TEXT & IMAGE: FROM BOOK HISTORY TO "THE BOOK
Thursday , February 1, 2007 | 9:00 AM to 4:00 PM |135 Humanities
Friday, February 2, 2007 | 9:00 AM to 5:00 PM | Calit2, Room 1100 (California
Institute for Telecommunications and Information Technology)
Co-sponsored by HumaniTech®, the PhD Program in Visual
Studies, Network & Academic Computing Services (NACS), the Humanities
Center, the International Center for Writing & Translation, the
Office of Research and Graduate Studies, and the Departments of History
and Comparative Literature.
This conference explores media history from movable type to the most
recent debates about text and image, including the tensions between
image and writing, from hieroglyphs to the web, from automatic type-setting
to film title sequences, and from motion graphics in broadcast media
to issues around images and writing in computer-mediated communication.
It will include conversations on book history, library acquisition and
archives, the Google library initiative, digital libraries, and copyright.
Reservations recommended, contact HumaniTech at (949) 824-3638 or email@example.com
poster (PDF format).
CONFERENCE SCHEDULE Click on the "podcast"
link to download and listen to these presentations (MP3 format)
Thursday, February 1 | 135 Humanities Instructional Building
9:30 Welcome and Introductions podcast
Barbara Cohen, Director, HumaniTech®
Karen Lawrence, Dean, School of Humanities
Peter Krapp, Associate Professor, Film and Media Studies
9:45 - 10:45 HISTORY
Introduction: Emily Rosenberg, UC Irvine podcast
Presenter: Edward L. Ayers,
University of Virginia, "Seeing History" podcast
Respondent: Sharon Block, UC Irvine podcast
Audience questions podcast
10:45 - 12:00 IMAGE AND TEXT
Introduction: Julia Lupton, UC Irvine podcast
Presenter: Robert Folkenflik, UC Irvine, "Anonymous
Presenter: Samuel Weber, Northwestern University,
"Scripting the Image: Walter Benjamin's 'Seagulls'""
Audience questions podcast
12:00 - 1:30 Lunch Break
1:30 - 2:30 DESIGN
Introduction: Peter Krapp, UC Irvine podcast
Presenter: Peter Lunenfeld, Art Center College
of Design, "The Mediawork Project: Visual Intellectuality for a
Networked Age" podcast
Presenter: Anne Burdick, Art Center College of
Design, "Composite Reading: Text and/as Image" podcast
Audience questions podcast
2:45 - 3:45 COLLECTIONS
Introduction: Lorelei Tanji, UC Irvine Libraries
Presenter: Robin Chandler, California Digital
Library, "University of California Libraries and the Implication
of Mass Digitization"
Presenter: Jackie Dooley, UC Irvine Libraries,
"The Real Stuff: Why Original Artifacts Still Matter"
Audience questions podcast
4:00 - 6:00 PUBLIC RECEPTION & EXHIBIT (Langson Library)
This: Five Centuries of Book Illustration" will be available
to view during the reception. Light refreshments will be served.
Friday, February 2 | Calit2, Room 1100 (California Institute
for Telecommunications and Information Technology)
9:30 - 10:30 ARTIFACTS
Introduction : Barbara Cohen, HumaniTech® podcast
Presenter: Mark Dimunation, Library of Congress,
"The Thingness of the Digital Object: A Curatorial Dilemma"
Respondent: Jane O. Newman, UC Irvine, "Forged
Under Fire: The Fate of Libraries in Times of War" podcast
Audience questions podcast
10:45 - 12:00 VISUAL WORLDS
Introduction : Peter Krapp, UC Irvine podcast
Presenter: Richard Burt, University of Florida,
"Border Skirmishes: Weaving Around the Bayeux Tapestry and Cinema"
Presenter: Donald Hoffman, UC Irvine, "The
User-Interface Theory of Perception: Implications for the Evolution
of Text and Image" podcast
Audience questions podcast
12:00 - 1:30 Lunch Break
1:30 - 2:45 SIGNATURES AND TYPOGRAPHY
Introduction: Julia Gelfand, UC Irvine Libraries
Blanchette, UC Los Angeles, "Computer-aided hermeneutics:
A proposal for preserving new media" podcast
Presenter: Peter Cho, UC Los Angeles, "Letter,
Word, and Text: Explorations in Digital Typography" podcast
Audience questions podcast
3:00 - 5:00 FUTURE
Introduction: Stephen Franklin, UC Irvine
Panel: Daniel J. Clancy, Google, "Indexing
all the world's books: Future directions and challenges for Google Book
David S.H. Rosenthal, Stanford University Libraries,
"If Books Are History, How Can the Future Have a Past?" podcast
Marc Davis, Yahoo! Inc., "From Text to Web:
Mobile Social Media and the Reinvention of Writing" podcast
Ramesh Jain, UC Irvine, "Organic Books"
Audience questions podcast
CLOSING REMARKS podcast
Barbara Cohen, Director, HumaniTech®
DIRECTIONS AND PARKING
PDF map of the UCI campus.
