[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:00.10,0:00:03.52,Default,,0000,0000,0000,,(Fraistat) So I'll turn it over to Jen\Nfor the introduction.
Dialogue: 0,0:00:04.20,0:00:06.53,Default,,0000,0000,0000,,So I'm Jen.\NNice to meet you.
Dialogue: 0,0:00:07.62,0:00:11.09,Default,,0000,0000,0000,,I actually printed out what to say,\Nin part because Anne
Dialogue: 0,0:00:11.09,0:00:14.54,Default,,0000,0000,0000,,has a CD that's like 8 million pages\Nlongs full of incredible things
Dialogue: 0,0:00:14.54,0:00:16.36,Default,,0000,0000,0000,,and I didn't want to fuck it up!
Dialogue: 0,0:00:17.50,0:00:19.52,Default,,0000,0000,0000,,So for those of you who don't know\Nwho Anne is,
Dialogue: 0,0:00:19.52,0:00:21.61,Default,,0000,0000,0000,,She's a leading scholar in\Nmedia studies,
Dialogue: 0,0:00:21.61,0:00:25.31,Default,,0000,0000,0000,,whose work links cultural studies,\Ndigital humanities and interactive media.
Dialogue: 0,0:00:25.31,0:00:29.24,Default,,0000,0000,0000,,She received her PHD in Communications\Nfrom the University of Illinois,
Dialogue: 0,0:00:29.24,0:00:32.15,Default,,0000,0000,0000,,like some of the rest of us\Nand since then
Dialogue: 0,0:00:32.15,0:00:33.66,Default,,0000,0000,0000,,has been affiliated \Nwith Georgia Tech,
Dialogue: 0,0:00:33.66,0:00:38.32,Default,,0000,0000,0000,,Xerox's PARC, the Annenberg School\Nand School of Cinematic Studies and Arts
Dialogue: 0,0:00:38.32,0:00:40.75,Default,,0000,0000,0000,,at the University of Southern California.\NShe's currently
Dialogue: 0,0:00:40.75,0:00:43.80,Default,,0000,0000,0000,,the Dean of the School of Media Studies\Nand Professor of Media Studies
Dialogue: 0,0:00:43.80,0:00:45.47,Default,,0000,0000,0000,,at The New School.
Dialogue: 0,0:00:46.30,0:00:48.37,Default,,0000,0000,0000,,It's funny when you get to introduce\Nsomebody whose work
Dialogue: 0,0:00:48.37,0:00:52.09,Default,,0000,0000,0000,,you've read and lusted \Nover for like 15 years.
Dialogue: 0,0:00:53.56,0:00:56.85,Default,,0000,0000,0000,,I think Anne's work for me,\Nand for a lot of people in the room,
Dialogue: 0,0:00:56.85,0:01:01.01,Default,,0000,0000,0000,,is a great representation\Nof what feminist scholarship looks like
Dialogue: 0,0:01:01.01,0:01:06.100,Default,,0000,0000,0000,,and risky feminist scholarship\Nthat, sort of takes a lot of agency,
Dialogue: 0,0:01:06.100,0:01:09.76,Default,,0000,0000,0000,,not just for the reader,\Nbut sort of empowers you as a reader
Dialogue: 0,0:01:09.76,0:01:12.21,Default,,0000,0000,0000,,and a scholar to go and implement\Nthe types of theories
Dialogue: 0,0:01:12.21,0:01:15.03,Default,,0000,0000,0000,,and methodologies and approaches\Nshe has in her work,
Dialogue: 0,0:01:15.03,0:01:17.26,Default,,0000,0000,0000,,so if you haven't read her yet,\Nyou should definitely
Dialogue: 0,0:01:17.26,0:01:21.80,Default,,0000,0000,0000,,go pick up her work on Biotechnologies\Non the gendered body,
Dialogue: 0,0:01:22.91,0:01:25.69,Default,,0000,0000,0000,,Designing Culture, which is a great book,\Non technological imagination
Dialogue: 0,0:01:25.69,0:01:29.62,Default,,0000,0000,0000,,at work which is transmedia\Nto transmedia publication,
Dialogue: 0,0:01:29.62,0:01:32.06,Default,,0000,0000,0000,,that has all kinds of really great \Nstuff that comes with it.
Dialogue: 0,0:01:32.06,0:01:36.02,Default,,0000,0000,0000,,If there's a scholar to watch,\Nas careers grow,
Dialogue: 0,0:01:36.02,0:01:40.89,Default,,0000,0000,0000,,I hope she's got another 30 years in her\Nbecause I want to see what she does next.
Dialogue: 0,0:01:40.89,0:01:43.66,Default,,0000,0000,0000,,So I'm delighted to welcome today\Nto give her talk:
Dialogue: 0,0:01:43.66,0:01:46.86,Default,,0000,0000,0000,,'Heavy Data, Cultural Memories: \NLessons from the AIDS Memorial Quilt
Dialogue: 0,0:01:46.86,0:01:48.69,Default,,0000,0000,0000,,Digital Experience Project'.
Dialogue: 0,0:01:48.69,0:01:50.19,Default,,0000,0000,0000,,Thank you.
Dialogue: 0,0:01:50.91,0:01:52.61,Default,,0000,0000,0000,,(Applause)
Dialogue: 0,0:01:54.68,0:01:56.88,Default,,0000,0000,0000,,I'm not sure I want to have \Nanother 30 years..
Dialogue: 0,0:01:56.88,0:01:58.65,Default,,0000,0000,0000,,(laughter)
Dialogue: 0,0:01:59.17,0:02:01.79,Default,,0000,0000,0000,,Not quite ready to retire but...
Dialogue: 0,0:02:02.11,0:02:05.12,Default,,0000,0000,0000,,So thank you Jen,\NStephanie, Neil, Trevor,
Dialogue: 0,0:02:05.12,0:02:08.52,Default,,0000,0000,0000,,I had some great hosting\Nalready happening the other night
Dialogue: 0,0:02:10.80,0:02:13.96,Default,,0000,0000,0000,,and I have been a fan,\NI've been kind of a "MITH groupie"
Dialogue: 0,0:02:13.96,0:02:16.20,Default,,0000,0000,0000,,although I've not been, ever,\Nhere before,
Dialogue: 0,0:02:16.20,0:02:20.14,Default,,0000,0000,0000,,but I'm been following the work\Nof MITH from, I think,
Dialogue: 0,0:02:20.14,0:02:22.00,Default,,0000,0000,0000,,it might have been the late 90's.
Dialogue: 0,0:02:22.00,0:02:26.00,Default,,0000,0000,0000,,So I've known what's been going here,\Nand I've certainly been a fan
Dialogue: 0,0:02:26.00,0:02:30.12,Default,,0000,0000,0000,,of Matt's work as the digital humanities \Nkind of blossomed,
Dialogue: 0,0:02:30.12,0:02:35.48,Default,,0000,0000,0000,,to then make sense of what many people\Nwere doing before their term showed up.
Dialogue: 0,0:02:35.48,0:02:38.28,Default,,0000,0000,0000,,So I'm actually delighted to be here.
Dialogue: 0,0:02:38.60,0:02:44.10,Default,,0000,0000,0000,,I'm going to talk a little bit today\Nabout designing digital experiences
Dialogue: 0,0:02:44.10,0:02:46.17,Default,,0000,0000,0000,,for the AIDS Memorial Quilt. \N
Dialogue: 0,0:02:46.17,0:02:49.54,Default,,0000,0000,0000,,But before I get into the details\Nof that project,
Dialogue: 0,0:02:49.54,0:02:54.60,Default,,0000,0000,0000,,I thought that it would be useful\Nto frame it with some of the theoretical
Dialogue: 0,0:02:54.60,0:03:02.27,Default,,0000,0000,0000,,and the conceptual, kind of material,\Nthat comes to bear on this project.
Dialogue: 0,0:03:02.27,0:03:07.09,Default,,0000,0000,0000,,So as Jen mentioned\Nthe recent transmedia book project,
Dialogue: 0,0:03:07.09,0:03:10.66,Default,,0000,0000,0000,,Designing Culture: The Technological\NImagination at Work
Dialogue: 0,0:03:10.66,0:03:14.91,Default,,0000,0000,0000,,is actually an example\Nof transmedia scholarship
Dialogue: 0,0:03:14.91,0:03:21.35,Default,,0000,0000,0000,,and it is also a project\Nthat took, probably, 15 years
Dialogue: 0,0:03:21.35,0:03:22.80,Default,,0000,0000,0000,,to realize.
Dialogue: 0,0:03:23.77,0:03:26.97,Default,,0000,0000,0000,,So as I joke often,\NI am the poster child
Dialogue: 0,0:03:26.97,0:03:29.84,Default,,0000,0000,0000,,for slow scholarship\Nand a scholarship that takes place
Dialogue: 0,0:03:29.84,0:03:31.91,Default,,0000,0000,0000,,all over the place.
Dialogue: 0,0:03:32.12,0:03:36.32,Default,,0000,0000,0000,,It started when I was in the academy,\Nit continued when I was in industry,
Dialogue: 0,0:03:36.32,0:03:40.98,Default,,0000,0000,0000,,and then I got, kind of, \Nembroiled in some start up companies
Dialogue: 0,0:03:43.26,0:03:46.56,Default,,0000,0000,0000,,in Silicon Valley, \Nwent back into the academy\N
Dialogue: 0,0:03:46.56,0:03:51.56,Default,,0000,0000,0000,,and the last thing to do was actually \Nfinish the print based artifact,
Dialogue: 0,0:03:51.56,0:03:54.06,Default,,0000,0000,0000,,which come to us in the form\Nof a book.
Dialogue: 0,0:03:54.06,0:03:58.35,Default,,0000,0000,0000,,And in the process\Nit has many other different media forms
Dialogue: 0,0:03:58.35,0:04:00.71,Default,,0000,0000,0000,,and what the project does,\Nis it does its intellectual
Dialogue: 0,0:04:00.71,0:04:03.81,Default,,0000,0000,0000,,and scholarly work\Nacross media forms.
Dialogue: 0,0:04:03.81,0:04:08.05,Default,,0000,0000,0000,,There's an interactive documentary\Nof the UN Conference on Women in 1995,\N
Dialogue: 0,0:04:09.68,0:04:15.28,Default,,0000,0000,0000,,to an internationally touring museum\Nexhibit on speculations
Dialogue: 0,0:04:15.28,0:04:18.56,Default,,0000,0000,0000,,on the future of reading called \N"Experiments on the future of reading",
Dialogue: 0,0:04:18.56,0:04:23.70,Default,,0000,0000,0000,,to the development more recently,\Nof things that I call video printers,
Dialogue: 0,0:04:23.70,0:04:27.30,Default,,0000,0000,0000,,short pedagogical pieces\Nthat take up top bits of the book,
Dialogue: 0,0:04:27.30,0:04:31.33,Default,,0000,0000,0000,,and the print book \Nwas the last thing to be put in place
Dialogue: 0,0:04:31.33,0:04:35.83,Default,,0000,0000,0000,,although it had been written\Nand written in these moments
Dialogue: 0,0:04:35.83,0:04:40.10,Default,,0000,0000,0000,,of oscillation, between doing digital\Nprojects and reflecting
Dialogue: 0,0:04:40.10,0:04:42.23,Default,,0000,0000,0000,,on them and doing them and so on.
Dialogue: 0,0:04:42.23,0:04:46.53,Default,,0000,0000,0000,,So, in an interesting way,\NI feel like the print based books
Dialogue: 0,0:04:46.53,0:04:50.50,Default,,0000,0000,0000,,serves as an avatar for all the digital\Nwork and in fact the digital work
Dialogue: 0,0:04:50.50,0:04:55.77,Default,,0000,0000,0000,,came and went and in some cases\Nthe shelf life of the digital work
Dialogue: 0,0:04:55.77,0:04:58.53,Default,,0000,0000,0000,,was very brief, 18 months \Nbefore something,
Dialogue: 0,0:04:58.53,0:05:03.70,Default,,0000,0000,0000,,from the time something was developed\Nto the time till it lapsed.
Dialogue: 0,0:05:05.21,0:05:07.27,Default,,0000,0000,0000,,And the only thing I actually,\Nat this moment,
Dialogue: 0,0:05:07.27,0:05:11.57,Default,,0000,0000,0000,,will put my bottom dollar on,\Nis that the book will outlast me,
Dialogue: 0,0:05:11.57,0:05:14.40,Default,,0000,0000,0000,,whereas all the digitals \Nare actually going to disappear,
Dialogue: 0,0:05:14.40,0:05:16.74,Default,,0000,0000,0000,,probably disappear even as we speak.
Dialogue: 0,0:05:16.74,0:05:19.20,Default,,0000,0000,0000,,If you go back to see \Nany of the digital pieces,\N
Dialogue: 0,0:05:19.20,0:05:24.26,Default,,0000,0000,0000,,you see the bit rot, \Nthat marks the traces of digital,
Dialogue: 0,0:05:24.26,0:05:27.86,Default,,0000,0000,0000,,artifacts that were created \Non one platform,
Dialogue: 0,0:05:27.86,0:05:30.22,Default,,0000,0000,0000,,and then upgraded and upgraded\Nand upgraded
Dialogue: 0,0:05:30.22,0:05:33.19,Default,,0000,0000,0000,,till they can't be upgraded anymore,\Nthey can't be recompiled,
Dialogue: 0,0:05:33.19,0:05:36.79,Default,,0000,0000,0000,,they can't be...\Nand they will be lost like in 2 years.
