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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Zhang, Xiaoyu;

    In the past decade, the proliferation of data and the emergence of large language models have presented both opportunities and challenges in academia. The expanding volume of data, which records knowledge from various human activities, enables data-driven approaches to optimizing numerous aspects of industrial manufacturing and people's daily life. These improvements largely stem from machine learning models trained with this data. However, the industry still faces limitations in both extracting knowledge from large, unstructured, or heterogeneous datasets and transforming the extracted knowledge into actionable insights. This challenge is exacerbated in highly specialized domains where only a few analysts possess the expertise to interpret the data. Despite the recent advancements of large language models providing more intelligent assistance for many data analysis tasks, it remains essential to ensure that these machine learning models and the knowledge they encompass are safe to use and employed for social good with human verification.In my dissertation work, I develop visual analytics (VA) and human-computer interaction (HCI) methodologies for representing and interacting with various forms of knowledge and data, particularly text data. I propose a visual knowledge discovery framework that integrates human expertise with computational approaches throughout the knowledge discovery process, while also addressing the limited availability of domain experts and the increasing scale of data. Moreover, I investigate how visual analytics can efficiently and safely harness extensive knowledge from large machine learning models, enabling users to effectively steer the exploration process and make well-informed decisions. This dissertation presents six published research works organized around my visual knowledge discovery framework and its three key tasks: knowledge exploration, knowledge presentation, and knowledge exploitation. Firstly, I demonstrate how visual analytics can support knowledge exploration with large, high-dimensional, and heterogeneous data in the domain of manufacturing and machine maintenance. Subsequently, I introduce two knowledge presentation solutions for two distinct types of data—numerical data facts and unstructured text data. Lastly, I showcase three visually-assisted knowledge exploitation applications in various domains and scenarios, encompassing document summarization, technical text annotation, and data-driven machine learning model validation.My work demonstrates how mixed-initiative methods through visual analytics applications can resolve real-world challenges in highly-specialized domains. I leverage state-of-the-art machine learning techniques, particularly natural language processing models, while always involving domain practitioners in the loop. My approach facilitates communication among parties with mismatched knowledge levels, including domain experts, data analysts, computer scientists, and artificial intelligence. Meanwhile, I prioritize the critical role of human knowledge and integrate it into intelligent visualization interfaces that undergo qualitative evaluations. I believe that domain experts' insights, supervision, and verification are invaluable, regardless of how advanced machine learning techniques become. Through the projects outlined in this dissertation, I hope to encourage philosophical and social discussions surrounding the rapidly expanding field of artificial intelligence. Ultimately, my objective is to contribute to a future where intelligent visual analytics systems can augment and enhance human capabilities, enabling individuals to navigate through the potential challenges brought by advanced AI techniques.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ eScholarship - Unive...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ eScholarship - Unive...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Miron Marvan, Esteban;

    This dissertation is about Maya Ch'ol understandings of archaeological heritage and their own past, how their current social situation is pulled from and represented in that history. I explore how the Ch´ol experience life from their particular position within the economic, political, touristic, and archaeological landscape today. To understand this situation, I inquire with Maya Ch'ol consultants about their own conceptions of history and heritage, about their relationship with archaeology and archaeologists, and how scholars as mayanists can make our disciplines more open to participation and useful for the interests of Maya peoples of today. A wide variety of relationships between Maya individuals and history was observed, with a few common threads. These include a generalized perception of archaeological practices as opaque, a need for sharing with the Maya peoples and Mexican society the knowledge that archaeology produces. Participants described widespread discrimination against indigenous practices in the life of Ch’oles. A number of layers of cultural erasure and hegemonic policies have made embracing the ancient past of the Maya peoples something to avoid in order to blend into an ideal Mexican subject. Although there are a great number of Ch’ol academics, artists, and activists pushing for embracing the identity with pride, including the archaeological past, most of the Ch’oles do not. The challenges of decolonizing mayanist archaeology were made evident throughout the dialogues, as well as reiterating its necessity.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao eScholarship - Unive...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao eScholarship - Unive...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Holguin, Brian Elliott;

