The Yonderist

All those who wander are not lost.

JLO Now Has Its Own Code Base

Well, not entirely. The web application that actually makes this website work is WordPress. Up until last night, I was using a standard WP installation, which means I was running WordPress with a pre-packaged theme. Now there are literally thousands of themes: I won’t even link to any particular site here, because all you have to do is search for “wordpress theme” in any search engine to get page after page of links.

I have, since returning to WordPress for the basis of this site, used a half dozen themes in search of “the one.” All of them had something I liked, but none of them had everything. In the end, I decided that there was nothing else to be done except to code the thing myself. And so, as of the end of June in the year 2009, here is the working prototype of jello as I have come to call the collective pieces that make up johnlaudun.org.

The Building Blocks

The essential building blocks of a WP site — disregarding for the moment all the scripts that make calls to the database to pull actual content into pages — are a collection of php scripts stored in the theme folder. Well, with our disregard, we should really call them the essential presentational blocks. In a typical WordPress site, you have a collection of page templates that call upon things like header.php, sidebar.php, and footer.php. Each of those scripts in turns contains calls to others in the WP engine itself to fetch content, either singly or in an iterative fashion, that gets coughed up.

In the case of something like sidebar.php, there is ample opportunity to call a variety of widgets, which are conveniently managed from within the WP Dashboard. For the sake of keeping things simple and for making the pages of JLO load faster, I opted to hard code, as programmers sometimes say, those functions into sidebar.php itself. Here’s an example:

<div class="section">
  <h4 class="ver small">
    <?php wp_list_pages('depth=1&title_li='); ?>
    </h4>
</div>

I borrowed the idea from the developer of the Modern-Clix theme, and I stripped out all the widgetry and now have a sidebar.php file that is 37 lines long.

I performed much the same sort of surgery on the other php scripts, paying especial attention to what the WordPress community calls the Loop, which is the iterative functionality that delivers something the list of posts, either on the front page of the site or in the archive pages. I don’t pretend to fully understand it, but I had to get inside it to some degree to begin to understand where I could intervene in terms of styling what really becomes one of the most important content blocks of the site, the post. I am not completely satisfied with the current state of things, but I have simplified the CSS and I will continue to do so, removing as much as possible to get the sheet to load as quickly as possible.

Flexible Presentation

What this means is that all those scripts I mentioned above deliver to a browser styled HTML. By convention, that means HTML broken into divs and other elements which are styled, by reference to a Cascading Style Sheet, either by class or id. In a style sheet, classes are indicated by a prefatory dot, “.”, and ids by a hash mark, “#”. By convention, classes apply to objects that appear multiple times on a page and ids to unique items. In terms of my own website, the div role call for a given page looks something like this:

#wrapper

#header

  #content
    .post

  #sidebar
    .section

#footer

In an attempt to be fashion forward and, I hope, a bit future-proof, much of the website’s measurement is made in terms of ems, a term borrowed from typography, where it refers to the square space constituted by the width of the letter m in a particular type face. There will be, under such a regime, subtle differences between faces. The hope is that those differences will be relevant to the type face itself and all the things it makes up: in books, pages; in websites, er, what we also call pages.

The other measurement commonly used in website is the pixel, which is great for absolute positioning, but it does limit what browsers can do to accommodate or adapt to their particular users. My hope is that using the em I will allow not only my youthful colleagues to read what I write but also some of the older folks with whom I work to read, and if they need to adjust type sizes, the website will flex fairly gracefully. I have not had the chance to try this out on other browsers apart from Safari and Firefox on the Mac, but I will as soon as I can and tweak appropriately.

Goals and Next Steps

My overall goal was to get the look that I wanted, but I also wanted to simplify the code base both for my own ability to use it and revise it as well as to make it faster to deliver to folks with less than optimal connections. The Flickr stuff is going to slow loading of pages down. There’s no doubt about that, but I wasn’t quite ready to give up the thumbnails in the sidebar. The site is now so clean that without a little bit of color somewhere, I worried it would fade into a white-out. I will continue to post bits of code as I go, and I will certainly make the style sheet available once I have made sure that everything in it needs to be there and that I haven’t stripped out anything important. (I would hate to give out broken code.)

Let me know what works and what doesn’t work.

