261 Matching Annotations
  1. May 2019
    1. Nb this

      Woops. I meant to say that this project was the result of a full term course, so is a bit more complex than what might be feasible in our context. That's why I say focus on one of the experiments, and see what you can do to extend it.

  2. Apr 2019
  3. Feb 2019
    1. I would love to hear your own creations/remixes of “Daft Valentine” should you be intrepid enough to try.

      Neville Morley has written a post on his blog called Fables of the Reconstruction which responds to Reinhard's invitation, and is worth a listen.

  4. Dec 2018
    1. Graham 2015

      In this study, I was looking at the pattern of linkages. It is useful to wonder whether or not links constitute social media data subject to the same ethics concerns. Are links a kind of meta-data? Are the concerns different then?

  5. May 2018
  6. Apr 2018
  7. Nov 2017
    1. largely as props adding the impression of disciplinary legitimacy to the proceedings

      this is interesting, and I suspect intersects with broader ethical discussions in archaeology, museology etc

    2. being hidden in plain sight to unsuspicious adults, like the assemblage of video games,

      i like this

    3. bills and check registers with similar dates

      the social historian in me wonders where these people are now, if they could be tracked, and of course the ethics of such a move. perhaps some kinds of contemporary archaeology ought to be destroyed?

    4. archaeological

      archaeological ....

    5. being reported in both local and national medi

      i wonder if you could point to some of these; perhaps something is tucked away in the internet archive? (i mean, yeah, goldberg and vendel, but the actual newspapers themselves if you see what i mean)

    6. exaggerated expectations in the media

      something that continues to bedevil game makers, eh? See no man's sky...

  8. Sep 2017
    1. relationships between art and archaeology

      This relationship is one of the most powerful in the discipline, I've always thought.

    1. digital history workbook

      link broken, missing 'crafting'

  9. Aug 2017
    1. MuseuminShawvilleonestepnearerrealityWithcooperationofOFY

      The story of this museum might be a good story to explore. You could crosslink annotations to other editions of the Equity, to videos, images, audio...

    1. Colonial Newspaper Database OR the Shawville Equity folder.

      or whatever other dataset you've put together (tweets, whatever).

      NB: has to be arranged as one file per document within your input directory

    2. Double-click on the file you downloaded in step 1

      the tool has changed somewhat, and I'm getting an error on the dmg that he's made. I can make available an earlier version of this if folks are having trouble

    1. isn’t because things are getting easier, but rather that I’m actually getting better at this stuff.  

      amen!

  10. Jul 2017
    1. this'd be intermediate level i'd think. It's also a very clear introduction to webmapping, and a welcome addition to the programming historian.

    2. every point is geolocated correctly.

      some are in Canada, some are in Australia...

    3. <!DOCTYPE html>

      code block borked

    4. layer to a mapbox tileset. You need to get a Mapbox account, create a map or style and get your Mapbox API access token.

      flesh this out please, something like, 'lots of different basemaps can be had from various sources etc..."

    5. stations.geojson.

      where did this come from? this is the first mention of this file.

    6. setView([0.0,-10.0], 2),

      set off all the code bits with backticks so that it's clear what's code.

    7. io['helper'] = io['Area_Name'].map(str) + " " + io['Country'].map(str) io['latitude'] = io['helper'].apply(geolocator.geocode).apply(get_latitude) io['longitude'] = io['helper'].apply(geolocator.geocode).apply(get_longitude) Note that we added the .map(str) function. This is a pandas function that is allowing you to concatenate two DataFrame columns into a new, single column (helper) in the format: df['newcol'] = df['col1'].map(str) + df['col2'].map(str)

      ok, so we paste these two chunks of code into our script? I get an error, KeyError: 'Country'

    8. python script to combine the Area_Name and Country or City column to geocode your data:

      couldn't get this to work. can you tell me where this should be inserted into the previous bit of code, what line number, etc? does the df line come immediately after the io line? i tried a variety of ways to integrate this into the previous code.

    9. automatically format your data into GeoJSON for you

      now THAT is cool

    10. rom the command line rather than changing the input file name in the python script everytime,

      it might be better to go with this approach full stop. Also, note the code in main() is different than the example above.

