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                  	<title><![CDATA[Recent Videos posted to HyperStudio on MIT Video]]></title>
                  	<link>http://video.mit.edu/channel/hyperstudio/</link>
                  	<description></description>
                  	<language>en-us</language>
                  	<pubDate>Tue, 03 Jan 2012 19:36:26 GMT</pubDate>
                  	<lastBuildDate>Sat, 25 May 2013 12:29:22 EDT</lastBuildDate>					
					                    	
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                         	<title><![CDATA[Listening Faster: How Digital Humanities is Transforming Music Scholarship]]></title>                         
                         	<link>http://video.mit.edu/watch/listening-faster-how-digital-humanities-is-transforming-music-scholarship-8855/</link>
                         	<description><![CDATA[Computers have altered so many aspects of musician's lives, from digital performance, to electronic composition and beyond]]></description>                         
                         	<media:thumbnail url="http://video.mit.edu/assets/img/videos/165/20120125135853-9-1_9gzkh10m.jpg" height="100" width="165" />                         
                        	<pubDate>Tue, 03 Jan 2012 19:36:26 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/listening-faster-how-digital-humanities-is-transforming-music-scholarship-8855/</guid>
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                         	<title><![CDATA[Social Media as Paratextual Narrative: Visualizing Twitter Surges in Response to Popular Television Shows]]></title>                         
                         	<link>http://video.mit.edu/watch/social-media-as-paratextual-narrative-visualizing-twitter-surges-in-response-to-popular-television-5948/</link>
                         	<description><![CDATA[
        Speaker:  Alex Leavitt, Convergence Culture Consortium (Comparative Media Studies, MIT) &amp; Web Ecology Project.  Moderator:  Madeleine Clare Elish.  Abstract:  In his new book, &amp;#34;Show Sold Separately: Promos, Spoilers, and Other Media Paratexts&amp;#34; (2010), Jonathan Gray argues for the recognition of peripheral entities of media franchises as valuable, writing, &amp;#34;[W]hereas hype is often regarded solely as advertising and as PR, synergistic merchandise, products, and games -- also called peripherals -- are often intended as other platforms for profit-generation. ... Promotion suggests not only the commercial act of selling, but also of advancing and developing a text&amp;#34; (5). Gray supports paratexts, the adjacent media elements that &amp;#34;create,&amp;#34; &amp;#34;manage,&amp;#34; and &amp;#34;fill... with meanings&amp;#34; (6) the primary text, as influential elements for audiences to understand stories.   Recent audience research around television consumption has recognized that messages on social networks, such as Twitter.com, have created enormous amounts of hype around major episodes of American broadcast television shows that resembles the textual phenomena that Gray investigates. However, the large amount of tweets that appear in Twitter&amp;#39;s Trending Topics aggregation system presents a sizable barrier to Humanities scholars, who in examining these paratextual &amp;#34;events&amp;#34; must navigate, via Twitter&amp;#39;s API, millions of notes that constitute a persuasive force in understanding television narratives.  Alex Leavitt, Lead Researcher on the Web Ecology Project (http://webecologyproject.org/) and Research Specialist in the Convergence Culture Consortium (Comparative Media Studies, MIT), will examine experiments in approaching paratexts and paratextual incidents occurring across large social networks and the implications that these paratexts have on scholars&amp;#39; research through visualization as well as on concepts of authorship and narrative development.
      ]]></description>                         
                         	<media:thumbnail url="http://video.mit.edu/assets/img/videos/165/20120125135521-9-1_28f9rrv3.jpg" height="100" width="165" />                         
                        	<pubDate>Fri, 16 Jul 2010 14:48:24 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/social-media-as-paratextual-narrative-visualizing-twitter-surges-in-response-to-popular-television-5948/</guid>
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                         	<title><![CDATA[Digitization of Cultural Heritage: Taiwan Experience (part 2 of 2)]]></title>                         
                         	<link>http://video.mit.edu/watch/digitization-of-cultural-heritage-taiwan-experience-part-2-of-2-5946/</link>
                         	<description><![CDATA[
        Speakers:  Der-Tsai Lee, Ming-chorng Hwang, Sophy Shu-Chen and Jessie Tsai, Academia Sinica.  Moderator:  Emma Teng.  Abstract:  The government of Taiwan initiated a national digitization program in 2002 to digitize our cultural heritage. Its main objective is to promote content digitization and preservation at major museums, libraries, archives, universities, research institutions and other content holders in Taiwan. Several public cultural institutions such as National Palace Museum, National Museum of History, National Museum of Natural Science, National Central Library, Academia Sinica, Academia Historica, National Taiwan University, etc. have participated in this national effort. Since then the program has evolved to become what is known as Taiwan e-Learning and Digital Archives Program, or TELDAP for short. In this presentation, we will first give an overview of TELDAP, and then present major outcomes accomplished and values derived in cultural, academic, socio-economic and educational aspects. The significant outcomes include a collection of databases with a union catalog containing more than 3 million digital items, the core technologies developed and the application &amp;amp; services models employed. The union catalog (http://catalog.digitalarchives.tw) contains digital collections ranging from archaeology, architecture, anthropology, artifact, botany, calligraphy and painting, geology, journalism and mass media, photography, rare books, stone rubbings, zoology, etc. We will also demonstrate some of projects that use Simile Timeline, Google Map API and other visualization tools and systems. A more in-depth description of the Early Chinese Bronze Inscription and Image Database, which is part of the Hanji (Scripta Sinica) database containing a very large corpus of ancient Chinese text will be presented also to demonstrate the demand for information technology from humanities and the relationship between scholars and information scientists. 