My next steps are to style the printing of pages and posts so that they look like print documents and not printed screen documents and to style the website for use on mobile devices like the iPhone.

UPDATE [2009-06-29]: Comments are now on automatically for all posts.

iApps for Kids

On our recent trip to Indiana and back, we carried with us two devices that were dedicated for our daughter’s use: a Leapster and an iPod video. The Leapster had a range of, hopefully educational, games for her to play and the iPod contained a dozen episodes of Fetch with Ruff Ruffman, one of the PBS Kids shows she likes to watch and that we think has substance.

At one point during the trip, Yung was in the back of the car with Lily and they were playing the Leapster’s version of I Spy and Yung kept commenting on how hard it was to see the screen. Indeed, I have looked at the screen of the thing, and I don’t know if it began life brighter, but it is now a dim thing.

“Why not,” I wondered, “go with a better screen and with a device that is more flexible as she grows up?” The Leapster is going to fade in relevance at some point soon, and its maker will want us to buy the next device in the line-up, much as we moved from the Leap-Pad to the Leapster.

And did I mention the cartridges are expensive? Approximately $25 per cartridge for a limited set of new features/games.

Add in the better, bigger screen of an iPod Touch for watching videos, and suddenly it just seemed like the right thing to do.

A quick search of educational apps for kids turned up the following results:

  • For $11.99, iPhone owners can download Starmap, a “pocket planetarium” that helps users easily find constellations, planets, or shooting-star zones.
  • Flash My Brain Flashcards and StudyCards, both costing $9.99, allow users to create their own flash cards.
  • Lexicon ($9.99) is an animated flash-card application designed to help users learn more than 70 languages. Users can quiz themselves and record and play back audio on their iPhone to hear how they’re progressing with the language.
  • The Atom in a Box application is a tool to help users visualize atomic orbitals, showing what the hydrogen atom looks like in three animated dimensions for $9.99.
  • There is also a Maps of the World application that has 20 historical maps in it.
  • I See Ewe, described as “an educational game for the iPhone and iPod Touch that helps your preschooler learn to recognize shapes, objects, colors and animals and to learn their first sight words through two simple yet engaging games” sounds a little too little for Lily, but might be useful for someone else.
  • There are several math apps, most starting at age 7 (PopMath, Basic Math), but some at age 3 (Cute Math, Dotty Shapes) as well as one enigmatically titled miTables Lite.
  • There is a Memory Match Kids game.
  • Something called Pre-School Adventure that Dad-o-Matic loves.

The New York Times has their own listing.

Wired recommends: Wordex, The Secret Garden, Shape Builder, and for adults Shadows Never Sleep and Knots.

The “Travel Savvy Mom” blog has a few suggestions.

Update: To some degree, the listing from AcadianaMoms got this ball rolling, and so I would be derelict in my note taking if I didn’t include a few apps that came from their page:

  • Shape Builder Lite got Lily’s attention right away, and she burned through the sample shapes in no time.
  • Trace is a lovely basic side level game, but it requires a bit more than Lily could process when I showed it to her. (The player can trace bridges and ramps to get your little guy where he needs to go.)
  • Finally, there is Eliss which is described as a “puzzler set in space where supernovas and vortexes are the norm” — er, shouldn’t that be supernovae and/or vortices — “as the screen fills with newly formed colored planets you must work to keep different colors apart while combining like-colored circles.” Eh, sounds a bit complicated, but its space theme may appeal to the Bean.

Stanford Offers iPhone Dev Course for Free

I’ve written before about the amazing efforts by the likes of MIT and now Stanford, with its SEE (Stanford Engineering Everywhere) initiative. Stanford is now offering free video downloads of the class, “iPhone Application Programming,” to the public on its iTunes U Web site.

Overnight in Jackson

On our way back down, we decided to stay again in Nashville, which meant that our best bet was to push past Memphis, our usual midpoint stopover, and head to Jackson, Mississippi. (Not Jackson, Tennessee, which is one hour east of Memphis.) We have had such good luck, and experience, with the Memphis Hilton that we decided to try the Jackson Hilton, whose location we already knew. The reservations person we called said rooms were available, they just weren’t available at the state rate. Mind, this was at 3:30 in the afternoon, so why they were holding onto rooms at that late of an hour is beyond me.

