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Guest Post: Is the Research Article Immune to Innovation? - The Scholarly Kitchen - 0 views

scholarlykitchen.sspnet.org/...arch-article-immune-innovation scholarly-communication research article publishing format
shared by Todd Suomela on 05 Jul 18 - No Cached
  • The real argument, then, is not about when and how traditional formats like the PDF will be replaced; it’s about accepting that the familiar (and perhaps boring) research article still has its purpose, while at the same time thinking ambitiously and creatively about how the humble document can be supplemented with the modern features and functions that the digital environment offers.
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The Data Curation Network - A shared staffing model for digital data repositories - 0 views

datacurationnetwork.org publishing online scholarly-communication data-curation
shared by Todd Suomela on 26 Feb 19 - No Cached
  • Todd Suomela on 26 Feb 19
     
    "We are the Data Curation Network As professional data curators, research data librarians, academic library administrators, directors of international data repositories, disciplinary subject experts, and scholars we represent academic institutions and non-profit societies that make research data available to the public. What we do Data curators prepare and enrich research data to make them findable, accessible, interoperable and reusable (FAIR). Sharing our data curation staff across DCN partner institutions enables data repositories to collectively, and more effectively, curate a wider variety of data types (e.g., discipline, file format, etc.) that expands beyond what any single institution might offer alone."
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Who Framed Augmented Reality? | Johannah King-Slutzky - 0 views

thebaffler.com/...augmented-reality-king-slutzky augmented-reality animation history cartoon sts technology technology-cycles
shared by Todd Suomela on 16 May 17 - No Cached
  • The human/drawing interaction trope that Zuckerberg is rebranding as Facebook’s own innovation even predates animated cartoons. One type of scrapbook, the paper dollhouse, played with the appeal of mixing real-life and an invented world. It was most popular from 1875-1920, and over forty years its form remained consistent: A dollhouse unfolded theatrically to create illusions of progress and depth.
  • Winsor McCay’s Gertie the Dinosaur is generally considered the first animated cartoon ever, and it made use of the same trope of mixing reality and man-made art when it premiered all the way back in 1914. McCay was a cartoonist famous for the Freudian, surrealist comic Little Nemo in Slumberland, which was published in weekly instalments in the New York Herald and New York American—though its material is more frequently compared to Bosch than to Garfield. McCay, already two hits deep into his career in the first decade of the twentieth century, purportedly decided to animate a comic strip in 1909 on a dare from friends griping about his daunting productivity. Following a brief stint with an animated Nemo, McCay developed Gertie the Dinosaur, an amiable brontosaurus with a stoner grin, and took her on a vaudeville roadshow across America.
  • LAST MONTH Facebook premiered its vision for the future at its development conference, F8. The camera-app technology Mark Zuckerberg calls augmented reality (or AR) borrows heavily from the social network Snapchat, which enables users to layer animated digital content onto photos on the fly. On stage, Zuckerberg promoted this collaging as social media’s first steps toward modish virtual screen manipulations. “This will allow us to create all kinds of things that were only available in the digital world,” Zuckerberg bubbled effusively. “We’re going to interact with them and explore them together.” Taken in, USA Today repeated this claim to innovation, elaborating on the digital mogul’s Jules Verne-like promise: “We will wander not one, but two worlds—the physical and the digital,” For my part, I was particularly delighted by Facebook’s proposal to animate bowls of cereal with marauding cartoon sharks, savoring, perhaps, the insouciant violence I associate with childhood adventure.
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Trends in Digital Scholarship Centers | EDUCAUSE - 2 views

er.educause.edu/...in-digital-scholarship-centers
shared by jatolbert on 11 May 17 - No Cached
  • Although sometimes confused with digital scholarship centers, digital humanities centers are often specialized research centers led by a group of faculty and serving only select disciplines rather than a broad campus community. Also, libraries often play only a peripheral role in digital humanities centers.1 In contrast, libraries or IT organizations have a key role in digital scholarship centers.
    • jatolbert
      jatolbert on 11 May 17
       
