169 Matching Annotations
  1. May 2023
    1. technical computing environment

      this is the first time this phrase is used, and it's kind of redundant? MATLAB is a technical computing environment, it does not have one. Why not just use 'Environment'? Although the technical computing enviornment means more than just MATLAB. Something to ponder

  2. Sep 2020
    1. Each pitch of the system can be identified by its hexachord syllables: the lowest note is G gamma ut, the highest is E la, and the middle C is C sol fa ut.

      This is gibberish

  3. Jul 2020
    1. of a value classes

      maybe geck this? (also, maybe geck the whole pararaph as an enhancement because it makes no sense prior to the explanation of handle and value class

  4. Apr 2020
    1. Greek author would not have allowed so many loose ends and so much frustration on the part of Stratippocles.

      Just more proof that the Greeks were better playwrights

  5. Mar 2020
    1. At 1st level, choose two of your skill proficiencies, or one of your skill proficiencies and your proficiency with thieves’ tools. Your proficiency bonus is doubled for any ability check you make that uses either of the chosen proficiencies

      Ask for help

    1. Consider the following Monte Carlo Tree Search (MCTS) tree, after some number ofsteps of running MCTS, where the numbers next to the nodes represent (w​k​/n​k​), andempty spots at the bottom of the tree are places nodes haven't been added yet:

      Come back here too please

    2. Among optimal uninformed search algorithms, the main drawback of iterative deepeningsearch (IDS) compared to breadth-first search (BFS) is clearly the overhead in thenumber of nodes it expands. While we showed that IDS's runtime is asymptoticallyequivalent to BFS at O(b​d​), where b is the branching factor and d is the depth of theoptimal solution, it clearly expands more nodes in practice than BFS. How bad is thisoverhead

      Come back to this one boo

    3. consistent

      What do you mean by consistent? Is this a definition we learned that I forget about or do you just mean does it appear to be calculating things consistently?

      (Answer to self: This is a definition, see notes from 2/5)

  6. Feb 2020
    1. to chose a wife without a dowry, and that the uncle sees in a poor and dowerless girl a more sub- missive and therefore desirable wife

      There were some motives for men (not usually young ones)

    2. As freedwomen the girls could then return to the career of an entertainer, set up as hetaerae with their own household, or live as freedwomen concubines, with the first or subsequent lovers

      These are basically all of your options

    3. She, on the other hand, was legally her own mistress and owner of her personal property, which she could take with her if either partner chose to separate.

      Concubines had independence

    4. for this reason such an "heiress" was subject to epidikasia, a legal procedure securing her marriage to the male next-of-kin within her father's genos, or to a man of his choosin

      To keep property within the family

    5. dichotomy between the rights and liabilities of those women who were part of a citizen oikos in their own Polis, and those who were not

      differences of rights between women not related to class?

    6. "The Misogynist," which suggests strongly that our speech is merely quoting the criticism of wives uttered by the title-character, in order to rebut it.

      good example of quoting out of context Also: Menander appreciates women?

    1. [i]t may be guessed that the poorer part of the population, no longer receiving a theoric payment, did not attend the theatre in great number and that this had some effect on the nature of the plays written.'

      plays being put on for a wealthier population once Menander begins writing

    2. If so, it may not be so much the happy endings which represent the dreams of middle-class Athenians as the preceding complications which represent their nightmares.

      ev

    3. n the middle and lower classes young men and girls knew more about each other, had definite ideas about whom they wanted to marry, and had a habit of getting their own way

      interesting

    4. there was in fifth- and fourth-century Athens at least an ideal of mutual satisfaction in marriage which we can recognize as being similar to our own ideal.

      Not necessary, but the goal is for love to form if it isn't already present (which it normally wasn't)

    5. The arranged marriages which others try to bring about in this play must have been a familiar part of the audience's experience. But they clearly found it more satisfying to see a love match being brought about - and I hope it is clear by now that I think experience must also have made them familiar with such love matches, or at least with young men who wanted to marry for love.

      ev

    6. No more in Dyskolos than in Samia or Adelphoe do we learn anything about the feelings of the girl in question towards the young man.

      feelings of women never discussed in prospective marriage

    7. Smikrines has been presented to us in the prologue as the most wicked man on earth (116-17), while Chairestratos' character was said to be very good (125). That suggests that his argument would have been generally accepted as admirable and humane.

