70 Matching Annotations
  1. Nov 2021
    1. Professional musicians, concert pianists get to know this instrument deeply, intimately. And through it, they're able to create with sound in a way that just dazzles us, and challenges us, and deepens us. But if you were to look into the mind of a concert pianist, and you used all the modern ways of imaging it, an interesting thing that you would see 00:11:27 is how much of their brain is actually dedicated to this instrument. The ability to coordinate ten fingers. The ability to work the pedal. The feeling of the sound. The understanding of music theory. All these things are represented as different patterns and structures in the brain. And now that you have that thought in your mind, recognize that this beautiful pattern and structure of thought in the brain 00:11:52 was not possible even just a couple hundred years ago. Because the piano was not invented until the year 1700. This beautiful pattern of thought in the brain didn't exist 5,000 years ago. And in this way, the skill of the piano, the relationship to the piano, the beauty that comes from it was not a thinkable thought until very, very recently in human history. 00:12:17 And the invention of the piano itself was not an independent thought. It required a depth of mechanical engineering. It required the history of stringed instruments. It required so many patterns and structures of thought that led to the possibility of its invention and then the possibility of the mastery of its play. And it leads me to a concept I'd like to share with you guys, which I call "The Palette of Being." 00:12:44 Because all of us are born into this life having available to us the experiences of humanity that has come so far. We typically are only able to paint with the patterns of thoughts and the ways of being that existed before. So if the piano and the way of playing it is a way of being, this is a way of being that didn't exist for people 5,000 years ago. 00:13:10 It was a color in the Palette of Being that you couldn't paint with. Nowadays if you are born, you can actually learn the skill; you can learn to be a computer scientist, another color that was not available just a couple hundred years ago. And our lives are really beautiful for the following reason. We're born into this life. We have the ability to go make this unique painting with the colors of being that are around us at the point of our birth. 00:13:36 But in the process of life, we also have the unique opportunity to create a new color. And that might come from the invention of a new thing. A self-driving car. A piano. A computer. It might come from the way that you express yourself as a human being. It might come from a piece of artwork that you create. Each one of these ways of being, these things that we put out into the world 00:14:01 through the creative process of mixing together all the other things that existed at the point that we were born, allow us to expand the Palette of Being for all of society after us. And this leads me to a very simple way to go frame everything that we've talked about today. Because I think a lot of us understand that we exist in this kind of the marvelous universe, 00:14:30 but we think about this universe as we're this tiny, unimportant thing, there's this massive physical universe, and inside of it, there's the biosphere, and inside of that, that's society, and inside of us, we're just one person out of seven billion people, and how can we matter? And we think about this as like a container relationship, where all the goodness comes from the outside to the inside, and there's nothing really special about us. 00:14:56 But the Palette of Being says the opposite. It says that the way that we are in our lives, the way that we affect our friends and our family, begin to change the way that they are able to paint in the future, begins to change the way that communities then affect society, the way that society could then affect its relationship to the biosphere, and the way that the biosphere could then affect the physical planet 00:15:21 and the universe itself. And if it's a possible thing for cyanobacteria to completely transform the physical environment of our planet, it is absolutely a possible thing for us to do the same thing. And it leads to a really important question for the way that we're going to do that, the manner in which we're going to do that. Because we've been given this amazing gift of consciousness.

      The Palette of Being is a very useful idea that is related to Cumulative Cultural Evolution (CCE) and autopoiesis. From CCE, humans are able to pass on new ideas from one generation to the next, made possible by the tool of inscribed language.

      Peter Nonacs group at UCLA as well as Stuart West at Oxford research Major Evolutionary Transitions (MET) West elucidates that modern hominids integrate the remnants of four major stages of MET that have occurred over deep time. Amanda Robins, a researcher in Nonacs group posits the idea that our species of modern hominids are undergoing a Major Systems Transition (MST), due specifically to our development of inscribed language.

