{"id":4,"date":"2022-11-02T18:09:55","date_gmt":"2022-11-03T01:09:55","guid":{"rendered":"https:\/\/dornsife.usc.edu\/digitalhumanities\/?page_id=4"},"modified":"2025-04-08T16:08:36","modified_gmt":"2025-04-08T23:08:36","slug":"home","status":"publish","type":"page","link":"https:\/\/dornsife.usc.edu\/digitalhumanities\/","title":{"rendered":"Home"},"content":{"rendered":" \n \n\n\n\n\n\n\n\n
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\n Welcome to the Humanities in a Digital World website!\n <\/h2>\n\n\n<\/div>\n \n \n
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This site shares news about the Humanities in a Digital World fellows and digital humanities events at USC.<\/p>\n\n\n\n<\/div>\n \n\n <\/div><\/div>\n\n\n\n \n \n \n \n \n \n\n\n\n\n\n\n\n

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\n Meet our 2024-2025 Fellows\n <\/h2>\n\n\n<\/div>\n <\/div>\n \n
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\n \n \n Lauren Kelly, Ph.D. Candidate in History\n\n <\/a>\n <\/h3>\n \n \n
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Lauren\u00a0Kelly’s<\/span>\u00a0research reframes a seminal event in water history of the U.S. West: the story of how Los Angeles seized water from Payahuunad\u00fc, also known as the Owens Valley.<\/p>\n\n\n\n<\/div>\n <\/div>\n\n\n <\/div>\n \n

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\n \n \n Jessica Somers, Ph.D. Candidate in English\n\n <\/a>\n <\/h3>\n \n \n
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Jessica Somers\u2019s dissertation assembles an archive of cultural representations of the colonial home to examine the potentiality of domestic objects to unsettle the narratives of gender, sexuality, and subjecthood foundational to British imperial mythologies.<\/p>\n\n\n\n<\/div>\n <\/div>\n\n\n <\/div>\n \n

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\n \n \n Ann Ngoc Tran, Ph.D. Candidate in American Studies and Ethnicity\n\n <\/a>\n <\/h3>\n \n \n
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Ann Ngoc Tran’s dissertation provides a provocative history of the global Vietnamese boat refugee exodus by turning to sites of surplus and fallout across the South China Sea and the U.S. Gulf South.<\/p>\n\n\n\n<\/div>\n <\/div>\n\n\n <\/div>\n <\/div>\n \n\n <\/div><\/div>\n\n\n\n\n \n \n\n\n\n\n\n\n\n

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2024 ITCH Symposium<\/strong><\/h2>\n

Friday & Saturday, September 20 & 21<\/p>\n

The USC Mellon Humanities in a Digital World Program and the Ahmanson Lab invite you to join the Immersive Technologies and Cultural Heritage (ITCH) Symposium. This two-day event will bring together humanities researchers working with immersive technologies to showcase innovative projects, engage in feedback, and build community. The sessions will elucidate benefits of working at the intersection of digital technologies and the liberal arts.<\/p>\n

See 2024\u00a0 Symposium program<\/a> for the full schedule.<\/p>\n

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Presentations:<\/strong><\/h3>\n

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“Exploring Volumetric Video Capture for Humanities Scholarship and Pedagogy”<\/em><\/strong>
\nZack Lischer-Katz<\/strong>, University of Arizona
\nRashida Braggs<\/strong>, Williams College
\nBryan Carter<\/strong>, University of Arizona<\/p>\n

The Center for Digital Humanities (CDH) at the University of Arizona uses volumetric video as an immersive humanistic technology for increasing the awareness of Black, Indigenous, People of Color’s (BIPOC) cultural histories in pedagogy and scholarship.With an NEH Digital Humanities Advancement Grant, the team explored the challenges and benefits of volumetric video in their project, Preserving BIPOC Expatriates\u2019 Memories During Wartime and Beyond.<\/p>\n

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“Recontextualizing Egypt’s Ancient Material Heritage: The ‘Return to the Tomb’ Project”<\/em><\/strong>
\nRita Lucarelli<\/strong>, University of California, Berkeley
\nElaine Sullivan<\/strong>, University of California, Santa Cruz<\/p>\n

The Return to the Tomb project deploys VR headset technologies to virtually reimagine the monumental stone sarcophagus of an ancient elite Egyptian military officer named Psamtek back in its original historic context in a rock-cut tomb at the ancient cemetery of Saqqara near Cairo, Egypt.<\/p>\n

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“Playing with Time: Great Perfection History in Virtual Reality”<\/strong><\/em>
\nElaine Lai<\/strong>, Stanford University
\nAftab Hafeez<\/strong>, Google<\/p>\n

This virtual reality project traces the teacher-student relationships within the three major transmission streams of the The Great Perfection (Tibetan: \u0f62\u0fab\u0f7c\u0f42\u0f66\u0f0b\u0f46\u0f7a\u0f53\u0f0b Dzogchen), a Buddhist tradition that gained popularity in Tibet from the 11th-14th centuries and remains a significant branch of Tibetan Buddhism today.<\/p>\n

