Yesterday I was part of a signing ceremony for a Memorandum of Agreement between Ritsumeikan University and the University of Alberta. I and the President of the University of Alberta (Bill Flanagan) signed on behalf of U of A. The MOU described our desire to build on our collaborations around Replaying Japan. We hope to build collaborations around artificial intelligence, games, learning, and digital humanities. KIAS and the AI4Society signature area have been supporting this research collaboration.
Today (March 2nd, 2023) we are having a short conference at Ritsumeikan that included a panel about our collaboration, at which I talked, and a showcase of research in game studies at Ritsumeikan.
Jack Nicholson and director Milos Foreman on set of One Flew Over the Cuckoo’s Nest
Whatever the literary strengths of One Flew Over the Cuckoo’s Nest, the book has done much to harm both the mentally ill and their communities.
This May the Kule Institute is organizing a hybrid exhibit/symposium on the Institution of Knowledge. We are bringing together a group of artists and thinkers to raise and address questions about institutional structures and knowledge. One question that the small group I’m part of discussed this week as the question of deinstitutionalization and the view, best captured by Ken Kesey in One Flew Over the Cuckoo’s Nest that asylums as institutions were sites that did more harm than good. Stephen Eide has a nice article about this, Ken Kesey and the Rush to Deinstitutionalization (Quilette, Nov. 14, 2022).
There are a number of aspects to the issue. The first thing to note is that the deinstitutionalization of people with serious mental health issues didn’t work as imagined. It was not the freeing of an oppressed constituency back to the community where the new drugs could help them integrate and get on with their lives. There wasn’t really a community that wanted them other than the street and many ended up in the very institutions asylums were meant to replace – prisons. Stephen Eide’s book Homelessness in America traces the effects of deinstitutionalization, changes in vagrancy laws, and the “cleaning” up of slums on homelessness leading to the problem as we see it today.
But what about the idea of deinstitutionalization? Important to this idea would be Foucault, changes in psychiatry and how the discipline conceives of the role of medicine (and its institutions), and changes in public policy and what jurisdictions try to do with institutions.
One aspect of the issues that we forget if we think of institutions as bureaucracy is the built presence of institutions. From Jefferson’s design of the campus of the University of Virginia to Olmstead’s asylum landscapes, architects have shaped our imagination and the literal structures of certain types of institutions. This raises the question of what new types of institutions might be in being designed?
From a paper on postcolonial computing I learned about the Unitron Mac 512: A Contraband Mac 512K from Brazil. For a while Brazil didn’t allow the importation of computers (so as to kickstart their own computer industry.) Unitron decided to reverse engineer the Mac 512K, but Apple put pressure on Brazil and the project was closed down. At least 500 machines were built and I guess some are still in circulation.
Though Apple had no intellectual property protection for the Macintosh in Brazil, the American corporation was able to pressure government and other economic actors within Brazil to reframe Unitron’s activities, once seen as nationalist and anti-colonial, as immoral piracy.
Public Resource, a registered nonprofit organization based in California, has created a General Index to scientific journals. The General Index consists of a listing of n-grams, from unigrams to five-grams, extracted from 107 million journal articles.
The General Index is non-consumptive, in that the underlying articles are not released, and it is transformative in that the release consists of the extraction of facts that are derived from that underlying corpus. The General Index is available for free download with no restrictions on use. This is an initial release, and the hope is to improve the quality of text extraction, broaden the scope of the underlying corpus, provide more sophisticated metrics associated with terms, and other enhancements.
Access to the full corpus of scholarly journals is an essential facility to the practice of science in our modern world. The General Index is an invaluable utility for researchers who wish to search for articles about plants, chemicals, genes, proteins, materials, geographical locations, and other entities of interest. The General Index allows scholars and students all over the world to perform specialized and customized searches within the scope of their disciplines and research over the full corpus.
Access to knowledge is a human right and the increase and diffusion of knowledge depends on our ability to stand on the shoulders of giants. We applaud the release of the General Index and look forward to the progress of this worthy endeavor.
There must be some neat uses of this. I wonder if someone like Google might make a diachronic viewer similar to their Google Books Ngram Viewer available?
He helped make the home computer ubiquitous by introducing the fully assembled Tandy TRS-80, which was so novel at the time that it became a museum piece.
The New York Times reports that John Roach, Pioneer of the Personal Computer, Is Dead at 83. Roach was the executive who introduced the Tandy TRS-80 in the 1970s, one of the first fully assembled microcomputers. I didn’t realize how dominant the TRS-80 was in the late 1970s. At one point it held 40% of the market. We usually hear about Apple and IBM, but not about the TRS (Tandy Radio Schack).
They later released a laptop or tablet computer that I lusted after, the TRS80 Model 100. This was a keyboard and a small LCD screen and enough software to type notes or edit text. There was also a modem to send your writing somewhere. I still think this form factor makes sense. You can’t really type on an iPad (unless you get a keyboard for it) and you don’t really need lots of screen for typing notes.
