book-to-feb.bib

%% This BibTeX bibliography file was created using BibDesk.
%% http://bibdesk.sourceforge.net/

%% Created for Shawn Graham at 2017-02-10 11:44:55 -0500 


%% Saved with string encoding Unicode (UTF-8) 

@inproceedings{montello_testing_2003,
	title = {Testing the first law of cognitive geography on point-display spatializations},
	url = {http://link.springer.com/chapter/10.1007/978-3-540-39923-0_21},
	urldate = {2017-02-13},
	booktitle = {International {Conference} on {Spatial} {Information} {Theory}},
	publisher = {Springer},
	author = {Montello, Daniel R. and Fabrikant, Sara Irina and Ruocco, Marco and Middleton, Richard S.},
	year = {2003},
	pages = {316--331},
	file = {[PDF] uzh.ch:/Users/shawngraham/Library/Application Support/Zotero/Profiles/rcpe5jts.default/zotero/storage/JNNTI7S6/Montello et al. - 2003 - Testing the first law of cognitive geography on po.pdf:application/pdf;Snapshot:/Users/shawngraham/Library/Application Support/Zotero/Profiles/rcpe5jts.default/zotero/storage/NIBEMR4G/978-3-540-39923-0_21.html:text/html}
}

@misc{tjowens_discovery_2012,
	title = {Discovery and {Justification} are {Different}: {Notes} on {Science}-ing the {Humanities}},
	shorttitle = {Discovery and {Justification} are {Different}},
	url = {http://www.trevorowens.org/2012/11/discovery-and-justification-are-different-notes-on-sciencing-the-humanities/},
	abstract = {Computer Scientist: “You can’t do that with Topic Modeling.” Humanist: “No, I can because I’m not a scientist. We have this thing called Hermeneutics.” Computer Scientist: “...” Humanist: “No reall...},
	urldate = {2017-02-13},
	journal = {Trevor Owens},
	author = {{Owens, Trevor}},
	month = nov,
	year = {2012},
	file = {Snapshot:/Users/shawngraham/Library/Application Support/Zotero/Profiles/rcpe5jts.default/zotero/storage/MSQGJN33/discovery-and-justification-are-different-notes-on-sciencing-the-humanities.html:text/html}
}

@book{evans2006digital,
	Date-Added = {2017-02-10 16:34:25 +0000},
	Date-Modified = {2017-02-10 16:44:55 +0000},
	Editor = {Evans, Thomas Laurence and Patrick Daly},
	Publisher = {Psychology Press},
	Title = {Digital archaeology: bridging method and theory},
	Year = {2006}}

@book{xie2015,
	Address = {Boca Raton, Florida},
	Author = {Yihui Xie},
	Edition = {2nd},
	Note = {ISBN 978-1498716963},
	Publisher = {Chapman and Hall/CRC},
	Title = {Dynamic Documents with {R} and knitr},
	Url = {http://yihui.name/knitr/},
	Year = {2015},
	Bdsk-Url-1 = {http://yihui.name/knitr/}}


@misc{owens_deforming_2012,
	title = {Deforming reality with {Word} {Lens}},
	url = {http://www.trevorowens.org/2012/02/deforming-reality-with-word-lens/},
	abstract = {If you haven't checked it out already Wordlens is an amazingly cool iPhone app that will automatically translate text on the fly, as you see it. I've had it on my phone for about a month now, but I...},
	urldate = {2017-02-13},
	journal = {Trevor Owens},
	author = {Owens, Trevor},
	month = feb,
	year = {2012},
	file = {Snapshot:/Users/shawngraham/Library/Application Support/Zotero/Profiles/rcpe5jts.default/zotero/storage/Z3EW2TGZ/deforming-reality-with-word-lens.html:text/html}
}

@incollection{goldstone_teaching_2018,
	title = {Teaching {Quantitative} {Methods}: {What} {Makes} {It} {Hard} 9in {Literary} {Studies})},
	booktitle = {Debates in the {Digital} {Humanities}},
	author = {Goldstone, Andrew},
	year = {2018}
}

@misc{mullen_confirmation_2017,
	title = {A confirmation of {Andrew} {Goldstone} on “{Teaching} {Quantitative} {Methods}”},
	url = {http://lincolnmullen.com/blog/a-confirmation-of-andrew-goldstone-on-teaching-quantitative-methods/},
	abstract = {At his blog, Andrew Goldstone has posted a pre-print of his essay on “Teaching Quantitative Methods: What Makes It Hard (in Literary Studies)” for the forthcoming Debates in DH 2018. It…},
	urldate = {2017-02-13},
	journal = {The Backward Glance},
	author = {Mullen, Lincoln},
	month = feb,
	year = {2017},
	file = {Snapshot:/Users/shawngraham/Library/Application Support/Zotero/Profiles/rcpe5jts.default/zotero/storage/88D5G8T9/a-confirmation-of-andrew-goldstone-on-teaching-quantitative-methods.html:text/html}
}