    11. cript saved and ready to go

      missing geolocator throws error

      and this doesn't look like the script contained at https://github.com/programminghistorian/ph-submissions/blob/gh-pages/assets/webmap-tutorial-files/geocoder-singlecolumn.py

    12. def get_longitude(x): return x.longitude io['latitude'] = io['Area_Name'].apply(geolocator.geocode).apply(get_latitude) io['longitude'] = io['Area_Name'].apply(geolocator.geocode).apply(get_longitude) io.to_csv('geocoding-output.csv')

      this passage of code does not have the geolocator = Nominatim() line from the previous

    13. geolocator = Nominatim() # geolocator = GoogleV3() # uncomment the geolocator you want to use

      ok, you're giving me a choice, and you've told me the differences, but could you just tell me in practical terms, as a historian wanting to geocode some data I've culled somewhere, which you'd recommend?

    14. single-threaded

      what does 'single-threaded' mean, to a reader of this tutorial?

    15. affiliation OpenStreetMap Google application use single-threaded applications can upgrade for better performance capabilities for app development can geocode based on user-input only geocodes static addresses (Google’s non-static geocoding service not in geopy) request limit 1 request/s or timeout 5 requests/s, 2500/day performance test on census data 33.5s 11.6s

      me, i have trouble reading tables without separators

    16. Windows

      note I'm not testing on windows

    17. Geopy and Pandas

      I wonder, are these part of the anaconda installation?

    18. pip list

      set this in back-ticks

    19. curl https://raw.githubusercontent.com/programminghistorian/jekyll/tree/gh-pages/assets/webmap-tutorial-files/census-historic-population-borough.csv > census-historic-population-borough.csv
    1. Teaching people digital skills is undoubtedly hard enough, but asking them to try something that they will most likely struggle with, and potentially fail to master (at least initially), can only make introducing these techniques to mainstream digital history a more difficult task.

      Amen.

    1. reflect

      and 'reflect' can also mean: tie what you're doing in the exercises to what you're thinking about here!

    2. throuhg

      damn typos

    3. Shawn Graham on extracting text & diy OCR

      Umm. A much better reading is this from Ryan Cordell: http://ryancordell.org/research/qijtb-the-raven/

    1. So here's the CND.xml, transformed into a csv: http://shawngraham.github.io/exercise/cnd.xml . If you 'view page source', you'll see the original XML again! Save-as the page as whatever-you-want.csv and you can do some data mining on it.

      Ignore this folks; a leftover from the 2016 version of this course when we worked with the Colonial Newspaper Database. In my defence, this workbook is as long as a regular academic book and I sometimes miss stuff. I do appreciate your annotations though that alert me to my weirdness! So keep up the good work.

    1. We will install a command that can convert the json to csv format like so: $ sudo npm install json2csv --save -g. Full details about the command are here.

      Hi folks - something wonky has happened to this utility (the json2csv program). See this post in our slack space: https://hist3814o.slack.com/files/dr.graham/F6DEUCQUF/twarc_json_to_csv which will walk you through what to do.

      or if you're feeling adventurous, you could try installing this https://github.com/jehiah/json2csv/releases/download/v.1.2.0/json2csv-1.2.0.linux-amd64.go1.8.tar.gz to your dhbox. Follow the pattern you used when you installed pandoc, using similar commands. Usage, once it's installed: https://github.com/jehiah/json2csv .

    2. Skip ahead to step 2, since your DHBox already has wget installed.

      Step 2 is really the only step you need, don't worry about trying to mirror an entire website.

    3. 9

      typo. should be an 8

    4. run the program:

      the ./ is important! don't forget it.

    5. permissions

      chmod = 'change mode'. https://en.wikipedia.org/wiki/Chmod

    6. save the changes.

      you might want to write out on paper what you think each step in this program does. Google any strange words you see in there - these are smaller commands/programs already in DHBox that we've pieced together to do our bidding!

    7. For future reference

      for when you get around to installing tesseract on your own personal computer

    8. Download the output.txt file with the DHBox filemanager

      ie, to your own machine via DHBox's filemanager.

    9. first file

      when you burst a single file into individual pages, many files result.

    10. burst it into individual pages.

      the 'burst' command is part of pdftk (pdf tool kit, geddit?) so that's why you needed to install that.

    11. So what we're going to do is modify the command so that we only grab a subset of the files. Given that each filename contains within it the date of the issue, download only the .txt files for a particular decade. The command below is modified so that wget, as it searches through each subdirectory, only grabs the ones from the 1880s - do you see the crucial bit that does that?

