45 Matching Annotations
  1. Apr 2023
    1. In Vice, Maggie Puniewska points to the moral foundations theory, according to which liberals and conservatives prioritize different ethics: the former compassion, fairness and liberty, the latter purity, loyalty and obedience to authority.
  2. Feb 2023
  3. Jan 2023
    1. 3.1 Guest Lecture: Lauren Klein » Q&A on "What is Feminist Data Science?"<br /> https://www.complexityexplorer.org/courses/162-foundations-applications-of-humanities-analytics/segments/15631

      https://www.youtube.com/watch?v=c7HmG5b87B8

      Theories of Power

      Patricia Hill Collins' matrix of domination - no hierarchy, thus the matrix format

      What are other broad theories of power? are there schools?

      Relationship to Mary Parker Follett's work?

      Bright, Liam Kofi, Daniel Malinsky, and Morgan Thompson. “Causally Interpreting Intersectionality Theory.” Philosophy of Science 83, no. 1 (January 2016): 60–81. https://doi.org/10.1086/684173.

      about Bayesian modeling for intersectionality


      Where is Foucault in all this? Klein may have references, as I've not got the context.


      How do words index action? —Laura Klein


      The power to shape discourse and choose words - relationship to soft power - linguistic memes

      Color Conventions Project


      20:15 Word embeddings as a method within her research


      General result (outside of the proximal research) discussed: women are more likely to change language... references for this?


      [[academic research skills]]: It's important to be aware of the current discussions within one's field. (LK)


      36:36 quantitative imperialism is not the goal of humanities analytics, lived experiences are incredibly important as well. (DK)

    1. https://www.complexityexplorer.org/courses/162-foundations-applications-of-humanities-analytics/segments/15625

      https://www.youtube.com/watch?v=vZklLt80wqg

      Looking at three broad ideas with examples of each to follow: - signals - patterns - pattern making, pattern breaking

      Proceedings of the Old Bailey, 1674-1913

      Jane Kent for witchcraft

      250 years with ~200,000 trial transcripts

      Can be viewed as: - storytelling, - history - information process of signals

      All the best trials include the words "Covent Garden".

      Example: 1163. Emma Smith and Corfe indictment for stealing.

      19:45 Norbert Elias. The Civilizing Process. (book)

      Prozhito: large-scale archive of Russian (and Soviet) diaries; 1900s - 2000s

      How do people understand the act of diary-writing?

      Diaries are:

      Leo Tolstoy

      a convenient way to evaluate the self

      Franz Kafka

      a means to see, with reassuring clarity [...] the changes which you constantly suffer.

      Virginia Woolf'

      a kindly blankfaced old confidante

      Diary entries in five categories - spirit - routine - literary - material form (talking about the diary itself) - interpersonal (people sharing diaries)

      Are there specific periods in which these emerge or how do they fluctuate? How would these change between and over cultures?

      The pattern of talking about diaries in this study are relatively stable over the century.

      pre-print available of DeDeo's work here

      Pattern making, pattern breaking

      Individuals, institutions, and innovation in the debates of the French Revolution

      • transcripts of debates in the constituent assembly

      the idea of revolution through tedium and boredom is fascinating.

      speeches broken into combinations of patterns using topic modeling

      (what would this look like on commonplace book and zettelkasten corpora?)

      emergent patterns from one speech to the next (information theory) question of novelty - hi novelty versus low novelty as predictors of leaders and followers

      Robespierre bringing in novel ideas

      How do you differentiate Robespierre versus a Muppet (like Animal)? What is the level of following after novelty?

      Four parts (2x2 grid) - high novelty, high imitation (novelty with ideas that stick) - high novelty, low imitation (new ideas ignored) - low novelty, high imitation - low novelty, low imitation (discussion killers)

      Could one analyze television scripts over time to determine the good/bad, when they'll "jump the shark"?

  4. Aug 2022
  5. Feb 2022
  6. Oct 2021
  7. Sep 2021
  8. May 2021
  9. Mar 2021
  10. Feb 2021
    1. Skinner’s reinforcement theory was used to create carefully constructed self­-instructional materials

      I always wondered about the beginning of Instuctional Design, and it is nice to understand that Skinnerian psychology had a part in forming the foundation of Instuctional Design We know today.

