This contribution reflects on the value of plurality in the 'network with a thousand entrances' suggested by McCarty (http://goo.gl/H3HAfs), and others, in association with approaching time-honoured annotative and commentary practices of much-engaged texts. The question is how this approach aligns with tensions, today, surrounding the multiplicity of endeavour associated with modeling practices of annotation by practitioners of the digital humanities. Our work, hence, surveys annotative practice across its reflection in contemporary praxis, from the MIT annotation studio whitepaper (http://goo.gl/8NBdnf) through the work of the Open Annotation Collaboration (http://www.openannotation.org), and manifest in multiple tools facilitating annotation across the web up to and including widespread application in social knowledge creation suites like Wikipedia https://en.wikipedia.org/wiki/Web annotation)
This annotated bibliography responds to and contextualizes the growing 'Open' movements and recent institutional reorientation towards social, public-facing scholarship. The aim of this document is to present a working definition of open social scholarship through the aggregation and summation of critical resources in the field. Our work surveys foundational publications, innovative research projects, and global organizations that enact the theories and practices of open social scholarship. The bibliography builds on the knowledge creation principles outlined in previous research by broadening the focus beyond conventional academic spaces and reinvigorating central, defining themes with recently published research.
In late 2018, the Internet Shakespeare Editions (ISE) software experienced catastrophic code failure. In this paper, we describe the boutique markup language used by the ISE (known as IML for ISE Markup Language), various fundamental differences between IML and TEI, and the challenging work of converting and remediating the ISEʼs IML-encoded files. Our central question is how to do this work in a principled, efficient, well documented, replicable, and transferable way. We conclude with recommendations for re-encoding legacy projects and stabilizing them for long-term preservation.
Following the publication of our recent article in KULA: Knowledge Creation, Dissemination, and Preservation Studies (https://kula.uvic.ca/articles/10.5334/kula.58/), we wish to bring the following corrigendum to your attention.
Today, public concern with the extent to which they influence people’s routines, and how much they affect cultures and societies, has grown substantially. This paper argues that, by listening to networks, people can begin to apprehend, and even comprehend, the complex, ostensibly “magical” nature of network communications. One problem is that listening semantically to networks is incredibly difficult, if not impossible. Networks are very noisy, and they do not, for instance, use alphabetic language for internal or external communication. For the purpose of interpreting networks, I propose “tactical network sonification” (TNS), a technique that focuses on making the materiality of networks sensibly accessible to the general public, especially people who are not technology experts. Using an electromagnetic transduction device—Shintaro Miyazaki and Martin Howse’s Detektor—TNS results in crowded sound clips that represent the complexity of network infrastructure, through the many overlapping rhythms and layers of sound that each clip contains.
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