DH Fair 2021

DH Fair 2021 (Online)

Wednesday, April 21st, 2021
1:00pm-4:00pm

The DH Fair is an annual event that offers the UC Berkeley community the opportunity to share projects at various stages of development, receive invaluable feedback from peers, and reflect on the field more broadly.

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SCHEDULE AT A GLANCE

1:10pm: Keynote: Roopika Risam
Digital Humanities for Social Justice

2:10pm: Lightning Talks

3:10pm: Panel: Dancing with Computers: Layerings of Collective Embodied Knowing within our Machines
A panel discussion with Timothy R. Tangherlini and Lisa Wymore, moderated by Claudia von Vacano

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Register for the Zoom link:.
http://ucblib.link/dh-fair-registration

Program

KEYNOTE: ROOPIKA RISAM

Digital Humanities for Social Justice
Roopika Risam, Chair of Secondary and Higher Education and Associate Professor of Education and English at Salem State University

In this talk, Professor Roopika Risam will discuss trends in approaches to digital humanities that foreground social justice. She will consider the practices that are critical to using digital humanities to intervene in the gaps and omissions of the digital cultural archive born from the history of colonialism. Additionally, she will discuss the project Torn Apart/Separados as an example of what digital humanities makes possible for social justice.

Dr. Roopika Risam is Chair of Secondary and Higher Education and Associate Professor of English and Education at Salem State University. She is the author of New Digital Worlds: Postcolonial Digital Humanities in Theory, Praxis, and Pedagogy (Northwestern UP, 2018) and co-editor of Intersectionality in Digital Humanities (Arc Humanities Press, 2019), South Asian Digital Humanities (Routledge, 2020), and The Digital Black Atlantic (Debates in the Digital Humanities series, University of Minnesota Press, 2021).

LIGHTNING TALKS

Learn what's new in DH at UC Berkeley in this series of lightning talks.

D-Stretch and Other Magic
Kea Johnston, graduate student, Near Eastern Studies

Introducing the UC Berkeley XR Community of Practice
Chris Hoffman, Associate Director, Research IT and Owen McGrath, Director of Strategic Initiatives & Programs, RTL

Minor Masterpieces - Of Databases and Art History in Rural China
Hannibal Taubes, graduate student, East Asian Languages and Cultures

Using Machine Learning to Extract Data from WRA Individual Records
Marissa Friedman, Digital Project Archivist, Bancroft Library

Land, Wealth and Power: Digitizing Private Land Claims in California, ca. 1852 -1892
Adrienne Serra, Digital Project Archivist, Bancroft Library

Listening to Film History: PFA Filmmaker Q&A Sessions 1976-1986
Michael Campos-Quinn, Director of Library Special Projects, Berkeley Art Museum and Pacific Film Archive

Small Farmers, Big Tech: Myanmar Facebook Before & After the Coup
Hilary Faxon, Ciriacy-Wantrup Postdoctoral Fellow, Environmental Science, Policy and Management

Tracking Polysemy on Twitter with BERT
George McIntire, graduate student, School of Information

PANEL: DANCING WITH COMPUTERS: LAYERINGS OF COLLECTIVE EMBODIED KNOWING WITHIN OUR MACHINES
A conversation with Timothy R. Tangherlini and Lisa Wymore, moderated by Claudia von Vacano

Dancing in the Fire: Toward a Choreographic Search Engine
Timothy R. Tangherlini, Professor, Department of Scandinavian, University of California, Berkeley
Collaborative work with Peter M. Broadwell (Stanford Library)

