CUNY DHI_Lightning Talks_Fall 23

Transcript

1. DHI LIGHTNING TALKS Building a CUNY-wide Digital Humanities Community November 14th, 2023 | 5:00 - 7:00 pm GC Segal Theatre & Zoom
2. Digital Archives
3. Allison Daugila, CUNY Graduate Center ITP and Digital Humanities MA Alumni, ‘23 Advisor Dr. Andie Silva New York City Yoga Studios Archive (NYCYSA)
4. NYCYSA Omeka Classic Tag Cloud Tags were used to decipher class types, nuances and commonalities found in the yoga community Omeka Classic Collections Iconography Open, Closed, Relocated/Chain Location Closed, and Outdoor Yoga Classes
5. Written and Audio Responses Map Iconography Primary Map Legend for Google My Maps Reiteration of the Archive Various Omeka and Google My Maps Iconography
6. 1929 NYC Redline Zones and NYC Fitness, May 2022 NYC Yoga Studios Archive QR Code
7. ARtful Archives: Navigating Diego Rivera’s Original Sketches Through the Augmented Journey of Detroit Institute of Art The Graduate Center, CUNY MA Program in Digital Humanities - DHUM 70000 Tulay Altin taltin@gradcenter.cuny.edu
8. DIEGO RIVERA ❑ Diego Rivera and his significance as a Mexican muralist ❑ Significance of preserving and digitizing Diego Rivera’s original sketches
9. ABXR ENGINE ALPHA USER
10. Metadata as political action? Lessons of an in-progress Spanish Feminist Linguistics Repository Silvia Rivera Alfaro Latin American, Iberian, and Latino Cultures CUNY Graduate Center
11. Repository of Feminist Linguistics Infrastructure: • Raspberry Pi as a server • DSpace 7 a popular open-source repository software. ◦ Angular ◦ Backend: Linux - Java 11, Apache Maven, Apache Ant, Apache Solr, Apache Tomcat. ◦ Frontend: Note, Yarn, PM2 • TypeScript for the aesthetics of the front end Acknowledgements: Thanks to professor Ximena Gallardo, from ITP, for the project and pedagogy guidance and to Eduardo Reyes Delgado for accompanying me on the command line, installations, and development process! Due to the “archival silence” in the studies of language and gender and the silence-annihilations in academia, especially on women’s work, we created a Repository of Feminist Linguistics.
12. Metadata as political action Metadata is the data about the data. It allows items to be retrievable. To create metadata we need to follow a controlled vocabulary, which are standardized groups of words and phrases used to describe information. However, controlled vocabularies are political, so cataloging with a political intention challenge us to take a stance. We think of controlling language as a political responsibility. We are working on a thesaurus for feminist linguists, which implies deciding how to organize the knowledge on feminist linguistics.
13. Lenguaje inclusivo (género) [DOM] Ciencias sociales, Ciencias del lenguaje, Filosofía [NA] Elegimos lenguaje inclusivo como descriptor por ser el término más extendido para nombrar las estrategias lingüísticas y discursivas desarrolladas por las feministas y la comunidad LGBT para luchar por sus derechos. El término lenguaje inclusivo ha sido problematizado en diversas ocasiones particularmente por enfocarse en la idea de incluir; además, se han problematizado varios de los diferentes sinónimos y cuasi sinónimos que aparecen en [UP]. Es estudiado por diversas disciplinas y desde distintas perspectivas. [UP] Lenguaje no sexista, lenguaje incluyente, lenguaje neutro, lenguaje no binario, lenguaje contrahegemónico, lenguaje incisivo, lenguaje inclusivo de género, lenguaje igualitario, lenguaje sensible al género, lenguaje justo desde el punto de vista de género [TC] Lenguaje [TG] No tiene [TE] No tiene [TR] Activismo lingüístico equivalencia asociación jerarquía pertenencia modificador
18. Using VR experience as a ‘virtual site’ for ANT 1001 Fedor Marchenko, PhD Candidate, Educational Psychology
19. Author’s Wall in Hungarian Pastry Shop • The Hungarian Pastry Shop is a café and bakery in the Morningside Heights neighborhood of Manhattan in New York City. • Café’s bathroom wall is historically used for writers and students from Columbia University for leveraging the First Amendment. • Heated discussion arise and thus walls are being repainted every year or so. • This VR project is an attempt to capture and digitally preserve one of the instances this unique space (360 picture was taken in March, 2022)
