Guide to global digital tools for COVID-19 response

Updated Oct. 23, 2020The guide compares the District Health Information Software (DHIS2), the Surveillance, Outbreak Response Management and Analysis System (SORMAS), Go.Data, Open Data Kit (ODK), Epi Info, CommCare, KoboToolbox, Excel, and paper. Each has been deployed in various countries for contact tracing, investigations, and/or, in the case of DHIS2 and SORMAS, national surveillance. Paper is also included because it continues to be used and there are a number of resources available online for the COVID-19 response.\u200b\u200bThis guide is not meant to be an all encompassing guide to all available tools or features. Rather is it focused on the primary tools that are being reported to CDC and the functions that are commonly asked about. It is meant to be a dynamic resource that will be updated as additional tools are reported from the field offices and as additional questions about the functional elements arise.District Health Information Software (DHIS2) -- Surveillance, Outbreak Response Management and Analysis System (SORMAS\uae) -- Go.Data -- Epi Info -- Open Data Kit (ODK) -- CommCare -- KoboToolbox -- Excel -- Paper.2020E:\cpapFiles\WebServer\COVIDglobal-covid-19-compare-digital-tools2020oct23.pdfhttps://www.cdc.gov/coronavirus/2019-ncov/global-covid-19/compare-digital-tools.html855

Guide to global digital tools for COVID-19 response

Updated Sept. 12, 2020The guide compares the District Health Information Software (DHIS2), the Surveillance, Outbreak Response Management and Analysis System (SORMAS), Go.Data, Open Data Kit (ODK), Epi Info, CommCare, KoboToolbox, Excel, and paper. Each has been deployed in various countries for contact tracing, investigations, and/or, in the case of DHIS2 and SORMAS, national surveillance. Paper is also included because it continues to be used and there are a number of resources available online for the COVID-19 response.\u200b\u200bThis guide is not meant to be an all encompassing guide to all available tools or features. Rather is it focused on the primary tools that are being reported to CDC and the functions that are commonly asked about. It is meant to be a dynamic resource that will be updated as additional tools are reported from the field offices and as additional questions about the functional elements arise.District Health Information Software (DHIS2) -- Surveillance, Outbreak Response Management and Analysis System (SORMAS\uae) -- Go.Data -- Epi Info -- Open Data Kit (ODK) -- CommCare -- KoboToolbox -- Excel -- Paper.2020E:\cpapFiles\WebServer\COVIDglobal-covid-19-compare-digital-tools2020sep12.pdfhttps://www.cdc.gov/coronavirus/2019-ncov/global-covid-19/compare-digital-tools.html847

Cross-Platform Text Mining and Natural Language Processing Interoperability - Proceedings of the LREC2016 conference

No abstract available

Mantras of the Metropole: Geo-televisuality and Contemporary Indian Cinema

This doctoral work scrutinizes recent popular Indian cinemas (largely Hindi cinema) in the light of three epochal changes in the sub-continental situation since the early nineties: the opening out of the economy, the political rise of the Hindu right, and the inauguration of a new transnational electronic media universe. It is argued here that contemporary Indian films should not be read in terms of a continuing, agonistic conflict between polarities like 'modern' selves and 'traditional' moorings. Instead, the thesis demonstrates how, in popular Indian films of our times, an agrarian paternalistic ideology of Brahminism, or its founding myths can actually enter into assemblages of cinematic spectacle and affect with metropolitan lifestyles, managerial codas of the 'free market', individualism, consumer desire, and neo-liberal imperatives of polity and government. This involves a social transmission of 'cinema effects' across the larger media space, and symbiotic exchanges between long standing epic-mythological attributes of Indian popular cinema and visual idioms of MTV, consumer advertising, the travel film, gadgetry, and images of technology. A discussion of a new age 'cinematic' in the present Indian context thus has to be informed by a general theory of contemporary planetary 'informatics.' The latter however is not a superstructural reflection of economic transformations; it is part of an overall capitalistic production of social life that is happening on a global scale in our times. This dissertation attempts to make two important contributions to the field: it opens out the Eurocentric domain of traditional film studies and suggests ways in which studies of Indian films can enrich a global understanding of the cinematic; it also offers a possible explanation as to how, in the present age, a neo-Hindu patriarchal notion of Dharma (duty, religion) can actually bolster, instead of impeding, a techno-managerial-financial schema of globalization in India

Cross-Platform Text Mining and Natural Language Processing Interoperability - Proceedings of the LREC2016 conference

No abstract available

Anthropology, Film Industries, Modularity

From Bangladesh and Hong Kong to Iran and South Africa, film industries around the world are rapidly growing at a time when new digital technologies are fundamentally changing how films are made and viewed. Larger film industries like Bollywood and Nollywood aim to attain Hollywood's audience and profitability, while smaller, less commercial, and often state-funded enterprises support various cultural and political projects. The contributors to Anthropology, Film Industries, Modularity take an ethnographic and comparative approach to capturing the diversity and growth of global film industries. They outline how modularity—the specialized filmmaking tasks that collectively produce a film—operates as a key feature in every film industry, independent of local context. Whether they are examining the process of dubbing Hollywood films into Hindi, virtual reality filmmaking in South Africa, or on-location shooting in Yemen, the contributors' anthropological methodology brings into relief the universal practices and the local contingencies and deeper cultural realities of film production. Contributors. Steven C. Caton, Jessica Dickson, Kevin Dwyer, Tejaswini Ganti, Lotte Hoek, Amrita Ibrahim, Sylvia J. Martin, Ramyar D. Rossouk