    The development and use of Artificial Intelligence (AI) natural language models such as ChatGPT have raised questions about the applications and risks to academia, research, and privacy. What is currently not being explored is the use of ChatGPT in shaping public understanding of indigenous histories. As we have seen, public opinion is often shaped by a single source of information, and this source is often not vetted for accuracy or credibility. Assuming ChatGPT to be one of those sources, I explore the knowledge and perspectives communicated in synthesizing the last 13,000 years of Chumash occupation in the Santa Barbara Channel Region of California and juxtapose this information with the archaeological record to evaluate the model’s knowledge of our cultural history. I specifically explore the relationships between my ancestors and their environment, the development and maintenance of our cross-channel exchange network, shifts in diet through time, and changes in sociopolitical organization within the context of climate change. I also explore the potential risks of increased looting of Chumash cultural sites by assessing ChatGPT’s ability to provide geographic information on archaeological sites.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ eScholarship - Unive...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ eScholarship - Unive...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Oller Bosch, Georgina;

    El presente trabajo prueba la existencia de documentales contramonumentales, films que reúnen una serie de características conceptuales, formales y funcionales que superan la lógica del documental clásico, aquel que Bill Nichols denomina expositivo y que tiende a monumentalizar la realidad-objetividad-verdad del mundo histórico que proyecta en imágenes. Realizados, como mínimo, entre el año 2000 y el 2020, los contramonumentales tratan la memoria de eventos históricos—ya sean políticos, económicos o sociales—ocurridos en los siglos XX y XXI, sin alzar monumentos a ningún discurso sobre el pasado. Este estudio analiza, en profundidad, cinco de dichos largometrajes estrenados en los principales países productores de cine en español y en portugués: Señorita Extraviada (2001, México), Los Rubios (2003, Argentina), El cielo gira (2004, España), Santiago (2007, Brasil) y El pacto de Adriana (2017, Chile). Como documentales contramonumentales, estos films vuelven a acontecimientos pasados no para intentar resolver enfrentamientos dialécticos entre agentes de la Historia o ‘memoria oficial’ y promotores de la ‘contramemoria’ o ‘memorias alternativas’. Al contrario, éstos retornan a esos sucesos, ya acaecidos y largamente discutidos, para poder releerlos a través de los efectos que los hechos todavía tienen en la experiencia vital de los cineastas que ruedan y protagonizan las cintas. Los contramonumentales, que presentan rasgos del Primer, del Segundo y del Tercer Cine, funcionan como obras del Cuarto al producir discursos narrativo-argumentativos de interpretación libre que viabilizan una reflexión sobre el pasado desde el presente, abierta a la participación de todos.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ eScholarship - Unive...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ eScholarship - Unive...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Mejorado, Arlene;

    Problematizing the relationship between image and placemaking, Mejorado intervenes atthe intersection of the urban exterior and its many liminal sites. She works through staging intimate gestures, marking space with memory and constructing rehearsals in remembering. This body of work made in the San Fernando Valley contemplates what Gaye Theresa Johnson theorizes as "investing critical meaning," within a landscape often described as a "non-place," whose banal everydayness serves as a vast backdrop to Los Angeles, movie making, and the largest creative industry in the world.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ eScholarship - Unive...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ eScholarship - Unive...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Park, Dong Huk S;

    Language is such a powerful representation for capturing the knowledge and information about our world. It excels at expressing discrete concepts such as objects and their attributes, the relationships between them in a very compact manner all due to its extremely high level of abstraction. Language is the primary means by which we communicate, comprehend, and express our thoughts and ideas, and it lies at the very core of human intelligence. With the advent of powerful generative models, machines also have begun to comprehend and generate natural language with notable fluency and creativity. However, they lack “grounding”—a direct tie to the visual world. Vision plays a pivotal role in our comprehension and production of language. When we describe a scene, understand instructions, or engage in a dialogue, visual contextsignificantly aids our interpretation and generation of language. This highlights the need for integrating vision for generative modeling. Chapter 1 and 2 delve into image-to-text domain, spotlighting the importance of a multimodal approach for text generation. In Chapter 1, we explore how generating textual rationales with attention visualizations can enhance model transparency for visual question answering. In Chapter 2, we build generative models that abandon traditional left-to-right sequencing in favor of an unsupervised technique to determine optimal generation orders. Chapter 3 and 4 shift the focus to text-to-image generation. In Chapter 3, we introduce a training-free framework that combines linguistic cues with reference images, allowing for controllable image synthesis using denoising diffusion probabilistic models. Lastly, Chapter 4 emphasizes the importance of preserving object shapes in text-based image editing, proposing a unique mechanism that augments text-to-image models to be more faithful to input masks and text prompts.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ eScholarship - Unive...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ eScholarship - Unive...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Carr, Megan;