20. Organizing the VR narrative • VR experience as any socially constructed phenomenon is a palimpsest – a multi-layered overlap of different narratives that compliment and contradicts to each other • This can be overwhelming • Partitioning is the key [think of scenes in a movie] Adaptation by NYU iTLab (2022-2023): https://wvr.li/x6ala1
21. Using VR experience as a ‘virtual site’ for ANT 1001 • Such VR digital artifact can be used for narrative analysis on its own • It can also be used as a ‘virtual site’ for ethnographic projects for students, such as used in Anthropology 1001 class at CUNY • Using guidelines from Pr. Ken Guest’s class (Baruch College) students can use the a ‘blank’ version of VR experience (https://wvr.li/ypwuk1) to write a paper on their visit to the site that would include: ❏ Description of the place ❏ Who are the contributors ❏ Usage of concepts from the class ❏ Analysis of selected scribblings from the wall that reveal specific systems of power (e.g. systems of oppression, sexuality/romantic life, religion, etc.)
22. Digital Publishing
23. David Font-Navarrete Lehman College, CUNY Beyond the Archive: The Cabrera-Tarafa Collection of Afro-Cuban Sacred Music, ca. 1956 Left: Marcos Portillo Domínguez (aka Até Borá). Matanzas, Cuba. ca. 1956. Photo by Josefina Tarafa. courtesy of the Cuban Heritage Collection. Right: Original Música de los cultos box set, ca. 1956. Courtesy of Musée d'ethnographie de Genève (MEG).
24. Editions based on the Música de los cultos collection published by the Library of Congress and Smithsonian Folkways (1999-2003).
25. Spectrogram of a phrase — “moyuba ogun arere” — from Petronila Hernández’s recitation (rezo) on Disc 9A of Música de los cultos africanos en Cuba. Ampex 600 model reel-to-reel tape recorder, introduced in 1954 and used by Josefina Tarafa to record Música de los cultos. Photo courtesy of Audio Engineering Society. Lydia Cabrera (left) and Josefina Tarafa right). Cuba, ca. 1956. Photo courtesy of the Cuban Heritage Collection.
26. Robin Miller The Graduate Center, CUNY Using Manifold as a Tool for Social Justice @CUNY
27. Manifold as a Tool for Social Justice
28. Manifold as a Tool for Social Justice
29. Manifold as a Tool for Social Justice Thank You!
30. The Spanish Fantastic Through Open Pedagogy Students as Learners, Teachers & Creators: Juan Jesús Payán Lehman College, CUNY
31. The Theme Proposed Was the Illusion of Time and Death Students were assigned a short fantastic story. They were responsible to provide a lesson plan and teach the class (under the guidance of the professor). Their lesson plan was also used toward the creation of a pedagogical edition of the text. Students were provided a model of a pedagogical edition of their text. They were responsible of the introduction of the author, the transcription of the text, footnotes, banks of questions, and bibliography. We produced an anthology of the Spanish Fantastic. Project/Objectives What is the Fantastic? During the first couple of weeks, the instructor provided a theoretical and historical background of the Spanish Fantastic in the 19th Century. The instructor modeled how to teach a text and how to produce a pedagogical edition. How to teach literature? How to create editions for publication? Students as Learners Students as Teachers Students as Creators
33. Debates in the Digital Humanities dhdebates.gc.cuny.edu
36. Digital Projects
37. Sextortion: A Hidden Crime Social Media Used to Facilitate The Dark Web Michell Argus, John Jay College of Criminal Justice, Masters Program Submission for GC Digital Presentation
38. What is Sextortion? Sextortion evolves with aggravating or threatening messages that this user, your teen has met online, will share intimate images or sexual recordings of them, unless they comply with demands like procuring further graphic images or videos. 1 Sextortion is far more common, as it starts off with a random message from a user’s profile, with 54% that reported incidents of becoming victims of Sextortion, stated the abuse was facilitated on common social media networks, like Facebook and Instagram; followed by 41% that first contacted their attacker on Snapchat.