It all worked to our benefit. While we went ahead and scouted possible Hamptons, we decided to wait to see if there was something like a Courtyard by Marriott hotel near the shopping center where we had spied a Barnes and Noble — books, coffee, and a decent play area are all admirable qualities in a place. B&N scores a perfect 3. As luck would have it, there was a new Hyatt Place hotel, which had an indoor pool, a great room, and a great rate. What a delightful surprise.

Laudun-2009-0453
The view of our Hyatt Place hotel room upon entering.

After an hour or so in the pool, we cleaned up, had some pizza at a nearby local restaurant, grabbed a few groceries at a Fresh Market, and eyed the Apple Store. Alas, there was no time.

Kindles for Everyone?

As we wrap up our sojourn in Louisiana, we are, as I noted previously, spending our last weekend in the Indiana Memorial Union. Our fellow guests are mostly older folks, many look like they are probably retired, who are here to attend a mini university. I don’t know what their curriculum looks like, but I do know they are having a great time. I’m guessing that a good portion are alumni, who are simply enjoying a return to campus — not entirely unlike ourselves, so we have enjoyed watching them walk and reminisce.

They are having a great time, and, from what a young woman in the IMU Bookstore told Yung, then spend a lot of money. (We ourselves bought a few tee shirts as well as baseball caps for me and Lily.) Walking around this evening, cooling off after a final supper at Little Tibet, we saw a few of them settled into the first floor lounge of the IMU, reading. One of them was reading on a Kindle. Seeing that, I couldn’t help myself. My exec ed days kicked in, and I turned to Yung and said:

The smart thing to do would be to roll the price of a Kindle into the overall package and hand each of them one with all their readings already loaded onto the thing. Throw is a laser engraving with the IU logo or a leather carrier with the logo and you’ve given them a great keepsake and a terrific calling card for the university. (Not to mention the fact that the Kindle’s adjustable font sizes are probably going to be appreciated, too.)

Such a “gimmick” probably has only a limited life-time while we all wait for the e-reader platform to develop, but while the opportunity exists, I would certainly use it. I would imagine that at least some exec ed programs are already doing this. Yung later read something in USA Today about a number of high-end hotels doing something similar.

June in Louisiana

It’s June in Louisiana. Is it wrong to be thinking about this:

A portable generator

It’s $399 at Electric Generators Direct.

A Return to the IMU

Today we moved from our lovely Campus View apartment to a room in the Indiana Memorial Union. Some sort of music camp begins tomorrow here on the IU campus, making it impossible to extend our stay in Campus View. We wanted to stay on campus and take advantage of how walkable everything is, and so the IMU seemed like the best bet.

Of all the buildings on campus that I have been in, the IMU definitely is the most evocative for me. First, it’s a striking building. It is large, but offers no since of its size inside. Instead, it’s a maze of rooms and hallways, which were very confusing when I first arrived on campus almost twenty years ago. The second reason builds on the first: this building is a maze, and while at first it intimidated me, over the years I grew braver and braver in exploring its various nooks and hallways. (And I know I never came close to finding them all — the tall, central tower still remains terra incognito. Alas.)

In some ways, the IMU also marked one of the great life changes I underwent here at IU. I have very strong memories of Executive Education programs that happened here, of setting up classrooms in the conference center below, of setting up bars in hotel room suites, and of spending the night as part of my job of staying here late and getting here early.

Jason Jackson Gave Me Homework

On Friday, I managed to squeeze in a lunch with Jason Jackson, who is one of those people who is both erudite and productive as well as grounded and open. People like me who have fallen behind want to be able to pillory him, but I cannot. He’s that good. He has been amazingly successful and is already an associate professor at Indiana University, where he will shortly be chair of the Folklore Institute. (I know: it’s now the Department of Folkore and Ethnomusicology, but there really is something much nicer about The Folklore Institute.) Yes, he’s that guy, but also a good guy, and someone who has really thought a lot about the many institutional dimensions of the philological (or anthropological) project. His first step out the door was as a combination university professor / museum curator at the University of Oklahoma. Back at Indiana University, I think he made a clear, and concise, assessment that the ethnographic fields of anthropology, folklore studies, and ethnomusicology needed to examine and revise where necessary the institutional frameworks within which they work, not only in light of the emergent, and sometimes radical, shifts being brought about by the information technology revolution but also in view of the darkness that too often shrouds the humanities.

