My blog post for the forthcoming THATCamp CAA asking after the art history courses of the future…
via Tumblr http://charlottefrost.tumblr.com/post/72849838073
Back in November, as part of Academic Writing Month, Jesse Stommel and I conducted an on and offline Google Docs workshop.
As regular collaborators who use Google Docs on a weekly basis to write, talk and reflect, we wanted to share exactly how we work together. So at 11.00am Hong Kong time, I met Jesse in a Google Doc in front of a room of PhD and Post-Doc writers. Jesse meanwhile was at home on a cold night in Madison.
With a rough idea of what we wanted to talk about, we proceeded in describing and demonstrating a strategy for collaborative writing. Our aim was to show that even if you don’t plan to co-write with someone, a Google Doc is still a great place to work openly with another person (or even a whole crowd).
Often just making the plan to meet someone in a Google Doc can have a big impact on your productivity, but it’s also a great way to get a bit of support as you write – you might even get some valuable proof-reading from your writing partner. In fact, as our final Google Doc (and blog post for PhD2Published) shows, there are numerous reasons for writing with someone online.
What we never expected when we set out to produce this Google Doc workshop was that Digital Humanities Now would pick up on it and make it their Editor’s Choice in December. This was an exciting validation of Jesse’s and my ongoing collaborative experimentation and totally made our December!
To have DHNow select the work is also completely in line with the way both of us operate. We strive to experiment in public and reflect – with others – on the nature and value of what we have done. Back in July, my open, multi-modal approach to art history was also selected by DHNow as an example of relevant contemporary humanities practice. It’s important to me to be part of these open experiments but it’s also important to me to be recognized precisely by the very platforms that offer an alternative to traditional publication and peer review.
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We’re curating fantasy art exhibitions in class, here’s the start of mine! #arthistory #duchamp #jeffkoons #jeremybailey
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Discussion points will include:
Each week I will begin discussing a new issue drawn from my research on post-internet art history and I will publicly invite responses from the list and beyond (I am also going to be approaching people privately and off-list, using email and other social media, in order to gather more opinions to feed these back into the list-based discussion). My plan is to rigorously test out ideas about the evolution of art contextual activities on the very pioneers who shaped these spaces and systems. I also want to preview sections from my forthcoming book, Art History Online, invite people to directly criticize my work and/or corroborate the facts. In doing this I aim to:
In the first week I shall begin with the origins of discussion lists. Who started which list, where and why and what were some of the posts that established the list’s reputation? I will draw out some of the history that isn’t already described online and give list originators the opportunity to reflect, some years later, on what happened during these times. Then I will go on to ask people how they might theorize art discussion lists: as artistic or political statements in themselves? As living documents or performance spaces? As ways of hacking the systems of art making and contextualization?
…and many more!
As a book series we publish unique works that establish new systems for considering art. Our aim is to explore the relations between the form and content of art books and to exploit new technologies that expand their literal and philosophical capacities. What is a book about art, and what can and should it do?
Our first publication, Interactive Art and Embodiment: The Implicit Body as Performance, by Nathaniel Stern, is out in a few days: http://www.amazon.com/Interactive-Art-Embodiment-Implicit-Performance/dp/1780240090
This book shows how interactive artworks ask us to perform rigorous philosophies of the body. Stern argues that interactive art suspends and amplifies the ways in which we experience embodiment as per-formed, relational, and emergent. He provides many in-depth case studies of contemporary artworks that develop a practice of embodied philosophy, setting a stage to explore how we inter-act and relate with the world. He offers a valuable critical framework for analysing interactive artworks and what’s at stake in our encounters with them, which can be applied to a wide range of complex and emerging art forms.
The book is published as a peer-reviewed printed book and eBook and is accompanied – or rather, re-per-formed – as an online participatory chapter about embodied research practices, and a multi-location interactive exhibition and virtual book tour.
