Not Signed-In
Which clippings match 'Structured Repository' keyword pg.1 of 1
09 JANUARY 2013

The Computational Turn: Thinking About The Digital Humanities

"first–wave digital humanities involved the building of infrastructure in the studying of humanities texts through digital repositories, text markup, etc., whereas second–wave digital humanities expands the notional limits of the archive to include digital works, and so bring to bear the humanities' own methodological toolkits to look at 'born–digital' materials, such as electronic literature (e–lit), interactive fiction (IF), web–based artefacts, and so forth."

(David M. Berry, 2011)

Berry, D. M. (2011). "The Computational Turn: Thinking About The Digital Humanities." Culture Machine 12.

TAGS

archivearchivesborn-digital • born-digital materials • building infrastructure • database as cultural form • David Berry • digital archivedigital heritagedigital humanitiesdigital repositories • digital works • e-lit • electronic literature • first-wave digital humanities • humanitiesIFinteractive fictionmark-up • methodological toolkits • notional limits of the archive • second-wave digital humanities • structured repository • studying humanities texts • text markup • webweb archiveweb technologies • web-based artefacts

CONTRIBUTOR

Simon Perkins
07 MAY 2011

DataisNature: weblog of computational art

"Dataisnature is a weblog of personal and recreational research containing information and links covering the following topics – Robot Art, Algorithmic and Procedural Art, Computational Aesthetics, Glitch Aesthetics, Vj'ing, Video Art, Computational Archaeology and similar subjects. My impetus behind this weblog is to share and collate my findings in a central repository and publish for the benefit of interested communities."

(Paul Prudence)

Fig.1,2 "A test/sketch video sent to Francisco Lopez while working on a collaborative ambisonic audio–visual performance."

1
2

TAGS

algorithmalgorithmic artartistartistic practice • audio responsive visual feedback • central repository • communities of interestcomputational aesthetics • computational archaeology • computational designcomputational systemscreative practicedesign formalism • Francisco Lopez • generativegenerative designglitch aestheticspatternPaul Prudenceprocedural artprocess art • processed video • real-timerobot artstructured repositoryvideo artvisual musicvisual spectaclevisualisationVJweblog

CONTRIBUTOR

Simon Perkins
11 OCTOBER 2009

JISC infoNet : What are e-Portfolios?

"If portfolios are 'simply a collection of documents relating to a learner's progress, development and achievements' (Beetham 2005) then e–portfolios could be defined as simply digital collections of these documents. However, ideas of what an e–portfolio 'is' are complex and to an extent the definition and purpose will vary depending on the perspective from which a particular person is approaching the concept. Consensus is beginning to grow as experience of e–portfolios develops which will help converge these different ideas and definitions.

"An e–portfolio is a purposeful aggregation of digital items – ideas, evidence, reflections, feedback etc, which 'presents' a selected audience with evidence of a person's learning and/or ability." Sutherland and Powell (2007)

A helpful starting point is to distinguish between e–portfolios as products, e–portfolios as tools or systems and the processes associated with e–portfolio development although they are intrinsically linked and in the case of product and process, interdependent.

Essentially then, an e–portfolio is a product created by learners, a collection of digital artefacts articulating learning (both formal and informal), experiences and achievements. Learners create 'presentational' e–portfolios by using e–portfolio tools or systems. As part of this production process, learners can be inherently supported to develop one or more key skills such as collecting, selecting, reflecting, sharing, collaborating, annotating and presenting – these can be described as e–portfolio–related processes. Definitions of an e–portfolio tend to include the concepts of learners drawing from both informal and formal learning activities to create their e–portfolios, which are personally managed and owned by the learner, and where items can be selectively shared with other parties such as peers, teachers, assessors and employers."

(JISC infoNet, UK)

1

CONTRIBUTOR

Simon Perkins
Sign-In

Sign-In to Folksonomy

Can't access your account?

New to Folksonomy?

Sign-Up or learn more.