      Please: this is the part that I want you to do. This is because of memory issues lately discovered. Otherwise I'd get you to grab everything. But for now, pick a decade...

    1. Seeing the annotations has provided deeper insight into the readings, it is interesting to see what others in this class are thinking.

      This is exactly what I was hoping would happen!

    1. write a post on your blog that poses the question 'what is digital history for me anyway?

      This is something y'all have to do.

    1. Carleton’s VPN service

      Make sure you're getting the VPN info from here: https://carleton.ca/its/help-centre/page-type/vpn/ . Carleton leaves older pages up, which can confuse the issue sometimes.

  11. Jun 2017
    1. Flickr stream

      a lot of really interesting things are available via the British Library Flickr stream

  12. Apr 2017
    1. While there is currently a preview release of MALLET 2.0.8 available, this lesson uses the official release of MALLET 2.0.7. If you are following along with our instructions, please be sure to download the correct version.

      On the Mallet website, the download button automatically grabs 2.0.8. To get 2.0.7, just change the 8 to a 7 in your browser when you click on it - or click this link http://mallet.cs.umass.edu/dist/mallet-2.0.7.zip

    1. Do not get hung up on things you do not understand

      ditto for digital history's tech curve

    1. also helped me refine the rubric slightly by revealing phrases that were difficult for students to understand and suggesting places where I needed to say more explicitly things I had taken for granted

      I really like this idea of iterating through the rubric with the students. Pulling this off not for the faint of heart I suspect.

    2. devising original historical questions and thinking about existing historical questions are two fundamentally different skills for novice historians.

      extremely important point.

  13. Mar 2017
  14. digitalpressatund.files.wordpress.com digitalpressatund.files.wordpress.com
    1. y position as a tenured, academic archaeologist provides a distinct professional context for slow archaeology. My efforts to develop slow archaeology come from a position of privilege. As an academic archae-ologist, I rely on his research for professional advancement, but not professional survival. Tenure provides opportunities for a more delib-erate pace toward publication

      while this is good to recognize, I think it underplays the rhetorical weapon we hand folks by insisting on 'slow' archaeology. Oh those out-of-touch professors! Also, the vast majority of archaeologists do not have this luxury.

    2. to recent trends in archaeology that emphasizing digital tools as a way to improve efficiency in fieldwork

      those who emphasize 'efficiency' are often of the computational archaeological type. If we accept or imagine that there is a difference between comp.archae and digiarch then we are here charging at the wrong target?

    1. the elephant here I guess is that we don't discuss archaeology's long history with spatial computing, which is where folks like Huggett see a point of intersection. https://www.jstor.org/stable/pdf/41636599.pdf

      (also:

      sicists are not so distinctive as to warrant a separate "classical informatics". Both Terras (2010, 187) and Rabinowitz (2011) see digital classics as more of an emergent field still in its early stages, while Cayless (2011) describes it as an underground movement, with some very high-profile projects and practitioners operating within a more generally hostile attitude towards digital ways of knowing

    2. I welcome constructive comments on this essay.

    1. File System A 3-D Model is a perfectly intuitive image file system. For example, this room has 45 images in it. Compare to this: https://goo.gl/HiUh1U + more info

      Did this work? Did I annotate the internal annotation?

    1. has not been addressed in the same depth.

      classicists, archaeologist have been in this space for a while. eg Watrall Interactive Entertainment as Public Archaeology 2002 SAA Archaeological Record,

      Fugawiland in the 90s, etc

    2. Historical computer games are a relatively young medium but they have a great potential to influence popular perceptions of history.
    3. This issue is one that should be read & annotated by all folks interested in history & games, archaeogaming

    1. in-game memorials.

      a study of in-game memorialization practices would be very useful for understanding 'machine culture'

    2. induce emergent behavio

      are you suggesting to re-implement a particular game but within an ABM framework?

    3. data recovered

      your data will largely be ethnographic in nature, if I've understood correctly. To which data is a bayseian approach appropriate?

    4. in-game photogrammetry

      to what end? why?

    5. GIS/mapping software over the top of the game

      industry tools exist that do this, for the purpose of tweaking playability. Wonder if you can get your hands on something like that.

