Wednesday, September 21st
Doheny Memorial Library, Room 241
5 to 6:30 pm
to RSVP email Curtis Fletcher at email@example.com
If you happen to be around USC this Wednesday, join us for a special Scalar workshop at the new Polymathic Labs.
A new initiative of the Academy, the Polymathic Labs will extend our integrative learning to the tactile and the sensory, offering a space for experimentation, play, and creative expression. To kick us off, Academy Director Tara McPherson and Associate Director Curtis Fletcher will lead a workshop on Scalar. The session will introduce the platform, showcase the various ways it has been used to create online publications, exhibits, and games, and lead students through a hands-on workshop on using Scalar for making various types of projects.
Please bring an internet-ready laptop to the workshop. (An iPad will also work, but laptops are often easier to work with.)
And, yes, there will be pizza!
The focus of “If caa.reviews were performance.reviews?,” the latest Scalar project published by the College Art Association, is Boris Charmatz’s “If Tate Modern Was Musée de la Danse?,” a work that turned the Turbine Hall of the Tate Museum into a dance performance, into a “dance museum” on May 15th and 16th of 2015. Boris’ work asks “What would a museum of dance look like?” and, thus correspondingly, this Scalar project, a review of Boris’ work in the Tate, asks “What would a review of a work in a dance museum look like?”
Organized by editor designate of caa.reviews, Juliet Bellow, the review includes an introduction by Bellow, and reviews of the performances at the Tate Modern by three scholars of dance, Arabella Stanger, Nicole Zee, and Tamara Tomic-Vajagic. The review presents the complexities of Charmatz’s transformation of the Tate Modern into a museum of dance for two days a transformation that challenges conceptions of museums as institutional spaces and incorporates audience participation and “unauthorized” performances.
This review is part of a new caa.reviews initiative to review time-based media works, a great fit for Scalar. This first review features an interactive map allowing readers to see where Boris’ performances occurred in the Tate Modern as well as videos and images that document the performance overall.
The Alliance for Networking Visual Culture will offer another series of free online webinars this fall.
All webinars will feature our new interface, Scalar 2. Our “Introduction to Scalar” webinars will cover basic features of the platform: a review of existing Scalar books and a hands-on introduction to paths, tags, annotations and importing media. Our “Intermediate Scalar” webinars will delve into more advanced topics including the effective use of visualizations, annotating with media and a primer on customizing appearances in Scalar.
Our fall schedule will include four dates:
Introduction to Scalar: September 15, 10am-12pm (PST)
Intermediate Scalar: October 13, 10am-12pm (PST)
Introduction to Scalar: November 10, 4pm-6pm (PST)
Intermediate Scalar: December 8, 4pm-6pm (PST)
Scalar Publication wins ATHE-ASTR Award for Excellence in Digital Theatre and Performance Scholarship
Established to support, recognize and encourage digital scholarship, the Joint ATHE-ASTR Award for Excellence in Digital Theatre and Performance Scholarship is awarded each year to an individual or team that demonstrates innovation and rigor in the use of electronic and/or digital media for the purpose of producing or disseminating knowledge about theatre and performance.
The inaugural award has gone to Erin Mee for her “Hearing the ‘Music of the Hemispheres,’” authored in Scalar and published in The Drama Review (57; 3). “Hearing the ‘Music of the Hemispheres’” uses Scalar as a tool to embody as well as analyze the multimodal and multi-linear ways that performance unfolds. In other words, it offers a performance-driven mode of scholarship aimed at better understanding spectatorship.
The subject of Mee’s article is a concert –Symphony for 100,000,000,000 Neurons- in which music was composed by sonifying fMRI scans made of subjects as they watched a stimulus film instructing them to imagine the sound of rain, listen to a recording of rain, and listen to a musical composition incorporating recordings of rain. This concert consists of multiple tracks of music, each corresponding to activity in the subject’s frontal, temporal, parietal and occipital lobes and thus allows one to hear a sonification of one’s brain as they engage in an act of spectatorship. The concert is, as Mee sees it, “an aural rendering of spectatorship” and using Scalar Mee is able to herself render and analyze for the reader the myriad multimedia components which constitute and are associated with the concert—for example, fMRI scans and audio from the stimulus film but also lectures and interviews with neuroscientists and videos portraying the sonification of abnormal brain activity.
It is this innovative and expansive use of digital content in the service of scholarship, and of Scalar in particular, that no doubt has won her the award.
Congratulations to Erin.
If you’ve been authoring in Scalar lately you’ve no doubt noticed a small but significant change in the text editor. The two buttons once used to insert annotations are now gone (Fig. 1). That’s because we’ve streamlined the workflow for inserting media and annotations, and in the process, integrated new functionality that allows users to reformat existing media.
