Les contours de la cartographie de l'intimité s'altèrent et se modifient par les espaces de proximité numérique où les données semblent se métamorphoser. Un glissement des frontières entre espace privé et public s'opère. La lisibilité du monde sensible tend à perdre de son sens et de son essence. Cette proximité numérique du réseau et des interfaces terminaux, forme d'extension de la réalité vectorisée par le "désir" de l'individu permettent de créer une identité intime mobile. La montée en puissance des identités virtuelles et les modalités de croisements de proximité numérique avec la vie réelle traduisent et dessinent un quotidien ré-inventé et ré-enchanté. La projection de l'intimité dans l'espace réel réactivée sans cesse par les nouveaux aspects d'objets intelligents et communicants modifie la lecture et le rapport au monde. L'espace devient alors usage et espace de création. La conjugaison de l'art dans un contexte de médiation, d'information et de communication est une forme de langage qui semble capable de traduire l'univers sensible, imaginatif et esthétique de cette époque « intime virtuelle ». / The boundaries of the intimate are altered and modified by digital proximity areas where information seems to be transformed. The boundaries between pubic and private areas are shifted. The legibility of the perceptible world tends to loose its sense and its essence. This digital proximity of the network and the terminal interfaces, form of an extension of reality vectorised by the individual’s “desire”, makes it possible to create a mobile intimate identity. The growth of virtual identities and the conditions for digital proximity intersecting with real life express and emphasize a re-invented and re-enchanted daily life. Projection of the intimate into real space endlessly reactivated by the new aspects of intelligent and connecting objects modifies interpretation of and relations with the world. The area then becomes purpose and a framework for creation. The conjunction of art with mediation and information-communication is this form of language that seems capable of interpreting the sensible, imaginative and esthetic universe of this “virtual intimate” period.

Over half a century ago the scientist and novelist C. P. Snow described a world divided into two cultures – scientists on the one hand, literary intellectuals on the other. Both played a significant role in shaping the world, but were unable to even hold a conversation (Snow 1971). This dissertation brings a sociological perspective to this divide (now seen as a divide between the sciences and the humanities) and hope for reconciliation, as it has been revisited in the more technologically saturated environment of the twenty-first century. The digital humanities combines computer science and the humanities and its impact on the humanities has been called “game changing” (Bobley 2008). Just as technology has revolutionized science, in fields such as astronomy or neuroscience for example, by allowing scientists to see and analyze objects and patterns they could not before, digitization allows humanities scholars to ask questions, and find answers, that were not possible in the past (Katz 2005; Kirschenbaum 2010; Kornbluh 2008). The digital humanities also promises to expand the reach of the humanities in terms of what is studied, who is able to participate, and who has access. This dissertation argues that the digital humanities is leading to the democratization of the humanities by expanding access to and participation in the humanities. In addition, although there are still divides between the two cultures, the digital humanities is a place where a third culture is fostered, as digital humanists are increasingly becoming experts in both the humanities and computing. Three case studies are examined: the Centre for History and New Media at George Mason University, The Orlando Project, a joint project between the University of Alberta and Guelph University, and the Electronic Arts Game Innovation Lab at the University of Southern California. / Thesis (Ph.D, Sociology) -- Queen's University, 2011-12-31 17:50:49.587

In response to early technologies of seeing, hearing, and moving at the turn of the twentieth century, modernist authors, poets, and artists experimented with forms of textual production enmeshed in mechanical technologies of the time. Unfolding a literary history of such mechanical forms, this dissertation sees modern manuscripts as blueprints for literary production, whose specific rules of assembly model historical mechanisms of cultural production in practice during their period of composition. Central to this analysis is the concept of the inscriptive procedure, defined as a systematic series of strategies for composing, revising, and arranging a literary text that emerge in the context of that text’s specific political and technological environment; in so doing, inscriptive procedures use composition as a material act that works through a set of political circumstances by incorporating them into the signifying process of the physical text. As such, procedurally authored texts do not neatly instantiate in the form of the print book. Reading modern manuscripts instead as media objects, this dissertation applies the physical operation of a given old media mechanism as a hermeneutic strategy for interpreting an author’s inscriptive procedure. It unspools the spectacular vignettes of Raymond Roussel, plays back the celluloid fragments of Marcel Proust, decrypts the concordances of Samuel Beckett, and processes a digital history of Djuna Barnes’s editorial collaboration with T.S. Eliot. Rather than plotting a positivist literary genealogy, this dissertation instead traces an ouroboros mode of literary critique that emerges in its own wake, as digital experiments with textual manipulation reveal analog bibliographic arrangement procedures. Using the methods of contemporary scholarly editing to undertake a procedural archaeology of experimental literature, this dissertation unearths an analog prehistory of digital humanities practice, one that evolves alongside the mechanisms of old media as they lead to the advent of the digital age. In so doing, it unfolds a historicity of cultural form, one whose mechanical and ideological apparatuses participate in the development of early methods in humanities computing. / Graduate / 2018-06-21

