The American Literature Scholar in the Digital Age

Essays reflecting on the development of the first wave of digital American literature scholarshi

Visualização de informação

O relatório está dividido em duas partes. Na primeira parte, é abordado o problema da visualização exactamente no que diz respeito à subtil correlação existente entre as técnicas (e respectivas metáforas), o utilizador e os dados. Na segunda parte, são analisadas algumas aplicações, projectos, ferramentas e sistemas de Visualização de Informação. Para categorizalos, serão considerados sete tipos de dados básicos subjacentes a eles: unidimensional, bidimensional, tridimensional, multi-dimensional, temporal, hierárquico, rede e workspace.O tema deste relatório é a visualização da informação. Esta é uma área actualmente muito activa e vital no ensino, na pesquisa e no desenvolvimento tecnológico. A ideia básica é utilizar imagens geradas pelo computador como meio para se obter uma maior compreensão e apreensão da informação que está presente nos dados (geometria) e suas relações (topologia). É um conceito simples, porém poderoso que tem criado imenso impacto em diversas áreas da engenharia e ciência.The theme of this report is information visualization. Nowadays, this is a very active and vital area of research, teaching and development. The basic idea of using computer generated pictures to gain information and understanding from data and relationships is the key concept behind it. This is an extremely simple, but very important concept which is having a powerful impact on methodology of engineering and science. This report is consisted of two parts. The first one, is an overview of the subtle correlation between the visual techniques, the user perception and the data. In the second part, several computer applications, tools, projects and information visualization systems are analyzed. In order to categorize them, seven basic types of data are considered: onedimensional, two- dimensional, three-dimensional, multidimensional, temporal, hierarchic, network and workspace

Intuitive visualization of surface properties of biomolecules

In living cells, proteins are in continuous motion and interaction with the surrounding medium and/or other proteins and ligands. These interactions are mediated by protein features such as Electrostatic Potential (EP) and hydropathy expressed as Molecular Lipophilic Potential (MLP). The availability of protein structures enables the study of their surfaces and surface characteristics, based on atomic contribution. Traditionally, these properties are calculated by phisicochemical programs and visualized as range of colours that vary according to the tool used and imposes the necessity of a legend to decrypt it. The use of colour to encode both characteristics makes the simultaneous visualization almost impossible. This is why most of the times EP and MLP are presented in two different images. In this thesis, we describe a novel and intuitive code for the simultaneous visualization of these properties. For our purpose we use Blender, an open-source, free, cross-platform 3D application used for modelling, animation, gaming and rendering. On the basis of Blender, we developed BioBlender, a package dedicated to biological work: elaboration of proteins motion with the simultaneous visualization of their chemical and physical features. Blender's Game Engine, equipped with specific physico-chemical rules is used to elaborate the motion of proteins, interpolating between different conformations (NMR collections or different X-rays of the same protein). We obtain a physically plausible sequence of intermediate conformations which are the basis for the subsequent visual elaboration. A new visual code is introduced for MLP visualization: a range of optical features that goes from dull-rough surfaces for the most hydrophilic areas to shiny-smooth surfaces for the most lipophilic ones. This kind of representation permits a photorealistic rendering of the smooth spatial distribution of the values of MLP on the surface of the protein. EP is represented as animated line particles that flow along field lines, from positive to negative, proportional to the total charge of the protein. Our system permits EP and MLP simultaneous visualization of molecules and, in the case of moving proteins, the continuous perception of these features, calculated for each intermediate conformation. Moreover, this representation contributes to gain insight into the molecules function by drawing viewer's attention to the most active regions of the protein