Web of words : poetry, fandom and globality

Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2006.Includes bibliographical references (leaves 62-64).This study explores questions of media change, negotiation of literary value and postcolonial hybridity through a study of The Wondering Minstrels, a largely South-Asian community on the Web dedicated to the celebration of English poetry. I aim to demonstrate how an online community like Minstrels can unsettle hierarchies such as those between writer and reader, high art and fandom, and between metropole and margin, even as it often seems rooted in this logic. While print-culture and literary values are often conflated, this new kind of platform celebrates poetry using the interactive and participatory possibilities of the Web. It garbles protocols of literary appreciation by discussing canonical poetry in an idiosyncratic, personal manner. As a group dominated by South-Asian techno-managerial workers, this is also an account of ways in which globalization and postcoloniality intersect and the new networked society complicates the center-periphery model of cultural traffic. In choosing to informally engage with English poetry as bookmarks for their own lives and remaking the rules of engagement, the Wondering Minstrels is an act of cultural translation, another way of telling the literary legacy of colonialism. In addition to analyzing the conversation on the website, I draw on selected theoretical work relating to new media, middlebrow culture, reception theory, postcolonial studies and globalization.by Amulya Gopalakrishnan.S.M

The Forked Tongue of Language Reform: Cross-reading the dynamics of the making of early modern English and nineteenth-century Hindustani

This thesis cross-reads the dynamics of language standardisation in early modern England and colonial India by interrogating the rhetoric of reform in the two periods within a comparative framework. Specifically, it maps the presence of English early modernity in the works of British reformers of Hindustani/Hindi in eighteenth- and nineteenth-century India, and revisits congruent themes in the language of reform in sixteenth- and seventeenth-century England, to foreground the ways in which the rhetoric of standardisation stages and manages anxieties of national/imperial self-fashioning at two distinct yet connected moments. To frame the comparative idiom of the British Empire, I track multivalent engagements with 'Rome' in early modern England and British India, which seek to fashion imperial character in negotiation with salutary or cautionary imperial models: Britain's Roman past; early English colonial reconnaissance; ideals of political conduct; and British political behaviour in the colony and the metropole. I then map the affinities projected between English and Hindustani in John Gilchrist's first Hindustani grammars in late eighteenth-century India, and annotate them with the contexts for William Bullokar's first grammar of English in late sixteenth-century England. Reading them as promotional works, I note the way they valorise the vernaculars hitherto neglected by traditional paradigms and involve them in fledgling visions of a progressive British Empire and a cosmopolitan English nation. Comparing the dilemmas shared by lexicographers in the two periods as they aim to make new words available to their respective target readerships and to moderate the lexical influx from inter-cultural traffic, I then trace the attitude of selective cosmopolitanism that assuages anxieties of infiltration by 'others' of foreign origin, class, or gender. Finally, I attend to the invention of literary tradition by exploring the analogies with early modern English literary culture that contour George Grierson's literary history for modern Hindi. Comparing the shapes of the tussle between literary prescriptions and practice in colonial India and early modern England, I read Hariaudh's modern Hindi epic Priyapravas and Samuel Daniel's Defense of Ryme as symmetrical assertions of poetic as well as nationalist autonomy. My thesis approaches early modern language standardisation as a cultural problematic, and treats its discourse as an occasion for self-fashioning with respect to significant others as well as a repository of effects beyond its own moment. Motivated by a reflection on the divisive aspects of contemporary public discourse that recruit history selectively to assert insular identities for languages and its communities, it underscores that the modern standard identities of Hindi and English took inaugural shape in a comparative, chaotic, and contingent nexus of texts and events. Examining the rhetoric from early modern England and colonial India in the mirror of one another throws into relief that (a) the past had variable uses and involuntary echoes in the invention narratives of linguistic modernity; and (b) stories of standard and national modernity themselves had a transnational provenance as they were articulated through calibrated comparisons that served practical as well as political functions

Anthropology, Film Industries, Modularity

From Bangladesh and Hong Kong to Iran and South Africa, film industries around the world are rapidly growing at a time when new digital technologies are fundamentally changing how films are made and viewed. Larger film industries like Bollywood and Nollywood aim to attain Hollywood's audience and profitability, while smaller, less commercial, and often state-funded enterprises support various cultural and political projects. The contributors to Anthropology, Film Industries, Modularity take an ethnographic and comparative approach to capturing the diversity and growth of global film industries. They outline how modularity—the specialized filmmaking tasks that collectively produce a film—operates as a key feature in every film industry, independent of local context. Whether they are examining the process of dubbing Hollywood films into Hindi, virtual reality filmmaking in South Africa, or on-location shooting in Yemen, the contributors' anthropological methodology brings into relief the universal practices and the local contingencies and deeper cultural realities of film production. Contributors. Steven C. Caton, Jessica Dickson, Kevin Dwyer, Tejaswini Ganti, Lotte Hoek, Amrita Ibrahim, Sylvia J. Martin, Ramyar D. Rossouk