Critics have long noted the strong visual aspects of K-pop, with the videos for newly released songs garnering millions of hits in a very short time span. A key feature of many Kpop videos is the dancing. Although many of the official videos are not solely dance focused, incorporating aspects of visual storytelling, nearly all of Kpop videos include some form of dance. In addition to the "main" video for a Kpop release, the release of a dance video, or a dance rehearsal video, focusing exclusively on the dances has become common practice. These videos allow fans to learn and practice the dance, thereby increasing the kinesthetic connection between fans and their idols. At the same time, it affords an opportunity to explore the "dance vocabulary" of Kpop dances. While there are well-known Kpop choreographers who work with the Kpop idols to create their dances, there is little documentation of these dances beyond the dance videos themselves. In our work, we develop a series of methods for (a) identifying dance sequences in Kpop videos, irrespective of whether they are dance videos (b) develop a series of classifiers for the navigation of a large scale Kpop video corpus and (c) apply deep learning methods to identify dancers and their body positions. Taken together, these approaches pave the way for the development of a macroscope for the study of Kpop videos, allowing researchers to identify patterns in the Kpop space, explore dynamic change in features such as color space, or interrogate the differences in visual representations of male and female performers at an aggregate scale. Importantly, as pose estimation has become more accurate, these methods allow us to begin the process of inferring the dance vocabulary of Kpop and start the process of tracing transcultural choreographic flows.

What Do Computers Know about Making Dances?
Lisa Wymore, Professor, Department of Theater, Dance, and Performance Studies, University of California, Berkeley

Dance makers can choose to imbue embodied knowledge into our machines through a variety of methods from motion capture, to voice detection, to image recognition, to motion tracking, etc. What happens when we ask our computers to co-create a piece of choreography with this embodied information? Can we find innovative and unexpected modes of expression that would have not otherwise occurred if the computer or the choreographer had worked alone? For this presentation I will be showing examples from my work entitled Endless Gestures of Goodwill (March 2015), which is a dance film derived from a cache of over 250 video files of dance movements and gestures. The gestures were created specifically with a variety of compatible input and output poses. The video files were then coded and run through a random generating algorithm to create an endless dance series that appears seamless without any sudden or jerky transitions. Ideally, the piece can run indefinitely, as if the computer is creating an endless dance. The piece was designed to be viewed within a museum setting, rather than viewed in a theater. To add to the feeling of collaborating with the computer on the dance, a camera hanging from the ceiling of the museum captures the audience members' proximity to the screens. From this data, the film either slows down or speeds up depending on the spatial position of the viewers. This means that the exhibit has a lively interplay between the gestures being projected in the film and the movement of the audience members in real time within the museum space. In thinking about this piece again, I am wondering about the possibility of creating larger caches of recorded gestures utilizing cloud-based technology and using AI deep learning to speed up the detection of compatible dance gestures within very large data sets. When would this data become a dance and would the computer know if it had created one?

About the Panelists:

Dr. Timothy R. Tangherlini
Timothy R. Tangherlini is a Professor in the Department of Scandinavian at the University of California, Berkeley. A folklorist and ethnographer by training, he is the author of Danish Folktales, Legends and Other Stories (University of Washington Press, 2014), Talking Trauma (University Press of Mississippi, 1999), and Interpreting Legend (Garland Publishing, 1994). He has published widely in academic journals across the fields of folklore, sociology, and computer science. Formerly a professor of Asian Languages and Cultures and European Languages and Transcultural Studies at UCLA, he acted as co-director of the program on Culture Analytics at the NSF’s Institute for Pure and Applied Mathematics, and led the NEH summer institute on Network Analysis for the Humanities. He is interested in the circulation of stories on and across social networks, and the ways in which stories are used by individuals in their negotiation of ideology with the groups to which they belong. His current research focuses on computational approaches to problems in the study of folklore, literature and culture. His research has been supported by grants from the NSF, the NIH, the NEH, the ACLS, the Guggenheim Foundation, and Google. He is a fellow of the American Folklore Society, and of the Swedish Royal Gustav Adolf Academy.

