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Thanks for Watching may be used in numerous courses in anthropology, new media, and communication. Here you can access supplementary materials to use in your courses. The Study Guide below is crafted specifically for use in courses in anthropology of media, digital cultures, and methods in digital ethnography. The Study Guide contains brief chapter summaries, key words, discussion questions, and suggested supplementary readings. Each supplemental reading list contains both classical scholarly texts in the field as well as contemporary readings that discuss current perspectives.
The University Press of Colorado and Bradly J. Boner gratefully acknowledge the generous support of these donors toward the publication of Yellowstone National Park: Through the Lens of Time.
University Presses are at the center of the global knowledge ecosystem. We publish works and perform services that are of vast benefit to the diverse scholarly network—researchers, teachers, students, librarians, and the rest of the university community. Our work also reaches out to a broad audience of readers, and ultimately to the larger world that depends on informed and engaged peer-reviewed scholarship published to the highest standards. Each University Press brings a distinctive vision and mission to its work. Yet we are all guided by, and united in, core values—integrity, diversity, stewardship, and intellectual freedom—that define who we are, the work we do, and the goals to which we aspire.
University Presses and Society
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University Presses and Scholarship
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University Presses in the University Community
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Acknowledgements
This essential document, articulating the value of university presses, was created in 2000 by a working group of three Association of University Presses board members, Douglas Armato (Minnesota), Steve Cohn (Duke), and Susan Schott (Kansas). In 2018, the document was updated for the Association of University Presses by Doug Armato (Minnesota), Lisa Bayer (Georgia), Mahinder Kingra (Cornell), Erich van Rijn (California), and Stephanie Williams (Ohio). The new Value of University Presses was accepted by the AUPresses Board of Directors in June 2019.
Publishing books in environmental humanities, public humanities, and intersectional, interdisciplinary approaches to humanities and social sciences scholarship that ask enduring questions about democracy, ethics, justice, and the public good. For more information, see our submissions page.
The University of Wyoming Press is supported, in part, by a generous grant from the National Endowment for the Humanities.
UNIVERSITY PRESS OF COLORADO
Publishing books in anthropology, archaeology, environmental justice, ethnohistory, history (Colorado, mining history, Rocky Mountain west), and natural history (Colorado, Rocky Mountain west).
UNIVERSITY OF ALASKA PRESS
Publishing books on politics and history, Native languages and cultures, science and natural history, biography and memoir, poetry, fiction and anthologies, and original translations, all with an emphasis on the state of Alaska.
Utah State University Press
Publishing books in composition, folklore, history (Utah, Mormon history), and natural history (Utah).
University of Wyoming Press
Publishing books on the quality of democracy in the United States as well as books in the public humanities and environmental humanities.
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This companion website for the edited collection Reprogrammable Rhetoric hosts supplemental instructional design materials and programming scripts that correspond to various chapters. Across its different articulations, “critical making” explores how theory and practice inform one another and, particularly, how digital and nondigital making practices have the potential to shape public attitudes, beliefs, and subjectivities. The editors of this collection (Michael J. Faris and Steve Holmes) explored the term “reprogramming” in the “Introduction” to the edited collection as a conceptual and material conduit for exploring critical making. To “reprogram” at once confirms the operation of a previously functioning program such as a cultural script, a wearable sensor, an identity performance, or a literal hardwired circuit like the image on the collection’s book cover. Reprogramming at once affirms that each of us creates and writes by learning that authorship is political and that by recontextualizing scripts, programs, ideas, hardware, games, paper circuit diagrams, makers of all backgrounds (humanities students, lay readers, academics, or anyone really) can learn how to seize the available means and mediums of persuasion.
In this spirit, many authors who contributed to Reprogrammable Rhetoric created tutorials, instructions, and programming scripts to help readers learn specific techniques (e.g., critical text mining) or technologies (e.g., the Raspberry Pi) described throughout the edited collection. While the authors certainly encourage readers to download and learn some of these technologies and techniques, they offer these resources to reinforce one primary goal of the edited collection: learning how to reprogram differently for a wide variety of ethical and political purposes and outcomes. Readers can and should use these companion website materials to launch new rhetorical activities, research paradigms, or activist initiatives specific to their own needs and concerns.
As a final note, the authors who contributed materials to this companion website have pledged to help maintain the functionality of any updatable programming scripts. While the editors have user tested the files on this website prior to the publication of this edited collection in the summer of 2022, we encourage any readers who find scripts or files that do not seem to work as indicated by the authors to reach out to the editors for assistance in receiving an updated script.