  11. Jan 2021
    1. I started working on a social immune system for twitter leveraging their API. Eventually, I realized that trying to build an elaborate sandcastle on someone else’s private beach isn’t the smartest of plays.
  12. Jul 2020
  13. May 2020
  14. Dec 2019
    1. How to sway the other side: Use their morals against them Willer’s work is based on moral foundations theory. It's the idea that people have stable, gut-level morals that influence their worldview. The liberal moral foundations include equality, fairness, and protection of the vulnerable. Conservative moral foundations are more stalwart: They favor in-group loyalty, moral purity, and respect for authority.
  15. Nov 2018
  16. ecomentor.itee.radom.pl ecomentor.itee.radom.pl
    1. ANDRAGOGY: AN EMERGING TECHNOLOGY FOR ADULT LEARNING

      This article discusses the foundations of technology for adult education and the development of andragogy. In particular, it notes that adult learners need to be self-driven and self-evaluating to constantly be a part of their own education. This would be valuable in working with adult students, or in preparing for a professional development of adult educators.

      Content Depth: 5/5

      Content Breadth: 4/5

      Ease of Access: 3/5

  17. Sep 2018
    1. Huxley suggests that one source for a definition of what it means to be a human being is religion. In Brave New World, religion has been abolished and Christianity is a distant memory

      In his story, religion is completely abolished and along with this, is a sense of morality, what is good and what is bad. To a degree, it may not even be religion that is the basis of being human, rather it is just spiritual and moral values overall that holds the foundation for emotion and growth to take place.

  18. Aug 2018
    1. Similarly, the moral foundations theory originally put forth by Jonathan Haidt and Jesse Graham purports that humans have (in the most common and widely discussed versions of the theory) five innate moral building blocks: care/harm; fairness/cheating; loyalty/betrayal (associated with in-group/out-group consciousness); authority/subversion; and sanctity/degradation (“sanctity” is also often referred to as “purity” in the relevant discussions). Liberals are highly attuned to care/harm and fairness/reciprocity, but conservatives, while valuing care, also emphasize authority and purity, which means that their approach to care/harm will be very different from that of liberals. (In fairness, many on the far Left also emphasize purity and fall into authoritarianism.)

      This could be worth a read as well.

  19. Sep 2017
    1. Pronounced inequalities and disparities exist in terms of individuals’ digital skills and competencies within communities, countries and regions.

      Foundations to address:

      1. Institutional capacity and continuity
      2. GOV involvement
      3. Public/private partnerships managed via nonprofit/neutral bodies
      4. Localization/contextualization
      5. Scaling existing promising practices
      6. Using existing technologies
      7. Blending non-digital approaches
      8. Bridge formal/informal skills provision
      9. Teacher PD
      10. Evaluation/evidence
  20. Jul 2016
  21. Feb 2014
    1. Think how much could be saved if new foundation grants begin requiring interoperability with a set of core community source projects.

      making interoperability a requirement for the receipt of a grant

    1. T h i s p r o t e c t i o n i s s u b j e c t t o a n i m p o r t a n t l i m i t a t i o n . T h e m e r e f a c t t h a t a w o r k i s c o p y r i g h t e d d o e s n o t m e a n t h a t e v e r y e l e m e n t o f t h e w o r k m a y b e p r o t e c t e d . O r i g i n a l i t y r e m a i n s t h e s i n e q u a n o n o f c o p y r i g h t ; a c c o r d i n g l y , c o p y r i g h t p r o t e c t i o n m a y e x t e n d o n l y t o t h o s e c o m p o n e n t s o f a w o r k t h a t a r e o r i g i n a l t o t h e a u t h o r . P a t t e r s o n & J o y c e 8 0 0 - 8 0 2 ; G i n s b u r g , C r e a t i o n a n d C o m m e r c i a l V a l u e : C o p y r i g h t P r o t e c t i o n o f W o r k s o f I n f o r m a t i o n , 9 0 C o l u m . L . R e v . 1 8 6 5 , 1 8 6 8 , a n d n . 1 2 ( 1 9 9 0 ) ( h e r e i n a f t e r G i n s b u r g ) .