      character -> public opinion

    8. On the other hand, Menander is selective in what he chooses to portray: you would never guess from Dyskolos that there was a military garrison stationed at Phyle at the time.1

      ev\

    9. Realization of these points requires us to be suitably cautious in approaching the sort of questions I discuss here, but it need not lead us to be defeatist about discussing them at all.

      contrary idea

    10. rue to life in the sense that they could plausibly have been uttered by a real-life Athenian who found himself in the situation depicted in the play

      the lines in the play are true enough to life

    11. As Malinowski discovered in his work on the incest taboo, the conflict between social practices and cultural ideals and norms is perhaps nowhere so dramatic as in the realm of sexuality'

      good quote

    12. I shall try to suggest that the notion of marrying for love was not seen as a comic absurdity in the time of Menander, and I shall argue that New Comedy supports my suggestion.

      thesis

    13. Walcot (1987) takes it for granted that Sostratos' behaviour is comically absurd, since 'the purpose of marriage for a Greek was to have and to rear legitimate children...rather than to gratify the emotional needs of either husband or wife' (p. 6),

      and yet the plays seem to show other wants. (Sostratos was expected to seduce the girl instead of honorably approach father)

    14. Menander's comedies show us the dreams of the middle- class male Athenian citizens who went to watch them. If she was right, the comedies at least tell us something about Menander's audience, even if we cannot guess how often their dreams came true.

      Interesting

    15. He certainly does not regard such a love as a necessary basis for marriage, since he was planning to marry his son to the girl next door in any case. But he accepts it as natural that the boy has fallen in love with a citizen girl and wants to marry her

      love not always necessary, but is becoming increasingly more prevalent in marriages in New Comedy

    16. More frequently in Plautus and Terence the heroine, if of respectable parentage, has been violated before the opening of the drama (Aulularia, Adelphoe), or she is a foreigner, a courtesan, or a slave girl'

      there always has to be some conflict about the girl that makes her "undesirable"

    1. I christened her Nellie, you know, in our marriage-contract. SCHÖN. Did you?—Yes. DR. GOLL. What do you think of it? SCHÖN. Why not call her rather Mignon? DR. GOLL. That would have been good, too. I didn't think of that. SCHÖN. Do you consider the name so important? DR. GOLL. Hm.... You know, I have no children. SCHÖN. But you've only been married a couple of months. DR. GOLL. Thanks, I don't want any.

      This whole conversation feels forced and wrong

    2. Hi, Charlie!—bring our Serpent just this way! (A stage-hand with a big paunch carries out the actress of Lulu in her Pierrot costume, and sets her down before the animal-tamer.)

      Lulu = serpent

  7. Sep 2019
  8. May 2019
  9. Feb 2019
  10. apw.dhinitiative.org apw.dhinitiative.org
    1. Noneofussawthestigma they’dendure.Schoolchildrencanbemean.Asaconvict’skid,thereisnoacceptableanswerto“Whatdoesyourdaddydo?”Sportingevents,musicals,anypublicoutingwhereparentsnormally appearscarredmychildren,whohadtocoverthetruthtotheirpeers.Theylearnedshameandhowtolie.Theygrewthickskinstoshieldthemfromtheabuse

      Guilt

    1. large cultural data sets allows the detailed analysis of gradual historical patterns that may only manifest themselves over tens of thousands of artifacts created over number of years

      Things that humans cannot

    2. the techniques offer considerable promise in helping us understand complex social processes like learning, political and organizational change, and the diffusion of knowledge."

      Very cool

    3. - visitors can discover patterns across all of museum holdings or particular collections - actively making new discoveries themselves as opposed to only being recipients of expert knowledge;

      Active engagement with knowledge by the everyman

    4. question all existing cultural categories and labels; use computation to create alternative maps of culture.

      Love this; acknowledging that it is possible we as humans have missed something

    5. We use digital image processing to automatically measure properties of visual artifacts. This allows for better descriptions of cultural artifacts and processes than language alone.

      This reminds me of the mitosis counting software that was a senior thesis project here; there were many valid flaws with digital imaging, but overall it still proved more efficient

    6. In addition to digital humanities, these techniques can be also used in cinema studies, game studies, media studies, ethnography, exhibition design, sociology, anthropology, and other fields.

      Digital humanities encompasses most of these other fields

    7. so they can be used by researchers and students without technical backgrounds?

