digital humanities

EXCERPTS >|<  Carpenter, planing a board by Eadweard Muybridge (1887)


 | Download: large image
 | Digital Copy: Public domain

Animated GIF created from plate 379a from "Eadweard Muybridge. Animal locomotion: an electro-photographic investigation of consecutive phases of animal movements. 1872-1885 / published under the auspices of the University of Pennsylvania. Plates. The plates printed by the Photo-Gravure Company. Philadelphia, 1887.“

EXCERPTS by OKKULT Motion Pictures: a collection of GIFs excerpted from out-of-copyright/historical/rare/controversial moving images. 
A digital curation project for the diffusion of open knowledge.

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Link to Article

Link to British Library Flickr

Link to Album View (shown above)

Selected Links by Subject:

musical instruments | fashion & costumes | ships | dancing | decorative papers | curator selection | highlights | portraits | space and science fiction | children’s book illustrations | technology | flora | advertisements | decorative illustrations | castles | heraldry | diagrams | comic art | illustrated letters & typography | wildlife

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EXCERPTS >|< How the Eye Functions (1941)


 | Hosted at: Internet Archive
 | From: Prelinger Archives
 | Download: Ogg | 512Kb MPEG4 | MPEG2
 | Digital Copy: not specified

Explains gross & detailed structure of human eye. Briefly describes how light waves are refracted by lens of eye and focused on the retina, emphasizes lens, its position and changes in curvature. Discusses monoculare and binocular vision, retina etc.

We invite you to watch the full video HERE.

EXCERPTS by OKKULT Motion Pictures: a collection of GIFs excerpted from out-of-copyright/historical/rare/controversial moving images. 
A digital curation project for the diffusion of open knowledge.

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Mexican researchers work to digitize the Codex Mendoza

Mexican researchers working on the 16th-century Codex Mendoza are pioneers in efforts to bring important archaeological documents that provide prime sources for the study of pre-Columbian Mexico into the digital era.

The goal is “to make the Mexican codices accessible for a wider audience,” National Anthropology and History Institute, or INAH, expert Ernesto Miranda said in an interview with Efe.

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ArtHistory.us is a forthcoming open access art history journal that seeks to intersect the academic and public realm by providing a platform for the free interchange of ideas between people, regardless of where they are on their academic or professional journey.

We are currently seeking submissions on any area related to art history or visual culture in preparation for the release of our live website. We encourage authors to think creatively about including any digital resources that could enhance their papers. We have already accepted fantastic papers on topics ranging from Botticelli’s Birth of Venus to Hokusai’s The Great Wave off Kanagawa. 

Whether you are an art enthusiast or a student of art history, if you have something to say about an artist or artwork that you would like to share with a global audience, consider submitting an article today! 

youtube

Fascinating short video of how the Morgan Library & Museum, one of the world’s most exquisite, is digitizing its remarkable collection, which includes such treasures as Antoine de Saint Exupéry’s original watercolors for The Little Prince and these Islamic manuscript paintings of Rumi’s life.

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EXCERPTS >|< The GIFmas Collection

Santa Claus Conquers The Martians  (1964)

 | Hosted at: Internet Archive
 | From: Feature Films
 | Download: | 512kb MPEG4 | Ogg Video | CD/DVD
 | Digital Copy: U.S. Public Domain

A series of gifs excerpted from Santa Claus Conquers The Martians: a film about Martians kidnapping Santa because there is nobody on Mars to give their children presents. (source: IMDB).

We invite you to watch the full video HERE

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Una serie di gif estratte da Santa Claus Conquers The Martians: un film sul rapimento di Babbo Natale da parte dei marziani perché su Marte non c'è nessuno che possa portare i regali ai loro bambini.

Vi invitiamo a vedere il video originale QUI


EXCERPTS by OKKULT MOTION PICTURES: a collection of gifs excerpted from open source/unknown/rare/controversial moving images. A digital humanities project for the diffusion of open knowledge.

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Research Resources

I’ve been updating the Static Resources page here with even more free, public domain, and open source tools for anyone remotely interested in Digital Humanities. For anyone who has been seized by the spirit of inquiry, whether it’s for an academic project, personal enlightenment, or because you want to fact check something you saw here. It’s my hope that everyone who reads this will at least check out these sites and learn something new today!

TL;DR: If you wanted to make your own MedievalPoC, this is how you get started!

Art History Image Databases:

Bibliomancy:

Open Source Academic:

Art history straddles the digital divide. Its pedagogical practices have been transformed by digital technology, but its scholarship remains wedded to the printed age. … Art history is invested in the monographic book as the prime vehicle for transmission of knowledge and academic advancement, and this bias is reinforced by tenure and promotion standards that privilege books over other types of publications.
— 

Hilary Ballon and Mariet Westermann. “Art History and Its Publications in the Electronic Age.” Rice University Press (2006). 

There are only a couple open access, online art history journals, but they are limited in scope. ArtHistory.us aims to add to their numbers.  Our field can move past print publication bias, and slowly but surely, it will.

Be a force of change by submitting an article to ArtHistory.us. Let’s create a new kind of journal for an emerging type of art history.

Bennett Segler and Kim set the tone for the rest of the day by grounding the disruption of DH in social justice, the invisible labor and exploitation of women, people of color, and other under-paid, under-publicized radical librarians who have been leaders in the movement to digital archives but have since been erased as institutions, directors and users who recode these projects as typically white male spaces.

This is perhaps not surprising, notes Bennett Segler, “today’s revolution is tomorrow’s institution” but this domesticating of women of color’s digital labor can be resisted. Kim added that by refusing to see archives as a politically “neutral space” of universal access we can redirect social and financial capital back towards the exploited and forgotten progenitors who continue to revolutionize the field and disrupt the digital humanities.