39. I Think I Was Hacked!! How do I get Help?! The predator threatened to expose the teen unless they sent a video performing a sex act, the predator posted the picture he had first obtained from the victim on his Facebook page where the victim and the offender shared friends in common that he found lived in the victim’s area,” 2 Predators steal information that is publicly available on social networking sites, where your child goes to school, or where your child and their friends hang out, that gives them an open dialogue between the child to coerce, manipulate and trap the child to believing they are talking to someone that they are friends in common, behavior patterns that increases rates of Sextortion.
40. The online market is not hidden but exists as a social network account, the child sex abuse material can be requested online, produced, and even sold on Facebook, Instagram, or SnapChat. Social Networking Sites were used to connect with the victims directly through applications like Facebook, “One victim described the attack like she felt comfortable enough to engage with the online predator because his username contained the name or business from her hometown, but he actually hacked her account, and located photographs of her with known monuments or other location identifiers. In 60% of the cases online perpetrators who had carried out the threats also stalked the respondents online. 3 It is important to remember if you become a victim you are not alone! Resources are available in schools and can be obtained at police stations. To prevent cyber attacks from occurring, receive help that begins with asking for counseling or filing a report with law enforcement.
41. The Linguistic Justice Project: How language is lived on campus (An institutional ethnography)
42. Four points of data: 1. Survey responses on participants’ languaging practices including… a. perceived skill level understanding, speaking/signing, reading, and writing b. situations in which they use/used language/dialect (e.g., home/with family, school religious institution, work, friends, online, in public, travelling, etc.) 2. Language portrait 3. Interview transcript about the portrait a. Discourse-based interview (DBI) uses an anchor text (like the language portrait) to elicit tacit beliefs, values, assumptions, knowledge by asking participants about alternative choices they might be willing to make and why or why not. 4. Official institutional texts focused on language (e.g., master and strategic plans, program and course outcomes, college-wise assessment rubrics, etc.)
43. Participant #1 Survey: English (all excellent); French (all excellent) DBI: post-portrait! Participant #2 Survey: Spanish (Dominican dialect) Japanese (minimal/competent) Spanish (Castillian) (excellent) English (Excellent/strong) DBI: [during the interview the participant discussed how she might *show/animate her Spanishes “bleed into each other”
49. Data Capture 1.) By way of a centralized and secure data system, • Law enforcement, Government, and NGOs can quickly enter and share IWT data in real-time. • Data can be entered via desktop or mobile devices. 2.) For previously collected IWT data, • ALERIS will collect, validate, and integrate information free of charge to your organization. • End-users will be permitted access to a fully interactive dashboard hosting captured IWT data.