Dialogue: 0,0:05:38.42,0:05:41.99,Default,,0000,0000,0000,,So the last chapter of the book is called\N"The work of the book in a digital age"
Dialogue: 0,0:05:41.99,0:05:45.49,Default,,0000,0000,0000,,and really theorizes why,\Nwhy did I spent the time
Dialogue: 0,0:05:45.49,0:05:49.12,Default,,0000,0000,0000,,over those fifteen years doing other kinds\Nof media scholarship,
Dialogue: 0,0:05:49.12,0:05:52.69,Default,,0000,0000,0000,,why did I take a commitment \Nto writing a book?
Dialogue: 0,0:05:54.71,0:05:58.16,Default,,0000,0000,0000,,So the entire project, really,\Nis a meditation
Dialogue: 0,0:05:58.16,0:06:01.13,Default,,0000,0000,0000,,about the role of culture\Nin technological innovation.
Dialogue: 0,0:06:01.13,0:06:07.44,Default,,0000,0000,0000,,The book traveled, the work I did,\Ntraveled across three territories
Dialogue: 0,0:06:07.44,0:06:09.80,Default,,0000,0000,0000,,certainly the academy, \Nwhich is one site
Dialogue: 0,0:06:09.80,0:06:14.21,Default,,0000,0000,0000,,in contemporary culture for the work \Nof the technological imagination
Dialogue: 0,0:06:14.21,0:06:17.97,Default,,0000,0000,0000,,and the production of and the process\Nof technological innovation.
Dialogue: 0,0:06:17.97,0:06:21.90,Default,,0000,0000,0000,,I also worked in the industry\Nresearch center, Xerox PARC,
Dialogue: 0,0:06:21.90,0:06:27.17,Default,,0000,0000,0000,,and on the third site,\Nmy third site of analysis,
Dialogue: 0,0:06:27.17,0:06:32.49,Default,,0000,0000,0000,,is the cultural institution known as\N"The Science Technology Museum".
Dialogue: 0,0:06:33.28,0:06:36.23,Default,,0000,0000,0000,,And so those are the places\Nwhere I've done this work
Dialogue: 0,0:06:36.23,0:06:39.98,Default,,0000,0000,0000,,I've done these projects\Nand where the scholarships circulated.
Dialogue: 0,0:06:39.98,0:06:43.93,Default,,0000,0000,0000,,In the academy, in the museum\Nand in the research studies.
Dialogue: 0,0:06:45.02,0:06:48.96,Default,,0000,0000,0000,,I'm actually not going to talk too much\Nabout the broader project.
Dialogue: 0,0:06:50.12,0:06:54.61,Default,,0000,0000,0000,,I'm going to focus on one part of it\Nwhich frames the work through the quilt.
Dialogue: 0,0:06:54.61,0:06:56.51,Default,,0000,0000,0000,,Which is a chapter called
Dialogue: 0,0:06:56.51,0:06:59.71,Default,,0000,0000,0000,,"Public Interactives and the Design\Nof Technological Literacies."
Dialogue: 0,0:06:59.71,0:07:03.16,Default,,0000,0000,0000,,What I'm taking on in this chapter,\Nwhat is the cultural work
Dialogue: 0,0:07:03.16,0:07:05.81,Default,,0000,0000,0000,,of this thing called\NPublic Interactives
Dialogue: 0,0:07:05.81,0:07:09.65,Default,,0000,0000,0000,,and how does it serve as the platform\Nfor cultural reproduction
Dialogue: 0,0:07:09.65,0:07:12.11,Default,,0000,0000,0000,,over time and in the future.
Dialogue: 0,0:07:12.86,0:07:17.65,Default,,0000,0000,0000,,To that end and what I've been working on\Nfor the last 7 to 8 years,
Dialogue: 0,0:07:17.65,0:07:23.15,Default,,0000,0000,0000,,certainly since I've left Xerox PARC,\Nis tracking a category
Dialogue: 0,0:07:23.15,0:07:25.44,Default,,0000,0000,0000,,of what I will consider\Nemergent technologies
Dialogue: 0,0:07:25.44,0:07:27.48,Default,,0000,0000,0000,,on cultural studies scholar.\N
Dialogue: 0,0:07:27.48,0:07:31.34,Default,,0000,0000,0000,,I draw heavily on Raymond William's\Nunderstanding of residual
Dialogue: 0,0:07:31.34,0:07:34.71,Default,,0000,0000,0000,,emergent and dominant technologies\Nand I'm using this term
Dialogue: 0,0:07:34.71,0:07:37.94,Default,,0000,0000,0000,,"emergent technology"\Nto name a category
Dialogue: 0,0:07:37.94,0:07:41.21,Default,,0000,0000,0000,,of technological experience\Nthat is not yet dominant,
Dialogue: 0,0:07:41.21,0:07:44.98,Default,,0000,0000,0000,,but in its state of emergence.\NIt's gaining traction
Dialogue: 0,0:07:44.98,0:07:48.95,Default,,0000,0000,0000,,and gaining momentum,\Nand in a pedagogical way,
Dialogue: 0,0:07:48.95,0:07:51.71,Default,,0000,0000,0000,,I think this is becoming \Nthe motivation for this,
Dialogue: 0,0:07:51.71,0:07:53.91,Default,,0000,0000,0000,,I think it's important to talk\Nand to understand
Dialogue: 0,0:07:53.91,0:07:58.01,Default,,0000,0000,0000,,this category of emergent technology,\Nthat I call Public Interactives,
Dialogue: 0,0:07:58.01,0:08:01.94,Default,,0000,0000,0000,,to understand what kind of cultural\Nwork is going to be done.
Dialogue: 0,0:08:02.82,0:08:06.62,Default,,0000,0000,0000,,To that end, for the last several years\NI've been looking at and tracing
Dialogue: 0,0:08:06.62,0:08:10.69,Default,,0000,0000,0000,,through different type of travels,\Nmostly in Asia,
Dialogue: 0,0:08:10.69,0:08:15.59,Default,,0000,0000,0000,,and I've been working pretty heavily\Nin China for the last 6 years,
Dialogue: 0,0:08:15.59,0:08:18.82,Default,,0000,0000,0000,,on tracking the genres\Nof Public Interactives.
Dialogue: 0,0:08:18.82,0:08:21.72,Default,,0000,0000,0000,,I'm not going to go into this\Nbecause that's not exactly the focus,
Dialogue: 0,0:08:21.72,0:08:24.29,Default,,0000,0000,0000,,but looking at everything from\NUrban Screens,
Dialogue: 0,0:08:24.29,0:08:26.66,Default,,0000,0000,0000,,which of course are,\Nkind of very prominent,
Dialogue: 0,0:08:27.80,0:08:33.66,Default,,0000,0000,0000,,type of part of the media ecology\Nto other kinds of emergent genres
Dialogue: 0,0:08:33.66,0:08:36.82,Default,,0000,0000,0000,,like interactive advertising\Nand a new genre
Dialogue: 0,0:08:36.82,0:08:39.82,Default,,0000,0000,0000,,of casual game called\N"Walk Up Games",
Dialogue: 0,0:08:41.49,0:08:46.56,Default,,0000,0000,0000,,to a genre that is the kind of interactive\Nexperience that I've been engaged
Dialogue: 0,0:08:46.56,0:08:51.62,Default,,0000,0000,0000,,in developing and this is the genre\Nof the interactive Digital Memorial.
Dialogue: 0,0:08:52.33,0:08:55.45,Default,,0000,0000,0000,,So wherever possible, whenever anyone \Ntells me about something,
Dialogue: 0,0:08:55.45,0:09:00.78,Default,,0000,0000,0000,,I literally put this on my to do list\Nto track down examples
Dialogue: 0,0:09:00.78,0:09:04.28,Default,,0000,0000,0000,,of interactive digital memorials,\Nin public spaces,
Dialogue: 0,0:09:04.28,0:09:06.48,Default,,0000,0000,0000,,so not digital memorials\Nthat are going on,
Dialogue: 0,0:09:06.48,0:09:08.94,Default,,0000,0000,0000,,in the, kind of,\Npages of Facebook and so on,\N
Dialogue: 0,0:09:08.94,0:09:11.81,Default,,0000,0000,0000,,but the things that are starting\Nto be in the world
Dialogue: 0,0:09:11.81,0:09:15.41,Default,,0000,0000,0000,,and trying to imagine\Nwhat is the intersection
Dialogue: 0,0:09:15.41,0:09:18.51,Default,,0000,0000,0000,,between the digital\Nand the material
Dialogue: 0,0:09:18.51,0:09:23.31,Default,,0000,0000,0000,,in the, what are the purposes of,\Nkind of serving cultural memory
Dialogue: 0,0:09:23.31,0:09:25.80,Default,,0000,0000,0000,,in cultural [inaudible].
Dialogue: 0,0:09:27.11,0:09:29.74,Default,,0000,0000,0000,,And we started this work,\Na group of us,
Dialogue: 0,0:09:29.74,0:09:34.11,Default,,0000,0000,0000,,actually started thinking about \Nthe creation of digital memorials,
Dialogue: 0,0:09:34.11,0:09:41.37,Default,,0000,0000,0000,,in late 2000, right around the turn of the century,\Nin 2001, we had an idea,
Dialogue: 0,0:09:42.16,0:09:44.61,Default,,0000,0000,0000,,just a group of us\Nwho had worked at Xerox PARC,
Dialogue: 0,0:09:44.61,0:09:47.14,Default,,0000,0000,0000,,we got laid off at Xerox PARC,\Nwe started a company
Dialogue: 0,0:09:47.14,0:09:50.57,Default,,0000,0000,0000,,called Onomy Labs because we wanted\Nto continue doing the design
Dialogue: 0,0:09:50.57,0:09:52.61,Default,,0000,0000,0000,,and research work that we were doing.
Dialogue: 0,0:09:52.61,0:09:54.44,Default,,0000,0000,0000,,Our tagline for Onomy Labs\N
Dialogue: 0,0:09:54.44,0:09:56.88,Default,,0000,0000,0000,,was "Innovation that takes \Nculture seriously",
Dialogue: 0,0:09:56.88,0:09:58.64,Default,,0000,0000,0000,,that started with questions \Nof culture
Dialogue: 0,0:09:58.64,0:10:01.77,Default,,0000,0000,0000,,rather than questions of technology\Nand one of the first projects
Dialogue: 0,0:10:01.77,0:10:06.24,Default,,0000,0000,0000,,that we took on to start imagining\Nwas how could the technologies
Dialogue: 0,0:10:06.24,0:10:09.90,Default,,0000,0000,0000,,that we were engaged in,\Na lot of smart furniture things
Dialogue: 0,0:10:09.90,0:10:13.27,Default,,0000,0000,0000,,and so on, our reading devices, \Nhow could they serve
Dialogue: 0,0:10:13.27,0:10:18.32,Default,,0000,0000,0000,,the mission and objectives\Nof the Names Project Foundation
Dialogue: 0,0:10:18.32,0:10:23.27,Default,,0000,0000,0000,,and in 2001 we prototyped \Na table top interactive browser
Dialogue: 0,0:10:23.27,0:10:26.09,Default,,0000,0000,0000,,using one of the devices\Nwe built at PARC
Dialogue: 0,0:10:26.09,0:10:28.51,Default,,0000,0000,0000,,to create the first, kind of like,\Nspacialized browser,
Dialogue: 0,0:10:28.51,0:10:30.37,Default,,0000,0000,0000,,for the AIDS Quilt.
Dialogue: 0,0:10:30.90,0:10:33.66,Default,,0000,0000,0000,,We approached the Names Project \NFoundation, this is the foundation
Dialogue: 0,0:10:33.66,0:10:36.41,Default,,0000,0000,0000,,that serves as the stewards \Nfor the Quilt,
Dialogue: 0,0:10:36.41,0:10:42.38,Default,,0000,0000,0000,,we asked them if they would be willing\Nto participate and partner with us,
Dialogue: 0,0:10:42.38,0:10:45.45,Default,,0000,0000,0000,,and they said absolutely, \Nthis would be great but we have no money,
Dialogue: 0,0:10:45.45,0:10:47.92,Default,,0000,0000,0000,,so you're on your own,\Nand when you get money,
Dialogue: 0,0:10:47.92,0:10:49.67,Default,,0000,0000,0000,,you can come back to us\Nand then we'll allow you
Dialogue: 0,0:10:49.67,0:10:53.12,Default,,0000,0000,0000,,to use our data sets but not until then.\NPerfectly reasonable response
Dialogue: 0,0:10:53.12,0:10:55.20,Default,,0000,0000,0000,,for the non profit,\Nthat was at the time
Dialogue: 0,0:10:55.20,0:10:59.40,Default,,0000,0000,0000,,having and still continues to have,\Nstruggles to keep it's doors open.
Dialogue: 0,0:10:59.40,0:11:01.50,Default,,0000,0000,0000,,But they've been on, \Nthey've been a partner
Dialogue: 0,0:11:01.50,0:11:06.30,Default,,0000,0000,0000,,conceptually and philosophically\Non this project since 2001,
Dialogue: 0,0:11:06.30,0:11:08.74,Default,,0000,0000,0000,,and of course, we couldn't have done it\Nwithout them.
