From the announcement:
Open Library now lets you search inside the text contents of over 4M books!… When you search across 40M documents, it can be a challenge to find the one you’re looking for. One feature which Open Library has been missing is a way to limit Internet Archive’s full-text search to only include results from books on Open Library. So for the last two years, Open Library has patiently waited to take full advantage of full-text search for its users.
One useful library for viewing a topic model is LDAvis, an R package for creating interactive web visualizations of topic models, and its Python port, PyLDAvis. This library is focused on visualizing a topic model, using PCA to chart the relationship between topics and between topics and words in the topic model. It is also agnostic about library you use to create the topic model, so long as you extract the necessary data in the correct formats.
While the python version of the library works very smoothly with Gensim, which I have discussed before, there is little documentation for how to move from a topic model created using MALLET to data that can be processed by the LDAvis library. For reasons that require their own blog post, I have shifted from using Gensim for my topic model to using MALLET (spoilers: better documentation of output formats, more widespread use in the humanities so better documentation and code examples generally). But I still wanted to use this library to visualize the full model as a way of generating an overall view of the relationship between the 250 topics it contains.
The documentation for both LDAvis and PyLDAvis relies primarily on code examples to demonstrate how to use the libraries. My primary sources were a python exampleand two R examples, one focused on manipulating the model data and one on the full model to visualization process. The “details” documentation for the R library also proved key for trouble-shooting when the outputs did not match my expectations. (Pro tip: word order matters.)
Looking at the examples, the data required for the visualization library are:
- topic-term distributions (matrix, phi)
- document-topic distributions (matrix, theta)
- document lengths (number vector)
- vocab (character vector)
- term frequencies (number vector)
One challenge is that the order of the data needs to be managed, so that the terms columns in phi, the topic-term matrix, are in the same order as the vocab vector, which is in the same order as the frequencies vector, and the documents index of theta, the document-topic matrix, is in the same order of the document lengths vector.
From the ad:
A world leading research institute in the history of science, the Max Planck Institute for the History of Science, is among the forerunners in the innovative application of digital methods for research in the humanities. To strengthen its digital research and benefit from the growing opportunities of digital scholarship, the Institute is seeking an expert in Digital Humanities in the role of an IT Researcher (f/m) (initially for two years)… As an IT Researcher you lead the digital aspects of research projects at the Institute, identify new research opportunities based on current developments in digital methods and conduct original research within your particular field of expertise.
From the ad:
The University of Minnesota Libraries invites applications for a collaborative and innovative liaison librarian to work with scholars in the humanities, supporting European Studies and digital humanities. We seek applicants who are excited about the opportunity to be part of the University Libraries’ award-winning, innovative models of library service. The position will primarily support the scholarship of students, faculty, and staff affiliated with the German, Scandinavian, Dutch, and Russian programs; serve as the Minnesota contact for the French and Italian Department; and work with the Center for Holocaust and Genocide Studies. Additionally, this position will have responsibilities within the Digital Arts, Sciences, & Humanities (DASH) program, supporting the use of digital technologies in scholarship.
How is humanities and social science knowledge impacted by the introduction of three-dimensional visualization technologies? While 3D visualization may seem far removed from the everyday work of scholars in the social sciences and humanities, it has great potential to change how we conduct and communicate our work.
Three-dimensional visualizations can be used for creating models, supplementing maps, developing games, printing objects, developing virtual environments, enhancing telecommunications, and housing simulations. They can be used to support retrospective and prospective analysis, exploration of counterfactuals, and representation of hybrid or alternate realities, particularly when they combine objects in 3D contexts. An art historian might want to understand how an artifact was perceived in context, or how a built structure looked in earlier eras, or to document an installation or exhibition. An archeologist might use 3D models or prints to complete a broken artifact or to reassemble a ruin. A sociologist might develop agent-based modeling in a 3D space to understand the social dynamics in a given location. A historian might explore 3D viewsheds to determine lines of sight and power. A linguist might construct a virtual environment for language learning. A literary scholar might build out a navigable imagined space as a form of nonlinear literary criticism. A statistician might display data in 3D infographics to aid in interpretation. And of course, artists, architects, and designers of all stripes might use 3D to create new objects and environments as well as use such techniques as a way to study those that already exists. All of these researchers in turn might communicate their work through multimodal, immersive, affective visualizations for public outreach, policy impact, or funding solicitations.