Lisa Wymore
Professor Wymore is Co-Artistic Director of Smith/Wymore Disappearing Acts with Sheldon B. Smith. The company creates multimedia dance theater works and experimental performances. Their work has been presented and hosted by numerous national and international festivals including the Chicago Museum of Contemporary Art Summer Solstice Celebration, Dance Chicago, the Performing Arts Chicago PAC/edge Festival, the Dublin Fringe Festival, the Minneapolis Spark Festival, the Earagail Arts Festival in Donegal, Ireland, the [Kon.[Text]] Symposium in Zurich, Switzerland, the Studio for Electro-Instrumental Music (STEIM) in Amsterdam, the MOCO International Conference on Movement and Computing at Goldsmiths University, London.

In 2005, Professor Wymore started a multi-disciplinary project called The Resonance which has evolved into the Z-Lab UC Berkeley -- a site for interactive real-time collaboration. This project involves choreographers, computer engineers, and visual/sound artists who are investigating presence/co-presence and corporeal and code interactivity within live and media-based performance. From 2005-2009 Wymore worked with Professor Ruzena Bajscy (UCB) and her team on Tele-Immersion technology exploring virtual meeting places, co-presence, and virtual connection for which they were awarded two National Science Foundation grants. From 2011 to 2012 Wymore worked with Professor John Crawford (UCI) and his Embodied Media and Technology Lab on a project called Virtual Venues which explored materiality, gesture, and collaboration across distance in real time. In 2015 Wymore worked with Adrian Freed from the Center for New Music and Audio Technology (CNMAT) on a project called the Digital Intermedia Collaborative Platform (DICP) which investigates human-computer interactivity. The DICP project was funded by a UC Berkeley Digital Humanities grant. Wymore is an ongoing member of Metabody EU, a group of artists and researchers exploring the homogenization of expressions induced by current information and control technologies.

Professor Wymore has an M.F.A. from the University of Illinois, Champaign-Urbana, where she was awarded a Creative and Performing Arts Fellowship, an Outstanding Achievement Award, and a Moe Family Award for her creativity. She was a faculty member within the Northwestern University Dance Program from 2000 to 2004.

Dr. Claudia von Vacano
Dr. Claudia von Vacano is the Executive Director of the D-Lab and the Digital Humanities at Berkeley, and is on the boards of the Social Science Matrix and Berkeley Center for New Media. She has worked in policy and educational administration since 2000, and at the UC Office of the President and UC Berkeley since 2008.

Dr. von Vacano is deeply committed to supporting the success of underrepresented students including women, racial/ethnic minorities, first-generation college-going, and speakers of English as a second, and she has worked extensively with these groups at various stages of the educational pipeline. She has created outreach and intervention strategies through the UC Office of the President and she is currently the program director of a $3 million NSF Improving Undergraduate STEM Education (IUSE) initiative under the leadership of Faculty Director David J. Harding and with cross-university governance including the Associate Provost of Data Science and Information and Dean of the Information School. She is also co-PI with Karen Chapple, City Planning Chair, College of Environmental Design of a Chan Zuckerburg Initiative grant to provide professional development for housing professionals in the San Francisco Bay Area. Each year through the D-Lab and Digital Humanities at Berkeley, Dr. von Vacano oversees programs including 300 computational and data-intensive workshops and 1,200 consultations. She co-developed the core curriculum for the Digital Humanities Summer-only Minor and Certificate program at UC Berkeley. She is the lead online course developer of the SAGE Campus, “Introduction to Applied Data Science Methods for Social Scientists.” She is the P.I. of an online hate speech research project with the financial support of the Anti-defamation League and Google Jigsaw.

She received a Master’s degree from Stanford University in Learning, Design, and Technology. Her doctorate is in Policy, Organizations, Measurement, and Evaluation from UC Berkeley. Her expertise is in organizational theory and behavior and in educational and language policy implementation. The Phi Beta Kappa Society, the Andrew W. Mellon Foundation, the Rockefeller Brothers Foundation, and the Thomas J. Watson Foundation, among others, have recognized her scholarly work and service contributions.

Sponsors

The DH Fair is sponsored by the UC Berkeley Digital Humanities Working Group, The Townsend Center, the D-Lab, and the Library.

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