Vanaf de 19e eeuw streefden historici ernaar van geschiedenis een serieuze wetenschap te maken die zich moest kunnen meten met de bètawetenschappen. Voortaan beschreef men bij voorkeur machtsstructuren en de ontwikkeling van natiestaten en economieën. Gevolg was dat vrouwen grotendeels verdwenen uit de geschiedschrijving, eenvoudig omdat ze zelden toegang tot de macht hadden. Hierin is verandering gekomen, maar wat blijft is dat historische werken vrouwen doorgaans als groep portretteren en niet als een verzameling individuen. Het kolossale lexicon ‘1001 Vrouwen uit de Nederlandse geschiedenis’ dat afgelopen februari verscheen, vormt hierop een belangrijke uitzondering. Het is een vervolg op het ‘Digitaal vrouwenlexicon van Nederland’ waaraan sinds 2003 door zo’n 300 medewerkers is gewerkt. Els Kloek, samenstelster en drijvende kracht achter het project, zal komende Dutch Wednesday spreken over het historische beeld van de Nederlandse vrouw door de eeuwen heen.
Els Kloek is historica en geeft leiding aan het ‘Biografisch Portaal van Nederland’ van het Huygens Instituut voor Nederlandse geschiedenis. Ze heeft diverse publicaties over vrouwengeschiedenis op haar naam staan, waaronder Vrouw des huizes. Een cultuurgeschiedenis van de Hollandse huisvrouw (2009).
The humanities have often been viewed as a luxury pastime. Yet a quick look at their history shows a rather different picture. Not only did humanistic insights change the world, many of these insights dealt with concrete problems and led to applications in entirely unexpected fields -- from historical text-reconstruction techniques that were taken over in genetics to the invention of formal grammar in linguistics that was taken over in computer science. In this talk I will discuss some recent applications that emerged from humanistic investigations where I shall focus on the new field of Digital Humanities (also eHumanities) which integrates the humanities with computer technology. I will argue that there is no need to be modest about the feats and deeds of the humanistic disciplines – it is only that humanists could sell them much better.
In the Netherlands of the eighteenth century, architecture was an activity rather than a profession. The architectural production of the eighteenth century demonstrates a varied culture where theory, design and practice were a concern of many, instead of being delegated to a professional claiming artistic leadership. We will look at the Dutch passion for building as it can be found in a number of places and was developed for different social groups and individuals. Some spectacular building projects and initiatives will show how architecture was expected to control, reshape or contribute to the improvement of society. From these examples a rather different picture can emerge of the eighteenth-century Republic, and how architecture and spatial form served as an apparatus through which the Dutch established their identity and articulated social relationships.
Freek Schmidt is associate professor of architectural history at the Faculty of Arts, Vrije Universiteit Amsterdam and a member of CLUE (Research Institute for the History and Heritage of the Cultural Landscape and Urban Environment). He publishes regularly on early modern and modern architecture and heritage. He is an editor of the Bulletin KNOB, a director of www.earlymodernarchitecture.com, a member of the Amsterdam Commission for Architecture and Monuments, and is currently completing a book on Passion and Control. Dutch Architecture of the Eighteenth Century.
The proliferation of digital technologies has changed the way we perceive of and use audiovisual archives and their holdings. As Rick Prelinger, founder of the online collection archive.org recently pointed out, YouTube has become the standard of what people expect audiovisual archives to be: unlimited online access and active user participation have become crucial for an archive’s visibility and public existence. Although the institutions still function as the principal gatekeepers (if only because of copyright restrictions) the emergence of virtual archives and online portals is changing the relation between the keepers and users of audiovisual heritage, challenging the role of the archivist as principal expert on the knowledge the collection represents. In this lecture I discuss various recent experiments with crowdsourcing to investigate how the involvement of general users in the core archival processes of collection, description, conservation and exhibition is changing the role and status of the (audiovisual) archive as a gatekeeper of knowledge.
Julia Noordegraaf is Professor of Heritage and Digital Culture at the Faculty of Humanities, University of Amsterdam and director of the Amsterdam Center for Cultural Heritage and Identity, where she currently develops a Digital Heritage Lab. Her research interests include the preservation and exhibition of audiovisual and digital heritage, the impact of digitization on knowledge, and museum history and theory. She recently published the edited volume Preserving and Exhibiting Media Art: Challenges and Perspectives (Amsterdam University Press, 2013) and is currently completing her next monograph Performing the Archive: Tracing Audiovisual Heritage in the Digital Age.
The scent of the sea - Ode to Emiliania is an interactive visual lecture in which the origin of the odour of the sea is revealed. This lecture is initiated by Satellietgroep and The NIP in the context of the project 'Now Wakes The Sea'. One of the most important organisms on Earth is Emiliania huxleyi due to its presumed role in the Gaia concept of a self-regulating Mother Earth. It is one of thousands of different photosynthetic plankton that freely drift in the ocean, forming the basis of virtually all marine food webs. E. huxleyi is by far the most abundant coccolithophore found in the Earth's oceans, and is considered ubiquitous, occurring everywhere except the polar regions. E. huxleyi has the potential to act as a net source of CO2 out of the ocean as a reaction to ocean acidification. Its sulphur-containing products are responsible for the typical sea odour.
Jos van den Broek graduated as a biochemist at Leiden University, where he also got his Ph.D. degree in pharmacology. From 1981 he is professionally involved in science communication. From 1989-1990 he earned a Knight Science Journalism Fellowship at the Massachusetts Institute of Technology (MIT). At the end of 2003 he rejoined Leiden University in order to set up the Science & Communication Ma specialization at the Faculty of Science. He now is Professor in Biomedical Science Communication at the Faculty of Science of Leiden University, focusing on health awareness, nature awareness and universe awareness. Visual communication for the illiterate is one of his main interests in science and health communication. He is co-author and designer of the visual communication handbook Beeldtaal (Spring 2010), published in English as Visual Language in 2012. He wrote and co-authored numerous popular-science books on science experiments, nature, evolution and ageing. In his most recent book he answers questions of children on biological issues. He is now at the brink of publishing a similar book on questions about Eart, Sun and astronomy. Playful is his middle name.
Satellietgroep is founded in 2006 and explores, through arts and culture, how the sea and waterways influence cities, people, communities and environments. Satellietgroep developed the artist in residency program called 'Badgast’ (The Hague NL) and the international exchange project ‘Now Wakes the Sea’ (NWTS) for research and exchange of local knowledge on a global level. Artist in residencies are used as a research method. The results are the production of new works, presentations and lectures that critically reflect on coastal transitions and contribute to the development of new insights for future coastal scenarios. The project 'Now Wakes The Sea' started in 2012 in cooperation with partners in Turkey. In 2013 it continues in Georgia, Moldova, Russia and The Netherlands. www.satellietgroep.nl