A Advanced Collaborative Support project that I was part of was funded, see HathiTrust Research Center Awards Three ACS Projects. Our project, called The Trace of Theory, sets out to first see if we can identify subsets of the HathiTrust volumes that are “theoretical” and then study try to track “theory” through these subsets.
I recently finished the science fiction novel YOU: A Novel by Austin Grossman. The novel is about Russell’s returning to get a job with Black Arts a game development studio. Russell distanced himself from his high-school friends with whom he got into designing a role-playing computer game. After dropping out of the liberal arts to law trajectory he had been on, he goes back and gets a job with the company his friends had created in the meantime. Grossman has worked in game design, so the book has an authentic feel. It is also good on how franchises are maintained as the story turns around the creation of yet another sequel to a tired franchise with flashbacks to when they created the other versions. There are a number of interesting ideas and enigmas to YOU including:
- YOU is about the dream of the ultimate game. The book starts and ends with the question of the ultimate game and how the imagining of that game is so important to gaming,
Finally, there is the secret of the ultimate game, inscribed on a series of crumbling scrolls in a language that is no longer well understood. But partial translations suggest that the secret of the ultimate game is that you’re already in the ultimate game, all the time, forever. That the secret of the ultimate game is that the ultimate game is a paradox, because there’s no way to play a game without knowing you’re playing it. That games are already awesome, or else why are we making such a fuss? (p. 365)
- Part of the issue of the ultimate game is the drive to greater realism as if graphical realism were the only metric. The novel forces us to ask what is realism and whether better graphics are necessarily more immersive (compared with better stories or more open worlds.)
- Simon, the genius behind the game engine of Black Arts dies before the beginning of the novelistic present in an elevator. It isn’t clear how he died, but it seems relevant at the beginning of the novel. Grossman answered questions about the novel here including an answer about how Simon’s death is a “bait-and-switch.”
- Finally, there is a really interesting reference to the story of love told in Plato’s Symposium that men and women are separated and want to join up again,
To forestall any future threat, the gods decreed we should each be separated into halves, and each half hurled into a separate dimension. There was the human half, weak but endowed with thought and feeling, and the video game half, with glowing and immortal bodies that were mere empty shells lacking wills of their own. We became a fallen race and forgot our origins, but something in us longed to be whole again. And so we invented the video game, the apparatus that bridged the realms and joined us with tour other selves again, through the sacred medium of the video game controller. The first devinces were primititive, but every year the technology improved, and we say and heard and sensed the other world more clearly. Soon enough we’d be able to feel and smell and taste and live entirely in our own bodies again. And on that day, he finished portentously, we’d challenge the gods once more.
“First of all,” I said, “you ripped that whole thing off from that story in Plato. …” (p. 301)
cyoa is a great essay/visualization/animation about Choose Your Own Adventure books. There are visualizations of the choices and some great animations of the flow of choices.
The whole essay/site is beautifully designed (and it has a colophon.) It is gesture of love towards Choose Your Own Adventures.
The Council of Writing Program Administrators has made available a very useful Research Bibliography on the Uses and Limitations of Automated Writing Evaluation Software (PDF). This is part of a set of WPA-ComPile Research Bibliographies. There are paragraph long summaries of the articles that are quite useful.
What seems to be missing is an ethical discussion of automated evaluation. Do we need to tell people if we use automated evaluation? Writing for someone feels like a very personal act (even in a large class). What are the expectations of writers that their writing would be read?
Scott send me a link to the Pentametron: With algorithms subtle and discrete / I seek iambic writings to retweet. This site creates iambic pentameter poems from tweets by looking at the rythm of words. It then tries to find ryhming last words to create a AABB rhyming scheme. You can see an article about it on Gawker titled, Weird Internets: The Amazing Found-on-Twitter Sonnets of Pentametron.
JK Rowling has been recently uncovered at the author of The Cuckoo’s Calling which was submitted under the name Robert Galbraith. The Sunday Times revealed this after a hint on Twitter and some forensic stylometry. Patrick Juola, one of the two people to do the analysis has a guest blog where he talks about what he did at: Rowling and “Galbraith”: an authorial analysis. Great short description of an authorship attribution project.
On July 11th and 12th I was at a conference in Saskatoon on Social Digital Scholarly Editing. This conference was organized by Peter Robinson and colleagues at the University of Saskatchewan. I kept conference notes here.
I gave a paper on “Social Texts and Social Tools.” My paper argued for text analysis tools as a “reader” of editions. I took the extreme case of big data text mining and what scraping/mining tools want in a text and don’t want in a text. I took this extreme view to challenge the scholarly editing view that the more interpretation you put into an edition the better. Big data wants to automate the process of gathering and mining texts – big data wants “clean” texts that don’t have markup, annotations, metadata and other interventions that can’t be easily removed. The variety of markup in digital humanities projects makes it very hard to clean them.
The response was appreciative of the provocation, but (thankfully) not convinced that big data was the audience of scholarly editors.
Robert Darnton has written an essay about the launch of the Digital Public Library of America that everyone should read. A great writer and a historian he provides a historical context and a contemporary context. He quotes from the original mission statement to show the ambition,
“an open, distributed network of comprehensive online resources that would draw on the nation’s living heritage from libraries, universities, archives, and museums in order to educate, inform, and empower everyone in the current and future generations.”
The essay, The National Digital Public Library Is Launched! by Robert Darnton is in the New York Review of Books. A lot of it talks about what Harvard is contributing (Darnton is the University Librarian there), which is OK as it is good to see leadership.
He also mentions that Daniel Cohen is the new executive director. Bravo! Great choice!
From Humanist I just learned about Juxta Commons. This is a web version of the earlier downloadable Java tool. The new version still has the lovely interface that shows the differences between variants. The commons however, builds on the personal computer tool by being a place where collations can be kept. Others can find and explore your collations. You can search the commons and find collation projects.
Another interesting feature is that they have Google ads if you search the commons. The search is “powered by Google” so perhaps that comes with the service.
The other day while browsing around looking for books to read on my iPad I noticed what looked like a dissertation for sale. I’ve been wondering how dissertations could get into e-book stores when I remembered the license that graduate students are being asked to sign these days by Theses Canada. The system here encourages students to give a license to Library and Archives Canada that includes the right,
(a) to reproduce, publish, archive, preserve, conserve, communicate to the public by telecommunication or on the Internet, loan, distribute and sell my thesis (the title of which is set forth above) worldwide, for commercial or non-commercial purposes, in microform, paper, electronic and/or any other formats;
I now just came across this cautionary story in the Chronicle for Higher Education about Dissertation for Sale: A Cautionary Tale. It seems it is also allowed in the US.