      This is a HUGE concept that I think needs to always be at the back of our minds when developing new tools

    8. ware Studies

      "This doesn't mean that we have to do all of art history or all of visual analytics based on low level mathematical statistics"- showing that these are TOOLS for the humantiies, allow us to do new things and look at things new ways, but these tools may not/should not be the only way we work with materials.

    1. These spatial impulses took a deeper hold with the influx of digital tools. Developed in the 1960s by the Canada Land Inventory, GIS was adapted for use in the social scientists and humanities.

      Allowing for more intractability on a smaller scale; more feasible

    2. By “turning” we propose a backwards glance at the reasons why travelers from so many disciplines came to be here, fixated upon landscape, together.

      Very characteristic of DH: starting with a digital platform that is mulitdisciplinary

    1. The maps pans and zooms. This seems obvious, but it is the most remarkable thing about the map. The ability of the map to change its scale, from the building to the globe (or a Mercator projection of the globe) is the most humanistic thing about this map, because it lets us think at several different scales

      Highly Interactive, which allows for enhanced learning

    1.  After all, the tools of the digital allow us to zoom in as well as zoom out. It is how we do this zooming that will matter in the long term.

      Interesting way to put it

    2. certain modes of quantitive analysis have the risk of vacuuming these important aspects of human life into the vacuous digital machine.

      This is why we need these in addition to narratives

    3. The table became a vehicle for transitioning from evidence to what to make of that evidence.

      Using aggregate data chosen by you to create a narrative

    1. People who have experienced trauma or suffered atrocities may not want their stories preserved in an archive at all, and they have the right to be forgotten

      This isn't something I have ever thought of before.

    2. It’s important for all public archives to maintain accountability by preserving an accurate record of the past, even if that record doesn’t paint the institution in the best light.

      Something that historically hasn't by done by the people in power (theatre history, war history, etc)

    3. Because social responsibility underlies all professional activities of archivists, the archival profession solidified it as one of SAA’s core values of archivists.

      Very very cool

    1. (staples, binder clips, and paper clips), tape, and rubber bands that adhere to paper and leave stains.

      Things we often think help preserve because they organize for short term

    2. We must make tough preservation decisions that juggle our priorities with limitations on resources (think time, staff, and funding).

      The Law of Limited Resources (or something like that; economics)

    1. Across several registers, the emerging neoliberal state begins to adopt the Rule of Modularity

      I can understand your analogies and comparisons but correlation doesn't equal causation.

    2. In fact, the urban center of Detroit was more segregated by the 1980s than in previous decades, reflecting a different inflection of the programmer’s vision of the “easy removal” or containment of a troubling part. Whole areas of the city might be rendered orthogonal and disposable (also think post-Katrina New Orleans), and the urban black poor were increasingly isolated in “deteriorating city centers”

      ...

    3. Very few audiences who care about one lens have much patience or tolerance for the other.

      I've never thought about this but wow. People tend to focus on a specific context.

    4. UNIX was originally written in assembly language, but after Thompson’s colleague Dennis Ritchie developed the C programming language in 1972, Thompson rewrote UNIX in that language.

      240 connections

    5. It is largely accurate, if also a generalization, to say that many in the membership of the ASA treat computation within the humanities with some level of suspicion, perceiving it to be complicit with the corporatization of higher education or as primarily technological rather than scholarly.

      Yikes

    1. Our current challenge is how we represent varying representations of blackness found in the census in a database. How do we represent, technologically, the identification of the same person as West Indian, Mulatto, or black?

      This is an example of the nuances of narrative that may get lost when put into a database

    2. If, indeed, we are beginning to construct a digital canon that weighs content and technological choices equally, then it is crucial for digital humanists to theorize the technological with the same rigor as we theorize the content.

      Truly balancing out the Digital and the Humanities

    3. that the traditional standards for tenure and promotion are, in fact, more entrenched than ever and worse—more restrictive and un-imaginative than they were for an earlier generation” (333).

      Well that sucks

    4. While I, along with many others, reject Pannapacker’s representation of key digital humanities scholars as the cool kids at the high-school lunch table, the perception of the exclusionary world of digital humanities is reinforced by a perception of limited projects.

      I agree, that is a stupid analogy. Also, the internet is supposed to encourage more projects, yet we are still limiting knowledge

    5. For example, of the six sites listed in “General Resources in Minority Literature,” half cannot be located, suggesting that they have been removed or lost.