    American photographer Lee Miller may have been most famous for her work as a fashion model and Surrealist muse in the 1920s and 1930s, but she was also a photographer and artist in her own right. In 1939 Miller decided to relocate to Europe in the hope of helping with the war effort and was employed by Vogue, a high-end women’s fashion magazine, as a staff photographer, where she documented the Blitz in London and pushed the boundaries of fashion photography to include war coverage in the pages of Vogue. She embedded with the U.S. Army in the unusual position of a war correspondent for a fashion magazine. While recent decades have brought increasing attention to Miller’s work, and she has been included among the Surrealist canon of photographers, much of the interpretation of her photography remains biographical. This paper explores how gender, including Miller’s own, is represented within her work and within the context of the publication. Through analysis of Miller’s writings and correspondence as well as conceptions of the modern woman versus traditional femininity, I discuss promotions and depictions of national gender constructions through cosmetics and fashion, including British, American, French, and German, along with racism and antisemitism. This thesis examines definitions of surrealism, their intersections and oppositions to the imagery and control of fascism, and the difficulty of documenting the unimaginable as frameworks for exploring Miller’s wartime work. Shocking imagery, including the holocaust, the Dachau concentration camp, SS suicides, and Miller’s photo in Hitler’s bathtub, are analyzed. I argue that Miller’s navigation of gender through her identity and photography creates unique and often contradictory convergences of fashion, the body, and war.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao eScholarship - Unive...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao eScholarship - Unive...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Ching, Kylie;

    This dissertation analyzes a selection of photomontages by contemporary artists Tomie Arai (b. 1949-), Yong Soon Min (b. 1953-), and Ann Le (b. 1981-) that reimagine 20th-century U.S. wars and militarism in the Asia Pacific Arena. These artists use forms of collage to look back on the Cold War and to disrupt U.S. Cold War historical narratives of U.S. rescue and liberation of Asia. Using feminist epistemological approaches, they reveal diasporic memories of survival, resistance, and futurity. Their artworks reinterpret and reclaim public and private photographs through the artistic strategy of photomontage, which entails the juxtaposition and reconfiguration of photographic materials. I argue that Arai’s, Min’s, and Le’s artworks serve as alternative sites of remembrance that critique the Japanese American incarceration during World War II and U.S. militarism in Asia during the Cold War, Korean War, and the Vietnam War. In this project, I offer the concept of “ethical memory works” to describe how such Asian diasporic cultural productions engage in the complex politics of memory and the ethics of care - for the past, one’s community, and other communities. I suggest ethical memory works are defined by ethical remembering, speculative storytelling, and feminist acts of care.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ eScholarship - Unive...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ eScholarship - Unive...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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    Authors: Baker, Megan A.;

    Despite today’s era of political and economic revitalization due in part to American Indian economic development, Oklahoma Choctaw people still contend with land dispossession facilitated by state and federal governments. Considered alongside the state of Oklahoma’s contentious relationship with tribal nations today, this dissertation examines how US settlers have utilized the collusive power of history and law to constitute settler sovereignty and facilitate Indigenous land dispossession. By ethnographically examining the legal life of settler historical production and how it continually reshapes the conditions for landownership among Choctaw people living in their post-removal homelands, it reveals how US and state laws – informed by anthropological and historical scholarship that proclaim the decline of Indigenous sovereignty and legitimate the settler regime of private property – have continually worked to dispossesses Choctaw people of their lands throughout time. Nevertheless, despite the relegation of Choctaw sovereignty to the past in scholarly publications and its minimization in the present by state actors, Choctaw people who maintain Choctaw ways of life consistently challenge such claims and efforts. Furthermore, the dissertation addresses the discrepancy between the massive, underutilized archival sources created by Oklahoma Choctaws and published scholarship. Consequently, it argues for the usage and development of tribal histories that are attentive to the work of settler colonialism and that draws upon overlooked and underutilized archival materials. By holding an ethnographic study of contemporary Choctaw economic development, a critical historiography of the Choctaws and Five Tribes, fieldwork on Choctaw archival materials and their repositories, and the wide breadth of tribal history informed by cultural knowledge within the same frame, the dissertation importantly highlights the interrelated relationship between the production of history, US law, and ongoing land dispossession in an era of resurgent American Indian political-economic power.

