Paper presentations —> contexts
Visualizing history of knowledge: Norwegian Folklore Archive on the road with Catharina Kølle
Firstly; how shall we engage with Folklore Collections and historical archives in the future? The last decades Digital Humanities (DH) is increasingly presented as an answered to this challenge. Rather than arguing about the digital revolution’s capacity, this paper explores how DH-visualization takes place in actual practices at the Norwegian Folklore Archive. There, I am starting up a project with archive material connected to Catharina Kølle (1788-1859).
Secondly, how was Catharina Kølle (1788-1859) thinking with pictures? Kølle was living in a small rural place in Norway. About forty years old, she started traveling several times to Sweden, Denmark, Germany and Italy. By writing unpublished travel-diaries and by painted several hundred landscape-prospects she transferred her three-dimensional spaceexperiences on the road to textual narratives and visual representations. Kølle is recognised as an early Norwegian female tourist, and as an amateur explorer and painter. My approach is to investigating her mobility and works in relation to history of knowledge. The argument is that she took part in, and hereby shaped, knowledge production in the so-called Northern periphery particular by visualisation, and that this production was related to an international republic of letters.
By drawing together the current DH-project and the Kølle-case the overall aim is to engage with different visualization practices, and investigate how they may challenge future research.
Richard A. Carter
Enacting the Nonhuman Eye—Digital Visualisation as a Performative Knowledge-Making Practice
Johanna Drucker’s observation on the resistance to the visual in the humanities reflects her longstanding engagement with artists’ books. Here, the textual is shown as gaining meaning through a dynamic, multisensory encounter with the perceptual spaces and durations afforded by different media—revealing the material performances inherent to all modes of creative and critical production. The same is true of digital visualisation, harnessing machinic sensitivities to perceive and display material phenomena beyond the human sensorium. However, in so overtly engaging the material and the performative, as compared to the abstract and the cognitive, these modes of analysis and expression shift interpretative authority away from their instigators and towards a larger network in which nonhuman actors, and the observing audience, form an explicit part of the performances through which knowledge is crystallised anew with every reading.
This paper, detailing the author’s creative research practice, considers the challenges presented and opportunities afforded by a performative approach towards knowledge making, of the kind that is inherent to the visualisation of machinic data forms—drawing on concepts from the field of Science and Technology studies, as applied to the creation of numerous artworks*, to reveal its potential in a world in which communicable change is inherently material, emergent, and multisensory.