      ]]></description>                         
                         	<media:thumbnail url="http://video.mit.edu/assets/img/videos/165/20120125135521-9-1_0fy4l7ib.jpg" height="100" width="165" />                         
                        	<pubDate>Thu, 15 Jul 2010 19:25:26 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/digitization-of-cultural-heritage-taiwan-experience-part-2-of-2-5946/</guid>
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                         	<title><![CDATA[Digitization of Cultural Heritage: Taiwan Experience (part 1 of 2)]]></title>                         
                         	<link>http://video.mit.edu/watch/digitization-of-cultural-heritage-taiwan-experience-part-1-of-2-5944/</link>
                         	<description><![CDATA[
        Speakers:  Der-Tsai Lee, Ming-chorng Hwang, Sophy Shu-Chen and Jessie Tsai, Academia Sinica.  Abstract:  The government of Taiwan initiated a national digitization program in 2002 to digitize our cultural heritage. Its main objective is to promote content digitization and preservation at major museums, libraries, archives, universities, research institutions and other content holders in Taiwan. Several public cultural institutions such as National Palace Museum, National Museum of History, National Museum of Natural Science, National Central Library, Academia Sinica, Academia Historica, National Taiwan University, etc. have participated in this national effort. Since then the program has evolved to become what is known as Taiwan e-Learning and Digital Archives Program, or TELDAP for short. In this presentation, we will first give an overview of TELDAP, and then present major outcomes accomplished and values derived in cultural, academic, socio-economic and educational aspects. The significant outcomes include a collection of databases with a union catalog containing more than 3 million digital items, the core technologies developed and the application &amp; services models employed. The union catalog (http://catalog.digitalarchives.tw) contains digital collections ranging from archaeology, architecture, anthropology, artifact, botany, calligraphy and painting, geology, journalism and mass media, photography, rare books, stone rubbings, zoology, etc. We will also demonstrate some of projects that use Simile Timeline, Google Map API and other visualization tools and systems. A more in-depth description of the Early Chinese Bronze Inscription and Image Database, which is part of the Hanji (Scripta Sinica) database containing a very large corpus of ancient Chinese text will be presented also to demonstrate the demand for information technology from humanities and the relationship between scholars and information scientists. 
      ]]></description>                         
                         	<media:thumbnail url="http://video.mit.edu/assets/img/videos/165/20120125135521-9-1_bi1udfea.jpg" height="100" width="165" />                         
                        	<pubDate>Thu, 15 Jul 2010 16:54:24 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/digitization-of-cultural-heritage-taiwan-experience-part-1-of-2-5944/</guid>
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                         	<title><![CDATA[An Ethnographic Study of Information Visualization]]></title>                         
                         	<link>http://video.mit.edu/watch/an-ethnographic-study-of-information-visualization-5942/</link>
                         	<description><![CDATA[
        Speaker:  Esra Ozkan.  Moderator:  Madeleine Clare Elish.  Abstract:  Information visualization could be largely defined as graphical representation of complex information. It comprises a set of tools and techniques that transforms sophisticated data such as scientific findings, human experience, social relations, and political patterns to visuals. With masses of data turned into visual displays, information visualization has become integrated in the everyday practices of the media, and social, cultural and institutional structures. This paper would provide a research outline for the study of the field of information visualization. Using ethnographic methods, the research would explore the assumptions, political ideologies, professional debates, and technical, aesthetic, and ethical choices shaping visuality and visibility in the contemporary United States. It would examine how the configuration of training and technologies shapes what information is visualized, how it is visualized, and what is left invisible. The presentation would introduce the research framework, questions, and methods and elaborate on the ways in which it could contribute to the scholarly studies of the emerging field of information visualization as well as to the public debates over information age.
      ]]></description>                         
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                        	<pubDate>Thu, 15 Jul 2010 13:42:38 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/an-ethnographic-study-of-information-visualization-5942/</guid>
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                         	<title><![CDATA[The Process of Visualizing Data As A Mode of Inquiry]]></title>                         
                         	<link>http://video.mit.edu/watch/the-process-of-visualizing-data-as-a-mode-of-inquiry-5941/</link>
                         	<description><![CDATA[
        Speaker:  Rebecca Mushtare, Marymount Manhattan College.  Moderator:  Madeleine Clare Elish.  Abstract:  Visualizing data is not an easy task, and can be implemented in a variety of ways and with a variety of techniques. As a media maker, I have become more and more interested in the idea of dynamic data and information design. Using an ongoing data visualization project, &amp;#34;Self-Disclosed: The Diaspora of My Information,&amp;#34; as a case study I will explore the process of developing a visualization system as an inquiry methodology. Developing such a system requires a designer to formulate specific goals for the system (including questions the system should be designed to address), and make aesthetic and structural choices that impact interpretation and analysis. Each of these choices (intentional or otherwise) defines rules that govern the visualization environment.  &amp;#34;Self-Disclosed&amp;#34; is a visual accounting system to track the &amp;#34;spending&amp;#34; of &amp;#34;personal&amp;#34; and &amp;#34;private&amp;#34; data in return for information and services (largely on the net). Many of the initial choices I made for the manual prototype were made based on my experience as a designer. Once I began to move beyond my prototype I was faced with questions about privacy, access and ownership (all key questions the project was meant to explore) as I began to negotiate distribution options, automated components and the future evolution of the project. The answers to each of these questions are components of the visualization (even if they aren&amp;#39;t visible) and impact a user&amp;#39;s experience of the data. I will provide examples of these contemplations and how those choices could potentially impact the final visualization.
      ]]></description>                         
                         	<media:thumbnail url="http://video.mit.edu/assets/img/videos/165/20120125135521-9-1_gqmqp5t2.jpg" height="100" width="165" />                         
                        	<pubDate>Thu, 15 Jul 2010 13:41:12 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/the-process-of-visualizing-data-as-a-mode-of-inquiry-5941/</guid>
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                         	<title><![CDATA[Laptop: Visualization of the Musical Instrument in Digital Music Performance]]></title>                         
                         	<link>http://video.mit.edu/watch/laptop-visualization-of-the-musical-instrument-in-digital-music-performance-5940/</link>
                         	<description><![CDATA[
        Speaker:  Dustin Morrow, Temple University.  Moderator:  Madeleine Clare Elish.  Abstract:  This multimedia project examines the artistic/expressive dimensions of the visualization of music in its exploration of the conscious and subconscious interpretations of live performance. Laptop musicians attempt to take something that most people regard as distinctly non-visual - digital music composition - and make it visual through recognizable conventions of live concert performance. Computers are now commonplace in the composition of music, but few people can conceptualize the computer as an instrument that can be played live. Audiences assume that any use of a computer in live performance must be automated and pre-determined. The artists in this project demonstrate that the music created on a laptop computer is every bit as adaptable as any instrument in an improvisational jazz ensemble. While many consider digital music to be cold and disconnected, the artists in this project bond with their audiences, engaging them intellectually and emotionally. This project questions the visual interpretation of music, the line between what we see and what we hear. It breaks down the relationship between the audience and the performer, and explores the expectations and limitations of visual aspects of live performance. It seeks to redefine our conceptions of traditional live instrumentation and composition; positions fragmentation and postmodernism in digital music; and demonstrates the potential for improvisation in live digital compositions. And it attempts to measure the role of the computer in contemporary music, as it comes out of the studio and onto the stage, transitioning from a behind-the-scenes tool to a visual instrument.
      ]]></description>                         
                         	<media:thumbnail url="http://video.mit.edu/assets/img/videos/165/20120125135521-9-1_6jg4ies9.jpg" height="100" width="165" />                         
                        	<pubDate>Thu, 15 Jul 2010 13:39:43 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/laptop-visualization-of-the-musical-instrument-in-digital-music-performance-5940/</guid>
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                         	<title><![CDATA[neurographica]]></title>                         
                         	<link>http://video.mit.edu/watch/neurographica-5937/</link>
                         	<description><![CDATA[
        Speaker:  Maria Moon, Art Center College of Design.  Moderator:  Madeleine Clare Elish.  Abstract:  neurographica investigates the ways in which design can be used to explore and analyze neurological data. Traditionally, the predominant role of design in the scientific process has been to visually encapsulate, model, or evidence a particular argument or conclusion. However, as developments in technology provide scientists with unprecedented amounts of data, there has been a growing need for design to be inserted earlier in the process. Working in tandem with the science, design becomes an ideal means for exploration, analysis, and discovery. While current modalities of visualizing data remain limited to traditional forms of statistical analysis, accessible programming languages, such as Processing, enable designers to structure new ways data can be dynamically expressed. By applying the visual approaches that are their core competencies, designers can innovate and create unexpected ways to encounter data for analysis and assessment. neurographica is the culmination of a series of studies that expand upon this premise and asserts that in collaboration with scientists, the meaningful, interesting, and unforeseen await to be discovered and revealed.
      ]]></description>                         
                         	<media:thumbnail url="http://video.mit.edu/assets/img/videos/165/20120125135521-9-1_roa3shx9.jpg" height="100" width="165" />                         
                        	<pubDate>Wed, 14 Jul 2010 19:30:10 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/neurographica-5937/</guid>
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                         	<title><![CDATA[Informationalizing Space: Lebbeus Woods and Photosynth]]></title>                         
