W3C maintains an internationally distributed network of servers and services that support Public, Member, and Team audiences in pursuit of the Consortium’s technical and social objectives.
Author: Eliza Sarobhasa
About | Eyeo Festival
It’s an exciting time to be interested in art, interaction, and information.
The way we experience all three is changing. The way all three interact and overlap is evolving. Access to data and tools continues to enter new realms. What data is—is changing; It’s a social media feed, it’s a physical sensor, it’s a house plant, a novel, it’s open access to oceans of digitized archives and more and more APIs.
What can we do with all this data? What can’t we do?
Artists, designers and coders build and bend technology and give us a glimpse into what’s possible, into what’s next. Ones and zeros float all around us just waiting to deliver the next new interaction.
Euphemism – Wikipedia, the free encyclopedia
A euphemism is a generally harmless word, name, or phrase that substitutes an offensive or suggestive one.[1] Some euphemisms intend to amuse, while others intend to give positive appearances to negative events or even mislead entirely. Euphemisms also often take the place of profanity. The opposite of euphemism roughly equates to dysphemism.
Dysphemism – Wikipedia, the free encyclopedia
Dysphemism – Wikipedia, the free encyclopedia.
In language, dysphemism,a malphemism,b and cacophemismc refer to the usage of an intentionally harsh (rather than polite) word or expression; roughly the opposite of euphemism.[1]
Referring to the paper version of an online magazine as the “dead tree edition” or conventional postal mailas “snail-mail” are examples of dysphemisms.
Optical character recognition – Wikipedia, the free encyclopedia
Optical character recognition, usually abbreviated to OCR, is the mechanical or electronic conversion of scanned images of handwritten, typewritten or printed text into machine-encoded text.
It is widely used as a form of data entry from some sort of original paper data source, whether documents, sales receipts, mail, or any number of printed records. It is crucial to the computerization of printed texts so that they can be electronically searched, stored more compactly, displayed on-line, and used in machine processes such as machine translation, text-to-speech and text mining.
OCR is a field of research in pattern recognition, artificial intelligence and computer vision.
Early versions needed to be programmed with images of each character, and worked on one font at a time. “Intelligent” systems with a high degree of recognition accuracy for most fonts are now common. Some systems are capable of reproducing formatted output that closely approximates the original scanned page including images, columns and other non-textual components.
via Optical character recognition – Wikipedia, the free encyclopedia.
Literary theory – Wikipedia, the free encyclopedia
Literary theory in a strict sense is the systematic study of the nature of literature and of the methods for analyzing literature.[1]
However, literary scholarship since the 19th century often includes—in addition to, or even instead of literary theory in the strict sense—considerations of intellectual history, moral philosophy, social prophecy, and other interdisciplinary themes which are of relevance to the way humans interpret meaning.[1]
In humanities in modern academia, the latter style of scholarship is an outgrowth of critical theoryand is often called simply “theory.”[2] As a consequence, the word “theory” has become an umbrella term for a variety of scholarly approaches to reading texts. Many of these approaches are informed by various strands ofContinental philosophy and sociology.
Intertextuality – Wikipedia, the free encyclopedia
Intertextuality is the shaping of texts’ meanings by other texts. It can include an author’s borrowing and transformation of a prior text or to a reader’s referencing of one text in reading another.
The term “intertextuality” has, itself, been borrowed and transformed many times since it was coined bypoststructuralist Julia Kristeva in 1966.
Kristeva’s coinage of “intertextuality” represents an attempt to synthesize Ferdinand de Saussure’s semiotics—his study of how signs derive their meaning within the structure of a text—with Bakhtin’s dialogism—his examination of the multiple meanings, or “heteroglossia”, in each text (especially novels) and in each word.[2]
For Kristeva,[3] “the notion of intertextuality replaces the notion of intersubjectivity” when we realize that meaning is not transferred directly from writer to reader but instead is mediated through, or filtered by, “codes” imparted to the writer and reader by other texts.
For example, when we readJames Joyce’s Ulysses we decode it as a modernist literary experiment, or as a response to the epic tradition, or as part of some other conversation, or as part of all of these conversations at once. This intertextual view of literature, as shown by Roland Barthes, supports the concept that the meaning of a text does not reside in the text, but is produced by the reader in relation not only to the text in question, but also the complex network of texts invoked in the reading process.