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The Digital Lunch Seminar Series covers a broad spectrum of topics in the research of written artefacts. At CSMC and the Cluster of Excellence ‘Understanding Written Artefacts’, this research brings together over 40 disciplines from the humanities, natural sciences and computer science. The seminars are presented by pairs of researchers, each with their own methods and research questions about the objects they are dealing with. The seminars provide in-depth scientific knowledge on the respective topics and address all researchers within and outside the respective field of expertise.
CSMC Occasional Paper No. 9, 2024
Written artefacts (WAs), artificial or natural objects with visual signs applied by humans, are the central focus of the Cluster of Excellence Understanding Written Artefacts: Materiality, Interaction, and Transmission in Manuscript Cultures. The present paper considers the observation that WAs are shaped by complex processes of production and use, as well as by different settings and patterns. These factors might be subject to change, depending on where, by whom and how a WA is used after its creation. Hence, far from being stable or unchanging entities, many WAs evolve over the course of time, acquiring ‘layers’ akin to archaeological strata. Such layers either modify a WA’s contents and might serve to extend, delete or replace them or they are not linked at all to the WA’s contents. Yet they always affect the WA they are applied to on the material level, leaving identifiable traces that add to the WA’s complexity. This paper suggests calling such complex WAs ‘multilayered’ – a concept that is arguably best suited to capturing the outcome of continued, at times long-term, or intermittent uses of a WA. The paper also suggests further terms for a more precise analysis of the multilayered nature of WAs, including the distinction between ‘primary layer’ and ‘secondary layer(s)’, and between ‘closed’ and ‘open’ primary layers, as well as a taxonomy of the acts creating secondary layers (addition, subtraction and replacement of content and/or material).
2023
Every volume of manuscript cultures has been subjected to a double-blind peer review process and is openly accessible at no cost on the CSMC website <https://www.csmc.uni-hamburg.de/publications/mc.html>. We would like to thank the German Research Foundation (DFG) for its generous support of the Cluster of Excellence EXC 2176 'Understanding Written Artefacts', which has made the printing of this journal volume possible.
2023
Recent scholarship has proposed to approach written artefacts as ‘evolving entities’ (Friedrich and Schwarke 2016) and suggested frameworks for the analysis of their development over the course of time (Gumbert 2004). Such a stratigraphic analysis, aiming to identify the multiple ‘layers’ of written artefacts, has been successfully applied to artefacts produced in the course of a more or less clearly identifiable and planned ‘project’. However, the potential of the strat-igraphic approach remains largely untapped for written artefacts that are designed or ex-pected to accumulate notes over a given period of time such as diaries, notebooks, or logs and in which their production and development does not follow a predefined plan or necessarily proceed in an orderly fashion. Focusing on the multifarious manifestations of notes as material tools for the visualization, organization, and transmission of knowledge, the present workshop invites scholars working on written artefacts involved in practices of note-taking to address them as multilayered ob-jects. Taking into account not only the development of collections of notes over time, but also the different origins and (possibly) further uses of notes, it aims to uncover patterns in the practice(s) of note-taking and the artefacts resulting from such practices.
Text and Genre in Reconstruction: Effects of Digitalization on Ideas, Behaviours, Products, and Insitutions (book)
Definition of ‘Written Artefact’, 2023
Alessandro Bausi, Dmitry Bondarev, Nadine Bregler, Sara Chiarini, Giovanni Ciotti, Janine Droese, Eliana Dal Sasso, Michael Friedrich, Agnieszka Helman-Ważny, Michael Kohs, Leah Mascia, Ann Lauren Osthof, Malena Ratzke, Ondřej Škrabal, Szilvia Sövegjártó, Thies Staack, Hanna Wimmer. The suggested definition is the result of exchanges, reflections, and discussions in the TNT working group which took place during the regular meetings in the years 2021– 2022. The short paper that accompanies the definition has no pretension to a systematic coverage of the topic: it has an empirical character, reflects the development of the discourse on and around the definition of written artefact, and does not pursue any ultimate limit. It only aims to provide an agreed basis for further reflection at a still intermediate stage of the research. The working definition suggested by TNT is the following: A written artefact is any artificial or natural object with visual signs applied by humans.
