“La culpa es de los tlaxcaltecas”: Gender, the Burden of Blame, and a Re-examination of the Myth of La Malinche

This paper explores Elena Garro’s short story “La culpa es de los tlaxcaltecas.” Supplementing close readings with analyses drawn from relevant authors and theorists, I highlight the key ideas regarding gender, identity, memory, and history that Garro weaves into her text, and I consider Garro’s emphasis on patriarchal control, the internalization of female culpability for the Spanish Conquest of Mexico, and women’s role in constructing and reconstructing historical discourses. By travelling into her own and Mexico’s past, Laura Aldama, one of the main female protagonists in the story, not only challenges gendered histories but also reveals how patriarchal thought continues to influence contemporary realities. In addition, by paralleling Laura’s guilt and feelings of betrayal with the La Malinche myth, Garro’s work restructures this cultural symbol. Ultimately, I argue that “La culpa es de los tlaxcaltecas” redefines women’s role in history and society; valorizes female solidarity, voice, and perspective; and encourages women to challenge the limitations of masculinist discourses

Exploring narrativity in data visualization in journalism

Many news stories are based on data visualization, and storytelling with data has become a buzzword in journalism. But what exactly does storytelling with data mean? When does a data visualization tell a story? And what are narrative constituents in data visualization? This chapter first defines the key terms in this context: story, narrative, narrativity, showing and telling. Then, it sheds light on the various forms of narrativity in data visualization and, based on a corpus analysis of 73 data visualizations, describes the basic visual elements that constitute narrativity: the instance of a narrator, sequentiality, temporal dimension, and tellability. The paper concludes that understanding how data are transformed into visual stories is key to understanding how facts are shaped and communicated in society

Navigation Paths to Adoption Through the Alaska Foster Care System: A Resource Guide for Potential Adoptive Parents

Project Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE in Project ManagementAlaska has a higher than national average rate of adoption from foster care. While just over 20% of children in foster care nationally are discharged from state custody through adoption Alaska has nearly 30% of foster children discharged from state custody through adoption. There are a number of programs and resources available for foster parents and families interested in adopting through foster care in Alaska. However, there lacks a comprehensive single-point reference guide to explore the various paths. This research was conducted to identify resources available for families interested in learning about paths to adopt from foster care in Alaska as well as what gaps are perceived by families who have begun the process of adopting through foster care. A literature review was conducted and specific adoption program information was reduced to a synopsis or flowchart to generally outline each path to adoption through foster care. The final outcome of the project was a resource guide that outlines basic requirements to adopt through foster care and a number of programs to do so. The paths covered by this guide are the ACRF Adoption Learning Path, Legal-Risk Adoptions, OCS Recruitment of Legally Free Children, Wendy’s Wonderful Kids, ACRF PARKA Program, Alaska Adoption Exchange, and Tribal and ICWA Adoption.Title Page / Table of Contents / List of Exhibits / List of Appendices / Abstract / Introduction / Planning, Executing and Controlling / Research Methods / Literature Review / Path 1: ACRF Adoption Learning Path / Path 2: Foster/Adoption (Legal-Risk) / Path 3: OCS Recruitment for Adoption of Legally Free Children / Path 4: Wendy's Wonderful Kids (Legally Free Children) / Path 5: ACRF PARKA Program / Path 6: Northwest Adoption Exchange / Path 7: Tribal and ICWA Adoption / Conclusions / References / Appendice

Building Imaginary Worlds (2012) by Mark J.P. Wolf and Revisiting Imaginary World (2016) edited by Mark J.P. Wolf

Book review of Building Imaginary Worlds (2012) by Mark J.P. Wolf and Revisiting Imaginary Worlds (2016), edited by Mark J.P. Wolf, reviewed by Andrew Higgin

Just In Time: defining historical chronographics

The paper is historical in two respects, both concerned with visual representations of past time. Its first purpose is to enquire how visual representations of historical time can be used to bring out patterns in a museum collection. A case study is presented of the visualisation of data with sufficient subtlety to be useful to historians and curators. Such a visual analytics approach raises questions about the proper representation of time and of objects and events within it. It is argued that such chronographics can support both an externalised, objectivising point of view from ‘outside’ time and one which is immersive and gives a sense of the historic moment. These modes are set in their own historical context through original historical research, highlighting the shift to an Enlightenment view of time as a uniform container for events. This in turn prompts new ways of thinking about chronological visualisation, in particular the separation of the ‘ideal’ image of time from contingent, temporary rendered views

Playlab: Telling Stories with Technology (workshop summary)

This one-day workshop explores how playful interaction can be used to develop technologies for public spaces and create temporal experiences

Post-Apocalyptic Geographies and Structural Appropriation

Excerpt from Routledge Companion to Transnational American Studies, edited by Nina Morgan, Alfred Hornung, and Takayuki Tatsum

Timeline design for visualising cultural heritage data

This thesis is concerned with the design of data visualisations of digitised museum, archive and library collections, in timelines. As cultural institutions digitise their collections—converting texts, objects, and artworks to electronic records—the volume of cultural data available grows. There is a growing perception, though, that we need to get more out of this data. Merely digitising does not automatically make collections accessible, discoverable and comprehensible, and standard interfaces do not necessarily support the types of interactions users wish to make. Data visualisations—this thesis focuses on interactive visual representations of data created with software—allow us to see an overview of, observe patterns in, and showcase the richness of, digitised collections. Visualisation can support analysis, exploration and presentation of collections for different audiences: research, collection administration, and the general public. The focus here is on visualising cultural data by time: a fundamental dimension for making sense of historical data, but also one with unique strangeness. Through cataloguing, cultural institutions define the meaning and value of items in their collections and the structure within which to make sense of them. By visualising threads in cataloguing data through time, can historical narratives be made visible? And is the data alone enough to tell the stories that people wish to tell? The intended audience for this research is cultural heritage institutions. This work sits at the crossroads between design, cultural heritage (particularly museology), and computing—drawing on the fields of digital humanities, information visualisation and human computer-interaction which also live in these overlapping spaces. This PhD adds clarity around the question of what cultural visualisation is (and can be) for, and highlights issues in the visualisation of qualitative or nominal data. The first chapter lays out the background, characterising cultural data and its visualisation. Chapter two walks through examples of existing cultural timeline visualisations, from the most handcrafted displays to automated approaches. At this point, the research agenda and methodology are set out. The next five chapters document a portfolio of visualisation projects, designing and building novel prototype timeline visualisations with data from the Wellcome Library and Victoria & Albert Museum, London, Cooper Hewitt Smithsonian Design Museum, New York City, and the Nordic Museum, Stockholm. In the process, a range of issues are identified for further discussion. The final chapters reflect on these projects, arguing that automated timeline visualisation can be a productive way to explore and present historical narratives in collection data, but a range of factors govern what is possible and useful. Trust in cultural data visualisation is also discussed. This research argues that visualising cultural data can add value to the data both for users and for data-holding institutions. However, that value is likely to be best achieved by customising a visualisation design to the dataset, audience and use case. Keywords: cultural heritage data; historical data; cultural analytics; cultural informatics; humanities visualisation; generous interfaces; digital humanities; design; information design; interface design; data visualisation; information visualisation; time; timeline; history; historiography; museums; museology; archives; chronographics