• Digital Humanities and Cultural Heritage
• Open Access close
• Other research products close
• Other ORP type close
• English close
• De Montfort University Open Researc... close

First in a series of 4 online exhibitions by collective And Or. Command Plus with Molly Morin and Nia Davies was the first online exhibition by collective And Or, running from February-June 2014. For this inaugural show, And Or brought together art, text, poetry and design by a web of collaborators including Molly Morin, Nia Davies, Nora O Murchú and Alice Poulalion to create a cycle of interactive work and response that confounds the distinction between text and image.

This special issue of the journal Photography & Culture (volume 14, issue 3) calls for the development of research into the various local and global political circumstances that have influenced the absorption of historical photographs into the realm of digital heritage, alongside the study of the digital photographic heritagization practices triggered by this very process. Presenting case studies from Australia, Britain, Israel, Palestine, Russia and South Africa, it analyses how historical photographs, digital heritage, and cultural conflicts have become interlocked in multiple countries around the globe since the post-Cold War rising prevalence of digital technology, global interconnectedness, and liberal democracy. These related conditions, it is suggested, have informed the growing digital heritagization of historical photographs and the methods used for their digitization, safeguarding and dissemination. Therefore, as a whole, the special issue argues that the confluence of historical photographs and digital heritage must not be understood as a mere response to technological progress but as an articulation of politically-charged aspirations to capitalize on the common association of photographs with the past, to administer approaches to differing cultural values in a time of imposing liberal-democratic politics of consensus.

AHRC

Edited commissioned anthology, ninth in series of ten by Cobra Press. Four short experimental texts responding to the 'Calais Crisis' COBRA Committee meetings and the refugee crisis in Europe.

Welcome to this 'genetic edition' of Andrew Davies' 1994 BBC adaptation of George Eliot's Middlemarch. This multimedia resource, believed to be the first of its kind, uses XML textual encoding - following the principles of the Text Encoding Initiative (TEI) - to enable comparative analyses charting the journey of a literary adaptation from source novel to script and screen. Users can navigate from the Shooting Script backwards (to the novel) and forwards (to the Post-production Script), following diamond icons leading to Notes, intertextual references, a range of assets and additional extended Commentaries on key scenes and adaptive moments. In this way, the genetic edition demonstrates both the creative skills of the screen adaptor and script editor, and (via additional production history research) the collaborative nature of classic serial television adaptation. The 'genetic edition' has been created by an interdisciplinary team of researchers at De Montfort University, UK, in partnership with the British Library and in consultation with the George Eliot Archive. The project (2022-3) was funded by the Arts and Humanities Research Council.

Drawing/experimental text in anthology of artists work on paper. Turn Right At The Statue of Love is a double-page spread drawing/text, an original artwork. In 'A Berlin Chronicle' Walter Benjamin describes his autobiography as a space to be walked. The invited contributions to The Lost Diagrams respond to the invitation to accompany Benjamin in reproducing the web of connections of his diagram, which, once lost (he was inconsolable) was never fully redrawn.

The exhibition toured to four venues: the Northern Gallery of Contemporary Art, Sunderland (2014), Chawton House Library, Alton (2014), John Hansard Gallery, Southampton (2014), People’s History Museum, Manchester (2015-2016) The exhibition was co-curated by Isabella Streffen and Alistair Robinson, with Peter Knight, Paul Crossthwaite and Nicky Marsh. It was funded by the Arts and Humanities Research Council, Arts Council England, the University of Manchester, the University of Southampton, the University of Edinburgh. Show Me The Money was the first exhibition to propose a broad historical overview of how the image of finance has changed over the last three centuries, and how it might be imagined in the future. It frames finance as a problem of knowledge, analysing the cultural, emotional, libidinal and even mystical factors that animate financial markets to demonstrate how they are shaped, mediated and made by visual and verbal rhetorics, and protocols of representation, genre narrative and iconography. It explored the origins and continuing dominance of the myth of the rational market, revealing in material terms the idea that markets are not governed by immutable economic laws but are socially, culturally and historically constructed. The exhibition comprised 72 art works (including new commissions) and 35 artefacts from the period 1698 to 2014.

Luci Eldridge and Meg Rahaim were asked by Phoenix to make new work exploring the relationship between digital and print for this two-person exhibition. It took place as part of Leicester Print Workshop’s Small Print International. Whether rural or urban, peopled or desolate, landscape is encountered on-screen through the cybernetic eyes of drones, web-cameras and robotic explorers. Such imaging devices enable us to take part in a form of virtual travel, allowing us to witness the unknown or traverse the familiar through an unfamiliar eye. Distances shrink with progress and the development of technology invites us to look in ever more detail at distant reaches of the universe. Yet these views of landscape remain partial and immaterial, manipulated and stratified, flattened and framed by technologies we do not fully comprehend. An ongoing fascination with how landscape is represented by digital technologies is what drives the individual practices of Luci Eldridge and Meg Rahaim. Be it a pixelated flourish of cloud algorithmically rendered in the sky above Google Street View or the distant landscape of the planet Mars imaged by NASA’s rovers, landscape as a 360-degree physical experience is reconstructed via these imaging devices, withdrawn into a flat two-dimensional image. Using printmaking as a practical and conceptual methodology, the digital is overturned in favour of the handmade as a means to reposition oneself within landscapes that are often distant and remote. Through analogue photography, etching, collage, and handmade textile techniques both artists offer contemplations on innately familiar landscapes, that would otherwise remain trapped within the digital space of the screen.

Exhibition brochure produced by the author to illustrate and promote the exhibit at the Royal Scottish Academy and as a permanent record of its peer reviewed selection and presence as a centre-piece exhibit at the Royal Scottish Acdademy's Open Exibition in Edinburgh in 2010. In October 2010, the author’s 2 ft high, 3D printed model of the famous Greek, fourth century BC Choragic Monument of Lysicrates was selected for exhibition as one of the centerpieces of the Royal Scottish Academy’s Open Exhibition in Edinburgh. It was on display from 29th October – 16th December that year. The model is a digital reconstruction based upon a detailed survey of the monument carried out by the British architects James "Athenian" Stuart and Nicholas Revett in 1751, before considerable surface detail was lost from it. As a demonstration of how 3D digital technologies can assist in representing historic buildings like the Choragic Monument of Lysicrates as they were when complete and in promoting public understanding of the issues of conservation and heritage which surround them this particular model has had considerable impact, being viewed by over eight thousand five hundred visitors.