N. Katherine Hayles, Professor of Literature at Duke University, teaches and writes on the relations of science, technology and literature in the 20th and 21st centuries. Her book How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics won the Rene Wellek Prize for the Best Book in Literary Theory for 1998-99, and her book Writing Machines won the Suzanne Langer Award for Outstanding Scholarship. Other recent books include My Mother Was a Computer: Digital Subjects and Literary Texts and Electronic Literature: New Horizons for the Literary. She is currently writing a book entitled How We Think: The Transforming Power of Digital Technologies.

How We Think: Transforming Power and Digital Technologies

Within the Digital Humanities community, there is an on-going dispute about the relation of human to machine eading, in particular whether finding patterns can be a goal in itself or whether it must be linked to interpretation and meaning. This presentation argues for the importance of interpretation and illustrates it with results from data and text mining on Mark Danielewski's "Only Revolutions," an intricately patterned Oulipo-like work in which patterns compete (and cooperate) with overwhelming amounts of loosely structured data.

Lev Manovich is Professor of Visual Culture at the University of California, San Diego. His books include Software Takes Command (released under CC license, 2008), Soft Cinema: Navigating the Database (MIT Press, 2005), and The Language of New Media (MIT Press, 2001).

Cultural Analytics: Annual Report 2010

When we started work on Cultural Analytics in 2008, we established a number of larger goals: (1) being able to better represent the complexity, diversity, variability, and uniqueness of cultural processes and artifacts; (2) create much more inclusive cultural histories and analysis -

ideally taking into account all available cultural objects created in particular cultural area and time period (“art history without names”); (3) develop techniques to describe the dimensions of cultural artifacts and cultural processes which until now received little or no attention (such as gradual historical changes over long periods) and/or are difficult to describe using natural languages (such as motion); (4) create visualization techniques and interfaces for exploration of cultural data which operate across multiple scales; (5) from details of structure of a particular individual cultural artifact/processes (such as a single shot in a film) to massive cultural data sets/ flows (such as films made in 20th century). In my talk I will report on our progress in achieving these goals using the examples of our current projects - including Manga project where we are analyzing and visualizing a data set of over 1 million Manga pages.