      CCE emerges new technologies that shape our human environments in time frames far faster than biological evolutionary timeframes. New human experiences are created which have never been exposed to human brains before, which feedback to affect our biological evolution as well in the process of gene-culture coevolution (GCC), also known as Dual Inheritance theory. In this way, CCE and GCC are entangled. "Gene–culture coevolution is the application of niche-construction reasoning to the human species, recognizing that both genes and culture are subject to similar dynamics, and human society is a cultural construction that provides the environment for fitness-enhancing genetic changes in individuals. The resulting social system is a complex dynamic nonlinear system. " (https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3048999/)

      This metaphor of experiences constituting different colors on a Palette of Being is a powerful one that can contextualize human experiences from a deep time framework. One could argue that language usage automatically forces us into an anthropomorphic lens, for sophisticated language usage at the level of humans appears to be unique amongst our species. Within that constraint, the Palette of Being still provides us with a less myopic, less immediate and arguably less anthropomorphic view of human experience. It is philosophically problematic, however, in the sense that we can speculate about nonhuman modalities of being but never truly experience them. Philosopher Thomas Nagel wrote his classic paper "What it's like to be a bat" to illustrate this problem of experiencing the other. (https://warwick.ac.uk/fac/cross_fac/iatl/study/ugmodules/humananimalstudies/lectures/32/nagel_bat.pdf)

      We can also leverage the Palette of Being in education. Deep Humanity (DH) BEing Journeys are a new kind of experiential, participatory contemplative practice and teaching tool designed to deepen our appreciation of what it is to be human. The polycrisis of the Anthropocene, especially the self-induced climate crisis and the Covid-19 pandemic have precipitated the erosion of stable social norms and reference frames, inducing another crisis, a meaning crisis. In this context, a re-education of embodied philosophy is seen as urgent to make sense of a radically shifting human reality.

      Different human experiences presented as different colors of the Palette of Being situate our crisis in a larger context. One important Deep Humanity BEing journey that can help contextualize and make sense of our experiences is language. Once upon a time, language did not exist. As it gradually emerged, this color came to be added to our Palette of Being, and shaped the normative experiences of humanity in profound ways. It is the case that such profound shifts, lost over deep time come to be taken for granted by modern conspecifics. When such particular colors of the Palette of Being are not situated in deep time, and crisis ensues, that loss of contextualizing and situatedness can be quite disruptive, de-centering, confusing and alienating.

      Being aware of the colors in the Palette can help us shed light on the amazing aspects that culture has invisibly transmitted to us, helping us not take them for granted, and re-establish a sense of awe about our lives as human beings.

    2. today I'm here to describe that everything really is connected, 00:02:02 and not in some abstract, esoteric way but in a very concrete, direct, understandable way. And I am going to do that with three different stories: a story of the heart, a story of the breath, and a story of the mind.

      These three are excellent candidates for multimedia Stop Reset Go (SRG) Deep Humanity (DH) BEing Journey.

      It is relevant to introduce another concept that provides insights into another aspect required for engaging a non-scientific audience, and that is language.

      The audience is important! BEing Journeys must take that into consideration. We can bias the presentation by implicit assumptions. How can we take those implicit assumptions into consideration and thereby expand the audience?

      For a non-scientific audience, these arguments may not be so compelling. In this case, it is important to demonstrate how science can lead us to make such astounding predictions of times and space not directly observable to normative human perception.

    1. On the geopolitical stage, it’s hard to argue with the claim that Twitter is a force of evil. But Twitter is also the infrastructural backbone of much of the digital humanities world.
    1. Since around 2010, Morton has become associated with a philosophical movement known as object-oriented ontology, or O.O.O. The point of O.O.O. is that there is a vast cosmos out there in which weird and interesting shit is happening to all sorts of objects, all the time. In a 1999 lecture, “Object-Oriented Philosophy,” Graham Harman, the movement’s central figure, explained the core idea:The arena of the world is packed with diverse objects, their forces unleashed and mostly unloved. Red billiard ball smacks green billiard ball. Snowflakes glitter in the light that cruelly annihilates them, while damaged submarines rust along the ocean floor. As flour emerges from mills and blocks of limestone are compressed by earthquakes, gigantic mushrooms spread in the Michigan forest. While human philosophers bludgeon each other over the very possibility of “access” to the world, sharks bludgeon tuna fish and icebergs smash into coastlines.We are not, as many of the most influential twentieth-century philosophers would have it, trapped within language or mind or culture or anything else. Reality is real, and right there to experience—but it also escapes complete knowability. One must confront reality with the full realization that you’ll always be missing something in the confrontation. Objects are always revealing something, and always concealing something, simply because they are Other. The ethics implied by such a strangely strange world hold that every single object everywhere is real in its own way. This realness cannot be avoided or backed away from. There is no “outside”—just the entire universe of entities constantly interacting, and you are one of them.