As always, he had a reading list for me, and I’ve set about surveying what he gave me:

  • The Public Knowledge Project a multi-institutional project. It has developed open source software CMSes for managing/hosting journals and conferences as well as Lemon8-XML, “a web-based application designed to make it easier for non-technical editors and authors to convert scholarly papers from typical word-processor editing formats such as MS-Word .DOC and OpenOffice .ODT, into XML-based publishing layout formats.”

  • Connexions describes itself as “a place to view and share educational material made of small knowledge chunks called modules that can be organized as courses, books, reports, etc.” (See note below.)

  • The Open Anthropology Cooperative notes it “was launched on 28 May 2009 by a group of friends who met on Twitter before joining Ning. The most important word in our title is the first. Open access, open membership, open to sharing new ideas, open to whatever the organization might do or become; open to everyone, as in ‘open source’. We have already started many discussion groups, blogs, a forum and places to share a variety of ideas and materials. This is just the beginning: we expect to hold virtual conferences, to add podcasts, publish longer pieces online and incorporate a variety of social networking devices into our exchanges.” Those familiar with Ning will recognize the interface, but certainly the goals of the OAC is most welcome, given, from my point of view, the rather walled garden that the American Anthropological Association otherwise maintains around its publications.

Note: *While browsing the journals currently using the Open Journal Software provided by the Public Knowledge project, I came across this interesting collection of journals organized under the umbrella of the Open Humanities Press.

My First Week at EVIADA

It’s the end of the first week at the EVIA Digital Archive workshop. My fellow Fellows are out at nearby state park, but I have remained in Bloomington with Lily while Yung-Hsing is in North Carolina for a conference. I don’t mind, really. I really haven’t had much time with the bean all week, and it will be nice to spend some time together, especially in the beautiful weather that the Midwest seems too happy to give us and in the amazing environs of Bloomington. (It makes me wish the Folklore Institute was in need of an Americanist: I would surely apply.)

For all the parks and restaurants and museums that Yung and Lily have visited, I have spent most of my time here:

AWB in action

The Annotator’s Workbench

That’s obviously not a picture of the Indiana University library nor of the Institute for Digital Arts and Humanities’ conference room. That has been the location of my body, yes, but my mind has spent much of the time in the virtual space of The Annotator’s Workbench, the application created by EVIADA for the express purpose of marking up video files in such a way that they can be published to the web in a form that makes them discoverable and usable to instructors and researchers.

The application is amazing but still in development, which means it’s not as stable as one would like, especially on the Mac OS. (This is explained somewhat by the fact that originally the app was going to be Windows-only.) What happens is that you learn what will cause the app to freeze or crash and, well, you simply don’t do that. Different folks had different problems, so I can’t attest to others developing a workflow that, well, worked, but I did and I managed to make a fair amount of headway in this first week.

What I submitted to the EVIA Digital Archive was two hours of footage from the 2007 running of the Mermentau Mardi Gras and eight hours of footage from 2005 in which I led a team of graduate students to document an elderly Creole woman, Mrs. Enola Matthews, making soap. She was doing so at the request of her niece, and so some of what we captured was the soap-making process and some of it was stories told by the older woman to the younger people who surrounded her. (Mrs. Matthews was of the mind that all younger people needed to learn something and so her lessons were spread out among not only her niece but also me and the graduate students.)

What I got done this week is I managed to break all of the Mardi Gras material into scenes, which at least possess a basic description. In some cases I began to write detailed descriptions, but I really poured a fair amount of energy, and words, into glossary items, which you can link to from within any text. I did this because there are several terms that bear enough of a semantic load that they deserve the extensive treatment of a glossary entry — Mardi Gras, run, stop — and it also seemed to me that the best place to lay the ground for some sort of ideational framework were in the meta text fields like the glossary and the event description.

This business of text fields is interesting, as well as exhausting. While I would readily admit that I have not apparently been the most productive of academics — I really need to get those JAF and JFR essays shepherded through the pipeline, don’t I? — and I have also worked in a lot of alternative forms (for an academic) like public television news magazine pieces, CD liner notes, performance program notes et cetera, those forms are still largely linear, or, at the very least one has the sense of moving a reader along in a particular directions or at least a set of particular directions.

