Tanya Clement

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Papers by Tanya Clement

Dissonant Records

How archives obscure recorded media—and the case in favor of discovering them. Silence is not abs... more How archives obscure recorded media—and the case in favor of discovering them. Silence is not absence. It may be perceived as meaningless, or it may not be perceived at all, but it takes up space. In Dissonant Records, Tanya Clement makes the case for spoken word audio recordings within the archives. She explains why we tend to not use these audio recordings in research, what silences exist in the cultural record, and what difference it makes when we start to listen. From recordings of the survivors of the 1921 Tulsa Massacre to Anne Sexton's recorded therapy sessions, Clement illustrates the myriad ways in which our current use of archives precludes the use of invaluable recorded texts. Whom, what, and how are we not studying in our cultural histories? Why, Clement asks, do audio recordings typically garner little interest? This book dissects the institutional and disciplinary blockades that discourage the use of spoken word audio recordings in research and teaching while inter...

Data Cultures, Culture as Data

Data have become pervasive in research in the humanities and the social sciences. New areas, obje... more Data have become pervasive in research in the humanities and the social sciences. New areas, objects, and situations for study have developed; and new methods for working with data are shepherded by new epistemologies and (potential) paradigm shifts. But data didn't just happen to us. We have happened to data. In every field, scholars are drawing boundaries between data and humans as if making meaning with data is innocent work. But these boundaries are never innocent. Questions are emerging about the relationships of culture to data-urgent questions that focus on the codification (or code-ification) of social and cultural bias and the erosion of human agency, subjectivity, and identity.

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Review: The Mixtape Museum

The Mixtape Museum (MXM) is an archive project dedicated to collecting, preserving, and sharing k... more

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AudiAnnotate Workshop with Radio Venceremos, Rebel Radio Station and SpokenWeb: Using IIIF with AV to Build Editions and Exhibits

Zenodo (CERN European Organization for Nuclear Research), Jun 30, 2023

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Review: The Anti-Eviction Mapping Project

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The Poem Electric: Technology and the Lyric by Seth Perlow (review)

Distant Listening or Playing Visualisations Pleasantly with the Eyes and Ears

Digital studies, Jul 26, 2013

From Virgil Thomson's 1934 musical score for Gertrude Stein's opera Four Saints in Three Acts, to... more From Virgil Thomson's 1934 musical score for Gertrude Stein's opera Four Saints in Three Acts, to readings of The Making of Americans (1925) using digital tools, artists and scholars have used musical composition and computational tools to help express something otherwise obscured in traditional readings of Stein's texts. At first glance, it seems there is little in common between these efforts: readers argue that setting a Steinian text to music is a welcome abstraction that brings the text to new heights of expression, while computing them seems to concretise their subtleties and diminish their expressive possibilities. I argue that it is the situated hermeneutical framework in which visualisations, like musical scores, invite us to "play," that guides our scholarly, interpretive performances with Stein's texts. In particular, the visualisations I introduce here help us reconsider the significance of oral traditions in Stein's self-proclaimed magnum opus, The Making of Americans. De la partition de Virgil Thomson en 1934 pour l'opéra Four Saints in Three Acts de Gertrude Stein aux lectures de The Making of Americans (1925) utilisant des outils numériques, artistes et chercheurs ont utilisé la composition musicale et les outils informatiques pour contribuer à exprimer ce qui reste obscur dans les lectures traditionnelles des écrits de Stein. De prime abord, ces deux approches semblent n'avoir que peu de choses en commun : les lecteurs rapportent que la mise en musique des textes de Stein en musique est une abstraction louable qui porte les textes vers de nouveaux sommets d'expression, alors que leur appliquer des outils informatique semble rendre plus concrètes leurs subtilités et diminuer leur potentiel d'expression. Je soutiens que c'est le cadre herméneutique situé dans lequel les visualisations comme les partitions nous invitent à "jouer", qui guide nos approches académiques et interprétatives des textes de Stein. En particulier, les visualisations que je présente ici nous aident à reconsidérer l'importance de la tradition orale dans ce qu'elle décrit comme son oeuvre majeure, The Making of Americans.

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15. Multiliteracies in the Undergraduate Digital Humanities Curriculum: Skills, Principles, and Habits of Mind

Open Book Publishers, 2012

Mark Baeurlein complains that undergraduates are passive consumers because they convert ″history,... more Mark Baeurlein complains that undergraduates are passive consumers because they convert ″history, philosophy, literature, civics, and fine art into information″ as ″material to retrieve and pass along.″ In contrast, scholarship in digital humanities suggests that inquiry enabled by modes of research, design, preservation, dissemination, and communication that rely on information systems – algorithms or online networks for processing data – deepen and advance knowledge in the humanities. Dubbi..

