A new theory and methodology for the application of computer vision methods to the computational analysis of collected, digitized visual materials, called “distant viewing.” Distant Viewing: Computational Exploration of Digital Images presents a new theory and methodology for the computational analysis of digital images, offering a lively, constructive critique of computer vision that you can actually use. What does it mean to say that computer vision “understands” visual inputs? Annotations never capture a whole image. The way digital images convey information requires what researchers Taylor Arnold and Lauren Tilton call “distant viewing”—a play on the well-known term “distant reading” from computational literary analysis. Recognizing computer vision’s limitations, Arnold and Tilton’s spirited examination makes the technical exciting by applying distant viewing to the sitcoms Bewitched and I Dream of Jeannie, movie posters and other popular forms of advertising, and Dorothea Lange’s photography. In the tradition of visual culture studies and computer vision, Distant Viewing’s interdisciplinary perspective encompasses film and media studies, visual semiotics, and the sciences to create a playful, accessible guide for an international audience working in digital humanities, data science, media studies, and visual culture studies.
Each year, more than half a million migrant children journey from countries around the globe and enter the United States with no lawful immigration status; many of them have no parent or legal guardian to provide care and custody. Yet little is known about their experiences in a nation that may simultaneously shelter children while initiating proceedings to deport them, nor about their safety or well-being if repatriated. Migrant Youth, Transnational Families, and the State examines the draconian immigration policies that detain unaccompanied migrant children and draws on U.S. historical, political, legal, and institutional practices to contextualize the lives of children and youth as they move through federal detention facilities, immigration and family courts, federal foster care programs, and their communities across the United States and Central America. Through interviews with children and their families, attorneys, social workers, policy-makers, law enforcement, and diplomats, anthropologist Lauren Heidbrink foregrounds the voices of migrant children and youth who must navigate the legal and emotional terrain of U.S. immigration policy. Cast as victims by humanitarian organizations and delinquents by law enforcement, these unauthorized minors challenge Western constructions of child dependence and family structure. Heidbrink illuminates the enduring effects of immigration enforcement on its young charges, their families, and the state, ultimately questioning whose interests drive decisions about the care and custody of migrant youth.
During the American Civil War, Union and Confederate soldiers commonly fraternized, despite strict prohibitions from the high command. When soldiers found themselves surrounded by privation, disease, and death, many risked their standing in the army, and ultimately their lives, for a warm cup of coffee or pinch of tobacco during a sleepless shift on picket duty, to receive a newspaper from a "Yank" or "Johnny," or to stop the relentless picket fire while in the trenches. In Friendly Enemies Lauren K. Thompson analyzes the relations and fraternization of American soldiers on opposing sides of the battlefield and argues that these interactions represented common soldiers' efforts to fight the war on their own terms. Her study reveals that despite different commanders, terrain, and outcomes on the battlefield, a common thread emerges: soldiers constructed a space to lessen hostilities and make their daily lives more manageable. Fraternization allowed men to escape their situation briefly and did not carry the stigma of cowardice. Because the fraternization was exclusively between white soldiers, it became the prototype for sectional reunion after the war--a model that avoided debates over causation, honored soldiers' shared sacrifice, and promoted white male supremacy. Friendly Enemies demonstrates how relations between opposing sides were an unprecedented yet highly significant consequence of mid-nineteenth-century civil warfare.
System Kids considers the daily lives of adolescent mothers as they negotiate the child welfare system to meet the needs of their children and themselves. Often categorized as dependent and delinquent, these young women routinely become wards of the state as they move across the legal and social borders of a fragmented urban bureaucracy. Combining critical policy study and ethnography, and drawing on current scholarship as well as her own experience as a welfare program manager, Lauren Silver demonstrates how social welfare "silos" construct the lives of youth as disconnected, reinforcing unforgiving policies and imposing demands on women the system was intended to help. As clients of a supervised independent living program, they are expected to make the transition into independent adulthood, but Silver finds a vast divide between these expectations and the young women's lived reality. Digging beneath the bureaucratic layers of urban America and bringing to light the daily experiences of young mothers and the caseworkers who assist them, System Kids illuminates the ignored work and personal ingenuity of clients and caseworkers alike. Ultimately reflecting on how her own understanding of the young women has changed in the years since she worked in the same social welfare program that is the focus of the book, Silver emphasizes the importance of empathy in research and in the formation of welfare policies.
In detailing the relationship of three women filmmakers' lives and films to the changing institutions of the post-World War II era, Lauren Rabinovitz has created the first feminist social history of the North American avant-garde cinema. At a time when there were few women directors in commercial films, the postwar avant-garde movement offered an opportunity. Rabinovitz argues that avant-garde cinema, open to women because of its marginal status in the art world, included women as filmmakers, organizers, and critics. Focusing on Maya Deren, Shirley Clarke, and Joyce Wieland, Rabinovitz illustrates how women used bold physical images to enhance their work and how each provided entrée to her subversive art while remaining culturally acceptable. She combines archival materials with her own interviews to show how the women's labor and films, even their identities as women filmmakers, were produced, disseminated, and understood. With a new preface and an updated bibliography, Points of Resistance simultaneously demonstrates the avant-garde's importance as an organizational network for women filmmakers and the processes by which women remained marginal figures within that network.