Alt text, or alternative text, is a short description of an image that is linked to the image element in HTML and ePUB outputs and that makes the image more accessible for a variety of situations that rely on text to describe a figure’s content and function, such as for screen readers, search engines, and readers with low vision or cognitive impairments. Alt text is meant to be read aloud by technology and should be written with this in mind.
Please observe the following conventions in preparing your manuscript. Remember to keep copiesof files and any parts of the manuscript (e.g., illustrations, photos) not available in electronic format.For matters of formal academic style, including citations and other details, refer to the ChicagoManual of Style, 17th edition. Where CMS indicates a number of valid options, consult your presseditor or, if you are a contributor to an edited volume, the volume editor for a decision. Collectionsshould be consistent across all chapters.Remember that, aside from conventional brief quotations, if you use any material whosecopyright is held by others (including epigraphs), you are responsible for obtaining formal writtenpermission and for paying any permission fees to the copyright holder. Without written consent, wecannot reprint material belonging to others. Consult the Permissions Guidelines for moreinformation.
Acquisitions Guidelines on Figures
Why does my editor care about the number of images in my book?
1. Accessibility
As of 2021, any image we include in the book will require “alt text” for use in ebooks and assistive technology for readers who are blind or have low vision. While we work with authors to make alt text as useful as possible, it’s important to remember that the more images you include, the more your book will have to be mediated through alt text for many of your potential readers. The cost of images (discussed below) can also lead to accessibility issues.
2. Readability
As someone with a lot of experience interacting with books, you have probably encountered images that interrupted the flow of text, required you to flip pages back and forth, or otherwise made the book unnecessarily confusing. Getting text and images to interact seamlessly is a significant design challenge, and there’s not always a good solution. Further, once images are converted to black and white (as they typically are) and printed at the resolution and size necessary to get them into a typical academic book format, they may be too grainy or difficult to decipher.
3. Argumentation
Scholarship is of paramount importance in an academic book, and scholarly authors must be intentional and judicious about why they are including images and how those images serve the aims of the book.
4. Cost
Having many images can significantly increase the printing costs of a book,especially if they are in color and/or demand a different type of paper, etc. Our figures are typically printed in black and white, unless there are special considerations made in advance. As a mission-driven press, we endeavor to make our books affordable and accessible to students, contingent faculty, and general readers–not just libraries and financially secure faculty. Being intentional about image choices is one way for us to control the printing costs for our books and keep the price point low for our readers. It’s also important to know that permission costs are the author’s responsibility, which means there may be costs on your end to consider as well.
How many images can or should I include?
There is no single answer here, as each book has its own needs based on content and scholarly discipline. As a general rule, we encourage you to keep the image count as low as possible. For most books, this means figures should be kept at 25 or fewer. What’s most important to us is the specific vision of each book we publish, and we understand that some books are significantly more visual in nature and require a more extensive collection of illustrations. We encourage you to consider the questions below and talk with your editor about how you might use images in your manuscript, what these images can contribute to the book’s overall goals, and how many would be appropriate for your particular project.
When should I use images?
In a typical scholarly book, we encourage our authors to think of images as primary sources or evidence. You could ask whether the inclusion of an image significantly strengthens the argument(s) in a particular passage, or the book as a whole. Does the image offer context that would be difficult to explain only with words? Does the text engage with the image (e.g., close reading)? Or is the image simply something “extra” that could be accessed elsewhere and/or doesn’t advance the discussion? If the image isn’t serving the argument of your book, the solution might be to amend or expand the text, rather than remove the image. You can talk with your editor about what makes the most sense given your particular field(s) and methodology. Regardless of the conventions of your discipline, it’s always a best practice to be intentional about every image you include.
Digital Art Guidelines
To ensure that the digital art files submitted to the press are acceptable for print reproduction, please use these instructions to evaluate image quality. It is essential that the press receives image files of the best quality possible. We also accept non-digital art, such as photos, negatives, and original drawings.
- Check figure resolution: All figures must meet our resolution requirements (see “Resolution Requirements for Digital Art” on page 2).
- Save figures: Save each image as a separate file.
- Name files: File names should include chapter and figure numbers; for example, fig. 14.1 should contain “14.1” as part of the file name.
- Add callouts: Indicate location in the text with caption or bracketed callout (e.g., [Fig. 14.1]) between paragraphs; do not embed images in text.
