Day 2 - THATCamp liveblogging 4
Tuesday, February 11, 2014

Michelle Moravec // “Visualizing Schneemann explores the production of histories of art using multiple digital tools”

A party of one DH tale:

Visualizing Schneemann a result of her sabbatical work and noticing links between Schneeman and everyone else

Mapping the Republic of Letters the source of her inspiration - and her proof of concept

very constrained timeframe (12 weeks): seeking off-the-shelf tools that require little or no programming skills

one graduate assistant producing metadata, from which Michelle began producing metadata (Gephi)

"Gephi like using a sledgehammer when needing a pushpin" - dataset too small

Raw a better tool for scale of data - discovered midway through process: be flexible!

also Excel's visualization tools for a surface visualization

Distant looking - Stanford NER - Linux Processing - Hand clean - visualization in raw

for map-inflected data - Google Map Pro' also TimeMapper (super easy and approachable)

Corpus Linguistics (finds mathematical relationships in words within a text/corpus)

Wonderful narrative of her one-scholar (plus graduate assistant and some help from friends!), twelve-week journey

Good insights as a result:

methods not tools the things

spend money wisely

don't go with popular tool

google for help


Day 2 - THATCamp liveblogging 5
Tuesday, February 11, 2014

OmekaSheila Bonde - Representing Uncertainty

Well-attended breakout session (and for good reason)

Basic question: how does one shoehorn in those pesky humanities fuzzy data into computational methods

Starts out with a few examples:

hyperrealism of models, but what about those things not there (the suspension of disbelief): color coding (the reliability console) - probability tables

show alternatives in modelling? crowdsourcing(ish) different models

enrich the model with annontation

phases of building

truth(s) scholars' perspective against monks' perspectives

fuzzy mapping; weather prediction maps

mapping sound (smells, ambience)

time (medieval concepts both cyclical and linear)

ethics of admitting we are uncertain? how to inject uncertainty into research but especially pedagogy?

GIS is the platform presently used

V-SIM annotate models (simple toolsets - Lisa Snyder's UCLA projects)

a challenge with annotation is that it is removed from the immediacy of the thing visualizaed

UNITY 3D - good for annotations through which one processes

summary layer and more deeply informative layers

St. Paul's Cathedral project (John Donne et al. and their speeches/sermons - how much audible) - their  (NC State) white paper very thoughtful about raising these issues

A part for the whole (an overdetermination of the truthiniess of these types of platforms

expand the scope of data (more buildings) in order to bump of the confidence level

art conservation and its ethics adduced to address the question of ethics of restoration (Usbekistan church completely restored by Soviets - truth?)

originatory object - preserving phases (allowing objects to have lives beyond the singular, original purpose)

wobbly mapping

a homespun aesthetic - Center for Civic Media DrawMurals

What Jane Saw as an example of an aesthetic uncertainty

Where to place a gallery if it is known that it was on Bond Street, but specifically not known ( blobby, spreading info point); saturation of color (number of galleries); concentrations, not specific points;

Ben Franklin's house as a good example of a known point; when excavated; built a wireframe (literally)

multiple reconstructions (L systems for architecture - grammar of architeectural forms; from biology); automating the process; increase the confidence of probability

Armory Show virtualizaing? game it by crowdsourcing (the problem of hanging it) to yield the better,more plausible outcome (representing process) (important to bring in the evidence!)

Audiences - for whom are reconstructions made? don't presume the narrow audience, but the general

using sound (design of sound) to represent uncertainty; what would that sound/look like (muffled)

how to present material (sound) beyond the printed book

anachronic objects? what to do with them? how to talk about them online? stratify layers to capture the temporal shifts - hypercities?

Good stuff!



Day 2 - THATCamp liveblogging 6
Tuesday, February 11, 2014

Liz McDermott // “Bridging the Gap: Presenting Scholarly Content on Social Media Platforms” Getty Reserach Institute

Facebook as a means of scholarly diffusion (exhibitions) - 5000 followers

social media

Facebook announcement of acquisition of Lewis Baltz's archive

a combination of scholarly social media(s) facebook, twitter, web pages

The Shelfie Post is wonderful! And a wonderful response, with lots of likes and replies

How to reconcile with institutional image (sober, serious)?

Is social media detrimental, helpful, some part of both to the scholarly enterprise? (I think mostly helpful; I also think that scholars are people, too, and social media can liberate that thought and that aspect)

Do analytics (google analytics or other tools) help answer this question?



Day 2 - THATCamp liveblogging 7
Tuesday, February 11, 2014

JiaJia Fei // “The Museum & Social Media”

Art in the Age of Instagram: Authority and the Digital Image

"Did you know that you could get a bachelors in art history by following me on Instagram" a joke by speaker at a party believed by hearer!

Works in the marketing department at Guggenheim

Social media directs line to users, connecting them to museum and to each other, which is monitored. Suggests that this workload and work habit is leading to the cultivation of a different museum experience for visitors and different museum visitor.

Exponentional growth on social media (twitter, facebook)

Turrell exhibition; most successful and, despite warnings against it, most photographed/instagrammed exhibition)

working to open up the policy against photography in exhibitions, recognizing that visitors want to share their experience, an activity that draws eyeballs and visitors to the museum



To Instagram or not to Instagram?

And, inevitably, W.B. and his thoughts about aura have been adduced!

Cites a study by a psychologist (sorry, lost name) that people who photograph through a museum visit tend not to remember their experiences as well as those who do not

Eric Gibson, New Criterion - Grumping about the use of camera and photography in museums. If this is allowed, then...: What are museums for?


THATCamp 2014 - Live Blogging 1
Monday, February 10, 2014

Hello from Columbia College on South Wabash Ave in the Windy City!

For the next two days I'll be participating in the THATCamp CAA 2014 (The Humanities and Technology Camp College Art Association), along with Professor Renee Ater and about sixty other plugged-in folks from the arts and art history worlds.

I'll be passing on what I'm seeing as it happens (I hope!). Right now, Anne French, THATCamp Guru (aka Coordinator of), is going over the ground rules (Have Fun!, Be Productive, Talk to Each Other). If you've not had the pleasure, avail yourself. She's great and sets a good tone for this un-conference.

I'll let you know more anon!