Responsibility: edited by Wido van Peursen, Ernst D. Adriaan van der Weel, Ph. He has published in various social science disciplines on the construction of knowledge, and is an editor of the Brill book series on Scholarly Communication. The E-mail message field is required. What are the effects of digital transformations in text culture on textual scholarship? At a time of curriculum development and change, it focuses on the opportunity to build a new curriculum that is inclusive of creativity and is fit for the twenty-first century. This comprehensive, book is crucial reading for lawyers, policymakers and academics.
Readers will discover how creative production processes are dominated by digital data transmission which makes the connection between people, ideas and creative processes easy to achieve within collaborative and co-creative environments. In fourteen thoughtful essays this book reports and reflects on the many changes that a digital workflow brings to the world of original texts and textual scholarship, and the effect on scholarly communication practices. He is an editor of Digital Humanities Quarterly, and the Brill book series on Scholarly Communication. Special attention is given to the solutions that computer science offers in terms of methodological principles and software tools. We aim to contribute to the development of new digital information and knowledge environments that build on past textual practices.
The authors rexamine the history of the digital humanities in relation to the study and dissemination of Blake's work: from alternatives to traditional forms of archiving embodied by Blake's citation on Twitter and Blakean remixes on YouTube, smartmobs using Blake's name as an inspiration to protest the 2004 Republican National Convention, and students crowdsourcing reading and instruction in digital classrooms to better understand and participate in Blake's world. The ability to sort, quantify, reproduce and report text through computation would seem to facilitate the exploration of text as another type of quantitative scientific data. Digital Creativity: Individuals, Groups, and Organizations discusses all spectrums of influence that digital technologies have on creativity from the individual, team, and organization level. As such, encouraging children to be creative thinkers and problem solvers should be an integral part of everyday teaching and learning across all subjects. How can we understand children's engagements with digital technologies in commercialized spaces? The development of a codified theoretical basis for the preservation of audiovisual materials became a concern only about three decades ago.
His publications include The Verbal System in the Hebrew Text of Ben Sira Brill, 2004 and Language and Interpretation in the Syriac Text of Ben Sira Brill, 2007. His publications include The Verbal System in the Hebrew Text of Ben Sira Brill, 2004 and Language and Interpretation in the Syriac Text of Ben Sira Brill, 2007. Something from Nothing Author: G. It defines the arts as being any creative activity which is intended to entertain, provide pleasure, stimulate emotion or provoke thought. For this purpose, the book considers various factors that would affect creativity- individuals' digital efficacy, heterogeneity among members i.
This edited collection focuses on children's digital cultures, specifically examining the role of play and creativity in learning with these new technologies. The implied dual nature of interpretation as the traditional, valued mode of scholarly text comparison, combined with an increasingly widespread reliance on digital text analysis as scientific mode of inquiry raises the question as to whether the reflexive concepts that are central to interpretation - individualism, subjectivity - are affected by the anonymised, normative assumptions implied by formal categorisations of text as digital data. The ability to sort, quantify, reproduce and report text through computation would seem to facilitate the exploration of text as another type of quantitative scientific data. This book offers a new kind of creativity model encompassing all three levels of creativity. This timely, authoritative Handbook explores the issues of rapid technological development, social change, and the ubiquity of computing technologies which have become an integrated part of people's everyday lives. Description: xvii, 296 pages, 30 unnumbered pages of plates : illustrations some color ; 25 cm. Through exploring the current state of the creative industries, the authors show how technologies are reshaping our creative processes and how they are affecting the innovative creation of new products.
Finally, the concept of digital philology is introduced, with practical examples of its implications on the preservation workflow. It combines each level into a unified creativity framework in which organizations regardless of their industry types could benefit in reengineering their business processes as well as strategies. The ability to sort, quantify, reproduce and report text through computation would seem to facilitate the exploration of text as another type of quantitative scientific data. The purpose of the experiment was primarily to find out what kind of digital artefact could be generated from an early modern book. Author: Owen Kelly Publisher: N.
Today, it is widely accepted that content migration, in particular analog-to-digital trans-coding, is the only viable solution to the long-term preservation of these materials. First Online: 05 November 2018 Abstract Audiovisual heritage comprises a large part of our cultural legacy. This is a comprehensive, up-to-date resource for the twenty-first century. The book details instruments and processes of digital text criticism along with reflection on the increasingly unstable reconstructions of authorship and presence in e-philology. How might school practice take account of out-of-school learning in relation to digital cultures? Combining both case studies and theoretical reflections, this book offers a varied range of assessments about digital conditions of philological inquiry. In this scathing swipe at the institutionalised idiocy that is stifling creativity just at the time the world needs it most Gordon Torr draws from the leading lights of creativity research to demolish the myths that surround the generation of ideas in the modern organisation.
Building upon the research and practices of a group of educators studying creativity across the curriculum and coordinated by the author, this book provides primary teachers and trainee teachers with easy to understand explanations of what creativity means in the context of the subjects of the curriculum for young children. The book offers a diverse set of ideas as to what is relevant today and what will be relevant tomorrow for emerging architectural practices of the digital age. It introduces ideas for how to nurture and support it, and explores issues associated with fostering it, such as assessment. Until now, there has been no clear-cut methodology by which creativity management can be articulated and materialized into the business process management within companies and corporate performance. Written by an interdisciplinary group of researchers this thought provoking book will appeal to academics and students from a wide range of backgrounds working or interested in the technologies that are shaping our experiences of the future.
We aim to contribute to the development of new digital information and knowledge environments that build on past textual practices. It discusses the digitally-driven changes, their origins, and their effects by grounding them in actual practices already taking place, while simultaneously speculating about their wider implications for the future. It addresses the key aspects of research within the digital technology field and provides a clear framework for readers wanting to navigate the changeable currents of digital innovation. Since we rely on our senses to understand our world, perhaps of more significance is that technologies through 3D printing are returning from the digital to the physical world. Copyright information Cite this chapter as: Bressan F.