In the old toolbar one would insert an annotation by clicking on one of the “paperclip” annotation buttons and then selecting an annotation from all of the annotations in your project. In the new system, we’ve folded annotations into the overall display options for media. So now, one simply clicks on a media button, chooses the media to display and then, selects which of its annotations (if any) to show (Fig. 2).
The eye icons allow you to toggle the visibility of each individual annotation, while the eye icon at the top of the menu, next to “Annotation Title,” toggles the display of all annotations in the list. Once you’ve selected to display at least one annotation, you’ll also be given the option to choose a specific “Featured annotation” to be highlighted once the page loads.
This new system offers much greater flexibility, allowing users to choose which, annotations, if any, they’d like to display. Want to insert a “clean” version of an image that has been annotated multiple times? Simply insert the image and select to display no annotations. Want to insert the same image twice, calling out different annotations each time? Simply insert the image and select your first set of annotations, then insert it again, selecting a different set.
Let’s use an example. You have an image for which you’ve created four separate annotations–that is, you’ve previously annotated that image by drawing out four separate areas to which you’d like to call your readers’ attention. You’d like to discuss two of those annotations in one paragraph (for example, two areas of a historical map) and the other two in a following paragraph (two other areas of the same map). Simply add the media object to the first paragraph by selecting the relevant text and clicking the first media button; after choosing the size, alignment and caption for the media, select the two annotations you’d like to discuss and then select whether you’d also like either one of those annotations to be featured–to be highlighted when the page loads. Then do the same on the next paragraph, this time choosing the other two annotations.
We’ve also implemented a new option for reformatting existing media. Now, to change the size, alignment, caption, and annotation display options for media that’s already been added to a page, simply click on the hyperlink for linked media in the text editor and select the gear icon that pops up over the thumbnail of the media (Fig. 3), or, for inline media, click on the grey box for the media object and then select the gear icon that pops up over its thumbnail. Then simply change any settings in the media formatting options.
It’s now easier to remove existing media as well, just by clicking the red “X” button that appears over the thumbnail when you click on a media link (Fig. 3). Before, you had to select the link in its entirety and click the “X” button in the toolbar to remove it.
Finally, the new system also allows users to change the media associated with a given link. In other words, say you linked a particular image to a block of text but then realized you have another image that better illustrates your point. Simply follow the steps above to reformat existing media, but instead of changing the formatting options, click on “Change Selected Media” at the top and select the new image (Fig. 2).
We think you’ll find that these new changes improve and streamline your Scalar authoring—if you have any questions or feedback, please get in touch!
Urban History has long supported the publication of online-only, multimedia works. Since 2004 the journal, published by Cambridge University Press, has delivered a number of open-access, multimedia companions, both for special issues and for individual journal articles and in 2006 the journal released Urban Icons, a groundbreaking interactive special issue focused on urban visual history.
This week the journal once again demonstrated its commitment to born-digital scholarship, releasing a special issue, ‘Urban Sights: Urban History and Visual Culture,’ guest edited by Matt Delmont and authored entirely in Scalar. “Drawing on photography, painting, film, television and other visual and textual evidence,” Delmont summarized the special issue, “the essays explore how diverse visual forms not only shape metropolitan spaces, experiences and identities, but also shape the ways in which people imagine, remember and forget such spaces and events.”
Putting the study of the visual at the center of urban history, these born-digital essays examine a wide range of visual assets and, in the case of Bridget Gilman’s essay (see below), allow readers to explore interactive timelines and visualizations of Robert Bechtle’s paintings. Delmont, in fact, worked closely with the Scalar team, as well as Urban History’s Multimedia Editor (2004-2015) and Scalar Co-PI, Phil Ethington, to see that each essay took the greatest advantage of the platform’s affordances. Delmont writes:
By presenting the special issue in Scalar, we hope to offer both new research on urban visual history and also new models for the visual and textual presentation of such research. In contrast to a traditional print issue, Scalar affords the opportunity to present a large number of images, including color images; present selected clips from films and television that are analyzed in the essays; and create visualizations to present evidence in more dynamic ways. The authors have used digital technology to expand and extend their historical analysis of and to bring this sustained engagement with the past to a wide audience through an open access online format.
Urban Sights contains the following essays:
- Laura Grantmyre, ‘Conflicting visions of renewal in Pittsburgh’s Hill District, 1950-1968’
- Bridget Gilman, ‘San Francisco views: Robert Bechtle and the reformulation of urban vision’
- Mona Damluji, ‘Visualizing Iraq: oil, cinema and the modern city’
- Carrie Rentschler, ‘Filmic witness to the 1964 Kitty Genovese murder’
- Matt Delmont, ‘Buses from nowhere: television and anti-busing activism in 1970s urban America’