Dialogue: 0,0:11:09.70,0:11:16.76,Default,,0000,0000,0000,,As you know the Quilt Project\Nand the Names Project Foundation
Dialogue: 0,0:11:16.76,0:11:22.84,Default,,0000,0000,0000,,have very long history.\NIt starts with, two people actually,
Dialogue: 0,0:11:22.84,0:11:27.54,Default,,0000,0000,0000,,Mike Smith and Cleve Jones,\Nwho found the Names Project,
Dialogue: 0,0:11:27.54,0:11:32.10,Default,,0000,0000,0000,,and then the Names Project Foundation\Nin a small neighborhood
Dialogue: 0,0:11:32.10,0:11:35.56,Default,,0000,0000,0000,,in San Francisco, \Nthe Castro district.
Dialogue: 0,0:11:35.56,0:11:40.00,Default,,0000,0000,0000,,From the very early days\Nof the public recognition
Dialogue: 0,0:11:40.00,0:11:45.78,Default,,0000,0000,0000,,that people were dying \Nof a set of diseases
Dialogue: 0,0:11:45.78,0:11:49.94,Default,,0000,0000,0000,,that seemed more than\Ncoincidental.
Dialogue: 0,0:11:49.94,0:11:53.15,Default,,0000,0000,0000,,So these aren't exactly the earliest\Ndays of HIV Aids,
Dialogue: 0,0:11:53.15,0:11:55.87,Default,,0000,0000,0000,,it was certainly before\Nwe were just talking about that,
Dialogue: 0,0:11:55.87,0:11:58.55,Default,,0000,0000,0000,,it was before we had returned..\N(mobile phone rings)
Dialogue: 0,0:11:58.55,0:12:00.55,Default,,0000,0000,0000,,Who's calling me in the middle\Nof my talk?!
Dialogue: 0,0:12:00.55,0:12:02.48,Default,,0000,0000,0000,,(laughter)
Dialogue: 0,0:12:04.42,0:12:09.40,Default,,0000,0000,0000,,But this project that we\Nkind of [inaudible] into now,
Dialogue: 0,0:12:09.40,0:12:13.06,Default,,0000,0000,0000,,comes 25 years later,\Nafter the development,
Dialogue: 0,0:12:13.06,0:12:16.71,Default,,0000,0000,0000,,the first kind of quilt panels\Nwere created,
Dialogue: 0,0:12:16.71,0:12:21.52,Default,,0000,0000,0000,,and about 30 years after\Nthe public awareness of HIV Aids
Dialogue: 0,0:12:21.52,0:12:25.09,Default,,0000,0000,0000,,as an international pandemic.
Dialogue: 0,0:12:27.25,0:12:30.18,Default,,0000,0000,0000,,And I won't go into too much detail\Nabout the quilt,
Dialogue: 0,0:12:30.18,0:12:33.12,Default,,0000,0000,0000,,but just to refresh everyone's memory.
Dialogue: 0,0:12:33.36,0:12:37.48,Default,,0000,0000,0000,,So this is a quilt panel, \Nquilt panels from those very early days
Dialogue: 0,0:12:37.48,0:12:43.70,Default,,0000,0000,0000,,1986, the panels measured\N3 feet by 6 feet,
Dialogue: 0,0:12:43.70,0:12:45.75,Default,,0000,0000,0000,,which was, in some respects,\N
Dialogue: 0,0:12:47.27,0:12:50.09,Default,,0000,0000,0000,,there were a series \Nof very interesting accidents
Dialogue: 0,0:12:50.09,0:12:53.78,Default,,0000,0000,0000,,that led to this understanding\Nabout quilting names,
Dialogue: 0,0:12:53.78,0:13:00.16,Default,,0000,0000,0000,,putting names on these textile pieces\Nbut it is and was,
Dialogue: 0,0:13:00.16,0:13:02.50,Default,,0000,0000,0000,,[inaudible]\Nunderstood to be,
Dialogue: 0,0:13:02.50,0:13:06.23,Default,,0000,0000,0000,,this is the form factor and size\Nof a casket cover,
Dialogue: 0,0:13:06.23,0:13:10.48,Default,,0000,0000,0000,,so it has, kind of from\Nit's very early moments,
Dialogue: 0,0:13:10.48,0:13:15.57,Default,,0000,0000,0000,,some understanding about \Nreconfiguring our material
Dialogue: 0,0:13:15.57,0:13:19.45,Default,,0000,0000,0000,,kind of monuments \Nof memorialization.
Dialogue: 0,0:13:21.29,0:13:25.08,Default,,0000,0000,0000,,So 3 feet by 6 feet \Nare individual panels.
Dialogue: 0,0:13:25.08,0:13:28.61,Default,,0000,0000,0000,,When the panels are submitted\Nto the Names Project Foundation,
Dialogue: 0,0:13:28.61,0:13:31.28,Default,,0000,0000,0000,,they are stitched together\Ninto blocks
Dialogue: 0,0:13:31.28,0:13:37.31,Default,,0000,0000,0000,,that are 12 feet by 12 feet,\Nso they are typically 8 panels per block.
Dialogue: 0,0:13:37.31,0:13:42.18,Default,,0000,0000,0000,,So the size of the quilt,\Nwhen we talk about the quilt,
Dialogue: 0,0:13:42.18,0:13:45.61,Default,,0000,0000,0000,,the quilt is kind of quilted\Non several levels.
Dialogue: 0,0:13:45.61,0:13:49.42,Default,,0000,0000,0000,,Its panels are quilted together\Ninto 12 foot by 12 foot blocks
Dialogue: 0,0:13:49.42,0:13:52.41,Default,,0000,0000,0000,,and then the blocks are often\Ndisplayed together
Dialogue: 0,0:13:52.41,0:13:54.97,Default,,0000,0000,0000,,although they're\Nnot stitched together,
Dialogue: 0,0:13:54.97,0:13:58.72,Default,,0000,0000,0000,,the blocks are often displayed\Nin continuity with one another.
Dialogue: 0,0:13:59.42,0:14:03.55,Default,,0000,0000,0000,,The first display,\Npublic display of the quilt,
Dialogue: 0,0:14:03.55,0:14:06.10,Default,,0000,0000,0000,,happened in 1987.\N
Dialogue: 0,0:14:06.10,0:14:10.52,Default,,0000,0000,0000,,It was to..\Nactually it was part of the march
Dialogue: 0,0:14:10.52,0:14:13.65,Default,,0000,0000,0000,,on Washington for gay and lesbian rights\Nand it was also
Dialogue: 0,0:14:13.65,0:14:16.05,Default,,0000,0000,0000,,work of activism to lay the dead\Nat the feet
Dialogue: 0,0:14:16.05,0:14:19.45,Default,,0000,0000,0000,,of the law makers of Washington, \Nwho at that point,
Dialogue: 0,0:14:19.45,0:14:24.46,Default,,0000,0000,0000,,were not taking seriously,\Nthe massive number of deaths happening
Dialogue: 0,0:14:24.46,0:14:29.72,Default,,0000,0000,0000,,in what they thought at the time,\Nwas just California and New York.
Dialogue: 0,0:14:29.72,0:14:33.72,Default,,0000,0000,0000,,I just want to tell a story about this.\NThey were getting ready
Dialogue: 0,0:14:36.33,0:14:40.10,Default,,0000,0000,0000,,to ship the quilt panels\Nand the blocks
Dialogue: 0,0:14:40.10,0:14:44.06,Default,,0000,0000,0000,,from California to Washington,\Nto be part of the march on Washington,
Dialogue: 0,0:14:44.06,0:14:48.56,Default,,0000,0000,0000,,the Names Project, \Nthe Foundation of Castro (group),
Dialogue: 0,0:14:48.56,0:14:51.06,Default,,0000,0000,0000,,the workshop there,\Nhad just put out word,
Dialogue: 0,0:14:51.06,0:14:55.66,Default,,0000,0000,0000,,to members of the castro, \Nif you could get us your quilt panels
Dialogue: 0,0:14:55.66,0:15:00.14,Default,,0000,0000,0000,,by September 16th, we will make sure\Nthat the quilt panels
Dialogue: 0,0:15:00.14,0:15:03.44,Default,,0000,0000,0000,,are on the truck that is driving\Nto Washington
Dialogue: 0,0:15:03.44,0:15:05.61,Default,,0000,0000,0000,,that we're going to lay out.
Dialogue: 0,0:15:05.61,0:15:09.31,Default,,0000,0000,0000,,And so because they had to rent \Na truck to take everybody out
Dialogue: 0,0:15:09.31,0:15:12.04,Default,,0000,0000,0000,,they were organizing\Nas a community group.
Dialogue: 0,0:15:13.79,0:15:16.78,Default,,0000,0000,0000,,At 5 o'clock that day,\Nthe US post office
Dialogue: 0,0:15:16.78,0:15:20.02,Default,,0000,0000,0000,,calls the Foundation\Nand says "you'd better bring your truck"
Dialogue: 0,0:15:20.02,0:15:22.38,Default,,0000,0000,0000,,and they were like\N"well, we're not going to load
Dialogue: 0,0:15:22.38,0:15:24.93,Default,,0000,0000,0000,,the truck until tomorrow".\NThey were thinking about loading,
Dialogue: 0,0:15:24.93,0:15:27.78,Default,,0000,0000,0000,,it was an RV and they were going to take\Na whole group of people out,
Dialogue: 0,0:15:27.78,0:15:30.66,Default,,0000,0000,0000,,and they were like\N"no, no, you need to bring your truck now,
Dialogue: 0,0:15:30.66,0:15:34.13,Default,,0000,0000,0000,,because you have all these packages"\Nand they were like "what packages?"
Dialogue: 0,0:15:34.13,0:15:36.26,Default,,0000,0000,0000,,Because people, all day,\Nhad been bringing in panels
Dialogue: 0,0:15:36.26,0:15:39.52,Default,,0000,0000,0000,,to the actual workshop \Nso they didn't have the truck
Dialogue: 0,0:15:39.52,0:15:43.74,Default,,0000,0000,0000,,but they got a Corvette, convertible,\Nand they made seven trips
Dialogue: 0,0:15:43.74,0:15:46.44,Default,,0000,0000,0000,,back and forth \Nto the San Fransisco post office
Dialogue: 0,0:15:46.44,0:15:50.06,Default,,0000,0000,0000,,picking up packages of quilt panels\Nthat had been shipped
Dialogue: 0,0:15:50.06,0:15:54.68,Default,,0000,0000,0000,,from all over the country,\Nto be included into the display
Dialogue: 0,0:15:54.68,0:15:57.69,Default,,0000,0000,0000,,of the quilt, for the first time,\Nbefore even anyone knew
Dialogue: 0,0:15:57.69,0:16:02.06,Default,,0000,0000,0000,,what the size of it was going to be,\Nfor the march on Washington.
Dialogue: 0,0:16:02.06,0:16:04.33,Default,,0000,0000,0000,,And that was before the internet.
Dialogue: 0,0:16:04.33,0:16:08.23,Default,,0000,0000,0000,,And that was before our typical \Nnotions of social networking.
Dialogue: 0,0:16:08.23,0:16:12.44,Default,,0000,0000,0000,,The word spread throughout the US\Nthrough friendship networks,\N
Dialogue: 0,0:16:12.44,0:16:16.28,Default,,0000,0000,0000,,kinship networks, partnerships \Nand so on that people said
Dialogue: 0,0:16:16.28,0:16:19.77,Default,,0000,0000,0000,,we want to create a quilt, a panel, \Non behalf of someone we've lost,
Dialogue: 0,0:16:19.77,0:16:24.15,Default,,0000,0000,0000,,and they came in from all sorts\Nof small towns around the US.
Dialogue: 0,0:16:24.74,0:16:28.38,Default,,0000,0000,0000,,So I say that now\Nand I use this example often
Dialogue: 0,0:16:28.38,0:16:32.89,Default,,0000,0000,0000,,to remind people that social\Nnetworking and viral marketing
Dialogue: 0,0:16:32.89,0:16:39.66,Default,,0000,0000,0000,,and other kinds of cultural means, \Ndid not start with the internet.
Dialogue: 0,0:16:39.66,0:16:42.64,Default,,0000,0000,0000,,But there were other kinds \Nof social networks
Dialogue: 0,0:16:42.64,0:16:46.10,Default,,0000,0000,0000,,that were actually very good\Nabout getting the word out
Dialogue: 0,0:16:46.10,0:16:50.19,Default,,0000,0000,0000,,and not in ways that left traces\Nof how the word traveled.
Dialogue: 0,0:16:57.82,0:17:01.81,Default,,0000,0000,0000,,1996, it grew in a very short \Nperiod of time.
Dialogue: 0,0:17:01.81,0:17:08.62,Default,,0000,0000,0000,,1987 to 1996, from about 2000 panels\Nto 40,000 panels.
Dialogue: 0,0:17:08.62,0:17:12.15,Default,,0000,0000,0000,,This was the worst, kind of, \Ntime in terms of frequency
Dialogue: 0,0:17:12.15,0:17:19.33,Default,,0000,0000,0000,,of death from HIV Aids. \NAnd so that was the last showing
Dialogue: 0,0:17:19.33,0:17:24.98,Default,,0000,0000,0000,,of the quilt, 40,000 panels\Non the mall of Washington, 1996.
