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Thursday, January 7, 2010

Chico Becomes a Bandleader - 1942

The March 28, 1942 edition of Billboard included an article titled "The Marxian Approach to Bandleading" by Chico Marx. I've always thought of Groucho as the writer among the brothers. He wrote several books and articles, as well as many letters which have been compiled in books. As far as I know, Harpo, though adored by the literary types at the Algonquin Round Table, never did any writing. His autobiography, Harpo Speaks,was ghost written by Rowland Barber. The article in Billboard is the first piece of writing I've seen carrying Chico's byline. Whether he actually wrote it himself, I don't know.

The article was written three months after Chico left the brothers' act to lead a band. Among other things, he writes:
The first thing I do when a poor but ambitious youngster comes to me and reverently beseeches some inside info on how to become a maestro is give him Toscanini's telephone number. After that I look myself square in the eye--which is no mean trick when you haven't got a mirror on you--and ask myself the burning question, "Marx, how the hell did you get into the band business?" Even tho this is where you came in, don't go away yet. Tea and cookies will be served later.
Pretty good stuff, I'd say. To read the whole article, click on the link in the first sentence in of this post.

  1. Are those guys on the photo members of the orchestra? Is it Mel Tormé sitting beside Chico?

  2. I believe this photo was taken on the set of a television show. Chico was a guest and these weren't members of his band. You are correct, however, that Mel Torme did sing with Chico's orchestra.

  3. But why did he have to keep the guy on the right in a cage?
    Actually I haven't stopped by just to make that idiotic joke.
    Your assistance is needed over here:

    Thank you!

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Idle Pose - Battle Pose

Nitro idle
Type Electric Electric symbol
Location Cave
Resemblence Beetle
Rarity Rare

Nitro is the perfect little scout. Confident and strong, it takes advantage of his enemies underestimating him due to his size.
  — Game Description

This monster can only be encountered and caught at level 15 in the Cave area located in earth island.

Name Unlocked Type Power Energy Screen Shot
Electric Slap Level 15 Electric "+105" 2
Twin Pincers Level 17 Normal "+185" 4
Electric Lash Level 22 Electric "+160" 6

Name Unlocked Description Image
Thundercloud Level 19 Deals signigicantly more damage to fire monsters.
Lucky Level 21 Increases luck by 15%

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Black Obsidian

3.7L V6

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Miracle Motor Mart

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This low-mileage black 2014 Infiniti Q50 Premium with only one previous owner is an example of Infiniti's first all-wheel-drive luxury car to directly compete against European sports sedans, and to look good doing it. The sophisticated and spacious interior will speak to everyone who responds to the idea of a little indulgence on their daily commute, and its excellent list of features includes sumptuous leather upholstery, a moonroof so you can enjoy a little sunshine, rain- and speed-sensing wipers so you're ready no matter the weather, and new brake-operated 'pre-crash' seatbelts that tighten under emergency braking to keep you safe. The 3.7-liter V6-cylinder engine ensures you 328 horsepower, so you can rule the road whether you're going across the country or just across town. If you're ready to add a smile to your morning commute, just print this page and give us a call—our salespeople are standing by to set you up on a test drive!

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Tuesday, May 30, 2017

Regional Cultural Center Awards

This is an award ceremony for the competition for the design of the facade of the Regional Cultural Center "Mikser House" in Sarajevo. Mikser House will be open on September 8th, 2017.

First place was shared by Ajša Beširević and Bojan Galić.
Thrid place went to Danira Isović
The people's choice award went to Ana Kovačić.

The jury for the awards was Maja Lalic, Bojan Hadzihalilovic, and I.

Congratulations to all participants and the winners.

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Fair Women Are Transformed into Negresses

Molly Rogers
Published Jan. 18, 2012

“Fair women are transformed into Negresses”(1)

The Uncanny Object

In the summer of 1976, employees of Harvard University’s Peabody Museum of Archaeology and Ethnology discovered fifteen daguerreotypes in the museum attic. The photographs were made in 1850 and they depict five African men and two African American women, all of whom were slaves in or near Columbia, South Carolina. The names of the people are known—the men are Jack, Jem, Fassena, Renty, and Alfred, and the women Drana and Delia—as are a few details on the circumstances of their lives. The daguerreotypes are considered to be the earliest known photographs of identifiable American slaves.

The daguerreotypes are also among the earliest known photographs made to support anthropological science. Commissioned by the Swiss-born naturalist and Harvard professor Louis Agassiz, they were intended to serve as evidence for an early theory of human diversity, one favored by slaveholders. The theory, later called polygenesis, held that there had not been one act of creation—one original pair, as the Bible stipulated—but many: God had created a Black Adam and Eve, an Asian Adam and Eve, and so on. Diversity, Agassiz and other proponents of this theory claimed, dated back to Creation. Yet despite the support of well-known and respected scientists, polygenesis was not widely accepted because it contradicted Christian doctrine; however, for many it was preferable to the alternative explanation, that diversity was the result of changes occurring over vast periods of time. Evolution, as this idea would come to be known, conjured for nineteenth- century Americans images of racial shape-shifting and proved highly distasteful to most white people.

Not long ago I viewed the daguerreotypes at the Peabody Museum. I was writing a narrative history of the photographs, covering the social and political circumstances that led to their making and the meanings that may have been found in them.(2) This was a project I undertook in my own time—the book was my response to the powerful nature of the photographs—and it required a great deal of research in areas completely new to me, including the histories of early anthropology and slavery in antebellum America. It was only after six years of research that I had the opportunity to examine all fifteen daguerreotypes for the first time, the long delay due as much to my need to understand what I was looking for in the photographs before actually seeing them as it was due to the logistics of visiting the museum and the need to convince curators that I was a legitimate researcher. Decidedly rare and invaluable objects, the daguerreotypes are closely guarded by museum staff, and rightly so. I eagerly anticipated seeing the daguerreotypes in person, which I knew would be very different from looking at reproductions.

Gazing upon a daguerreotype is a peculiar experience. Made using a direct-positive process, the daguerreotype is a mirror image—the subject’s right-hand side is on your left—and a one-of-a-kind object: there is no negative, and so copies cannot be made unless the original is rephotographed. The image itself is ephemeral, disappearing when the photograph is tilted slightly. But more startling is the apparent depth of the image, a result of the way in which daguerreotypes were packaged. Placed in a decorative case with a glass covering to protect the surface of the image, the metal plate of the daguerreotype is a mirror image in a second sense: it reflects back your own image as you look at the photograph. At the same time, any bits of dust or marks on the glass covering are reflected in the photographic image such that they appear to be situated behind the person represented. This combination of seeing your own reflection in the surface of the image and seeing what appears to be space behind the person in the photograph creates a sense of spatial depth that is uncanny. To hold and gaze upon a daguerreotype portrait is to exist in a virtual space alongside the subject of the image.

