2017 Chapter 8 “Teaching Students How (NOT) to Lie, Manipulate, and Mislead with Information Visualizations” In: Big Data Factories – Collaborative Approaches Editor(s) name(s): Dr. Matei, Dr. Jullien and Dr. Goggins http://www.springer.com/us/book/9783319591858
I’m so impressed with students’ first assignments in Information Structure and Retrieval class.
These are the infographics they made, having just learned a bit of Illustrator and the basics of graph and chart theory…
Workshop on the Future of Work at the Institute of Design: a half-day workshop on the future of work for labor advocacy groups and technology activists in the Chicago area.
Friday, September 19th from 12pm to 5pm at the IIT Institute of Design
The purpose of the workshop is to explore historical, current and future narratives about the role of technology with respect to work including topics such as contingent work and the sharing economy.
The workshop will be structured in two parts.
Part 1 will use theories of meaningful play and critical games to invite participants to think of creative solutions to adapting labor forces to new technologies.
Part II will build on the creative solutions developed in Part I to create actionable steps to for advocates to think and plan for future technological advancements.
Workshops provide a strong introductory grounding in data curation concepts and practices, focusing on the special issues and challenges of data curation in the digital humanities.
Workshop #3 — Boston, MA
All workshop sessions will be held in Snell Library, Room 421.
Wednesday, April 30, 2014
|9:30 am – 9:45||Welcome|
|9:45 – 10:30||Introduction to Humanities Data Curation: Conceptual Frameworks|
|10:30 – 11:00||Participant Introductions|
|11:00 – 11:15||Break|
|11:15 am – 12:30 pm||Mapping the Landscape — What Does Data Curation Encompass?|
|12:30 – 2:00||Lunch|
|2:00 – 3:15||Risk management and auditing|
|3:15 – 4:00||Peer Reviewing Data Management Plans|
|4:00 – 4:15||Break|
|4:15 – 5:30||Customizing and Improving Plans for Data|
|5:30 – 7:00 pm||Software Install-a-thon & Social Hour|
Thursday, May 1, 2014
|9:00 – 10:15||Significant Properties
Curating Data from New York Public Library’s “What’s On the Menu” Project
|10:15 – 10:30||Break|
|10:30 am – 12:30 pm||Data Curation Case Study|
|12:30 – 2:00||Lunch|
|2:00 – 2:30||Case study debrief|
|2:30 – 3:45||Introduction to Repositories for the Arts & Humanities|
|3:45 – 4:00||Break|
|4:00 – 6:00||Hands-on exercise with repository systems & Open Refine|
|7:15 pm||No-host dinner at a local restaurant|
Friday, May 2, 2014
|9:00 am – 9:30||Nature of Digital Objects|
|9:30 – 10:15||Hands-on exercise: Digital Object Anatomy|
|10:15 – 10:30||Break|
|10:30 – 11:45||Metadata & Linked Data|
|11:45 am – 1:15 pm||Lunch|
|1:15 – 2:00||Collections as Curation Tools|
|2:00 – 3:15||Data & the Law|
|3:15 – 3:30||Break|
|3:30 – 4:30||Strategies for Action: Sharing What’s Working|
|4:30 – 5:00 pm||Wrap-up|
&NOW 7: Off the Road in Boulder, CO, September 26-28th
This panel features digital writers and critics from the US and Canada who wish to discuss writing in relation to the field of media archaeology via pieces of hardware and/or software housed in the Media Archaeology Lab (MAL) located at CU Boulder. Ideally, the MAL will bring in to the panel, for audience members to interact with, the piece of hardware/software that each panelist will discuss.
The MAL is headed by Lori Emerson and its focus is on defining moments in the history of computing and digital literature/art. The MAL is a research space, classroom, game lab, hangout, living archive, and repository, that speaks to the concept of undead media, where “the past must be lived so that the present can be seen.” Drawing on Jussi Parikka’s notion of media archaeology as an active archive, the lab has become an opportunity to counter the memory-loss of computer cultures, much of it pre internet and pre new media; “the insistence of the relevance of the old and obsolete is the necessary double of the celebration of the new we have been living.” Mél Hogan will, then, open the roundtable by outlining the conceptual trajectory of the lab itself, as an archive, site of inquiry, and platform for artistic intervention. With the intention of contextualizing and anchoring the work of the MAL, she will situate the lab in relation to other initiatives, such as the Media Archaeological Fundus (MAF) in Berlin, and the Maryland Institute for Technology in the Humanities (MITH).
Next, Joel Swanson will discuss his Spring/Summer 2013 residency at the Media Archeology Lab where he has been developing an artwork over the course of the Spring 2013 semester. His piece explores the archeology of computer keyboards as the primary physical interface between humanity and language.
Moving further back in time, Mark Amerika will then discuss a particular, crucial turning point in digital writing and net-art: 1995 and the moment at which the GUI-version of the World Wide Web, especially via Netscape, is only two years old. He will describe how, on the one hand, this moment not only marked the tail end of the long boom in critical theory studies but it also marked the tail end of a relatively new mode of writerly production, hypertext, which had enjoyed its own mini-boom, but had been sequestered away on floppy disks and CD-ROMs. On the other hand, 1995 also marked the beginning of web-based conceptual writing, remixology, theory-fiction and what he calls “Hypertextual Consciousness 1.0.”