                         	<link>http://video.mit.edu/watch/informationalizing-space-lebbeus-woods-and-photosynth-5936/</link>
                         	<description><![CDATA[
        Speaker:  Andy Engel, Wayne State University.  Moderator: Madeleine Clare Elish, MIT.  Abstract:  When physical space is digitized, tagged, and reassembled, as in Microsoft&amp;#39;s photo-stitching technology Photosynth, it is likewise reified, extended, and damaged. The byproduct of this digital reassembly resonates with Aleksandra Wagner&amp;#39;s description of the work of conceptual architect Lebbeus Woods: &amp;#34;What is of interest are not the objects destroyed, but the inability or impossibility to see the world differently without destroying them.&amp;#34; For Woods, spatial violence is an opportunity for learning how to re-inhabit damaged spaces in non-traditional and non-mimetic ways. How, then, do the new spatial relationships of Photosynth, which are communally atomized and reassembled, challenge how we communicate and cohabitate in physical space? Re-habitation following informational violence becomes a uniquely powerful concept for interrogating the processes and products involved in collectively transmediating space and information.  This presentation will investigate how the spatialization of information,Äö?Ñ?Æusing the reconstituted images and arrangement of physical space,Äö?Ñ?Æleads to a reciprocal informationalizing of space. Digital and physical spaces, I will show, enter into a relationship of remediation, each responding to and affecting the other as the result of the logics and violence of information. By putting Photosynth in conversation with Woods, I will interrogate how the violence of transmediation causes us to inhabit information differently, and, equally, how it causes us to access physical space in new ways as well.  
      ]]></description>                         
                         	<media:thumbnail url="http://video.mit.edu/assets/img/videos/165/20120125135520-9-1_c59yvd3z.jpg" height="100" width="165" />                         
                        	<pubDate>Wed, 14 Jul 2010 19:18:03 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/informationalizing-space-lebbeus-woods-and-photosynth-5936/</guid>
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                         	<title><![CDATA[Qualitative, Metaphor-based Frameworks for Information Visualization]]></title>                         
                         	<link>http://video.mit.edu/watch/qualitative-metaphor-based-frameworks-for-information-visualization-5934/</link>
                         	<description><![CDATA[
        Speaker:  Jonathon Cousins.  Moderator:  Nick Seaver, MIT.  Abstract:  The presentation is a walk through of the design and development process behind a visualization recently created for the World Economic Forum Summit in Dubai.¬¨,Ä+ The aim of the presentation is to demonstrate how information visualization designs can benefit from a qualitative, metaphor-based framework to display raw data. The hope is that this will encourage researchers in the humanities to explore all aspects of their professional experience as visualization resources.   The walk thru begins with a brief demonstration of how the Dubai visualization works. That is followed by an explanation of how and why the design is based on non-statistical, domain-specific knowledge. In brief, the presenters argue the benefits of flowing typical data sets (in this case statistical and social network data) through contextual visual mechanisms, models that reflect aspects of the practical, philosophical and theoretical underpinnings of research to enrich the visualization narrative. Such information is often taken for granted by practitioners of any discipline and it is therefore often overlooked as a source of visualization assets.  The presentation concludes with a handful of informal proposals of how such a process could be applied to visualize various research topics in the humanities. For example: the Council of Trent, the character relationships in John Gay&amp;#39;s The Beggar&amp;#39;s Opera, and the social network behind Winston Churchill&amp;#39;s war cabinet.  The visualization was created by Jonathan Cousins and Nick Sears. It can be viewed at this link (if you are asked to &amp;#34;allow&amp;#34; after loading into your browser, please do. it&amp;#39;s harmless.): http://jonathancousins.com/SEED/wef4/&quot;
      ]]></description>                         
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                        	<pubDate>Wed, 14 Jul 2010 16:56:46 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/qualitative-metaphor-based-frameworks-for-information-visualization-5934/</guid>
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                         	<title><![CDATA[Collaborative Cave Drawings of Social Interactions: Simple Visualizations of Complex Phenomena]]></title>                         
                         	<link>http://video.mit.edu/watch/collaborative-cave-drawings-of-social-interactions-simple-visualizations-of-complex-phenomena-5933/</link>
                         	<description><![CDATA[
        Speakers:  Shiva Ayyadurai and Andrea Frank, MIT.  Moderator:  Nick Seaver, MIT.  Abstract:  Many phenomena of global concern such as climate change, health and nutrition, globalization are complex systems with many inter-related components. In the modern world of rapid information delivery and sound bytes, how can the public understand the complexity and inter-relationships? This workshop explores an experimental collaborative effort to use multiple visualization methods to communicate such complexity. The workshop emerged out of an ongoing collaborative effort by two MIT faculty lecturers, Shiva Ayyadurai and Andrea Frank. Ayyadurai has an extensive background in systems theory and scientific visualization and Frank is an accomplished artist whose work has focused on investigating the history, memory and psychology of social issues. Both investigators, out of a desire to find novel and simple methods for communicating complex systems of social phenomena began exploring various visual models.  This workshop will begin by exploring a multi-dimensional visual representation of a specific phenomenon of modern existence. The methods of visual representation will be an amalgam of systems modeling, psychological process drawings, and scientific visualization of complex multi-parameter data. There are many challenges to visually representing such social phenomena. The presenters will share the challenges they encountered in representing one of the themes explored, which involves the overlap of capital flow and indoctrination relative to the health care and media systems. Attendees will then be given an opportunity to explore a similar social phenomena and develop their own visual representations. An interactive session will be encouraged to share their challenges. A web site, post-workshop, will display the outcomes of the workshop, including the attendees visual examples.
      ]]></description>                         
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                        	<pubDate>Wed, 14 Jul 2010 15:59:46 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/collaborative-cave-drawings-of-social-interactions-simple-visualizations-of-complex-phenomena-5933/</guid>
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                         	<title><![CDATA[Image Matrices: Learning from Klosterneuburg]]></title>                         
                         	<link>http://video.mit.edu/watch/image-matrices-learning-from-klosterneuburg-5932/</link>
                         	<description><![CDATA[
        Speaker:  Maximillian Schich, Northeastern University.  Moderator:  Noel Jackson, MIT.  Abstract:  This talk introduces image matrices as a useful visualization method for visual classification networks, such as tagged images or otherwise categorized visual documents. Famous examples of image matrices include the Verdun altarpiece at Klosterneuburg (1181), and the schedule of Las Vegas Strip hotels in Learning from Las Vegas (1972). Today image matrices are increasingly common in biology to present dynamic processes in cells, or to validate homologic statements in phylogenetic morphology.  Going beyond the history of the image matrix, this talk explains how image matrices facilitate a unified approach of archeology and art history, connecting quantity and quality in a single workflow. Regarding data we will take a look at large classification networks of visual documents depicting ancient monuments, i.e. subjects of art history connected to subjects of archaeology via thousands of visual classification links. Zooming in from network diagrams of entire datasets to individual objects, we will see how image matrices can be used to uncover hidden mesoscale relationships that lie beyond the cognitive limit of an individual reading literature or using traditional database interfaces. In a particular example regarding imperial baths in Rome we will see, how image matrices can help to quickly extract qualitative stories from large datasets, that are neither explicit in the written record nor in the image classification at a granular level.  The presented method is a subject of the author&amp;#39;s Ph.D., a Max-Planck patent application and a project funded by the Innovation Fund of the President of Max-Planck-Society.
      ]]></description>                         
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                        	<pubDate>Wed, 14 Jul 2010 14:23:55 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/image-matrices-learning-from-klosterneuburg-5932/</guid>
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                         	<title><![CDATA[Scripting Writing and Reading in Jim Andrews's Digital Poems]]></title>                         
                         	<link>http://video.mit.edu/watch/scripting-writing-and-reading-in-jim-andrewss-digital-poems-5931/</link>
                         	<description><![CDATA[
        Speaker:  Manuel Portela, University of Coimbra, Portugal. Moderator:  Noel Jackson, MIT.  Abstract:  The purpose of this paper is to demonstrate the theoretical relevance of kinetic poetry for studying the interaction between language, digital media, and signifying processes. Several writers have been using digital poetry to investigate meaning production as a function of formal operations upon linguistic, computational, and other cultural codes. Interactive kinaesthesia, the main algorithmic trope examined here, enacts the temporality of writing and the temporality of reading in medium-specific forms and genres that call attention to the way their machine and human processing happens. The cinematic enactment of time in the combined motions of computer-executed code and human-activated display will be seen in digital poems by Jim Andrews. His scripts are analysed as models for specific semiotic and interpretive processes. Computer performance and reader performance become co-dependent and intertwined as an entangled field.
      ]]></description>                         
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                        	<pubDate>Wed, 14 Jul 2010 14:18:13 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/scripting-writing-and-reading-in-jim-andrewss-digital-poems-5931/</guid>
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                         	<title><![CDATA[Fingerprints in Image-Driven Scholarship]]></title>                         
                         	<link>http://video.mit.edu/watch/fingerprints-in-image-driven-scholarship-5930/</link>
                         	<description><![CDATA[