One of the Peabody’s curators brought the daguerreotypes to me, each one carefully wrapped to protect the leather-bound case, the group stored together in a box. After the curator had removed them from the box, I was left with a pair of white cotton gloves and tacit instructions to handle the daguerreotypes with care. When I asked for a magnifying glass—each exquisitely detailed image is less than four inches across by five inches high—one was found for me to use. I started with the two images of Delia.

As I examined the photographs, scrutinizing Delia’s body with the aid of a magnifying glass—seeking in her image evidence of maltreatment, of the circumstances under which the image was made, and of her individual character—an unpleasant feeling came over me. Louis Agassiz had commissioned Delia’s photographs after physically examining her. The images were intended to serve as aide-mémoire to this ostensibly scientific examination and also as evidence of his findings, which he could show to other people. The photographs were therefore doubly linked to Delia’s violation: they were both the culmination of an invasive examination and a second instance of this objectifying scrutiny. And there I was, examining Delia much as the scientist had done: she was exposed against her will, and in her body I sought information, facts, evidence. That the kind of evidence I hoped to find differed from that of the Swiss naturalist offered little consolation. Ultimately, there was no avoiding the fact that I was regarding Delia as an object and doing so for my own gain. This discomfiting identification with Agassiz (not to mention slaveholders and undoubtedly others who shared their attitudes on race) brought tears to my eyes and led me to question my own interest in and use of the daguerreotypes.

I came away from the Peabody Museum wondering about my work and my relationship to images of suffering and oppression. Is it possible to look at these photographs in a way that does not reenact the objectifying gaze of the scientist, the slaveholder, and the photographer? How should we look at and write about images that are complicit with cruelty?(3)

Imaginative Liberation

One solution to this problem might be to acknowledge the “humanity” of the people in the photographs, as some writers have done. Delia was photographed for the purpose of proving polygenesis, which some people interpreted to mean that different races constituted separate species. Consequently, it provided scientific and therefore apparently irrefutable justification for slavery. Louis Agassiz examined Delia and the other people who were photographed on his instructions in order to determine their “racial type,” which is to say he viewed them as abstractions rather than individuals. We, however, know better. We view Delia differently, seeing her not as a racial type, nor perhaps even primarily as a slave (another kind of “type”), but as a young woman who worked on a plantation outside Columbia, South Carolina, and who was forced to remove her clothing so that a scientist could examine and record her appearance. We acknowledge her humiliation, and so recognize her humanity, and in this way restore to her what had been taken away. Alan Trachtenberg calls this “imaginative liberation.” By reciprocating the look of the person in the photograph, he writes, “we have acknowledged what the pictures most overtly deny: the universal humanness we share with them. Their gaze in our eyes, we can say, frees them.”(4)

But can we really say this, that Delia’s gaze, in our eyes, frees her?  The metaphor of freedom is a poor choice, in my view. Looking at a photograph cannot “free” an enslaved person—only running away, manumission, or universal emancipation could and did do this, and possibly also moments of resistance. Looking at Delia’s photograph and seeing there a human being rather than a racial type or a piece of property does not magically restore what was taken from her; it does not redress the many wrongs, the many violations perpetrated against her, including having her photograph taken for scientific purposes. It matters how we regard such photographs because understanding why they were made mitigates somewhat the objectifying gaze, but such regard cannot have any effect upon Delia herself. To suggest that we can “free” a person by looking at her photograph is to overlook the specificity of that person, the very real details of her life, both good and bad: in other words, it renders her into an abstraction.

I also have a problem with Trachtenberg’s claim for a “universal humanness.” It is true that Delia was photographed for the very purpose of negating the idea of a shared humanity, and while there is nothing wrong with declaring an opposition to this idea—such assertions are perhaps even necessary, whatever their pitfalls—at the same time the history of early anthropology shows us that “the human” is far from a universally understood and agreed-upon concept. The theory of polygenesis, which was widely debated during the nineteenth century, held that the class of beings we had long called “humans” actually included many distinct types of beings. Such disputes over the cause and meaning of racial difference tell us that “the human,” rather than being a natural category, is always contingent on the circumstances in which the term is being applied—it is, in other words, a concept steeped in history. It is also another abstraction, however well intentioned.(5)

Imaginative liberation as Trachtenberg describes it seems to me the sort of thing Susan Sontag had in mind when she wrote, “Photographs turn the past into an object of tender regard, scrambling moral distinctions and disarming historical judgments by the generalized pathos of looking at time past.”(6) Since the daguerreotypes have so little to say about the people they depict, what else can we find in them but some elemental quality shared by all people? This is not an unreasonable position to take, but surely matters should not rest there. Elsewhere Sontag wrote: “No ‘we’ should be taken for granted when the subject is looking at other people’s pain.”(7)

The claim for a shared humanity with Delia says more about a need to distance ourselves from people such as Agassiz and the racial ideas he valued than about the person depicted in the photograph. After all, who wants to identify with a racist? At the same time, it is easier to base an empathic (and reassuring) gaze on the catchall notion of a shared humanity than on anything about Delia as an individual because we know so little about her. The archives and libraries are full of information on Agassiz—his correspondence, published scientific work, and books written about him—but there is precious little about the people depicted in the daguerreotypes. Nevertheless, we do know some details about Delia’s life. For example, her job was with a blacksmith, an unusual occupation for a woman in the nineteenth century, even on a plantation.(8) Contemporary slave narratives also tell us about living conditions under slavery. So there are sources that could be used to say something specific about Delia. Yet, as I became involved in my own work, I was surprised to find that none of the scholars and historians who had written about the photographs seemed to have considered Delia, Jack, Jem, Drana, Alfred, Renty, and Fassena as individuals. They made no room for Delia as a person, presenting her only as the object of scientific and photographic scrutiny, and an example of universal humanness.(9)

Shifting the focus from discussions of vitriolic racism, political oppression, and the abuse of individuals to the more reassuring vision of universal humanity (and with it the suggestion that we are far from such horrors today) may ease the discomfort of looking at images of suffering but it also excuses us from looking at these images and thinking about whom and what they depict.

Once we look away, it is difficult to look back.

Imaginary Lives

Sitting in the Peabody Museum, disturbed by the way scrutiny of the daguerreotypes brought me uncomfortably close to Agassiz, I decided that in my own work I needed to depict the people in the photographs as individuals, as subjects rather than objects. By doing this I could disrupt the original intended meaning of the photographs, influencing how others saw the images and the people in them. But could I in fact do this, especially given the paucity of relevant source material? I had discovered a few facts about each of the people depicted, but the prospect of simply working these into a conventional narrative history, where they might logically appear, was dissatisfying.(10) For instance, Jack’s involvement with the First Baptist Church of Columbia would be relevant in a discussion of how slaveholders used religion as a prophylactic against insurrection.(11) But dropping such a fact into the general discussion would have meant releasing significant information into a deep pool where it would have been all but lost. Alternatively, teasing out the implications of the fact within the discussion by exploring what it meant for Jack to be an active church member would create an awkward digression.