Since the digital revolution in the 1990s, scholars are increasingly debating the use of digital technologies in their research and data dissemination. This new era of scholarship, "digital humanities", has promoted the use of data visualization, info-graphics, data animation and interactive maps to promote and make visible scholarship. This thesis uses digital technologies to explore the possibilities for digitalizing modern Mexican history. By using Mexican historical events as case studies, it argues that data visualizations promote the accessibility of scholarly research and a more popular history, while remaining transparent.

Digital Commons @ Gardner-Webb University was launched in Fall 2015 and currently has over 1300 papers including: theses and dissertations, journals in Education, Psychology, and Undergraduate Research, University Archives, and faculty scholarship activities. The repository has a small, but growing number of collections that continue to show significant year-to-year document download count increases, particularly in the nursing and education theses and dissertation collections. Digital Commons provides a number of ways to track collection statistics and identify repository access and download trends. This presentation will look at how we used the Digital Commons Dashboard report tool and Google Analytics to identify the most popular collections and where they’re being accessed on campus and globally. Using this data, we were able to write targeted metadata and include third party tools such as the Internet Archive BookReader in order to improve outreach to the campus and global scholarly community.

A Game of Confidence: Literary Dialect, Linguistics, and Authenticity builds a bridge between literary-critical and linguistic approaches to representations of nonstandard speech in literature. Important scholarship both in linguistics and in literary criticism has sought to develop rigorous inquiry into deviations from standard written language to represent features of nonstandard spoken language in literature. I argue that neither field, however, has fully embraced the idea that, by definition, 'literary dialect' necessitates an interdisciplinary approach. Furthermore, neither has successfully integrated the other's very different theories and methods. As a result, 'literary dialect' provides an exciting opportunity for new scholarship connecting recent developments in literary history, sociolinguistics, and digital humanities. The goals of my project are two-fold: First, to analyze within their own cultural and historical contexts previous attempts by authors, readers, and scholars to fix the supposedly empirical accuracy of literary dialect representations; second, to model what I take to be an empirically more valid use of linguistics for analyzing literary artists' representations of nonstandard speech. My work provides a necessary intervention for literary dialect criticism, particularly for the many arguments that have sought a degree of objectivity for assertions about the artistic or socio-political merits of a dialect text based on vague linguistic generalizations. My dissertation's primary focus is on the period that has served historically as the locus classicus for scholarship on American dialect literature: The second half of the nineteenth century when local colorists, regionalists, and realists used 'real' American voices as the foundation for a realistic American literature. By analyzing the production and historical reception of literary dialect texts from this period I show how assessments of 'authenticity' have been a constant in the critical response to these texts for nearly a century and a half. Having underscored the critical problems inherent in linking artistic and political evaluations of dialect texts to the 'authenticity' of their literary dialects, I then draw on recent developments in the digital humanities, computational linguistics, and sociolinguistics to employ a methodology for generating and interpreting literary-linguistic data on literary dialects. / text

This thesis explores the production process of developing a virtual reality experience with an emphasis on digital humanities and the methods of adapting real-world events, narratives, and media coverage into an interactive, location based VR experience. The thesis contextualizes the production of an accompanying media project, which is informed by the history of U.S migration and the media’s impact on the opinion of Americans. Through the observation of production methods, this paper summarizes the process of creating a VR experience that expands the established production pipeline to more fluidly produce immersive interactive content. Using Homebound: The Interactive Immigrant Experience, a collaborative VR project as a prototype for these methods, we were able to integrate and develop a media production pipeline that uses off the shelf hardware in unison with Unreal Engine 4 to produce a prototype VR experience that follows the narrative on a Latin American Immigrant. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2020. / FAU Electronic Theses and Dissertations Collection

