Sounds and Digital Humanities is a week-long course offered during Digital Humanities Summer Institute (DHSI). This course focuses on opportunities/approaches for sound in Digital Humanities scholarship and pedagogy.
Sounds and Digital Humanities is a week-long course offered during the Digital Humanities Summer Institute, University of Victoria, Victoria, British Columbia, Canada. Campus maps here (download or view online).
Course emphasis is practice-based research and/or creative expression. Topics include sound utilization, forms, and associated intellectual rights in Digital Humanities (DH) contexts. No previous experience with sound is required. Workshops will help participants learn basic sound recording and editing. Participants can apply these opportunities and resources to ongoing DH sound projects, or experiment freely. Hear course artifacts, below.
Course activities include lecture, discussion, and practice-based learning. Rather than analysis and critique, this course leans toward praxis. This is not to suggest that sound and DH is clear of nuance and/or tension, but rather to focus on practice-based conceptualizing and creating in support of scholarship and pedagogy. Participants are encouraged to experiment.
DHSI participants are international Digital Humanities scholars—faculty and graduate students—aligned with research centers, libraries, and academic departments around the world who participate in intensive, collaborative, multi-disciplinary classes and seminars ranging in subject matter from text encoding basics to strategies for large project management. Digital Storytelling can facilitate these efforts.
Coursepack available here in open and portable electronic format. Read it online, print at your convenience, or use the print-on-demand service at the University of Victoria Bookstore and pick up when you arrive on campus.
Sound is to people what the sun is to light. —Ornette Coleman
Digital Humanities (DH) seeks to engage academic scholarship with creative practice to promote critical thinking, communication, digital literacy, and civic engagement.
While DH has embraced visualization—images, animation, video, and text as image—as the basis for scholarship presentation and pedagogy, sound is, arguably, overlooked.
As part of its power, sound provides a way of knowing and being in the world. Listening to sound can invoke associations unlike any other medium. Considering sound provides new opportunities / approaches for DH research, scholarship, teaching, and learning.
DH scholars, however, may lack appreciation and/or ability for using sound(s) to enhance or ground their research / pedagogy. In response, this course introduces, explores, and investigates how sounds can be utilized in DH research and information presentation.
We will consider sound objects / applications like soundscapes, soundwalks, sound maps, transects; remixes; aural and oral histories / biographies / documentaries/storytelling; curated exhibitions / installations / performances / broadcasts; or as stand alone artifacts (embedded sound, podcasts, web-based radio, archives, curated collections).
DHSI 2017, 12-16 June
Twelve individuals from Canada and the United States participated in this course. Artifacts produced by 2017 participants include . . .
"Request to NASA to Include a Poet in Their Next Space Shuttle"
In 2011, Camps published this poem in The Bitter Oleander (translated into English by Anthony Seidman and Traci Roberts). Camps sent the poem to NASA, as a joke, to see what would happen. NASA took his poem seriously, and sent him an application package to join NASA as an astronaut. Later, Camps met an actual astronaut, and asked him to carry a copy of the poem into space. The astronaut did so, and tweeted about the poem from the International Space Station. Learn more and read Camps' poem in this blog posting. Enjoy this digital publication of Camps' poem. For this course, Camps augmented his poem with sound, and recorded a classmate reading his poem.
"Breathe" and "Gardening"
Two poems, written and augmented with sound recordings by Chatlosh.
"Tacoma Music History"
A project to identify and document all the places and names associated with Tacoma's music history. An interesting use of Story Maps. Tacoma Music History website.
A sample from a larger project, called "Noisemakers," to create a musical-rhythmic sound map for her campus (website here). Each building on the map will be assigned a different sound, each composed by Ferrando. By "playing" the buildings in combination with each other, different compositions can be realized. The sounds here were created using samples from recorded conversations, a bicycle, a bird, footsteps, and tapping a parking meter with a plastic water bottle.
DHSI 2016, 13-17 June
Eleven individuals from Canada and the United States participated in this course. Artifacts produced by 2016 participants include . . .
Kristin Carlson Becker
An audio interpretation of the creative process of putting her 16-month-old daughter to bed.
The sounds of swallows—not birds but moving food or drink from mouth to stomach—and more.
Linda V. Troost
An audio poem read and produced by Troost.
Poem: "Water and Weeds" by Yvonne Blomer, written for Canada Day 2015, used by permission
Music: "Trillium" by Podington Bear, freemusicarchive.org, CC3
Birds: Pacific wren and song sparrow recorded near the University of Victoria campus, CC0
Water: recorded near the U of Victoria campus, CC0
Fireworks: from soundbible.com, public domain
Copyright of recording: CC3
A sound collage/narrative combining the above individual projects, and more. Produced and edited by Laurelle Miciak.
DHSI 2015, 8-12 June
Sixteen individuals from Canada and the United States participated in this course. They produced this collaborative aural artifact from samples of their individual projects or sound files created during the course. You may hear disjointed noise, or a resonate narrative of human endeavor that, like DH, is deep and rich, broad and diverse. They recommend headphones for the best listening experience.
DHSI 2014, 2-6 June
Thirteen individuals from Canada and the United States participated in this course. They produced this collaborative aural artifact from samples of their individual projects or sound files created during the course. They recommend headphones for the best listening experience.
In 2013 and 2012 I taught, with faculty of the Creative Media & Digital Culture program, a course on Mobile App Design and Development. Course goals were to
1). Conceptualize the space and special features of mobile devices.
2). Develop the architecture, design, and multimedia content production for a mobile project.
3). Understand the coding and programming requirements for mobile devices.
I maintain a separate webpage for course resources. Learn more.