My solution for giving the people in the images a subjective presence in my book, balanced with the depictions of the men who made and used the daguerreotypes, was to use literary techniques. The first of these was to incorporate into the text the words of W. E. B. Du Bois, Ralph Ellison, and Zora Neale Hurston as a way to rebut the dominant racist discourse of the nineteenth century. The main narrative of the book presents the African American response to early anthropological science, with John H. Johnson, a “colored man” from Philadelphia, and the well-known black abolitionist Frederick Douglass appearing to demonstrate that not every American found polygenesis a compelling theory.(12) But I also drew from the wealth of African American writing that has emerged since the photographs were made. When Agassiz reveals his feelings of disgust for black people, singling out “that hideous hand” belonging to a hotel waiter as the focus of his revulsion, Zora Neale Hurston’s voice responds with a contrasting attitude. “But the thing that held my eyes [was] their fingers,” she says of her first prolonged encounter with white people. “They were long and thin, and very white, except up near the tips. There they were baby pink. I had never seen such hands. It was a fascinating discovery for me. I wondered how they felt.”(13) Agassiz and Hurston were both captivated by hands different from their own, but Hurston was moved to wonder what it would be like to touch those other hands, to engage in intimate human contact with them.

In another example, when the man charged with overseeing the commission for the daguerreotypes, Dr. Robert Gibbes, writes to a colleague, “I have just finished the daguerreotypes for Agassiz of native Africans of various tribes. I wish you could see them,” the reply comes not from the scientist to whom he wrote, but Ralph Ellison.(14)  The passage in the book reads thus:

“I wish you could see them,” Gibbes wrote—but did anyone see them—really see them? And when we say “them,” are we talking about the daguerreotypes themselves, or the people depicted in the images? Certainly Agassiz and other men looked at the daguerreotypes, but what did they see?  Did they see a slave? A young woman or an old man? A carpenter or a man from West Africa? Someone who liked to sing, or dance, or chew tobacco?  Did they see a heathen or a sinner, a Muslim or a Christian?

“I am an invisible man,” says the narrator of Ralph Ellison’s epic story of race in the twentieth century. “I am a man of substance, of flesh and bone, [fiber] and liquids—and I might even be said to possess a mind.”

How can a man with such attributes, a human being, be invisible?

“I am invisible, understand, simply because people refuse to see me.”

For Ellison, to render a man black requires only that you look closely, scrutinize his body, his movements and his manner, and at the same time that you see nothing of the man. “When they approach me they see only my surroundings, themselves, or figments of their imagination—indeed, everything and anything except me.”(15)

In dialogues across time and place, Hurston’s and Ellison’s voices respond to those of Agassiz and Gibbes—speaking for Delia and indeed for many other enslaved people—and in so doing prevent the racist attitudes of the nineteenth century from going unanswered.

My second literary technique was to use fiction to present the men and women depicted in the photographs as active subjects possessing agency despite their status as slaves. To accompany each of the fifteen photographs, I wrote a short fictional vignette suggested by factual information, which considers the perspective of the person in the adjacent image. In this way the fact of Jack’s membership with the First Baptist Church of Columbia, a matter of church record, becomes a scene in which a man sitting in church allows the tranquillity he receives from religion to ease the strain of being a slave driver. This vignette not only presents the fact of Jack’s religious affiliation but also suggests an entire point of view, a way of being and thinking that underscores Jack’s subjectivity.

Even as they enrich the historical narrative of the book, the fictional vignettes also disrupt and complicate the more conventional account by presenting an alternative view of the person depicted, one that stands in opposition to the more familiar image of the objectified slave. A good example of this is Jem, who “belonged” to F. W. Green—this was probably Frederick W. Green, a mechanic from Massachusetts who lived in Columbia. Green seems to have owned the Red Bank Cotton Factory in Lexington, South Carolina, which suggests that in 1850 Jem lived in the city, rather than on a plantation. This background informs all three of Jem’s vignettes. In the first, he negotiates the potentially hazardous streets of Columbia, demonstrating his relative autonomy (when compared with plantation slaves) and his skill in dealing with white people in the urban landscape. In the second and third vignettes I emphasize Jem’s sophistication. Here is an excerpt from the second vignette, in which he serves dinner at Green’s house:

He stood outside the door, shifting his weight from one leg to the other. He had spent the day rushing around in preparation for the party, arranged only that morning when the Doctor paid an early visit. His feet ached.

The bell rang, a shrill summons cutting through the tumult of voices. He hadn’t expected it again so soon.

Before entering the room he took a moment to compose himself, straightening his jacket, smoothing his trousers, and removing all expression from his face. He could hear the Doctor speaking, something about a recent visit to Charleston. He waited for a pause in the story and then entered the room.

In the third vignette Jem finds himself again waiting, this time to have his daguerreotype made:

“We’re ready for you now.”

He did not move, not immediately, but when he did rise to his feet he stood tall and took a moment to smooth his clothing before following the man into the next room.

On both occasions Jem smooths his clothing before entering the room, a gesture that suggests he is self-confident and socially sophisticated. The gesture also creates a very different picture from the daguerreotype, and different too from the second vignette’s ensuing chapter, in which Jem and the other people are examined and photographed naked. In this way the vignettes, while presenting scenes relating to the book’s overall narrative, are designed to create an image that neither confirms nor reinforces the stark and brutal image of the daguerreotype.

The vignettes also function as alternative captions. The official captions to the daguerreotypes were assembled after the images were made and by different people at different times; they also confirm and validate the images as scientific objects. Each caption includes the photographer’s name, a title, the medium used, the date it was made, information about the museum that owns the image, and an accession number. The official caption to one of Jem’s photographs reads as follows:

Joseph T. Zealy, Jem, Gullah. [B]elonging to F. W. Green, Columbia, SC, quarter-plate daguerreotype, 1850. Courtesy President and Fellows of Harvard College, Peabody Museum of Archaeology and Ethnology, 35-5-10/53045.

The title of the work is drawn from the label that Agassiz’s colleague Dr. Gibbes wrote and affixed to the daguerreotype case in 1850; the Peabody Museum, current owner of the image, provided the remainder of the information. “Jem” was likely a name assigned by whites, and so may not have been the name this man used among his own people. The phrase “belonging to F. W. Green” underscores his status as a slave and so strips him of dignity and agency. The museum information has the further unfortunate effect of reinforcing the original purpose of the image by naming an institution, a scientific discipline, and a catalogue number. Nothing in the caption describes the image or tells us much about its subject (if we take “subject” to mean not early anthropological science but the man in the image). Rather, it suggests a kind of provenance, one closely allied with the status of the image’s object, the original purpose of the image, and its subsequent institutional uses.