Although the technologies used to create them are daunting at first, these visualizations are becoming increasingly accessible to nonspecialist users, and the underlying conceptual approaches that they highlight are not new to the disciplines where they’re now being used. Designing and representing 3D space and objects in 2D images, text, and other forms comes naturally to us in many fields. Maps, plans, and networks fill the pages of social science research. Where and how people think, live, work, and interact are contextualized in historical and contemporary places, spaces, environments, and geographies. Artists and architects build their maquettes and design their structures and installations. The dimensional space of the stage, performance hall, or theater is a key component of the production. Lighting, acoustics, and movement are all part of the process. Museums and cultural heritage institutions have taken advantage of the rhetorical power of 3D for their interpretative exhibits for years.
From the ad:
The Faculty of Arts and Social Sciences at Simon Fraser University invites applications for a SSHRC Canada Research Chair in Digital Humanities, Tier 2. The successful applicant will be an exceptional emerging scholar with interdisciplinary expertise in Digital Humanities. Priority will be given to scholars with a research focus in some aspect of Indigenous studies, either within Canada or globally. Consideration will also be given to scholars whose interdisciplinary research has a transnational and/or intercultural focus.
From the ad:
Drew University seeks applications for a Digital Scholarship Technology Manager. This position is 12-month, full-time with an anticipated start date of Summer 2018. The Digital Scholarship Technology Manager is a new position designed to advance the digital humanities (DH) and digital scholarship (DS) at Drew University. Reporting to the Director of Instructional Technologies, the incumbent will work in collaboration with technologists, librarians, faculty, and students. An initial focus will be Digital Drew, an interdisciplinary initiative funded by the Andrew W. Mellon Foundation to strengthen inclusive, integrative, project-based digital pedagogies across the institution.
From the report:
What would it mean for the digital humanities to build more bridges in their work? Last week nearly 700 digital humanists went to Mexico City to participate in the annual international Digital Humanities 2018 conference. The conference title was “Puentes/Bridges” – and a central question was how digital humanities can build bridges and create a more inclusive, global
From the CFP:
The Roy Rosenzweig Center for History and New Media invites submissions for the second annual Current Research in Digital History conference. Submissions should offer historical arguments and interpretations rather than showcase digital projects. The format of short presentations provides an opportunity to make arguments on the basis of ongoing research in larger projects. Graduate students are encouraged to submit proposals. Some travel funding for presenters is available. Presentations will be peer-reviewed and published in an online publication that accommodates dynamic visualizations and narrative.
[Delivered as part of the “Mid-Range Reading: Manifesto Edition” panel, organized by Alison Booth, of the DH2018 Conference in Mexico City]
A great deal of digital humanities work over the past decade or so has employed scale as the concept that distinguishes it from other methods of literary and cultural study. Quantitative scholars in particular have quite naturally chosen scale as the specific difference of their method. They speak of the computer as a “macroscope” that permits “macroanalysis.” Critics counted words and documents before computers, but computers let them count and compute lots of them. Contrasting themselves with close readers, “distant readers” propose, with the help of machines, to step back from the individual pages and books to see more and see bigger. When the popular press sees fit to feature DH, it is scale that gets touted and scale that gets maligned.
Claims of scalar difference are often apparently precise. Instead of offering a reading of a single novel, distant readers study the titles of 7,000 British novels from 1740-1850, or ask how not to read a million books, or search through (as of last count) the 60,237 full texts in EEBO TCP I and II. For nearly all quantitative analyses of texts, the authors tell (or could tell) the reader exactly how many words they are counting in exactly how many documents over how many years, since these numbers are the basis of more sophisticated metrics and models.