    6. interactive

      see Sicart's computer game ethics, informational ethics...

    7. or an emotional messaging of what a city “ought” to look like

      platonic ideals...

    8. is situated in the middle, observing the real and virtual melting together

      unlike an archaeological site in the real world, a game changes itself based on its observation of the player. So player agency and volition and habitus matter. You need to keep in mind that there are not only artificial beings in these worlds but fleshbags too whose desires might run counter to how the Creator(s) envisioned. Counterplay, glitch exploits etc

    9. a needs assessment for the archaeology of video games.

      the literature of agent based modeling and the philosophical basis for doing that kind of work needs to turn up here. I don't know that we're exactly seeing something new with video game archaeology; it might be that it's a subspecies of ABM where humans interfere with the simulation: which needs studying of course!

    10. one game known to the author

      i get why you'd select one game known intimately by you, but perhaps a better control would be one that is already critically acclaimed or well-studied from other perspectives (game studies, english, narratology, etc) so that your work enters into dialogue with that broader space from the outset.

    11. Site preparation:

      a platform studies approach might be one way of thinking about what 'site preparation' means

    12. working backwards from the artifacts into an interpretation of the site (and rules)

      I agree, but the objection is: wouldn't a consideration of the code in the first place give you this information? and the answer is, the unpredictable and unintended intersections of various kinds of feedback loops. Hence, you're arguing that machine culture is an emergent effect, at a different level of complexity that what was initially specified by the humans in the rules.

    13. machine-created culture”

      the more I read this, the more I think that Ingold essay on production is germane to what you're arguing.

    14. which the software then “interprets”

      interprets in the context of given conditions; it emerges given particular environments. What are the environmental rules that govern when/how/if other procedures are implemented? It's in the collision of these rules that your archaeoglitches emerge too

    15. Rome built in a day indeed.

      Ok, this is me pointing you to something I wrote, but it's a procedural consideration of the actual building of the fabric of rome, in the cambridge companion to Rome ed by paul erdkamp. Jeff Veitch ruminates on it here https://jeffdveitch.me/2017/02/10/non-visual-knowledge-sensory-metaphors-j-butler-a-amin-n-thrift-s-graham/ and brings out far more than I thought was in it. Check his stuff out here.

    16. rules for what a town might look like,

      but, the choice of the chunks from which the processes are crafted: that's an interesting thing to interrogate.

    17. pixels

      what is the actual language of game design to express what you're after here? prisms? primitives?

      I'm still not sold on the idea of pixels being what is built with. The underlying geometry, as an expression of an idea, moves you into the world of pythagorean philosophy...

    18. espite the “immateriality,” the virtual house is still built.

      I'm currently reading Ingold's Being Alive. In his prologue, he has an essay on 'production' which I think you'd find germane here.

    19. rtificial intelligence

      did you see that piece making the rounds on the emptiness of 'ai' as a slogan?

    20. ancient people in their curiosity about their environment
    21. one can revisit these old games, which respond as they were programmed

      I note this on Meghan's archaeoethics project:

      "he influence of experiential play is very much at the heart of the project’s research focus, and playing a game on its original hardware changes how that experience occurs. So unless it’s not possible to get a game on its original hardware (an issue that hasn’t come up yet, but may in the case of one arcade game) all video-games are researched without the use of emulators." http://archaeoethics.com/faq/

      Do these issues intersect with your project, do you think?

    22. one deals with a single “material”: the pixel. The pixel itself is not a material, per se, but is instead the product of electricity, light, and thought.

      I don't think I agree here; and we've talked about this before. But the pixel turns on or off given the workings of a whole layer of code that does not get addressed directly by the game designer. The designer defines the geometry and vertices and fill of triangles, not the literal location of pixels.

    23. Could not such engagement—working practically with materials—offer a more powerful procedure of discovery than an approach bent on the abstract analysis of things already made?

      Sounds like you're gearing up to argue that your thesis should be done as a game

    24. visual space in which players can operate

      I'm just making little notes as the thoughts occur... but visual space ties back to Smith's concerns earlier about accessibility. So now I'm thinking about those few games that are sound games or otherwise not making privileging sight. (On a similar vein, text adventures?)

    25. adapts to player-behavior

      perhaps its apocryphal, but the way Space Invaders seemed to speed up as the player got better is apparently a function of freeing up computing resources by having fewer aliens to draw. Emergent effects when code & physical hardware interact...