Dialogue: 0,0:17:26.92,0:17:34.97,Default,,0000,0000,0000,,In 2006, to mark the 20 year anniversary,\Nnewspapers around the country
Dialogue: 0,0:17:34.97,0:17:40.95,Default,,0000,0000,0000,,had headlines like this;\N"Quilt fades into obscurity"
Dialogue: 0,0:17:40.95,0:17:44.31,Default,,0000,0000,0000,,although it was still in circulation.\NWe had panels coming on average,
Dialogue: 0,0:17:44.31,0:17:48.73,Default,,0000,0000,0000,,and still do, kind of,\None panel a day.
Dialogue: 0,0:17:48.73,0:17:53.02,Default,,0000,0000,0000,,By 2006, in the United States at least,\Npeople thought HIV and Aids
Dialogue: 0,0:17:53.02,0:17:55.80,Default,,0000,0000,0000,,was a done deal, \Nwas no longer a death sentence,
Dialogue: 0,0:17:55.80,0:18:00.01,Default,,0000,0000,0000,,that it had been early on\Nand people were, of course, ignorant
Dialogue: 0,0:18:00.01,0:18:04.12,Default,,0000,0000,0000,,about communities that were still\Ngreatly at risk for HIV Aids.
Dialogue: 0,0:18:04.77,0:18:08.24,Default,,0000,0000,0000,,But there's a sense of which\Nthe day of the quilt had been done.
Dialogue: 0,0:18:09.29,0:18:15.11,Default,,0000,0000,0000,,This headline really kind of gave us\Nmore energy to work \N
Dialogue: 0,0:18:15.11,0:18:17.12,Default,,0000,0000,0000,,on our digital experiences\N
Dialogue: 0,0:18:17.12,0:18:20.68,Default,,0000,0000,0000,,which we had done the design (fiction)\Nand the prototype in 2001. \N
Dialogue: 0,0:18:20.68,0:18:25.24,Default,,0000,0000,0000,,By 2006 we had worked for 5 years\Nto try to get funding
Dialogue: 0,0:18:25.24,0:18:29.35,Default,,0000,0000,0000,,to build these digital experiences\Nand we got no traction.
Dialogue: 0,0:18:29.35,0:18:32.29,Default,,0000,0000,0000,,We couldn't get any client,\Nwe couldn't get any funding,
Dialogue: 0,0:18:32.29,0:18:34.94,Default,,0000,0000,0000,,we couldn't get any foundation.\NThis was right before
Dialogue: 0,0:18:34.94,0:18:37.81,Default,,0000,0000,0000,,the NEH, Office of Digital Humanities,\Nstarts, \N
Dialogue: 0,0:18:37.81,0:18:40.12,Default,,0000,0000,0000,,so it was right before \Nthey were poised
Dialogue: 0,0:18:40.12,0:18:43.44,Default,,0000,0000,0000,,to even receive proposals\Nfor this,
Dialogue: 0,0:18:43.44,0:18:47.58,Default,,0000,0000,0000,,so in 2006 we redoubled our efforts\Nto start looking for funding
Dialogue: 0,0:18:47.58,0:18:51.40,Default,,0000,0000,0000,,to do these digital experiences\Nor at least one digital experience.
Dialogue: 0,0:18:52.66,0:18:58.05,Default,,0000,0000,0000,,And in fact what happened was\Nwe eventually got a digital start up grant
Dialogue: 0,0:18:58.05,0:19:00.67,Default,,0000,0000,0000,,from the NEH to build \Na tangible browser
Dialogue: 0,0:19:00.67,0:19:03.37,Default,,0000,0000,0000,,for the Aids Memorial Quilt\Nbased on the prototype
Dialogue: 0,0:19:03.37,0:19:06.45,Default,,0000,0000,0000,,that we had done nine years earlier,\Nbut this time,
Dialogue: 0,0:19:06.45,0:19:10.95,Default,,0000,0000,0000,,what had happened in the technology field,\Nis that our, kind of one off,
Dialogue: 0,0:19:10.95,0:19:14.74,Default,,0000,0000,0000,,interactive table that we had developed,\Ncalled "the tilty table"
Dialogue: 0,0:19:14.74,0:19:19.48,Default,,0000,0000,0000,,had given way to some consumer grade\Ninteractive pieces of furniture,
Dialogue: 0,0:19:19.48,0:19:23.72,Default,,0000,0000,0000,,like Microsoft Surface,\Nand IBM, at this point,
Dialogue: 0,0:19:23.72,0:19:28.21,Default,,0000,0000,0000,,also had an interactive table\Nso we knew we were going to be able to
Dialogue: 0,0:19:28.21,0:19:30.98,Default,,0000,0000,0000,,do the tangible browser \Non a different display,
Dialogue: 0,0:19:30.98,0:19:34.06,Default,,0000,0000,0000,,had technology [inaudible]\Nthe ones that we had developed.
Dialogue: 0,0:19:35.56,0:19:38.88,Default,,0000,0000,0000,,So in 2012 and this is where\Nwe're going to turn the attention
Dialogue: 0,0:19:38.88,0:19:43.12,Default,,0000,0000,0000,,to what we built and what we did.\NIn 2012 this is the size
Dialogue: 0,0:19:43.12,0:19:49.08,Default,,0000,0000,0000,,of the quilt now, 91,000 names\Nplus, it's actually very difficult
Dialogue: 0,0:19:49.08,0:19:52.34,Default,,0000,0000,0000,,to archive all the names,\Nbecause some panels
Dialogue: 0,0:19:52.34,0:19:56.41,Default,,0000,0000,0000,,have literally hundreds of names\Nand it's unclear what the status \N
Dialogue: 0,0:19:56.41,0:19:58.90,Default,,0000,0000,0000,,of those names, are they names \Nof people who have died,
Dialogue: 0,0:19:58.90,0:20:02.77,Default,,0000,0000,0000,,or names of the community\Nmembers who have made the panel,
Dialogue: 0,0:20:02.77,0:20:05.47,Default,,0000,0000,0000,,but about 91,000 names \Nthey have documented
Dialogue: 0,0:20:05.47,0:20:07.45,Default,,0000,0000,0000,,of people who are memorialized.
Dialogue: 0,0:20:07.45,0:20:12.61,Default,,0000,0000,0000,,There are almost 6000 blocks,\Nthose are the 12 by 12 foot pieces,
Dialogue: 0,0:20:12.61,0:20:16.28,Default,,0000,0000,0000,,48,000 panels so you can see \Nthat the number of panels
Dialogue: 0,0:20:16.28,0:20:18.72,Default,,0000,0000,0000,,have kind of slowed, \Nin terms of the production,
Dialogue: 0,0:20:18.72,0:20:24.48,Default,,0000,0000,0000,,over the last, now, 20 years.\NIt weighs 34 tons.
Dialogue: 0,0:20:25.70,0:20:31.38,Default,,0000,0000,0000,,34 tons of material culture\Nis stored in a warehouse in Atlanta.
Dialogue: 0,0:20:32.23,0:20:36.89,Default,,0000,0000,0000,,It is stored in a warehouse\Nnext to the headquarters
Dialogue: 0,0:20:36.89,0:20:40.24,Default,,0000,0000,0000,,of the Names Project Foundation.\NThere are three staff members.
Dialogue: 0,0:20:41.64,0:20:45.50,Default,,0000,0000,0000,,It continues to circulate,\Ncontinues to use a wider volunteer labor.
Dialogue: 0,0:20:45.50,0:20:49.45,Default,,0000,0000,0000,,It is a textile work \Nof material culture.
Dialogue: 0,0:20:49.45,0:20:51.33,Default,,0000,0000,0000,,It is breaking down.
Dialogue: 0,0:20:52.47,0:20:55.89,Default,,0000,0000,0000,,Stitches either come unraveled,\Nthese were not pieces
Dialogue: 0,0:20:55.89,0:20:59.96,Default,,0000,0000,0000,,that were done by professional artists,\Nfor the most part,
Dialogue: 0,0:20:59.96,0:21:04.41,Default,,0000,0000,0000,,or by professional quilt makers,\Nso, kind of, the fragility
Dialogue: 0,0:21:04.41,0:21:09.00,Default,,0000,0000,0000,,of the quilt in the [inaudible]\Nis 34 tons is very obvious
Dialogue: 0,0:21:09.00,0:21:11.97,Default,,0000,0000,0000,,whenever you see it.\NSo what happens is of the 34 tons,
Dialogue: 0,0:21:11.97,0:21:16.99,Default,,0000,0000,0000,,it is constantly opened up,\Nrestitched, so there's a constant
Dialogue: 0,0:21:17.96,0:21:21.80,Default,,0000,0000,0000,,crew of staff who do nothing \Nbut keep the quilt,
Dialogue: 0,0:21:22.60,0:21:24.64,Default,,0000,0000,0000,,literally, stitched together.
Dialogue: 0,0:21:25.25,0:21:28.25,Default,,0000,0000,0000,,If it were spread out,\Nit could be spread out,
Dialogue: 0,0:21:28.25,0:21:32.56,Default,,0000,0000,0000,,in its entirety, it would cover \Nalmost 1.3 million square feet.
Dialogue: 0,0:21:32.56,0:21:35.57,Default,,0000,0000,0000,,That would allow you to have space\Nto walk in between the blocks
Dialogue: 0,0:21:35.57,0:21:38.76,Default,,0000,0000,0000,,of 47 countries \Nand this is when we started
Dialogue: 0,0:21:38.76,0:21:42.73,Default,,0000,0000,0000,,really understanding perhaps\Na way to explore
Dialogue: 0,0:21:42.73,0:21:47.08,Default,,0000,0000,0000,,what could the digital do\Nthat the textile couldn't do,
Dialogue: 0,0:21:47.08,0:21:50.98,Default,,0000,0000,0000,,which is that it would take you 33 days\Nif you only spent 1 minute
Dialogue: 0,0:21:50.98,0:21:53.90,Default,,0000,0000,0000,,at each panel to view \Nthe entire quilt,
Dialogue: 0,0:21:53.90,0:21:56.37,Default,,0000,0000,0000,,and there's no way \Na work of this magnitude
Dialogue: 0,0:21:56.37,0:21:59.19,Default,,0000,0000,0000,,could ever be on display,\None because we don't have big enough
Dialogue: 0,0:21:59.19,0:22:03.02,Default,,0000,0000,0000,,spaces for it and second of all\Nbecause of its fragility
Dialogue: 0,0:22:03.02,0:22:05.42,Default,,0000,0000,0000,,in terms of it being laid out.
Dialogue: 0,0:22:05.82,0:22:06.70,Default,,0000,0000,0000,,So...
Dialogue: 0,0:22:08.42,0:22:13.40,Default,,0000,0000,0000,,in 2012 with the funding \Nthat came from the NEH
Dialogue: 0,0:22:13.40,0:22:16.31,Default,,0000,0000,0000,,we embarked on a,\Nwhat I call,
Dialogue: 0,0:22:16.31,0:22:20.49,Default,,0000,0000,0000,,a distributed design research project\Nthat involved
Dialogue: 0,0:22:20.49,0:22:23.66,Default,,0000,0000,0000,,digital humanists \Nand cultural technologists.
Dialogue: 0,0:22:25.53,0:22:28.38,Default,,0000,0000,0000,,It was my group \Nin public interactives research
Dialogue: 0,0:22:28.38,0:22:31.39,Default,,0000,0000,0000,,at the University of Southern California,\Nthe digital studio
Dialogue: 0,0:22:31.39,0:22:34.25,Default,,0000,0000,0000,,for Arts and Humanities\Nat the University of Iowa,
Dialogue: 0,0:22:34.25,0:22:38.96,Default,,0000,0000,0000,,Andy van Dam's\Ndata visualization group
Dialogue: 0,0:22:38.96,0:22:42.23,Default,,0000,0000,0000,,at Brown University\Nand then Microsoft Research.
Dialogue: 0,0:22:42.23,0:22:46.87,Default,,0000,0000,0000,,In contrast to what Donald\Nmay have suggested,
Dialogue: 0,0:22:46.87,0:22:50.01,Default,,0000,0000,0000,,Microsoft Research came in \Nat the eleventh hour
Dialogue: 0,0:22:50.01,0:22:53.63,Default,,0000,0000,0000,,to provide some displays\Nand funding
Dialogue: 0,0:22:53.63,0:22:56.12,Default,,0000,0000,0000,,and so I had to really\Nwrestle him to the ground
Dialogue: 0,0:22:56.12,0:22:59.63,Default,,0000,0000,0000,,to, not only just dump technology\Non us, but to give us some money
Dialogue: 0,0:22:59.63,0:23:02.21,Default,,0000,0000,0000,,to pay for people\Nto use the technology.
Dialogue: 0,0:23:02.80,0:23:06.47,Default,,0000,0000,0000,,I love them and I was very grateful\Nfor their help
Dialogue: 0,0:23:06.47,0:23:09.36,Default,,0000,0000,0000,,but they don't understand \Nthat dumping technology
Dialogue: 0,0:23:09.36,0:23:12.55,Default,,0000,0000,0000,,is not a panacea\Nfor doing digital humanities work.
Dialogue: 0,0:23:12.55,0:23:16.22,Default,,0000,0000,0000,,You have to pay the people.\NSo they did finally [inaudible]
Dialogue: 0,0:23:16.59,0:23:18.70,Default,,0000,0000,0000,,with some funding,\Nlate in the game,
Dialogue: 0,0:23:18.70,0:23:21.71,Default,,0000,0000,0000,,after many other institutions\Nhad come up with
Dialogue: 0,0:23:21.71,0:23:24.61,Default,,0000,0000,0000,,and contributed extensive\Npro bono work.