      This is important.
  • Digital scholarship centers can build institutional capacity to address emerging and future scholarship needs.
  • Considering options for presenting or publishing completed projects
  • ...11 more annotations...
  • A key attribute that distinguishes digital scholarship centers from more traditional research institutes (such as digital humanities centers) is that they are service organizations, staffed by individuals with specialized skills, who support work in the digital environment.
  • Whether a digital scholarship center needs a dedicated facility or can be a distributed set of physical spaces and services — or even a virtual service — are open questions. A physical center that brings together specialized equipment and services in one convenient place has the advantage of visibility and provides a venue for an array of programming, including workshops, guest lectures, and displays of completed projects. In other cases, an office or set of offices might serve as the hub for center staff, while equipment and services are dispersed in physically separate media production areas, GIS facilities, data visualization labs, and makerspaces.
  • The case studies also illustrate the importance of tailoring a digital scholarship program to the needs of the institution; there is no "one size fits all."
  • The Sherman Centre has taken a "design-build" approach: Spaces were rendered with maximum flexibility in mind — with minimal enclosed spaces and with a strong focus on moveable furniture and adaptable technology. Design work has continued long after the center was officially opened: Key service and space components have been added as the needs of the campus community have become more clear.
  • Thus, the Sherman Centre was not serving an established collection of self-identified digital scholars — it was growing its own.
  • First, we have learned the critical importance of clearly defining the Sherman Centre's scope and purpose for the campus community.
  • We often find ourselves having to turn people away when their work is not advancing the digital scholarship agenda. Saying no is not easy, but it must be done to protect the center's integrity.
  • Digital scholarship centers represent a model of engagement for libraries and information technology units. They both support and encourage new directions in research, teaching, and learning and provide the infrastructure (technical and human) to encourage experimentation in new areas of scholarship.
  • Experiences gained from existing digital scholarship centers can help uninitiated institutions better launch their own efforts and thereby increase support for the research, teaching, and learning needs of their campus communities.
  • Digital scholarship centers focus on relationships, extending the ways in which librarians and academic computing professionals relate to and work with faculty (and often students) and their scholarly practices.
  • Here, we examine centers that go by a variety of names — including digital scholarship center, digital scholarship lab, and scholars' lab — but that nonetheless share common features. These centers are generally administered by a central unit, such as the library or IT organization; serve the entire campus community (including undergraduates, graduate students, and faculty); and address the needs of a range of academic departments and programs.
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The State of Open Data Report 2017 - 0 views

figshare.com/5481187 open-data research-data scholarly-communication publishing report
shared by Todd Suomela on 15 Nov 17 - No Cached
  • Todd Suomela on 15 Nov 17
     
    "Figshare's annual report, The State of Open Data 2017, looks at global attitudes towards open data. It includes survey results of 2,300 respondents and a collection of articles from industry experts, as well as a foreword from Jean-Claude Burgelman, Head of Unit Open Data Policies and Science Cloud at the European Commission. Its key finding is that open data has become more embedded in the research community - 82% of survey respondents are aware of open data sets and more researchers are curating their data for sharing."
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DHQ: Digital Humanities Quarterly: A Genealogy of Distant Reading - 0 views

www.digitalhumanities.org/...000317.html digital humanities
shared by jatolbert on 28 Sep 17 - No Cached
  • Because Radway’s voice is candid and engaging, the book may not always sound like social science.
    • jatolbert
      jatolbert on 28 Sep 17
       
      I wonder what social science he's been reading.
  • In calling this approach minimally "scientific," I don’t mean to imply that we must suddenly adopt all the mores of chemists, or even psychologists
    • jatolbert
      jatolbert on 28 Sep 17
       
      And yet the effect is the same: scientizing processes and products which by their very natures as human works resist scientific analysis.
  • social science
    • jatolbert
      jatolbert on 28 Sep 17
       
      Again, this is a very different social science from that in which I received my own training, which has long held to the notion that objectivity is not only unobtainable, but undesirable.
  • ...4 more annotations...
  • But computational methods now matter deeply for literary history, because they can be applied to large digital libraries, guided by a theoretical framework that tells us how to pose meaningful questions on a social scale.
    • jatolbert
      jatolbert on 28 Sep 17
       
      I wonder about this. Is he suggesting that examining a large corpus of published works is the same as examining an entire society? This would seem to ignore issues of access and audience, literacy, representation, etc.
  • The term digital humanities stages intellectual life as a dialogue between humanists and machines. Instead of explicitly foregrounding experimental methods, it underlines a boundary between the humanities and social science.
  • Conflations of that kind could begin to create an unproductive debate, where parties to the debate fail to grasp the reason for disagreement, because they misunderstand each other’s real positions and commitments.
    • jatolbert
      jatolbert on 28 Sep 17
       
      Similar to the conflation of sociology with all of the social sciences.
  • the past
    • jatolbert
      jatolbert on 28 Sep 17
       