    26. one can revisit these old games, which respond as they were programmed

      here, I think platform studies is again germane.

      And also: unless you have an Atari 2600 on a CRT in a mid-80s living room, the meaning of the game is different? The experience of the game is different? Jim Groom and others at Mary Washington (?I think) built an 80s living room for just such reasons. While a lot of these games can be played via emulation at things like the Internet Archive's game archive, there's something not quite the same. Is the difference meaningful?

    27. lifeworld

      I like meshworks.

    28. In building a community of practice, the video game archaeologists create their own media culture

      Have we written (m)any games? Do we explicate our ideas in playful ways? Tara aside, not really? So perhaps this is more aspirational than real yet? A goal to aim for...

    29. and occasionally like cathedrals
    30. fully immersive spaces

      (meant to make this as a separate note)

      'm not meaning to be nit-picky. But if we're talking immersion, then we need to think about the bodies that get immersed, and how that effects the interface. For all that these games are 'immersive', they're still mediated by controllers that don't work if your hands don't work like the hands of game designers, and screens that don't work if your eyes are not like the eyes of game designers.

    31. fully immersive spaces

      immersive for the able bodied? immersive for those with eyesight good enough not to get vertigo within a VR headset? see F. S. Nicholls, https://florencesmithnicholls.wordpress.com/2017/03/06/barriers-to-entry-in-archaeogaming/

    32. human intervention

      But humans press the 'start' button. Humans defined the rules. The rules mix in unpredictable ways given particular circumstances. Perhaps 'emerges independently without oversight' would be more accurate, if less pithy.

    33. entanglements
    34. is not unlike hearing a Romantic recounting

      play-throughs and the storytelling of epic games might be a very interesting vein to explore for your work, thought occurs (see also Roger Travis' posts on Play the Past on the connections b/w ancient epic and modern games)

    35. virtual spaces of agency and activity as the new frontier of 21st-century archaeology.

      This cries out for Dwarf Fortress or URR

    36. They are also archaeological sites.

      I think there's an argument that these continue the long history of humanity's engagement with spaces beyond the everyday. We have always been virtual. We've always had spaces that were difficult to gain entry into; that heightened the senses or provided immersive spectacle; that had their own argots; that transcended the every day; that provided communion with something other. Maybe this is where some Ingoldian meshwork or knots of experience along particular lines might come into play.

    37. simulate historical places/events
    38. playthepast.org

      Ethan Watrall was a prime mover behind the creation of Play the Past, and indeed, continues to provide the server space and hosting.

    39. predictive model

      as I tweeted the other day (https://twitter.com/electricarchaeo/status/837736144498479105) i'm wondering if 'prediction' might prove to be a red-herring. On the other hand, we do know that the cultures that emerge around gaming can have (sometimes) pernicious effects 'in real life'... if on the other hand we're talking games/complexity as a special kind of ABM, then I think I see this more. So I'm thinking that when games == simulations in your work, you're going to have to engage with the ABM philosophy,methods,literature etc?

    40. games create landscapes

      The games do this; but that 'one step from the programmer' contains a lot of space, and there's a lot that goes on in there.

    1. Privacy and Consent Policy

      open books need to have this sort of thing, absolutely. not just in terms of the open review, but the fact that all things on the web stare back at the reader/user and take notes...

  15. Feb 2017
    1. An incorporeal corporal.

      This rings something, I'm sure maybe I read something like this in a Gibson novel, or maybe Tad Williams Otherland, or maybe even a Gaiman novel. Maybe the theorists to draw on are the cyberpunks...

    2. It is still an Xbox.

      .... no, no it's not! It was an Xbox, now it's an art piece...

    3. In order to understand video games seriously as part of material culture, we must understand the underlying material (and materiality) of the source code

      I'd agree.

    4. operable code is made of light after all

      i don't think I agree here. When you first wrote this, I thought perhaps you meant something like, the code editor's display. but that's interpreted code. It's not machine code. The actual stuff that makes the machine tick is all hard-coded, literally, in the structure of the machine. Code is made of sand & copper & arsenic & cadmium & .... blood.

    5. is agnostic and amoral.

      but it does feel imperative: if there is an imbalance in the potentialities, it will flow. it must!