In 1987, William H. Dickey, a San Francisco poet who had won the prestigious Yale Younger Poets Award to launch his career and published nearly a dozen well-received books and chapbooks since, was …
Matthew Kirschenbaum has written a great essay on recovering early digital poetry, The Lost Digital Poems (and Erotica) of William H. Dickey ‹ Literary Hub. Dickey wrote some HyperPoems on HyperCard and so now they are hard to access. Kirschenbaum rescued them and worked with people to add them to the Internet Archive that has a HyperCard emulator. Here is what Kirschenbaum says,
Dickey’s HyperPoems are artifacts of another time—made new and fresh again with current technology. Anyone with a web browser can read and explore them in their original format with no special software or setup. (They are organized into Volume 1 and Volume 2 at the Internet Archive, in keeping with their original organizational scheme; Volume 2 contains the erotica—NSFW!) But they are also a reminder that writers have treasures tucked away in digital shoeboxes and drawers. Floppy disks, or for that matter USB sticks and Google Docs, now keep the secrets of the creative process.
This essay comes from his work for his new book Bistreams which documents this and other recovery projects. I’ve just ordered a copy.
Meet the men and women responsible for creating the most iconic tunes in video game history.
We finished up the Replaying Japan 2021 conference today. The conference was online using Zoom and Gather Town where there was a hidden easter egg with a link to Diggin’ in the Carts: Japanese video game music history, a 5 part documentary from Red Bull that is quite good. The 5 15 minute episodes are part of the first season. Not sure if there will be other seasons, but there is a related radio show with multiple seasons. The documentary episodes nicely feature the composers and experts talking about the Japanese history along with other musicians commenting on the influence of the early music which would have been heard over and over in houses with Japanese consoles.
The creator of the show is Nick Dwyer who is interviewed here about the documentary and associated radio show..
All 50,000+ of Trump’s tweets, instantly searchable
Thanks to Kaylin I found the Trump Twitter Archive: TTA – Search. Its a really nice clean site that lets you search or filter Trump’s tweets from when he was elected to when his account was shut down on January 8th, 2021. You can also download the data if you want to try other tools.
I find reading his tweets now to be quite entertaining. Here are two back to back tweets that seems to almost contradict each other. First he boasts about the delivery of vaccines, and then talks about Covid as Fake News!
Jan 3rd 2021 – 8:14:10 AM EST: The number of cases and deaths of the China Virus is far exaggerated in the United States because of @CDCgov’s ridiculous method of determination compared to other countries, many of whom report, purposely, very inaccurately and low. “When in doubt, call it Covid.” Fake News!
Jan 3rd 2021 – 8:05:34 AM EST: The vaccines are being delivered to the states by the Federal Government far faster than they can be administered!
Drawing on a selection of non-keyboard ‘index’ typewriters, this exhibition explores how input mechanisms and alphabetic arrangements were devised and contested continually in the process of popularising typewrites as personal objects. The display particularly looks at how the letters of the alphabe
Reading Thomas S. Mullaney’s The Chinese Typewriter I’m struck by the variety of different typewriting solutions. As you can see from this exhibit web site, One letter at a time: index typewriters and the alphabetic interface — Contextual Alternate, there were all sorts of alternatives to the QWERTY keyboard early on, and many of them could accommodate more keys so as to support other languages including a non-alphabetic script like Chinese. As Mullaney points out there is a history to the emergence of the typewriter that we assume is normal.
This history of our collapsing technolinguistic imaginary took place across four phases: an initial period of plurality and fluidity in the West in the late 1800s, in which there existed a diverse assortment of machines through which engineers, inventors, and everyday individuals could imagine the very technology of typewriting, as well as its potential expansion to non-English and non-Latin writing systems; second, a period of collapsing possibility around the turn of the century in which a specific typewriter form—the shift-keyboard typewriter—achieved unparalleled dominance, erasing prior alternatives first from the market and then from the imagination; next, a period of rapid globalization from the 1900s onward in which the technolinguistic monoculture of shift-keyboard typewriting achieved global proportions, becoming the technological benchmark against which was measured the “efficiency” and thus modernity of an ever-increasing number of world scripts; and, finally, the machine’s encounter with the one world script that remained frustratingly outside its otherwise universal embrace: Chinese.
Mullaney, Thomas S.. The Chinese Typewriter (Kindle Locations 1183-1191). MIT Press. Kindle Edition.
Unlike the multimedia experiments coming out of university labs, these CD-ROMs were designed to be commercial products and did sell. I remember ordering a number for the University Toronto Computing Services so we could show what multimedia could do. They were some of the first products to show in a compelling way how interactivity could make a difference. Many included interactive audio, like the Beethoven one, others used Quicktime (digital video) for the first time.
All of this was, to some extent, made anachronistic when the web took off and began to incorporate multimedia effectively. Voyager set the scene remediating earlier works (like the short film of A Hard Day’s Night). But CD-ROMs were, in their turn, replaced.
My favourite was The Residents Freak Show. This was a strange 3D-like tour of the music of The Residents that was organized around a freak show motif.