Humanities Instructional Building is building number 610 (orange area)
on the campus map. Room 135 is located on the second floor. Parking
is available in structure #4 on the corner of Campus Drive and West
Calit2 (California Institute for Telecommunications and Information
Technology) is building number 325 (purple area) on the campus map.
Room 1100 is located on the first floor, just off the lobby. Parking
can be found in the Engineering/ICS Parking structure on East Peltason,
or in lot 12B on the corner of East Peltason and S. Circle View.
Parking permits can be purchased at the entrance to the parking structures,
or at the dispenser machines on East and West Peltason. Prices are $7/day
for general and $9/day for reserved. Please note the dispenser machines
require exact change and do not take $5 bills.
PARTICIPANT ABSTRACTS AND BIOS
EDWARD L. AYERS, Dean of Arts
and Sciences, Hugh P. Kelly Professor of History, University of Virginia
The last few decades have presented us with new ways to make sense of
our world. Novel technologies of data gathering and representation have
suddenly augmented our ability to comprehend the world and our place
in it, enabling us to see patterns locked away in numbers, texts, and
landscapes. The news of the day increasingly comes to us in the form
of graphics and maps. Geography has been revolutionized by satellites,
global positioning systems, and geographic information systems; visualization
has become a staple on computers, television screens, and the dashboards
This paper and presentation will show some efforts to take advantage
of the possibilities held out by these new technologies of seeing to
understand the complex social experiences of the past. It will use some
established techniques, such as GIS, but also introduce some more unusual
strategies as well, focusing on the years surrounding the most momentous
event in American history: the emancipation of four million people in
the American South during and after the Civil War. We will address what
such strategies mean for books, both the atlas and the history written
from dynamic images.
Edward Ayers has been involved in digital history since the early 1990s,
when he conceived "The Valley of the Shadow: Two Communities in
the American Civil War," which has won a number of prizes and become
a staple in classrooms around the world. The book Ayers wrote from that
digital archive in 2003, In the Presence of Mine Enemies, won
the Bancroft Prize and the Beveridge Prize for distinguished writing
in American history. In the summer of 2007 he will become president
of the University of Richmond.
JEAN-FRANÇOIS BLANCHETTE, Assistant
Professor of Information Studies, UC Los Angeles
"Computer-aided hermeneutics: A proposal for preserving new media"
Archivists and systems designers have made some significant progress
over the past decade with regard to developing both the theories and
the tools needed to ensure the preservation and evaluation of authentic
electronic records. However, the problem of preserving complex digital
objects (or “unstable” or “variable” media)
increasingly confronts archivists, curators, artists, and multimedia
producers as they face the inevitable impact of technological evolution
on media art, databases, web sites, and other interactive digital works.
Computer-aided heremeutics (CAH) is a proposal to revisit the traditional
archival distinction between preservation and access, whereby the former
is understood as the business of protecting the physical integrity of
an artifact, and the latter, as the business of making that artifact
available (whether through reading rooms or information systems) to
some audience. Rather, CAH proceeds from the understanding that preservation
and access are the twin means by which artifacts are transmitted through
time: preservation deals with the problem of transmitting physical objects
through time, while access deals with the problem of transmitting the
cultural competence necessary to “read” the physical objects
so that they remain intelligible.
This paper outlines two project that have been developed for the PRESERVATION
of complex media (electro-acoustic music from the IRCAM and videogames)
in the framework of CAH. It contrasts those to some of the solutions
that have been developed so far in the digital preservation community
— migration, emulation, and scoring — and how each approach
has attempted to re-conceptualize authenticity in the context of new
Jean-François Blanchette received a B.Sc. and a M.Sc. in Computer
Science from the Université de Montréal in 1995 and 1997,
and a Ph.D. in Social Studies of Science from Rensselaer Polytechnic
Institute in 2002. Between 1999 and 2001, he was an invited researcher
at the CNRS in Paris, where he investigated the definition of a new
legal framework for recognizing the evidential value of electronic documents,
Between 2002 and 2004, he was a Post-Doctoral Fellow with the InterPARES
project at SLAIS, University of British Columbia
Professor Blanchette's current research focuses on developing the theoretical
and practical tools necessary for the long-term preservation of complex
digital objects. He teaches and conducts professional training in the
area of electronic records management, digital preservation, and social
dimensions of computing.
SHARON BLOCK, Associate Professor of History,
My first book, Rape and Sexual Power in Early America (University
of North Carolina Press, 2006) focuses on forced heterosexual sex in
British America from 1700 to 1820. Based on research in more than twenty-five
archives, I combine social, cultural and legal histories to create a
multi-dimensional picture of sexual violence. My qualitative and quantitative
analyses of personal, institutional, and popular representations of
coerced sex reveal how sexuality was crucial to the production of a
My current project, "America the Beautiful: Consumption, Bodies,
and the Transformation of National Desire," explores the history
of physical beauty in the colonial eighteenth century. By combining
histories of aesthetics, sexuality and material culture with cutting
edge technological methodologies, "America the Beautiful"
seeks to answer questions about the impact of attraction, sensation
and desire before the nineteenth-century rise of sentimentality with
its attendant emphasis on the connections between female morality and
I also have ongoing academic interests in technological applications
for historical research and a commitment to diversity and equity issues
I teach courses on Colonial America, History of Sexuality, History
of Crime, Race and Slavery, and Comparative Gender Frontiers. In all
of my courses, students examine the relationships between institutional
power structures and individual experiences to understand the multiple
perspectives of various groups in a given time and place.