Dialogue: 0,0:23:25.52,0:23:30.37,Default,,0000,0000,0000,,Here are some of the challenges\Nthat we faced in this digital design project.
Dialogue: 0,0:23:31.71,0:23:36.82,Default,,0000,0000,0000,,Absolutely noisy datasets.\NWe had two datasets to work with.
Dialogue: 0,0:23:36.82,0:23:41.05,Default,,0000,0000,0000,,The dataset of visual images.\NWe have a visual data set
Dialogue: 0,0:23:41.05,0:23:47.24,Default,,0000,0000,0000,,of each of the large block images.\NThey are photographed over 25 years
Dialogue: 0,0:23:47.24,0:23:53.04,Default,,0000,0000,0000,,meaning the earliest images \Nwere taken with analogue photography,
Dialogue: 0,0:23:53.04,0:23:56.37,Default,,0000,0000,0000,,and then they were digitized afterwards.\NAt the level of resolution
Dialogue: 0,0:23:56.37,0:24:03.18,Default,,0000,0000,0000,,of 25 years it means different\Nimages, it's really kind of quite varied.
Dialogue: 0,0:24:04.02,0:24:07.61,Default,,0000,0000,0000,,So we have a very noisy \Nand inconsistent visual dataset
Dialogue: 0,0:24:07.61,0:24:15.24,Default,,0000,0000,0000,,of these 58,000 large, or 5800 large,\Nimages that are 12 by 12 feet.
Dialogue: 0,0:24:16.06,0:24:18.46,Default,,0000,0000,0000,,The metadata set is very noisy\Nas well
Dialogue: 0,0:24:18.46,0:24:22.41,Default,,0000,0000,0000,,because, again, 25 years \Nof accessioning,
Dialogue: 0,0:24:22.41,0:24:26.39,Default,,0000,0000,0000,,some people were entered \Nin with nicknames only,
Dialogue: 0,0:24:26.39,0:24:29.45,Default,,0000,0000,0000,,some people were entered in\Nwith full names,
Dialogue: 0,0:24:29.45,0:24:31.62,Default,,0000,0000,0000,,some people were entered in\Nwith their nicknames
Dialogue: 0,0:24:31.62,0:24:36.08,Default,,0000,0000,0000,,in quotation marks.\NSo the metadata and the visual images
Dialogue: 0,0:24:37.15,0:24:41.24,Default,,0000,0000,0000,,were challenging datasets\Nand they were not integrated.
Dialogue: 0,0:24:41.24,0:24:46.33,Default,,0000,0000,0000,,So you couldn't search the metadata\Nfor the demographic information
Dialogue: 0,0:24:46.33,0:24:50.25,Default,,0000,0000,0000,,and get to a panel or get to a block\Nand you couldn't search the panels
Dialogue: 0,0:24:50.25,0:24:53.70,Default,,0000,0000,0000,,and the blocks to get to the metadata.\NSo one of the very first things
Dialogue: 0,0:24:53.70,0:24:55.95,Default,,0000,0000,0000,,we had to do was to get \Nin under the hood
Dialogue: 0,0:24:55.95,0:24:58.06,Default,,0000,0000,0000,,to look at these datasets\Nand figure out\N
Dialogue: 0,0:24:58.06,0:25:01.26,Default,,0000,0000,0000,,how we could clean them up\Nto make them useable.
Dialogue: 0,0:25:04.22,0:25:09.04,Default,,0000,0000,0000,,And then there's a whole other\Nproject about the lack
Dialogue: 0,0:25:09.04,0:25:13.72,Default,,0000,0000,0000,,of digital tracking,\Nfor example, these 5800 blocks
Dialogue: 0,0:25:13.72,0:25:17.79,Default,,0000,0000,0000,,do not have QR codes\Nor any kind of bar coding on them.
Dialogue: 0,0:25:17.79,0:25:22.04,Default,,0000,0000,0000,,They have a magic marker\Nnumber for the block number
Dialogue: 0,0:25:22.04,0:25:26.55,Default,,0000,0000,0000,,on the actual quilt panel\Nwhich makes inventorying
Dialogue: 0,0:25:26.55,0:25:31.39,Default,,0000,0000,0000,,the 34 tons of textile material\Nvery difficult.
Dialogue: 0,0:25:35.57,0:25:39.40,Default,,0000,0000,0000,,So we were able, \Nbecause we had some funding,
Dialogue: 0,0:25:39.40,0:25:42.45,Default,,0000,0000,0000,,to come back to the Names Project,\Nthey allowed us to use these datasets
Dialogue: 0,0:25:42.45,0:25:45.66,Default,,0000,0000,0000,,and start getting into the project\Nof cleaning up the datasets,
Dialogue: 0,0:25:45.66,0:25:49.03,Default,,0000,0000,0000,,both to help them\Nand to service the project.
Dialogue: 0,0:25:49.03,0:25:53.59,Default,,0000,0000,0000,,The work that I'm doing now,\Nthe reflective work,
Dialogue: 0,0:25:53.59,0:25:56.52,Default,,0000,0000,0000,,is talking about this project\Nas an experiment
Dialogue: 0,0:25:56.52,0:26:00.87,Default,,0000,0000,0000,,in designing culture\Nand exploring two concepts:
Dialogue: 0,0:26:00.87,0:26:04.66,Default,,0000,0000,0000,,The poetics of interactivity\Nand the architecture of public intimacy
Dialogue: 0,0:26:04.66,0:26:08.92,Default,,0000,0000,0000,,and how the design of these particular\Ndigital experiences
Dialogue: 0,0:26:08.92,0:26:14.72,Default,,0000,0000,0000,,kind of work out these two constructs,\Nthat I think are central to discourses
Dialogue: 0,0:26:14.72,0:26:17.76,Default,,0000,0000,0000,,and conversations \Nabout digital humanities.
Dialogue: 0,0:26:18.55,0:26:20.34,Default,,0000,0000,0000,,So I'm going to talk \Na little bit about
Dialogue: 0,0:26:20.34,0:26:22.31,Default,,0000,0000,0000,,the three interactive experiences\Nthat we built
Dialogue: 0,0:26:22.31,0:26:27.72,Default,,0000,0000,0000,,for the last display\Nof the quilt in Washington.
Dialogue: 0,0:26:29.46,0:26:35.57,Default,,0000,0000,0000,,This happened in summer of 2012.\NIt was a six week event
Dialogue: 0,0:26:35.57,0:26:37.88,Default,,0000,0000,0000,,called Quilt in the Capital.
Dialogue: 0,0:26:38.74,0:26:41.89,Default,,0000,0000,0000,,I think I have slide about this...\Nno skipped it..
Dialogue: 0,0:26:42.68,0:26:46.95,Default,,0000,0000,0000,,So the quilt was first put out\Nas part of the 4 day
Dialogue: 0,0:26:48.48,0:26:51.96,Default,,0000,0000,0000,,Folk Life Festival\Nsponsored by The Smithsonian.
Dialogue: 0,0:26:51.96,0:26:55.28,Default,,0000,0000,0000,,Then the quilt was, quilt blocks,\Nwere distributed
Dialogue: 0,0:26:55.28,0:26:58.36,Default,,0000,0000,0000,,to about 50 venues\Nthroughout the capital,
Dialogue: 0,0:26:58.36,0:27:02.72,Default,,0000,0000,0000,,in the intervening 3 weeks.\NAnd then to coincide
Dialogue: 0,0:27:02.72,0:27:08.21,Default,,0000,0000,0000,,with the International \NConference on Aids,
Dialogue: 0,0:27:08.21,0:27:10.48,Default,,0000,0000,0000,,which was happening\Nin Washington DC
Dialogue: 0,0:27:10.48,0:27:15.81,Default,,0000,0000,0000,,for the first time, \Nsince the Bush regime.
Dialogue: 0,0:27:17.40,0:27:22.43,Default,,0000,0000,0000,,We attempted to lay out the quilt again\Non the mall of Washington
Dialogue: 0,0:27:22.43,0:27:27.56,Default,,0000,0000,0000,,and that ended up not happening\Nbecause, you guys probably remember this,
Dialogue: 0,0:27:27.56,0:27:32.50,Default,,0000,0000,0000,,summer of 2012, I mean\Nthere was everything except an earthquake.
Dialogue: 0,0:27:32.50,0:27:34.80,Default,,0000,0000,0000,,I mean we had floods, we had hurricanes,\Nwe had tornadoes,
Dialogue: 0,0:27:34.80,0:27:41.08,Default,,0000,0000,0000,,I mean it was the worst possible summer.\NIt was 106 degrees in the shade
Dialogue: 0,0:27:41.08,0:27:45.51,Default,,0000,0000,0000,,and the humidity was through the roof\Nand the days we were supposed to lay
Dialogue: 0,0:27:45.51,0:27:48.65,Default,,0000,0000,0000,,this out on the mall\Nit rained every single day.
Dialogue: 0,0:27:49.65,0:27:53.60,Default,,0000,0000,0000,,So the quilt, the physical quilt itself,\Nthat was it's moment,
Dialogue: 0,0:27:53.60,0:27:56.21,Default,,0000,0000,0000,,it will never go out again\Nin public.
Dialogue: 0,0:27:56.21,0:27:59.83,Default,,0000,0000,0000,,If it was going to happen\Nit would have happened in summer 2012
Dialogue: 0,0:27:59.83,0:28:03.30,Default,,0000,0000,0000,,and we just, we literally got\Nto the end of the logistics
Dialogue: 0,0:28:03.30,0:28:06.10,Default,,0000,0000,0000,,that could make that happen,\Nwe now understand. \N
Dialogue: 0,0:28:07.19,0:28:10.93,Default,,0000,0000,0000,,So for a good portion of the 6 weeks\Nthat the quilt was in the capital,
Dialogue: 0,0:28:10.93,0:28:15.26,Default,,0000,0000,0000,,the digital experiences were the only \Naccess to the Aids Memorial Quilt.
Dialogue: 0,0:28:16.14,0:28:19.98,Default,,0000,0000,0000,,The quilt was there.\NIf we could find a panel
Dialogue: 0,0:28:19.98,0:28:23.04,Default,,0000,0000,0000,,and the panel maker came in,\Nwe would bring the panel out
Dialogue: 0,0:28:23.04,0:28:25.74,Default,,0000,0000,0000,,and we would lay it out\Nin our tent that we had
Dialogue: 0,0:28:25.74,0:28:28.67,Default,,0000,0000,0000,,and we ended up turning\Nthese digital experiences,
Dialogue: 0,0:28:28.67,0:28:31.97,Default,,0000,0000,0000,,which were meant to augment\Nviewing of the textile quilt,
Dialogue: 0,0:28:31.97,0:28:35.85,Default,,0000,0000,0000,,we ended up turning them \Ninto a media system
Dialogue: 0,0:28:35.85,0:28:37.49,Default,,0000,0000,0000,,for quilt archaeology.
Dialogue: 0,0:28:37.49,0:28:40.74,Default,,0000,0000,0000,,People would come in and say\N"My uncle Steve has a panel"
Dialogue: 0,0:28:40.74,0:28:43.48,Default,,0000,0000,0000,,and we're like\NOk what's Steve's last name?
Dialogue: 0,0:28:43.48,0:28:49.35,Default,,0000,0000,0000,,When did he die etc and it was through \Nthe interactive experience
Dialogue: 0,0:28:49.35,0:28:52.86,Default,,0000,0000,0000,,and I'll show you some facsimiles\Nof these, that we would help people
Dialogue: 0,0:28:52.86,0:28:56.16,Default,,0000,0000,0000,,get to the actual panel\Nand then work backwards
Dialogue: 0,0:28:56.16,0:28:58.81,Default,,0000,0000,0000,,to getting to the block\Nand then work backwards
Dialogue: 0,0:28:58.81,0:29:02.84,Default,,0000,0000,0000,,to where in all the cargo containers\Nthat were along the mall
Dialogue: 0,0:29:02.84,0:29:07.16,Default,,0000,0000,0000,,might that panel be stored\Nso we can bring the panel,
Dialogue: 0,0:29:08.21,0:29:10.39,Default,,0000,0000,0000,,or bring the block out\Nto show people.
Dialogue: 0,0:29:10.39,0:29:13.03,Default,,0000,0000,0000,,Who had traveled from Alaska,\NTexas and so on
Dialogue: 0,0:29:13.03,0:29:15.06,Default,,0000,0000,0000,,to see these panels.
Dialogue: 0,0:29:17.52,0:29:20.48,Default,,0000,0000,0000,,We ended up building the three\Ninteractives,
Dialogue: 0,0:29:20.48,0:29:23.50,Default,,0000,0000,0000,,I can't show you this one,\NI'll show you a facsimile of this,
Dialogue: 0,0:29:23.50,0:29:26.27,Default,,0000,0000,0000,,so we did use Microsoft,\Nwhat was then called Surface,
Dialogue: 0,0:29:29.07,0:29:33.36,Default,,0000,0000,0000,,interactive table top browser\Nto create a searchable
Dialogue: 0,0:29:33.36,0:29:37.28,Default,,0000,0000,0000,,and, kind of, viewable
Dialogue: 0,0:29:38.85,0:29:42.86,Default,,0000,0000,0000,,interaction, interactive experience\Nwhere you could view the quilt
Dialogue: 0,0:29:42.86,0:29:45.20,Default,,0000,0000,0000,,from different levels\Nof altitude.
