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This book examines temporal and formal disruptions found in
American autobiographical narratives produced during the end of the
nineteenth century. It argues that disruptions were primarily the
result of encounters with new communication and transportation
technologies. Through readings of major autobiographical works of
the period, James E. Dobson argues that the range of affective
responses to writing, communicating, and traveling at increasing
speed and distance were registered in this literature's formal
innovation. These autobiographical works, Dobson claims, complicate
our understanding of the lived experience of time, temporality, and
existing accounts of periodization. This study first examines the
competing views of space and time in the nineteenth century and
then moves to examine how high-speed train travel altered American
literary regionalism, the region, and history. Later chapters
examine two narratives of failed homecoming that are deeply
ambivalent about modernity and technology, Henry James's The
American Scene and Theodore Dreiser's A Hoosier Holiday, before a
reading of the telephone network as a metaphor for historiography
and autobiography in Henry Adams's The Education of Henry Adams.
A revealing genealogy of image-recognition techniques and
technologies  Today’s most advanced neural networks and
sophisticated image-analysis methods come from 1950s and ’60s
Cold War culture—and many biases and ways of understanding the
world from that era persist along with them. Aerial surveillance
and reconnaissance shaped all of the technologies that we now refer
to as computer vision, including facial recognition. The Birth of
Computer Vision uncovers these histories and finds connections
between the algorithms, people, and politics at the core of
automating perception today. James E. Dobson reveals how new forms
of computerized surveillance systems, high-tech policing, and
automated decision-making systems have become entangled,
functioning together as a new technological apparatus of social
control. Tracing the development of a series of important
computer-vision algorithms, he uncovers the ideas, worrisome
military origins, and lingering goals reproduced within the code
and the products based on it, examining how they became linked to
one another and repurposed for domestic and commercial uses. Dobson
includes analysis of the Shakey Project, which produced the first
semi-autonomous robot, and the impact of student protest in the
early 1970s at Stanford University, as well as recovering the
computer vision–related aspects of Frank Rosenblatt’s
Perceptron as the crucial link between machine learning and
computer vision. Motivated by the ongoing use of these major
algorithms and methods, The Birth of Computer Vision chronicles the
foundations of computer vision and artificial intelligence, its
major transformations, and the questionable legacy of its origins.
Cover alt text: Two overlapping circles in cream and violet, with
black background. Top is a printed circuit with camera eye; below a
person at a 1977 computer.
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Moonbit (Paperback)
Rena J Mosteirin, James E. Dobson
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R512
Discovery Miles 5 120
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Ships in 10 - 15 working days
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A revealing genealogy of image-recognition techniques and
technologies  Today’s most advanced neural networks and
sophisticated image-analysis methods come from 1950s and ’60s
Cold War culture—and many biases and ways of understanding the
world from that era persist along with them. Aerial surveillance
and reconnaissance shaped all of the technologies that we now refer
to as computer vision, including facial recognition. The Birth of
Computer Vision uncovers these histories and finds connections
between the algorithms, people, and politics at the core of
automating perception today. James E. Dobson reveals how new forms
of computerized surveillance systems, high-tech policing, and
automated decision-making systems have become entangled,
functioning together as a new technological apparatus of social
control. Tracing the development of a series of important
computer-vision algorithms, he uncovers the ideas, worrisome
military origins, and lingering goals reproduced within the code
and the products based on it, examining how they became linked to
one another and repurposed for domestic and commercial uses. Dobson
includes analysis of the Shakey Project, which produced the first
semi-autonomous robot, and the impact of student protest in the
early 1970s at Stanford University, as well as recovering the
computer vision–related aspects of Frank Rosenblatt’s
Perceptron as the crucial link between machine learning and
computer vision. Motivated by the ongoing use of these major
algorithms and methods, The Birth of Computer Vision chronicles the
foundations of computer vision and artificial intelligence, its
major transformations, and the questionable legacy of its origins.
Cover alt text: Two overlapping circles in cream and violet, with
black background. Top is a printed circuit with camera eye; below a
person at a 1977 computer.
Can established humanities methods coexist with computational
thinking? It is one of the major questions in humanities research
today, as scholars increasingly adopt sophisticated data science
for their work. James E. Dobson explores the opportunities and
complications faced by humanists in this new era. Though the study
and interpretation of texts alongside sophisticated computational
tools can serve scholarship, these methods cannot replace existing
frameworks. As Dobson shows, ideas of scientific validity cannot
easily nor should be adapted for humanities research because
digital humanities, unlike science, lack a leading-edge horizon
charting the frontiers of inquiry. Instead, the methods of digital
humanities require a constant rereading. At the same time,
suspicious and critical readings of digital methodologies make it
unwise for scholars to defer to computational methods. Humanists
must examine the tools--including the assumptions that went into
the codes and algorithms--and questions surrounding their own use
of digital technology in research. Insightful and forward thinking,
Critical Digital Humanities lays out a new path of humanistic
inquiry that merges critical theory and computational science.
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