ANNE BURDICK, Chair, Media Design Program,
Art Center College of Design
"Composite Reading: Text and/as Image"
Exploring the role of materiality and typographic form in the construction
of Literature and Knowledge, this presentation will look at three different
projects in which images of texts serve as both writing strategy and
In the experimental text-dictionary, Wörterbuch der Fackel: Redensarten,
the lexicographic functions of the dictionary are arranged around a
"spine" of images from the pages of Karl Kraus's journal Die
Fackel. In order to maintain the semantic integrity of Kraus's unique
form of media critique, which relied on precise graphical arrangement,
it was necessary to excerpt not only his words but their typographic
form as well.
In the interface design for the Austrian Academy Corpus, an online
database of 19th- and 20th-century German-language texts for the Austrian
Academy of Sciences, images of pages appear side-by-side with their
digital text counterparts. The project allows for a literal comparison
of the differences between print and electronic textuality.
In the book design for Writing Machines, "visual-verbal quotations"—images
of primary sources—are interwoven with author Katherine Hayles'
critique of materiality and literature. The result is a book that can
be "viewed and read by the skilled reader of a new, composite reading
Anne Burdick collaborates with texts and writers to produce new modes
of reading and writing. Despite winning the prestigious Leipzig Award
for the “Most Beautiful Book in the World,” Anne does not
call her practice book design. Rather, she designs spaces for writing
in diverse media and environments, which sometimes includes books. Her
projects are wide-ranging: poetry installations for the Getty Research
Institute, unique approaches to lexicography with the Austrian Academy
of Sciences, experimental fiction at the Walker Art Center’s Gallery
9, and books of literary/media criticism by authors such as Marshall
McLuhan and N. Katherine Hayles. Anne is the Chair of the Graduate Media
Design Program at Art Center College of Design, and Design Editor of
Electronic Book Review.
RICHARD BURT, Professor of English,
University of Florida
"Border Skirmishes: Weaving Around the Bayeux Tapestry
In a cartoon drawn by Richard Jolley, two American tourists are seen
viewing the BayeuxTapestry in a museum, and the husband remarks to his
wife “The storyboard was great . . .why did they never make the
movie?” The punchline depends, of course, on our appreciating
the differences between the Tapestry and film, high French fine arts
culture and low American film culture, naive and knowing viewers, the
past and the present. The tourists are far from being alone, however,
in comparing the Tapestry to modern visual media. Scholars have frequently
drawn analogies between the Bayeux Tapestry and animated cartoon, storyboard,
screenplay, silent film, sound film, and digital hypertext and even
hypertextile.” M. J. Verrier calls it a “propaganda film”
(2). Marie-Therese Poncet includes a screenplay of the “film”
and divides the Tapestry into seventy-three shots (65). Michel Parisse
discusses the Tapestry in terms of montage sequences, mise-en-scene,
flashbacks, and jump cuts, and he divides the Tapestry into sections
that make up a screenplay (53). Similarly, Suzanne Lewis refers to sequences,
scenes, cuts, fast cutaways, and fade shots in the Tapestry (11-12).
More broadly, Francois Amy de la Breteque sees a kind of reciprocal
equivalence between the Bayeux Tapestry and film: “One may consider
that, in the minds of many of our contemporaries, the embroidery [Bayeux
Tapestry] represents a kind of medieval equivalent of cinema . . . .
The embroidery was a form of ‘precinema’” (144).
Perhaps coincidentally, not long after scholars began to draw an analogy
between the Bayeux Tapestry and film, the Tapestry itself began to appear
in film. It has been cited in at least nine widely varied films: The
Vikings (dir. Richard Fleischer, 1958), El Cid (dir. Anthony Mann, 1961),
Is Paris Burning? (dir. Rene Clement, 1966), Bedknobs And Broomsticks
(dir. Robert Stevenson, 1971), La Chanson de Roland (dir. Frank Cassenti,
1978), Hamlet (dir. Franco Zeffirelli, 1990), Robin Hood: Prince of
Thieves (dir. Kevin Reynolds, 1991), and a made-for-television film,
Blackadder: Back and Forth (dir. Paul Weiland,1999). The Bayeux Tapestry
appears in cinema most frequently in the opening and end title sequences
and takes a variety of forms, including animated cartoon (The Vikings),
film stills (Chanson de Roland), and film montage (Robin Hood, Prince
of Thieves). TheTapestry is not typically cited “faithfully,”
as it were, but is often restitched and re-embroidered. The Bayeux Tapestry
scenes shown in El Cid and Hamlet are hybrids of scenes in the Tapestry.
In opening title sequences, the Tapestry is made into a film prologue,
and the Tapestry also sometimes shows up in scenes of the film. In each
case, the Tapestry is put into the service of another narrative, though
El Cid and Le Chanson de Roland echo a generic link, noted by Bayeux
Tapestry scholars, between the epic poems that the two films adapt and
the Bayeux Tapestry. When adapted as a film prologue, the Tapestry frames
the film and always tells another story, so it always serves as an analogue.
