No description available.

<p>This dissertation extends our knowledge of digital affordances in communicating complex scientific information by building and testing a climate change adaptation website for the Colombian coffee sector, <a href="http://www.climaycafe.com/">www.climaycafe.com</a>. This project offers both a practical component (scholarship of engagement) and theoretical component (extension of our understanding of the objective/subjective nature of affordances). Practically, it seeks to create a collaborative and tailored science communication solution for improved information access to support climate change adaptation. Theoretically, it extends our understanding of affordances in a digital environment through a qualitative assessment, specifically how occupational identity influences the subjective nature of affordances. Data is gathered through an iterative qualitative assessment of users’ interpretation of the perceived affordances on the website. The results demonstrate that occupational identity has an influence on perceived digital affordances, particularly influenced by (1) Perceived Social Status of Occupation, (2) Perception of Value Based on Occupational Demands, (3) Occupational Influence on Perceived Reliability and (4) Usability Preferences Based on Occupation. We additionally found that as creators we can set general goals for digital tools and achieve general success in obtaining them, but ultimately the users will dictate their needs within this broader framework. Lastly, there is a self-identified need for more practical knowledge and information access for coffee farmers in these regions of Colombia around climate change adaptation.</p>

No description available.

Words are fickle, easily misunderstood, and often put us at a loss... but we all have so much we feel we need to express. This begs the question: Is there any safe way of communication? Can anything ever really be communicated how you mean it? Will you ever see the reflection of what you feel, think, and dream outside of yourself? In response to this existential dilemma, I imagine an alternative language of images, sounds, color, feelings, and non-identification. My thesis is a meditation on the issues with standard language and the idea of alternative language. In my argument I understand language as a medium, and communication as an art for which we choose the medium that best conveys what we need to express. Through an experimental audiovisual collage film, I grapple with the phenomenon of the inexpressible and play with alternative ways that we can communicate more effectively and truthfully– with an emphasis on image-language.

No description available.

With the Digital Mozart-Edition (DME), the Salzburg Mozarteum Foundation and the Packard Humanities Institute, Los Altos (California), intend to build a bridge between music philology and informatics using the example of Wolfgang Amadé Mozart’s oeuvre. The aim of the project is to edit Mozart’s complete works as well as letters, documents and text sources according to scholarly criteria and in a fully digital format available free of charge on the internet. The core project of the DME, the Digital Interactive Mozart Edition (DIME), is conceived as a further development of the Neue Mozart-Ausgabe (NMA). Following the principle “code equals edition”, all musical texts and their critical documentation are encoded in the XML-based format by the Music Encoding Initiative (MEI). All variants and editorial interventions of the music can be made visible through The Digital Mozart Score Viewer (MoVi), a visualisation tool built around the Verovio music engraving library.

Travail réalisé en cotutelle avec l'Université Rennes 2 (France) / Désormais, nous sommes tous photographes. Nos téléphones intelligents nous permettent de capter, de modifier et de partager nos clichés sur les réseaux en moins d’une minute, tant et si bien que l’image photographique est devenue une nouvelle forme de langage. Réciproquement, serions-nous également tous écrivains ? Il existe en effet une véritable légitimité historique à penser que la notion d'écrivain, comme celle de photographe, s'étend le long d'un paradigme allant de la « simple » possession d'une aptitude technique jusqu'à la gloire des plus fortes figures de la vie culturelle collective. Cette thèse vise à déterminer comment se constitue une nouvelle mythologie de l’image photographique à l’ère du numérique, comprenant aussi bien la réévaluation du médium argentique vieillissant que l’intégration d’un imaginaire propre à ces technologies dont nous n’avons pas encore achevé de mesurer l’impact culturel sur nos sociétés. À cet égard, la perspective littéraire est riche d’enseignements en termes culturels, esthétiques ou même ontologiques, puisque la littérature, en sa qualité de relais du fait photographique depuis près de deux siècles, a pleinement participé à son invention : c’est là du moins l’hypothèse de la photolittérature. En cette période de transition technologique majeure, il nous revient de cerner les nouvelles inventions littéraires de la photographie, pour comprendre aussi bien les enjeux contemporains du fait photographique que ceux de la littérature. / Nowadays, we are all photographers. Our smart phones allow us to take, edit and share our snapshots on social media in less than a minute, to the extent that the photographic image has become a new form of language. Reciprocally, have we all become writers as well? There truly is historical legitimacy in seeing the notion of the writer, like that of the photographer, as spanning a paradigmal spectrum, running from “simple” possession of technical aptitude, to the glory of the loftiest figures in our collective cultural life. This thesis aims to determine how the new mythology around the photographic image takes shape in the digital age, while also re-evaluating the aging medium of film, as well as integrating a newly imagined sphere of ideas surrounding these new technologies, for which we have yet to measure the cultural impact on our societies. In this respect, a literary perspective is rich in cultural and even ontological lessons, since literature has interacted with photography for nearly two centuries, and thus contributed to its invention : this is at least the central hypothesis of photoliterature. In this period of major technological transition, we must therefore identify photography’s new literary inventions, so that we can better understand the contemporary issues surrounding both the worlds of photography and literature.

In this essay, we illustrate how the European Summer University in Digital Humanities at the University of Leipzig (hereafter referred to as “ESU”) under the leadership of Prof. Dr. Elisabeth Burr has set forth a set of values that have built and continue to model a collaborative, communal, and compassionate future for higher education. We identify three values that sit at the center of the ESU’s activities – inclusiveness, experimentation, and vulnerability. We reflect on these values from our position as workshop leaders who have had the privilege to be part of the ESU community over the past years. / In questo saggio, si illustra come l’ESU, sotto la guida di Prof. Dr. Elisabeth Burr, abbia creato un modello per il futuro dell’istruzione a livello universitario fondato sui valori della collaborazione, della collettività e della compassione. Identifichiamo tre valori caratteristici delle attività dell’ESU – l’inclusione, la sperimentazione, e la vulnerabilità. Riflettiamo su questi valori dalla nostra posizione di istruttori che hanno avuto il privilegio di far parte di questa communita’ negli ultimi anni.

No description available.

<p>  </p> <p>This dissertation is the first comprehensive biography and study of Richard Allestree. Allestree was a soldier, spy, professor, theologian, a survivor of the plague (1665) and Great Fire (1666) of London, and supposed author of the best-selling Protestant classic, <em>The Whole Duty of Man </em>(1658). Throughout his life, Allestree attempted to protect those institutions through his voice, vocation, and violence. His work contributes to our understanding of the dilemmas faced by the late seventeenth-century clergy, caught between the secular rationalism of the Enlightenment and the wild enthusiasm of Protestant dissenting groups. Using his positions of power and influence, he sought to make Christianity accessible to “the meanest of reader,” moving away from perceptions of a rigid faith and seeking to make Christianity a vibrant, active belief in the lives of everyday people. This work presents a finalized canon of the works of Richard Allestree using new tools in digital humanities. Implementing statistical analysis from data gathered from his personal library at Christ Church, Oxford, clerical records, and marginalia, this dissertation settles the three hundred- and sixty-five-year dilemma of Allestree’s uncertain authorship.</p>