jschneider + visualization 864
Visting Stanford Literary Lab
"Stanford Literary Lab mostly researches 19th century literature, because that is what they have good corpuses for. Until recently, we haven’t had access to corpuses or metadata for electronic literature, because there have been no systems for documenting these works. Libraries haven’t known what to do with it, apart from the few works that are published on disk or CD-ROM with an ISBN number. Hopefully the existence of data in the ELMCIP Knowledge Base will allow future scholars to engage more with electronic literature as well as the classics."
literary-labs
visualization
25 days ago by jschneider
But the ELMCIP Knowledge Base as it stands now is primarily focused on metadata rather than the texts themselves.
"Stanford Literary Lab mostly researches 19th century literature, because that is what they have good corpuses for. Until recently, we haven’t had access to corpuses or metadata for electronic literature, because there have been no systems for documenting these works. Libraries haven’t known what to do with it, apart from the few works that are published on disk or CD-ROM with an ISBN number. Hopefully the existence of data in the ELMCIP Knowledge Base will allow future scholars to engage more with electronic literature as well as the classics."
25 days ago by jschneider
Smart Content Re-viewed: Text Analytics and Semantic Content Enrichment
february 2012 by jschneider
"There are other solution providers in the content analytics meets semantic annotation/enrichment game. In addition to IBM and Ontotext, they include HP Autonomy, MarkLogic, OpenText, Temis, and the nascent, open-source IKS project. Other vendors offer enterprise-strength building blocks, for instance, SAS via the various SAS Text Analytics components."
text-analytics
NLP
datamining
visualization
content-analytics
content-enrichment
semantic-content-enrichment
linkeddata
ontologies
february 2012 by jschneider
BioS-Play 2010 Workshop Experience Report – Part 1 of 2
visualization
physiology
gaming
physiological-computing
december 2011 by jschneider
How do we design meaningful user relationships between a physiological change and the associated effect in the virtual space?
In a physiological interactive system, changes in a physiological input are made to manipulate the virtual space (e.g. Tetris 64 varied game difficulty according to the player’s heartbeat rate). However certain relationships between the physical and virtual side of an interaction should theoretically be more usable if they are meaningful for the user (i.e. a natural interaction). For example, in the BCI game modification alpha-WoW, the player’s alpha activity is mapped onto the shape-shifting ability of their World of Warcraft character. During high levels of alpha activity (relaxed), the player takes the form of a serene and mystical night elf. However during low level alpha activity (agitated), the player takes the form of a violent bear. As can be seen the player’s psychophysiological states, are mapped onto similar virtual game states thereby making the relationship meaningful. Previously I talked about the concept of a meaningful interface for data visualisation (NB. not being an InfoVis guy, I suspect there is an already established term for this), however I do believe the same principle applies to physiological interaction and in our paper I brought along this concept as from my persecptive it formalised what we’re all trying to do.
december 2011 by jschneider
Data Cake
december 2011 by jschneider
via http://twitter.com/#!/nniiicc/status/94564075027177472
data
visualization
december 2011 by jschneider
The Evolution of Western Dance Music!
december 2011 by jschneider
via http://twitter.com/#!/nniiicc/status/130430210721067010
music
visualization
animation
december 2011 by jschneider
Real name sites are necessarily inadequate for free speech at Bernie Hogan
october 2011 by jschneider
"This is “the myth of selective sharing” (as Marc Smith calls it). Its an engineer’s dream based on a misunderstanding of the key distinction between offline and online life. Offline we assume that our conversations are not encoded and thereafter available to people outside of our immediate audience, by default. Yes, some lucky people give talks to large audiences, they get on the radio or tv. Most don’t. But everyone has some reason to share things with one person but not another. We don’t need to go as far as whistle blowers, political dissidents or closet cases in religious areas. Lots of people have grievances with their bosses, or find someone else attractive, or have problem students / subordinates they need advice on. Lots of people need advice on their own issues, be it alcoholism, drug abuse or gambling. When people do this offline, they do it in situations: temporally and spatially bounded contexts for action. The pub after work; the patio over a cup of coffee; the closed door meeting.
But what do we mean by offline anymore? Some assume it is when they are not searching and browsing the web? Or when they aren’t streaming video, emailing someone or inside a virtual world. Being offline actually refers to a much more limited space than that. Being online is being encoded and having that which is encoded available to some party other than those immediately present. You are not online when you are in front of a computer – you are online when your actions are being digitized and networked. Online is on-the-record. Offline is off-the-record.""if your speech is not confined to the context you are in – but available to a potentially unknowable audience – you are online.""This is why real name sites are necessarily inadequate. They deny individuals the right to be context-specific. They turn the performance of impression management into the process of curation. Facebook curates through the top news feed, Twitter does it through lists and Google+ through some confusing (and as far as I can tell, failing) social circles model. Impression management means selectively presenting an idealized version of one’s self specific to that context. ""Of course, this applies most strongly to non-addressed spaces. When I address someone in an email or on the phone, I am still online, but I’m not necessarily subject to curation. I send a message to a specific recipient, I expect that recipient to get the message, not have gmail decide (but even then spam is filtered out through some curation). On the other hand, when I submit content to social media sites, I do not have a clear view of who is, or will see it, outside of some vague notion of friend lists.
