• Digital Humanities and Cultural Heritage
• Publications close
• Research data close
• Other research products close
• eScholarship - University of Califo... close
• Religions close
• BMC Bioinformatics close

Natural language processing (NLP), a technology that translates human language into machine-readable data, is revolutionizing numerous sectors, including cancer care. This review outlines the evolution of NLP and its potential for crafting personalized treatment pathways for cancer patients. Leveraging NLPs ability to transform unstructured medical data into structured learnable formats, researchers can tap into the potential of big data for clinical and research applications. Significant advancements in NLP have spurred interest in developing tools that automate information extraction from clinical text, potentially transforming medical research and clinical practices in radiation oncology. Applications discussed include symptom and toxicity monitoring, identification of social determinants of health, improving patient-physician communication, patient education, and predictive modeling. However, several challenges impede the full realization of NLPs benefits, such as privacy and security concerns, biases in NLP models, and the interpretability and generalizability of these models. Overcoming these challenges necessitates a collaborative effort between computer scientists and the radiation oncology community. This paper serves as a comprehensive guide to understanding the intricacies of NLP algorithms, their performance assessment, past research contributions, and the future of NLP in radiation oncology research and clinics.

Abstract Pottery is a quintessential indicator of human cultural dynamics. Cultural alignment of behavioral repertoires and artifacts has been considered to rest upon two distinct dynamics: selective transmission of information and culture-specific biased transformation. In a cross-cultural field experiment, we tested whether community-specific morphological features of ceramic vessels would arise when the same unfamiliar shapes were reproduced by professional potters from three different communities who threw vessels using wheels. We analyzed the details of the underlying morphogenesis development of vessels in wheel throwing. When expert potters from three different communities of practice were instructed to faithfully reproduce common unfamiliar model shapes that were not parts of the daily repertoires, the morphometric variation in the final shape was not random; rather, different potters produced vessels with more morphometric variation among than within communities, indicating the presence of community-specific deviations of morphological features of vessels. Furthermore, this was found both in the final shape and in the underlying process of morphogenesis; there was more variation in the morphogenetic path among than within communities. These results suggest that the morphological features of ceramic vessels produced by potters reliably and nonrandomly diverge among different communities. The present study provides empirical evidence that collective alignment of morphological features of ceramic vessels can arise from the community-specific habits of fashioning clay.

Artist and designer Linda Vaʻaelua’s work explores her identity as a female of mixed Samoan and Scottish heritage who grew up as part of the Samoan diaspora in Aotearoa New Zealand. She reflects on cultural and language loss, vā (relational space), and weaving cultures together harmoniously. She expresses her gafa (genealogy) through her arrangement of patterns, shapes, colours, composition, and materials.

Whether the tattooing of women was practiced in Tonga before the general ban on tattooing in 1839 is debated among both researchers and the contemporary tattooist community. This research note explores oral histories, written sources, and pictorial materials to paint a balanced picture of the history of female tattooing in Tonga and possibly break gender binaries.

This article first introduces shell ornaments and pottery on the Aitape Islands in New Guinea, discussing the role of women in their production during the nineteenth and early twentieth centuries. It then turns to material culture produced by men—cult houses and canoes—that depended on supplies obtained by trading women’s products like shell valuables. By discussing these two gendered art forms together, this article shows how integral women’s labour was to the larger social and economic structures in New Guinea that have predominantly been associated with men. It concludes by discussing how colonisation, missionisation, and the introduction of a monetary economy impacted the gendered relations of art production in the islands.

This article proposes a new paradigm, Sino-American film, that is centered on Chinese language in American films. Sino-American films comprise two generations. The First Generation includes Pushing Hands (1993), Take Out (2004), and Saving Face (2004) and is characterized by independent production, limited distribution, and creation during a period when Asian Americans were rarely represented on film. The Second Generation includes The Farewell (2019), Tigertail (2019), Shang-Chi and the Legend of Ten Rings (2021), and Everything Everywhere All at Once (2022) and is characterized by a Hollywood production model, widespread distribution across streaming services, and creation during a period of growing Asian American cultural representation. Sino-American films negotiate both Chinese-language film and Hollywood by focusing on overlooked characters— Chinese-language-speaking Americans. This article contributes to conversations in Chinese film studies and Asian American studies by bringing Asian American film into exchanges with three Chinese film studies paradigms: transnational cinema, Chinese-language film, and Sinophone film. This cross pollination uncovers new areas for further study. Sino-American film demonstrates the importance of Sino-American language, ethnicity, and culture within the subsuming category of Asian American film. Furthermore, pairing Sino-American films with Chinese film studies uncovers a new category of Chinese-language film outside assumed contexts and paradigms.

Data from the marriage of paleomagnetism and archaeology (archaeomagnetism) are the backbone of attempts to create geomagnetic field models for ancient times. Paleointensity experimental design has been the focus of intensive efforts and the requirements and shortcomings are increasingly well understood. Some archaeological materials have excellent age control from inscriptions, which can be tied to a given decade or even a specific year in some cases. In this study, we analyzed fired mud bricks used for the construction of the Ishtar Gate, the entrance complex to the ancient city of Babylon in Southern Mesopotamia. We were able to extract reliable intensity data from all three phases of the gate, the earliest of which includes bricks inscribed with the name of King Nebuchadnezzar II (605 to 562 BCE). These results (1) add high quality intensity data to a region relatively unexplored so far (Southern Mesopotamia), (2) contribute to a better understanding of paleosecular variation in this region, and the development of an archaeomagnetic dating reference for one of the key regions in the history of human civilizations; (3) demonstrate the potential of inscribed bricks (glazed and unglazed), a common material in ancient Mesopotamia, to archaeomagnetic studies; and (4) suggest that the gate complex was constructed some time after the Babylonian conquest of Jerusalem, and that there were no substantial chronological gaps in the construction of each consecutive phase. The best fit of our data (averaging 136±2.1 ZAm2) with those of the reference curve (the Levantine Archaeomagnetic Curve) is 569 BCE.