- Made in Sheffield: Industrial Perspectives on the Digital Humanities
Andrew Prescott - Live and Kicking: The Impact and Sustainability of Digital Collections in the Humanities
Lorna M. Hughes - A Framework for Supporting the Digital Humanities: An Alternative to the DH Centre
E. E. Snyder - Researchers as Infrastructure
Erik Malcolm Champion - Promise and Paradox: Accessing Open Data in Archaeology
Jeremy Huggett - An Undiscovered Country? A History of Archaeological Investigation in Post-War England
Tim N.L. Evans - Digital Historians in Italy and the United Kingdom: Perspectives and Approaches
Claudia Favero - Ahead of the CurV: Digital Curator Vocational Education
Ann Gow and Laura Molloy - From Individual Solutions to Generic Tools
Andrea Kulas and Lu Yu - The PATHS System for Exploring Digital Cultural Heritage
Mark Hall, Paula Goodale, Paul Clough and Mark Stevenson - Just Google It
Max Kemman, Martijn Kleppe and Stef Scagliola - The Problem of Citation in the Digital Humanities
Jonathan Blaney - Getting Rights Right! – The University of Sheffield Library Experience of Legal Issues and Digitisation.
Clare Scott - Mining Dutch History: Researching Public Debate in the Nineteenth Century
José de Kruif - Mapping Metaphors of Wealth and Want: A Digital Approach
Marc Alexander and Ellen Bramwell - The Compromises and Flexibility of TEI Customisation
James Cummings - Using Stand-off XML Markup to Record Scholarly Differences of Opinion About Typesetting
Gabriel Egan - False Memories and Dissonant Truths: Digital Newspaper Archives as a Catalyst for a New Approach to Music Reception Studies
Christopher Dingle and Laura Hamer - Analysing The Carlyle Letters Online
Dingding Wang, Guannan Zhao, Yajie Hu, Neil F. Johnson, Brent E. Kinser and Mitsunori Ogihara - More than Meets the Eye: Going 3D with an Early Medieval Manuscript
William Endres - Interpreting Textual Artefacts: Cognitive Insights into Expert Practices
Ségolène Tarte - Building Digital Editions on the Basis of a Virtual Research Environment
Tobias Schweizer and Lukas Rosenthaler - Exploring the Disciplinary Reach and Geographic Spread of the British Design Professions, 1959-2010
Leah Armstrong, Karina Rodriguez Echavarria, Dean Few and David Arnold - Analysing Big Cultural Data Patterns in 2200 Covers of Veja Magazine
Marcio Emilio dos Santos and Cicero Inacio da Silva - Data Journalism in Sweden - Opportunities and Challenges
Ester Appelgren and Gunnar Nygren - Improving Record Matching Across Disparate Historical Resources
David Croft, Stephen Brown and Simon Coupland - Crowdsourcing Our Cultural Heritage
Genovefa Kefalidou, Mercourios Georgiadis, Bryn Alexander Coles and Suchith Anand - Reperio: A Collaborative Knowledge Environment for Digital Humanities
Damiana Luzzi
Logo and Side Nav
Projects (Home Page Only)
News Box (Home Page Only)
News
Software Takes Command
By Lev Manovich
Poetic Models of Future Garments for Space Emigration Eyebeam’s Computational Fashion Fellow Carrie Mae Rose, in collaboration with battery expert Dr. Dan Steingart, presents a series of illuminated wearable sculptures that integrate technology to visualize.
News
Velit dreamcatcher cardigan anim, kitsch Godard occupy art party PBR. Ex cornhole mustache cliche. Anim proident accusamus tofu. Helvetica cillum labore quis magna, try-hard chia literally street art kale chips aliquip American Apparel.