Robin Hood, Prince of Thieves, for example, rehistoricizes and retells
scenes of the invasion of England in the Bayeux Tapestry as the story
of English soldiers leaving England for the Crusades. Cinematic citations
put the medieval past and film into dialogue in ways that offers a more
complex model for considering analogies between both the medieval past
and film. The preservation and transmission of the genuine Bayeux Tapestry
involves alterations, restorations, simulations, facsimiles, print reproductions,
and a CD-ROM edition that are analogous to its adaptation and transmission
on film. The transmission and storage of both the Bayeux Tapestry and
films that cite it involve a particular kind of “transmissive
interaction,” in Jerome McGann’s terms, namely, an unrolling
that is also an unraveling. This unrolling/unraveling is both damaging
and reparative to the Tapestry or film’s visibility, both iconoclastic
and iconic: on the one hand, unraveling involves illegibility, obscurity,
and invisibility, vulnerability, danger, injury, tearing, grease staining,
tear drops, scratches, breaks, split ends, lost panels or frames, and
frayed edges; and, on the other, unraveling involves legibility and
visibility, cleaning, sewing, patches, splices, and in the case of DVDs,
ROBIN CHANDLER, Director of
Data Acquisitions, California Digital Library
"University of California Libraries and the Implications
of Mass Digitization"
During 2006, the University of California Libraries became contributors
and partners in two significant mass digitization projects: the Open
Content Alliance (OCA) and Google
Book Search. Supporting the University's educational mission, these
digitization projects will greatly expand our ability to give scholars
and the public access to the kinds of information and ideas that drive
scholarly innovation, public knowledge and discourse. This paper will
investigate the potential impact of mass digitization projects on users
and the concrete realities facing libraries managing these efforts.
The academic enterprise is primarily about discovery, and mass digitization
is one of many catalysts fundamentally changing in how information is
discovered and delivered to users. It is the dawn of the embedded library.
PETER CHO, Design |
Media Arts, UC Los Angeles and Partner, Agency: Collective
"Letter, Word, and Text: Explorations in Digital Typography"
This series of computationally-based experiments deals with issues surrounding
how we see and read typography in an increasingly digitally-mediated
world. Among these are: the secret lives of letterforms, the relationship
between spoken and written language, and the visual representations
of text in the virtual 3D space of the computer display.
Peter Cho is a Los Angeles-based media artist and designer, and a co-founder
and partner of Agency:Collective, a collaborative design studio. Cho
holds a Master of Fine Arts degree from the UCLA Design | Media Arts
department, where his work dealt with issues of language, writing, and
meaning and a Master of Science degree from the MIT Media Lab, where
his design research explored custom models for typography in time-based
and reactive media. He has received honors for his work from Ars Electronica,
Tokyo Type Directors Club, and ID Magazine. His interests include issues
of electronic textuality, narrative, and mapping.
DANIEL J. CLANCY, Engineering
Director, Google Book Search Project
"Indexing all the world's books: Future directions and challenges
for Google Book Search"
Google Book Search is an ambitious project started by Google
to realize a dream that the founders of Google have had since they were
students at Stanford. This dream is to make all the worlds information
fully searchable to create a universal digital library. There are of
course numerous technical challenges that must be addressed to accomplish
this goal. The first one is the ability to scan the books in a scalable
manner. Once the books have become available, however, there is a rich
set of research challenges that must be addressed to organize this information.
In this talk, I will talk about some of the challenges already addressed
and will discuss future directions for Google Book search and the research
challenges that exist for the field of Digital Libraries.
Dr. Daniel J. Clancy, PhD, is the Engineering Director for
Google Book Search. The goal of the Google Book Search project is to
digitize the world’s books and make them searchable online. Google
is working with both publishers and libraries as part of this project.
Prior to coming to Google in January 2005, Dr. Clancy was the Director
of the Exploration Technologies Directorate at NASA Ames Research Center.
The Directorate supports over 700 people performing both basic and applied
research in a diverse range of technology areas intended to enable both
robotic and human exploration missions. Technology areas include Intelligent
Systems, High-end Computing, Human-Centered Systems, Bio/Nanotechnology,
Entry Systems and others. In this role, Dr. Clancy played numerous roles
at the agency level including participating in the team that developed
the agency’s plan to return men to the Moon and eventually Mars.
Dr. Clancy received his PhD from the University of Texas at Austin in
artificial intelligence. While in school, Dr. Clancy also worked at
Trilogy Corporation, the NASA Jet Propulsion Laboratory and Xerox Webster
Research center. Dr. Clancy received a Bachelor of Arts from Duke University
in 1985 in computer science and theatre.
BARBARA COHEN, Director HumaniTech®,
Barbara Cohen is Director of HumaniTech® in the School
of Humanities at UC Irvine. Her most recent publications include
Material Events: Paul de Man and the Afterlife of Theory (Minneapolis:
University of Minnesota Press, 2001) and Provocations to Reading:
J. Hillis Miller and the Democracy to Come (New York: Fordham University
Press, 2005), which she co-edited. She has also written a variety of
articles on the interface between Humanities and technology. Her educational
background is in French literature, with technology an interest that
grew out of her work at UCI as editor for J. Hillis Miller.