The problem of immigration has been around since the dawn of man because humans cannot just stay in one place, especially if that place is not suitable for their lives and their families. It is a reasonable expectation of the human condition to want to feel free and safe because we do not live in a utopian society. There are social injustices, wars, and atrocities that threaten the most basic of human needs and freedoms in many countries across the globe. Homebound, the virtual reality experience, which was developed in Unreal, aims to make sense of this crisis and shed light on the lives affected by this social ill. By using rich environments, virtual production and motion capture, to construct a place that captures the realism of the illegal immigration narrative, this manuscript will show how behavioral and gameplay psychology, when paired with environmental storytelling, can be utilized to craft impactful and empathetic, immersive stories and edutainment experiences for the player. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2020. / FAU Electronic Theses and Dissertations Collection

Digital humanities study applies technological tools to the study of humanities topics and allows for the exploration of new questions in ways that were not possible using traditional research models. Librarians have been active participants of the field since its inception, as they explore new ways to critically engage with information organization and information literacy instruction, and most research that focuses on the intersection between these fields takes place within research universities . In contrast, there is very little research examining digital humanities work at the community college, which primarily offers associate degrees, vocational certificates, and other workforce based training. This dissertation details the results of a nationwide survey of community college librarians and their perception and current engagement of digital humanities. The results indicate that while community college librarians are often knowledgeable about digital humanities subjects, many do not actively participate in digital humanities projects at their institutions because of barriers such as limited staffing, burnout, and the perception of the community college and its students, among others . While digital humanities practice presents multiple opportunities for the community college, practitioners must be mindful of how (and why) they engage in this work to create sustainable and relevant projects.

