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Tattoos, the Mark of Cain and fan culture
Karin Beeler

: WOUNDED HUNTERS Another female character who is closely linked to Dean and who has a recurring role in Supernatural is Charlie (Felicia Day). Several episodes in Season 10 foster parallels between the characters of Charlie (who appeared in ‘The girl with the Dungeons and Dragons tattoo’ (7.20)) and Dean. Fans would probably remember Charlie from this episode and might recall that she had a concealed Princess Leia Star wars tattoo and is capable of criminal activity – stealing digital data for Sam and Dean. These two ‘brands’, Charlie

in Tattoos in crime and detective narratives
Fresh contexts and perspectives
Jane Ohlmeyer and Micheál Ó Siochrú

emphasis shifts from the generation of digital data to how these resources can be interrogated, and as technology becomes increasingly sophisticated and user-friendly, historians – together with literary scholars, historical geographers, linguists, computer scientists and other researchers – will be able to interrogate their sources and represent their findings in ways currently unimaginable.20 6 • jane ohlmeyer & micheál ó siochrú • fresh perspectives on 1641 This collection of essays explores one of the key episodes in Irish history, the outbreak, course and

in Ireland, 1641
Jonathan Blaney, Sarah Milligan, Marty Steer, and Jane Winters

just how such a mass can be sifted, a topic we return to in Chapter 2 , a great deal of material is still in copyright and may not only be difficult to access but also to analyse and reproduce. Historians of the twenty-first century will, given the exponential increase in digital data, find these difficulties much exacerbated. 29 As we have seen, there is a pattern of digital history gradually expanding into areas that were previously prohibitive in terms of equipment. We will give one further example: big data . Big data has a number of definitions but here we

in Doing digital history
Jonathan Blaney, Sarah Milligan, Marty Steer, and Jane Winters

It is not how much information there is, but rather how effectively it is arranged. 1 Up to this point we have been producing new digital data in primarily textual form, whether it is digitising an analogue text, as in Chapter 3 , extracting information from the data, in chapters 4 and 5 , or versioning and documenting it, as in Chapter 6 . All of this was essentially internal project data, even though we suggested that it might be useful for others too. The present chapter turns to how you might visualise your data with the intention of sharing it

in Doing digital history
Abstract only
Labour, design and culture
Jesse Adams Stein

-first-century government documents are now digital phenomena: ‘PDFs’, websites and e-books. The solemn authority that had been afforded to the tangible printed object has slipped from our grasp and once-respected institutions such as ‘Government Printing Offices’ now seem quaint and obscure. As the last vestiges of paper-based print culture appeared to disintegrate into ephemeral digital data, I began to wonder about the harbingers of this major shift. Who and what were the early casualties of the ‘digital switch’, and who was carried along with the tide? Significant technological

in Hot metal
Jesse Adams Stein

through the building. Inside, I found very little that recognisably connected to the Gov. Whole rooms were filled with servers and cables, whirring with digital activity; workers were scarce. Nevertheless, there was some continuity in the building’s use as a repository for information, except information was no longer held in formes of metal MUP_Stein_Printer2.indd 67 10/08/2016 15:39 68 Image, space, voice type and rows of bound volumes. Rather, information exists as ungraspable digital data in computer servers, and it is controlled privately, not as a public

in Hot metal
Adrian Mackenzie

in mid-2016, perhaps reflecting the reality that the thirty million or so other repositories were not going to add new stories to the platform. Suchman suggests that configuration always entails both composition of elements and materialising imaginaries. It takes work to get contemporary digital data and associated large numbers to do something other than augment the count of capital numbers and their platform-centred aggregates. Configurative numbers, I have suggested, is one term for prototypical enumerations and re-countings that seek to map the composition of

in Ethnography for a data-saturated world
Alison Powell

9 The data walkshop and radical bottom-up data knowledge Alison Powell How, and under what circumstances, would it be useful to produce big data from the bottom up? The assemblages that we consider to be part of the production and positioning of big data are themselves large-scale: the computing power required to deal with multiple forms of digital data, the analytics processes required to derive sensible or logical predictions, the institutional meaning-making apparatus required to create frameworks and application spaces for this data are all easier to

in Ethnography for a data-saturated world
Dawn Nafus

10 Working ethnographically with sensor data Dawn Nafus This chapter is primarily about methods. I work in Intel Labs, the research and development organisation at Intel. Since 2007, I have been asking research participants to collect digital data about themselves, and giving it back to them in forms designed to stimulate conversation. I invite participants to reflect on data as matters of concern, not matters of fact (Latour 2004), and they largely respond in this spirit. Much like the chapter from Powell (Chapter 9 above), and in the spirit of the broader turn

in Ethnography for a data-saturated world
The ambivalence of queer visibility in audio- visual archives
Dagmar Brunow

exposure which can turn into agency. These examples show that minor archivists are highly reflective when navigating the ambivalence of queer visibility. Queer minor archives are also able to engage with their respective communities when trying to find solutions for archival challenges. FRAMING The shift from analogue footage to digital data requires new contextualisations when curating online access. Titles, descriptions, search filters and suggestions for ‘related content’ provide a framework for the reception of the films. One of the earliest lesbian self

in The power of vulnerability