Digital Humanities at Congress 2016

A list of events for digital humanists at Congress 2016 (May 28-June 3, 2016), compiled by Michael Ullyot. To add an event, send details to ullyot{at}

Events are listed in the order they were received (i.e. not in chronological order).  

Click on the title of each tab below for full details.

Are you curious about how the Digital Humanities can support your research, teaching, and dissemination? Join us for the third annual DHSI@Congress workshop series on June 2nd and 3rd at the Congress of the Humanities and Social Sciences at the University of Calgary. Built on the community model of the Digital Humanities Summer Institute, the DHSI@Congress sessions are facilitated by established scholars and emerging leaders in the field. We invite interested Congress attendees to register for any and all workshops that engage their interest below.

For more information, contact the DHSI@Congress organizer, Constance Crompton.

The CSDH/SCHN annual meeting will be held at the 2016 Congress of the Social Sciences and Humanities, University of Calgary, from May 30th to June 1.

Here is the preliminary program. For updated details, see the society’s web site.

The Canadian University Music Society will present a panel discussion entitled ‘21st century perspectives on music in the digital domain’ in Craigie Hall F202 on Thursday 2 June (14:00-16:00). For more information, contact Friedemann Sallis.

This roundtable will focus on the revolutionary impact that digital technology continues to have on the composition, performance, and study of music today. The roundtable will begin with presentations by professors and graduate students all of whom are involved in the Computational Media Design program (CMD) at the University of Calgary. Short position papers lasting approximately 15 minutes will be followed by questions from the floor.

  • John Aycock (Computer Science and Director of the CMD program): ‘Computational Media Design, the Big Picture.’ To supply a contextual framework for the roundtable, we begin with a brief synopsis of the CMD program at the University of Calgary, along with some of its unique challenges – and opportunities – when compared to traditional graduate programs.
  • Martin Ritter (PhD candidate in CMD) ‘Sounding Space’ Composers and performers are subservient to the sounding space, but it can also be inspiring. This is especially true for electronic music. The location of the sound can now be included into the composer’s toolbox for a more meaningful interaction with the music, space, and listener.
  • Jeffrey Boyd (Computer Science): ‘Sound as a visual field’ While visual representations of sound and music are well known (e.g., spectrograms and musical scores), the analysis of visual data and sound are disparate endeavours. In fact, there is little to distinguish a video camera from a sound field microphone. This realization opens the doors to the application of advances in computer vision to understanding and analyzing music and sound in composition, performance, and installation.
  • Laurie Radford (Composition, Sonic Arts) ‘Digital representations’ Digital representations of sound, image, text and scientific data reside in a common technical and cultural “space” and are accessed and employed with common procedures, tools and interfaces. This increasing contact of digital audio representation and manipulation with other forms of media in an interactive and exploratory fashion is affording both hybrid and entirely new practices in musicking.
  • Simon Fay (PhD Candidate in CMD ‘Improvisation with digital media’ In the past, improvisation has been bounded by the physical capabilities of the performer and their instrument. However, the power and ubiquity of modern digital media facilitate the creation of previously impossible sonic worlds, entirely new modes of interaction, and novel performance systems, vastly expanding the potential of improvised music.
  • Aura Pon (PhD candidate in CMD) ‘Being in the Moment: Music as Live Whole-Body Expression through Digital Technology’ The pliability of digital technology opens infinite possibilities in how we can interact with sound. Sensitive sensors and controllers can capture the richness of our movements and musical intentions in the moment and transform them into a sonic vivacity that transcends that which can be scored.
  • Friedemann Sallis (Musicology): ‘Seizing the ephemeral’ The scholarly study of music is traditionally limited to the examination of dots and lines on staff paper. Digital technology is providing new ways of examining music (electroacoustic music, popular music, non-Western music, etc.) that escapes conventional staff notation.

Details coming soon.


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