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MemberBill Endres

Bill Endres is a digital humanists whose scholarship intersects the digital humanities, manuscript studies, and rhetoric. Using advanced imaging techniques, he has digitized the 8th-century St Chad Gospels, doing groundbreaking work to present the results on the Web through interactive 3D renderings, an altered viewer for spectral enhanced RTI viewing of dry-point writing, and a viewer for stacked and comparable multi-spectral and digitized historical photographs. His extensive work on historical photographs to assess  aging and trends in the St Chad Gospels guides the manuscript’s care and handling.

MemberAlberto Campagnolo

…Studies, University of Pennsylvania Libraries: researcher and XSLT/SVG coder.
<https://github.com/leoba/VisColl&gt;
2011/11 – 2015/6       Language of Bindings, Ligatus Research Centre, University of the Arts London: Digital Humanities specialist. <www.ligatus.org.uk/node/712>
2011/7 – 2014/3         Conservation advisor for Dr Alejandro Giacometti’s PhD research work on Evaluating multispectral imaging processing methodologies for analysing cultural heritage documents. <discovery.ucl.ac.uk/1427688/>
2010/8 – 2012/12       InterFace symposium for humanities and technology: member of the organizing committee for InterFace 2011, the Third International Symposium for Humanities and Technology, and member of the InterFace steering committee.
<www.interface2011.org.uk/>
2010/1 …
… manuscripts 15: proceedings of the fifteenth international seminar held at the University of Copenhagen, 2nd-4th April 2014, Copenhagen, Museum Tusculanum Press; University of Copenhagen and the Royal Library of Denmark, pp. 79-88.
 
Campagnolo, A., Giacometti, A., MacDonald, L., Mahony, S., Robson, S., Weyrich, T., Terras, M. and Gibson, A. (2016) ‘Cultural Heritage Destruction: Experiments with parchment and multispectral imaging’, In Bodard, G. and Romanello, M. (eds.), Digital Classics Outside the Echo-Chamber, London, Ubiquity press, pp. 121-146.
Giacometti, A., Campagnolo, A., MacDonald, L., Mahony, S., Robson, S., Weyrich, T., Terras, M. and Gibson, A. (2016) ‘Visualising macroscopic deterioration of parchment and writing via multispectral images’. In Care and conservation of manuscripts 15: proceedings of th…

Alberto Campagnolo trained as a book conservator (in Spoleto, Italy) and has worked in that capacity in various institutions, e.g. London Metropolitan Archives, St. Catherine’s Monastery (Egypt), and the Vatican Library. He studied Conservation of Library Materials at Ca’ Foscari University Venice, and holds an MA in Digital Culture and Technology from King’s College London. He pursued a PhD on an automated visualization of historical bookbinding structures at the Ligatus Research Centre (University of the Arts, London). He was a CLIR Postdoctoral Fellow (2016-2018) in Data Curation for Medieval Studies at the Library of Congress (Washington, DC). Alberto, in collaboration with Dot Porter (SIMS, UPenn Libraries, Philadelphia, PA), has been involved from the onset in the development of VisColl, a model and tool for the recording and visualization of the gathering structure of books in codex format. Alberto has served on the Digital Medievalist board since 2014, first as Deputy Director, and as Director since 2015, and has been in the Editorial Board of the Journal of Paper Conservation since 2016.

MemberNora Benedict

…9. (Forthcoming)

“Books about Books and Books as Material Artifacts: Metabibliography in Jorge Luis Borges’s El jardín de senderos que se bifurcan (1941).” Revista Canadiense de Estudios Hispánicos 42.3 (2019): 451-72.

“Censorship and Political Allegory in Jorge Luis Borges’s ‘Viejo hábito argentino’.” Bulletin of Hispanic Studies 96.1 (2019): 89-107.

“Digital Approaches to the Archive: Multispectral Imaging and the Recovery of Borges’s Writing Process in ‘El muerto’ and ‘La casa de Asterión’.” Variaciones Borges 45 (2018): 153-169.

“La novela negra en Jorge Luis Borges: una aproximación nueva a ‘El muerto’.” Variaciones Borges 39 (2015): 143-158.

“Los golpes del escoplo: el arte de grabar como metáfora en La desheredada.” Decimonónica 11.2 (2014): 1-18.

 …

My research focuses on modern and contemporary Latin American literature, descriptive bibliography, book history, and questions of access and maintenance surrounding both digital and print cultures.

MemberJohn Taormina

John began his career in the visual resources/image management profession in 1982. He has a B.A. and M.A. in art history as well as formal training in collections management. He has directed the image collections at George Washington University, Oberlin College, The Ohio State University, and the University of Michigan. Since 2000 he has been the Director of the Visual Media Center at Duke University. During the past twenty years he initiated the digital imaging programs in the art and art history image collections at The Ohio State University (1994), University of Michigan (1999), and Duke University (2001). As the Director of the Visual Media Center at Duke, he oversees all aspects of the digital and analog visual media collections (digital assets management, personnel, budget, facilities, user services, instruction), and also manages the department’s publication and communication program and our building’s exhibition spaces. John served for ten years as editor of the VRA Bulletin, the journal of the Visual Resources Association, the international organization of image media professionals. In addition to extensive involvement in publications and educational programs in image management, John is currently exploring and researching the use of images and metadata in the digital humanities and their support requirements.

MemberRaymond Drainville

My research concentrates upon using quantitative methods to assist in the iconographic analysis of viral imagery. By using data provided from social media platforms, I look at users’ patterns of sharing and commentary, and demonstrate how those patterns are connected to long-standing image practices and themes. Some of these go back millennia, and I argue that they structure what we see.