- File format: We prefer EPS or TIF files. Other formats—such as GIF, PNG, or BMP—are often problematic or unusable. JPEG files are often usable but can easily be degraded (see“JPEGs” below).
- Word files: Do not embed figures in your Word files.
- Online images: The way an image looks on a computer screen is not an indication of its quality, and these images rarely meet the resolution requirements for reproduction (see “Internet Images and Screen Captures.”
- Increasing resolution: Adjusting the resolution or dimensions of a substandard file will not improve its quality (see “Adjusting Resolution and Dimensions”).
- Color images: We often use color images in our ebooks, so do not convert color images to grayscale. We will make the conversions necessary for the print edition.
- PowerPoint files: These are usually inadequate for reproduction, so check with your editor if you cannot provide them in another format.
Each time a JPEG is opened and re-saved, the quality degrades. If you need to rename a JPEG,right-click on the file and select “Rename” from your menu options—rather than opening the file and re-saving it under a new name—to avoid degrading the image. If you receive an image from an outside source, request a TIFF format. If JPEGs are the only file format available, do not edit or re-save the image, and please make a copy of the original file as a backup.
Most images on the web are sized for computer display and are therefore not acceptable for print publication. If you plan to use an image from the web, we recommend that you include a URL with your art submission so that we have access to the original image. Please see the “Resolution Requirements for Digital Art” section (below) for more information.
Digital art renders images as a finite number of dots called pixels. The reproduction size of a given image is therefore limited to the number of pixels—measured in pixels per inch, or ppi—in the file. Be sure your files meet these requirements:
- Color and grayscale images, such as photographs, must be at least 300 ppi.
- Line art, such as maps or drawings, must be at least 1200 ppi.
Your images must be scanned at the correct resolution and at the correct size to avoid jagged curves and blurry, pixelated photos.
Color and Grayscale Images
In color and grayscale images, each pixel can vary in color and tonality, making transitions from light to dark smooth and realistic if the resolution is high enough. To ensure a quality reproduction of a color or grayscale image, the file must have resolution of at least 300 ppi at the final printed size, whether printed as a grayscale or color image. For example, a color or grayscale image with dimensions of 900 × 1500 pixels can be reproduced no larger than 3 × 5 inches. For the best results, we would like image files to be 5 × 7 inches at 400 ppi (or 2000 × 2800 pixels).
Line Art
In line art, each pixel has only one of two values: 100% black or 100% white. These images require higher resolution—1200 ppi—to ensure quality reproduction.For example, a line-art scan with dimensions of 3600 × 6000 pixels can be reproduced no larger than 3 × 5 inches. For the best results, we would like image files to be 5 × 7 inches at 1200 ppi (or 6000 × 8400 pixels).
On a PC
- Open Windows Explorer and locate the image file(s).
- Right-click on the file and select “Properties” from the drop-down menu.
- Click the “Summary” tab at the top of the dialog box.
- Click the “Advanced” button in the summary window.
- The summary will now display the width and height of the file in pixels.
- Using these pixel dimensions, calculate the maximum reproduction size of the file by dividing the number of pixels by the ppi required. For example, if a color or grayscale image file’s dimensions are 590 × 387, this image can be reproduced as an image measuring 1.9 × 1.3 inches or smaller (590 ÷ 300 = 1.9 and 387 ÷ 300 = 1.3).
On a Mac
- Open Finder and locate the image file(s).
- Right-click on the file—or press the “Control” key and click on the file—and select “Get Info” from the drop-down menu.
- The dimensions of the file are listed under the “More Info” section of the dialog box.
- Using these pixel dimensions, calculate the maximum reproduction size of the file by dividing the number of pixels by the ppi required. For example, if a color or grayscale image file’s dimensions are 900 × 506, this image can be reproduced as an image measuring 3 × 1.68 inches or smaller (900 ÷300 = 3 and 506 ÷ 300 = 1.68).
Taking an existing digital image and increasing its dimensions or resolution does not add detail to the image. Because the number of actual pixels in an image cannot be increased, its dimensions and resolution are proportional—that is, when you raise one, you decrease the other. Therefore, when an image is too small, increasing the resolution or dimensions will not make the image useable.The examples below show the same image viewed two ways. An image with 432 × 396 pixels is6 × 5.5 inches at 72 ppi resolution (left). But at the 300 ppi resolution required for color or gray-scale print production, the maximum size of the image is only 1.44 × 1.32 inches (right). And at the 1200 ppi resolution required line art, the dimensions would be even smaller.