      Object Oriented Ontology - Objects are always revealing something, and always concealing something, simply because they are Other. ... There is no "outside" - just the entire universe of entities constantly interacting, and you are one of them.

      This needs to be harmonized with Stop Reset Go (SRG) complimentary Human Inner Transformation (HIT) and Social Outer Transformation (SOT) strategy.

  2. Jul 2021
    1. 7KH1HZ<RUN7LPHVLVREMHFWLYH,WSUHVHQWVWKHGDWDDQGJLYHV\RXWKHIDFWV,WGRHVDJUHDWMREDWWKDW2QWKHRSSRVLWHVLGHRIWKHVSHFWUXPYLVXDOL]DWLRQLVOHVVDERXWDQDO\WLFVDQGPRUHDERXWWDSSLQJLQWR\RXUHPRWLRQV

      The New York Times may be objective, but journalism is not free of emotions - regardless of whether there is visualization or not. The consumerist nature of the news requires emotional marketing to make people want to read the data. As such, they are going to include context and details that force readers to view the material with emotions. Look at the article: Las Vegas father of five dies from COVID - 'I should have gotten the damn vaccine. https://www.nydailynews.com/coronavirus/ny-covid-vaccine-dad-dies-20210731-f2jblbmtwzfhjoplxxzf6rmgje-story.html. Yes there are facts, but there is also an appeal to create an emotional response in the reader.

    1. Theyfreelyprovide,itseems,asortingofthewheatfromthechaff,andanswerourmostprofoundandmosttrivialquestions.Theyhavebecomeanobjectoffaith.

      I would certainly agree that search engines provide us with a sorting tool, I rarely look beyond the first or second pages of my search results. While many may place a lot of faith in google search results, I believe that education - even before the post-secondary level - has instilled a sense of responsibility in individuals to try and locate reliable sources.

    1. information that can be analyzed for patterns.

      I found myself wondering previously if the concept of co-citation networks could be used to instead display research questions and patterns and I believe that text-mining would be a tool to use for such a project. How exactly one would undertake such a project remains a mystery to me at this point.

    1. What it is

      Perhaps one day, when I am prepared to share my experiences with domestic violence and substance use disorder within my family, I will create such a resource

    2. A Network Visualization: A Co-Citation Network for Philosophy

      I wonder if rather than creating a co-citation network, one could create something that analyzes the information in the articles, then create a network that visualizes the current discussions on the topic. The article does say co-citation networks are a way to learn about the discussion surrounding a topic, I would be interested to see a visualization that explores something like the state of knowledge surrounding epigenetics and addictions.

    3. A Gallery of Primary Sources: Making the History of 1989

      This looks like an invaluable resource to have access to. Imagine starting a research project and being able to reach 300 relevant primary sources, introductory essays, and interviews from one consolidated website. It will be interesting to see if this type of source becomes more popular for scholarly activities in the future. Though again, the question remains, if such a resource were used in a field that is not historical- who will update and maintain these sites?

    1. “The humanities and social sciences are the emerging domains for usinghigh-performance computers,”

      Though these fields may be at the forefront of computerized projects, I believe many fields will benefit from the technologies and practices that are developing and that digital humanities projects may serve as an important resource to individuals throughout their educational lives. Do you remember being 13 and learning about war and other events from work-sheets and textbooks? How much of that do you remember? How much more meaningful could that experience have been if it consisted of an interactive timeline and map?

    1. Anyone can be a publisher on the Web and within a rather short time the focus of a broader base of interest in humanities computing became the delivery of scholarly material over the Internet. The advantages of this are enormous from the producer's point of view. The format is no longer constrained by that of a printed book. Theoretically there is almost no limit on size, and hypertext links provide a useful way of dealing with annotations, etc. The publication can be built up incrementally as and when bits of it are ready for publication. It can be made available to its audience immediately and it can easily be amended and updated.