Distant Listening and Resonance

English Studies in Canada, 2020

Sounding It Out: Modeling Aurality for Text Collection Analysis

Presented at “Representing Knowledge in the Digital Humanities”, University of Kansas, September ... more Presented at “Representing Knowledge in the Digital Humanities”, University of Kansas, September 24, 2011. Institute for Digital Research in the Humanities: http://idrh.ku.edu Tanya Clement is an Assistant Professor in the School of Information at the University of Texas.Many scholars and poets have written about the remarkable experience of hearing Gertrude Stein’s texts read aloud. “Language poets” who emerged in the 1960s and 1970s and who form important scholarly communities today have adopted Stein as an early influence and a model. In part, the nature of this relationship has been ascribed to the indeterminacy and the manner of language play that Majorie Perloff and others see evinced in Stein’s writing, but the extent to which prosody and rhythm has also influenced these artists goes undocumented. Further, very few scholars have had the means to investigate the speech patterns (whether African American or German or French) that may have influenced Stein. This paper will discuss a use-case study in which I am using data mining to examine clusters of patterns in Stein’s poetry and prose compared to those in non-fiction narratives and oral histories as well as those present in contemporary poetry. Taking advantage of pre-existing research and development with the Mellon-funded SEASR (The Software Environment for the Advancement of Scholarly Research) application, this work has included identifying OpenMary XML (a text-to-speech system that uses an internal XML-based representation language called MaryXML) output as a base analytic, producing a tabular representation of the data for clustering and predictive modeling that includes phonemic and syntactic elements, creating a routine in MEANDRE (a semantic-web-driven data-intensive flow execution environment) that produces this data and allows future users to produce similar results, and developing a user-interface for seeing these comparisons across collections of texts. Access to large-scale repositories of text opens larger questions about how literary scholars can use such repositories in their research. John F. Sowa writes in his seminal book on computational foundations, that theories of knowledge representation are particularly useful “for anyone whose job is to analyze knowledge about the real world and map it to a computable form” (xi). Similarly, Sowa notes that knowledge representation is unproductive if the logic and ontology which shape its application in a certain domain are unclear: “without logic, knowledge representation is vague, Sowa writes, “with no criteria for determining whether statements are redundant or contradictory,” and “without ontology, the terms and symbols are ill-defined, confused, and confusing” (xii). Knowledge representation is the work of all scholars in digital humanities and these scholars must help determine the logics and ontologies that shape how we access this data. Charles Bernstein has written that “[t]he relation of sound to meaning is something like the relation of the soul (or mind) to the body. They are aspects of each other, neither prior, neither independent (17). Scholars have not had the ability to analyze the features of text that correspond to orality—their phonemes and prosodic elements—much less compare these features with similar features across collections. To incorporate this kind of study in digital humanities, it is time we considered the logics and ontologies of orality in the computational environment

Distortion: Authority, Authenticity, and Agency in Zora Neale Hurston's Black Folk Recordings

Zenodo (CERN European Organization for Nuclear Research), Jun 30, 2023

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Data Cultures, Culture as Data – Special Issue of Cultural Analytics

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A Study of Spoken Audio Processing using Machine Learning for Libraries, Archives and Museums (LAM)

2020 IEEE International Conference on Big Data (Big Data), 2020

As the need to provide access to spoken word audio collections in libraries, archives, and museum... more As the need to provide access to spoken word audio collections in libraries, archives, and museums (LAM) increases, so does the need to process them efficiently and consistently. Traditionally, audio processing involves listening to the audio files, conducting manual transcription, and applying controlled subject terms to describe them. This workflow takes significant time with each recording. In this study, we investigate if and how machine learning (ML) can facilitate processing of audio collections in a manner that corresponds with LAM best practices. We use the StoryCorps collection of oral histories "Las Historias," and fixed subjects (metadata) that are manually assigned to describe each of them. Our methodology has two main phases. First, audio files are automatically transcribed using two automatic speech recognition (ASR) methods. Next, we build different supervised ML models for label prediction using the transcription data and the existing metadata. Throughout these phases the results are analyzed quantitatively and qualitatively. The workflow is implemented within the flexible web framework IDOLS to lower technical barriers for LAM professionals. By allowing users to submit ML jobs to supercomputers, reproduce workflows, change configurations, and view and provide feedback transparently, this workflow allows users to be in sync with LAM professional values. The study has several outcomes including a comparison of the quality between different transcription methods and the impact of that quality on label prediction accuracy. The study also unveiled the limitations of using manually assigned metadata to build models, to which we suggest alternate strategies for building successful training data.

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The Ground Truth of DH Text Mining

Position Statements --- Always Already Computational: Collections as Data

Participants at Always Already Computational: Collections as Data Forum 1 (M... more Participants at Always Already Computational: Collections as Data Forum 1 (March 1-3, 2017) were asked to respond to the following prompt: Leading up to the forum, [we] ask that you write a brief position statement derived from direct or related experience salient to the scope of work described in Always Already Computational. We welcome bridging, divergence, and provocation. Is there something concrete or conceptual we are missing? Are there projects and initiatives this work should be connected to? Are there questions and communities we aren't currently considering? This is an opportunity to highlight aspects of your experience that relate to the project and will to some extent help stage interaction at the face-to-face meeting - and beyond - as the project team works to iteratively refine forum outputs in a range of professional and disciplinary communities. Perspectives represented in the position statements highlight the many direct...

Publisher: Text Encoding Initiative Consortium

The contents of this site is subject to the French law on intellectual property and is the exclus... more The contents of this site is subject to the French law on intellectual property and is the exclusive property of the publisher. The works on this site can be accessed and reproduced on paper or digital media, provided that they are strictly used for personal, scientific or educational purposes excluding any commercial exploitation. Reproduction must necessarily mention the editor, the journal name, the author and the document reference. Any other reproduction is strictly forbidden without permission of the publisher, except in cases provided by legislation

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Editors' Note: February 2021

Reviews in Digital Humanities, 2021

Reviews in Digital Humanities has been an ongoing experiment in building the capacity of digital ... more

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Where Is Methodology in Digital Humanities

Editors' Note: April 2021

Reviews in Digital Humanities has been an ongoing experiment in building the capacity of digital ... more Reviews in Digital Humanities has been an ongoing experiment in building the capacity of digital humanists to offer peer reviews that blend humanistic and technical inquiry. To this point, we've focused on capacity building with faculty, staff, cultural heritage professionals, and individual graduate students. In this issue, we experiment with scaling the work of capacity building by partnering with a class of graduate students and their instructor. Tanya Clement, in the Department of English at University of Texas, was our willing partner as we explored whether we could

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Editors' Note: March 2021

Vol. 2, No. 3, 2021

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