This two-part dissertation has two goals: 1) a close philological reading of a 50-page section of a 10th-century Sanskrit philosophical work (Bhāsarvajña's Nyāyabhūṣaṇa), and 2) the creation and assessment of a novel intertextuality research system (Vātāyana) centered on the same work. The first half of the dissertation encompasses the philology project in four chapters: 1) background on the author, work, and key philosophical ideas in the passage; 2) descriptions of all known manuscript witnesses of this work and a new critical edition that substantially improves upon the editio princeps; 3) a word-for-word English translation richly annotated with both traditional explanatory material and novel digital links to not one but two interactive online research systems; and 4) a discussion of the Sanskrit author's dialectical strategy in the studied passage. The second half of the dissertation details the intertextuality research system in a further four chapters: 5) why it is needed and what can be learned from existing projects; 6) the creation of the system consisting of curated textual corpus, composite algorithm in natural language processing and information retrieval, and live web-app interface; 7) an evaluation of system performance measured against a small gold-standard dataset derived from traditional philological research; and 8) a discussion of the impact such new technology could have on humanistic research more broadly. System performance was assessed to be quite good, with a 'recall@5' of 80%, meaning that most previously known cases of mid-length quotation and even paraphrase could be automatically found and returned within the system's top five hits. Moreover, the system was also found to return a 34% surplus of additional significant parallels not found in the small benchmark. This assessment confirms that Vātāyana can be useful to researchers by aiding them in their collection and organization of intertextual observations, leaving them more time to focus on interpretation. Seventeen appendices illustrate both these efforts and a number of side projects, the latter of which span translation alignment, network visualization of an important database of South Asian prosopography (PANDiT), and a multi-functional Sanskrit text-processing web application (Skrutable).:Preface (i) Table of Contents (ii) Abbreviations (v) Terms and Symbols (v) Nyāyabhūṣaṇa Witnesses (v) Main Sanskrit Editions (vi) Introduction (vii) A Multi-Disciplinary Project in Intertextual Reading (vii) Main Object of Study: Nyāyabhūṣaṇa 104–154 (vii) Project Outline (ix) Part I: Close Reading (1) 1 Background (1) 1.1 Bhāsarvajña (1) 1.2 The Nyāyabhūṣaṇa (6) 1.2.1 Ts One of Several Commentaries on Bhāsarvajña's Nyāyasāra (6) 1.2.2 In Modern Scholarship, with Focus on NBhū 104–154 (8) 1.3 Philosophical Context (11) 1.3.1 Key Philosophical Concepts (12) 1.3.2 Intra-Textual Context within the Nyāyabhūṣaṇa (34) 1.3.3 Inter-Textual Context (36) 2 Edition of NBhū 104–154 (39) 2.1 Source Materials (39) 2.1.1 Edition of Yogīndrānanda 1968 (E) (40) 2.1.2 Manuscripts (P1, P2, V) (43) 2.1.3 Diplomatic Transcripts (59) 2.2 Notes on Using the Edition (60) 2.3 Critical Edition of NBhū 104–154 with Apparatuses (62) 3 Translation of NBhū 104–154 (108) 3.1 Notes on Translation Method (108) 3.2 Notes on Outline Headings (112) 3.3 Annotated Translation of NBhū 104–154 (114) 4 Discussion (216) 4.1 Internal Structure of NBhū 104–154 (216) 4.2 Critical Assessment of Bhāsarvajña's Argumentation (218)   Part II: Distant Reading with Digital Humanities (224) 5 Background in Intertextuality Detection (224) 5.1 Sanskrit Projects (225) 5.2 Non-Sanskrit Projects (228) 5.3 Operationalizing Intertextuality (233) 6 Building an Intertextuality Machine (239) 6.1 Corpus (Pramāṇa NLP) (239) 6.2 Algorithm (Vātāyana) (242) 6.3 User Interface (Vātāyana) (246) 7 Evaluating System Performance (255) 7.1 Previous Scholarship on NBhū 104–154 as Philological Benchmark (255) 7.2 System Performance Relative to Benchmark (257) 8 Discussion (262) Conclusion (266) Works Cited (269) Main Sanskrit Editions (269) Works Cited in Part I (271) Works Cited in Part II (281) Appendices (285) Appendix 1: Correspondence of Joshi 1986 to Yogīndrānanda 1968 (286) Appendix 1D: Full-Text Alignment of Joshi 1986 to Yogīndrānanda 1968 (287) Appendix 2: Prosopographical Relations Important for NBhū 104–154 (288) Appendix 2D: Command-Line Tool “Pandit Grapher” (290) Appendix 3: Previous Suggestions to Improve Text of NBhū 104–154 (291) Appendix 4D: Transcript and Collation Data for NBhū 104–154 (304) Appendix 5D: Command-Line Tool “cte2cex” for Transcript Data Conversion (305) Appendix 6D: Deployment of Brucheion for Interactive Transcript Data (306) Appendix 7: Highlighted Improvements to Text of NBhū 104–154 (307) Appendix 7D: Alternate Version of Edition With Highlighted Improvements (316) Appendix 8D: Digital Forms of Translation of NBhū 104–154 (317) Appendix 9: Analytic Outline of NBhū 104–154 by Shodo Yamakami (318) Appendix 10.1: New Analytic Outline of NBhū 104–154 (Overall) (324) Appendix 10.2: New Analytic Outline of NBhū 104–154 (Detailed) (325) Appendix 11D: Skrutable Text Processing Library and Web Application (328) Appendix 12D: Pramāṇa NLP Corpus, Metadata, and LDA Modeling Info (329) Appendix 13D: Vātāyana Intertextuality Research Web Application (330) Appendix 14: Sample of Yamakami Citation Benchmark for NBhū 104–154 (331) Appendix 14D: Full Yamakami Citation Benchmark for NBhū 104–154 (333) Appendix 15: Vātāyana Recall@5 Scores for NBhū 104–154 (334) Appendix 16: PVA, PVin, and PVSV Vātāyana Search Hits for Entire NBhū (338) Appendix 17: Sample Listing of Vātāyana Search Hits for Entire NBhū (349) Appendix 17D: Full Listing of Vātāyana Search Hits for Entire NBhū (355) Overview of Digital Appendices (356) Zusammenfassung (Thesen Zur Dissertation) (357) Summary of Results (361)