineering with a special interest for applications in the field of cultural heritage. He was one of the key developers of the CommonKADS methodology. Guus acts as chair of W3C groups for Semantic Web standards such as RDF, OWL, SKOS and REFa. His research group is involved in a wide range of national and international research projects. He is now project coordinator of the EU Integrated project No Tube concerned with integration of Web and TV data with the help of semantics and was previously Scientific Director of the EU Network of Excellence “Knowledge Web”.

The Henslowe-Allyen Digitisation Project

2000 digital photographs of manuscript pages in the single most inportant theatrical archive in the age of Shakespeare, as well as 15 digital essays by world-leading scholars

Early modern Oxford bindings in twenty-first century markup

Purpose – The Bodleian Binders Book contains nearly 150 pages of seventeenth century library records, revealing information about the binders used by the library and the thousands of bindings they produced. The purpose of this paper is to explore a pilot project to survey and record bindings information contained in the Binders Book. Design/methodology/approach – A sample size of seven pages (91 works, 65 identifiable bindings) to develop a methodology for surveying and recording bindings listed in the manuscript. To create a successful product that would be useful to bindings researchers, it addressed questions of bindings terminology and the role of the library in the knowledge creation process within the context that text encoding is changing the landscape of library functions. Text encoding formats were examined, and a basic TEI (Text Encoding Initiative) transcription was produced. This facilitates tagging of names and titles and the display of transcriptions with text images. Findings – Encoding was found not only to make the manuscript content more accessible, but to allow for the construction of new knowledge: characteristic Oxford binding traits were revealed and bindings were matched to binders. Plans for added functionality were formed. Originality/value – This research presents a “big picture” analysis of Oxford bindings as a result of text encoding and the foundation for qualitative and statistical analysis. It exemplifies the benefits of interdisciplinary methods – in this case from Digital Humanities – to enhance access to and interpretation of specialist materials and the library's provenance record.

A survey of data mining techniques for social media analysis

Social network has gained remarkable attention in the last decade. Accessing social network sites such as Twitter, Facebook LinkedIn and Google+ through the internet and the web 2.0 technologies has become more affordable. People are becoming more interested in and relying on social network for information, news and opinion of other users on diverse subject matters. The heavy reliance on social network sites causes them to generate massive data characterised by three computational issues namely; size, noise and dynamism. These issues often make social network data very complex to analyse manually, resulting in the pertinent use of computational means of analysing them. Data mining provides a wide range of techniques for detecting useful knowledge from massive datasets like trends, patterns and rules [44]. Data mining techniques are used for information retrieval, statistical modelling and machine learning. These techniques employ data pre-processing, data analysis, and data interpretation processes in the course of data analysis. This survey discusses different data mining techniques used in mining diverse aspects of the social network over decades going from the historical techniques to the up-to-date models, including our novel technique named TRCM. All the techniques covered in this survey are listed in the Table.1 including the tools employed as well as names of their authors.

New cinema history and the computational turn

This paper outlines how the digitisation of both the film industry and contemporary research practices bear on the work of the new cinema historian. How might the opportunities presented by an unprecedented proliferation of data for example, also challenge the unspoken assumptions and ordinary practices of conventional film studies research? And how might the 'computational turn' present opportunities (and challenges) for a revisionist cinema history at the intersection of qualitative historiographies (focussed on the social experience of the cinema) and quantitative research approaches such as data mining, empirical analysis and digital visualisations?

The online identity : towards a hermeneutic phenomenological approach

In order to better understand how artists working in countercultural or ‘fringe’ creative practice use social media to create online persona I am using a hermeneutic phenomenological approach to investigate the lived experience of both online and offline persona creation by tattoo artists, street artists, craftivists, and slam poets. The use of phenomenology to investigate artists’ lived experience is particularly appropriate, as ‘artists are involved in giving shape to their lived experience, the products of art are, in a sense, lived experienced transformed into transcended configurations’ (Van Manen 2006: 74). This paper will outline the methodological underpinnings of this project, using these underpinnings to explore the benefits offered by phenomenology to internet studies.

Understanding how people use online social media sites to construct personas can benefit greatly from understanding the lived experience of those who use these technologies, the decisions they make in persona construction, and the online/offline, public/private continuums. A phenomenological approach ‘seeks to revel and richly portray the nature of human phenomena and the experiences of those who live through them’ (Grace & Ajjawi 2010: 197) and offers both the researchers and the participants a way to interrogate and interpret the experience of constructing online personas. A phenomenological approach allows for ‘an intimate awareness and deep understanding’ (Saldana, Leavy & Bertvas 2011: 8) of the experience of persona construction in online and offline spaces, and could equally be used to interrogate other aspects of internet use. 

Phenomenology and the online : the importance of studying experience

 Phenomenological research into the online experience offers real value to Internet Studies and Digital Humanities scholars for three key reasons. Firstly, as an explicitly qualitative approach, it offers a way to gain insights into the experience of going online that are not identified by those who study behaviour alone. Secondly, as phenomenological studies focus on the individual rather than the collective, the resulting small sample size means that the investment required in terms of time spent with participants is minimised. Finally, the interpretation that emerges through the phenomenological research process produces categorisations that could form the basis on which larger scale, Big Data, quantitative research projects could be built.
This paper will explore the above ideas through the lens of my doctoral research, which uses hermeneutic phenomenology to investigate the experience of persona construction by artists on the fringes of the traditional art world, specifically craftivists, tattoo artists, street artists, and performance poets. By incorporating the interpretive categorisations that have come from my early discussions, I will demonstrate the strength of a phenomenological approach to investigating the experience of using the world and social media to present the self to the world.

What is a cinema? Death, closure and the database

This chapter explores the possible ontological questions and epistemological propositions that arise from detailed empirical research into cinema closures. Repeated pronouncements of the ‘Death of Cinema’ in the wake of technological, social and industrial change serve to reinforce the coincidence of ‘death’ with a type of ‘closure’. The evocation of a ‘crisis’ in the cinema is ordinarily articulated within the terms of specific cultural concerns around transience and transformation in the social experience of the cinema. However, rather than adding another chapter to the apocalyptic historiography of the cinema this paper proposes instead the constitutive importance of ‘closure’ as a critical tool for rethinking our defining assumptions about cinema(s). Specifically, the chapter will demonstrate how the conceptual granularity entailed in the development of a detailed database of venue openings and closings (the Cinema and Audiences in Australia Project database) can in turn lead to a fundamental reconsideration of the ontology of the cinema itself.

Mapping the ill disciplined? Spatial analyses and historical change in the post-war film industry

As part of a broad disciplinary shift, from a focus on measuring the value and meaning of cultural artefacts to understanding the import of cultural flows, humanities researchers are increasingly turning to other disciplines and disciplinary practices to inform their research. For film scholars, rather than providing a reading of specific media texts and their qualities there is an increasing focus on the contextual events that shape and formulate cinema practice. This chapter is an example of how cross-disciplinary relationships, for example between Cinema Studies, Geospatial Science, Statistics and the Creative Arts can uncover new research questions and test methodologies across uncharted disciplinary terrain. It also offers an opportunity to reflect on some of the key assumptions around collaborative research, through its reorganization of academic spaces and “sites” of knowledge.