Search
Browse News Archive
- March 2014
- February 2014
- January 2014
- December 2013
- November 2013
- October 2013
- September 2013
- August 2013
- July 2013
- June 2013
- May 2013
- April 2013
- March 2013
- February 2013
- January 2013
- December 2012
- November 2012
- October 2012
- September 2012
- August 2012
- July 2012
- June 2012
- May 2012
- April 2012
- March 2012
- February 2012
- January 2012
- December 2011
- November 2011
- October 2011
- September 2011
- August 2011
- July 2011
- June 2011
- May 2011
- April 2011
- March 2011
- February 2011
- December 2010
- November 2010
- October 2010
- August 2010
- July 2010
- June 2010
- May 2010
- April 2010
- March 2010
- February 2010
- January 2010
- December 2009
- November 2009
- October 2009
- September 2009
- August 2009
- July 2009
- June 2009
- May 2009
- April 2009
- March 2009
- February 2009
- January 2009
- December 2008
- November 2008
- October 2008
- September 2008
- August 2008
- July 2008
- June 2008
- May 2008
- April 2008
- March 2008
- February 2008
- January 2008
- December 2007
- November 2007
- October 2007
- September 2007
- June 2007
- May 2007
:
Tuesday, March 4, 2014
Proceedings of the Digital Humanities Congress (Sheffield) are online
Sunday, March 2, 2014
How to Visualize 4512 Instagram selfies? Introducing new nersion of our free ImageMontage tool
Montage of 4512 Instagram selfie photos from selfiecity.net project. Original image is 24000 pixels wide. (Montage shows our larger image set before we did the final manual check - so few images are not true single selfies. Images from Tokyo which were not used in the final presentation are also included.)
Closeup.
Full image (24000 pixels wide) scaled to 640 pixels.
See on Google+
See / download 8000 pixel wide version from Flickr.
Montage visualization of 33,292 photos shared on Instagram in Tel Aviv (April 20-26, 2012), sorted by hue (top to bottom, right to left). (These and three other visualizations below are from our Phototrails project - analysis and visualization of 2.3 million Instagram photos from 13 global cities.)
Montage visualization of 33,292 photos shared on Instagram in Tel Aviv during the same period, sorted by upload date (top to bottom, left to right).
Montage visualization of 55,498 Instagram photos from Tokyo uploaded during four consecutive days, sorted by upload date and time (top to bottom, left to right).
Montage visualization of 57,493 Instagram photos from New York uploaded during four consecutive days, sorted by upload date and time (top to bottom, left to right).
We released new version of ImageMontage free visualization tool (ImageMontage v.2).
ImageMontage v.2 - Key Features:
- Create high resolution montages of large image collections. For example, you can visualize a collection of 40,000 images (assume each image is 100 x 100 pixels) in a single 20,000 x 20,000 pixel montage.
- The images can have different sizes and/or proportions - they will be scaled to the same height in the montage.
- The order of images in a montage can be controlled by a user. (Create a text file with a list of file names in a sigle column, and use as the input in Image Source" option.) In the examples above, one montage organizes a set Instagram photos by upload date/time; another organizes the same images by average hue. (The plugins which measure image characteristics are included with our ImagePlot plugin.)
- You can include all images in a single folder; all images within subfolders; or images located in different areas of your drive ("Image Source" option.)
- The new version allows you to create 1-level, 2-level, or 3-level montages. For example, you can organize your photos by year, month, and event. Or, you can montage images of van Gogh painting by city, year, and season. (See examples below).
How to run:
ImageMontage is a plugin for ImageJ, a popular free open source image analysis software (runs on Mac, PC, Lunix).
1) Download ImageJ software;
2) Download ImageMontage plugin;
3) In ImageJ: use File > Open to open the plugin file. Then click on: Macros > Run. ImageMontage will start.
Also:
Check our ImagePlot and ImageSlice visualization plugins for ImageJ.
Examples of 1-level and 2-level montages:
A montage of selected van Gogh paintings organized by creation year (1-level montage).
A montage of selected van Gogh paintings organized by creation year and season (2-level montage).
Friday, February 28, 2014
Gender, age, and ambiguity of selfies on Instagram
selfiecity.net research update by Mehrdad Yazdani, Research Scientist, Software Studies Initiative.
Who are the people behind selfies? Are they mostly young? Do women prefer taking selfies over men? Do these variations depend on geographic location? We looked at over 4,500 selfies from six cities to gain a sense of the different age groups and genders. (Analysis and visualizations of our findings for 3200 images from five cities from this dataset are available on selfiecity.net.)
We did this by first downloading a random sample of 140,000 images among all Instagram photos shared by people in central areas of 6 global cities for one whole week (Dec 4-12, 2013). Our random sample of Instagram photographs include:
- 30,000 images from Tokyo
- 30,000 images from New York
- 20,000 images from Bangkok
- 20,000 images from Berlin
- 20,000 images from Moscow
- 20,000 images from Sao Paulo
What you see above is what we call the "selfie rate," that is, the percentage of selfies that our reviewers from Mechanical Turk found from the 140,000 images that we collected. What is most striking about this figure is that, in contrast to popular belief, the selfie is not ubiquitously plastered all over Instagram. In fact, Sao Paulo has a selfie rate clocking in at just under 5%! Tokyo, on the other hand, has an even significantly lower selfie rate of a hair above 1%.