    6. things” are processual.

      indeed, ingold does?

    7. universes continue to exist even without players.

      ah, right.

    8. universe ceases to exist;

      ...as long as the server/machine never powers down, the universe continues, even if the player isn't there.... who does the observing?

    9. The physicality of games is imagined, or can be faked by way of vibrating controllers, of audio design, merged with player-experience in order to complete the facsimile of something “real.”

      The wall paintings of pompeii recreate the grammar of the theatre, giving the viewer the instructions - by reference to lived experience - with which to interpret what's going on in the painting. In the same way, the buzzing of the controller in our hands seeks to recreate the memory of what really would happen if you did stick your hand in the fire... ?

    10. written as code (also a product of light)

      an abstraction related to patterns of open and shut gates, disruptions in the flow of electrons

    11. Someone, however, has given agency to the pixels to make them do something interesting

      You could extend this argument sideways to consider the technology of the screen and how it comes to be...

    12. To me, that means making stuff.

      Experimental Archaeology?

    13. Players occupy real and virtual space simultaneously, managing different kinds of time almost without realizing it, inhabiting space both real and virtual, or corporeal and incorporeal: two places conjoined via the nexus of the controller, a singularity.

      I think about places like Avebury when I read this, or other 'virtual places' that exist in the world - Lascaux, Disney World...

    14. quanta

      meaning?

    15. largely fails to address what games are made of (or what they are played on)

      though see Platform Studies, Bogost & Montfort racing the beam etc

    1. expounded in a language of grotesque impenetrability

      "we'd tell no lies / shed no tears!"

      I love how Ingold never holds his punches.

    2. Theproperties of materials, then, are not fixed attributes of matter but are processualand relational

      ...so if relational, the proper method for studying is graphs/networks?

    1. making is a never-ending task of world-weaving, acorrespondence of material movement and ambient vision

      this is what dh should aspire to be

    2. a seminar to explore the relations between art, architecture and anthropology. It was arather remarkable seminar, distinguished by our practice of grounding discussions inpractical activity, ranging from making string to repairing a dry-stone wall,

      oh that's awesome.

    3. a knot that is perpetually ravelling and unravellingwithin an unbounded matrix of relations

      which reminds me of doreen massey 'city worlds', defining a city as a node of relationships in time and space

    4. Learning, as children know very well but astheir teachers so often do not, is a creative process in which knowledge is not so muchpassed on as perpetually grown and regrown (Ingold 200

      what if we used this insight more overtly in the design of our teaching?

    5. We need it not to accumulate more andmore data about the world, but to better correspond with it.
    6. o find a counter-movement in the contemporary world,we have to turn not to science but to art

      ...another impetus for Epoiesen

    7. enters with things into a relation of correspondence

      the proper role of DH

    8. For what is methodology, if not a shield to protect the researcher from direct sens-ory contact with materials?

      ouch

    9. A datum is, by definition, that which is given. But what today’s scientists count asdata have not been bestowed as any kind of gift or offering

      cf drucker on capta

  16. Jan 2017
    1. we should be aware of the danger of treat-ing them as extremely generic concepts that can beapplied to everything and anything, depriving themthus of any interpretative and critical power

      so what are the things to which they should not be applied? this warning seems...

    2. Theyalso allow us to explore both the material and theimmaterial, and talk about the condition of the in- between, of the processes that happen, the relation-ships that are forged and the possibilities that emergein the midst of things, senses, memories and affects

      how to operationalize, I suppose.

    3. AND,

      oooh.

    4. sensoriality cannot be separated fromaffectivity:inotherwords,thattheprimaryroleofthesenses is not to allow the organic body to operate, buttoenableaffectivity,toestablishaffectiveconnections,to allow us to be ‘touched’ by other bodies, by things, by the atmosphere, and by the world in general

      this is interesting to think with, in terms of the collector's desire to own human remains. what is the sensorium in these people's collections?

    5. Hodgepodges are combina-tions of interpenetrating bodies.

      this certainly describes some of what I'm seeing in bonetrade stuff

    6. sensorially evoked memories

      'evoked memories' as part of the assemblage, senses

  17. Dec 2016
    1. By fucking with their parameters we understand better how they work.

      this is the essence of digital humanities!

    2. Kirk Kaiser has been pitting neural network against neural network — altering images of himself using Google’s DeepDream and uploading them to Facebook for DeepFace to analyse and tag.

