June 2013

Yesterday the German parliament passed a law granting scientists the right to make their research available online after a period of twelve month independent of former agreements with publishers. On first glance this appears to be a good thing. Yet as always the devil lies in the detail. The law excludes the regular everyday research done in universities. This limitation has been justly criticized. Moreover the legislation falls short in another respect which is especially important to the humanities: The legal right is limited to publications in periodicals. Scholarly monographs and papers in edited volumes therefore cannot be made legally available online after the embargo period. So it comes back to the question under which conditions book publishers allow authors to make their books Open Access.

Heinz Pampel put together a great overview (in German) of the debates around the so-called ‘Zweitveröffentlichungsrecht’ on his blog wisspub.net.

cable_nishantOpenness has become the buzzword for everything in India right now. From the new kids on the block riding the wave of Digital Humanities investing in infrastructure of open knowledge initiatives to the rhetoric of people-centered open government data projects that are architected to create ’empowered citizens’, there is an inherent belief that Opening up things will make everything good. Continue Reading…

g8_open_data_charter_scienceThe G8 leaders just met in the U.K. for their thirty-nineth summit. Surprisingly they signed the “Open Data Charter“, which covers the commitment of all G8 member states to publish government data from a variety of departments and the release “high value” science and research data on default.

This is just the beginning and there is, however, still much to be done. But scientists and researcher should welcome the charter. The member states signed to finish the implementation of the charter and technical annex by the end of 2015 at the latest. So it might be worth have a look at it and to combine activities regarding opening up “genome data, research and educational activity and experiment results” with pointing to the charter.

Huber Fichte Cover

a recognizable design concept for hubert fichte’s lyrical works published by fischer verlag

Covers are an essential part of selling content in bookstores. It can even become and art in itself. Covers to identify with. Covers to recognize (50 shades of grey in airports). Covers as limited editions, covers for design awards, covers to mark series (Hubert Fichte). Signature covers of publishing houses (Merve). Very often the covers of the same book vary in different countries (Ghana must go, Taiye Selasi).

Let’s look at the music. The square cases for LPs are canvases for designers to communicate, visualize, and generate appetite for what was in it. Not that vinyl ever left the market, recently they’re back to selling as significant object to display, even to those who abandoned the respective playing device. If you buy the vinyl you’ll receive a code to download the mp3s for your digital devices.

Let’s stay with the music. Let’s stay with the square. Even in the digital realm, the image remains and so does the shape. You can find the square in various sizes across platforms: Soundcloud, iTunes, bandcamp.com, etc. And because in many cases the square is very small, the design has to adapt to the scale and still look enticing.

Covers disappear in some academic journals all together. And the same can be true if you download the pdf file of a book. If you use Calibre as your home library software you can retrieve the former cover (usually various versions to choose from) to complete your ‘book’.

What is a book without its cover? And how does the file do with just a few letters behind the dot (.doc, .pdf, .jpg, etc.)? Do we need visual representation and distinction? In recent digital transformations, I saw the cover turn into an opening page or a trailer.

Consider visual representation
Consider images, icons, logos
Consider signature shapes
Consider size

HyperKultXXIISince 1991, the chair Kulturinformatik (cultural informatics) at Leuphana University Lüneburg has been organising the workshop HyperKult in the summer. The portmanteau “HyperKult” alludes to the development of computer technology which facilitates an ever increasing coupling of computers with culture as a medium for production in art and literature and as an object of philosophical and cultural theory analysis.

Now in its 22nd year, HyperKult offers an unique blend of talks combined with artistic and technical exhibits, installations, performances, sculptures and graphics.

This year HyperKult will tackle the topic of “Standards, Norms and Protocols” and their role in shaping our culture with contributions and talks in the fields of art, science, humanities, technology and informatics. The talks will be held in German.

Hosted by the German Informatics Society (Gesellschaft für Informatik e.V. (GI), working group “Computers as Media“, HyperKult 22 will take place at the Centre for Digital Cultures at Leuphana University Lüneburg.

We would like to discuss these issues with you at HyperKult and hope to see you in Lüneburg. Further information as well as the conference schedule (in German) can be found on the conference website.

When: July 4th-6th (Thursday through Saturday)
Where: Centre for Digital CulturesSülztorstraße 21–25, 3rd floor, 21335 Lüneburg

Web: www.leuphana.de/hyperkult
Facebook: www.facebook.com/hyperkult
Twitter: @HyperKultXXII



source: http://drunks-and-lampposts.com/2012/06/13/graphing-the-history-of-philosophy/   CC by-nc-sa

Date: 1 July, 2013

Time: 17h30 – 20h00

Venue: Centre for Digital Cultures, Sülztorstraße 21-25, 2. Stock, Raum 305 (All welcome!)

Antoine Hennion (Mines ParisTech): Translation, association, mediation: from ANT to a pragmatics of attachments

Alexandre Monnin (Panthéon-Sorbonne/INRIA/CNAM/IKKM Weimar): Forget O-O-O, the best “theory” of objects is the Web – on philosophical engineering and ontology, a pragmatist approach between Bruno Latour and Brian Cantwell Smith (and Wittgenstein)

Respondent: Yuk Hui (Hybrid Publishing Lab)

Contact: yuk.hui[a]leuphana.de

Antoine Hennion is professor and director of the Institute for Sociology of Innovation in l’École nationale supérieure des mines de Paris, his research centres on sociology of music and culture, around culture industry, advertisement and design. Author of numerous books including La Grandeur de Bach. L’amour de la musique en France au XIXe siècle(2000), Figures de l’amateur Formes, objets et pratiques de l’amour de la musique aujourd’hui (2000): http://fr.wikipedia.org/wiki/Antoine_Hennion

Alexandre Monnin, doctor in philosophy from Paris 1 Panthéon-Sorbonne focus on the philosophy of the web. Currently visiting fellow at IKKM Weimar, associate researcher at Inria Sophia Antipolis (francophone Dbpedia project), associate researcher at the the National Conservatory of Arts and Crafts and co-chair of the W3C “Philosophy of the Web” Community Group. In 2013, Alexandre was named one of the 25 experts in Open Data by the Etalab of the French Government: http://web-and-philosophy.org/

Just discovered…and highly recommended: Postcolonial DH scholar Adeline Koh‘s extensive interview series Digital Challenges to Academic Publishing at the Chronicle of Higher Education’s ProfHacker blog. Each article features an interview with an academic publisher, press or journal editor on how their organization is changing in response to the digital world. Enjoy!