Deep Interpretability Methods for Neuroimaging

Brain dynamics are highly complex and yet hold the key to understanding brain function and dysfunction. The dynamics captured by resting-state functional magnetic resonance imaging data are noisy, high-dimensional, and not readily interpretable. The typical approach of reducing this data to low-dimensional features and focusing on the most predictive features comes with strong assumptions and can miss essential aspects of the underlying dynamics. In contrast, introspection of discriminatively trained deep learning models may uncover disorder-relevant elements of the signal at the level of individual time points and spatial locations. Nevertheless, the difficulty of reliable training on high-dimensional but small-sample datasets and the unclear relevance of the resulting predictive markers prevent the widespread use of deep learning in functional neuroimaging. In this dissertation, we address these challenges by proposing a deep learning framework to learn from high-dimensional dynamical data while maintaining stable, ecologically valid interpretations. The developed model is pre-trainable and alleviates the need to collect an enormous amount of neuroimaging samples to achieve optimal training. We also provide a quantitative validation module, Retain and Retrain (RAR), that can objectively verify the higher predictability of the dynamics learned by the model. Results successfully demonstrate that the proposed framework enables learning the fMRI dynamics directly from small data and capturing compact, stable interpretations of features predictive of function and dysfunction. We also comprehensively reviewed deep interpretability literature in the neuroimaging domain. Our analysis reveals the ongoing trend of interpretability practices in neuroimaging studies and identifies the gaps that should be addressed for effective human-machine collaboration in this domain. This dissertation also proposed a post hoc interpretability method, Geometrically Guided Integrated Gradients (GGIG), that leverages geometric properties of the functional space as learned by a deep learning model. With extensive experiments and quantitative validation on MNIST and ImageNet datasets, we demonstrate that GGIG outperforms integrated gradients (IG), which is considered to be a popular interpretability method in the literature. As GGIG is able to identify the contours of the discriminative regions in the input space, GGIG may be useful in various medical imaging tasks where fine-grained localization as an explanation is beneficial

Extended Skin: Designing Interactive Content for Ubiquitous Computing Materials

Current research is inspired by the impact of digital media on disciplinary division. Sim- ultaneously, recognizes the difficulty of engineering (applied science) to consider the humani- ties as fundamental contributors in the process of making. Steaming from a design perspective, the intersection between art (design) and science, questions if these relations can open per- spectives on the matter of designing within a U.C. context, and fundamentally, introduces the question on how this can be done Furthermore, the motivation for this research arises from considering that innovation in technology is happening in the fields typically identified as engineering. And, despite this, the in-corporation of these inventions in life, considering some discussed exceptions, has not typ- ically been present in the concerns of design action and methods. Therefore, the challenge of current research is to contribute to the realm of ubiquitous computing, routed by design, to some degree aiming to contribute to the field. A deeper analysis into the subject of U.C., there is the realization that there is minority presence of the humanities in the discussion of U.C. (Dourish and Bell, 2011). Technological disruption offers continuous inspiration for design innovation within U.C. Furthermore, the inquiry labeled as “material turn” contextualizes a dialogue between nano- technology and traditional materials. Nanotechnology is applied to project development, while considering a human centred design approach. This focus is present throughout this disserta- tion. The research proposal describes SuberSkin, as a responsive surface that works as a screen. The exploration of aesthetical effects is focused on visual properties – using high con- trast between natural cork colors, dark and light brown. The proposal is highly experimental, and ultimately, aims to explore potential routes on cork research, linked to that of U.C. Thus, recreating and transforming this material into an intelligent surface. In sum, this thesis discusses displacement of disciplines suggested as having a positive impact in interdisciplinary thought and for future design. Therefore a methodology, "research through techne" is presented that illustrates this intention.A presente pesquisa é inspirada pelo impacto exercido pelos media digitais na divisão disciplinar. Simultaneamente, reconhece a dificuldade da engenharia (ciência aplicada) em considerar as humanidades como contribuintes fundamentais no processo de fazer. Partindo de uma perspectiva de design e da interseção entre arte (design) e ciência, questiona-se se essas relações poderão abrir perspectivas na criação no âmbito da Computação Ubíqua. Fun- damentalmente, introduz a questão de como poderá ser feito. A motivação para esta pesquisa decorre de considerar que a inovação tecnológica acontece nas áreas normalmente identificadas como engenharia. E, apesar disso, a incor- poração dessas invenções na vida, considerando as exceções discutidas, normalmente não está presente nas preocupações, ação e métodos de design. Portanto, o desafio da pesquisa é con- tribuir para o domínio da Computação Ubíqua, orientada pelo design. Uma análise mais pro- funda sobre o tema da Computação Ubiqua, constata que há na sua discussão uma presença minoritária das humanidades (Dourish e Bell, 2011). A disrupção tecnológica oferece inspiração contínua para inovação de design, e o mesmo se aplica no âmbito da Computação Ubíqua. Além disso, a pesquisa intitulada como “material turn” contextualiza um diálogo entre a nanotecnologia e os materiais tradicionais. A nanotecnologia é aplicada ao desenvolvimento de projetos, considerando uma abordagem de design centrada no ser humano. Este foco está presente ao longo desta dissertação. O projecto de pesquisa descreve SuberSkin, uma superfície responsiva. A exploração centra-se nos efeitos estéticos da cortiça, recorrendo a um contraste entre as suas cores natu- rais: castanho escuro e claro. A proposta é experimental e, em última análise, visa explorar potenciais linhas de investigação ligando a cortiça à Computação Ubíqua. E assim, recriar e transformar este material numa superfície inteligente. Em suma, esta tese discute o deslocamento disciplinar como tendo um impacto posi- tivo no pensamento interdisciplinar e no futuro da prática do design. Consequentemente, apresenta uma metodologia, "investigação através da techne" que a exemplifica