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    Authors: Fathi, Samira;

    Isfahan, a central city in Iran, became the seat of the Safavid empire (1501-1722) under the rule of Shah Abbas I (r. 1588-1629) in 1590, and a great architectural activity turned it into an early modern city out of its medieval past. The grand public and royal architecture of New Isfahan garnered a lot of attention and left a lasting impact on the representation of the city after Shah Abbas I’s reign. This excessive attention to the pinnacle of Isfahan’s urban history led to the prevalence of a static and timeless image that overglazed the role of later urban interventions key to the vitality of this urban center. This dissertation problematizes this civilizational and dynastic approach to the understanding of urban history and focuses on the neglected and overlooked urban and architectural transformations of Isfahan from the late seventeenth to the early nineteenth centuries. Through an examination of the built environment and its literary representations in tandem with networks of power and patronage, this study complicates the inherited and dominant history of this period by foregrounding emerging urban patrons and lost architectural and urban interventions.To reconstruct the understudied urban changes in the timeframe of this project, I consulted an array of untapped visual and textual primary and archival sources including historical maps, engravings, architectural drawings, photographs, historical accounts, travelogues, and literary works. The emphasis in this reconstruction was placed on the late eighteenth and early nineteenth-century developments of Isfahan under the supervision and patronage of Mohammad Hosein Khan Sadr-e Isfahani (1758-1823). I read these reconstructions against the production and commission of panegyric-tazkira (biographic anthology) as lieu de mémoire to cast light on the underlying social, cultural, and political nexus in which these projects were conceived and perceived. The findings of this research demonstrate that not only did the city remain an active location for royal and non-royal architectural and urban patronage, but also its modifications were preconceived and meaningful in each historical phase. The reconstruction of new developments under Shah Soltan Hosein and local urban patrons, especially Sadr-e Isfahani, in the city brings to light a collective act of referencing Isfahan’s glorious past to recover its urban prosperity. The continuous adoption of the “chaharbagh avenue type” and the addition of the Farahabad Palace-garden and the Emarat-e Sadri in Isfahan signified this desire. Sadr-e Isfahani’s urban vision was the culmination of this desire manifested in the architectural patronage of an emerging and local urban elite. The symbolic and conceptual entanglement of his physical interventions in Isfahan and the commission of Madayeh portrayed the ways in which this patron reminded Isfahan of its celebrated past while he simultaneously reinscribed a new memory and history of the city at the beginning of the Qajar period.

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Zhang, Xiaoyu;

    In the past decade, the proliferation of data and the emergence of large language models have presented both opportunities and challenges in academia. The expanding volume of data, which records knowledge from various human activities, enables data-driven approaches to optimizing numerous aspects of industrial manufacturing and people's daily life. These improvements largely stem from machine learning models trained with this data. However, the industry still faces limitations in both extracting knowledge from large, unstructured, or heterogeneous datasets and transforming the extracted knowledge into actionable insights. This challenge is exacerbated in highly specialized domains where only a few analysts possess the expertise to interpret the data. Despite the recent advancements of large language models providing more intelligent assistance for many data analysis tasks, it remains essential to ensure that these machine learning models and the knowledge they encompass are safe to use and employed for social good with human verification.In my dissertation work, I develop visual analytics (VA) and human-computer interaction (HCI) methodologies for representing and interacting with various forms of knowledge and data, particularly text data. I propose a visual knowledge discovery framework that integrates human expertise with computational approaches throughout the knowledge discovery process, while also addressing the limited availability of domain experts and the increasing scale of data. Moreover, I investigate how visual analytics can efficiently and safely harness extensive knowledge from large machine learning models, enabling users to effectively steer the exploration process and make well-informed decisions. This dissertation presents six published research works organized around my visual knowledge discovery framework and its three key tasks: knowledge exploration, knowledge presentation, and knowledge exploitation. Firstly, I demonstrate how visual analytics can support knowledge exploration with large, high-dimensional, and heterogeneous data in the domain of manufacturing and machine maintenance. Subsequently, I introduce two knowledge presentation solutions for two distinct types of data—numerical data facts and unstructured text data. Lastly, I showcase three visually-assisted knowledge exploitation applications in various domains and scenarios, encompassing document summarization, technical text annotation, and data-driven machine learning model validation.My work demonstrates how mixed-initiative methods through visual analytics applications can resolve real-world challenges in highly-specialized domains. I leverage state-of-the-art machine learning techniques, particularly natural language processing models, while always involving domain practitioners in the loop. My approach facilitates communication among parties with mismatched knowledge levels, including domain experts, data analysts, computer scientists, and artificial intelligence. Meanwhile, I prioritize the critical role of human knowledge and integrate it into intelligent visualization interfaces that undergo qualitative evaluations. I believe that domain experts' insights, supervision, and verification are invaluable, regardless of how advanced machine learning techniques become. Through the projects outlined in this dissertation, I hope to encourage philosophical and social discussions surrounding the rapidly expanding field of artificial intelligence. Ultimately, my objective is to contribute to a future where intelligent visual analytics systems can augment and enhance human capabilities, enabling individuals to navigate through the potential challenges brought by advanced AI techniques.