As a caption the vignette offers something very different. By presenting the (imagined) viewpoint of the person in the image, each vignette offers a means of looking back from the photograph—a looking outward to accompany our looking at the image. This empathic view is made explicit in the first vignette particularly, in which Delia stares directly at the camera (and so at us) while having her picture made, but at the same time the fiction allows us to share her point of view, to look at her but also to see what she sees and how she sees it. While this piece of fiction can never undo the wrongs Delia experienced in her lifetime, nor does it claim to represent Delia’s actual voice, it can provide the reader with a view that counters our habituated understanding of enslaved men and women as passive victims.

“Fair women are transformed into Negresses”

The fictional vignettes are intended to permit the reader to imagine the points of view of Delia, Jem, and the other people in the photographs, to look at them but also to see what they might have seen—yet is such a thing really possible? More than once in the course of researching and writing about the daguerreotypes I was asked whether as a light-skinned woman I am qualified to imagine the points of view of enslaved Africans and African Americans. Are my fictions not a kind of ventriloquism or appropriation, one deeply inappropriate given the course of American history? Can we who live in a very different era really share the points of view of enslaved African Americans, or have I simply invented an affinity with the people in the photographs, one perhaps not unlike the common ground of “universal humanness,” in order to avoid my own uncomfortable identification with the naturalist and his oppressive science?

The medium of photography surely encourages feelings of closeness with the person depicted. As I’ve already mentioned, the physical properties of a daguerreotype bring the viewer and subject of the image into a shared photographic space, a juxtaposition that encourages identification. When too much light strikes the image, a daguerreotype will also become a negative image such that light tones become dark and dark tones light. “Figures have a strange effect,” noted the scientist Sir John Herschel upon seeing negative photographic images. “[F]air women are transformed into negresses[,] &c.”(16)

Another form of photographic transformation may be found in the case of Mary Mildred Botts, a seven-year-old “white slave” who was “so white as to defy the acutest judge to detect in her features, complexion, and general appearance, the slightest trace of Negro blood.”(17) Mary Mildred’s photograph, used by abolitionists to challenge the social and scientific classification of racial categories, relied on the identification white people would have had with her with upon seeing the girl’s image. But this identification also brought home the slipperiness of race and so the instability of social norms, thus unsettling the status of the viewer. Closeness with the subject of the photograph can raise some knotty problems: far from confirming an individual’s identity, photographs create confusion through juxtaposition, opposition, and transposition. Affinity between the viewer of a photograph and its subject, even across social and racial boundaries, and the uncertainty of this affinity are part and parcel of the photographic experience.

So back to the question at hand: What qualifies me, a “white” person, to presume an affinity with Delia, an enslaved African American, one sufficient to imagine and write moments from her life?

The question is not new. The difficulties of writing biographically about anyone, but particularly about someone of a different race, gender, social or economic status—or indeed from another era—have long been contemplated and tackled by biographers and historians, with more than satisfactory results.(18) The key is to situate one’s own subjectivity against that of the biographical subject with care and full awareness of the issues at stake. Race is an important factor in my encounter with Delia, if not the most important factor, for I would neither be looking upon her likeness in the daguerreotypes nor writing about her involvement in their making (and seeking ways to redress the injustice done to her) if she had not been black at a time of widespread and institutionalized discrimination. Race, in this respect, is everything, and consequently my own (different) race has to be acknowledged.

Race, however, was not an important factor in writing the vignettes. Delia was more than simply “black”; her identity and the kinds of experiences she may have had and with which a person might (or might not) be able to identify go well beyond the color of her skin. When writing about Delia and imaging a personality for her, I did not think of her as African American or enslaved, but as a young woman who worked hard at her job and did not always understand the world around her. Similarly, Jack was not just a slave driver but also a father and a man who found solace in religion, and Jem for me was a man deeply proud of his intelligence and guile. In other words, in devising my fictions, I explored different facets of each person, aspects of their (possible) personalities as suggested by known historical details. The photographs may be about race, intended as they were to prove a theory of racial diversity, but my fictions are not. They are about individual men and women endeavoring to cope with and understand the immediate circumstances of their lives.

The fact remains, however, that we do not—cannot possibly—know what Delia thought nor can we apprehend her actual personality. “So maybe you see me but you sho in hell don’t see what I see.”(19) So says one man to another in Ralph Ellison’s posthumously published novel Juneteenth, a forceful reminder that research and imagination can take us only so far and that my fictions cannot possibly speak of Delia’s actual experience. But given the broader history in which Delia and her photographs figure, I’ll take a few moments of what she may have thought over nothing at all from her perspective or—worse—the scientist’s and the slaveholder’s points of view exclusively. We have plenty of the latter in the form of scientific treatises and pro-slavery tracts, and not nearly enough of Delia.

Postscript: Imaginative Liberation Revisited

In a discussion of the photographs made by the Khmer Rouge at Tuol Sleng prison in Cambodia, Susan Sontag wrote: “These Cambodian women and men of all ages, including many children, photographed from a few feet away, usually in half figure, are . . . forever looking at death, forever about to be murdered, forever wronged.”(20) I find this passage deeply disturbing. Why condemn these people to such a terrible fate, the very same fate the Khmer Rouge envisioned for them when the images were made? Are these people only to be remembered as victims?  Perhaps this is what Alan Trachtenberg really meant by “imaginative liberation”—not to liberate people from their lives or undo the grave injustices they experienced, but to release them from the photograph, from the frame that holds them endlessly in the pose of the victim. Delia, Jack, and the many other people enslaved in Southern cities and on plantations were not slaves only; they were many other things besides, their personalities no less complex than our own. It may not be easy to see past the painful circumstances of the photograph, but surely there are perspectives other than victimhood from which we should endeavor to look.

(1) I thank Kat Foxhall for reading a draft of this essay and providing cogent and helpful comments. I am also grateful to Gregory Fried for inviting me to contribute to the Mirror of Race project.

(2) Molly Rogers, Delia’s Tears: Race, Science, and Photography in Nineteenth-Century America (New Haven and London: Yale University Press, 2010).

(3) I take it for granted that we must look, that not looking is simply not an option because without the images we would know nothing whatsoever of Delia. Her photographs convey infinitely more of her experience—however difficult this may be to grasp with any degree of certainty—than the traces of her life as recorded in the historical archive. This is precisely why photography was such a revolutionary invention.

(4) Alan Trachtenberg, Reading American Photographs: Images as History, Mathew Brady to Walker Evans (New York: Farrar, Straus and Giroux, 1989), 60.

(5) For a thoughtful, sensitive, and thorough discussion of the difficulties underlying the idea of a shared humanity as evidenced in the twentieth century, and with specific reference to photography, see Susie Linfield, The Cruel Radiance: Photography and Political Violence (Chicago: University of Chicago Press, 2010), 33–62.

(6) Susan Sontag, On Photography (1977; London: Penguin, 2002), 71. Sontag further remarks (p. 111) that this “humanity” apparently shared by people captured in photographs “is a quality things have in common when they are viewed as photographs.”