        Speaker:  Ellen Sebring, MIT.  Moderator:  Noel Jackson, MIT.  Abstract:  Where do images from the historical record take you in historical inquiry and what is offered by working within the digital environment? This presentation will be a case-based examination of the &amp;#34;visual fingerprints&amp;#34; of the Opium Wars in the mid-1800s and the Boxer Uprising of 1900 as a way of exploring this transitional period of Chinese history. Components include methodology, image-first questing, sense-based learning, and the idea of developing chaos to find patterns. Traditional historical research that begins with images followed by text creates an opposing simultaneous movement from the concrete to the general and vice versa. The &amp;#34;look and feel&amp;#34; of war is rendered as proof of concept for the viability of digital image-driven scholarship shown by research &amp; authoring within a digital environment. Graphic sets emerge during research characterized by signature graphics, &amp;#34;hot&amp;#34; images, series and juxtapositions, and often the emergence of a defining media type for each historical event. Links between these wars within a 60-year period are visibly evident, as well as each event&amp;#39;s unique visual fingerprint.
      ]]></description>                         
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                        	<pubDate>Wed, 14 Jul 2010 14:14:03 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/fingerprints-in-image-driven-scholarship-5930/</guid>
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                         	<title><![CDATA[What do they have? Alternate Visualizations of Museum Collections]]></title>                         
                         	<link>http://video.mit.edu/watch/what-do-they-have-alternate-visualizations-of-museum-collections-5929/</link>
                         	<description><![CDATA[
        Speaker:  Piotr Adamczyk, Metropolitan.  Moderator:  Noel Jackson.  Abstract:  Museums are increasingly adopting open data policies, both for easy internal reuse of data sets and as a way of building community engagement online. While the opening up of data is a welcome development, too often key audiences see too little of this information through too small a keyhole. As linked and open data formats and Application Programming Interfaces become more common for cultural repositories, providing a sense of the scope and shape of museum collections is moving from a problem of data access to one of presentation.  This project includes tools for easy aggregation of open museum collections information, procedures to derive an expanded set of metadata for the museum objects, mechanisms (primarily calls to data sources with open APIs) to collect related content from the web, and presentation of the collected information in a set of visualizations appropriate for aggregate museum collection data.  Though cultural heritage institutions are open to releasing collections information their efforts still fail to appeal to a broad audience or in providing tools that would be of immediate scholarly use. Either too much information is provided without meaningful context, resulting in repositories that are simply overwhelming, or once zoomed and filtered the way that details are provided about objects do not match audience expectations.  This project aims to show how information dashboards can be an effectively applied in cultural heritage contexts and explore the possibilities for compelling multimedia experiences when cultural heritage data is no longer in private silos.
      ]]></description>                         
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                        	<pubDate>Wed, 14 Jul 2010 13:32:20 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/what-do-they-have-alternate-visualizations-of-museum-collections-5929/</guid>
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                         	<title><![CDATA[Media Art as a Social Process - the Prix Ars Electronica Jury Sessions]]></title>                         
                         	<link>http://video.mit.edu/watch/media-art-as-a-social-process-the-prix-ars-electronica-jury-sessions-5925/</link>
                         	<description><![CDATA[
        Speaker:  Dietmar Offenhuber, MIT.  Moderator:  Nick Seaver, MIT.  Abstract:  This paper investigates the social structures of annual jury sessions of a prestigious art competition ,Äìtheir composition, their temporal evolution and ultimately their decisions. The visual analysis has been carried out as part of an interdisciplinary research project analyzing the archives of Ars Electronica - one of the oldest and biggest media art festivals, held since 1979.  As the relatively young field of media art matures and catches the attention of art historians, the question emerges how the development of the field is reflected in the social structures of the involved protagonists: the artists and the jurors. While the structure of the jury process has changed little over the years, the temporal dimension is very interesting ,Äì the juries are filled with new faces each year, but also the categories (such as interactive art, net art, computer music or animation) are subject to constant change: some categories are retired or programmatically redefined while new ones are introduced. The analysis investigates three different structures: first, the cojurorships network across the different categories; second, the network of the awarded artists. Finally, since many awarded artists serve as jurors in following years, the interaction between the two networks is examined. The resulting visualizations not only reveal the structural roles of individuals in the jury process over the years, but also reflect the evolution of the field, its various sub genres and the interaction among them. Based on publicly available data, the results show a surprisingly multifaceted and detailed picture of the advancement of a dynamic field.
      ]]></description>                         
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                        	<pubDate>Tue, 13 Jul 2010 18:58:45 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/media-art-as-a-social-process-the-prix-ars-electronica-jury-sessions-5925/</guid>
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                         	<title><![CDATA[Visualizing Musical Citation Networks]]></title>                         
                         	<link>http://video.mit.edu/watch/visualizing-musical-citation-networks-5916/</link>
                         	<description><![CDATA[
        Speakers:  Wayne Marshall, MIT and Pacey Foster, UMass Boston.  Moderator:  Nick Seaver, MIT.  Abstract:  Increasingly, scholars find themselves grappling with shifts in cultural practice and production engendered by the digital turn. A profound challenge to such research issues from the staggering proliferation of media artifacts as well as information about the relations among cultural objects as they are reconfigured and remixed in network culture. This predicament reveals alternative understandings of the integrity or location of particular cultural expressions as it raises fundamental questions about how people (re)make culture in an age of cut-and-paste modularity. Although such changes are evident across various media, music offers a remarkable body of evidence of these new practices. Visualizations of what we're calling musical citation networks can therefore provide uniquely instructive ways of illustrating and analyzing cultural practice across different ages of art's technological reproducibility. Our presentation considers the cases of rap and reggae, two genres with extensive histories of allusion and revision. In both, the reuse of recordings and compositions stands as a central production practice that generates relatively concrete data about the content and diffusion of specific forms. Examining this data using network visualization techniques helps us ask more nuanced questions about relationships between creativity and technology, authorship and transformation, genre distinctions and the transmission of particular forms and practices. However, because these data are typically reconstructed willy nilly by fans, they can contain significant errors or omissions; moreover, because they document copyright violations, collecting and publishing them raises vexing questions about how to balance research imperatives against the rights and liabilities of those we study.
      ]]></description>                         
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                        	<pubDate>Tue, 13 Jul 2010 16:52:10 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/visualizing-musical-citation-networks-5916/</guid>
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                         	<title><![CDATA[Data Visualization in Digital Storytelling: The Map is Key]]></title>                         
                         	<link>http://video.mit.edu/watch/data-visualization-in-digital-storytelling-the-map-is-key-5915/</link>
                         	<description><![CDATA[
        Speaker:  Siobhan O'Flynn, University of Toronto.  Moderator:  Madeleine Clare Elish, MIT.  Abstract:  As digital storytelling becomes more complicated in the design of fragmented, non-linear experiences, the inclusion of dynamic maps that chart the narrative architecture and one's passage through it are emerging as a key tool for understanding spatial narratives. Interactive online projects such as HBO&amp;#39;s Imagine, the online documentary Gaza/Sderot, and the website for Errol Morris' Standard Operating Procedure mark this important shift from more authorially controlled narrative structures (eg. branching tree and intertwined linear stories) to the increasing ceding of creative control to the audience. In providing a structural skeleton, these dynamic maps are integral to our experience of narrative integrity in our reassemblage of fragmented content into unique, coherent experiences, allowing us to mediate and sustain complex shifting relationships between narrative elements.
      ]]></description>                         
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                        	<pubDate>Tue, 13 Jul 2010 15:33:19 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/data-visualization-in-digital-storytelling-the-map-is-key-5915/</guid>
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                         	<title><![CDATA[Splendor, Destruction, and the Shift from Awe to Action in Environmental Documentary]]></title>                         
                         	<link>http://video.mit.edu/watch/splendor-destruction-and-the-shift-from-awe-to-action-in-environmental-documentary-5914/</link>
                         	<description><![CDATA[
        Speaker:  Jeanne Marie Kusina, Bowling Green State University.  Moderator:  Madeleine Clare Elish, MIT.  Abstract:  This presentation discusses the role of digital media in the field of environmental ethics. There is a long, rich tradition of wildlife and natural history filmmaking devoted to documenting fact while dramatizing the content in a way that frequently inspires awe, respect, or reverence for nature. Whereas environmental ethicists often share these sentiments, for many their discourse resides primarily in academic forums of rigorous philosophical analysis and rational thought. Yet in his Treatise on Human Nature, David Hume argues that reason alone is an insufficient motivator of ethical action. According to Hume, unless there is already a moral sense and inclination toward benevolence in place, a disconnect remains between education and virtuous action. I argue that new media present one possibility for attempting to bridge this lacuna. In recent years, exponential growth in the accessibility of digital content through a variety of dissemination channels as well as marked increases in the availability of digital recording devices and editing software has helped to democratize what was once a fairly narrow niche of environment-oriented filmmaking. Moreover, in addition to a surge in popularity, environmental video documentaries have demonstrated a gradual shift from more conventional aims of observation toward direct efforts to invoke an ethical sensibility in the audience. This content, I will demonstrate, is less concerned with exhibiting natural splendor than with placing an ethical demand upon the viewer by presenting compelling visual representations of destruction, disappearance, and loss. 