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    Authors: Miron Marvan, Esteban;

    This dissertation is about Maya Ch'ol understandings of archaeological heritage and their own past, how their current social situation is pulled from and represented in that history. I explore how the Ch´ol experience life from their particular position within the economic, political, touristic, and archaeological landscape today. To understand this situation, I inquire with Maya Ch'ol consultants about their own conceptions of history and heritage, about their relationship with archaeology and archaeologists, and how scholars as mayanists can make our disciplines more open to participation and useful for the interests of Maya peoples of today. A wide variety of relationships between Maya individuals and history was observed, with a few common threads. These include a generalized perception of archaeological practices as opaque, a need for sharing with the Maya peoples and Mexican society the knowledge that archaeology produces. Participants described widespread discrimination against indigenous practices in the life of Ch’oles. A number of layers of cultural erasure and hegemonic policies have made embracing the ancient past of the Maya peoples something to avoid in order to blend into an ideal Mexican subject. Although there are a great number of Ch’ol academics, artists, and activists pushing for embracing the identity with pride, including the archaeological past, most of the Ch’oles do not. The challenges of decolonizing mayanist archaeology were made evident throughout the dialogues, as well as reiterating its necessity.

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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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    Authors: Holguin, Brian Elliott;

    The development and use of Artificial Intelligence (AI) natural language models such as ChatGPT have raised questions about the applications and risks to academia, research, and privacy. What is currently not being explored is the use of ChatGPT in shaping public understanding of indigenous histories. As we have seen, public opinion is often shaped by a single source of information, and this source is often not vetted for accuracy or credibility. Assuming ChatGPT to be one of those sources, I explore the knowledge and perspectives communicated in synthesizing the last 13,000 years of Chumash occupation in the Santa Barbara Channel Region of California and juxtapose this information with the archaeological record to evaluate the model’s knowledge of our cultural history. I specifically explore the relationships between my ancestors and their environment, the development and maintenance of our cross-channel exchange network, shifts in diet through time, and changes in sociopolitical organization within the context of climate change. I also explore the potential risks of increased looting of Chumash cultural sites by assessing ChatGPT’s ability to provide geographic information on archaeological sites.

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    Authors: Oller Bosch, Georgina;

    El presente trabajo prueba la existencia de documentales contramonumentales, films que reúnen una serie de características conceptuales, formales y funcionales que superan la lógica del documental clásico, aquel que Bill Nichols denomina expositivo y que tiende a monumentalizar la realidad-objetividad-verdad del mundo histórico que proyecta en imágenes. Realizados, como mínimo, entre el año 2000 y el 2020, los contramonumentales tratan la memoria de eventos históricos—ya sean políticos, económicos o sociales—ocurridos en los siglos XX y XXI, sin alzar monumentos a ningún discurso sobre el pasado. Este estudio analiza, en profundidad, cinco de dichos largometrajes estrenados en los principales países productores de cine en español y en portugués: Señorita Extraviada (2001, México), Los Rubios (2003, Argentina), El cielo gira (2004, España), Santiago (2007, Brasil) y El pacto de Adriana (2017, Chile). Como documentales contramonumentales, estos films vuelven a acontecimientos pasados no para intentar resolver enfrentamientos dialécticos entre agentes de la Historia o ‘memoria oficial’ y promotores de la ‘contramemoria’ o ‘memorias alternativas’. Al contrario, éstos retornan a esos sucesos, ya acaecidos y largamente discutidos, para poder releerlos a través de los efectos que los hechos todavía tienen en la experiencia vital de los cineastas que ruedan y protagonizan las cintas. Los contramonumentales, que presentan rasgos del Primer, del Segundo y del Tercer Cine, funcionan como obras del Cuarto al producir discursos narrativo-argumentativos de interpretación libre que viabilizan una reflexión sobre el pasado desde el presente, abierta a la participación de todos.