      Isn't that the truth? With a $50 investment one can run their own website and publish whatever information they please, free of constraints associated with physical texts and the associated editing processes. While I can appreciate the benefits of the online format of information, it certainly does put more of an onus on consumers (both academic and lay-people alike) to find reputable sources of information.

    2. The technical aspects of this are fairly clear. Perhaps less clear is the management of the project, who controls or vets the annotations, and how it might all be maintained for the future.

      I think this is an interesting point. The increased ability to collaborate on projects is a benefit of going digital, however, where such projects allow commentary from the public, how are these comments managed? Who will ensure that a project does not become full of irrelevant or even false information?

    3. It is believed that the first use of computers in a disputed authorship study was carried out on the Junius Letters by Alvar Ellegard. Published in 1962, this study did not use a computer to make the word counts, but did use machine calculations which helped Ellegard get an overall picture of the vocabulary from hand counts (Ellegard 1962). What is probably the most influential computer-based authorship investigation was also carried out in the early 1960s.

      What an interesting use of technology. Authentication of works by quantification. Clearly there is overlap between digital humanities and scientific fields such as chemistry where quantifiable data is a substantial part of research.

  3. Feb 2020
    1. refusal of the archival profession to acknowledge the power relations embedded in the archival enterprise carries a concomitant abdication of responsibility for the consequences of the exercise of that power, and, in turn, serious consequences for under­standing and carrying out the role of archives in an ever-changing present, or for using archives with subtlety and reflection in a more distant future" (Schwartz 2002: 5-6.)

      Not acknowledging the archive as also a representation of ideological and power structures provides only a partial understanding of how archives operate and ignores their role in upholding certain monoliths.

  4. Oct 2019
  5. Apr 2019
    1. In their absence, some airports have had to close checkpoints, as Baltimore-Washington International did over the weekend

      Low staffing has caused airports to close certain checkpoints which jeopardizes the safety of air travelers.

  6. Mar 2019
  7. Dec 2018
  8. Jul 2018
    1. (If the map were to be a valid academic resource, he adds, it would also need a time slider to specify different time periods, separate existing and historical nations, and highlight the movement of nations across time. That would be a huge logistical challenge, Temprano says, requiring time, sources, and resources not currently available to him.)

      sounds like a digital humanities project

  9. May 2018
    1. Introducing students to metadata early in the semester is important because for their Omeka project they will need to input metadata for each item as it relates to the Dublin Core (used by Omeka). Initial conversations with students about metadata often reveal their unfamiliarity with the concept, even if in practice they do know something about it. In a few class periods, we consider metadata specifically: What is it? How is it created? How is it used? Why does it matter?[11] “A Gentle Introduction to Metadata” by Jeff Good (2002) serves as the launching point for our discussion about creating metadata for objects and images versus written texts. Students today are familiar with tagging, especially on social media, which serves as a useful starting point for creating metadata. After our initial discussion, and during a lecture on Aztec art, I will project for students the famous Coyolxauhqui monolith and ask them to create metadata, specifically as it relates to the Dublin Core. They will complete this activity in a team Google Doc so they can see the metadata generated by other students—and how this might differ greatly from their own choices. Time pending, I will also introduce students to the Getty’s Cultural Objects Name Authority® Online, or CONA (still in development), which provides metadata about visual culture specifically. In other classes where I have used Omeka, one of the biggest hurdles for students has been learning the language of Dublin Core. My intention with this assignment is to introduce it before students even begin to interact with Omeka so they develop familiarity with metadata and how to create it.

      This thinking about metadata is key in thinking about using Omeka in translating archives into digital collections.