      Though a work may be copyrightable it does not mean that every element of the work may be protectable.

    2. F a c t u a l c o m p i l a t i o n s , o n t h e o t h e r h a n d , m a y p o s s e s s t h e r e q u i s i t e o r i g i n a l i t y .

      Factual compilations may possess the requisite originality and so may be copyrightable.

    3. C e n s u s t a k e r s , f o r e x a m p l e , d o n o t " c r e a t e " t h e p o p u l a t i o n f i g u r e s t h a t e m e r g e f r o m t h e i r e f f o r t s ; i n a s e n s e , t h e y c o p y t h e s e f i g u r e s f r o m t h e w o r l d a r o u n d t h e m . D e n i c o l a , C o p y r i g h t i n C o l l e c t i o n s o f F a c t s : A T h e o r y f o r t h e P r o t e c t i o n o f N o n f i c t i o n L i t e r a r y W o r k s , 8 1 C o l u m . L . R e v . 5 1 6 , 5 2 5 ( 1 9 8 1 ) ( h e r e i n a f t e r D e n i c o l a ) . C e n s u s d a t a t h e r e f o r e d o n o t t r i g g e r c o p y r i g h t b e c a u s e t h e s e d a t a a r e n o t " o r i g i n a l " i n t h e c o n s t i t u t i o n a l s e n s e . N i m m e r § 2 . 0 3 [ E ] . T h e s a m e i s t r u e o f a l l f a c t s — s c i e n t i f i c , h i s t o r i c a l , b i o g r a p h i c a l , a n d n e w s o f t h e d a y . " [ T ] h e y m a y n o t b e c o p y r i g h t e d a n d a r e p a r t o f t h e p u b l i c d o m a i n a v a i l a b l e t o e v e r y p e r s o n . " M i l l e r , s u p r a , a t 1 3 6 9 .

      Census takers do not create; they merely copy the figured from the world around them. All facts-- scientific, historical, biographical, and news of the day-- may not be copyrighted and are part of the public domain.

    4. I t i s t h i s b e d r o c k p r i n c i p l e o f c o p y r i g h t t h a t m a n d a t e s t h e l a w ' s s e e m i n g l y d i s p a r a t e t r e a t m e n t o f f a c t s a n d f a c t u a l c o m p i l a t i o n s . " N o o n e m a y c l a i m o r i g i n a l i t y a s t o f a c t s . " I d . , § 2 . 1 1 [ A ] , p . 2 - 1 5 7 . T h i s i s b e c a u s e f a c t s d o n o t o w e t h e i r o r i g i n t o a n a c t o f a u t h o r s h i p . T h e d i s t i n c t i o n i s o n e b e t w e e n c r e a t i o n a n d d i s c o v e r y : T h e f i r s t p e r s o n t o f i n d a n d r e p o r t a p a r t i c u l a r f a c t h a s n o t c r e a t e d t h e f a c t ; h e o r s h e h a s m e r e l y d i s c o v e r e d i t s e x i s t e n c e . T o b o r r o w f r o m B u r r o w - G i l e s , o n e w h o d i s c o v e r s a f a c t i s n o t i t s " m a k e r " o r " o r i g i n a t o r . " 1 1 1 U . S . , a t 5 8 . " T h e d i s c o v e r e r m e r e l y f i n d s a n d r e c o r d s . " N i m m e r § 2 . 0 3 [ E ] .

      No one may claim originality to facts because facts do not owe their origin to an act of authorship. The distinction is one between creation vs discovery.