Dialogue: 0,0:29:46.22,0:29:48.83,Default,,0000,0000,0000,,These were the tables in the tent.
Dialogue: 0,0:29:49.12,0:29:51.56,Default,,0000,0000,0000,,The team, the docent team.
Dialogue: 0,0:29:51.56,0:29:54.53,Default,,0000,0000,0000,,We didn't do any formal\Nuser research
Dialogue: 0,0:29:54.53,0:29:56.76,Default,,0000,0000,0000,,because that was not really the point\Nof this project
Dialogue: 0,0:29:56.76,0:30:00.23,Default,,0000,0000,0000,,but people came, they looked,\Nthey watched, they searched,
Dialogue: 0,0:30:00.23,0:30:04.24,Default,,0000,0000,0000,,they stayed for a half hour,\Nan hour at a time
Dialogue: 0,0:30:04.24,0:30:07.75,Default,,0000,0000,0000,,and again we ended up doing\Nthese things called quilt archaeology
Dialogue: 0,0:30:07.75,0:30:09.72,Default,,0000,0000,0000,,working in one question\Nand experience
Dialogue: 0,0:30:09.72,0:30:12.21,Default,,0000,0000,0000,,would lead to another\Nto another.
Dialogue: 0,0:30:15.37,0:30:17.98,Default,,0000,0000,0000,,There was a list of names\Nthat you could browse.
Dialogue: 0,0:30:17.98,0:30:20.17,Default,,0000,0000,0000,,You could browse by image,\Nyou could browse by name,
Dialogue: 0,0:30:20.17,0:30:23.13,Default,,0000,0000,0000,,you could get metadata, you could \Ngo between selecting the panel
Dialogue: 0,0:30:23.13,0:30:25.63,Default,,0000,0000,0000,,and get the metadata \Nassociated with that.
Dialogue: 0,0:30:25.63,0:30:27.88,Default,,0000,0000,0000,,If you were to browse \Nthe list of names,
Dialogue: 0,0:30:27.88,0:30:31.54,Default,,0000,0000,0000,,it took 500 screens,\Nto browse,
Dialogue: 0,0:30:31.54,0:30:34.34,Default,,0000,0000,0000,,so there were some browsing techniques\Nto get you able to shorthand.
Dialogue: 0,0:30:37.34,0:30:39.40,Default,,0000,0000,0000,,We asked the question,\Nwe were interested in,
Dialogue: 0,0:30:39.40,0:30:42.21,Default,,0000,0000,0000,,what is the, what's the equivalent\Nof a digital rubbing
Dialogue: 0,0:30:42.21,0:30:45.06,Default,,0000,0000,0000,,for a digital memorial?
Dialogue: 0,0:30:45.80,0:30:50.00,Default,,0000,0000,0000,,We know that, certainly in the context\Nof the national mall,\N
Dialogue: 0,0:30:50.00,0:30:53.16,Default,,0000,0000,0000,,that a lot of the way \Nin which people interact,
Dialogue: 0,0:30:53.16,0:30:57.07,Default,,0000,0000,0000,,with the marble\Nand the carved pieces and so on
Dialogue: 0,0:30:57.07,0:30:59.84,Default,,0000,0000,0000,,and this was an unexpected,\Nkind of,
Dialogue: 0,0:31:02.03,0:31:06.24,Default,,0000,0000,0000,,practice that we noted,\Nthat people would find the panel
Dialogue: 0,0:31:06.24,0:31:09.62,Default,,0000,0000,0000,,and then they would take a digital image\Nof people at the table of the panel
Dialogue: 0,0:31:09.62,0:31:13.89,Default,,0000,0000,0000,,and so there was something,\Nagain, to be explored here,
Dialogue: 0,0:31:13.89,0:31:17.93,Default,,0000,0000,0000,,kind of how, the digital enables\Npeople to be witnesses
Dialogue: 0,0:31:17.93,0:31:20.71,Default,,0000,0000,0000,,and to be present at a moment in time.
Dialogue: 0,0:31:21.85,0:31:27.13,Default,,0000,0000,0000,,Some amazing and very unusual\Nstories were evoked by this.
Dialogue: 0,0:31:28.00,0:31:32.75,Default,,0000,0000,0000,,This is a panel for a young man\Nnamed Chris Parcell
Dialogue: 0,0:31:32.75,0:31:36.97,Default,,0000,0000,0000,,and he died in 1990,\Nbut in 1989,
Dialogue: 0,0:31:38.97,0:31:42.31,Default,,0000,0000,0000,,a photojournalist named Billy Howard,\Nhad done a book,
Dialogue: 0,0:31:42.31,0:31:45.52,Default,,0000,0000,0000,,a photojournalist book \Nwith some entries
Dialogue: 0,0:31:45.52,0:31:49.52,Default,,0000,0000,0000,,on men who were diagnosed\Nas HIV positive
Dialogue: 0,0:31:49.52,0:31:53.56,Default,,0000,0000,0000,,who were in the Castro district\Nand Billy was coming over
Dialogue: 0,0:31:53.56,0:31:57.84,Default,,0000,0000,0000,,and he said I'd like to look up\Nthe people who are in my book.
Dialogue: 0,0:31:57.84,0:32:00.84,Default,,0000,0000,0000,,And so we were looking up the various\Nnames, about 50 names in the book,
Dialogue: 0,0:32:00.84,0:32:04.47,Default,,0000,0000,0000,,and 50 photographs\Nand Billy hadn't realized that
Dialogue: 0,0:32:04.47,0:32:13.74,Default,,0000,0000,0000,,Chris' panel was a quilted version\Nof the photograph that Billy had taken
Dialogue: 0,0:32:13.74,0:32:19.31,Default,,0000,0000,0000,,of Chris and it included\Nthe clothes that Chris was wearing
Dialogue: 0,0:32:19.31,0:32:23.68,Default,,0000,0000,0000,,in the photograph.\NSo those kinds of stories
Dialogue: 0,0:32:23.68,0:32:27.12,Default,,0000,0000,0000,,that we wouldn't have seen otherwise\N
Dialogue: 0,0:32:27.12,0:32:29.01,Default,,0000,0000,0000,,because we wouldn't have been able\Nto have a mechanism
Dialogue: 0,0:32:29.01,0:32:32.82,Default,,0000,0000,0000,,to get in and browse so precisely.
Dialogue: 0,0:32:34.18,0:32:37.47,Default,,0000,0000,0000,,Some of the unexpected encounters\N
Dialogue: 0,0:32:38.51,0:32:41.66,Default,,0000,0000,0000,,and what we also realized, \Nof course, in doing this work,
Dialogue: 0,0:32:41.66,0:32:45.17,Default,,0000,0000,0000,,unlike many of the other digital pieces\NI've been involved with,
Dialogue: 0,0:32:46.46,0:32:51.91,Default,,0000,0000,0000,,it's very much about using the digital\Nto be present with people
Dialogue: 0,0:32:51.91,0:32:55.58,Default,,0000,0000,0000,,as they were remembering things\Nand to be a part of the witnessing
Dialogue: 0,0:32:56.62,0:32:58.91,Default,,0000,0000,0000,,of the, kind of, cultural memories.
Dialogue: 0,0:33:00.67,0:33:04.24,Default,,0000,0000,0000,,Second project that we did,\Nthat is kind of on and off,
Dialogue: 0,0:33:04.24,0:33:08.10,Default,,0000,0000,0000,,in terms of whether or not \Nit's still available on Microsoft's site,
Dialogue: 0,0:33:08.10,0:33:12.51,Default,,0000,0000,0000,,because we used a new \NMicrosoft program called Chronozoom
Dialogue: 0,0:33:12.51,0:33:16.80,Default,,0000,0000,0000,,to create an interactive\Ntimeline of the history
Dialogue: 0,0:33:16.80,0:33:21.25,Default,,0000,0000,0000,,of HIV Aids, that research\Nand those stories,
Dialogue: 0,0:33:21.25,0:33:25.51,Default,,0000,0000,0000,,and that kind of interactive\Ntimeline about the history of the quilt.
Dialogue: 0,0:33:26.77,0:33:31.97,Default,,0000,0000,0000,,This was a very interesting opportunity\Nfor me to get involved
Dialogue: 0,0:33:31.97,0:33:38.65,Default,,0000,0000,0000,,and deep in discussions\Nwith researchers at Microsoft about
Dialogue: 0,0:33:39.92,0:33:42.66,Default,,0000,0000,0000,,some of the nuances \Nof historiography
Dialogue: 0,0:33:42.66,0:33:47.75,Default,,0000,0000,0000,,and, like, this is so wrong\Non so many counts,
Dialogue: 0,0:33:47.75,0:33:51.01,Default,,0000,0000,0000,,that this Chronozoom\Nis so wrong
Dialogue: 0,0:33:51.01,0:33:54.58,Default,,0000,0000,0000,,because it really is well suited\Nto telling the stories
Dialogue: 0,0:33:54.58,0:33:59.74,Default,,0000,0000,0000,,of epics and epochs \Nand geologic times and so on,
Dialogue: 0,0:33:59.74,0:34:02.59,Default,,0000,0000,0000,,such that it ended up making AIDS seem\Nlike an eyeblink
Dialogue: 0,0:34:02.59,0:34:04.99,Default,,0000,0000,0000,,in the history of humanity.
Dialogue: 0,0:34:04.99,0:34:07.62,Default,,0000,0000,0000,,And I'm like we'll do it,\Nbut I'm not happy about doing it
Dialogue: 0,0:34:08.44,0:34:10.25,Default,,0000,0000,0000,,and I'm going to show you why.
Dialogue: 0,0:34:10.80,0:34:14.64,Default,,0000,0000,0000,,It's because every time you turn around,\Nyou can zoom out so quickly
Dialogue: 0,0:34:14.64,0:34:19.74,Default,,0000,0000,0000,,to the geologic time frame that anything \Nthat has to do with humanities
Dialogue: 0,0:34:19.74,0:34:21.74,Default,,0000,0000,0000,,seems absolutely insignificant.
Dialogue: 0,0:34:22.16,0:34:25.90,Default,,0000,0000,0000,,So helping them understand that\Nperhaps they needed some breaks
Dialogue: 0,0:34:25.90,0:34:29.32,Default,,0000,0000,0000,,on those zooming capacities\Non different timelines.
Dialogue: 0,0:34:30.99,0:34:34.20,Default,,0000,0000,0000,,We had interesting discussions about
Dialogue: 0,0:34:35.08,0:34:36.52,Default,,0000,0000,0000,,how one writes history.
Dialogue: 0,0:34:37.63,0:34:42.86,Default,,0000,0000,0000,,Aids Quilt Touch.\NThis was probably our most successful,
Dialogue: 0,0:34:42.86,0:34:45.100,Default,,0000,0000,0000,,kind of unintended consequence.\NVery late in the day
Dialogue: 0,0:34:45.100,0:34:49.76,Default,,0000,0000,0000,,the Digital Studio \Nfor the Public Humanities at Iowa
Dialogue: 0,0:34:49.76,0:34:52.18,Default,,0000,0000,0000,,said you know, \Nyou need a mobile web app,
Dialogue: 0,0:34:52.18,0:34:54.33,Default,,0000,0000,0000,,everyone's going to show up\Nat the mall
Dialogue: 0,0:34:54.33,0:34:56.94,Default,,0000,0000,0000,,and they're going to want to know\Nwhere on the google map
Dialogue: 0,0:34:56.94,0:35:00.02,Default,,0000,0000,0000,,is the panel that they're looking for\Nand we're like,
Dialogue: 0,0:35:00.02,0:35:03.34,Default,,0000,0000,0000,,wow, we don't have any funding to do that\Nand the Iowa team said we'll do it.
Dialogue: 0,0:35:04.48,0:35:08.28,Default,,0000,0000,0000,,And so in about 4 weeks\Nthey built a very robust
Dialogue: 0,0:35:08.28,0:35:10.17,Default,,0000,0000,0000,,mobile web app\Nthat is still up
Dialogue: 0,0:35:10.17,0:35:12.20,Default,,0000,0000,0000,,and available\Nand I'll show you that.
Dialogue: 0,0:35:12.20,0:35:16.26,Default,,0000,0000,0000,,So I'd like to show you\Njust a few of the experiences here.
Dialogue: 0,0:35:17.78,0:35:19.54,Default,,0000,0000,0000,,Let me start with..
Dialogue: 0,0:35:21.79,0:35:24.63,Default,,0000,0000,0000,,let me start with this one.\NSo this will give you a sense
Dialogue: 0,0:35:24.63,0:35:27.03,Default,,0000,0000,0000,,of what you could do,\Nthis is what I mean by
Dialogue: 0,0:35:27.03,0:35:33.61,Default,,0000,0000,0000,,the poetics of interactivity.\NSo this is a virtual image
Dialogue: 0,0:35:33.61,0:35:38.75,Default,,0000,0000,0000,,of 1.3 million square feet,\Nalmost 6000 12 by 12 blocks.
Dialogue: 0,0:35:40.52,0:35:43.25,Default,,0000,0000,0000,,There's no scale markers on here.