    2. In my Renaissance and Spanish Colonial art history classes, I have found that an effective way of introducing students to some core DAH methods and tools is asking them to produce an Omeka exhibition. The creation of this type of project relates to broader issues in art history and digital humanities, including classifications or labels, digital versus print sources, reading and interpreting images, access, collaboration, and visuality.[6] It also introduces students to “digitization, organization, presentation, exhibition, [and] metadata creation,” as Jeffrey McClurken (2010) notes in his article on teaching with Omeka. Omeka is a content management system (CMS) available on the web that allows users to curate digital archives and exhibitions, providing students with opportunities to think like a curator or archivist. I prefer Omeka to other CMSs, such as Drupal, because it allows my class to create both an archive of items and a narrative exhibition even if students have no programming skills. In addition, I agree with teachinghistory.org regarding Omeka’s potential to help students gain certain skills transferable to many careers (Roy Rosenzweig Center 2010–2018). In some of the classes in which I have introduced Omeka (or something similar to it), students often felt unease with a DAH project rather than the traditional research paper of approximately 8–10 pages. This unease largely stemmed from their unfamiliarity with using Omeka and presenting art-historical arguments in a non-linear fashion, but it also sometimes resulted from my own missteps: not introducing Omeka early enough in the semester, forming ineffective teams, or not scaffolding activities to help them understand how and why Omeka is an important manner in which to present knowledge.[7]

      Introduction to the tool and its pedagogical value

    3. For instance, Chris Johanson and Elaine Sullivan (2015) have discussed creating a class focused on digital cultural mapping as a way to “develop students’ critical thinking skills and visual sophistication” (123). T. Mills Kelly’s Teaching History in the Digital Age (2013) considers how digital tools and methods encourage students to “produce either new knowledge about the past, or old knowledge presented in new ways.” Kelly also offers guidance and narratives intended to promote reflection on how historians can use digital media in the classroom to “create active learning opportunities.” In other words, he makes suggestions about how historians can embrace digitally inflected technologies to create new methods of historical inquiry (“Introduction”; see also Iantorno 2014, and the various essays within the issue; Mourer 2017; Silva 2016).

      Lit review for me. The author's DAH lit review is in the following paragraph, but I'm more interested in these sources for my project.

    4. considers herself “tech-averse.”

      This is how we lure them into DH. Baby steps.

  10. Feb 2018
    1. Open data projects that adhere to archival standards could be designated as “trusted digital repositories” that provide “reliable, long-term access to managed digital resources … now and in the future.”

      How do we convince cities and governments that this should be a priority? This has been done in the past with guerilla methods, e.g. the Data Rescue projects.

    2. Yet Kitchin says that “most city open data sites are effectively data dumps,” without even a basic archival infrastructure.

      Is this what the Civic Switchboard project is intended to help with?

    3. They oppose the ruthlessly efficient, behaviorist, techno-liberal city, which prioritizes innovation-driven obsolescence, exclusive contracts, and monetization of user data. Librarians on the planning commission will be the ones to ask, why should procurement agreements favor platform providers rather than the citizens who contribute data? Archivists will ask about racial imbalances in data harvesting and push for anonymous and secure preservation of public records. Together, they can be stewards of equity, discretion, interoperability, resilience, and respect for the past — real wisdom, rather than proprietary “smarts.”

      This is an incredibly favorable and perhaps naive view of librarians. Yes, many librarians are like this - but not all of them. Librarians are the ones who often think they can't possibly take back the means of production from major publishers, and drive their ever-increasing profits. Being shoehorned into journal publisher bundles and acquiescing with budgets is what got us into a related variety of messes. Yes, some folks are doing it right, but how do you find just these right people for these positions? The job of "librarian" doesn't automatically endow the person with a good socialist sense of morals.

    4. The ideology of data solutionism has taken over city halls, planning departments, law enforcement agencies, and countless other domains of public life — a troubling trend when social technocrats were in charge, and now, with the rise of Trumpism, an alarming one.

      Data can provide some insight into solutions if used appropriately and put into the hands of people. Don't just collect data to collect it; collect it for a reason.

    5. "The information commons is messy" Yes indeed.

    6. inappropriately

      what does this even mean?

    1. )

      "When I say “help,” I mean: less Clippy, more séance."

      I love this phrasing here, pulling on knowledge of bad attempts at this ("Clippy") while invoking something that would otherwise seem completely unrelated.

    2. Everyone on the internet?

      Hundreds of thousands of Twitter trolls crafting random strings of abuse for women? That's what every single one of those tweets and comments feels like - a random insult, a random threat, predicated on nothing. Is this technology facilitating that?