(7) Susan Sontag, Regarding the Pain of Others (New York: Farrar, Straus and Giroux, 2003), 7.

(8) Delia’s name on an 1852 slave inventory falls below that of a man identified as a blacksmith, with “ditto” marks appearing under his occupation and beside her name. Last Will and Testament of Benjamin Franklin Taylor, 1852, Richland County Probate Papers, South Carolina Department of Archives, Columbia, South Carolina. Elinor T. Reichlin, one of the discoverers of the daguerreotypes, first considered this document in 1976 but did not remark upon Delia’s apparent occupation. See the accession files held by the Peabody Museum of Archaeology and Ethnology, Harvard University.

(9) One possible exception to this is Lisa Gail Collins: although she does not write about Delia et al as individuals, she does end her article with “an aesthetic retort,” a discussion of four African American women artists who address issues raised by the daguerreotypes and related images in their work. This has the effect—much like that intended by my literary interventions into the history of the daguerreotypes, discussed below—of responding to the proponents of racial science in a voice one might ally with Delia and the others. Lisa Gail Collins, “Historic Retrievals: Confronting Visual Evidence and the Documentation of Truth,” Chicago Art Journal 8 (Spring 1998), 5–17.

(10) I believe that this is particularly the case for a narrative history, in which historical details must be joined together to form a seamless whole, one that is more or less subservient to character and action: it’s not much good knowing Delia worked as (or at least worked with) a blacksmith if I cannot also say what her work entailed and what it meant to her.

(11) According to church records, a slave with the name Jack who belonged to Benjamin Franklin Taylor (as did the Jack who was photographed) was a member of the First Baptist Church of Columbia. Gregory A. Wills, The First Baptist Church of Columbia, South Carolina, 1809 to 2002 (Bentwood, Tennessee: Baptist History and Heritage Society, 2003), 293.

(12) This had not once been considered in the literature on the daguerreotypes and had been addressed more generally in only a handful of articles until the recent publication of Bruce Dain, A Hideous Monster of the Mind: American Race Theory in the Early Republic (Cambridge: Harvard University Press, 2002).

(13) Zora Neale Hurston, Dust Tracks on a Road (1942; London: Virago, 1986), 48.

(14) Robert W. Gibbes to Samuel George Morton, June 17, 1850, Samuel George Morton Papers, Library Company of Philadelphia.

(15) Ralph Ellison, Invisible Man (1952; London: Penguin, 1999), 7.

(16) Herschel’s remark was about negatives made using Henry Fox Talbot’s paper-negative process, not daguerreotypy. Nevertheless, the phenomenon applies equally to the negative effect visible in daguerreotypes. Sir John Herschel quoted in Deborah Willis and Carla Williams, The Black Female Body: A Photographic History (Philadelphia: Temple University Press, 2002), 1.

(17) “A White Slave from Virginia,” Frederick Douglass’[s] Paper, March 9, 1855.

(18) The subject is discussed in Catherine N. Parke, Biography: Writing Lives (New York and London: Routledge, 2002). See particularly Chapters 3 and 4.

(19) Ralph Ellison, Juneteenth (New York: Random House, 2000), 236.

(20) Susan Sontag, Regarding the Pain of Others (New York: Farrar, Straus and Giroux, 2003), 61.


text:
Wednesday, February 14, 2007

Happy heart-shaped Hallmark holiday to all!

My winter blahs are frozen solid. -34 is absolute madness! My poor little face burns from the cold and makes me want to scream… and I would (scream that is) if I felt it would add any warmth. Instead I wear enough layers to keep my knees from bruising as they knock together from the shakes.

On the bright side (no pun intended), it is now light out when I get to work in the morning and when I leave! I get sunshine! This hasn’t happened in so long… oh how I’ve missed it.

I just wanted to take the opportunity to pimp out this website to all of you who desire equal representation (or at least closer to equal than we have now) in government:

Equal Voice

Chapters in several provinces and a youth chapter for those under 35. Fabulous.

No comments:


text:
Friday, December 5, 2008

I realized that I often have somewhat of a dichotomy (props to S.O. for teaching me this word. yeah he is a smarty pants) when it comes to social events.

We were chatting at our office pot luck lunch about our different needs when it comes to alone time, unwinding from work etc. I expressed that I most definitely need my alone time. It doesn’t matter who it is but if I haven’t had a sufficient amount of alone time I don’t want to be around you. That is just the plain simple truth of it.

This leads me to the dichotomy I experience when I am invited to a social event. Most likely my initial reaction is that I don't want to go, I want some alone time. This mostly occurs when it is going to be a bit out of my comfort zone (doing something I don't normally do, going with people I don't know very well, I am intimidated by the people that are going, etc.) This is when the dichotomy occurs because I realize that I am being anti social and that I really should go out. I also know that I usually end up having a good time and that it is totally worth my while. This however does not make the decision easy. I am literally fighting against my natural response to want to sit at home in my jammies and spend some quality time with my lap top to get myself to go out and socialize like a "normal" 21 year old.

So after going back and forth and agonizing over the decision for probably a couple hours I finally make a decision. Most times it ends up being the jammies and quality lap top time but occasionally I break out of the comfort zone and do something social. Usually I come back feeling so proud of myself and really having had a good time. You would think that this would help diminish the dichotomy from occurring in the future but it doesn't and I go through the whole process every time I get a social invite. Is this weird? Am I the only one out there who sometimes struggles to be the "social butterfly?"

hollylynn said...Best Blogger Tips[Reply to comment]Best Blogger Templates

i'm the exact same way.

KGA said...Best Blogger Tips[Reply to comment]Best Blogger Templates

I love my alone time. Sometimes it is just way too much work to be social!

Becky said...Best Blogger Tips[Reply to comment]Best Blogger Templates

i go insane if i don't get my alone time! it is crucial!

Brock and Rachel said...Best Blogger Tips[Reply to comment]Best Blogger Templates

lol love the new word,"Dichotomy." Is that the word of the day? If your vocab has increased just from dating Danny a few months, imagine the words you'll be using after you've been married a few months. I may need a dictionary just to read you're blogs. lol And you're not going to need to study the dictionary you remember that? You had a dictionary on your night stand and you read a word out of it everynight..(it only lasted a few days so you might not remember..or maybe it was a weird dream I had...I'm not sure which). Speaking of dreams...I had a weird dream last night that you decided to up and go on a Mission....I'll tell you about it was weird.


text:
Tuesday, November 14, 2006

It's early.
It's dark outside,
and a bit chilly.
So I am going to bake some cookies.
The soft, almost melted chocolate chip type, with real butter butter.
Soul Food.