    5. T h e o r i g i n a l i t y r e q u i r e m e n t a r t i c u l a t e d i n T h e T r a d e - M a r k C a s e s a n d B u r r o w - G i l e s r e m a i n s t h e t o u c h s t o n e o f c o p y r i g h t p r o t e c t i o n t o d a y . S e e G o l d s t e i n v . C a l i f o r n i a , 4 1 2 U . S . 5 4 6 , 5 6 1 - 5 6 2 ( 1 9 7 3 ) . I t i s t h e v e r y " p r e m i s e o f c o p y r i g h t l a w . " M i l l e r v . U n i v e r s a l C i t y S t u d i o s , I n c . , 6 5 0 F . 2 d 1 3 6 5 , 1 3 6 8 ( C A 5 1 9 8 1 ) . L e a d i n g s c h o l a r s a g r e e o n t h i s p o i n t . A s o n e p a i r o f c o m m e n t a t o r s s u c c i n c t l y p u t s i t : " T h e o r i g i n a l i t y r e q u i r e m e n t i s c o n s t i t u t i o n a l l y m a n d a t e d f o r a l l w o r k s . "

      The originality requirement is the touchstone of copyright protection today.

    6. I n B u r r o w - G i l e s , t h e C o u r t d i s t i l l e d t h e s a m e r e q u i r e m e n t f r o m t h e C o n s t i t u t i o n ' s u s e o f t h e w o r d " a u t h o r s . " T h e C o u r t d e f i n e d " a u t h o r , " i n a c o n s t i t u t i o n a l s e n s e , t o m e a n " h e t o w h o m a n y t h i n g o w e s i t s o r i g i n ; o r i g i n a t o r ; m a k e r . " 1 1 1 U . S . , a t 5 8 ( i n t e r n a l q u o t a t i o n m a r k s o m i t t e d ) . A s i n T h e T r a d e - M a r k C a s e s , t h e C o u r t e m p h a s i z e d t h e c r e a t i v e c o m p o n e n t o f o r i g i n a l i t y . I t d e s c r i b e d c o p y r i g h t a s b e i n g l i m i t e d t o " o r i g i n a l i n t e l l e c t u a l c o n c e p t i o n s o f t h e a u t h o r , " 1 1 1 U . S . , a t 5 8 , a n d s t r e s s e d t h e i m p o r t a n c e o f r e q u i r i n g a n a u t h o r w h o a c c u s e s a n o t h e r o f i n f r i n g e m e n t t o p r o v e " t h e e x i s t e n c e o f t h o s e f a c t s o f o r i g i n a l i t y , o f i n t e l l e c t u a l p r o d u c t i o n , o f t h o u g h t , a n d c o n c e p t i o n . " I d . , a t 5 9 - 6 0 .

      In Burrow-Giles the court defined authors, in a constitutional sense, to mean "he to whom anything owes its origin, originator, maker" and emphasized the creative component of originality.

    7. I n T h e T r a d e - M a r k C a s e s , t h e C o u r t a d d r e s s e d t h e c o n s t i t u t i o n a l s c o p e o f " w r i t i n g s . " F o r a p a r t i c u l a r w o r k t o b e c l a s s i f i e d " u n d e r t h e h e a d o f w r i t i n g s o f a u t h o r s , " t h e C o u r t d e t e r m i n e d , " o r i g i n a l i t y i s r e q u i r e d . " 1 0 0 U . S . , a t 9 4 . T h e C o u r t e x p l a i n e d t h a t o r i g i n a l i t y r e q u i r e s i n d e p e n d e n t c r e a t i o n p l u s a m o d i c u m o f c r e a t i v i t y : " [ W ] h i l e t h e w o r d w r i t i n g s m a y b e l i b e r a l l y c o n s t r u e d , a s i t h a s b e e n , t o i n c l u d e o r i g i n a l d e s i g n s f o r e n g r a v i n g , p r i n t s , & c . , i t i s o n l y s u c h a s a r e o r i g i n a l , a n d a r e f o u n d e d i n t h e c r e a t i v e p o w e r s o f t h e m i n d . T h e w r i t i n g s w h i c h a r e t o b e p r o t e c t e d a r e t h e f r u i t s o f i n t e l l e c t u a l l a b o r , e m b o d i e d i n t h e f o r m o f b o o k s , p r i n t s , e n g r a v i n g s , a n d t h e l i k e . " I b i d . ( e m p h a s i s i n o r i g i n a l ) .