      ...I wonder if enough of us did this (and 'enough' is probably a ridiculously impossible number) if we could subvert the utility of such things for the agencies...

    3. Face++ and use their API to analyse an image of a person’s face to determine both race and gender.

      good lord

    1. In “Invisible Images (Your Pictures Are Looking at You)”, Paglen highlights the ways in which algorithmically driven breakdowns of photo-content is a phenomenon that comes along with digital images. When an image is made of machine-generated pixels rather than chemically-generated gradations, machines can read these pixels, regardless of a human’s ability to do so. With film, machines could not read pre-developed exposures. With bits and bytes, machines have access to image content as soon as it is stored. The scale and speed enabled by this phenomenon, argues Paglen, leads to major market- and police-based implications.

      go read

    2. Understanding the technology here is not enough. Rather, the technology must be studied in a way that incorporates multiple disciplines: history, of course, but also law, biomedicine, communication hierarchies and infrastructure, and so on.

      amen

    3. That is, what if we asked our students to recreate the type of abstracting experiments performed by the likes of Galton and Bertillon, but to use today’s technology? Better yet, what if we asked them to recreate today’s machine-reading systems using 19th century tools? This sort of historical-fictive practice doesn’t require students’ experiments to “work”, per se. Rather, it asks them to consider the steps taken and decisions made along the way. The whys and hows and wheres.

      This would be a fantastic thing to do in HIST3812. Also, the sort of thing Jentery Sayers might be up to.

  18. Nov 2016
  19. smgjournal.github.io smgjournal.github.io
    1. ἐποίησεν (epoiesen)- made -

      I've always liked this word & the ways that ancient potters used it to humblebrag at each other as they worked out the finer points of perspective and so on in their craft.

    1. Contents: Lorem Ipsum More Lorem Ipsum

      i don't like this TOC; some css would probably sort this out.

    1. null

      Ok, so I don't like this at all. This is being done by the Table of Contents plugin.

  20. Oct 2016
    1. paradata

      Paradata are like an enhanced 'about' - see the paradata section here

  21. Aug 2016
    1. TWITTER_PAT=/Users/mwk/twitter_tokens

      on my machine, I had to set the twitter path in the R console; couldn't quite suss how this text document worked. So, what I used:

      Sys.setenv(TWITTER_PAT="/Users/shawngraham/twitter_tokens")

      which probably isn't a good place to keep the tokens, but that's where they went when I did the normalize thing above.

  22. Jul 2016
  23. Jun 2016
    1. Develop Open Government Skills across the Federal Public Service

      Send your civil servants to take the MA in Digital Humanities from Carleton.

      Just sayin'....

    2. ublishing their plans for releasing data and information

      punishments for not meeting goals?

    3. access to federal web content

      & stop partnering with firms that turn around and monetize/gatekeep that data?

    4. the preservation and retention of digital content.

      On which note the gov't needs to talk to the webarchives.ca etc team, researchers in this area

    5. access to data and information proactively disclosed by departments and agencies through a single, common online search tool

      one stop portals - hmmnm. better to have a well documented API, with 'recipes', tutorials and guidance on how to query it.

    6. Develop guidance on the anonymization of datasets.

      This should be an extremely high priority indeed.

    7. How will it be done:

      The government needs to look at the lessons learned in the US, especially via https://18f.gsa.gov/

      http://www.fastcompany.com/3046756/obama-and-his-geeks

    8. he Government will create a simple, central website where Canadians can submit requests to any government institution

      Will this website be free of tracking or analytics? Right now, an ATIP request requires a simple email. Why not ditto for personal info?

    9. to improve the Act in the near term

      I have an outstanding ATIP request that is almost exactly 2 years old now. Will the Government hire more people to process the request? Nothing I see here does anything to speed the process up. How does the government propose to deal with footdragging within a department reluctant to fulfil a request?

    10. Access to Information

      Part of 'access' must involve education, that is to say, to address the 'so what?' question. What shall people do with this data? A csv dump is fine: how do you educate citizens about what to do with this data? Data hides as much as it reveals.

    11. Access to Information

      Part of 'access' has to address the end-point. The distribution of access to the web is patchwork in this country, especially in rural areas. Will this mean things like support for local libraries? Despite years of acknowledgement of the importance of access to the web, we are still locked with telecoms that make access prohibitively expensive.