50. https://www.aleris.earth/power-bi
51. Environmental Inversion Jonah Brucker-Cohen (Lehman College)
56. Institutional Projects
57. Graduate Center Digital Initiatives | Digital Fellows Anna Schlenz (knows all the maps) Greg Hartmann (piano sound nice. also Python!) Leanne Fan (Excel afraid of her) Rebecca Krisel (data scientist but friendly) Silvia Rivera Alfaro (physical computing champion 🎖) Tuka Al-Sahlani (multilingual mapping maestra) Zach “games are for making, not just playing” Lloyd Sam O’Hana (do good powerpoint) the in-house “think-and-do tank” for digital research
58. What We Do - Workshops (classes) - “Why bother with R? Isn’t Stata good enough?” - “Everyone’s talking about Python– how can I get started/beef up my skills?” - “How do I get the gist of GIS?” - Consultations (therapy) - “My PI wants me to make a database– but how?” - “Should I make a digital archive out of this physical archive?” - “How come my blog not go right?” - User Groups (secret societies) - “I’m crazy about/being driven crazy by R/Python/mapping/archives and I wanna find some friends!” - Digital Research Institute (military school but less shouting) - Free five-day intensive skills bootcamp in January (apply now!) - Stare at a screen and suffer from imposter syndrome Graduate Center Digital Initiatives | Digital Fellows
59. Graduate Center Digital Initiatives | Digital Fellows - For more: - gcdi.commons.gc.cuny.edu - For blog: - digitalfellows.commons.gc.cuny.edu - For Digital Research Institute: - gcdri.commons.gc.cuny.edu - deadline Nov 27th! - beginners *encouraged* to apply Linktree:
60. MapLemon: A Text Corpus for Demographic Identification through Writing Style Theodore Manning In collaboration with the EVL Lab at Duquesne University with funding from the CUNY Graduate Center Provost Digital Initiatives Fund
61. • Corpus with 36k+ words across 244 responses in North American English • Stylometric demographic identification through language variation using naturally elicited, digital writing • Novel collection method: directions on map & recipe writing • Includes responses from 121 transgender & non-binary people Background
62. Current Results Current data gathered from analysis using MapLemon in the Java Graphical Authorship Attribution Program suggests that, based on Parts of Speech, a. Trans people write most like other trans people, and b. They secondarily write most like their gender, rather than their sex assigned at birth Closer to 0, the more similar, with 0 being the same. Comparison in JGAAP Female to Male Male to Female Female to Male – 1.125 Male to Female 1.125 — Cisgender Assigned Female at Birth 1.5 1.25 Cisgender Assigned Male at Birth 1.25 1.5
63. Next Steps • Gathering more responses from transgender men and non-binary people assigned male at birth for corpus balance - pending funding! • Analysis is being conducted to prevent the binarism of non-binary people within our results
64. Developing a DH Minor at The City College of New York Stefano Morello, Thomas Peele
65. Foundations ➔ DH Interdisciplinary Working Group (2016-2021) ➔ Campus Engagement Network (2016-Present) ➔ Initiative at CCNY (2018-2019) ➔ NEH CARES Grant (2020) ➔ NEH Humanities Initiatives at Hispanic-Serving Institutions Grant (2021-2023)
66. Building Capacity • Developed four courses ◦ Foundations of Data Science (Patrick Smyth, Filipa Calado, Di Yoong) ◦ Intro to Digital Humanities (Stefano Morello) ◦ Activism and the College Experience (Isabel Estrada) ◦ Mapping Slavery and Freedom (John Blanton) • Workshops ◦ >30 workshops in 2 years ◦ Reached >50 faculty • Consultations • Community of Practice ◦ Transformative Learning in the Humanities Grant ◦ Ongoing support ◦ 7 courses currently piloted across English, Comp Lit, Art History, Theater, and Interdisciplinary Studies
67. Next Steps (Challenges?) ➔ Build + Strengthen Relationships ◆ Beyond the Division ◆ Library ◆ Office of IT ◆ GCDI ➔ Continuity ◆ Funding ◆ Course offering ◆ Support
68. Sounds of Music Celebrating the diversity of cultural, ethnic, and linguistic backgrounds and musical interests within the CUNY community.
69. Facilitated by: • Jeremy Deliotte, singer, motivational speaker, and moderator • Dr. Concetta Tomaino, music therapist, CUNY adjunct professor, and executive director of the Institute for Music and Neurologic Function. Six “Sounds of Music” events were made possible in the 2023-24 academic year through a grant from the Doctoral and Graduate Students' Council. Join us at the Martin E. Segal Theatre Center or on Zoom.