@article{samuels_deformance_1999,
	title = {Deformance and {Interpretation}},
	volume = {30},
	issn = {1080-661X},
	url = {https://muse.jhu.edu/article/24448},
	doi = {10.1353/nlh.1999.0010},
	abstract = {In lieu of an abstract, here is a brief excerpt of the content:
            Deformance and Interpretation  Lisa Samuels (bio) and  Jerome McGann (bio)    With nothing can one approach a work of art so little as with critical words: they always come down to more or less happy misunderstandings. Rainer Maria Rilke, Letters to a Young Poet 1   I have often noticed that we are inclined to endow our friends with the stability of type that literary characters acquire in the reader’s mind. No matter how many times we reopen “King Lear,” never shall we find the good king banging his tankard in high revelry, all woes forgotten, at a jolly reunion with all three daughters and their lapdogs. Never will Emma rally, revived by the sympathetic salts in Flaubert’s father’s timely tear. Whatever revolution this or that popular character has gone through between the book covers, his fate is fixed in our minds, and, similarly, we expect our friends to follow this or that logical and conventional pattern we have fixed for them. Thus X will never compose the immortal music that would clash with the second-rate symphonies he has accustomed us to. Y will never commit murder. Under no circumstances can Z ever betray us. We have it all arranged in our minds, and the less often we see a particular person the more satisfying it is to check how obediently he conforms to our notion of him every time we hear of him. Any deviation in the fates we have ordained would strike us as not only anomalous but unethical. Vladimir Nabokov, Lolita 2   I. A Question of Interpretation Works of imagination encourage interpreters, who respond in diverse and inventive ways. The variety of critical practices—indeed, the number of differing interpretations directed at the same works—can obscure the theoretical commonality that holds those practices together. We can draw an immediate distinction, however, [End Page 25] between critical practices which do or do not aim to be interpretive: bibliographical studies and prosodic analysis, for example, typically discount their interpretive moves, if any are explicitly engaged. The usual object of interpretation is “meaning,” or some set of ideas that can be cast in thematic form. These meanings are sought in different ways: as though resident “in” the work, or evoked through “reader-response,” or deconstructable through a process that would reinstall a structure of intelligibility at a higher, more critical level. The contemporary terminology will not obscure the long-standing character of such practices, which can be mixed in various ways. In all these cases, however, an essential relation is preserved between an artistic work and some structure of ideas, that is, some conceptual form that gets more or less fully articulated “for” the work. To understand a work of art, interpreters try to close with a structure of thought that represents its essential idea(s). In this paper we want to propose—or recall—another way of engaging imaginative work. Perhaps as ancient as more normative practices, it has been less in vogue for some time. This alternative does not stand opposed to interpretive procedures as such, nor to the elaboration of conceptual equivalents for imaginative work. But it does try to set these modes of exegesis on a new footing. The alternative moves to break beyond conceptual analysis into the kinds of knowledge involved in performative operations—a practice of everyday imaginative life. We will argue that concept-based interpretation, reading along thematic lines, is itself best understood as a particular type of performative and rhetorical operation.   II. Reading Backward In an undated fragment on a leaf of stationery, Emily Dickinson wrote what appears to be one of her “letters to the world”: “Did you ever read one of her Poems backward, because the plunge from the front overturned you? I sometimes (often have, many times) have—a Something overtakes the Mind” (Prose Fragment 30). 3 In the light of recent promotions of “antithetical” reading models, we might find Dickinson’s idea a compatible one. But the physical and performative character of her proposal sets it in a tradition of reading and criticism far different from those we have cultivated in the twentieth century. This difference is exactly why we should listen to what she...},
	number = {1},
	urldate = {2017-02-13},
	journal = {New Literary History},
	author = {Samuels, Lisa and McGann, Jerome J.},
	month = feb,
	year = {1999},
	pages = {25--56}
}

@misc{caraher_archaeological_2012,
	title = {Archaeological {Glitch} {Art}},
	url = {https://mediterraneanworld.wordpress.com/2012/11/21/archaeological-glitch-art/},
	abstract = {Several members of the Working Group in Digital and New Media have been discussing glitch art. Some of this was inspired by Mark Amerika’s glitched contribution to the Arts and Culture galler…},
	urldate = {2017-02-13},
	journal = {The Archaeology of the Mediterranean World},
	author = {Caraher, William},
	month = nov,
	year = {2012},
	file = {Snapshot:/Users/shawngraham/Library/Application Support/Zotero/Profiles/rcpe5jts.default/zotero/storage/4QJT2NMI/archaeological-glitch-art.html:text/html}
}

@misc{graham_cacophony_2017,
	title = {Cacophony: {Bad} {Algorithmic} {Music} to {Muse} {To}},
	shorttitle = {Cacophony},
	url = {https://electricarchaeology.ca/2017/02/03/cacophony-bad-algorithmic-music-to-muse-to/},
	abstract = {I was going to actually release this as an actual album, but I looked into the costs and it was a wee bit too pricey. So instead, let’s pretend this post is shiny vinyl, and you’re abou…},
	urldate = {2017-02-13},
	author = {Graham, Shawn},
	month = feb,
	year = {2017},
	file = {Snapshot:/Users/shawngraham/Library/Application Support/Zotero/Profiles/rcpe5jts.default/zotero/storage/DDG5739C/cacophony-bad-algorithmic-music-to-muse-to.html:text/html}
}