    3. The animating ideas here are augmentation; partnership; call and response.

      Quoted speech, a la Tannen 2007 "when speech uttered in one context is repeated in another, it is fundamentally changed even if 'reported' accurately" (Found in our paper: https://olh.openlibhums.org/articles/10.16995/olh.21/)

    4. non-standard, non-boring datasets

      What other cool data sets could there be? Librarians' responses in LibAnswers? Hundreds of thousands of lines of texts from libguides?

  11. Oct 2017
    1. evenNorthanger Abbey’sCatherine Morland can be persuaded to recognize the geographic and temporalboundaries of the Gothic novels she loves

      Another test to run with R!

    2. The catalyst forthe novel, however, seems to have been a straightforward reaction to a newwork by an author Austen considered her competition*the Scottish MaryBrunton’sDiscipline(1814).Disciplineis a fictional autobiography with the strong religious themes ofsin, repentance and redemption.

      The author claims here that Emma was inspired by the 1814 novel Discipline by Mary Brunton, which surely is not part of the male literary canon laid out earlier in the article. The author outlines the main themes of Discipline and explains the relationship between the two authors.

      I feel like a broken record here, but again, this seems to be a very tenuous point without computational analysis. The author's own language belies this tenuousness as she says that the novel's inspiration "seems to have been a straightforward reaction" to another novel. The word "seems" does not inspire confidence.

    3. The figure of the Quixote*from the seventeenth-century Don Quixote of la Mancha to Emma’s namesake Emma Bovary*isessential to the development and evolution of the novel as a genre, promotingthe self-reflexivity, promiscuous intergeneric and intrageneric allusion, andmeditations on realism and reality that are the genre’s hallmarks

      Another test to run - Emma as compared to other quixotic novels, especially The Female Quixote!

    4. Inthe first, Emma uses the fact of Harriet Smith’s illegitimacy as a springboardfor the birth-mystery plot beloved of sentimental novelists.

      Another possible tie for DH work - running comparisons on these sentimental novels and Emma.

    5. Charlotte Lennox’sTheFemale Quixote(1752) and even Eaton Stannard Barrett’sThe Heroine(1813) arecases in point.

      I would like to perform quantitative analysis on Emma and these texts, in addition to other 18th century texts such as Evelina.

    6. Emmais unique in Austen’s adult oeuvre in its obsession not only withother texts, but with the unspecific stock elements of the eighteenth-centuryand Romantic-era novel.

      Once again, here is another point that I believe it could almost be irresponsible to make without quantitative analysis. I don't know that it is empirically true that Emma is "unique" in its "obsession" with other texts and "stock elements of the eighteenth-century and Romantic-era novel."

    7. The Romantic concept of literary influence, articulated in its present-dayincarnation by Harold Bloom, must expand to encompass not only the work ofwomen, but also the work of both canonical and extra-canonical writers, if itis to be of any help in assessing Jane Austen’s work as a critical reader, anda critical rewriter. ‘‘

      I believe that DH work could be instrumental in accomplishing this vision. Since the literature of this time is in the public domain, it is indeed possible to run tests of influence and similarity on all existing manuscripts.

    1. DHers need more effective communication with broader publics, to bring our own work in preservation, speculative computing, and cultural memory into the light—and to foster collaborations with people outside the academy who share our orientations and concerns.

      I am in 100% agreement. The question remains; how do you bring DH to the attention of the general public in a relatable and accessible way? How do you bridge the communication gap between those working in DH in an academic capacity and those who know nothing of the concept and work outside of academia?

    2. DHers peer with microscopes and macroscopes, looking into things we cannot see. And even while we delight in building the shiny and the new—and come to meetings like this to celebrate and share and advance that work—we know that someone, sooner or later, curates bits against our ruins.1

      Yes, but in a wider sense is that not the transience of life and that within in? There is a beginning, middle and an end. In the future, our present will be their past, their history. Is there not hope in the fact that if we as DHrs begin this process of peering, analysing, recording and curating now that this process lives on in the future generation of DHrs who will curate our work, our ruins?

    3. Or, as a soldier of a desert war wrote in last autumn’s New York Times, is our central task the task of learning how to die—not (as he put it) to die ‘as individuals, but as a civilization’ (Scranton, 2013), in the Anthropocene?