MARC DAVIS, Social Media Guru, Yahoo! Inc.
“From Text to Web: Mobile Social Media and the Reinvention of
The emerging sociotechnical ecosystem of billons of cameraphones around
the world is enabling new forms of “writing” which embody
and extend poststructuralist conceptions of “text”. By recording
and correlating a variety of explicit and implicit human behaviors that
were heretofore invisible and impermanent, networked mobile media computing
will redefine what we think of as language, writing, the book, text,
and the historical record. In a world where explicit and implicit human
activity on the scale of billions of people (their presence, attention,
and relationships, and their media production, reception, description,
and sharing) can be computationally represented, processed, and visualized,
we are creating a new collectively authored and read “book of
life”—a text which in the words of Roland Barthes is a “social
space which coincides only with a practice of writing.”
Marc Davis' work focuses on creating the technology and applications
that will enable daily media consumers to become daily media producers.
His research encompasses the theory, design, and development of digital
media systems that leverage contextual metadata and the power of community
to enable people to produce, share, and remix media. From 2002 to 2005,
Marc Davis served as Assistant Professor at the UC Berkeley School of
Information where he directed Garage Cinema Research and co-founded
the UC Berkeley Center for New Media. At Garage Cinema Research, Marc
Davis and his students developed and deployed Mobile Media Metadata
(MMM) prototypes for context-aware mobile media tagging and sharing
and technologies for video capture, tagging, sharing, and remixing.
In 2005, Marc Davis worked with Yahoo! Inc. and UC Berkeley to found
Yahoo! Research Berkeley, and in 2006, joined Yahoo! as Social Media
Guru to formulate strategy and take action to invent and realize the
future of social media and mobile media. Marc Davis earned his B.A.
in the College of Letters at Wesleyan University, his M.A. in Literary
Theory and Philosophy at the University of Konstanz in Germany, and
his Ph.D. in Media Arts and Sciences at the Massachusetts Institute
of Technology Media Laboratory.
MARK DIMUNATION, Chief, Rare
Book and Special Collections Division, Library of Congress
"The Thingness of the Digital Object: A Curatorial Dilemma"
Mark Dimunation was appointed Chief of the Rare Book and Special Collections
Division, Library of Congress in March 1998. As Chief, Mr. Dimunation
is responsible for the development and management of the Rare Book Collection,
the largest collection of rare books in North America. He acquires materials,
develops programs of lectures and presentations, and oversees the operations
of the Division. He came to the Library of Congress from Cornell University,
where he had served since 1991 as Curator of Rare Books and Associate
Director for Collections in the Division of Rare and Manuscript Collections,
and taught in the English Department. He has lectured extensively about
book collections and has authored a number of exhibition catalogs, including
a recent study of Andrew Dickson White as a nineteenth-century book
collector. Mr. Dimunation is a member of the Grolier Club, IFLA, and
the ESTC Board and is currently Chair of the Rare Books and Manuscripts
Section (RBMS) of ACRL/ALA.
JACKIE DOOLEY, Head of Special
Collections/Archives, UC Irvine Libraries
"The Real Stuff: Why Original Artifacts Still Matter
Despite the importance of widespread digitization of rare books, manuscripts,
photographs, and other primary source materials found in libraries and
archives in order to vastly improve ease of access to these materials,
public collections of the "real stuff" remain critical for
study and research in the Humanities. The arguments include the unfeasibility
of digitizing all such materials; the significance of originals as objects
of research in and of themselves; the power they hold to inspire students
toward their own research, and the importance of attracting donors of
privately-held materials in order to include them in the cadre of individuals
who are committed to preserving our cultural
heritage and making it publicly available.
Jackie Dooley has been Head of Special Collections and Archives at the
UC Irvine Libraries since 1995, managing UCI's collections of distinction,
including the Critical Theory Archive, the Southeast Asian Archive,
the Regional History Collection, Dance and Performing Arts Collection,
the University Archives, papers of distinguished UCI faculty, and the
general rare book collections. She also oversees the Libraries' program
Her previous positions were at the Getty Research Institute, UC San
Diego, and the Library of Congress, where she was a cataloger of historical
prints and photographs. She also worked for the Library of Congress
in Venice, California, to prepare a catalog of the works of Charles
and Ray Eames in preparation for transfer of their archives to the Library.
Her distinctions include election as a Fellow of the Society of American
Archivists, a member of the Grolier Club, and the rank of Distinguished
Librarian in the University of California. She has held numerous leadership
positions within the Society of American Archivists and the Rare Books
and Manuscripts Section of the Association of College and
Research Libraries. She was one of the founders of the pioneering project
that developed into the Online Archive of California, which has become
an indispenable resource for access to archival collections throughout
California. She is recognized internationally for her expertise in developing
standards for cataloging rare books, archives, and visual
ROBERT FOLKENFLIK, Professor
Emeritus of English, UC Irvine
This paper examines the case of Samuel Johnson as a way of showing the
status and implications of anonymous and pseudonymous authorship in
the early modern period and how they differ from our own.