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    Authors: Mejorado, Arlene;

    Problematizing the relationship between image and placemaking, Mejorado intervenes atthe intersection of the urban exterior and its many liminal sites. She works through staging intimate gestures, marking space with memory and constructing rehearsals in remembering. This body of work made in the San Fernando Valley contemplates what Gaye Theresa Johnson theorizes as "investing critical meaning," within a landscape often described as a "non-place," whose banal everydayness serves as a vast backdrop to Los Angeles, movie making, and the largest creative industry in the world.

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    Authors: Park, Dong Huk S;

    Language is such a powerful representation for capturing the knowledge and information about our world. It excels at expressing discrete concepts such as objects and their attributes, the relationships between them in a very compact manner all due to its extremely high level of abstraction. Language is the primary means by which we communicate, comprehend, and express our thoughts and ideas, and it lies at the very core of human intelligence. With the advent of powerful generative models, machines also have begun to comprehend and generate natural language with notable fluency and creativity. However, they lack “grounding”—a direct tie to the visual world. Vision plays a pivotal role in our comprehension and production of language. When we describe a scene, understand instructions, or engage in a dialogue, visual contextsignificantly aids our interpretation and generation of language. This highlights the need for integrating vision for generative modeling. Chapter 1 and 2 delve into image-to-text domain, spotlighting the importance of a multimodal approach for text generation. In Chapter 1, we explore how generating textual rationales with attention visualizations can enhance model transparency for visual question answering. In Chapter 2, we build generative models that abandon traditional left-to-right sequencing in favor of an unsupervised technique to determine optimal generation orders. Chapter 3 and 4 shift the focus to text-to-image generation. In Chapter 3, we introduce a training-free framework that combines linguistic cues with reference images, allowing for controllable image synthesis using denoising diffusion probabilistic models. Lastly, Chapter 4 emphasizes the importance of preserving object shapes in text-based image editing, proposing a unique mechanism that augments text-to-image models to be more faithful to input masks and text prompts.

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    Authors: Carr, Megan;

    American photographer Lee Miller may have been most famous for her work as a fashion model and Surrealist muse in the 1920s and 1930s, but she was also a photographer and artist in her own right. In 1939 Miller decided to relocate to Europe in the hope of helping with the war effort and was employed by Vogue, a high-end women’s fashion magazine, as a staff photographer, where she documented the Blitz in London and pushed the boundaries of fashion photography to include war coverage in the pages of Vogue. She embedded with the U.S. Army in the unusual position of a war correspondent for a fashion magazine. While recent decades have brought increasing attention to Miller’s work, and she has been included among the Surrealist canon of photographers, much of the interpretation of her photography remains biographical. This paper explores how gender, including Miller’s own, is represented within her work and within the context of the publication. Through analysis of Miller’s writings and correspondence as well as conceptions of the modern woman versus traditional femininity, I discuss promotions and depictions of national gender constructions through cosmetics and fashion, including British, American, French, and German, along with racism and antisemitism. This thesis examines definitions of surrealism, their intersections and oppositions to the imagery and control of fascism, and the difficulty of documenting the unimaginable as frameworks for exploring Miller’s wartime work. Shocking imagery, including the holocaust, the Dachau concentration camp, SS suicides, and Miller’s photo in Hitler’s bathtub, are analyzed. I argue that Miller’s navigation of gender through her identity and photography creates unique and often contradictory convergences of fashion, the body, and war.

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    Authors: Ching, Kylie;

    This dissertation analyzes a selection of photomontages by contemporary artists Tomie Arai (b. 1949-), Yong Soon Min (b. 1953-), and Ann Le (b. 1981-) that reimagine 20th-century U.S. wars and militarism in the Asia Pacific Arena. These artists use forms of collage to look back on the Cold War and to disrupt U.S. Cold War historical narratives of U.S. rescue and liberation of Asia. Using feminist epistemological approaches, they reveal diasporic memories of survival, resistance, and futurity. Their artworks reinterpret and reclaim public and private photographs through the artistic strategy of photomontage, which entails the juxtaposition and reconfiguration of photographic materials. I argue that Arai’s, Min’s, and Le’s artworks serve as alternative sites of remembrance that critique the Japanese American incarceration during World War II and U.S. militarism in Asia during the Cold War, Korean War, and the Vietnam War. In this project, I offer the concept of “ethical memory works” to describe how such Asian diasporic cultural productions engage in the complex politics of memory and the ethics of care - for the past, one’s community, and other communities. I suggest ethical memory works are defined by ethical remembering, speculative storytelling, and feminist acts of care.