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“Tapestry: Enhancing Engagement with Cultural Heritage through Multivocal Spatial Storytelling”<\/em><\/strong>
\nElizabeth Lee<\/strong>, CyArk
\nJohn Ristevski<\/strong>, CyArk<\/p>\n

Tapestry is an immersive web and mobile storytelling platform designed to deepen engagement with cultural heritage through rich, layered storytelling, allowing users to explore cultural sites in a highly engaging, spatially aware manner.<\/p>\n

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“Facilitating Access to Hidden Collections with 3D Models”<\/em><\/strong>
\nHarper Tooch<\/strong>, Washington University, St. Louis
\nSarah Swanz<\/strong>, Washington University, St. Louis<\/p>\n

This project focuses on creating high-quality 3D models of maquettes\u2014scale models of theatre designs\u2014created by award-winning American set designer John Ezell. The VR experience allows users to explore Ezell\u2019s maquettes as full-scale sets within the virtual environment of WashU\u2019s Edison Theatre.<\/p>\n

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“Using 3D Data to Document and Exhibit Cultural Heritage”<\/strong><\/em>
\nDoug Daniels<\/strong>, University of California, Los Angeles Data Science Center
\nBianca Badajos<\/strong>, University of California, Los Angeles Data Science Center
\nKelly Nguyen<\/strong>, University of California, Los Angeles Data Science Center<\/p>\n

The Refugee Material Culture Initiative (RCMI) is a community-engaged, digital humanities project with the aims of 1) digitally preserving art and artifacts made\/used by refugees, 2) creating a free and accessible database of the digital projects, and 3) generating educational resources on refugee histories. RMCI is working closely with the Vietnamese Heritage Museum, located in Westminster, California, to digitize their refugee artifact collection.<\/p>\n

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“‘Slow Viewing’ and Collective Meaning Making in Virtual Angkor: A Workshop and Discussion on Virtual Reality Design and Teaching”<\/strong><\/em>
\nCindy Nguyen<\/strong>, University of California, Los Angeles
\nTom Chandler<\/strong>, Monash University<\/p>\n

Virtual Angkor is a virtual reconstruction of the medieval Cambodian capital of Angkor that seeks to explore the diversity and complexity of Southeast Asia in digital heritage studies.<\/p>\n

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“Digital Innovation for the Historical Reconstruction of the Basin of Mexico”<\/em><\/strong>
\nEdgar Allan Lara Paredes<\/strong>, Museo Virtual An\u00e1huac
\nCarlos Francisco L\u00f3pez Ram\u00edrez<\/strong>, Museo Virtual An\u00e1huac
\nJes\u00fas Gerardo Medina S\u00e1nchez<\/strong>, Museo Virtual An\u00e1huac<\/p>\n

MUVIAN is an interdisciplinary project that brings together historians, archaeologists, and programmers with the purpose of studying, reconstructing, and disseminating the historical past of the Basin of Mexico.<\/p>\n\n\n\n<\/div>\n\n\n <\/div><\/div>\n\n\n \n \n\n\n\n\n\n\n\n

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\n Featured Projects\n <\/h2>\n\n\n<\/div>\n <\/div>\n \n
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\n \n \n Booksnake\n\n <\/a>\n <\/h3>\n \n \n
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Booksnake lets you explore digitized archival items in the real world. Just aim your iPhone or iPad at a flat surface, tap the screen to place your item, and move to explore.<\/p>\n\n\n\n<\/div>\n <\/div>\n\n\n <\/div>\n \n

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\n \n \n Capitalism\u2019s erasure of Tayrona culture in 21st-Century Colombia\n\n <\/a>\n <\/h3>\n \n \n
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Will Young<\/a>, Doctoral Candidate in Comparative Studies in Literature and Culture, USC<\/p>\n\n\n\n<\/div>\n <\/div>\n\n\n <\/div>\n \n

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\n \n \n Using Virtual Reality to Explore 15th-Century Illuminated Manuscripts\n\n <\/a>\n <\/h3>\n \n \n
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USC Dornsife\u2019s Sabina Zonno<\/a> and Lynn Dodd<\/a> receive a National Endowment for the Humanities grant to develop an immersive experience around a Renaissance-era manuscript.<\/p>\n\n\n\n<\/div>\n <\/div>\n\n\n <\/div>\n <\/div>\n \n\n <\/div><\/div>\n\n\n\n\n \n \n\n\n\n\n\n\n\n

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Banner image: Will Young, “Digitizing Deleci\u00f3n de Tayrona (DSCO3479),” 2024.<\/em><\/p>\n\n\n\n<\/div>\n\n\n <\/div><\/div>\n\n\n \n \n\n\n\n\n\n\n\n

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