Robert Folkenflik has published several books on narrative: Samuel
Johnson, Biographer (Cornell University Press) and The Culture
of Autobiography: Constructions of Self-Representation (Stanford
University Press). He has also published The English Hero, 1660-1800
(University of Delaware Press) and editions of Swift’s A Tale
of a Tub (Joseph Simon), Smollett’s Sir Launcelot Greaves
(University of Georgia Press), and Sterne’s Tristram Shandy
(Modern Library), as well as over forty essays, mostly on the eighteenth
century. He joined the UCI faculty in 1975 and served as General Editor
of Irvine Studies in the Humanities for many years. He has held fellowships
from the NEH, ACLS, Yale Center for British Art, Guggenheim Foundation,
Rockefeller Foundation (Bellagio), and an Exchange Fellowship from the
British Academy. His essay “Wolfgang Iser’s Eighteenth Century,”
appears in the latest issue of Poetics Today, 27 (2006), 675-91.
He served as Visiting Professor at the University of Konstanz in Professor
Iser’s place in 1990.
STEPHEN D. FRANKLIN, Director
for Academic Outreach, Network and Academic Computing Services, UC Irvine
Stephen D. Franklin <firstname.lastname@example.org> is Director for Academic
Outreach in UC Irvine's Network & Academic Computing Services and
a Lecturer in Irvine's Donald Bren School of Information and Computer
Science. A career-long UCI employee, he has served in many different
capacities: teaching, research and research support, developing
software, and managing various groups. An early (1993) advocate of the
Web, in 1995 he coordinated the campus collaboration which established
Irvine's Electronic Educational Environment. He serves on various system-wide
coordinating groups and is UC Irvine's "Designated Agent"
for handling copyright infringement allegations under the Digital Millenium
Copyright Act. His doctorate is in Mathematics, and he is a member of
Phi Beta Kappa and the Association for Computing Machinery. Steve shares
his expertise in math and somputer science with his passion for the
JULIA GELFAND, Applied Sciences
and Engineering Librarian, UC Irvine Libraries
My extracurricular interests are centered around collection development
and scholarly publishing activities. The changes in scholarly publishing
due to technology and electronic publishing have redefined ways that
libraries acquire and license information. I am interested in a variety
of permutations about this for scholarly communications, and byproducts
such as the redefinition of grey literature. I am also interested in
issues related to higher education and the formation and role of academic
consortia in growing library shared resources and eScholarship programs.
DONALD D. HOFFMAN, Professor
of Cognitive Sciences, UC Irvine
"The User-Interface Theory of Perception: Implications
for the Evolution of Text and Image"
This talk is a highly illustrated and accessible introduction to human
visual intelligence, informed by the latest breakthroughs in vision
research. Perhaps the most surprising insight that has emerged from
vision research is this: Vision is not merely a matter of passive perception,
it is an intelligent process of active construction. What you see is,
invariably, what your visual intelligence constructs. Just as scientists
intelligently construct useful theories based on experimental evidence,
so your visual system intelligently constructs useful visual worlds
based on images at the eyes. The main difference is that the constructions
of scientists are done consciously, but those of your visual intelligence
are done, for the most part, unconsciously.
The principles by which your visual intelligence constructs visual
worlds were shaped by evolution, not to give truth but to allow members
of homo sapiens to survive long enough to reproduce. Our perceptual
worlds, like the perceptual worlds of, say, the cockroach, serve as
a species-specific user interface that effectively guide our behavior
in our particular niche. Information that is formatted to properly engage
our species-specific user interface will be more readily accepted and
understood. This places a strong constraint on the future evolution
of both text and image in human culture.
Donald Hoffman is a cognitive scientist and author of more than 70 scientific
papers and three books, including Visual Intelligence: How We Create
What We See. He received his BA from UCLA in Quantitative Psychology
and his Ph.D. from MIT in Computational Psychology. He joined the faculty
of the University of California, Irvine, in 1983, where he is now a
professor in the departments of cognitive science, computer science,
philosophy, and logic and philosophy of science. He received the Distinguished
Scientific Award of the American Psychological Association for early
career contributions to the study of visual perception, and the Troland
Research Award of the US National Academy of Sciences.
RAMESH JAIN, Donald Bren Professor
in Information and Computer Sciences, UC Irvine
Books have played a very significant role in advancement of civilization
for a long time. The current form of book has been evolving for more
than 2000 years. Wikipedia says “A book is a collection of paper,
parchment or other material with text, pictures, or both written on
them, bound together along one edge, usually within covers.” Advances
in technology are resulting in disruptive changes to the form of book
that we all have so dearly loved, admired, and worshipped. From a physical,
well defined, solid form, it seems to be evolving into an organic, live,
and amorphous form in which depending on the context and person it may
adopt different forms. This change is already here and we have already
started using it. This new form of book offers exciting possibilities
– interactivity, multimodal, and evolving books that will cover
a topic of interest in richer and more complete way. We are definitely
at an inflexion point in our efforts to grasp knowledge. Technology
drew us to objectification of knowledge in the past; now it is encouraging
us to eventification of knowledge. And this is exciting.