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    Authors: Baker, Megan A.;

    Despite today’s era of political and economic revitalization due in part to American Indian economic development, Oklahoma Choctaw people still contend with land dispossession facilitated by state and federal governments. Considered alongside the state of Oklahoma’s contentious relationship with tribal nations today, this dissertation examines how US settlers have utilized the collusive power of history and law to constitute settler sovereignty and facilitate Indigenous land dispossession. By ethnographically examining the legal life of settler historical production and how it continually reshapes the conditions for landownership among Choctaw people living in their post-removal homelands, it reveals how US and state laws – informed by anthropological and historical scholarship that proclaim the decline of Indigenous sovereignty and legitimate the settler regime of private property – have continually worked to dispossesses Choctaw people of their lands throughout time. Nevertheless, despite the relegation of Choctaw sovereignty to the past in scholarly publications and its minimization in the present by state actors, Choctaw people who maintain Choctaw ways of life consistently challenge such claims and efforts. Furthermore, the dissertation addresses the discrepancy between the massive, underutilized archival sources created by Oklahoma Choctaws and published scholarship. Consequently, it argues for the usage and development of tribal histories that are attentive to the work of settler colonialism and that draws upon overlooked and underutilized archival materials. By holding an ethnographic study of contemporary Choctaw economic development, a critical historiography of the Choctaws and Five Tribes, fieldwork on Choctaw archival materials and their repositories, and the wide breadth of tribal history informed by cultural knowledge within the same frame, the dissertation importantly highlights the interrelated relationship between the production of history, US law, and ongoing land dispossession in an era of resurgent American Indian political-economic power.

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    Authors: Fathi, Samira;

    Isfahan, a central city in Iran, became the seat of the Safavid empire (1501-1722) under the rule of Shah Abbas I (r. 1588-1629) in 1590, and a great architectural activity turned it into an early modern city out of its medieval past. The grand public and royal architecture of New Isfahan garnered a lot of attention and left a lasting impact on the representation of the city after Shah Abbas I’s reign. This excessive attention to the pinnacle of Isfahan’s urban history led to the prevalence of a static and timeless image that overglazed the role of later urban interventions key to the vitality of this urban center. This dissertation problematizes this civilizational and dynastic approach to the understanding of urban history and focuses on the neglected and overlooked urban and architectural transformations of Isfahan from the late seventeenth to the early nineteenth centuries. Through an examination of the built environment and its literary representations in tandem with networks of power and patronage, this study complicates the inherited and dominant history of this period by foregrounding emerging urban patrons and lost architectural and urban interventions.To reconstruct the understudied urban changes in the timeframe of this project, I consulted an array of untapped visual and textual primary and archival sources including historical maps, engravings, architectural drawings, photographs, historical accounts, travelogues, and literary works. The emphasis in this reconstruction was placed on the late eighteenth and early nineteenth-century developments of Isfahan under the supervision and patronage of Mohammad Hosein Khan Sadr-e Isfahani (1758-1823). I read these reconstructions against the production and commission of panegyric-tazkira (biographic anthology) as lieu de mémoire to cast light on the underlying social, cultural, and political nexus in which these projects were conceived and perceived. The findings of this research demonstrate that not only did the city remain an active location for royal and non-royal architectural and urban patronage, but also its modifications were preconceived and meaningful in each historical phase. The reconstruction of new developments under Shah Soltan Hosein and local urban patrons, especially Sadr-e Isfahani, in the city brings to light a collective act of referencing Isfahan’s glorious past to recover its urban prosperity. The continuous adoption of the “chaharbagh avenue type” and the addition of the Farahabad Palace-garden and the Emarat-e Sadri in Isfahan signified this desire. Sadr-e Isfahani’s urban vision was the culmination of this desire manifested in the architectural patronage of an emerging and local urban elite. The symbolic and conceptual entanglement of his physical interventions in Isfahan and the commission of Madayeh portrayed the ways in which this patron reminded Isfahan of its celebrated past while he simultaneously reinscribed a new memory and history of the city at the beginning of the Qajar period.

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