Simon Forman (1552-1611) is one of London's most infamous astrologers. He stood apart from the medical elite because he was not formally educated and because he represented, and boldly asserted, medical ideas that were antithetical to those held by most learned physicians. He survived the plague, was consulted thousands of times a year for medical and other questions, distilled strong waters made from beer, herbs, and sometimes chemical ingredients, pursued the philosopher's stone in experiments and ancient texts, and when he was fortunate spoke with angels. He wrote compulsively, documenting his life and protesting his expertise in thousands of pages of notes and treatises. This highly readable book provides the first full account of Forman's papers, makes sense of his notorious reputation, and vividly recovers the world of medicine and magic in Elizabethan London.
During the twentieth century, the rise of the concept of Americanization—shedding ethnic origins and signs of "otherness" to embrace a constructed American identity—was accompanied by a rhetoric of personal transformation that would ultimately characterize the American Dream. The theme of self-transformation has remained a central cultural narrative in American literary, political, and sociological texts ranging from Jamestown narratives to immigrant memoirs, from slave narratives to Gone with the Wind, and from the rags-to-riches stories of Horatio Alger to the writings of Barack Obama. Such rhetoric feeds American myths of progress, upward mobility, and personal reinvention. In Fashion and Fiction, Lauren S. Cardon draws a correlation between the American fashion industry and early twentieth-century literature. As American fashion diverged from a class-conscious industry governed by Parisian designers to become more commercial and democratic, she argues, fashion designers and journalists began appropriating the same themes of self-transformation to market new fashion trends. Cardon illustrates how canonical twentieth-century American writers, including Edith Wharton, Theodore Dreiser, F. Scott Fitzgerald, Ernest Hemingway, and Nella Larsen, symbolically used clothing to develop their characters and their narrative of upward mobility. As the industry evolved, Cardon shows, the characters in these texts increasingly enjoyed opportunities for individual expression and identity construction, allowing for temporary performances that offered not escapism but a testing of alternate identities in a quest for self-discovery.
It’s often said that we are what we wear. Tracing an American trajectory in fashion, Lauren Cardon shows how we become what we wear. Over the twentieth century, the American fashion industry diverged from its roots in Paris, expanding and attempting to reach as many consumers as possible. Fashion became a tool for social mobility. During the late twentieth century, the fashion industry offered something even more valuable to its consumers: the opportunity to explore and perform. The works Cardon examines—by Sylvia Plath, Jack Kerouac, Toni Morrison, Sherman Alexie, and Aleshia Brevard, among others—illustrate how American fashion, with its array of possibilities, has offered a vehicle for curating public personas. Characters explore a host of identities as fashion allows them to deepen their relationships with ethnic or cultural identity, to reject the social codes associated with economic privilege, or to forge connections with family and community. These temporary transformations, or performances, show that identity is a process constantly negotiated and questioned, never completely fixed.
A new theory and methodology for the application of computer vision methods to the computational analysis of collected, digitized visual materials, called “distant viewing.” Distant Viewing: Computational Exploration of Digital Images presents a new theory and methodology for the computational analysis of digital images, offering a lively, constructive critique of computer vision that you can actually use. What does it mean to say that computer vision “understands” visual inputs? Annotations never capture a whole image. The way digital images convey information requires what researchers Taylor Arnold and Lauren Tilton call “distant viewing”—a play on the well-known term “distant reading” from computational literary analysis. Recognizing computer vision’s limitations, Arnold and Tilton’s spirited examination makes the technical exciting by applying distant viewing to the sitcoms Bewitched and I Dream of Jeannie, movie posters and other popular forms of advertising, and Dorothea Lange’s photography. In the tradition of visual culture studies and computer vision, Distant Viewing’s interdisciplinary perspective encompasses film and media studies, visual semiotics, and the sciences to create a playful, accessible guide for an international audience working in digital humanities, data science, media studies, and visual culture studies.
This pioneering book teaches readers to use R within four core analytical areas applicable to the Humanities: networks, text, geospatial data, and images. This book is also designed to be a bridge: between quantitative and qualitative methods, individual and collaborative work, and the humanities and social sciences. Humanities Data with R does not presuppose background programming experience. Early chapters take readers from R set-up to exploratory data analysis (continuous and categorical data, multivariate analysis, and advanced graphics with emphasis on aesthetics and facility). Following this, networks, geospatial data, image data, natural language processing and text analysis each have a dedicated chapter. Each chapter is grounded in examples to move readers beyond the intimidation of adding new tools to their research. Everything is hands-on: networks are explained using U.S. Supreme Court opinions, and low-level NLP methods are applied to short stories by Sir Arthur Conan Doyle. After working through these examples with the provided data, code and book website, readers are prepared to apply new methods to their own work. The open source R programming language, with its myriad packages and popularity within the sciences and social sciences, is particularly well-suited to working with humanities data. R packages are also highlighted in an appendix. This book uses an expanded conception of the forms data may take and the information it represents. The methodology will have wide application in classrooms and self-study for the humanities, but also for use in linguistics, anthropology, and political science. Outside the classroom, this intersection of humanities and computing is particularly relevant for research and new modes of dissemination across archives, museums and libraries.
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