2021
This class will meet online for formal crits and synchronous discussion on Tuesdays between 2:30 and 4pm. Related asynchronous tasks and extra reading material will be posted on Thursdays at 2:30 pm. Extra workshops will also be set up to complete assignments and projects. Instructional Objectives Theodor Nelson notes in his well-known, early study of hypertext formats, Literary Machines, "a computer is essentially a trained squirrel: acting on reflex, thoughtlessly running back and forth and storing nuts away until some other stimulus makes it do something else;" nevertheless, few tools outside computation have provided literature and its many genres with the in depth capacity to change the very foundations of modern literacy. On one level, this course seeks to explore the growing number of cultural intersections between art, information and computation that, in turn, inspire a diverse range of new, often experimental directions in digital writing. Looking at a variety of exemplary programmable literary works now in circulation, while tracing them historically to pre-digital culture will provide valuable starting points for long-term critical analysis and discussion. On another, more production-oriented level, the course challenges us to engage with these technologies just as creatively, while representing a new generation of authors and readers. Learners will be given the opportunity to work on a select number of screen-oriented literary projects, employing a wide range of different digital tools and software made available for electronic art and writing.
In scholarly use, the term ‘inscription’ is not always unambiguous. The same concept can designate either the signifiers on a support, regardless of their meaning and textual function, or can be used to distinguish different texts. In a digital representation, a distinct markup is utilised to encode the material and textual dimensions. In order to combine them in an adequate representation, we submit a definition of some epigraphic notions which supports the theoretical model of an encoding schema compliant with the EpiDoc guidelines, designed as a part of the IGLouvre project.
This methodological framework tries to combine the epigraphical theories and methods with the digital representation of text. The first section describes the methodological aspects of epigraphy, in particular the autopsy. The key concept concerns that epigraphy deals with text-bearing objects characterized by the genuineness and the uniqueness of the text. The second section discusses the nine levels of analysis proposed for the digital representation of inscriptions: 1. Metadata; 2. Matrix of the artefact; 3. Images of the artefact; 4. Decorations or figurative elements; 5. Transcription of the text: diplomatic edition; 6. Related epigraphs; 7. Text: critical edition with apparatus; 8. Bibliography; 9. Commentaries. At each level, the epigraphical evidence relates to the Res Gestae Divi Augusti (RGDA). The last section is dedicated to comparison between digital epigraphy and digital papyrology in order to consider their paths in the Digital Humanities. Now the papyrological world has a single platform, whereas epigraphers use databases more localized (based on geographic origin of inscriptions) and specialized, with, for only some of them, a basic common interface. Furthermore, these reflections would encourage interoperable tools and cooperation between communities.
2021
In recent years, multiple-text manuscripts (MTMs) have attracted growing academic interest. MTMs deserve ample attention, since they constitute the majority of manuscripts in many cultures. The aim of this article is to categorize MTMs in a way that goes beyond textual content or mere codicological features. Focusing on and combining three aspects (content, use, and production), we propose the following categories: Petrified MTMs, Intertwined MTMs, Open MTMs, Repurposed MTMs, and Recycled MTMs. These MTM categories reflect commonly shared phenomena and can be applied to MTMs from various manuscript cultures. At the centre of our approach is an attempt to better understand the projects behind MTMs. In this way, we seek to analyse and categorize MTMs with regard to their emergence, transmission, use, reception, and perception.
The use of computing technology in humanities scholarship has grown dramatically in recent years thanks to collaboration between humanists and IT specialists. One particular field where this collaboration has been fruitful and dynamic is early-modern scholarly correspondence. Digital technology has offered a range of opportunities for the encoding, conservation and analysis of letters as a means of reconstructing and visualizing correspondence networks. In the past few years, open source projects, such as Mapping the Republic of Letters (Stanford), Cultures of Knowledge (Oxford), Electronic Enlightenment (Voltaire Foundation), have substantially contributed to making these letters accessible. This conference invites us to consider the major contributions that digital tools provide to better understand the Republic of Letters. The workshop will critically engage with the question of how digital resources can contribute to a more constructive reading of the past. Beyond the appeal of engaging and interactive graphs, is the use of technology changing the way we interpret early-modern history? The transnational and multidisciplinary workshop aims to generate scholarly debates on these questions. It will gather scholars working on correspondence and network projects to discuss methods and research tools, to foster collaboration and to explore the potential of these projects. In addition to showcasing important projects, we will ask if it is possible to envisage a large-scale, common scheme to integrate/merge all these various projects in a single platform of early modern correspondence and networks; and if not, what are the main constraints (funding, copyrights, data protection, languages, divergent ideas, dissimilar software and tools). The workshop will bring together leaders of well-known early modern correspondence projects and experts in the use of digital tools for historical research to discuss these issues.
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