Snelling building complex between 1820-1900.
[This offering is now full (14 December)] Over the past five-years we have seen a proliferation of academic job advertisements, publications, and discussions demonstrating ways in which race and social justice can be engaged in digital humanities scholarship. Interest by students and local communities in technological advancements through Web 2.0, social media, and mobile phones are permitting new forms of research and practice. #transformDH, #DHpoco, #femDH, and #BlackLivesMatter have helped to challenge the all-white discourse, often dominated by scholars in the disciplines of English and history, that is too often found in digital humanities. What happens to students in digital humanities methods classes who bring non-traditional bodies into this world? There have been discussions how to insure that syllabi and materials for digital humanities classes are inclusive - specifically, how an introductory DH methods class keeps race, social justice, and inclusivity as cornerstones in their pedagogy. The traditional divides witnessed in the tech world will only be replicated in the world of both undergraduate and graduate DH courses without attention to race, social justice, etc. This week-long class will show how, through an interdisciplinary intersectional and CRT framework, both race and social justice can be central to any DH teaching, pedagogy and practice. The course will pay special attention to queer theory, critical ethnic studies, postcolonial theory, WOC/Black feminism, Indigenous studies, and disability studies as they currently help to reshape digital humanities teaching and methods across our university/college classrooms.
This course combines lecture, seminar, and hands-on activities. Consider this offering to build on: Fundamentals of Coding / Programming for Human(s|ists); Web Development / Project Prototyping for Beginners with Ruby on Rails. Consider this offering in complement with and / or to be built on by: Physical Computing and Desktop Fabrication; Digital Humanities with a Global Outlook; Digital Indigeneity; and more.
Video: A Closer Look at Bahá'u'lláh's Letter to the Iranian King
[There are 6 spots remaining in this offering (24 February)] This course focuses on using sound(s) for Digital Humanities (DH) scholarship and pedagogy. Course topics include sound utilization, forms, and respect for associated intellectual rights. Course emphasis is practice-based research and/or creative expression, learning by making. Participants are encouraged to bring laptops, digital recorders, headphones, and smart phones. GarageBand will be the primary demonstration tool, although Audacity is a good open source alternative. Other sound recording and editing platforms may also be used as desired. No previous experience with sound is required. Participants will learn basic sound recording, editing, and manipulation, and may leverage these and other course resources for ongoing DH sound projects, or experiment freely. A sound artifact (collaborative or solo) demonstrates course outcomes at the end of the week. More information at the course webpage: .
This course combines lecture, seminar, and hands-on activities, as well as a self-directed component. Consider this offering to build on: Digitisation Fundamentals and their Application. Consider this offering in complement with and / or to be built on by: Physical Computing and Desktop Fabrication; Digital Documentation and Imaging for Humanists; and more.
Agent-based modelling (ABM) is a technique whereby representations of individual autonomousbeings are generated and programmed to behave in a specific way in order to observe theresult of these individual agents interacting on the system as a whole. It is a technique that isnot generally used in humanities or social sciences scholarship but which is becomingincreasingly accessible due to advances in tools and available computing power. In this fullyhands-on workshop you will learn to generate ABMs using a tool/programming language calledNetLogo. With this package participants will quickly find themselves producing sophisticatedvisualizations of two-dimensional worlds with accompanying charts that are updated in real-timeto track important system variables. Whether you are considering ABMs as a method ofhumanistic inquiry or youâd just like to play god over worlds of artificial beings this workshop isdesigned to put you on the path to success.
The Southern Crescent runs from New York to New Orleans.
We submitted these photos to Mechanical Turk again, asking three "master workers" (i.e. more skilled workers) not only to verify that a photo shows a single selfie, but also to guess the age and gender of the person.
who traveled between where and when.
Danziger's collection of recordings will vastly expand and diversity the available corpus of Mopan language material and allow her to examine how the language fits into or challenges current linguistic theory.
The development of selfiecity was supported by , , and .
On the resulting set of selfie images, we ran automatic face analysis, supplying us with algorithmic estimations of eye, nose and mouth positions, the degrees of different emotional expressions, etc.
And big thanks to for the support with the data collection!
The prototype models a way to enter every character, location and event from the individual texts into a robust database and then to map that data into an atlas of interactive visual resources, so that users can better understand and study the acts of narrative re-creation Faulkner undertook, according to the demands of a particular story.
5th largest research university in the nation
As the final step, one or two members of the project team examined all these photos manually. While most photos were tagged correctly, we found some mistakes. We wanted to keep the data size the same (to make visualizations comparable), so our final set contains 640 selfie photos for every city.