This is different. In the eventual EVIADA web interface, users will search and be delivered results by scenes. So, let’s say a user searches for “line dance.” That search would result in a Google-like list composed of scenes, two of which would be from my Mardi Gras material. (In 2007, the Mermentau Mardi Gras performed the freeze on Route 90 and the Cupid shuffle in front of the Morse fire house.) But there would also potentially be a host of other line dances from all around the world.

Each scene, then, must be self-sustaining. Explained in its own right. Users will see a tab for an event description, but the scene description itself carries the burden of getting people to explore such further steps into the material. The EVIADA staff have been incredibly good at emphasizing this.

Writing this way is not impossibly hard but nor is it effortlessly easy. Yes, there is a lot of repetition, but always with a difference. No matter how alike or contiguous one scene is to another, it is not the same scene, and so the context has shifted, forcing a shift in the text one writes. This should all be immediately obvious to someone steeped in performance studies, no? Well, it wasn’t necessarily obvious as I began, but it became so. However, grasping the obvious and then finding the best, and most productive, path through it are not necessarily the same thing.

In short, there’s a lot more here than simply writing up a basic description of a series of scenes that will eventually spatter a user’s computer screen. Working out what that “more” is something that I have been mulling over as I anticipate diving back into the remaining material and push toward getting as much work done before Wednesday as possible.

EVIADA and the Future of Scholarly Publishing

I’ve been thinking about the nature of writing that I have been doing for my collections going into the EVIA Digital Archive. As I noted in a previous post about my time at EVIADA, the challenge has been to switch gears to write to the new form of publication.

As I wrote that last sentence, I wanted to use the word medium, but that doesn’t quite work with the web, does it? The web is a kind of meta-medium, as I have noted elsewhere. The great thing about the web as a distribution channel is that it allows for static print forms, like the scholarly article or monograph (more on the latter later), as well as other media forms — images, audio, video — that are, no matter what dreamy-eyed web prophets prattle on about — essentially static as well. Sorry, static here means the content does not change in relationship to the reader/viewer/user, which is essentially adhering to the terminology already used by most folks to distinguish between static html sites and those sites driven by some sort of web application — like the one, for example, that drives this blog, Word Press, that allows users to tweak the content they see or to interact with the content by creating comments. (Okay, so I haven’t turned the latter functionality on, because I don’t like dealing with comment spam. But if anyone has anything to say, e-mail me and I’ll post it and credit you with it. No one’s reading this, yes? Good. I can keep blathering on then outside these parentheses.)

The danger of the new medium and of the interactivity that makes it possible is that the dreamy-eyed web prophets want everything to be that way. So one can imagine that somewhere someone is tempted to say that the EVIA Digital Archive is the way of the future. That in that future scholars will spend less time producing long, tedious tracts often arguing arcane theoretical points and more time sticking close to the very stuff that makes their fields interesting in the first place. (Wow, that sounded pretty convincing.)

Nonsense. (See also: balderdash, blather, bunkum, claptrap, drivel, garbage, idiocy, piffle, poppycock, rigmarole, rubbish, tomfoolery, trash, twaddle.)

And I don’t think the good folks at EVIADA mean it that way either. But it does open up possibilities, and in the process of opening up those possibilities, it opens up news of interacting with data, which can only be a good thing. Certainly one of the things that I enjoy about studying material folk culture is that it requires me not only to describe it in words but to photograph it, measure it, draw it. Every time I engage the material with which I work in a different modality, I have the opportunity to see it from, well quite literally, a new perspective. The kind of close attention that the Annotator’s Workbench requires of a depositor underlines that. I have glimpsed things in the Mermentau Mardi Gras that I knew were there without really being able to say what they were. And I’ve been following that run for about 10 years now.

One of the things I did notice about the Annotator’s Workbench is that it is ideological in nature: it enacts the performance studies paradigm. When I first sat down to work with it this past Monday, I turned to Alan Burdette, who directs EVIADA and who, I believe, led humanist side of the project’s development, with a kind of slack-jawed wonder, and he just smiled at me and said, “I know. It’s everything we talked about in graduate school.”

So, hats off to Alan.

Page 8 of 25

© John Laudun