    1. But King wasn’t interested in talking. “I haven’t engaged the provenance questions at all,” she said. What she did know, she’d already reported in her 2014 Harvard Theological Review article. “It’s all out there,” she said. “I don’t see the point of a conversation.”I told her I’d spent months reporting in Germany and the United States. Didn’t she want to know what I’d found?“Not particularly,” she said. She would read my piece once it was published. What interested her more were the results of new ink tests being done at Columbia.

      Without provenance, there is absolutely no reason whatsoever to believe anything King says about the parchment.

      The lack of interest in provenance is what enables the trade in illicit antiquities to continue unabated.

  24. May 2016
    1. all editions

      6600 files were downloaded; 333 files appear to be these missing editions with the placeholder text. I have not yet manually verified all of this... which is partly the point, right?

    2. each text file

      6267 print editions, from 1893 - 2010

    3. .75 range

      that is, from .72 to .9. They all have the same placeholder text, but the quality of the ocr makes some consistent errors, which is interesting.

    1. What new, interpretive research avenues will open up for you, in places of interesting friction and resistance, when you gain access to the fresh, full circuit of humanities computing—that is, the loop from the physical to the digital to the material text and artifact again?
    1. Jones's work, in particular, demonstrates that the experience of authenticity is fundamental to heritage management and conservation and that there are issues to resolve (Jones, 200947. Jones, S. 2009. Experiencing Authenticity at Heritage Sites: Some Implications for Heritage Management and Conservation. Conservation and Management of Archaeological Sites, 11(2):133–47. doi: 10.1179/175355210X12670102063661[Taylor & Francis Online]View all references: 141–43).
    2. here has been much recent discussion about the nature of authenticity—how it is something that is constructed, informed by the relationship between people, places, and things, rather than an intrinsic, ‘material’ property (Jones, 200947. Jones, S. 2009. Experiencing Authenticity at Heritage Sites: Some Implications for Heritage Management and Conservation. Conservation and Management of Archaeological Sites, 11(2):133–47. doi: 10.1179/175355210X12670102063661[Taylor & Francis Online]View all references, 201048. Jones, S. 2010. Negotiating Authentic Objects and Authentic Selves. Beyond the Deconstruction of Authenticity. Journal of Material Culture, 15(2):181–203. doi: 10.1177/1359183510364074[CrossRef], [Web of Science ®]View all references; Holtorf, 201340. Holtorf, C. 2013. On Pastness: A Reconsideration of Materiality in Archaeological Object Authenticity. Anthropological Quarterly, 86(2):427–43. doi: 10.1353/anq.2013.0026[CrossRef], [Web of Science ®]View all references).
    3. . Latour and Lowe (201156. Latour, B. & Lowe, A. 2011. The Migration of the Aura, or How to Explore the Original through Its Facsimiles. In: T. Bartscherer & R. Coover, eds. Switching Codes. Thinking Through Digital Technology in the Humanities and the Arts. Chicago & London: The University of Chicago Press, pp. 275–97.View all references: 282) introduced the notion of version n as ‘the original’ and n + 1 as ‘a mere copy’. In practice, we will also find (n + 1) + 1, copies of copies, and n + 1b and upwards (subsequent copies from the same original mould), and n + 2 (different copying events) and other variations.

      graph all this...

    4. It is our contention that the optimum interest and value of archaeological replicas indeed lies in their appreciation as part of the composite, full biographies of the original and all its reproductions, and we suggest that there are two ways of exploring such biographies
    1. cultural tourism is based on this idea of encounters with originals whose aura is a function of their being widely reproduced.
    1. Additive Archaeology: An Alternative Framework for Recontextualising Archaeological Entities

      Observation: Paul Reilly

    2. I meanthat the refabricated excavation will be both a geometrically and compositionally accurate reiteration. A heuristic rematerialisation through which the curious can explore iteratively, reflexively and extensively the disaggregation and recomposition of archaeological entities encountered through archaeological intervention in such a way as to engender a virtuous, multivalent cycle of recontextualisation, analysis and synthesis. In striving to meet this challenge one can envisage the discipline establishing elements of an exemplary platform for strategic innovation affording the development, and structured introduction, of novel and distinctly archaeological approaches to understanding archaeological entities.