Dialogue: 0,0:35:43.25,0:35:45.88,Default,,0000,0000,0000,,This is also the first time\Nwhen we did this,
Dialogue: 0,0:35:45.88,0:35:49.66,Default,,0000,0000,0000,,this is the first time,\Nthat the quilt block panels
Dialogue: 0,0:35:49.66,0:35:52.01,Default,,0000,0000,0000,,were laid out\Nin chronological order.
Dialogue: 0,0:35:52.75,0:36:00.04,Default,,0000,0000,0000,,So that means that they're \Nby accessioning numbers, 0001, 0002..
Dialogue: 0,0:36:00.04,0:36:03.100,Default,,0000,0000,0000,,it doesn't entirely correspond\Nto the chronology
Dialogue: 0,0:36:03.100,0:36:06.90,Default,,0000,0000,0000,,of when the panels were created\Nbecause also what we learned
Dialogue: 0,0:36:06.90,0:36:10.82,Default,,0000,0000,0000,,is that people hold onto the panels\Nuntil they're ready to let go.
Dialogue: 0,0:36:11.54,0:36:15.24,Default,,0000,0000,0000,,And so down here you may have panels\Nthat were created 25 years ago
Dialogue: 0,0:36:15.24,0:36:19.31,Default,,0000,0000,0000,,that would have been up there\Nbut weren't submitted at the same age
Dialogue: 0,0:36:19.31,0:36:21.08,Default,,0000,0000,0000,,but at least for the way \Nin which the panels
Dialogue: 0,0:36:21.08,0:36:24.17,Default,,0000,0000,0000,,were brought to the Names Project,\Nstitched into the blocks
Dialogue: 0,0:36:24.17,0:36:27.24,Default,,0000,0000,0000,,and then accessioned,\Nthis is a historical document.
Dialogue: 0,0:36:29.55,0:36:32.08,Default,,0000,0000,0000,,And a document where you can\Nstart to see the difference
Dialogue: 0,0:36:32.08,0:36:35.26,Default,,0000,0000,0000,,in resolution.\NSo at the table
Dialogue: 0,0:36:35.26,0:36:39.02,Default,,0000,0000,0000,,that you were at in, \None of the surface,
Dialogue: 0,0:36:39.02,0:36:41.70,Default,,0000,0000,0000,,you would be able to do this kind\Nof zooming
Dialogue: 0,0:36:41.70,0:36:46.09,Default,,0000,0000,0000,,just by gesture-based\Nand it's pretty fast,
Dialogue: 0,0:36:46.09,0:36:49.16,Default,,0000,0000,0000,,it's pretty fast,\Nyou could pan,
Dialogue: 0,0:36:53.36,0:36:58.22,Default,,0000,0000,0000,,you could pan across,\Nzoom in at different altitudes
Dialogue: 0,0:37:00.12,0:37:04.55,Default,,0000,0000,0000,,to the point where you would\Nget to a resolution
Dialogue: 0,0:37:04.55,0:37:06.82,Default,,0000,0000,0000,,focused on a singular panel.
Dialogue: 0,0:37:09.04,0:37:14.50,Default,,0000,0000,0000,,This project, to create that very smooth,\Nkind of, zooming from different altitudes
Dialogue: 0,0:37:14.50,0:37:19.56,Default,,0000,0000,0000,,of viewing brought the computers\Nto its knees.
Dialogue: 0,0:37:20.22,0:37:23.84,Default,,0000,0000,0000,,This was the Brown group\Nworking furiously
Dialogue: 0,0:37:23.84,0:37:27.28,Default,,0000,0000,0000,,to make a Microsoft \Ndeep zoom application
Dialogue: 0,0:37:27.28,0:37:32.24,Default,,0000,0000,0000,,able to handle the size\Nof the images.
Dialogue: 0,0:37:32.24,0:37:34.22,Default,,0000,0000,0000,,Because this is 1.3 million\Nsquare feet.
Dialogue: 0,0:37:34.22,0:37:36.71,Default,,0000,0000,0000,,This is not, so there\Nwere different kinds of hacks
Dialogue: 0,0:37:36.71,0:37:39.28,Default,,0000,0000,0000,,and work arounds\Nand stuff like that.
Dialogue: 0,0:37:40.08,0:37:42.28,Default,,0000,0000,0000,,We really had the best \Nthinkers...
Dialogue: 0,0:37:43.84,0:37:47.03,Default,,0000,0000,0000,,So at the table, \Nyou would have been able to,
Dialogue: 0,0:37:47.03,0:37:50.22,Default,,0000,0000,0000,,with gestures zoom in and out\Nto different altitudes,
Dialogue: 0,0:37:50.22,0:37:53.56,Default,,0000,0000,0000,,you could pan around,\Nyou could start to see patterns and so on,
Dialogue: 0,0:37:53.56,0:37:56.44,Default,,0000,0000,0000,,but if you were at the table\Nyou would be able to click
Dialogue: 0,0:37:56.44,0:37:58.63,Default,,0000,0000,0000,,on a particular panel \Nand then get the metadata
Dialogue: 0,0:37:58.63,0:38:02.12,Default,,0000,0000,0000,,for that panel\Nso you were able to go from,
Dialogue: 0,0:38:02.12,0:38:05.70,Default,,0000,0000,0000,,and this is one of the examples of what \NI mean by poetics of interactivity.
Dialogue: 0,0:38:05.70,0:38:09.26,Default,,0000,0000,0000,,This is something the digital\Ncould do that wasn't able to be done
Dialogue: 0,0:38:09.40,0:38:11.65,Default,,0000,0000,0000,,on the textile\Nwhich is that you could zoom
Dialogue: 0,0:38:11.65,0:38:18.90,Default,,0000,0000,0000,,from the, most, bird's eye view\Nof these large displays at this scale,
Dialogue: 0,0:38:18.90,0:38:23.10,Default,,0000,0000,0000,,down to the 3 by 5, \N3 by 6 panel.
Dialogue: 0,0:38:23.10,0:38:25.40,Default,,0000,0000,0000,,To give you, kind of, a sense\Nof the oscillation
Dialogue: 0,0:38:25.40,0:38:27.59,Default,,0000,0000,0000,,between the personal \Nand the cultural.
Dialogue: 0,0:38:28.58,0:38:32.43,Default,,0000,0000,0000,,The significance of Aids\Nis certainly about every name
Dialogue: 0,0:38:32.43,0:38:35.32,Default,,0000,0000,0000,,that's on the panel,\Nthe most intimate
Dialogue: 0,0:38:35.32,0:38:40.39,Default,,0000,0000,0000,,and the most, literally,\Nkind of, signature experience.
Dialogue: 0,0:38:40.96,0:38:44.36,Default,,0000,0000,0000,,But for us, culturally, \Nthe impact of HIV Aids
Dialogue: 0,0:38:44.36,0:38:48.63,Default,,0000,0000,0000,,is arrayed by this,\Napprehending this scale of the image
Dialogue: 0,0:38:48.63,0:38:51.99,Default,,0000,0000,0000,,and that table,\Nthat interactive table
Dialogue: 0,0:38:51.99,0:38:55.71,Default,,0000,0000,0000,,enabled people, literally, \Nto go very seamlessly
Dialogue: 0,0:38:55.71,0:39:01.63,Default,,0000,0000,0000,,from the individual signature name \Nto the sense of the scale of the project.
Dialogue: 0,0:39:03.98,0:39:06.99,Default,,0000,0000,0000,,I'll just show you \Nthe Aids Quilt Touch.
Dialogue: 0,0:39:06.99,0:39:10.21,Default,,0000,0000,0000,,So this is still up and running\Nalthough it's definitely,
Dialogue: 0,0:39:10.21,0:39:14.81,Default,,0000,0000,0000,,it's not even in beta, \Nsome of the things that we did
Dialogue: 0,0:39:14.81,0:39:19.13,Default,,0000,0000,0000,,and this is, kind of, the going in point,\Nwe were interested in
Dialogue: 0,0:39:19.13,0:39:24.32,Default,,0000,0000,0000,,being able to map for people\Nwhere a particular
Dialogue: 0,0:39:28.69,0:39:31.91,Default,,0000,0000,0000,,where a particular panel\Nis going to be located on the mall
Dialogue: 0,0:39:31.91,0:39:34.72,Default,,0000,0000,0000,,so it's really a google map \Nmash up.
Dialogue: 0,0:39:36.74,0:39:38.40,Default,,0000,0000,0000,,(brief silence)
Dialogue: 0,0:39:50.55,0:39:52.60,Default,,0000,0000,0000,,And so this is what I mean\Nwhen I say the database
Dialogue: 0,0:39:52.60,0:39:55.38,Default,,0000,0000,0000,,was really noisy,\Nthis is what we have:
Dialogue: 0,0:39:55.38,0:39:58.91,Default,,0000,0000,0000,,We have "Bambi" for an entry\Nwithout really reliable
Dialogue: 0,0:39:58.91,0:40:02.59,Default,,0000,0000,0000,,secondary metadata\Nso the kind of things we have to do
Dialogue: 0,0:40:02.59,0:40:06.54,Default,,0000,0000,0000,,to clean up this database,\Nrequires going back
Dialogue: 0,0:40:06.54,0:40:08.75,Default,,0000,0000,0000,,into the physical archives.
Dialogue: 0,0:40:09.89,0:40:11.40,Default,,0000,0000,0000,,(brief silence)
Dialogue: 0,0:40:23.18,0:40:27.18,Default,,0000,0000,0000,,Anyway, so there is kind of a mash up\Nof where the displays are.
Dialogue: 0,0:40:27.18,0:40:33.71,Default,,0000,0000,0000,,And then this was the first time\Nthat the Names Project Foundation
Dialogue: 0,0:40:33.71,0:40:37.05,Default,,0000,0000,0000,,had any sort of digital guest book.\N
Dialogue: 0,0:40:39.03,0:40:45.29,Default,,0000,0000,0000,,So what we invited,\Nwhat we invited people to do,
Dialogue: 0,0:40:45.29,0:40:49.36,Default,,0000,0000,0000,,so here was something that was,\N...a year after,
Dialogue: 0,0:40:50.77,0:40:53.64,Default,,0000,0000,0000,,this was a celebration\Nfor this person
Dialogue: 0,0:40:53.64,0:40:58.96,Default,,0000,0000,0000,,and it's submitted by somebody \Nnamed by David Julio
Dialogue: 0,0:40:58.96,0:41:02.51,Default,,0000,0000,0000,,and it's a testimony to somebody, \Nhis friend named Michael,
Dialogue: 0,0:41:02.51,0:41:06.19,Default,,0000,0000,0000,,who was an important part \Nof his life in 1979.
Dialogue: 0,0:41:06.19,0:41:10.89,Default,,0000,0000,0000,,So this is now the first time\Nthat the Names Project
Dialogue: 0,0:41:10.89,0:41:15.04,Default,,0000,0000,0000,,had the capacity to invite people\Nto submit anything
Dialogue: 0,0:41:15.04,0:41:20.65,Default,,0000,0000,0000,,from simple memorials to stories.\NThis is what we are now hoping to do
Dialogue: 0,0:41:20.65,0:41:22.33,Default,,0000,0000,0000,,in the next phase of the project\Nwhich is to create
Dialogue: 0,0:41:22.33,0:41:25.20,Default,,0000,0000,0000,,a much more multi media rich\Nand multi modal
Dialogue: 0,0:41:25.20,0:41:31.49,Default,,0000,0000,0000,,kind of story, story engine \Nor story accessing engine.
Dialogue: 0,0:41:34.42,0:41:38.15,Default,,0000,0000,0000,,And building off of the notion\Nthat you could celebrate
Dialogue: 0,0:41:38.15,0:41:41.32,Default,,0000,0000,0000,,individual people,\Nyou could share your thoughts
Dialogue: 0,0:41:41.32,0:41:46.19,Default,,0000,0000,0000,,about the quilt itself\Nand there were certainly
Dialogue: 0,0:41:46.19,0:41:47.98,Default,,0000,0000,0000,,a number of...
Dialogue: 0,0:41:51.33,0:41:55.42,Default,,0000,0000,0000,,a number of contributions\Nfrom people saying
Dialogue: 0,0:41:55.42,0:41:57.57,Default,,0000,0000,0000,,I had no idea the quilt was so big\Nso people who didn't have experience
Dialogue: 0,0:41:57.57,0:42:00.74,Default,,0000,0000,0000,,with a particular name\Nbut was talking about
Dialogue: 0,0:42:00.74,0:42:03.12,Default,,0000,0000,0000,,the significance of the quilt.
Dialogue: 0,0:42:04.05,0:42:08.99,Default,,0000,0000,0000,,So I'm just going to talk about\Ntwo other, maybe more wonky, things,
Dialogue: 0,0:42:08.99,0:42:11.71,Default,,0000,0000,0000,,that digital humanists in the room\Nwill understand and appreciate.
Dialogue: 0,0:42:13.85,0:42:15.97,Default,,0000,0000,0000,,So one of the struggles \Nthat we had
Dialogue: 0,0:42:15.97,0:42:21.98,Default,,0000,0000,0000,,was we only have images\Nof the 12 by 12 foot blocks.
Dialogue: 0,0:42:21.98,0:42:25.37,Default,,0000,0000,0000,,We don't have images\Nof the individual panels.