Moving back to the mid-1980s, Lori Emerson will discuss the second volume of Paul Zelevansky’s by-now rare artist book trilogy THE CASE FOR THE BURIAL OF ANCESTORS: Book Two, Genealogy published in 1986 and housed in the MAL. Enclosed in an envelope on the inside of the back cover, the book also comes with “SWALLOWS,” a 5.25″ floppy disk that is a videogame forming the first of three parts in the book. Emerson will discuss this game in terms of the broader field of early digital literature and how it openly plays with and tentatively tests the parameters of the personal computer as a still-new writing technology. Finally, Emerson will discuss the challenges to maintaining access to this work in the MAL either through the original hardware/software or through emulation.
Also discussing a work from the mid-1980s, Aaron Angello will discuss how one of the great strengths of born-digital literature is in fact what many claim is one of its greatest weaknesses – its ephemerality. Writers of digital literature are in a unique position to embrace the passing of their own work as a positive act of resistance in itself, as a reminder that the static and unitary subject is an illusion that, when accepted as “fact,” will only serve to reinforce existing, often non-productive relationships of power. bp Nichol’s “First Screening,” also housed in the MAL and an early work of kinetic digital literature, is a piece that was composed in basic to be read on an Apple IIe. It is no longer playable in its original form on current, readily available hardware, but has been re-imagined and remade so that it is viewable across a spectrum of current media. Angello will use this piece as backdrop to discuss the roles of both the poet and the archivist.
Moving back to the 1960s and 1970s, Julie Carr will discuss the work of Larry Eigner and its dependence upon and exploration of the typewriter. Larry Eigner was one of the main figures of the Black Mountain School. He had sever physical disabilities and so typed using only two fingers of one hand. When Robert Grenier and Curtis Faville edited his collected for Stanford UP they insisted on typesetting it themselves in courier in order to exactly replicate the page and the typewriter font. Carr’s exploration of the impact of particular typewriters on Eigner’s writing will, again, be supplemented with typewriters currently housed in the MAL
Finally, Derek Beaulieu will then talk about the pedagogical work he undertakes at the Alberta College of Art + Design in Calgary, Alberta. He will discuss how manual typewriters can be used in the contemporary creative writing classroom, the pedagogical outcomes in students and the poetics models on which students can explore — in other words, he will finish our roundtable with a brief tour of the typewriter as a studio tool in the contemporary creative writing classroom.
Co-authoring a piece with fellow nodes, Paul Juricic and Jeff Traynor for a special issue of Convergence Journal. See archinodes.com for more details, and check out our work in progress documentation.
Our contribution is to imagine the collector’s archive as shaped by the theories and technologies that inform the trajectory of the archive, from the traditional to the speculative. Based on current web standards, ownership and access policies and laws, an assessment of the devices at our disposal to record and engage with digital assets, an eye on the networks and data streams that enable sharing and discussion, an ongoing commitment to deciphering theories of production rooted in media and communication studies, and a deep engagement with critical archival theory, we allow ourselves to speculate, draft and present the culmination of these ideas through a project interface we call Archinodes; an archive of nodes.
Archinodes is an archiving system, but it’s not just for traditional archivists; it’s for everyday collectors. It gives individuals who care about the things they collect the ability to manage and build their personal archive using a beautiful, intuitive, and playful interface. Several digital archiving systems are used by museums, libraries, and universities to preserve and index digital materials. In prioritizing archival standards and metadata schemas over a compelling user experience, they are often inaccessible to everyday collectors and fail to encourage engagement with one’s archive.
CFP: Convergence Journal: Digital Archives & Open Archival Practices
Convergence: Special themed issue
Vol 21, no 1 (February 2015)
Digital Archives & Open Archival Practices
Guest Editors: Sarah Atkinson and Sarah Whatle
This special issue aims to bring together researchers, artists, professionals and practitioners from the field of digital archives and the archiving of practice with an emphasis upon Art, Design, Media, Film and Performing arts disciplines. It specifically aims to explore the affordances of digital technologies upon archival practices.
Within digital archival practices, there is a notable shift from the closed to the open and from the traditional single-user archive model to emerging multi-user, collaborative forms of archival practices and scholarship. The digital preservation and presentation of archival materials dramatically impacts upon the nature and notion of access. The types of discoveries, insights and findings that can be made through online digital interfaces can be radically altered.
The call for papers will invite contributions that focus on the widest range of digital archives (film, dance, sound, oral history etc), that consider national and international collections, which might focus on archival strategies, policy, copyright and education, and which consider technological aspects of digital archiving including the semantic web, analytics, meta-data, tagging and time-based meta-data.
The editors are particularly interested in encouraging submissions from a range of contexts, originating from academic research, policy making and from the archival professions. Contributions will be welcomed, but are not limited to, articles and pieces that address the following questions:
· How are digital archives changing our experience of the ‘live’?