Cookies have a way of making any situation a little bit better, IF they are genuinely created with that ONE ingredient that store purchased cookies cannot replicate. That's right, a bit of love (and of course butter butter) will make them authentic "good for your soul" food.


text:
Great Expectations in a Bleak House

Dear Miss Snark,

I'm interested in your comment that "The only thing an editor really cares about is how well it sold." It makes perfect sense -- after all, publishing is a business.

I've heard that selling 7,500 copies of a non-fiction book is considered "successful," although it seems pretty low to me. My first book has sold 2,500 copies in the first six months. What is the lowest sales level that would get an editor's attention? I have no idea what "typical" sales are for a first non-fiction book or at what sales level a publishing house would consider a book profitable enough to be interested in a second book.

Ah yes, this is the question that makes us all crazy.
It's impossible to answer of course, because books vary so widely, as do publishers expectations.

The key here is "expectations". If you exceed expectations, you're going to be ok. It's like coming in second in the New Hampshire primary...it's a big "win" if you were expected to trail the field, or you came closer than anyone thought you would to the guy who came in first.

And likewise, you can sell a million books and have furrowed brows at your next editor lunch cause they thought you'd sell five million.

I've had novelists sell 16,000 copies and be disappointed, I've had novelists sell 5,000 copies and be ecstatic.

Selling 7500 copies of a non fiction title if you only expected to sell 500 is a good thing.

Frequently I'll include how many times the novel had to be reprinted if I'm pitching the next book to a bigger house: "we sold through three print runs, in excess of 7500 copies, it was hard to keep the thing in stock" kind of thing.

occasional_anonymous said...
This comment has been removed by a blog administrator.
Tasha Alexander said...

What is the best way to gauge whether your book is meeting expectations? Is it possible to get a sense of this before seeing your first royalty statement?


text:
Monday, December 28, 2009

Saturday, December 26, 2009

Goodbye Monkeyhouse

Not much left

Well time is running out on Monkeyhouse Toys in Silverlake. Mayra, who runs Monkeyhouse, has been a huge supporter of Mr Toast for a long time. I am going to miss the wonderful, crazy store. She is closing up because her rent is going up but she is going to try to find a new location next year.

But she is still open this Sunday, Tuesday, Wednesday and Thursday. As you can see from the photo their are still a few pieces of my artwork available for purchase.

Thursday, December 24, 2009

Wednesday, December 23, 2009

Sunday, December 20, 2009

Friday, December 18, 2009

Thursday, December 17, 2009

Gallery 1988 is having a show which looks to the "classic" animated TV show Masters of the Universe for its inspiration. I did my take on He-Man but gave him the bacon treatment. The show opens Friday, January 8th from 7-10 PM and runs through January 28th. With over 100 artists, you can expect a wide array of artwork.

Monday, December 14, 2009

ETSY Store

Prof Isotope

I just added this and a few other watercolors to my Etsy Store. There is still time to order before Christmas.....

Wednesday, December 09, 2009

The Problem with Picture Books

The Problem with Picture Books

This was from the letters to the Editor in the New Yorker and written by Nina Planck. I can't agree anymore.

Friday, December 04, 2009

Monkeyhouse Show

Monkeyhouse ShowMonkeyhouse Show
Well the Mr Toast Mini Art Show at Monkeyhouse Toys is all set up. Almost 100 pieces. It is on the back wall at Monkeyhouse and runs now until December 31.

Monkeyhouse Toys

1618 1/2 Silverlake Blvd

Silverlake, CA

Thursday, December 03, 2009

Tuesday, December 01, 2009

This Weekend

This weekend is Unique LA. This is the final show I will be setting up at and I will have a full booth of toys, books, shirts, etc. Get your holiday Mr Toast shopping done early. Also check out the other 300 dealers!

Mini Art Show
And I am having my final art show of the year at Monkeyhouse Toys in Silverlake from December 4-31. This show is cash and carry, so you can take your purchases home with you immediately. We will also have a little opening on December 12th.

So if you have time try to make it down to one of these fun shows.


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Movie recommendation
2:36 AM | Author: Misty
If you have not see The Pianist, see it. Incredibly sad, beautiful film based on the true story of a Jewish piano player during the Holocaust. Definitely ranks as one of my new favorites.
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Sunday-ness - Nov. 23
5:57 PM | Author: Misty
I've pretty much done NOTHING this weekend. It's been glorious.

Yesterday, I spent most of the day reading Harry Potter, with a nap thrown in for good measure. I did cook dinner for Bobby and me last night, which was somewhat productive. I cooked pork chops, garlic cheese toast on English muffins, green beans and couscous with veggies. It was majorly yummy.

Got up this morning and went to church. Realized that I'm an ass and that I take out my insecurities on other people sometimes. Apologized. Apologized some more.

After church was 4th Sunday Feast, which is basically a covered-dish lunch. I ate some beef stew, and it made my mouth happy. I also ate waaaaaaay too many of the coconut snowflake things that Katie made, but they were really good, and she assured me that they aren't all that bad for you.

This afternoon I did a little more reading, clipped coupons -- a Sunday tradition for me -- from the Tuscaloosa News and took a nice, long nap. I like naps. Once I woke up, I headed to the grocery store to get supplies to make the aforementioned pumpkin bread. I'm trying to convince myself to bake some tonight, but I'd really rather just read Harry Potter some more. I've just started book 6. I did manage to put some laundry on before I succumb to the urge to either bake or read, so my weekend won't be 100-percent wasted, but it'll be darn close.

Now I'm sitting here with Nom Nom chilling on my lap, my feet propped up and Harry Potter waiting for me. I'm looking forward to a short week this week thanks to Thanksgiving. I'm feeding my co-worker's cats tomorrow and Tuesday while she's out of town and then headed out myself either Tuesday night or Wednesday.

Gonna go visit the fam for Thanksgiving and also spend some time with Bobby's mom and dad. I'm already seeing how having two sets of parents makes things a lot more complicated. Thanksgiving shouldn't be so bad, but Christmas will be harder, I think.

Alright, HP won't wait any longer. If I don't post again before, happy Thanksgiving!
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Friday, May 24, 2013

Sexy Rider

This tutorial was written for those who have a working knowledge of psp.
I use paint shop 9, but any version should work.
All of my tutorials are of my own creations any similarity with any other tutorial is purely coincidental.Please do not copy my tutorials please link back to my blog!

I am always interested in seeing what you create using my tuts. You can send your results to me at

Tube and close up of choice.
I am using artwork by Roman Zaric
A PTU Artist. You must purchase and obtain a license to use
 You can get this tube here.

Scrapkit of Choice:
Scrapkit PTU Rider by Desirena Designs
This kit only comes with his matching tube, you can find this kit here

Font of choice.
Mask of Choice:
I used WSL_289 which you can get here

Filters needed:
eye candy4-gradient glow-used for name

Don't forget to save often!