Pseudonyms have long been a way out of this situation. Someone might have one name for an anonymous support group, another for a group of bi-curious and closeted individuals (or just for sex in general), another for a message board about programming, and one for politics or political action. If these were mine, then the choice to blend them or keep them separate is mine. Real names and third-party curation takes away that choice. In their place they offer many advantages, but freedom is not one of them. And that’s why the imposition of one name, one network for all is an abuse of power. It says not only is the curator better at deciding who you should read your content than you, the curator won’t even give you the choice to begin with."
names
anonymity
googleplus
visualization
context
selective-sharing
off-the-record
online
offline
contextual-behavior
curation
impression-management
But what do we mean by offline anymore? Some assume it is when they are not searching and browsing the web? Or when they aren’t streaming video, emailing someone or inside a virtual world. Being offline actually refers to a much more limited space than that. Being online is being encoded and having that which is encoded available to some party other than those immediately present. You are not online when you are in front of a computer – you are online when your actions are being digitized and networked. Online is on-the-record. Offline is off-the-record.""if your speech is not confined to the context you are in – but available to a potentially unknowable audience – you are online.""This is why real name sites are necessarily inadequate. They deny individuals the right to be context-specific. They turn the performance of impression management into the process of curation. Facebook curates through the top news feed, Twitter does it through lists and Google+ through some confusing (and as far as I can tell, failing) social circles model. Impression management means selectively presenting an idealized version of one’s self specific to that context. ""Of course, this applies most strongly to non-addressed spaces. When I address someone in an email or on the phone, I am still online, but I’m not necessarily subject to curation. I send a message to a specific recipient, I expect that recipient to get the message, not have gmail decide (but even then spam is filtered out through some curation). On the other hand, when I submit content to social media sites, I do not have a clear view of who is, or will see it, outside of some vague notion of friend lists.
Pseudonyms have long been a way out of this situation. Someone might have one name for an anonymous support group, another for a group of bi-curious and closeted individuals (or just for sex in general), another for a message board about programming, and one for politics or political action. If these were mine, then the choice to blend them or keep them separate is mine. Real names and third-party curation takes away that choice. In their place they offer many advantages, but freedom is not one of them. And that’s why the imposition of one name, one network for all is an abuse of power. It says not only is the curator better at deciding who you should read your content than you, the curator won’t even give you the choice to begin with."
october 2011 by jschneider
Catgraph
july 2011 by jschneider
"Catgraph is a Toolserver tool to visualize category structures. It draws a diagram with a specified category at the bottom and its supercategories above."
wikipedia
visualization
categories
july 2011 by jschneider
Nick Diakopoulos » Histrionic Visualization: The Rise of Theatrical Visual Presentation of Data
july 2011 by jschneider
"Earlier this year, while preparing for a workshop on Telling Stories with Data, I coined the term “Histrionic Visualization”, to account for certain theatrical presentations of information visualizations that I had seen. I wanted to expand on this idea a bit here."
visualization
histrionic-visualization
data
storytelling
datastorytelling
july 2011 by jschneider
Mapping America — Census Bureau 2005-9 American Community Survey - NYTimes.com
july 2011 by jschneider
via @danielequercia at WebSci
nytimes
visualization
census
data
maps
july 2011 by jschneider
Nick Diakopoulos » Visualization, Data, and Social Media Response
may 2011 by jschneider
"do people talk more about the article if it contains data and/or visualization? The answer is yes, and the details are below.""there are potential confounds in these results. For one, articles with data in them may stay “green” for longer thus slowly accreting a larger and larger social media response. One area to look at would be the acceleration of commenting in addition to volume. Another thing that I had no control over is whether some stories are promoted more than others: if the editors at the Guardian had a bias to promote articles with both visualizations and data then this would drive the audience response numbers up on those stories too. In other words, it’s still interesting and worthwhile to consider various explanations for these results."
alt-metrics
visualization
commenting
data-journalism
may 2011 by jschneider
macos | Graphviz - Graph Visualization Software
april 2011 by jschneider
Install for use with Protege
OWL
visualization
graphs
april 2011 by jschneider
Week links | Blog | Really Interesting Group
february 2011 by jschneider
"The second is a data visualisation of Boris Bikes. It “shows the real-time behaviour of hire bikes in London on October 4th 2010, the day of a major tube strike, and the busiest day for the scheme to date.” It’s not perfect, it only knows when you took the bike and when you brought it back – not where you went, but it’s interesting.
"
visualization
bikes
ifbookthen
"
february 2011 by jschneider
Video Linking: Archives and Encyclopedias | danbri's foaf stories
february 2011 by jschneider
" Sean P. Aune’s list of 40 great movies, and the Wikipedia page listing US public domain films.""This simple preview simply shows how one extra fact per Archived item creates new opportunities for navigation, discovery and understanding. Note that the UI is in no way tuned to be TV, video or archive specific; rather it just lets you explore a group of items by their ‘facets’ or common properties. It also reveals that wiki data is rather chaotic, however some fields (release date, runtime, director, star etc.) are reliably present. And of course, since the data is from Wikipedia, users can always fix the data."
movies
video
linkeddata
dbpedia
visualization
navigation
february 2011 by jschneider
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