Digital Humanities Research

The New Liberal Arts and New Digital Humanities Education

Feng Huiling

2022, 2(4): 14-21.

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This article summarizes the new characteristics of digital humanities educationas new educational pattern,new goals,new structure,and new roles. The new educational idea runs through the above-mentioned new characteristics. Digital humanities education has no definite position in the current discipline map. The intersection and cutting-in of multi-discipline make the discipline affiliation of digital humanities educationa diversified pattern. Digital humanities education does not pursue imparting definite knowledge,but aims to guide students to embrace open knowledge and strengthen thinking training. The long-span,multi-cues,and deeply integrated knowledge intersection of digital humanities has triggered multi-level structural updates,such as curriculum structure,teacher team structure,and teacher-student knowledge structure. Digital humanities education must shift from one-way indoctrination to student participatory learning,give more teaching resources to students,and implement open source education,which will lead to changes in the traditional roles of teachers and students.

Research on the Construction of "Metadata Ontology" of Chinese Traditional Music Knowledge Base#br#

Cao Junjun, Li Junxuan, Wang Yuhe

2022, 2(4): 22-37.

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The construction of the knowledge base of Chinese traditional music resources is in line with the cultural strategies of China to promote national music and prosper the music industry, and it also meets the demands of the joint construction of library resources in the music circle. The construction of " metadata ontology" is the key point, especially the design for the characteristics of Chinese traditional music and the knowledge structure of Chinese traditional musicology. The research is based on the practice of the "Chinese Traditional Music Culture Resource Bank" in the library of the China Conservatory of Music, especially in combination with the characteristics of its " image records" ,to carry out the design of the basic ontology scheme; combined with the characteristics of traditional music culture related to multiple fields, it constructs corresponding categories, relationships and semantic constraints, such as involving music genres, musical instruments, and thesaurus of ethnic groups, and semantic associations with repertoire, musicians, regions, and written documents. This program will benefit traditional music classification research and knowledge retrieval in vertical fields, and has application prospects in music geography and music anthropology community analysis.The construction of the knowledge base of Chinese traditional music resources is in line with the cultural strategies of China to promote national music and prosper the music industry, and it also meets the demands of the joint construction of library resources in the music circle. The construction of " metadata ontology" is the key point, especially the design for the characteristics of Chinese traditional music and the knowledge structure of Chinese traditional musicology. The research is based on the practice of the " Chinese Traditional Music Culture Resource Bank" in the library of the China Conservatory of Music, especially in combination with the characteristics of its "image records" ,to carry out the design of the basic ontology scheme; combined with the characteristics of traditional music
culture related to multiple fields, it constructs corresponding categories, relationships and semantic constraints, such as involving music genres, musical instruments, and thesaurus of ethnic groups, and semantic associations with repertoire, musicians, regions, and written documents. This program will benefit traditional music classification research and knowledge retrieval in vertical fields, and has application prospects in music geography and music anthropology community analysis.

Towards 2030 Cross-generational Research of the Metaverse: The Strategic Proposal for Digital Humanities of Chinese Opera Education

Wang Tai-jui

2022, 2(4): 38-62.

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It is of great significance to assist the contemporary expression of Chinese opera,which is the cultural gene of the Chinese nation,with the power of scientific and technological innovation. Applying metaverse-related production technologies such as XR (VR/ AR/ MR) related software and hardware,volumetric capture ,motion capture, and 3D holographic images,etc. ,to explore the construction process of excellent performers,will assist in the Chinese opera education and training. This will also be able to achieve a new format of digital culture with a more comprehensive overall planning and design encompassing man, machine, environment, etc. in education, learning, creation,research,industry-university cooperation,etc. The " Strategic Proposal for Digitalization of Chinese Opera Education" was formed based on the above-mentioned related research. It is a cross-field combination of art (Chinese opera),education (technology),and research (experiment). The 2030 metaverse generation requires the index quality needed for the professional education of Chinese opera art in order to enhance the performance ability of practitioners of various opera types and the appreciation ability of young audiences. It is also expected to generate new generations of opera literacy education in the context of Chinese culture on both sides of the strait and even around the world. In this way,a new thinking force that is like the cross-field category of the Renaissance will gradually be interpreted in the big data of the artificial intelligence cloud era.

What Does A Photograph Sound Like? Digital Image Sonification As Synesthetic AudioVisual Digital Humanities

Michael J. Kramer Trans. Zhu Zitong

2022, 2(4): 63-73.

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Computers have the capacity to transpose the pixels,shapes,and other features of visualmaterial into sound. This act of data correlation between the visual and the audial produces anew artifact,a sonic composition created from the visual source. The new artifact,however,correlates precisely to data in the original,thus allowing for fresh ways of perceiving its form,content,and context. Seeming to distort the visual object into an aural one paradoxically allowsan observer to observe the visual evidence anew,with more accuracy. A kind of generative,synesthetic criticism becomes possible by cutting across typical boundaries between the visualand the audio,the optic and the aural. Listening to as well as looking at visual artifacts by wayof digital transpositions of data enables better close readings,more compelling interpretations, and deeper contextual understandings. Building on my earlier scholarship into image glitching,remixing,and sonification,this essay investigates a photograph of Joan Baez performing at theGreek Amphitheater in Berkeley,California,during the early 1960s. The image comes from myproject on the Berkeley Folk Music Festival and the history of the folk music revival on the WestCoast of the United States. Here,the use of digital image sonification becomes particularlyintriguing. While we cannot magically recover the music being made in the photograph,we can more closely attend to the ghosts of sound within the silent snapshot. Digital image sonification does not recover the music itself, but it does help to amplify issues of gender, power, embodiment, spectacle, performance, hierarchy, and performance in my perceptions of Baezmaking music in the photograph. Using the ear as well as the eye to scan the image for itsmultiple levels of meaning leads to unsuspected perceptions,which then support morerevealing analysis. In
digital image sonification,a cyborgian dance of data,signal,image,sound,history,and human perception emerges,activating visual materials for renewed scrutiny. In doing so,this mode of AudioVisual DH activates the scholarly imagination in promising newways.

A Data-driven Approach to Studying Changing Vocabularies in Historical Newspaper Collections

Simon Hengchen, Ruben Ros, Jani Marjane, Mikko Tolonen, Trans. Fang Huakang

2022, 2(4): 74-92.

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