PETER KRAPP, Associate Professor, Film
and Media Studies, UC Irvine
Peter Krapp is Associate Professor of Film and Media Studies
at UC Irvine. His research interests include media history, critical
theory, and cultural memory. He offers classes on digital culture, film
title sequences, machinima and motion graphics, media theory, archives,
secrecy, computer games, and vampires. He also contributes to UCI graduate
programs in Visual Studies and in Art-Computing-Engineering (ACE), and
is affiliated with the Department of Comparative Literature. He is the
author of Deja Vu: Aberrations of Cultural Memory (University
of Minnesota Press 2004) and editor of Medium Cool (Duke University
Press 2002: special issue of the South Atlantic Quarterly).
PETER LUNENFELD, Professor,
Media Design Program, Art Center College of Design
"The Mediawork Project: Visual Intellectuality for a Networked
We are witnessing the wide-scale emergence of visual intellectuals -
people simultaneously making, pondering, and commenting on culture,
but in a way that doesn't always begin with words. We all understand
that digital tools and information technology networks contribute to
this trend, but the big question is how to develop media design strategies
to make the dissemination of critical thinking and informed opinion
both more seductive and more rigorous.
The MIT Press’s Mediawork Pamphlets offer one model in answer
to this big question. They explore art, literature, design, music, and
architecture in the context of emergent technologies and rapid economic
and social change and can be described as being somewhere in-between
'zines for grown-ups and transmedia theoretical fetish objects. The
pamphlets meld writing and design, text and image.
The Mediawork WebTakes at http://www.mitpress.mit.edu/mediawork
embed these books in a rich hypercontexual and interactive environments,
modeling meaningful responses to meaningful content. The first Mediawork
Book, USER: InfoTechnoDemo (2005) by Editorial Director of the Mediawork
project Peter Lunenfeld, visuals by Mieke Gerritzen pushes many of the
issues raised by the project to a new level. USER offers a reading experience
that is more vivid than most: Gerritzen's bold visuals create a book
that is also a designed object -- a compact matrix of words and image
as potent as a smart bomb. The Mediawork project aims to transform private
theory into public discourse, visual experimentation into cultural intervention.
Peter Lunenfeld is a professor in the graduate Media Design Program
at Art Center College of Design. He writes about art, design, film,
and the broader culture in an era of computational ubiquity, studies
that fall under the emerging rubric of Digital Humanities. His books
include The Digital Dialectic, Snap to Grid, and USER: InfoTechnoDemo.
His forthcoming book will be titled The War Between Downloading and
Uploading: How the Computer Became Our Culture Machine. He is the editorial
director of the award-winning Mediawork series for the MIT Press.
JULIA LUPTON, Professor of English and
Comparative Literature, UC Irvine
Julia Reinhard Lupton is Professor of English and Comparative Literature
at the University of California, Irvine, with a joint appointment in
Education. Her most recent book, Citizen-Saints: Shakespeare and
Political Theology, was published by the University of Chicago
Press in 2005. She is also author of Afterlives of the Saints: Hagiography,
Typology and Renaissance Literature (Stanford, 1996) and co-author
with Kenneth Reinhard of After Oedipus: Shakespeare in Psychoanalysis
Lupton is the founding director of Humanities Out There, an educational
partnership between UCI’s School of Humanities and the Santa Ana
Unified School District. By involving scholars, teachers, and students
from several institutions in collaborative teaching and research, HOT
aims to transform educational practices and intellectual horizons for
all participants. In 2006, she received the Ernest A. Lynton Award for
Faculty Professional Service and Academic Outreach, awarded annually
by the New England Resource Center for Higher Education (NERCHE).
At UCI, Lupton is a frequent contributor to the Humanities Core Course,
which serves 1200 freshmen each year.
JANE O. NEWMAN, Professor of Comparative
Literature, UC Irvine
"Forged Under Fire: The Fate of Libraries in Times of War"
Jane Newman's interests are in sixteenth- and seventeenth-century
English, French, German, Italian and neo-Latin literature; history of
the discipline of Comparative Literature; theories and methods of Comparative
Literature; new historicism and cultural materialism; Cold War Renaissance
and Baroque Studies. She was a Guggenheim Fellow, 1998-99, and a Humboldt
Fellow, 1991-92 and 2004. She is the author of Pastoral Conventions
(1990) and The Intervention of Philology (2000), and is currently
completing Benjamin's Library: The Afterlives of the Baroque.
She is the author of essays on Theocritus, Virgil, Luther, Shakespeare,
Opitz, and Lohenstein; the history of printing; race in/and the Renaissance;
race and Renaissance legal theory; drama and the history of the stage;
early modern science; Simone de Beauvoir and Descartes; Cold War Renaissance
Studies; and Erich Auerbach and Edward Said. Newman's additional interests
include: Gender, Politics, and Performance in Classical Greek Tragedy;
The Latent Pasts of Antiquity in the Early Modern and Post-Modern; From
Manuscript to Hyper-Text: A Comparative History of Text Production;
Historiography of Renaissance and Early Modern Studies.