      Is it appropriate to conflate the -literary- past with -the past-? That is, can any study based wholly on texts claim to be in any way representative of things outside the sphere of what we call "literature"?
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For Google, Everything Is a Popularity Contest - The Atlantic - 0 views

www.theatlantic.com/...531762 knowledge academic representation citation-analysis bibliometrics popularity
shared by Todd Suomela on 27 Jun 17 - No Cached
  • PageRank and Classic Papers reveal Google’s theory of knowledge: What is worth knowing is what best relates to what is already known to be worth knowing. Given a system that construes value by something’s visibility, be it academic paper or web page, the valuable resources are always the ones closest to those that already proved their value.Google enjoys the benefits of this reasoning as much as anyone. When Google tells people that it has found the most lasting scholarly articles on a subject, for example, the public is likely believe that story because they also believe Google tends to find the right answers.
  • It’s as if Google, the company that promised to organize and make accessible the world’s information, has done the opposite. Almost anything can be posted, published, or sold online today, but most of it cannot be seen. Instead, information remains hidden, penalized for having failed to be sufficiently connected to other, more popular information. But to think differently is so uncommon, the idea of doing so might not even arise—for shoppers and citizens as much as for scholars. All information is universally accessible, but some information is more universally accessible than others.
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The Digital-Humanities Bust - The Chronicle of Higher Education - 0 views

www.chronicle.com/...241424 digital dh
shared by jatolbert on 17 Oct 17 - No Cached
  • To ask about the field is really to ask how or what DH knows, and what it allows us to know. The answer, it turns out, is not much. Let’s begin with the tension between promise and product. Any neophyte to digital-humanities literature notices its extravagant rhetoric of exuberance. The field may be "transforming long-established disciplines like history or literary criticism," according to a Stanford Literary Lab email likely unread or disregarded by a majority in those disciplines. Laura Mandell, director of the Initiative for Digital Humanities, Media, and Culture at Texas A&M University, promises to break "the book format" without explaining why one might want to — even as books, against all predictions, doggedly persist, filling the airplane-hanger-sized warehouses of Amazon.com.
  • A similar shortfall is evident when digital humanists turn to straight literary criticism. "Distant reading," a method of studying novels without reading them, uses computer scanning to search for "units that are much smaller or much larger than the text" (in Franco Moretti’s words) — tropes, at one end, genres or systems, at the other. One of the most intelligent examples of the technique is Richard Jean So and Andrew Piper’s 2016 Atlantic article, "How Has the MFA Changed the American Novel?" (based on their research for articles published in academic journals). The authors set out to quantify "how similar authors were across a range of literary aspects, including diction, style, theme, setting." But they never cite exactly what the computers were asked to quantify. In the real world of novels, after all, style, theme, and character are often achieved relationally — that is, without leaving a trace in words or phrases recognizable as patterns by a program.
  • Perhaps toward that end, So, an assistant professor of English at the University of Chicago, wrote an elaborate article in Critical Inquiry with Hoyt Long (also of Chicago) on the uses of machine learning and "literary pattern recognition" in the study of modernist haiku poetry. Here they actually do specify what they instructed programmers to look for, and what computers actually counted. But the explanation introduces new problems that somehow escape the authors. By their own admission, some of their interpretations derive from what they knew "in advance"; hence the findings do not need the data and, as a result, are somewhat pointless. After 30 pages of highly technical discussion, the payoff is to tell us that haikus have formal features different from other short poems. We already knew that.
  • ...2 more annotations...
  • The outsized promises of big-data mining (which have been a fixture in big-figure grant proposals) seem curiously stuck at the level of confident assertion. In a 2011 New Left Review article, "Network Theory, Plot Analysis," Moretti gives us a promissory note that characterizes a lot of DH writing: "One day, after we add to these skeletons the layers of direction, weight and semantics, those richer images will perhaps make us see different genres — tragedies and comedies; picaresque, gothic, Bildungsroman … — as different shapes; ideally, they may even make visible the micro-patterns out of which these larger network shapes emerge." But what are the semantics of a shape when measured against the tragedy to which it corresponds? If "shape" is only a place-holder meant to allow for more-complex calculations of literary meaning (disburdened of their annoyingly human baggage), by what synesthetic principle do we reconvert it into its original, now reconfigured, genre-form? It is not simply that no answers are provided; it is that DH never asks the questions. And without them, how can Moretti’s "one day" ever arrive?
  • For all its resources, the digital humanities makes a rookie mistake: It confuses more information for more knowledge. DH doesn’t know why it thinks it knows what it does not know. And that is an odd place for a science to be.
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