Dialogue: 0,0:42:25.37,0:42:30.19,Default,,0000,0000,0000,,They didn't decide to do that imaging,\Nthey only imaged the block.
Dialogue: 0,0:42:30.19,0:42:32.59,Default,,0000,0000,0000,,But for researching \Nand for searching
Dialogue: 0,0:42:32.59,0:42:35.15,Default,,0000,0000,0000,,we would really like to be able\Nto get people
Dialogue: 0,0:42:35.15,0:42:42.18,Default,,0000,0000,0000,,to return all the panels\Nfor a particular name
Dialogue: 0,0:42:42.18,0:42:45.82,Default,,0000,0000,0000,,or we would like to do parameter\Nbased searching,
Dialogue: 0,0:42:45.82,0:42:49.54,Default,,0000,0000,0000,,like I would like to know\NHow many panels are submitted
Dialogue: 0,0:42:49.54,0:42:54.22,Default,,0000,0000,0000,,on behalf of people who died\Nwho have my birth date
Dialogue: 0,0:42:54.22,0:42:57.76,Default,,0000,0000,0000,,so that I can understand\Nwho's my cohort
Dialogue: 0,0:42:57.76,0:43:02.29,Default,,0000,0000,0000,,on the quilt and their children,\Nwhat year they died and so on.
Dialogue: 0,0:43:02.29,0:43:07.16,Default,,0000,0000,0000,,I'm actually in the middle\Nof the demographics
Dialogue: 0,0:43:07.16,0:43:09.54,Default,,0000,0000,0000,,in terms of who was susceptible to this.
Dialogue: 0,0:43:11.67,0:43:16.52,Default,,0000,0000,0000,,So we did community sourcing\Napplication, very down and dirty,
Dialogue: 0,0:43:16.52,0:43:19.38,Default,,0000,0000,0000,,that just puts a block\Non the screen
Dialogue: 0,0:43:19.38,0:43:24.60,Default,,0000,0000,0000,,and then asks you to click\Non the number
Dialogue: 0,0:43:24.60,0:43:29.82,Default,,0000,0000,0000,,that is most closely\Nat the center of an individual panel
Dialogue: 0,0:43:29.82,0:43:35.38,Default,,0000,0000,0000,,and then we also ask people\Ndoes this image need to be cropped?
Dialogue: 0,0:43:35.38,0:43:38.13,Default,,0000,0000,0000,,Which this one does...\Nso I'm going to say yes,
Dialogue: 0,0:43:38.13,0:43:40.63,Default,,0000,0000,0000,,it's a little kind of ugly there\Nand then you submit
Dialogue: 0,0:43:40.63,0:43:43.19,Default,,0000,0000,0000,,the block layout.\NSo what we're doing,
Dialogue: 0,0:43:43.19,0:43:47.26,Default,,0000,0000,0000,,we're almost near the end\Nof going through all the blocks,
Dialogue: 0,0:43:47.26,0:43:53.18,Default,,0000,0000,0000,,times 3 to get inter...reliability,\Ninter reliability,
Dialogue: 0,0:43:53.18,0:43:55.60,Default,,0000,0000,0000,,so that now we know\Nwhere on a block,
Dialogue: 0,0:43:55.60,0:43:58.93,Default,,0000,0000,0000,,is the location \Nof an individual panel.
Dialogue: 0,0:43:58.93,0:44:03.30,Default,,0000,0000,0000,,Because there are actually 32\Ndifferent permutations
Dialogue: 0,0:44:03.30,0:44:10.62,Default,,0000,0000,0000,,of 8 panels for each block,\Nsome blocks are all 1 panel, 12 by 12.
Dialogue: 0,0:44:10.62,0:44:13.70,Default,,0000,0000,0000,,This was one where Andy and Dan\Nsaid you should be able to do this
Dialogue: 0,0:44:13.70,0:44:18.23,Default,,0000,0000,0000,,algorithmically and Andy said to us,\Nyou're better off with human eyeballs.
Dialogue: 0,0:44:18.23,0:44:22.61,Default,,0000,0000,0000,,And it has to do with \Nthe imprecision of the colors,
Dialogue: 0,0:44:22.61,0:44:28.45,Default,,0000,0000,0000,,because we have such,\Nthe capacity to really discern,
Dialogue: 0,0:44:28.45,0:44:32.62,Default,,0000,0000,0000,,to make distinctions between textile,\Neven in bad resolution images.
Dialogue: 0,0:44:33.56,0:44:36.80,Default,,0000,0000,0000,,So what we're aiming for,\Nand this is another thing
Dialogue: 0,0:44:36.80,0:44:40.13,Default,,0000,0000,0000,,we've got in beta,\Nwe're aiming for,
Dialogue: 0,0:44:41.43,0:44:44.76,Default,,0000,0000,0000,,again we've got the proof of concept\Nfor the ability
Dialogue: 0,0:44:44.76,0:44:48.90,Default,,0000,0000,0000,,to recreate the virtual quilt,\Nnot for presentation and display,
Dialogue: 0,0:44:48.90,0:44:52.40,Default,,0000,0000,0000,,but for research so you can do \Nparameter based searching
Dialogue: 0,0:44:52.40,0:44:55.22,Default,,0000,0000,0000,,and get a collection \Nof the quilt panels
Dialogue: 0,0:44:55.22,0:44:57.85,Default,,0000,0000,0000,,that represent the parameters.\NSo like I just typed in
Dialogue: 0,0:44:58.96,0:45:02.96,Default,,0000,0000,0000,,"creation date 1992",\Nso this would be the collection
Dialogue: 0,0:45:02.96,0:45:08.46,Default,,0000,0000,0000,,of panels,\Nthis is a sample data set,
Dialogue: 0,0:45:08.46,0:45:12.28,Default,,0000,0000,0000,,but the collection of panels\Nthat were submitted in 1992.
Dialogue: 0,0:45:13.72,0:45:14.50,Default,,0000,0000,0000,,Take that out...
Dialogue: 0,0:45:15.55,0:45:18.73,Default,,0000,0000,0000,,We know that people \Nwant to do things like
Dialogue: 0,0:45:20.60,0:45:25.95,Default,,0000,0000,0000,,panels, where are the panels submitted\Nassociated with a particular city,
Dialogue: 0,0:45:25.95,0:45:28.42,Default,,0000,0000,0000,,zipcode, things like that.
Dialogue: 0,0:45:29.13,0:45:31.88,Default,,0000,0000,0000,,I think this is going to be \Na very interesting
Dialogue: 0,0:45:31.88,0:45:37.15,Default,,0000,0000,0000,,set of research capabilities\Nwhen we can get this done
Dialogue: 0,0:45:37.15,0:45:40.56,Default,,0000,0000,0000,,because there is so many interesting,\Nso many interesting patterns
Dialogue: 0,0:45:41.79,0:45:44.86,Default,,0000,0000,0000,,that we can now start to see\Nin the quilt,
Dialogue: 0,0:45:44.86,0:45:48.28,Default,,0000,0000,0000,,including quilting patterns\Nwhich we're connecting
Dialogue: 0,0:45:48.28,0:45:50.35,Default,,0000,0000,0000,,up with the people \Nat Michigan State University
Dialogue: 0,0:45:50.35,0:45:54.70,Default,,0000,0000,0000,,who do the quilt index.\NSo to also put the quilt
Dialogue: 0,0:45:54.70,0:45:59.37,Default,,0000,0000,0000,,into yet another context,\Nwhich is a folkal part context.
Dialogue: 0,0:46:00.44,0:46:05.52,Default,,0000,0000,0000,,It is one of the largest pieces of quilt\Nfolk art in the history of the world
Dialogue: 0,0:46:05.52,0:46:07.22,Default,,0000,0000,0000,,as far as we know.
Dialogue: 0,0:46:07.87,0:46:11.03,Default,,0000,0000,0000,,So it would be a way,\Nthis kind of capacity,
Dialogue: 0,0:46:11.03,0:46:13.92,Default,,0000,0000,0000,,it would be a way in which we would\Nenable the datasets
Dialogue: 0,0:46:15.03,0:46:18.20,Default,,0000,0000,0000,,to be searchable for cultural \Nquestions,
Dialogue: 0,0:46:18.20,0:46:21.90,Default,,0000,0000,0000,,not data analytical questions \Nand so I use this as an example
Dialogue: 0,0:46:21.90,0:46:24.10,Default,,0000,0000,0000,,of what I mean when I say\N"cultural analytics".
Dialogue: 0,0:46:24.81,0:46:29.81,Default,,0000,0000,0000,,That it's about searching for patterns\Nthat the data by itself can't reveal.
Dialogue: 0,0:46:29.81,0:46:34.04,Default,,0000,0000,0000,,That if I just had access\Nto one set or the other
Dialogue: 0,0:46:34.04,0:46:36.10,Default,,0000,0000,0000,,I wouldn't be able to get at them,\NI can only get them
Dialogue: 0,0:46:36.10,0:46:38.82,Default,,0000,0000,0000,,if I can do something different\Nwith the data.
Dialogue: 0,0:46:40.99,0:46:46.10,Default,,0000,0000,0000,,That is, those are our examples. \NI'm not going to show Chronozoom
Dialogue: 0,0:46:46.10,0:46:48.05,Default,,0000,0000,0000,,because Chronozoom\Nis down right now.
Dialogue: 0,0:46:51.72,0:46:56.15,Default,,0000,0000,0000,,I think the lessons learned here\Nwere that it literally,
Dialogue: 0,0:46:57.68,0:47:01.50,Default,,0000,0000,0000,,it literally takes a village,\Nor rather, this to me was an example
Dialogue: 0,0:47:01.50,0:47:05.08,Default,,0000,0000,0000,,of the thing, the construct\NI've been working on,
Dialogue: 0,0:47:05.08,0:47:07.32,Default,,0000,0000,0000,,this is something\Nyou guys were starting to talk about,
Dialogue: 0,0:47:08.30,0:47:10.93,Default,,0000,0000,0000,,the construct of a, kind of, \Nbig humanities project,
Dialogue: 0,0:47:10.93,0:47:15.60,Default,,0000,0000,0000,,like the big science project\Nthat enabled us
Dialogue: 0,0:47:15.60,0:47:17.63,Default,,0000,0000,0000,,to do the [inaudible] sequencing.
Dialogue: 0,0:47:18.14,0:47:23.16,Default,,0000,0000,0000,,This is the kind of cultural\Nphenomena that cannot be done
Dialogue: 0,0:47:23.16,0:47:27.10,Default,,0000,0000,0000,,by any single institution. \NIt's 34 tons.
Dialogue: 0,0:47:27.10,0:47:30.53,Default,,0000,0000,0000,,The Smithsonian can't take it,\Nthe Library of Congress,
Dialogue: 0,0:47:30.53,0:47:35.50,Default,,0000,0000,0000,,is literally daunted by this,\Nso we've got to think about
Dialogue: 0,0:47:35.50,0:47:39.25,Default,,0000,0000,0000,,an entirely different way\Nof archiving the physical pieces,
Dialogue: 0,0:47:39.25,0:47:43.24,Default,,0000,0000,0000,,thinking about the role of the digital\Nand maintaining the integrity
Dialogue: 0,0:47:44.08,0:47:45.55,Default,,0000,0000,0000,,of the physical archive.
Dialogue: 0,0:47:45.55,0:47:49.71,Default,,0000,0000,0000,,We're talking about shifting from,\Nyou know, putting it somewhere
Dialogue: 0,0:47:49.71,0:47:53.83,Default,,0000,0000,0000,,permanently, to repatriating the quilt,\Nand putting the quilt
Dialogue: 0,0:47:53.83,0:47:59.10,Default,,0000,0000,0000,,back to the cultural institutions\Nthat are already vested in the project
Dialogue: 0,0:47:59.10,0:48:04.74,Default,,0000,0000,0000,,of keeping the memory of HIV Aids, \Ngay and lesbian history alive.
Dialogue: 0,0:48:05.34,0:48:10.48,Default,,0000,0000,0000,,So repatriating the physical quilt\Nand using the digital platforms
Dialogue: 0,0:48:10.48,0:48:13.97,Default,,0000,0000,0000,,to do the work\Nof maintaining the integrity.
Dialogue: 0,0:48:13.97,0:48:16.17,Default,,0000,0000,0000,,So we're just starting\Nto have these conversations
Dialogue: 0,0:48:16.17,0:48:19.93,Default,,0000,0000,0000,,between the Names Project Foundation\Nand the Library of Congress
Dialogue: 0,0:48:19.93,0:48:23.02,Default,,0000,0000,0000,,to try to understand \Nwhat's the mechanisms
Dialogue: 0,0:48:23.02,0:48:24.58,Default,,0000,0000,0000,,for doing this.
Dialogue: 0,0:48:26.26,0:48:29.45,Default,,0000,0000,0000,,So I use it as an example\Nof a big digital humanities project.
Dialogue: 0,0:48:29.45,0:48:34.38,Default,,0000,0000,0000,,It's too big for any single institution\Nor any single set of researchers
Dialogue: 0,0:48:35.65,0:48:37.38,Default,,0000,0000,0000,,and what it means\Nis it's more of a consortium
Dialogue: 0,0:48:37.38,0:48:41.10,Default,,0000,0000,0000,,or a collaboration model\Nthat divides the labor.
Dialogue: 0,0:48:43.01,0:48:44.81,Default,,0000,0000,0000,,So thank you. \NI think that's my time.