EMILY ROSENBERG, Professor
of History, UC Irvine
My research and teaching interests focus on the history of
U.S. economic and cultural expansion from the late nineteenth century
to the present. I am also interested in U.S. foreign policy, especially
as it assisted the remarkable expansionism that turned the United States
into a global superpower. Two of my books, Spreading the American
Dream: American Economic and Cultural Expansion, 1890-1945
and Financial Missionaries to the World: The Politics and Culture
of Dollar Diplomacy, 1900-1930 deal with this concern.
Within the broad area that includes the history of U.S. international
policies and Americans’ various relationships to people and countries
in the rest of the world, my research is especially attentive to issues
of cultural construction and contestation. Many of my articles, for
example, explore how discourses of gender operate in international relations.
Moreover, my most recent book examined various constructions of the
most prominent foreign policy symbol in our history: the attack on Pearl
Harbor. In A Date Which Will Live: Pearl Harbor and American Memory,
(which has been translated into Japanese), I examine Pearl Harbor as
historical memory and the way in which it anchors diverse narratives
and “lessons” about the past.
Among other professional activities, I have served as president of
the Society for Historians of American Foreign Relations (SHAFR); been
a Board member of the Organization of American Historians; and co-edit,
with Gilbert Joseph, the “American Encounters, Global Interactions”
book series for Duke University Press.
DAVID S.H. ROSENTHAL, Chief Scientist,
LOCKSS Program, Stanford University Libraries
"If Books Are History, How Can The Future Have A Past?"
In one sense books are history because as a medium for expressing ideas
and adding to our culture's heritage the Web offers far more to both
creators and readers. And in another sense, books are history because
for a long time they have been the most survivable form in which today's
knowledge can be transmitted to future readers. Books are a robust and
easy-to-store package filled with a remarkably durable and somewhat
tamper-proof storage medium that is easy to replicate and distribute.
Bits are alarmingly vulnerable to a far wider range of threats than
books. What are these threats and vulnerabilities, what is being done
to defend against them, and how well are the defenses likely to work?
Dr. David Rosenthal is investigating peer-to-peer techniques for fault
and attack tolerance in the LOCKSS program, and is also responsible
for the OpenBSD-based network appliance technology that most LOCKSS
peers use. The LOCKSS program is aimed at long-term preservation of
the web editions of academic journals, such as those published by Stanford's
David joined Sun Microsystems in 1985 from the Andrew project at Carnegie-Mellon
University, where he had worked on window systems with James Gosling.
He worked on window systems with James at Sun, and was part of the teams
which developed both NeWS and the X Window System, now the open-source
standard. He also worked on graphics hardware, the operating system
kernel, and on system and network administration.
David left Sun in 1993 to be Chief Scientist and employee #4 at Nvidia,
now the leading supplier of high-performance graphics chips for the
PC industry. He worked on I/O architecture. In 1996 he joined Vitria
Technology, now a leading supplier of e-business infrastructure technology.
He worked on reliable multicast protocols and on testing industrial-strength
software. After starting the LOCKSS program at Stanford with NSF funding,
from 1999 - 2002 he worked on it at Sun Labs. From 2002 he has been
working on it at Stanford Library.
David received an MA degree from Trinity College, Cambridge and a Ph.
D. from Imperial College, London. He is the author of several technical
publications and holds 23 patents.
LORELEI TANJI, Fine Arts Librarian,
UC Irvine Libraries
SAMUEL WEBER, Avalon Foundation
Professor of Humanities, Northwestern University
"Scripting the Image: Walter Benjamin's 'Seagulls'"
The Image in Walter Benjamin's writings takes on a role that is somewhat
unusual in critical prose, but very familiar in poetry: instead of illustrating
or elucidating, in the manner of a perception, it interrupts, confounds
and complicates the discursive flow. After a brief discussion of the
relation of image to concept and constellation in Benjamin's work, one
very striking verbal image will be explored: that of sea-gulls; their
circular, recurrent flight sets the scene--or scenario--in which the
observer plays an enigmatic but perhaps decisive part.
Samuel Weber is Avalon Foundation Professor of Humanities at Northwestern
and co-director of its Paris Program in Critical Theory.
Professor Weber studied with Paul de Man and Theodor W. Adorno, whose
book, Prisms, he co-translated into English. The translation of, and
introduction to Theodor Adorno's most important book of cultural criticism
helped define the way in which the work of the Frankfurt School would
be read and understood in the English-speaking world. Professor Weber
has also published books on Balzac, Lacan, and Freud as well as on the
relation of institutions and media to interpretation. In the 1980s he
worked in Germany as a “dramaturge” in theater and opera
productions. Out of the confrontation of that experience with his work
in critical theory came the book, Theatricality as Medium, to be published
in 2005 by Fordham University Press. He is also completing work on two
other books: Targets of Opportunity and Benjamin’s-abilities.
Professor Weber began teaching at the Free University of Berlin and
subsequently taught at the Johns Hopkins University and UCLA before
coming to Northwestern in 2001.