Open a new image 700x700
C/P Paper5 apply mask, merge group. Center resize85%

C/P Element16, resize85%, center using your magic wand click inside of the frame. Selecions-modify-expand by 5. Layers, new raster layer, flood fill with a brown from your tube, arrange under your frame layer. C/P tube, selections, invert, hit delete. Select none. Change the blend mode to screen and lower the opacity to about 70%. Arrange tube under the frame layer in the layers palette.

C/P tube place at the bottom

C/P elements of choice or use mine below. See my tag for exact placement.

element17, mirror, resize55% place at the top on the left side, arrange under your tube layer
element7 resize55% place on the left side at the bottom, arrange under your tube layer
element23 resize55% place on the left side at the bottom
element14 resize35% place on the left side at the bottom

element5 resize35% place on the left side at the bottom, sharpen
  element4 resize35% place on the left side at the bottom

element1 resize65%, mirror place on the right side
at the bottom

element21 resize85% center, send to bottom

element22 send to bottom, move down some, duplicate, flip and move up some

Merge visible
Add name or saying of choice
Add proper copyright info and save as .png
Thanks for trying my tutorial. I hope you enjoyed it.
This tutorial was written on May 24, 2013

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Thursday, January 16, 2014

Sarah's Dreams

This tutorial was written for those who have a working knowledge of psp.

I use paint shop 9, but any version should work.

All of my tutorials are of my own creations any similarity with any other tutorial is purely coincidental.Please do not copy my tutorials please link back to my blog!

I am always interested in seeing what you create using my tuts. You can send your results to me at

Tube of choice.
I am using artwork by Spazz
A PTU Artist. You must purchase and obtain a license to use.
 You can get this tube here.

Scrapkit of Choice:
Scrapkit PTU Dreaming Out My Window by Kandii Popz.
  You can find this kit here

Font of choice.

Mask of Choice:
I used WSL_345 which you can get here

Filters needed:
eye candy4-gradient glow-used for name

Don't forget to save often!

Open a new image 700x700
c/p paper10 apply mask,merge group

  window resize85% move to the top, using your freehand selection tool, point to point, draw a square around the window on the frame, layers, new raster layer, selections, invert, c/p paper5, hit delete, select none.

bridge resize110% place towards the bottom

  berries resize765% place on the left side, arrange under the bridge layer in the layers palette, duplicate, mirror, c/p berries again, mirror them place with the first set of berries on the left side, duplicate and mirror

  leafage, rotate right 90 degress, resize70% place on the top rail of the bridge, duplicate and place on the bottom of the bridge, be sure they are above the bridge layer in the layers palette

butterfly resize30% place on the left side under the window, c/p again, mirror, resize25% place under the first butterfly

  dove resize45% place on the bridge post on the right side

lily1 resize45% place at the bottom on the left side, duplicate, mirror
lily2 resize40%, mirror, place on the left side with lily1, duplicate, mirror

c/p your tube place in the center

crystal, mirror, resize35% place at the bottom on the left side, to the left of your tube

pup resize45% place on the left side of the crystal

basket resize55% place to the right of your tube

Merge visible

Add name or saying of choice

Add proper copyright info and save as .png

Thanks for trying my tutorial. I hope you enjoyed it.

This tutorial was written on January 16, 2014
post signature

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Meat, meat and more meat - Famous Daves Legendary Pit-Bar-B-Que, Al Wahda Mall, Abu Dhabi

About a year ago tried Famous Daves Legendary Pit-Bar-B-Que in Abu Dhabi Mall. It has made quite an impression on meat eaters which lead to the opening of a second Famous Dave's in Abu Dhabi, this time at Al Wahda Mall. Needless to say, I was happy to go and see how this outlet is doing. With my Abu Dhabi 2017 Steakhouse round up taking shape, I was excited to include this outlet.

As I did on my last visit to Famous Dave's, I like the clever way they introduce the sauces - they make a smiley face. It is a symbolic act that shows how engaged staff are with guests. it is a big part of the restaurant - alert staff who actively move around to all guests making sure their needs are met. the kettle fried chips by way of a bite until the starters are served are so addictive. By the time my starter is served, I have finished my bucket of chips.

I start off with Dave's Famous Chili - this is as good a bowl of chili as I have had anywhere. My guest orders the Caesar Salad, but without optional ingredients like grilled shrimp, crispy chicken or smoked salmon. The Ceasar salad served in a metal plate that connects to the barn-like feel of the restaurant,  works well on its own. The lettuce has that fresh 'bite me' texture. It is quite a large salad and overall great value!

The menu at Famous Daves is impressive, with combo offers side by side with individual dishes. Very good value for money is the mantra with the combos and this is brought home emphatically when I notice the number of people ordering combo meals. This is one of the reasons this restaurant is so popular with families.

My guest orders the 12 Oz rib eye, which translates to about 340g of red meat. That is a lot. On the other hand, I try the Beef back ribs special because they are hand rubbed with Dave's special spices and then pit-smoked for 3-4 hours. The restaurant has smartly made the kitchen visible to people in the mall by having windows there - it was through these windows that I was able to see how the ribs are rubbed. It is quite a brilliant way to attract passers-by. The crispy texture and the caramelised flavour make the ribs a must have.

Finally, for dessert, it is a no-brainer. I saw someone's Pecan pie earlier and knew that is what I wanted. When I get mine, I am not disappointed. Fresh cream and vanilla ice cream on the sideserve to balance the sweetness of the pecan pie.

At the end of the evening, I could easily understand why this restaurant has just opened its second outlet. As a casual dining restaurant, it offers a nice variety of fishes, with an impressive array of dishes for carnivores. Very good starters from salads to meaty starters, main courses that cover the land, be it beef, lamb or chicken and of course desserts. Group Head Chef Jean is a passionate hands-on chef who can talk to you at length about what he is trying to here in Abu Dhabi - get people to taste, understand and love Famous Dave's way of doing meat!

The Essentials

Famous Daves Legendary Pit-Bar-B-Que
Al Wahda and Abu Dhabi Mall,
Abu Dhabi.
Saturday – Wednesday : 11:00 am - 11:00 pm
Thursday & Friday : 11.00 am - 12.00 am

+971 2 6587863

Brandon Stoltenkamp

Disclaimer: I was invited to try Famous Daves courtesy of the restaurant.


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6. mai 2010

Alltid kjempehyggelig, og mange drivende dyktige damer som viste frem nydelige arbeider.
Fantastisk foredrag av Hanne Schneider, som nettopp har vært på Dear Jane-treff i junaiten. Og så jeg som ikke hadde med meg fotoapparat... men det hadde heldigvis Hanne! Ta en titt, Hannes blogg er en av mine absolutte favoritter.

As I now have English-reading followers, I will try to post in English too.
Yesterday I was attending the monthly meeting in our local quilt guild. As always, a very nice evening, many very competent quilters showing their lovely work. Hanne Schneider visited us, and showed photos from the Dear Jane-gathering in Indiana. And I did not bring my camera... luckily Hanne did. I encourage you to visit her blog, it is one of my all time favorites!!
And please, let me know if my English is way off, it has been a while since I had English in school...