      In The Trade-Mark Cases the Court addressed the constitutional scope of writings saying for a particular work to be classified "under the head of writings of authors," the Court determined, "originality is required"; independent creation plus a modicum of creativity.

    8. O r i g i n a l i t y d o e s n o t s i g n i f y n o v e l t y ; a w o r k m a y b e o r i g i n a l e v e n t h o u g h i t c l o s e l y r e s e m b l e s o t h e r w o r k s s o l o n g a s t h e s i m i l a r i t y i s f o r t u i t o u s , n o t t h e r e s u l t o f c o p y i n g . T o i l l u s t r a t e , a s s u m e t h a t t w o p o e t s , e a c h i g n o r a n t o f t h e o t h e r , c o m p o s e i d e n t i c a l p o e m s . N e i t h e r w o r k i s n o v e l , y e t b o t h a r e o r i g i n a l a n d , h e n c e , c o p y r i g h t a b l e .

      See Sheldon v. Metro-Goldwyn Pictures Corp., 81 F. 2d 49, 54 (CA2 1936)

    9. O r i g i n a l i t y i s a c o n s t i t u t i o n a l r e q u i r e m e n t . T h e s o u r c e o f C o n g r e s s ' p o w e r t o e n a c t c o p y r i g h t l a w s i s A r t i c l e I , § 8 , c l . 8 , o f t h e C o n s t i t u t i o n , w h i c h a u t h o r i z e s C o n g r e s s t o " s e c u r [ e ] f o r l i m i t e d T i m e s t o A u t h o r s . . . t h e e x c l u s i v e R i g h t t o t h e i r r e s p e c t i v e W r i t i n g s . " I n t w o d e c i s i o n s f r o m t h e l a t e 1 9 t h c e n t u r y — T h e T r a d e - M a r k C a s e s , 1 0 0 U . S . 8 2 ( 1 8 7 9 ) ; a n d B u r r o w - G i l e s L i t h o g r a p h i c C o . v . S a r o n y , 1 1 1 U . S . 5 3 ( 1 8 8 4 ) — t h i s C o u r t d e f i n e d t h e c r u c i a l t e r m s " a u t h o r s " a n d " w r i t i n g s . " I n s o d o i n g , t h e C o u r t m a d e i t u n m i s t a k a b l y c l e a r t h a t t h e s e t e r m s p r e s u p p o s e a d e g r e e o f o r i g i n a l i t y .

      This Court defined the crucial terms authors and writings.

    10. T h e k e y t o r e s o l v i n g t h e t e n s i o n l i e s i n u n d e r s t a n d i n g w h y f a c t s a r e n o t c o p y r i g h t a b l e . T h e s i n e q u a n o n o f c o p y r i g h t i s o r i g i n a l i t y . T o q u a l i f y f o r c o p y r i g h t p r o t e c t i o n , a w o r k m u s t b e o r i g i n a l t o t h e a u t h o r . S e e H a r p e r & R o w , s u p r a , a t 5 4 7 - 5 4 9 . O r i g i n a l , a s t h e t e r m i s u s e d i n c o p y r i g h t , m e a n s o n l y t h a t t h e w o r k w a s i n d e p e n d e n t l y c r e a t e d b y t h e a u t h o r ( a s o p p o s e d t o c o p i e d f r o m o t h e r w o r k s ) , a n d t h a t i t p o s s e s s e s a t l e a s t s o m e m i n i m a l d e g r e e o f c r e a t i v i t y . 1 M . N i m m e r & D . N i m m e r , C o p y r i g h t § § 2 . 0 1 [ A ] , [ B ] ( 1 9 9 0 ) ( h e r e i n a f t e r N i m m e r ) . T o b e s u r e , t h e r e q u i s i t e l e v e l o f c r e a t i v i t y i s e x t r e m e l y l o w ; e v e n a s l i g h t a m o u n t w i l l s u f f i c e . T h e v a s t m a j o r i t y o f w o r k s m a k e t h e g r a d e q u i t e e a s i l y , a s t h e y p o s s e s s s o m e c r e a t i v e s p a r k , " n o m a t t e r h o w c r u d e , h u m b l e o r o b v i o u s " i t m i g h t b e . I d . , § 1 . 0 8 [ C ] [ 1 ] .