But we don't stop at just finding selfies from our set of images. If a reviewer thinks that the image is indeed a selfie, he or she also takes a best guess at the gender and age of the selfie. Again, these are reviewers who use Mechanical Turk on a regular basis and therefore asking them to complete an image-tagging problem is on-par with their expertise. The graph above shows that the gender distribution of the selfies is heavily skewed towards females. Moscow in particular has a large disproportionate amount of female selfies. In fact, it is 4 times less likely that a selfie from Moscow is male (with a 95% confidence interval between 3.3 and 5.3).
However, it is not fair to assume that gender is a binary factor that we can neatly divide into "male" or "female." Would it be possible for us to have a way of measuring the ambiguity of a selfie's gender? Answering such a question is extremely difficult, but let's take a data science approach (read: hack). We will make an assumption that if it is difficult to ascertain a selfie's gender as "male" or "female" then our reviewers from Mechanical Turk will have a harder time making a decision. Since we have multiple reviewers (at least 3 or more), then there will be more disagreements if it is truly difficult for the reviewers to determine the selfie's gender. Let's assign a confidence score between 0 and 1 to the collective agreement of the reviewers for the gender of the selfie. What follows are the averages of gender discrimination confidence for the different cities:
We see some very interesting patterns emerging from this figure. Over the entire population, we see that the reviewers are fairly confident (over 95%) of a selfie's gender. However, consistently for every city, the average gender confidence for males is less than those of females. In the case of Berlin, this difference may very well be insignificant and due to chance, but for the other cities we see much wider gap in confidence. Especially in the case of Sao Paulo and Moscow, the reviewers are much more confident at detecting females than the other cities. One possible interpretation: What makes these cities unique is that women in these cities are unquestionably "female looking" (at least when they take their selfies and post them), so the confidence reviewers have for these female selfies is higher.
We next take a look at the age distributions of the selfies. Here they are organized by city and gender:
The most dramatic result here is that for every city we see that men who take selfies are older than their female counterparts. Bangkok has the youngest selfie enthusiasts, while New Yorkers have the oldest. If we look on a log-scale, as the age of a selfie increases, the odds of the selfie being male increases by a factor of 6.7 (with a 95% confidence interval between 4.99 and 9.03). Overall, however, the early twenty somethings dominate selfies on Instagram. As before, we determine the age of the selfie by asking several reviewers to make their best guess. We then estimate the age of the selfie by taking the median of the guesses of the reviewers. As in the case for determining gender, this can be a very difficult task and certain selfies can be harder to answer. To ascertain the agreement level for a selfies age, we computed the standard deviation of the reviewers guesses. In this case, higher standard deviation suggests more disagreement among the reviewers. We refer to this standard deviation as the "disagreement." Below we show average disagreements for each city and gender:
With the exception of Berlin and New York (that have the highest disagreements), female age discrimination has the least amount of disagreement. The difference between the disagreement levels of males and females in Berlin does not appear to be significant. By far, Bangkok has the least amount of disagreement for age discrimination of female selfies among all cities. It is difficult to ascertain why this is the case. We welcome any hypotheses for this finding!
In summary, our study suggests that selfies are not the dominant imagery shared on Instagram. We have also observed that the selfies are extremely popular by females and twenty somethings. We are planning more posts on softwarestudies.com about additional details and more results from selfiecity.net research, so check back to see them.
Tuesday, February 25, 2014
Video about our selfiecity.net project is now on YouTube and Vimeo
selfiecity from Moritz Stefaner on Vimeo.
http://selfiecity.net
Investigating the style of self-portraits (selfies) in five cities across the world.
Selfiecity investigates selfies using a mix of theoretic, artistic and quantitative methods:
We present our findings about the demographics of people taking selfies, their poses and expressions.
Rich media visualizations (imageplots) assemble thousands of photos to reveal interesting patterns.
The interactive selfiexploratory allows you to navigate the whole set of 3200 photos.
Finally, theoretical essays discuss selfies in the history of photography, the functions of images in social media, and methods and dataset.
Learn more at http://selfiecity.net
Thursday, February 20, 2014
Our new project Selfiecity Investigates the style of self-portraits (selfies) in five cities across the world.