      ]]></description>                         
                         	<media:thumbnail url="http://video.mit.edu/assets/img/videos/165/20120125135519-9-1_o92wm272.jpg" height="100" width="165" />                         
                        	<pubDate>Tue, 13 Jul 2010 15:11:53 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/splendor-destruction-and-the-shift-from-awe-to-action-in-environmental-documentary-5914/</guid>
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                         	<title><![CDATA[The Virtues and Limits of Data-Intensive Methods in Korean History]]></title>                         
                         	<link>http://video.mit.edu/watch/the-virtues-and-limits-of-data-intensive-methods-in-korean-history-5913/</link>
                         	<description><![CDATA[
        Speaker:  Javier  Cha.  Moderator:  Madeleine Clare Elish, MIT.  Abstract:  The Cold War ended more than twenty years ago, and the average bandwidth of broadband internet in present-day South Korea is reportedly twenty years ahead of that in the United States. Our identification of East Asian nations as advanced digital societies is a familiar one, but what does this extraordinary societal transformation imply about the legitimacy and relevance of East Asian Studies as a discipline in the twenty-first century? Drawing inspiration from the works of Hans Rosling and Franco Moretti, I aim to destabilize the prevalence of cultural relativism and postcolonial theory in foreign language and a studies. In an era of growing global convergence, I contend, we need to disengage as much as actively learn to appreciate unfamiliar cultures in their own terms. To exhibit the powerful capacity of &quot;distant reading,Äù in historical studies of unfamiliar regions, I will present some data-intensive visualizations of Korean history which postulate plausible generalizations crisscrossing spatial, temporal, and cultural boundaries. Information visualization allows the historian to render massive amounts of historical data into accessible forms of knowledge representation. It also effectively circumvents the problems of excessive essentialism and racism to which the cultural relativists and postcolonial theorists have strongly objected. The challenge for data-intensive methodologies in historical studies, then, is the undeniable pluralism of historical knowledge and the subjectivities inherent in our research design. By which objective standards do we define the spatiotemporal scope of our projects and by which epistemological models do we construct our historical knowledge?
      ]]></description>                         
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                        	<pubDate>Tue, 13 Jul 2010 15:05:05 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/the-virtues-and-limits-of-data-intensive-methods-in-korean-history-5913/</guid>
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                         	<title><![CDATA[09.1: Possible Disappearance / Database Testimony]]></title>                         
                         	<link>http://video.mit.edu/watch/091-possible-disappearance--database-testimony-5912/</link>
                         	<description><![CDATA[
        Speaker:  Ben Miller, MIT.  Moderator:  Nick Seaver, MIT.  Abstract:  Visual modeling of databases, when applied to the problematic of witnessing traumatic events, offers a way to structure testimony's logical relations and text. Without the external logic offered by data markup languages and the textual structures of coding rubrics, witness reports of violence have proven vulnerable to insinuations of inaccuracy. UML helps turn a fragment, such as a witness's remark about unusual activity near a pond, into an evidentiary network of material regarding a mass grave. Precipitated by a process of visualization, this work of aggregation and association is altering the nature of collective memory and is exemplified in the way testimony on rights violations are categorized and measured using a rubric known by the acronym HURIDOCS. The Human Rights Documentation System offers a quantitative coding rubric for field workers responding to violence, and embeds that rubric in a system of relations focusing on &quot;People&quot; and &quot;Acts.&quot; This widespread numerical frame is enabling the ongoing juridical response to the Cambodian Genocide of 1975-1979 by logically translating symbolic, mimetic, and indexical evidence into a database subsumed within a technical apparatus of fields, parents, children, siblings, relations, and codes, such as 09.1, &quot;Possible Disappearance,&quot; and 05.781, &quot;Change of repressor role to that of ally in order to disorient the victim.&quot; Reliant upon a visualized logic, this free play of translation of text to code to text, and the ability to formalize and elicit evocative relationships among that material is a hallmark of the database systems currently reshaping the collective mnemonics of trauma.
      ]]></description>                         
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                        	<pubDate>Tue, 13 Jul 2010 14:38:51 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/091-possible-disappearance--database-testimony-5912/</guid>
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                         	<title><![CDATA[Viewing and Navigating the Historical Context of News]]></title>                         
                         	<link>http://video.mit.edu/watch/viewing-and-navigating-the-historical-context-of-news-5911/</link>
                         	<description><![CDATA[
        Speaker:  Earl Wagner, MIT.  Moderator: Madeleine Clare Elish, MIT.  Abstract:  By distilling and applying the expectations and judgment that constitute an informed perspective, computer systems can provide those unfamiliar with a topic a contextualized and enriched view of the content they see. In particular, with knowledge of how types of episodes in the news unfold, software can automatically aggregate information from various sources to present the history of the events mentioned in a web page. We present one such system, Brusell, the first software system to read multiple accounts of the sequence of events that make up a news situation to present the context of the news a user reads. Brussell extends a user's web browser to present content-specific timelines of news situations such as corporate acquisitions and kidnappings. These visualizations both provide custom, high-level views of the content the user sees, and also enable the user to easily navigate among news accounts of the causally-related events. Through these functions, Brussell supports a user in easily viewing and accessing knowledge about a topic.
      ]]></description>                         
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                        	<pubDate>Tue, 13 Jul 2010 14:28:11 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/viewing-and-navigating-the-historical-context-of-news-5911/</guid>
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                         	<title><![CDATA[White Flight: Complexity, Optics, and Visualization as Evasion]]></title>                         
                         	<link>http://video.mit.edu/watch/white-flight-complexity-optics-and-visualization-as-evasion-5910/</link>
                         	<description><![CDATA[
        Speaker:  Ted Byfield, Parsons the New School for Design, New School University.   Moderator:  Nick Seaver.  Abstract:  Information design and data visualization are often justified with appeals to heroic formulations like &quot;massive flows of data.&quot; Yet when stripped of their data, they reveal a comically simplistic set of representational forms. These forms are almost invariably level, balanced in proportions, and measured; as such, they tacitly suggest that, however confusing or catastrophic the data may be, at least the enclosing framework is stable, rational, and manageable. In this regard, visualization can be seen less as a bold step forward to engage an informatic future than as so many emblems of a nostalgic attempt to distance and fence in &quot;complexity&quot; by means of naively simplistic forms. From the chronological diagrams that inspired William Playfair through the rampant experimentation with visualization today, much evidence suggests that the drive to create images of data involves an effort to create imaginary spaces into which observers can flee from anxieties about their cultural and historical position.
      ]]></description>                         
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                        	<pubDate>Tue, 13 Jul 2010 14:25:04 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/white-flight-complexity-optics-and-visualization-as-evasion-5910/</guid>
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                         	<title><![CDATA[The area told as a story. An inquiry into the relationship between verbal and map-based expressions of geographical information]]></title>                         
                         	<link>http://video.mit.edu/watch/the-area-told-as-a-story-an-inquiry-into-the-relationship-between-verbal-and-map-based-expressions-5909/</link>
                         	<description><![CDATA[
        Speaker:  Oyvind Eide, Kings College.  Moderator:  Nick Seaver, MIT.  Abstract:  The paper will present my PhD work. The primary objective is to explore how people reflect and communicate about geography. Why do some groups of people, e.g. in the modern Western world, use maps extensively, whereas other group, e.g. medieval Notaricus Publicus, did not use them?   My method will be to examine the relationship between verbal and map based geographical communication. My hypothesis is that types of geographical information exist that can be stored in and read from texts, but which are impossible to express on geographical maps without significant loss of meaning. By modelling the geographical information I read from my source text into conceptual structures, and by trying to express these conceptual structures on maps, the hypothesis will be tested.  The actual modelling is done based on an XML version of the text, encoded according to the TEI guidelines. I am developing a java application, currently at alpha test stage, into which the information from the TEI document is read. This includes person, place and date information based on TEI elements. The application is used to add facts not encoded, such as places referred to by other strings than names, relations between places, and events. Also facts contradicting each other are included.  Every fact stored in the java application is based on my reading of the text. Thus, if calculations on the fact base show contradictions, the contradictions stem from the text. And if the fact base is impossible to express on a geographical map in a meaningful way, this implies that there are information in the text that cannot be expressed on a map.&quot;, &quot;title&quot;: &quot;The area told as a story. An inquiry into the relationship between verbal and map-based expressions of geographical information.
      ]]></description>                         
                         	<media:thumbnail url="http://video.mit.edu/assets/img/videos/165/20120125135518-9-1_tp3dvv3l.jpg" height="100" width="165" />                         
                        	<pubDate>Tue, 13 Jul 2010 14:19:35 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/the-area-told-as-a-story-an-inquiry-into-the-relationship-between-verbal-and-map-based-expressions-5909/</guid>
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                         	<title><![CDATA[Closing panel part 3 of 3]]></title>                         
                         	<link>http://video.mit.edu/watch/closing-panel-part-3-of-3-5907/</link>
                         	<description><![CDATA[
        Speakers: Mike Danziger, Lev Manovich, Nick Montfort, Christopher York. Moderator: Kurt Fendt
      ]]></description>                         
                         	<media:thumbnail url="http://video.mit.edu/assets/img/videos/165/20120125135518-9-1_enzho8ph.jpg" height="100" width="165" />                         
                        	<pubDate>Mon, 12 Jul 2010 21:05:49 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/closing-panel-part-3-of-3-5907/</guid>
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                         	<title><![CDATA[Visual argumentation: How Visual Rhetorical Figures Shape the Perception of Information]]></title>                         
                         	<link>http://video.mit.edu/watch/visual-argumentation-how-visual-rhetorical-figures-shape-the-perception-of-information-5904/</link>
                         	<description><![CDATA[
        Speaker:  Ralph Lengler, University of Sydney.  Moderator:  Nick Seaver, MIT.  Abstract:  Some visualizations need not only adequately represent information; their presentation needs also to be effective, leading to a behavior change in the viewer. Rhetorical figures, like metaphors, are said to increase the effectiveness of a message. The power of rhetorical figures stem from their potential in creating meaning in the recipient because they adhere to a predefined template (Phillips &amp; McQuarrie 2004). 