      I found this statement incredibly depressing yet profound. Depressing in the idea that our central task is learning how to die (really who wants to be that morbid and think like that) (potentially digital humanists?), yet profound, because the soldier is not talking about us as individuals, but as a human civilization, as a whole, as a group, as a collective.

  12. Jul 2017
    1. The reaction from a historian was that they’d never heard of this – which is also the reaction of all colleagues that I’ve mentioned this to – whereas librarians, both on Twitter and at the Research Data Management conference I was attending, were surprised that historians would even hesitate if they could share their research data.

      THIS. historians contrasted with librarians

    1. you are only a click away from scans of many of the declassified primary sources Suri used to develop his argument. This gives the reader a radically transparent view into the source material supporting the case Suri argues. Imagine what this kind of source transparency could do if it became standard practice for historical journals.

      This links to a previous annotation of mine about the importance of publishing research data - in recent years this has become a thing, and in some cases (in the sciences) publishing research data has become mandatory

    1. This is where the Markdown syntax shines. Markdown is a syntax for marking semantic elements within a document explicitly, not in some hidden layer.

      I use Ullysses as a writing tool, which uses markdown, and I've only just touched the surface of what it can do for the writing process, but I love it. I love the idea behind it of not being distracted by form: content is all.

  13. Jun 2017
  14. May 2017
  15. Jun 2016
    1. we may say how and to what extent our field is of as well as in the humanities

      la transdisciplinarité pensée ici via un terrain intellectuel commun. Similaire à Franck Cormerais

  16. May 2016
    1. The mentee should not be expected to contribute to the professor’s research

      If a class presents its research as a digital product and both the class and the constituent students receive attribution, what then is fair use of that product in terms of further research by the professor?

    2. We can develop and share resources for constructively encouraging students to produce durable public work in the classroom, and for engaging student labor in digital projects in a way that is meaningful to students, as well as to the faculty. One outstanding example of this is the Perseus Project which incorporates student-translated texts into its database. The Perseids platform “offers students an opportunity to produce original scholarly work, which they can then list on their resumes in the context of a job search or when seeking admission to graduate school.” Student translators are credited by name, and the site provides durable URIs to student work which can be incorporated into C.V.s or e-portfolios. The Perseus Project offers a model of digital pedagogy that combines academic rigor with technical innovation, allowing students to produce durable products demonstrating their skills and to receive equally durable credit for their labor.

      Key point of the paper

    3. There is no metadata field for author, and author is not a searchable term in the site’s advanced search function. In the process of producing work for the site, work which students are “fully aware that future classrooms will engage with and critique,” the student author is erased and anonymized. While the site claims it is providing students with the experience of writing and publishing as an historian, it is in fact structured to ensure that students’ contributions are unidentifiable.

      What was the reasoning behind this design? Was it somehow an attempt at FERPA compliance or at allowing students to maintain anonymity. If so, student choice in attaching their name might have been a better solution.

    1. Digital Humanities instead aims to archive materials, produce data, and develop software, while bracketing off the work of interpretation to a later moment or leaving it to other scholars — or abandoning it altogether for those who argue that we ought to become “postcritical.”

      Feels like the definition and establishment of a strawman. DH definitely is interested in developing data, tools, etc., but I'm not willing to concede without argument that practitioners want to leave interpretation to others or abandon it all together.

  17. Apr 2016
  18. Apr 2015
    1. ut not the one question we should apparently be focusing exclusively on?

      Not focusing on exclusively but an essential question that is MISSING. Willful misinterpretation is unbecoming.

    2. The second repeats the second sub-claim of the first.

      Also known as expanding on an idea, or thesis, if you will.

    3. us note also how Koh collapses time when she says “and more recently,” as if the digital humanities of today still just consisted of only markup, digitization

      This is just petty, reviewer.

    4. Unless I misunderstand what she means

      I think you do so willfully.

    5. prescribed line of archival research

      this isn't what she's doing. She's making a call for change. #staywoke

    6. A confession: I study the work of Aimé Césaire in the context of Caribbean Literature and History. I could not go to a digital humanities talk expecting everyone to be overly familiar with my area. Surely, I always find a few folks who are. I don’t study with any degree of depth the h

      I don't see how this connects to the first sentence.