Intellect 2021 Collection
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Collection Contents
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Design and the Digital Humanities
More LessThis is an essential practical guide for academics, researchers and professionals involved in the digital humanities, as well as designers working with them. It prepares readers from both fields for working together, outlining disciplinary perspectives and lessons learned from more than twenty years of experience, with over two dozen practical exercises.
The central premise of the book is a timely one – that the twin disciplines of visual communication design and digital humanities (DH) are natural allies, with much to be gained for researchers, students and practitioners from both areas who are able to form alliances with those from the other side. The disciplines share a common fundamental belief in the extraordinary value of interdisciplinarity, which in this case means that the training, experience and inclinations from both fields naturally tend to coincide. The fields also share an interest in research that focuses on humanities questions and approaches, where the goal is to improve understanding through repeated observation and discussion. Both disciplines tend to be generative in nature, with the ultimate end in many cases of designing and creating the next generation of systems and tools, whether those be intended for dealing with information or communication.
The interdisciplinary nature of this book is both a strength and a challenge. For those academics and practitioners who have worked with the other discipline, this will be a much-welcomed handbook of terminology, methods and activities. It will also be of interest to those who have read about, seen presented and used the outcomes of successful design and DH collaborations, and who might be interested in forming similar partnerships.
However, for all they have in common, design and digital humanities also have significant differences. This book discusses these issues in the context of a variety of research projects as well as classroom activities that have been tried and tested. This book will provide both design and the digital humanities with a better mutual understanding, with the practical intention of working effectively together in ways that are productive and satisfying for everyone involved.
Design education has a long history, a presence in many post-secondary institutions, and a robust market for educational and practice-based literature. The Digital Humanities community, in contrast, is much younger, but rising rapidly, both academically and within industry. Both design and DH are collaborative disciplines, with much in common in terms of vision, but with confusing overlap in terminology and ways-to-practice.
The book describes and demonstrates foundational concepts from both fields with numerous examples, as well as projects, activities and further readings at the end of each chapter. It provides complete coverage of core design and DH principles, complete with illustrated case studies from cutting-edge interdisciplinary research projects. Design and the Digital Humanities offers a unique approach to mastering the fundamental processes, concepts, and techniques critical to both disciplines.
It will be of interest to those who have been following previous work by bestselling authors in the fields of visual communication design and the digital humanities, such as Ellen Lupton, Steven Heller, Julianne Nyhan, Claire Warwick and Melissa Terras.
This guide is suitable for use as an undergraduate or masters-level text, or as an in-the-field reference guide. Throughout the book, terms or concepts that may not be familiar to all readers are carefully spelled out with examples so that the text is as accessible as possible to non-technical readers from a range of disciplines.
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Decolonial Metal Music in Latin America
More LessThe long-lasting effects of colonialism are still present throughout Latin America. Racism, political persecution, ethnic extermination and extreme capitalism are some salient examples. This new book explores how heavy metal music in the region has been used to critically challenge the historical legacy of colonialism and its present-day manifestations.
Through extensive ethnographic research in Puerto Rico, Cuba, Dominican Republic, Mexico, Guatemala, Colombia, Peru, Chile and Argentina, Varas-Díaz documents how metal music listeners and musicians engage in ‘extreme decolonial dialogues’ as a strategy to challenge past and ongoing forms of oppression. This allows readers to see metal music in a different light and as a call for justice in Latin America.
Heavy metal related scholarship has made strides in the past decade. Many books have aimed to explain its origins, uses and the social meanings ascribed to the music in a variety of contexts. For the most part, these have neglected to address the region of Latin America as an area of study.
It represents a historical and sociological journey in Latin American heavy metal music through rich ethnographic engagements with performers, fans and scholars of music. Its central premise is the dialogic relationship amongst deep histories of coloniality, systematic oppression, entrenched inequalities and the expressive forms generated by ‘decolonial metal music’. The book also provides an exemplary and potentially iconic model of ethnomusicology and the anthropology of music.
Most previous work on metal music in Latin America has relied on theoretical frameworks developed in the Global North, and is therefore limited in understanding the region through its particular history and experiences. There is no scholarship of heavy metal scholarship in the Latin American region that achieves the depth or breadth of analysis represented by this book. It provides a roadmap and a model for this emerging mode of musical analysis, by demonstrating how decolonial metal scholarship can be achieved.
Academic readership for the book will come from multiple disciplines including cultural studies, musicology, ethnomusicology, sociology, anthropology, cultural geography, history and Latin American studies. It will be of interest to music studies programmes, as well as for methods courses on structurally informed social research. The book will also be of interest to those outside academic settings – accessibly written, with its concise reviews of historical and political-economic contexts, and its vivid storytelling, it will be of interest to consumers of the metal musical genre.
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Dance and Authoritarianism
More LessEveryone who viewed the opening ceremonies of the 2008 Beijing Olympic Games can understand the power of dance and mass movement in the service of politics. While examples of such public performances and huge festivals are familiar in Nazi Germany, the former Soviet Union and today's North Korea, this new book addresses the lesser known examples of Spain under Franco, the Dominican Republic, Iran, Croatia and Uzbekistan, all of which have been subjected to various political regimes.
Dance and choreographed mass movement is the newest field of serious research in dance studies, particularly in the fields of politics and international relations and gender and sexuality. The author uses dance as a lens through which to study political, ethnic, and gendered phenomena so that the reader grasps that dance
constitutes an important non-verbal lens for the study of human behaviour.
This is the first study on dance and political science to focus specifically on authoritarian regimes. It is a significant and original contribution to scholarship in the field, with the key studies drawn from a variety of different geographical and historical backgrounds.
In Spain under Franco, the Women's Section of the fascist Falange created a folk dance program that toured widely and through the performance of Spanish regional folk dances performed by virginal young Spanish women, embodying Catholic purity, permitted the regime to re-enter the world of polite diplomacy.
The Dominican Republic dictator, Rafael Trujillo, himself a gifted dancer, raised the popular folk and vernacular dance, the merengue, to the level of the "national" dance, which became a symbol of his regime and Dominican identity, which merengue it still maintains.
For over a thousand years, Croatia, has endured a series of authoritarian regimes – Hapsburg, Napoleon, the Yugoslav royal dictatorship, fascist, Josip Broz Tito's communist regime, Franjo Tudjaman – that ruled that small nation. For over 70 years, Lado, the National Folk Dance Ensemble of Croatia, has served as "the light of Croatian identity." Through its public performances of folk dances and music, Lado has become the face of a series of different regimes.
In Iran, dance became banned under the Islamic Republic after serving the Pahlavi regime as a form of representation of its peasant population and its historic Persian identity. Uzbekistan currently has expanded the role of the invented tradition of Uzbek "classical" dance, created during the soviet period, as a representation of Uzbek identity, in national festivals. Thus, through these examples, the reader will see how dance and mass movement have become important as political means for a variety of authoritarian regimes to represent themselves.
Primary readership will be dance scholars; particularly the growing number interested in ethno-identity dances of the second half of the twentieth-century
Will be of interest to academic libraries and departments, with valuable information and interest also for scholars of ethnology, anthropology, cultural studies, history.
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