This paper first presents an overview of published empirical studies on why rhetorical figures are more persuasive. Second it presents a definition of the rhetorical figures visual antithesis and visual metaphor. A visual antithesis is a juxtapose of two similar pictures which are contrasted in order to stimulate the viewer to draw inferences, e.g. in Al Gore's An Inconvenient Truth (2006) where photos of a glacier 70 years ago and the present are contrasted. In a more information visualization centric context, Barack Obama just recently used a visual antithesis (see link) to communicate his economic achievements fighting the recession. 

Third, it explains how those figures are most effectively used for visual argumentation purposes and how certain shape-based presentation forms like in Obama's case increase its effectiveness. Fourth it presents some preliminary empirical results and outlines future research.

      ]]></description>                         
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                        	<pubDate>Mon, 12 Jul 2010 18:58:52 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/visual-argumentation-how-visual-rhetorical-figures-shape-the-perception-of-information-5904/</guid>
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                         	<title><![CDATA[Social/Image: A Visual Art/ists Wiki in Theory and Practice]]></title>                         
                         	<link>http://video.mit.edu/watch/socialimage-a-visual-artists-wiki-in-theory-and-practice-5899/</link>
                         	<description><![CDATA[
        Speakers:  Amit Ray, Gregory Halpern and Derin Korman, Rochester Institute of Technology.  Moderator:  Madeleine Clare Elish, MIT.  Abstract:  While cultural theory has long critiqued the notion of an autonomous creator or object of art, the quantitative instantiation of socially-generated creative work, work that may involve audience in the act of creation, has only become possible in recent years. In the creation of written texts, the advent of wikis instantiate the late-structuralist debates between Foucault and Barthes at the end of the 1960's. Foucault's author-function&quot; is in the process of being renegotiated across a variety of media, genres and platforms. In light of the kinds of connectivity facilitated by recent innovations (in hardware, software, network-access, licensing, etc.) our panel would like to pursue the viability of a &quot;visual arts&quot; wiki.   The Faculty and students in the Colleges of Imaging Arts and Sciences and Liberal Arts at Rochester Institute of Technology are attempting to design and implement a virtual space for the university's visual arts students to present and critique their work. The aim is to provide a field of possible interactions: from the presentation of artist-centric works made available for textual commentary and criticism; to solicited practical &quot;visual&quot; and textual interventions; and, finally, to de-centered, socially constructed images where the scope and dimension of the work is continually renegotiated based on the interests of no single individual but the community at-large.   In doing so, we want to be carefully attuned to questions of medium-specificity and translation, as well as the technical, legal and pedagogical possibilities and limitations of such a project.
      ]]></description>                         
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                        	<pubDate>Mon, 12 Jul 2010 15:06:55 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/socialimage-a-visual-artists-wiki-in-theory-and-practice-5899/</guid>
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                         	<title><![CDATA[Cinemetrics]]></title>                         
                         	<link>http://video.mit.edu/watch/cinemetrics-5892/</link>
                         	<description><![CDATA[
        Speakers:  Arno Bosse and Keith Brisson, University of Chicago.  Moderator:  Madeleine Clare Elish, MIT.  Abstract:  Cinemetrics (http://www.cinemetrics.lv/index.php), is an open-access, interactive website designed to supplement the traditional toolkit of film studies with a number of digital tools that enable researchers to collect, store, and process scholarly data about film editing. Any student of film interested in the way films are edited can use Cinemetrics to time a movie, submit the obtained time data, calculate and visualize data statistics, and comment on or make use of the data generated and collected by others. As it stands, Cinemetrics offers its users a client tool to measure a film, a database to store the measurements, graphs that help users to visualize the statistics, and a lab space that can be used to compare films. In the future, we plan to enhance the site by 1) situating the data we have collected in a more theoretically rigorous statistical framework 2) expanding the types of analytic, time-based visualizations we offer of this data. Our 6/4 presentation will present an overview of what Cinemetrics offers today and briefly point towards our future plans for the site.
      ]]></description>                         
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                        	<pubDate>Fri, 09 Jul 2010 20:49:10 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/cinemetrics-5892/</guid>
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                         	<title><![CDATA[Visualizing Feminism: Reframing Cinema in Database Documentary]]></title>                         
                         	<link>http://video.mit.edu/watch/visualizing-feminism-reframing-cinema-in-database-documentary-5891/</link>
                         	<description><![CDATA[
        Speakers:  Gail Vanstone and Carolyn Steele, York University.  Moderator:  Madeleine Clare Elish, MIT.  Abstract:  Our session queries the epistemological implications of a installation-based documentary database we are constructing to elaborate on ideas articulated in Dorothy Todd H?©naut's triptych Firewords: Louky Bersianik, Jovette Marchessault, Nicole Brossard (1986) produced by Studio D the feminist film unit in Canada's National Film Board. This work in progress will be constructed and housed in Dr. Caitlin Fisher's Augmented Reality Lab, at York University, Toronto, Canada. The installation will realize a multidimensional approach to visual databases and interactive documentaries. 
	Fracturing elements of the tritych and juxtaposing them with related archived video, we employ a variety of digital interfaces and modes to create a visual database exploring a range of historical representations of feminism from contemporary positions. The users/viewers are active participants in determining the structure and form of the installation as they walk through it, selecting and combining the video segments into unique visual clusters. 
	We see this as a hybrid form of a database documentary offering fresh opportunities for a rapprochement between the feminist social realist documentary and avant-garde practices in feminist filmmaking, encouraging, to use Debord's notion, &quot;an art of dialogue, an art of interaction&quot;. We argue that database-driven media encourages new ways of seeing, unleashing fresh political connections within established discourses, promoting, as Teresa de Lauretis suggests, new ways to &quot;analyze and disengage the ideological codes embedded in representation&quot; thus articulating &quot;a feminist de-aesthetic&quot;.