70. Our next event will be held on Tuesday, December 5th from 4 PM - 6 PM. We look forward to seeing you there.
71. Digital Pedagogy
72. Kelsey Milian Lopez kmilian@gradcenter.cuny.edu CUNY Graduate Center - Ethnomusicology Brooklyn College- Music: It’s History, Language, Culture Soundscapes & Concept Albums
73. Part 0ne: SoundScape recording
74. Part Two: Soundtrap Track/Song The Law
75. Part Three: Listening Sessions Part Three: Cover art + Concept album theme
76. Will Cultural Heritage and Material Culture MATTER in the AI Age? A Rhetorical Musing
77. Will the Benjamin-ian “aura” survive AI…?
78. The Aura gets a Halo…?
79. Synthetic vs. Organic…? ScarJo as Vermeer’s Girl With a Pearl Earring
80. Immigration & Xenophobia in Yeoville Market, Johannesburg – South Africa •CAUSES: 1) Scapegoating 2) South Africa's isolation 3) Bio-Cultural
81. Xenophobia: Definition • Xenophobia: ambiguous / contested term in popular, policy and scholarly debates. • Interchangeably used with similar terms like nativism, autochthony, ethnocentrism (Crush, et al., 2009) • Some consider it to be intense dislike, hatred or fear of others (Nyamnjoh, 2006) • For the purpose of this presentation, I will adopt the International Organization for Migration (IOM) definition of xenophobia as the “attitudes, prejudices and behavior that reject, exclude and often vilify persons based on the perception that they are outsiders or foreigners to the community, society or national identity” (IOM, 2001:2).
82. MANIFESTATION: Xenophobic violence against foreigners • According to the African Center for Migration and Society (ACMS): • Violence against foreign nationals is in most cases organized and led by local groups and individuals attempting to claim or consolidate power and authority to further political and economic interests. • While xenophobic acts appear to be direct contests about physical space, the intersectionality of other factors informing the explosion of xenophobia such as cultural, gender, racial and ethnic elements need also to be considered. • Violence against outsiders is just “politics by other means” • Its instrumental motives are located in local political economy and micro-political processes (see Landau, et al., 2009 and Misago, 2011).
83. Odds and Ends: An Autoethnographic Exploration of Obsidian for Doctoral Student Writing Ian G. Williams PhD Program in Social Welfare Interactive Technology & Pedagogy Certificate Program CUNY Graduate Center CUNY DHI Lightning Talks November 13 2023 iwilliams1@gradcenter.cuny.edu Williams 2023 Slide 1
84. Writing: an existential problem Who am I in #phdlife? How do I make sense of, and record, my educational journey? How do I develop a writing methodology? What digital tools might help me be more productive? Can I write productively and reflectively? Diagram of my second year of doctoral studies Williams 2023 Slide 2
85. Intervention: ITP Project Tool: Obsidian; markdown-based text editor Method: Autoethnography; mixed field notes and narrative reflections Timeframe: One year Screenshot of Obsidian daily note with Juggle graph, 8/3/2023 Williams 2023 Slide 3
86. Status Compiled personal notes from Dec 2022 - Nov 2023 Mostly text, some images and media Backup via Google Drive and Github Graph of writing useful for visual exploration; difficult to export Functional taxonomy of metadata; need to ‘prune’ notes more Not useful for collaborative writing Not a panacea for ADHD, overcommitment, & underfunding Screenshot of Obsidian Graph, 11/13/23 Williams 2023 Slide 4
87. DHRIFT is funded by a generous grant from the National Endowment of the Humanities. 87 Digital Humanities Resource Infrastructure for Teaching Lisa Rhody, Deputy Director of Digital Initiatives, Co-PI Stephen Zweibel, Associate Professor & Digital Scholarship Librarian, Co-PI Leanne Fan, GC Digital Fellow & Project Manager Zachary Lloyd, GC Digital Fellow & Developer Patrick Smyth, GC Alum and Chief Learner, Iota School, Consultant
88. What is DHRIFT? An open educational platform for publishing curricula for DH workshops and institutes A set of core workshops on foundational DH topics A minimal computing workflow for reproducing A community of co-learners and facilitators
89. A Homepage For Your Event Featuring an interactive schedule
90. DHRIFT Core A static example website Reproducible Core workshops Includes: • Landing page • Interactive features • Glossary • Presentation view Embedded, interactive code editor
91. Closing Remarks