Letting things speak: a case study in the reconfiguring of a South African institutional object collection

In this thesis I examine the University of Cape Town (UCT) Manuscripts and Archives Department object collection, providing insights into the origins of the collection and its status within the archive. Central to the project was my application of a set of creative and affective strategies as a response to the collection, that culminated in a body of artwork entitled Slantways, shown at the Centre for African Studies (CAS) Gallery at UCT in 2014.The collection of about 200 slightly shabby, mismatched artefacts was assembled by R.F.M. Immelman, University Librarian from 1940 until 1970, who welcomed donations of any material he felt would be of value to future scholars. Since subsequent custodians have accorded these things, with their taint of South Africa's colonial past, rather less status, for many years they held an anomalous position within the archive, devalued and marginalised, yet still well-cared for. The thesis explores the ways in which an interlinked series of oblique or slantways conceptual and methodological strategies can unsettle conventional understandings of these archival things, the history with which they are associated, and the archive that houses them. I show how such an unsettling facilitates a complex and subtle range of understandings of the artefacts themselves, and reveals the constructed and contingent nature of the archive, as well as its biases, lacunae and limitations in ways that conventional approaches focusing on its evidentiary function allow to remain hidden. This set of slantways strategies includes the use of a cross-medial creative approach, and my focus on an a-typical, marginalised and taxonomy-free collection. Also important is the incorporation of my visual impairment as avital influence on my artwork, leading to an emphasis both on unusual forms of seeing and on the senses of smell, touch and hearing. Furthermore, my choice to follow a resolutely thing-centred approach led me to engage very closely with the artefacts' materiality, and subsequently with their actancy as archival things, which in turn influenced my conceptual and creative choices

Enhancing [Spatial] Creativity – Enhancing creativity of architects by applying unconventional virtual environments (UVEs)