      ]]></description>                         
                         	<media:thumbnail url="http://video.mit.edu/assets/img/videos/165/20120125135517-9-1_9rhk8ph1.jpg" height="100" width="165" />                         
                        	<pubDate>Fri, 09 Jul 2010 20:08:00 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/visualizing-feminism-reframing-cinema-in-database-documentary-5891/</guid>
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                         	<title><![CDATA[Citizenship in the Age of Complexity]]></title>                         
                         	<link>http://video.mit.edu/watch/citizenship-in-the-age-of-complexity-5887/</link>
                         	<description><![CDATA[
        Speaker:  Daniel Chamberlain, Occidental College.  Moderator:  Madeleine Clare Elish, MIT.  Abstract:  A massive, global financial crisis involving obscure trading products. A healthcare reform effort that extends to thousands of pages and tens of thousands of adjustments to the law. Massive private and public projects. Large-scale urban development. Globalization. These political challenges cannot be adequately understood through the reductive sound bites that constitute our contemporary political culture. Meaningful aspects of these challenges can be addressed with the interpretive methods of the humanities or the analytic tendencies of the social sciences, but such approaches rarely present information that can help a broader public makes sense of the complex, networked challenges we face today.  In this brief talk, I will present a set of infographic and data visualization projects that endeavor to make legible the complex array of forces that led to our recent great recession and its political aftermath. In these projects, undertaken by major newspapers, design-oriented magazines, and creative individuals, the underlying data is presented through clever and engaging visualizations that extend the registers of visual epistemology previously attendant to political culture. Complex concepts are not only revealed to be generally understandable, but the use of visual conventions and codes allow for their longer-term imagabilty.   The deployment of such visualizations in popular media suggests two main questions for the humanities: how might we teach the digital visual literacy skills necessary to create such graphics and effectively decode their ideological and technological foundations, and how might we apply similar techniques to the regular objects of our study? 
      ]]></description>                         
                         	<media:thumbnail url="http://video.mit.edu/assets/img/videos/165/20120125135517-9-1_xzpsqva9.jpg" height="100" width="165" />                         
                        	<pubDate>Thu, 08 Jul 2010 18:06:30 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/citizenship-in-the-age-of-complexity-5887/</guid>
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                        <item>
                         	<title><![CDATA[Closing panel part 2 of 3]]></title>                         
                         	<link>http://video.mit.edu/watch/closing-panel-part-2-of-3-5882/</link>
                         	<description><![CDATA[
        Speakers: Mike Danziger, Lev Manovich, Nick Montfort, Christopher York. Moderator: Kurt Fendt
      ]]></description>                         
                         	<media:thumbnail url="http://video.mit.edu/assets/img/videos/165/20120125135516-9-1_rpk06iph.jpg" height="100" width="165" />                         
                        	<pubDate>Wed, 07 Jul 2010 20:43:43 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/closing-panel-part-2-of-3-5882/</guid>
                      	</item>
                                          	
