Earlier this month, I attended the ASIS&T 2011 Annual Meeting where, much to my delight, the paper I co-authored with Miles Efron and Katrina Fenlon was selected for the Best Paper Award.
In Building Topic Models in a Federated Digital Library through Selective Document Exclusion, we presented a way to improve the coherence of algorithmically derived topical models.
The work stems from topic modeling we were doing, first with PLSA and later LDA, on our IMLS DCC research group. The system we are working with brings together cultural heritage content from over a thousand institutions and, as a result contains quite diverse and often problematic metadata. This noise presents problems for inferring strongly coherent topic models, so Miles came up with the successful idea of identifying and removing topically weak documents from topic training. The paper outlines how this was done and the outcomes.
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I’ve really enjoyed cruising through the Jack Dougherty and Kristen Nawrotzki open peer-review volume called Writing History in the Digital Age which is slated to be published by University of Michigan Press’s new Digital Humanities Series in their digitalculturebooks imprint. I commented on many of the contributions and mined them all for references and ideas. I’d encourage anyone interested or invested in the future of history in the digital age to check out the volume and to contribute to its open peer review. Since I have read all the articles in the volume and have been thinking a bit about history in the digital era myself lately, I thought I might offer some overarching comments on the volume (as is my wont).
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I’m a relative newcomer to digital humanities; I’ve been doing this for about a year now. The content of the field has been interesting, but in some ways even more interesting is the way it has transformed my perception of the academy as a social structure. There are clearly going to be debates over the next few years between more and less digitized humanists, and debate is probably a good thing for everyone. But the debate can be much more illuminating if we acknowledge up front that it’s also a tension between two different forms of social organization.
Here’s what happens when that dimension of the issue goes unacknowledged: a tenured or tenure-track faculty member will give a talk or write a blog post about the digital humanities, saying essentially “you’ve got some great tools there, but before they can really matter, their social implications need to be theorized more self-consciously.” Said professor is then surprised when the librarians, or academic professionals, or grad students, who have in many cases designed and built those tools reply with a wry look.
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Cross-posted from my “Hawthorne’s Celestial Railroad: A Publication History” development blog at http://blog.celestialrailroad.org/2011/10/the-celestial-railroad-and-the-1861-railroad/
At this January’s MLA Convention, I’ll be presenting on The Society for Textual Scholarship‘s sponsored panel, Text:Image; Visual Studies in the English Major (viewing the panel description may require an MLA membership). I’ll discuss “Mapping the Antebellum Culture of Reprinting,” thinking through my experiments with GIS in the past few years, particularly since attending the GIS course at the Digital Humanities Summer Institute this past summer.
So I was thrilled this past week to read William G. Thomas’ talk, “What We Think We Will Build and What We Build in Digital Humanities,” from this year’s Nebraska Digital Workshop, and to learn from the talk about Thomas’ project, Railroads and the Making of Modern America. The project itself is fascinating, and I immediately wondered if some of their data might help me investigate the circulation of “The Celestial Railroad.” I’ve suspected for awhile that Hawthorne’s tale—which satirizes uncritical modernizing through the central image of a railroad—ironically may have spread around the country through the railroad system.
These are my notes “Building and Sharing (When You’re Supposed to be Teaching,” a lightning talk I gave on Tuesday as part of CUNY’s Digital Humanities Initiative. Shannon Mattern (The New School) and I were on a panel called “DH in the Classroom.” Shannon’s enormously inspirational lightning talk was titled Beyond the Seminar Paper, and mine too focused on alternative assignments for students. Our two talks were followed by a long Q&A session, in which I probably learned more from the audience than they did from me. I’ll intersperse my notes with my slides, though you might also want to view the full Prezi (embedded at the end of this post).
“And I truly believe that this transformative power of the digital humanities belongs in the classroom. Classrooms were made for sharing. So, where does the “building” part of my pedagogy come up? How can I suddenly turn around and claim that building is important when I just said, in a blog post that has shown up on the syllabus of at least three different undergraduate introduction to the digital humanities courses?”
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“More hack, less yack,” they say. I understand the impulse, and to some degree admire the rough-and-tumble attitude of those in digital humanities whose first priority is Gettin’ Shit Done. Hell, I like Gettin’ Shit Done.
But as I’ve mentioned before, I cannot agree with the distinction between theory* and practice that this sets up, nor the zero-sum logic that it implies (i.e. in order to do more you must speak less).
I’ve long found the complete domination of THATCamp Bootcamps by technical skills from the CS side curious to the point of illogical. (It turns out that this post is an elaboration of my THATCamp SF post of about a year ago.)
We seem to have a tendency to think that the “humanities” part of DH is stable, that we sort of already have it squared away, while the tech skills are what we need to gain.
But the whole reason DH is theoretically consequential is that the use of technical methods and tools should be making us rethink the humanities.
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Perhaps this has occurred to others, but I was thinking this morning of the word object and the many other words it shares -ject with: project, deject, eject, reject, inject, interject … perhaps you can think of others. Like “object,” most of these words serve as both noun and verb (sometimes as adj.). In most of the etymologies, -ject comes from the Latin jacĕre meaning to throw. In the case of object, the inherited meaning is to throw something before the mind or senses. I suppose the etymology, in this case, could be viewed as unfortunate for OOO, which clearly presents objects as mind-independent, and certainly the evolved and contemporary understanding of object is mind-independent, though even being “objective” still requires a mind. However I don’t exactly see it that way, particularly given my interested in an object-oriented or speculative rhetoric. While such a position begins with the premise that objects withdraw from one another, it is also a position that investigates how relations occur despite this premise. That is, while objects may withdraw from one another, what we know of each other and the world has to do with what is thrown before us, what we can encounter, which is mind-independent.
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This is the rough text of a short talk I am scheduled to deliver at a symposium on ‘Future Directions in Book History’ at Cambrdige on the 24th of November 2011.
I am on the programme as talking briefly about the ‘Old Bailey Online and other resources’ (by which I assume is meant London Lives, Connected Histories, and Locating London’s Past, and the other websites I have helped to create of the last ten or twelve years). But I am afraid I have no interest whatsoever in discussing the Old Bailey or the other websites. The hard intellectual work that went in to their creation was done between 1999 and 2010, and for the mostpart they have found an audience and a user base and will have their own impact, without me having to discuss them any further. We know how to do this stuff, and anyone can read the technical literature, and I very much encourage you to do so.
Instead, I want to talk about how the evolution of the forms of delivery and analysis of text inherent in the creation of the online, problematizes and historicises the notion of the book as an object, and as a technology; and in the process problematizes the discipline of history itself as we practise it in the digital present.
Luke Dearnley and I were last minute additions to the Web Directions South lineup last week. Coaxed by Maxine Sherrin to do a ‘fireside chat’ we sat comfortably by a digital fire and talked broadly around some of the exciting projects that are happening in the digital heritage space right now.
We tried to cover a lot of ground and tease out some of the issues in the sector as libraries and museums around the world finally begin to build significant momentum around digital content. Taking these discussions to the web developer community is important because all this is happening at a time when the government is calling for discussion of the National Cultural Policy where there is talk about ‘emerging technologies’ and the NBN in the ‘arts’. (See the Ideascale on the digital culture response to the NCP.)
Here’s a brief rundown of what we covered in our free-wheeling talk.
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