Potentials of virtual environment for enhancing creativity of architects have shaped this research. There is no singular definition of creativity. In fact, there are more than 100 different definitions for creativity according to different contexts and disciplines. Nevertheless, it is possible to confine the boundaries of definitions and address creativity within a confined framework. The first practical step was thus to perform an in-depth literature survey to define a boundary condition for the widespread topic of “creativity” and identify vital research questions pertaining to creativity. In this regard, personality and behavior of creative people; mood, state, temper, intelligence vs. creativity, motivation and so forth were ignored. Instead, cognitive aspects of creativity such as thinking patterns, conceptual blending, idea expansion and tolerance of ambiguity have been focused upon.The second step was to test whether starting a design procedure with a 2 or a 3-dimensional mode of thinking has any correlation with creativity. An experiment pertaining to this test was designed in which participants were asked to perform the same design task once with 2D tools and environments (e.g. traditional pen and paper) and the next time by applying 3D tools and environments (e.g. 3D software). A jury of experts in the field of design subjectively compared the results and arrived at a conclusion that participates generated more creative ideas by implementing 3D environments/tools. The third step, involved the introduction of unconventional virtual environments (UVEs), which subsequently lead to the creation of a hypothesis. This hypothesis tries to connect navigation in UVEs with the enhancement of creativity.  Characteristics of UVEs and theoretical arguments around the hypothesis were also discussed. The fourth step, involved a discussion on two effective parameters of creativity: 1- Tolerance of ambiguity2- Conceptual blendingAttempts to verify these parameters, lead to the formulation of two separate experiments. The conclusions of these experiments were as follows:1-  Tolerance of ambiguity has a direct relationship with creativity. Architects deal with multiple parameters during a typical design process. The ability to meaningfully process the relationships between such a multitude of parameters has also trained architects to possess a higher level of tolerance of ambiguity aiding them in postponing making hasty judgements.2-  By combining different ideas, one can formulate newer and much novel ideas. Ideas tend to become creative when more remote ideas are combined and synthesized. In order to prevent repetitive and self-similar ideas, the unconscious mind needs to be fed with more ideas, which the mind has not been exposed to. These new ideas/experiences can be generated by exposing one’s self to UVEs, since UVEs can expose one to situations and experiences which the brain cannot experience in the physical world.The fifth step, aims at understanding how the brain perceives different environments. Three different environments were chosen for an experimental study pertaining to the same: 1- Abstract environment 2- Semi-designed environment and 3- Fully designed environment. Participants were asked to provide a feedback by answering a questionnaire after navigating each of these environments. Simultaneously, their brain activity patterns were recorded via a professional neuropsychology apparatus. After analyzing the brain activities, in conjunction with the questionnaire, it became clear that perception of an abstract environment is completely different from the perception of a Semi-designed or Fully designed environment.  This experiment consolidated the hypothesis that UVEs as abstract designed environments activate parts of the brain that are correlate with creativity.The sixth step, involved putting the hypothesis to a final test. A conclusive experiment was thus designed. The experiment won the Visionair fund of FP7 and was conducted in Italy. A UVE was designed using the software 3D max and was converted to 3D stereoscopic mode using a specific software: GIOVE; developed in ITIA-CNR, Italy. Using a 3D goggle and 6 axis mouse, a group of 20 participants were asked to navigate the UVE. They were asked to provide a written feedback pertaining to their feelings, expectations, strategy of navigation and in general, their experience. Their responses were collected and analyzed.The final step, involved answering the formulated research questions and discussing the final results

Touching parchment : how medieval users rubbed, handled, and kissed their manuscripts. Volume 1: officials and their books

Funding: Research grant from the Leverhulme Trust, fellowships from the Netherlands Institute for Advance Study, Getty Research Institute and Paul Mellon Centre (Yale University). This book has been partially funded by the Deutsche Forschungsgemeinschaft (DFG, German Research Foundation) under Germany’s Excellence Strategy in the context of the Cluster of Excellence Temporal Communities: Doing Literature in a Global Perspective (EXC 2020–Project ID 390608380).The Medieval book, both religious and secular, was regarded as a most precious item. The traces of its use through touching and handling during different rituals such as oath-taking, is the subject of Kathryn Rudy’s research in Touching Parchment. Rudy presents numerous and fascinating case studies that relate to the evidence of use and damage through touching and or kissing. She also puts each study within a category of different ways of handling books, mainly liturgical, legal or choral practice, and in turn connects each practice to the horizontal or vertical behavioural patterns of users within a public or private environment. With her keen eye for observation in being able to identify various characteristics of inadvertent and targeted wear, the author adds a new dimension to the Medieval book. She gives the reader the opportunity to reflect on the social, anthropological and historical value of the use of the book by sharpening our senses to the way users handled books in different situations. Rudy has amassed an incredible amount of material for this research and the way in which she presents each manuscript conveys an approach that scholars on Medieval history and book materiality should keep in mind when carrying out their own research. What perhaps is most striking in her articulate text, is how she expresses that the touching of books was not without emotion, and the accumulated effects of these emotions are worthy of preservation, study and further reflection.Publisher PD

Realist Magic

Object-oriented ontology offers a startlingly fresh way to think about causality that takes into account developments in physics since 1900. Causality, argues, Object Oriented Ontology (OOO), is aesthetic. In this book, Timothy Morton explores what it means to say that a thing has come into being, that it is persisting, and that it has ended. Drawing from examples in physics, biology, ecology, art, literature and music, Morton demonstrates the counterintuitive yet elegant explanatory power of OOO for thinking causality