In the companion chapter (offered in partnership with Networked Book at Turbulence.org), Stern offers a semi-autobiographical account of his own research trajectory, and invites comment, critique, and contributions of new work. This creates a participatory stage for rehearsing the performance of scholarship.
At the exhibitions, audiences encounter the concepts and materials addressed in the book. For example, in Stern’s ‘Body Language’ series, participants use their full bodies to interact with digitized sounds, projected animations, texts, drawings, and videos, which shift and change with their movements. They explore, play with, experience, and practice how we make bodies and meaning.
In its various modes, Interactive Art and Embodiment performs the philosophical environment of interactive art, and embodies Arts Future Book’s investigations into how we can and should perform art scholarship.
Further performances of art, philosophy and publishing will occur on Twitter using the hashtag: #implicitbody.
Arts Future Book is published by Gylphi Ltd and is supported by an international editorial board.
The Arts Future Book project has been explained, modelled (and remodelled) in the open-access journal article/artwork: ‘Is Art History Too Bookish’ by series editor Charlotte Frost.
Arts Future Book: http://www.gylphi.co.uk/arts/index.php
Interactive Art and Embodiment: http://implicitbody.net/
Nathaniel Stern: http://nathanielstern.com/
Companion chapter: http://stern.networkedbook.org/
Networked Book: http://networkedbook.org/
Is Art History Too Bookish? http://www.gylphi.co.uk/artsfuturebook/
The first Arts Future Book!!!
via Tumblr http://charlottefrost.tumblr.com/post/57057537074
I’ve just written an article on my hashtag project for Hybrid Pedagogy
called ‘Hashtag Classroom’. It begins:
Hashtags are taxonomic and pedagogical tools (with citation standards to boot). The Twitter hashtag was born in 2007. Invented by Chris Messina (then with the consulting firm Citizen Agency, now an open web advocate for Google), the first tweet with a hashtag read as follows: “how do you feel about using # (pound) for groups. As in #barcamp [msg]?”’. As Messina himself explains in a discussion group on the question and answer website Quora, he was trying to find a simple way for people to engage in group discussion. One that would work whether you were tweeting from your mobile phone or your bells-and-whistles iMac. And one that would be as easy to follow as ignore. Popular hashtags include ‘#fail’, which is usually used humorously to point out either your own mistake or that of someone else, and #nom a hashtag based on the sound Sesame Street’s Cookie Monster makes when he eats cookies, marking a moment of culinary delight.’ – See more at: http://www.hybridpedagogy.com/Journal/files/Hashtag_Classroom.html#sthash.AwT8YOeM.dpuf
And on Friday 2nd August at 6.00pm I’ll be taking part in a live Twitter discussion on hashtags in teaching/learning. We’ll be using the #digped hashtag – so come join in!
‘Digital Humanities Now showcases the scholarship and news of interest to the digital humanities community through a process of aggregation, discovery, curation, and review. Digital Humanities Now also is an experiment in ways to identify, evaluate, and distribute scholarship on the open web through a weekly publication and the quarterly Journal of Digital Humanities.’
So you can imagine that I was really excited when my own blog post ‘What Is Art History Made Of?‘ made their ‘editor’s choice’ on 11th July 2013. It is important to me as a member of the digital humanities community to have the work recognised by this organisation but also, I feel it’s essential is receives attention from other such experimental projects.
When you work openly online, although you are offering up your work freely, you still need ways of identifying and validating it. The scholarly article explaining the hashtag project, ‘Is Art History Too Bookish?‘, is available online for all to read and comment on/peer-review, but having the project marked out by Digital Humanities Now is essential if it is going to find a decent sized audience without being published in a journal. Going forwards I hope it might still take some kind of journal-based or -related form, but in the mean time, it is important that I trial and lean about all the internet-based ways of working and publishing that the entire project seeks to investigate. So I’m very happy that Digital Humanities Now have given me the opportunity to explore more aspects of this ever-expanding project.
This made me soooooo happy! (via Twitter / museumpaige: @charlottefrost I sure love …)
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