The concept of scale is not wrong or misguided in any simple sense, and I plan to issue no prohibitions on its use. Nor do I plan to offer a brief for the micro in opposition to the macro (As Roopika Risam and Susan Edwards did at DH2017). I want instead to argue that we should displace scale from its marquee role in differentiating data and corpus based digital inquiry from other approaches. That displacement has perhaps already begun. Surveying recent work by a range of scholars in an attempt to forestall attacks on the use of data in literary study, Ted Underwood observes that “None of them, as far as I can tell, have stopped doing close reading.” “We also do close reading” is a totally sensible line of defense, albeit one that fortifies distant reading at the expense of its distinctiveness. This is all to the good.
From the CFParticipation:
ACH 2019 is seeking reviewers to evaluate conference proposal submissions during December 2018 and January 2019. ACH wishes to establish a wide, and as varied as possible, pool of reviewers for this conference.
We welcome members of any academic affiliation or professional role who are interested in the digital humanities that would like to help shape the representation of our organization at its first national conference. Although we are a US-based organization, we encourage those who live in regions of the world that are not represented by existing professional organizations to review, recognizing that intellectual, cultural, institutional, and other forms of diversity make a vital contribution to scholarship and practice.
From the ad:
The AHRC-funded research project Dunham’s Data: Digital Methods for Dance Historical Inquiry (Principal Investigator – Kate Elswit, Co Investigator – Harmony Bench – OSU) seeks to hire a Digital Humanities Postdoctoral Research Assistant. The role holder will work with the PI and CI in structuring data and development, design, and implementation of interactive visualizations and other tools for analysis. For this role, we seek an early career researcher from any arts or humanities field, whose research involves a significant digital component of data collection and analysis. We expect demonstrated evidence of coding ability (see Job Information for details).
From the resource:
Below is a list of resources, tools, slides, presentation aids, and articles shared during the course of DH2018 on Twitter. If you see anything missing you would like added, please tweet @ADHOrg or email firstname.lastname@example.org.
Notes on #DH2018 Conference
Tweets per user_lang in a #DH2018 archive by Ernesto Priego
English Language notes on DH2018 by James Baker
Primer Informe de Verano – Natalia Mora, Tania Ortega, Mariana Ramirez, Rafael Rodriguez
One thing we digital methods people like to harp on about is the fact that quantitative methods are brilliant for dealing with huge amounts of text that are quite frankly incomprehensible at the level of literary-linguistic detail we would like to be able to study them at. The ability to observe frequency at a level of detail that would be impossible at scale is this is indeed their radical possibility. But the question of ‘scale’ is not a fixed measure. To the literary scholar used to focusing on one text at a time, ‘scale’ could mean that one text, whereas to someone who is used to dealing with corpora, ‘scale’ could represent the entirety of Eighteenth Century Books Online (ECCO). So when I was approached to write this post, I wanted to model what resources like CLiC offer to the scholar used to closely interacting with one text at a time.
I was intrigued to see that the CLiC project had included a copy of The Awakening and Selected Short Stories by Kate Chopin, in large part because The Awakening can be classified as a very long short story or a very short novella. It is very much the kind of writing which is perceived as wholly human-addressable, insofar that it is short enough to read in one sitting. The Awakening is also widely understood as an early example of the development of an autonomous female identity (Toth 1976, 242; Gray 2004, 53; Chopin 57). Literary critics such as Perkins-Gilman (1898, 79); Skaggs (1974, 348) Seyersted (1969, 134) and Grey (2004) have focused on the performative aspects of women’s social enclosure within the confines of 19th century home life. And I am intrigued by its history as part of women writing their own literature and history about their own experiences in a society where this is widely frowned upon. In this post, I shall illustrate how simple frequencies can be used to guide a literary analysis
Editors’ Choice: 3D – Dismantling the Mafia, Destabilizing Mechanisms, and Documenting the Historical Memory
Reposted from Torn Apart / Separados website. You can find the Spanish version titled, “Triple D: Desmantelando a la mafia, desestabilizando mecanismos y documentando la memoria histórica”, at http://xpmethod.plaintext.in/torn-apart/reflections/sylvia_fernandez.html
Ever since I begin my university studies in 2009, a concern arose in me; it derived from the frustration generated from taking courses related to the border. At first these classes focused on the feminicides–the murder and disappearance of hundreds of young women working at the factories (maquiladoras)–NAFTA (North American Free Trade Agreement), the aftermath of the war against drug trafficking as well as other issues tied to the US-Mexico border (immigration, militarization, violence and more violence). Most of these classes have been very difficult for me because of the negative perspective perpetrated to this geographical space and its communities. Despite the reality of these problems, interpreted in a particular way in these contexts, these classes were framed from a number of generalizations, without going deep into the history that lies behind the continuous crises.