· To what extent do digital archives ask us to re-evaluate the value of archival collections; how are digital archives altering our perception of the ‘archive’?
· What are the critical discourses and practices that help us make sense of the role and impact of digital archives in contemporary society?
· How do digital archival practices shift our view of the ‘archive’ and the ‘archivist’?
· How do digital archives participate in artistic practice?
· To what extent does the representation of art and artists in digital archives shift, diminish or support artists’ practice?
· What role does design play in the creation, curation and visualization of artistic practice in digital archives?
· To what extent do digital archives prompt us to reconsider the value, place and purpose of the archive in contemporary society?
· What role does the user have in constructing the archive?
· How do born and re-born digital archives contribute to the discourse of ephemerality and permanence in contemporary arts practice?
· What is the future of digital archives in contemporary arts practice?
· What are the nature and functions of the digital archive in education, research and scholarship?
· How can digital archives contribute to the notion of a digital public space?
· How can the consideration of digital archives and open archival practices most usefully contribute to the Open Source, Open Educational Resources (OER) and Open Educational Practices (OEP) movements?
Denver, Colorado · October 24 -27, 2013
Overview and details of the sessions of this conference. Please select a date or room to show only sessions at that day or location. Please select a single session for detailed view (with abstracts and downloads if available).
|Bridging the Politics of Digital Academic Production and Social Entrepreneurship
*Bridging the politics of digital academic production and social entrepreneurship*
Mary-Elizabeth Luka1, Vicki Mayer2, Mél Hogan3, Jacqueline Wallace1, Mélanie Millette4
1Concordia University, Canada; 2Tulane University, U.S.A.; 3University of Colorado – Boulder, U.S.A.; 4Université du Québec à Montréal, Canada
Digital humanities scholars today are frequently challenged to reach out to non-academic communities and undertake entrepreneurial-like initiatives that connect to corporate agendas, prioritized social engagements or applied research, in order to generate the research funding that success in the academic environment relies on. Sometimes these are successful collaboratories that express complex social values and support cooperative work or start-up environments appropriate to industrial success and workforce-oriented life skills. In other circumstances, these particularly financial or social objectives get in the way of research that is able to resist stagnant or tired patterns of scholarly endeavour or civic involvements. How can provocative and/or collective research interventions fit into this constricted framework? How do marketing, design-thinking, and activism fit together with academic methods and processes, particularly with critical media arts practices and the DIY field? In what ways do research-creation, digital ethnography, self-critical observation and digital media art production help or hinder legitimacy and credibility in the academy? What is the intervention you choose to make as a scholar in the communities with which you engage, inside and outside the university, and how can you measure contributions and recognition that can be accepted at both types of sites of enquiry?
This fishbowl will be moderated by Dr. Vicki Mayer . She is Professor of Communication at Tulane University in New Orleans, Louisiana. Mayer is author or editor of four books about media production in the new economy for creative industries. Since 2009, she has been director of MediaNOLA (medianola.org) to connect university students, professors, and creative sector professionals (archivists, preservationists, etc.) to a digital public history project.
First four speakers:
Jacqueline Wallace (PhD Candidate (ABD) in Communication, Concordia University, and HASTAC Scholar) spent a decade working in the media and tech industries at the intersection of commerce and creativity. She is a former founder of Veer, Inc. an award-winning visual media and design startup and a founding partner in the boutique social media agency, All Beef Media. Wallace is now pursuing research on the micro-economies of DIY design + craft, women’s creative labour and informal production networks.
Mélanie Millette (PhD Candidate (ABD) in Communication, Université du Québec à Montréal, LabCMO) worked as a producer for TV, radio and new media advertising before getting back to the academy. Since 2006, she has worked as a freelance consultant in social media. A SSHRC and Trudeau Foundation scholar, her thesis focuses on the Francophone Canadian minority and how this community uses Twitter to get visibility and political recognition.
Mary Elizabeth Luka is a Vanier Canada Graduate Scholar and PhD Candidate (ABD) in Communication at Concordia University, and HASTAC Scholar. Situated in the digital humanities, her scholarly interests focus on research-creation as method, production practices and creativity in cultural media production, and the intriguing dynamics generated at the intersection of the arts, broadcasting and digital production. With more than a decade of award-winning work as a founder/producer/director of digital and television programming initiatives in public broadcasting, Luka has also worked with over 25 culture sector organizations as a strategic planning consultant.
Dr. Mél Hogan is a Postdoctoral Fellow in Digital Curation in the department of Mass Communication and Journalism at the University of Colorado – Boulder. She is interested in the failures of the (promise of the) archive, data storage centers, feminist media archaeologies, and the politics of preservation. As a practitioner, aspects of these same issues are addressed through media arts interventions. Hogan is also the art director of online and p.o.d. journal of arts and politics, nomorepotlucks.org; on the advisory board of the Fembot collective; on the administrative board Studio XX; a new curator for the Media Archaeology Lab, and a research design consultant for archinode.com.