                        <item>
                         	<title><![CDATA[Closing panel, part 1 of 3]]></title>                         
                         	<link>http://video.mit.edu/watch/closing-panel-part-1-of-3-5881/</link>
                         	<description><![CDATA[
        Speakers: Mike Danziger, Lev Manovich, Nick Montfort, Christopher York.  Moderator: Kurt Fendt
      ]]></description>                         
                         	<media:thumbnail url="http://video.mit.edu/assets/img/videos/165/20120125135516-9-1_rifbe64d.jpg" height="100" width="165" />                         
                        	<pubDate>Wed, 07 Jul 2010 19:31:07 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/closing-panel-part-1-of-3-5881/</guid>
                      	</item>
                                          	
                        <item>
                         	<title><![CDATA[Visualizing Shakespeare in Performance:  The Digital Video Archive in the Age of YouTube]]></title>                         
                         	<link>http://video.mit.edu/watch/visualizing-shakespeare-in-performance-the-digital-video-archive-in-the-age-of-youtube-5880/</link>
                         	<description><![CDATA[
        Speaker:  Peter Donaldson, MIT.  Moderator:  Noel Jackson.


Abstract:  This paper explores new directions in education and research on Shakespeare made possible by digital video collections, both scholarly and popular, and new tools for active video use. Using materials drawn from YouTube, theatrical videos from the Shakespeare Performance in Asia archive, as well as video annotation tools developed at MIT and at Columbia University, the talk will offer instances of a performance and video-centered approach to Shakespeare in performance.
      ]]></description>                         
                         	<media:thumbnail url="http://video.mit.edu/assets/img/videos/165/20120125135516-9-1_j8y72upc.jpg" height="100" width="165" />                         
                        	<pubDate>Wed, 07 Jul 2010 17:50:55 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/visualizing-shakespeare-in-performance-the-digital-video-archive-in-the-age-of-youtube-5880/</guid>
                      	</item>
                                          	
                        <item>
                         	<title><![CDATA[Chronos US Iran Timeline]]></title>                         
                         	<link>http://video.mit.edu/watch/chronos-us-iran-timeline-5870/</link>
                         	<description><![CDATA[
        
      ]]></description>                         
                         	<media:thumbnail url="http://video.mit.edu/assets/img/videos/165/20120125135515-9-1_5mci07wt.jpg" height="100" width="165" />                         
                        	<pubDate>Tue, 06 Jul 2010 14:16:53 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/chronos-us-iran-timeline-5870/</guid>
                      	</item>
                                          	
                        <item>
                         	<title><![CDATA[Chronos Conference Timeline]]></title>                         
                         	<link>http://video.mit.edu/watch/chronos-conference-timeline-5869/</link>
                         	<description><![CDATA[
        
      ]]></description>                         
                         	<media:thumbnail url="http://video.mit.edu/assets/img/videos/165/20120125135515-9-1_5hw600na.jpg" height="100" width="165" />                         
                        	<pubDate>Tue, 06 Jul 2010 14:00:22 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/chronos-conference-timeline-5869/</guid>
                      	</item>
                                          	
                        <item>
                         	<title><![CDATA[What's it like to be a grad student at MIT's HyperStudio?]]></title>                         
                         	<link>http://video.mit.edu/watch/whats-it-like-to-be-a-grad-student-at-mits-hyperstudio-3377/</link>
                         	<description><![CDATA[
         MIT graduate student Whitney Trettien describes what it's like to be a Research Assistant at MIT's HyperStudio for Digital Humanities. 
      ]]></description>                         
                         	<media:thumbnail url="http://video.mit.edu/assets/img/videos/165/20120125135211-9-1_7auhrvse.jpg" height="100" width="165" />                         
                        	<pubDate>Wed, 01 Oct 2008 16:27:20 GMT</pubDate>
                        	<guid>http://video.mit.edu/watch/whats-it-like-to-be-a-grad-student-at-mits-hyperstudio-3377/</guid>
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