Sinykin talks about this as an “act as groundbreaking as the research itself” which seems a bit of an exaggeration. It is important that data is being reviewed and published, but it has been happening for a while in other fields. Nonetheless, this is a welcome initiative, especially if it gets attention like the LARB article. In 2013 the Tri-Council (of research agencies in Canada) called for a culture of research data stewardship. In 2015 I worked with Sonja Sapach and Catherine Middleton on a report on a Data Management Plan Recommendation for Social Science and Humanities Funding Agencies. This looks more at the front end of requiring plans from people submitting grant proposals that are asking for funding for data-driven projects, but this was so that data could be made available for future research.
Sinykin’s essay looks at the poetry publishing culture in the US and how white it is. He shows how data can be used to study inequalities. We also need to ask about the privilege of English poetry and that of culture from the Global North. Not to mention research and research infrastructure.
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?
I just found out that Michael GRODEN (1947 – 2021) passed away a year ago. Groden was a member of CSDH/SCHN when it was called COCH/COSH and gave papers at our conferences. He developed an hypertext version of Ulysses that was never published because of rights issues. He did, however, talk about it. He did, however, publish about his ideas about hypertext editions of complex works like Ulysses. See his online CV for more.
Yoko Tawada’s new novel imagines a time in which language starts to vanish and the elderly care for weakened children.
I’ve just finished two brilliant and surreal works of post-climate fiction. One was Yoko Tawada’s The Emissary also called “The Last Children of Tokyo”. This novel follows a great grantfather who is healthy and active at over 100 years old as he raises his great grandson Mumei (“no name”) who is disabled by whatever disasters have washed over Japan. The country is also shutting down – entering another Edo period of isolation – making even language an issue. Unlike most post apocalyptic fiction this isn’t about what actually happened or about how people fight off the zombies; it is about imagining a strange isolated life where Japan tries for some sort of purity again. As such the novel comments on present, but aging Japan – a Japan that has forgotten the Fukushima disaster and is firing up their nuclear reactors again. At the end we find that Mumei might be chosen as an Emissary to be smuggled out of Japan to the outside world where the strange syndrome affecting youth can be studied.
The second book is Harrow by Joy Williams. The novel takes place during the time when we deny there is anything wrong and depicts an America determined to keep on pretending nothing is happening. It is an America extended in harrowing fashion from our strange ignorance. The novel is in three parts and has religious undertones with the main character first called the lamb and then “Khristen.” The last book continually references Kafka’s The Hunter Gracchus, an obscure story about a boat carrying Gracchus that wanders, unable to make it across to the underworld. Likewise, America in this novel seems to wander, unable to make it across to some reality. The third book might be set in the time of judgement, but a Sartrean judgement with no exit where a child is judge and all that happens is more of the surreal same. As a reviewer points out, the “harrow” may be the torture instrument Kafka describes “In the Penal Colony” that writes your punishment on your back where you can’t quite see it. Likewise, we are writing our punishment on our earth where we choose not to see it.
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.
Hi I’m Rameau. You probably don’t know me, but since you’re reading this I’m going to assume you do indeed exist.
> You [ask why] i’m wondering what consciousness is.
I have no idea. But it’s fun to think about.Is this a person? No, because it’s conscious. Is it alive? No, because it doesn’t respond to external stimuli.
> You [ask] why does a person have to respond to external stimuli.
Because then we can interact with it!!!!!But isn’t consciousness an internal phenomenon? Then how would the person interact with anything else? Oh wait, that’s right. We’re not limited by our perception of reality.
I’ve been trying Latitude’s text generation game AI Dungeon. The game is built on Open AI’s GPT-3. You can see a bit of conversation I had with it in a cyberpunk world.
Latitude has gotten into trouble with Open AI because it seems that the game was generating erotic content featuring children. A number of people turned to AI Dungeon precisely because it could be used to explore adult themes, and that would seem to be a good thing, but then some may have gone too far. See the Wired story It Began as an AI-Fueled Dungeon Game. It Got Much Darker. This raises interesting ethical issues about:
Why do so many players use it to generate erotic content?
Who is responsible for the erotic content? Open AI, Latitude, or the players?
Whether there are ethical reasons to generate erotic content featuring children? Do we forbid people from writing novels like Lolita?
How to prevent inappropriate content without crippling the AI? Are filters enough?
The problem of AIs generating toxic language is nicely shown by this web page on Evaluating Neural Toxic Degeneration in Language Models. The interactives and graphs on the page let you see how toxic language can be generated by many of the popular language generation AIs. The problem seems to be the data sets used to train the machines like those that include scrapes of Reddit.
I recently finished listening to James Gleick’s Time Travel: A History. Gleick wrote the best book on The Information there is and this book is almost as good. He weaves the science together with the fictions about time travel starting with H.G. Wells’ The Time Machine and using that to then look at how science started treating time as a dimension that they allowed us to seriously talk about traveling on that dimension. It is historical ontology done really well.
Near the end he talks about the brilliant Doctor Who episode Blink (Doctor Who) with Carey Mulligan where she has a conversation with Doctor Who (Tennant) mediated by Easter Eggs on DVDs and transcribed onto paper. That transcription she hands to the Doctor at the end of the episode so he can put the video onto the DVDs in the past for her to talk to. It is brilliant.
Part of what I like about Gleick is he shows the connections between science and how we imagine ideas like time through literature and film. He ends by suggesting that we have time travel in our stories and imagination.
It might be fair to say that all we perceive is change—that any sense of stasis is a constructed illusion. Every moment alters what came before. We reach across layers of time for the memories of our memories.
“Live in the now,” certain sages advise. They mean: focus; immerse yourself in your sensory experience; bask in the incoming sunshine, without the shadows of regret or expectation. But why should we toss away our hard-won insight into time’s possibilities and paradoxes? We lose ourselves that way. (Gleick, James. Time Travel, p. 308)
Mitsuhiro Asakawa finally convinced Tsuge and his son to let the work be translated into English. Mitsuhiro is the unsung hero of Japanese comics translation. He’s the guy who has written the most about the Garo era, he’s the go-to guy to connect with these great authors and their families. Most of the collections D+Q have done wouldn’t exist without his help.