      The sine qua non of copyright is originality.

    11. T h e r e i s a n u n d e n i a b l e t e n s i o n b e t w e e n t h e s e t w o p r o p o s i t i o n s . M a n y c o m p i l a t i o n s c o n s i s t o f n o t h i n g b u t r a w d a t a — i . e . , w h o l l y f a c t u a l i n f o r m a t i o n n o t a c c o m p a n i e d b y a n y o r i g i n a l w r i t t e n e x p r e s s i o n . O n w h a t b a s i s m a y o n e c l a i m a c o p y r i g h t i n s u c h a w o r k ? C o m m o n s e n s e t e l l s u s t h a t 1 0 0 u n c o p y r i g h t a b l e f a c t s d o n o t m a g i c a l l y c h a n g e t h e i r s t a t u s w h e n g a t h e r e d t o g e t h e r i n o n e p l a c e . Y e t c o p y r i g h t l a w s e e m s t o c o n t e m p l a t e t h a t c o m p i l a t i o n s t h a t c o n s i s t e x c l u s i v e l y o f f a c t s a r e p o t e n t i a l l y w i t h i n i t s s c o p e
    12. i t i s b e y o n d d i s p u t e t h a t c o m p i l a t i o n s o f f a c t s a r e w i t h i n t h e s u b j e c t m a t t e r o f c o p y r i g h t . C o m p i l a t i o n s w e r e e x p r e s s l y m e n t i o n e d i n t h e C o p y r i g h t A c t o f 1 9 0 9 , a n d a g a i n i n t h e C o p y r i g h t A c t o f 1 9 7 6
    13. T h i s c a s e c o n c e r n s t h e i n t e r a c t i o n o f t w o w e l l - e s t a b l i s h e d p r o p o s i t i o n s . T h e f i r s t i s t h a t f a c t s a r e n o t c o p y r i g h t a b l e ; t h e o t h e r , t h a t c o m p i l a t i o n s o f f a c t s g e n e r a l l y a r e . E a c h o f t h e s e p r o p o s i t i o n s p o s s e s s e s a n i m p e c c a b l e p e d i g r e e . T h a t t h e r e c a n b e n o v a l i d c o p y r i g h t i n f a c t s i s u n i v e r s a l l y u n d e r s t o o d . T h e m o s t f u n d a m e n t a l a x i o m o f c o p y r i g h t l a w i s t h a t " [ n ] o a u t h o r m a y c o p y r i g h t h i s i d e a s o r t h e f a c t s h e n a r r a t e s . " H a r p e r & R o w , P u b l i s h e r s , I n c . v . N a t i o n E n t e r p r i s e s , 4 7 1 U . S . 5 3 9 , 5 5 6 ( 1 9 8 5 ) .

      The most fundamental axiom of copyright law is that "no author may copyright his ideas or the facts he narrates." Harper & Row, Publishers, Inc. v. Nation Enterprises, 471U. S.539,556 (1985).

    14. T h i s c a s e r e q u i r e s u s t o c l a r i f y t h e e x t e n t o f c o p y r i g h t p r o t e c t i o n a v a i l a b l e t o t e l e p h o n e d i r e c t o r y w h i t e p a g e s
    1. Alexander v. Haley, 460 F.Supp. 40 (S.D.N.Y. 1978)
    2. Lecture 1: The Foundations of Copyright Law

      Readings:

      • 17 U.S.C. 102
      • Feist Publications, Inc. v. Rural Telephone Service Co., 499 U.S. 340 (1991)
      • Mannion v. Coors Brewing Co., 377 F.Supp. 2d 444 (S.D.N.Y. 2005)
      • Alexander v. Haley, 460 F.Supp. 40 (S.D.N.Y. 1978)