Being a border woman, born and raised in the same place where my parents met while working in the Toshiba factory, my life has always been centered in a transnational environment. Therefore, the abuses, the violence and everything that implies living under a mechanism controlled by the hegemonic interests of an imperialist and capitalist system have been part of my everyday life. So, when I talk about my hometown (la frontera #1), most of the time I feel very sad and frustrated because my birthplace ends up being the representation of the chaotic, the dangerous, and the monstrous zone. It produces a rejection of the border or, in many cases, it provokes a feeling of a division to draw a distinction between the United States and Mexico. By living in this region one perceives and, in one way or another, resists that the problems that emerge, concentrate or impose themselves in this place, are beyond the sensationalist or tragic story and are there for paternalistic reasons. Also, the same mechanisms that control spaces like the US-Mexico border or the Central America region itself have been responsible for building “the official history” of these spaces and perpetuate the omission, invisibility, and alteration of the voices of the communities that inhabit these places.
From the ad:
The University of Minnesota Libraries invites applications for a collaborative and innovative liaison librarian to work with scholars in the humanities and participate in the Digital Arts, Sciences, & Humanities (DASH) program. The librarian in this position will serve as liaison to students, faculty, and staff affiliated with the Classical & Near East Studies Department, Philosophy Department, and Religious Studies Program. Liaison librarians combine skills in outreach, teaching, technology, and collection development with their knowledge of scholarly practices in assigned disciplines to partner with academic departments.
Read the full ad here.
From the CFParticipation:
Torn Apart / Separados (http://xpmethod.plaintext.in/torn-apart/index.html) is inviting contributors and reviewers to help us in the following:
1. Peer review of certain sections of the project, offer feedback on how effectively we articulated the purpose of the project, the experience of undertaking research, the decisions we made while designing data visualizations, site navigation, and the difficult political and ethical choices we made in the process.
Read more here.
From the CFParticipation:
Gothic scripts from the Middle Ages can be found in archives and libraries all over Europe. The script was widely used for hundreds of years, and not only in expensive decorated books. First experiments with documents from Switzerland and Germany have demonstrated that Gothic script can be recognised by Automated Text Recognition models with good levels of accuracy (see an example from the cartulary of the Königsfelden abbey).
The next step is to combine different examples of Gothic scripts in order to build and improve generic models for the recognition of this kind of document. Dr Tobias Hodel (State Archives of Zurich, University of Zurich) has set up the ‘Gothic Hands’ working group – where all Transkribus users can work together towards the aim of the improved recognition of Gothic material. Scroll down to find out more about joining the working group and its aims.
Read more here.
From the CFP:
Duke’s Departments of Classical Studies and of Art and Art History and Visual Studies, in partnership with the Ancient World Mapping Center at UNC Chapel Hill, seek paper proposals for Digital Cartography, a conference on digital mapping and its multiple potential applications for a richer understanding of ancient history. We invite papers on individual or collaborative projects involving such approaches as mapping, photogrammetry, G.I.S. and remote sensing, virtual reality systems, the documentation of archaeological data, and communication both in the classroom and to a wider public. Preference will be given to proposals from graduate students and junior faculty.
Interested speakers (20 minutes maximum) should submit an abstract of no more than 500 words together with a brief C.V. to email@example.com by September 15, 2018 (please enter “DigCart Abstract” in the message subject line). Those whose papers are selected will be notified by October 1st.
Read more here.
From the ad:
The Department of Visual Studies at the University of Toronto Mississauga offers a two-year postdoctoral fellowship in medieval art, with a focus on Digital Humanities and web-based technologies. The Fellow will have an established track record in his/her/their own discipline and/or Digital Humanities. Qualifications for the position include excellent writing and communication skills, expertise in an area of medieval visual culture (broadly defined as European, Byzantine, Islamic art and architecture or related fields), and experience working with Drupal and information architecture.
Read the full ad here.