@book{liu_laws_2004,
	address = {Chicago},
	edition = {1 edition},
	title = {The {Laws} of {Cool}: {Knowledge} {Work} and the {Culture} of {Information}},
	isbn = {978-0-226-48699-4},
	shorttitle = {The {Laws} of {Cool}},
	abstract = {Knowledge work is now the reigning business paradigm and affects even the world of higher education. But what perspective can the knowledge of the humanities and arts contribute to a world of knowledge work whose primary mission is business? And what is the role of information technology as both the servant of the knowledge economy and the medium of a new technological cool? In The Laws of Cool, Alan Liu reflects on these questions as he considers the emergence of new information technologies and their profound influence on the forms and practices of knowledge.},
	language = {English},
	publisher = {University of Chicago Press},
	author = {Liu, Alan},
	month = oct,
	year = {2004}
}

@book{ramsay_reading_2011,
	address = {Urbana},
	edition = {1st Edition edition},
	title = {Reading {Machines}: {Toward} an {Algorithmic} {Criticism}},
	isbn = {978-0-252-07820-0},
	shorttitle = {Reading {Machines}},
	abstract = {Besides familiar and now-commonplace tasks that computers do all the time, what else are they capable of? Stephen Ramsay's intriguing study of computational text analysis examines how computers can be used as "reading machines" to open up entirely new possibilities for literary critics. Computer-based text analysis has been employed for the past several decades as a way of searching, collating, and indexing texts. Despite this, the digital revolution has not penetrated the core activity of literary studies: interpretive analysis of written texts. Computers can handle vast amounts of data, allowing for the comparison of texts in ways that were previously too overwhelming for individuals, but they may also assist in enhancing the entirely necessary role of subjectivity in critical interpretation. Reading Machines discusses the importance of this new form of text analysis conducted with the assistance of computers. Ramsay suggests that the rigidity of computation can be enlisted in the project of intuition, subjectivity, and play.},
	language = {English},
	publisher = {University of Illinois Press},
	author = {Ramsay, Stephen},
	month = nov,
	year = {2011}
}

@article{ingold_science_2016,
	title = {From science to art and back again: {The} pendulum of an anthropologist},
	volume = {5},
	copyright = {Copyright (c) 2016 Anuac},
	issn = {2239-625X},
	shorttitle = {From science to art and back again},
	url = {http://ojs.unica.it/index.php/anuac/article/view/2237},
	doi = {10.7340/anuac2239-625X-2237},
	abstract = {In this paper I look back over four decades of my career as a professional anthropologist, starting with an orientation that was heavily weighted towards the natural sciences, and ending in a project that seeks to integrate anthropology with the practices of art, architecture and design. This was also a period during which science increasingly lost its ecological bearings, while the arts increasingly gained them. Tracing the journey in my own teaching and research, I show how the literary reference points changed, from foundational texts in human and animal ecology, now largely forgotten, through attempts to marry the social and the ecological inspired by the Marxian revival, to contemporary writing on post-humanism and the conditions of the Anthropocene. For me this has been an Odyssey – a journey home – to the kind of science imbibed in childhood, as the son of a prominent mycologist. This was a science grounded in tacit wonder at the exquisite beauty of the natural world, and in silent gratitude for what we owe to this world for our existence. Today’s science, however, has turned wonder and gratitude into commodities. They no longer guide its practices, but are rather invoked to advertise its results. The goals of science are modelling, prediction and control. Is that why, more and more, we turn to art to rediscover the humility that science has lost?},
	number = {1},
	urldate = {2017-02-13},
	journal = {Anuac},
	author = {Ingold, Tim},
	month = aug,
	year = {2016},
	pages = {5--23},
	file = {Full Text PDF:/Users/shawngraham/Library/Application Support/Zotero/Profiles/rcpe5jts.default/zotero/storage/H5JSSMD9/Ingold - 2016 - From science to art and back again The pendulum o.pdf:application/pdf;Snapshot:/Users/shawngraham/Library/Application Support/Zotero/Profiles/rcpe5jts.default/zotero/storage/NDWRUGFK/2237.html:text/html}
}
@misc{boettiger_welcome_0000,
	type = {website},
	title = {Welcome to my {Lab} {Notebook} - {Reloaded}},
	copyright = {CC0},
	url = {http://www.carlboettiger.info/09/28/Welcome-to-my-lab-notebook.html},
	language = {en},
	urldate = {2017-02-22},
	journal = {Lab Notebook},
	author = {Boettiger, Carl},
	year = {0000},
	file = {Snapshot:/Users/shawngraham/Library/Application Support/Zotero/Profiles/rcpe5jts.default/zotero/storage/MQUKSD8F/Welcome-to-my-lab-notebook.html:text/html}
}