      Once again, "Lost"

    6. During the 1990s and early 2000s, in many ways the most productive age of digital recovery to date

      I haven't really thought of this before but yeah. Smartphones, Laptops, early Wearable technology, etc

    7. an absence of specifiable “bottom-line” objectives.

      Even though individuals have their own goals, the internet is/was relatively free range for anyone to use for any reason

    8. Add to this MONK’s claim that “for users of public domain materials, MONK provides quite good coverage of 19th century American fiction,”

      This could be intentional or subconscious exclusion, but nevertheless it is very present

    1. A collection should be sustainable over time. In particular, digital collections built with special funding should have a plan for their continued usability beyond the funded period.

      Only certain collections will be able to survive, because there is only so much money available for things like this

    2. guidance for interoperability with large-scale, emerging national and international digital library programs like the NSDL will require a framework with greater scope and flexibility

      It is hard to standardize something like the internet

    3. digital libraries are seen as systems that incorporate not only digital content, but also many value-added services, ranging from search and discovery utilities, to browse and interpretative interfaces, to specialized preservation and dissemination protocols.

      Many digital collections have some of these features too these days

    4. Digital collections are no longer seen simply as self-contained, single-purpose entities. Practitioners now recognize the potential of digital collections to function as components and building blocks that can be reused by many different groups and upon which many kinds of advanced digital library services may be built.

      Open source, collaborative, public knowledge, etc

    1. 18: Informaiton architecture in the digital world is a new approach to the organization of information practiced in libraries, museums, and archives historically

    2. 6 functions of bibliographic control:

      1. Identifying the existence of all types of information packages as they are made available.
      2. Identifying the works contained within those information packages or as parts of them 3.Systematically pulling together these information packages into collections
      3. Producing lists of these information packages prepared according to standard rules for citation
      4. Providing name, title, subject, and other useful access to these information packages
      5. Providing the means of locating each information package or a copy of it

    Annotators

    1. The key, though, is to make sure you are consistent in the type of metadata you collect and regular in how you store it.

      This seems incredibly important

    2. Nevertheless, this approach is useless when you are attempting to make connections between folders. For that, you need a synchronic approach, which focuses on the information horizontally

      In order to achieve both, one might have multiple copies of the same data sorted in difference ways, to allow for easy lookup (or just have sort and filter options)

    3. This legacy is rich but, in the hustle-and-bustle of research trips, exam prep, and writing, it is often neglected or even forgotten.

      Exactly what we talked about with the danger of databases

  11. Jan 2019
    1. With this international usership, the database of users and that of materials begin to interact unpredictably

      Tells us things that narrative might not be able to do alone

    2. But database, as Manovich has argued, is the enemy of narrative, threatening it at every sentence, always shimmering, accessible, there. It threatens to displace narrative, to infect and deconstruct narrative endlessly

      This seems to have 2 arguments: 1) databases are bad because they make knowledge accessable 2) they over generalize history

    3. Therefore, database and narrative are natural enemies

      I believe they work as good supplements to each other. Data analysis and aggregate information supplemented by individualized experiences

    4. omputer age introduces its correlate-the database. Many new media objects do not tell stories; they do not have a beginning or end; in fact, they do not have any development, thematically, formally, or otherwise that would organize their elements into a sequence. Instead, they are collections of individual items, with every item possessing the same significance as any other.

      Then you aren't looking at DH databases.

    5. a geometry of what loops around, what breaks off, what is jagged, what comes only in percentages.

      Does this mean something can be in overlapping genres?

    6. make genre a "self-obsoleting system"

      Because when you put stuff into a genre you have to choose to include certain things and omit other things, even though they may be similar or useful to the genre (the exact problem with DH)

    7. Rigidity is a quality of our categorical systems, not of the writers or usually the works we put into those systems

      This is why i hate genres; I find this problem with music frequently too

    1. Shut your ears when sirens sing Tie armbands to your feet Listen up and you won't go wrong again

      Now it sounds more like someone trying so hard to block something out of their mind that they are reprimanding themselves for ever escaping their fictional paradise

    2. We'll dance and sing 'til sundown And feast with abandon We'll sleep when the morning comes And we'll rise by the sound of the birdsongs

      This paragraph is very Disney-esque and reminiscent of a dream world. Like the person is using this dream to escape reality