Our new project is now online:
The project investigates selfies using a mix of theoretic, artistic and quantitative methods:
We present our findings about the demographics of people taking selfies, their poses and expressions.
Rich media visualizations (imageplots) assemble thousands of photos to reveal interesting patterns.
The interactive selfiexploratory allows you to navigate the whole set of 3200 photos.
Theoretical essays discuss selfies in the history of photography, the functions of images in social media, and our methods and dataset.
Tuesday, February 11, 2014
An Outline for Computational Art History
The Hawaiian Star, 5930 front pages, 1893-1912 (Vimeo). Created by UCSD undergraduate student Cyrus Kiani in Manovich's visualization class, 2012.
An Outline for Computational Art History
Computational art history - use of algorithms for the analysis and visualization of patterns in art production, dissemination, reception/interaction, and scholarship. (In other words: use of computers to augment human intellect and intuition.)
Three complementary ways to think about research projects and methods in computational art history:
1 | Which stage(s) in art circulation process do you want to analyze?
- production [example 1, example 2]
- dissemination [example]
- reception (visitors movements in a museum, user tags, professional art criticism publication, user searches, etc.) [example]
- user interaction with digital media [many possibilities for capturing data about the experience; the work is co-created by software and participant]
- institutions / exhibitions / collecting / publications / art sales / art world system [example 1, example 2]
- scholarship
and also:
influence [example]
artists networks [example]
interactions with other cultural areas
etc.
2 | What data types you want to analyze?
structured, unstructured
text, images, video, 3D shapes, spaces, networks of relations, geospatial data, movements capture, interactions capture
3 | Which stage(s) in data analysis workflow you will work on?
- acquire and clean data (media agnostic)
- organize data for analysis (media agnostic)
- feature extraction (automatic) (media specific) / adding metadata (media agnostic)
- exploratory visualization (media agnostic)
[however images and video allow for unique visualization techniques: example 1, example 2]
- (optional) data analysis using classical statistics and/or data science methods (media agnostic)
Lev Manovich, february 11, 2014.
Sunday, January 26, 2014
"Software, Globalization and Political Action" course co-taught by Manovich and Buck-Morss, Spring 2014, Graduate Center CUNY
#softclassgc (class Twitter hashtag)
SYLLABUS (Google Doc updated throughout the semester - we suggest you check it every weekend to see the updates)
Readings (Dropbox)
Top: a frame from A Man with a Movie Camera by Dziga Vertov, 1929.
Bottom: Visualization of locations of large number of photos in NYC shared on Flickr, from "Locals and Tourists" by Erik Fisher, 2009).
Spring 2013 course: Software, Globalization, and Political Action
Co-taught by Susan Buck-Morss (Political Science) and Lev Manovich (Computer Science). The Graduate Center, City University of New York (CUNY)
Tuesdays 2-4pm.
4 Credits. Cross-listed in the Programs in Political Science, Computer Science and Art History.
Description:
This interdisciplinary seminar will explore concepts and methods from both critical theory and software studies. It is taught by Prof. Susan Buck-Morss (Political Science), and Prof. Lev Manovich (Computer Science).
We will cover three themes:
1) Vision and Image - From Walter Benjamin and Dziga Vertov to computer vision, Google Earth, Adobe Creative Suite, and Instagram: new strategies of seeing and representation in modern and software societies. Image v. Concept (Hegel against ‘picture thinking’) Image and historical matter (Benjamin on the “dialectical image”). Aesthetics and Politics: Images as a (trans-local) language for political action; vision and democracy: the “ethical turn.” Digital Image Processing and Computer Vision and examples of their application in creative industries, vernacular digital photography, and digital humanities.
2) Data and Knowledge - Knowledge production in the age of "big data." Images as sources of knowledge. Political critique of methods (positivism, abstraction, categorical givens) and goals (surveillance, marketing, positivism). Knowledge of, by and for whom? Data science as the new key technology for production of knowledge and decision making in big data societies. Data visualization as a research method in humanities and social sciences (including art history and political science). From representing reality to representing data. Data art.
3) Crowds and Networks - What are the new forms of sociality and political action enabled by global networks? Networked Images as political instruments. Crowds and the de-centered brain. Crowds and/as a medium of global political action since the Arab Spring. The new body politic as a body without skin. Social networks and computational social science. Social media analytics. Artistic visualizations of social data.