2 kommentarer:

  1. Thanks for visiting my blog! I already read at Hanne's blog about the visit from Hanne Schneider. Beautiful pictures of such great Dear Jane quilts. I love that quilt.....!
    It's very nice you write your blog in Enlish as well. You're doing great!!
    See you next time!

  2. Your English is wonderful. Please do not stress about writing in English. Google translator Automatically Translat for us. =) Thank you for your kind comments on my blog.
    All my best & Happy Quilting


text:
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Project details for python weka wrapper

Screenshot python weka wrapper 0.1.8

by fracpete - June 26, 2014, 02:38:12 CET [ Project Homepage BibTeX Download ]

view (13 today), download ( 4 today ), 3 subscriptions

A thin Python wrapper that uses the javabridge Python library to communicate with a Java Virtual Machine executing Weka API calls. Offers all major APIs, like data generators, loaders, savers, filters, classifiers, clusterers, attribute selection, associations and experiments. Weka packages can be listed/installed/uninstalled as well. It does not provide any graphical frontend, but some basic plotting and graph visualizations are available through matplotlib and pygraphviz.

Changes to previous version:
  • fixed installer: now includes CHANGES.rst and DESCRIPTION.rst as well
BibTeX Entry: Download
URL: Project Homepage
Supported Operating Systems: Agnostic
Data Formats: Arff, Csv, Libsvm, Xrff
Tags: Machine Learning, Weka
Archive: download here

Other available revisons

Version Changelog Date
  • "types.double_matrix_to_ndarray" no longer assumes a square matrix (
  • "len(Instances)" now returns the number of rows in the dataset (module "weka.core.dataset")
  • added method "insert_attribute" to the "Instances" class
  • added class method "create_relational" to the "Attribute" class
  • upgraded Weka to 3.9.1
January 4, 2017, 10:21:33
  • plot_learning_curve method of module weka.plot.classifiers now accepts a list of test sets; * is index of test set in label template string
  • added missing_value() methods to weka.core.dataset module and Instance class
  • output variable y for convenience method create_instances_from_lists in module weka.core.dataset is now optional
  • added convenience method create_instances_from_matrices to weka.core.dataset module to easily create an Instances object from numpy matrices (x and y)
October 18, 2016, 22:55:00
  • works now with javabridge 1.0.14
May 9, 2016, 04:17:42
  • upgraded Weka to 3.9.0
May 4, 2016, 00:02:47
  • Loader.load_file method now checks whether the dataset file really exists, otherwise a previously loaded file gets loaded again without an error message (seems to be a Weka issue)
  • replaced org.pentaho.packageManagement with weka.core.packageManagement as the package management code is now part of Weka rather than a third-party library
  • jvm.start() no longer tries to load packages and therefore suppresses error message if $HOME/wekafiles/packages should not yet exist
April 2, 2016, 11:57:09
  • added support for weka.core.BatchPredictor to class Classifier in module weka.classifiers
  • upgraded Weka to revision 12410 (post 3.7.13) to avoid performance bottleneck when using setOptions method
  • fixed class SetupGenerator from module weka.core.classes
  • added load_any_file method to the weka.core.converters module
  • added save_any_file method to the weka.core.converters module
  • if GridSearch instantiation (module weka.classifiers) fails, it now outputs message whether package installed and JVM with package support started
January 29, 2016, 05:22:58
  • added convenience method create_instances_from_lists to weka.core.dataset module to easily create an Instances object from numeric lists (x and y)
  • added get_object_tags method to Tags class from module weka.core.classes, to allow obtaining weka.core.Tag array from the method of a JavaObject rather than a static field (MultiSearch)
  • updated MultiSearch wrapper in module weka.classifiers to work with the multi-search package version 2016.1.15 or later
January 29, 2016, 05:21:27
  • updated to Weka 3.7.13
  • documentation now covers the API as well
September 26, 2015, 06:11:42
  • The "packages" parameter of the "weka.core.jvm.start()" function can be used for specifying an alternative Weka home directory now as well
  • added "train_test_split" method to "weka.core.Instances" class to easily create train/test splits
  • "evaluate_train_test_split" method of "weka.classifiers.Evaluation" class now uses the "train_test_split" method
June 28, 2015, 23:09:13
  • added "get_tags" class method to "Tags" class for easier instantiation of Tag arrays
  • added "find" method to "Tags" class to locate "Tag" object that matches the string
  • fixed "getitem" and "setitem" methods of the "Tags" class
  • added "GridSearch" meta-classifier with convenience properties to module "weka.classifiers"
  • added "SetupGenerator" and various parameter classes to "weka.core.classes"
  • added "MultiSearch" meta-classifier with convenience properties to module "weka.classifiers"
  • added "quote"/"unquote" and "backquote"/"unbackquote" methods to "weka.core.classes" module
  • added "main" method to "weka.core.classes" for operations on options: join, split, code
  • added support for option handling to "weka.core.classes" module
April 23, 2015, 00:06:57
  • added method "ndarray_to_instances" to "weka.converters" module for converting Numpy 2-dimensional array into "Instances" object
  • added method "plot_learning_curve" to "weka.plot.classifiers" module for creating learning curves for multiple classifiers for a specific metric
  • added plotting of experiments with "plot_experiment" methid in "weka.plot.experiments" module
  • "Instance.create_instance" method now takes list of tuples (index, internal float value) when generating sparse instances
  • added "weka.core.database" module for loading data from a database
  • added "make_copy" class method to "Clusterer" class
  • added "make_copy" class method to "Associator" class
  • added "make_copy" class method to "Filter" class
  • added "make_copy" class method to "DataGenerator" class
  • most classes (like Classifier and Filter) now have a default classname value in the constructor
  • added "TextDirectoryLoader" class to "weka.core.converters"
  • moved all methods from "weka.core.utils" to "weka.core.classes"
  • fixed "Attribute.index_of" method for determining label index
  • fixed "Attribute.add_string_value" method (used incorrect JNI parameter)
  • "create_instance" and "create_sparse_instance" methods of class "Instance" now ensure that list values are float
  • added "to_help" method to "OptionHandler" class which outputs a help string generated from the base class's "globalInfo" and "listOptions" methods
  • fixed "test_model" method of "Evaluation" class when supplying a "PredictionOutput" object (previously generated "No dataset structure provided!" exception)
  • added "batch_finished" method to "Filter" class for incremental filtering
  • added "line_plot" method to "weka.plot.dataset" module for plotting dataset using internal format (one line plot per instance)
  • added "is_serializable" property to "JavaObject" class
  • added "has_class" convenience property to "Instance" class
  • added "repr" method to "JavaObject" classes (simply calls "toString()" method)
  • added "Stemmer" class in module "weka.core.stemmers"
  • added "Stopwords" class in module "weka.core.stopwords"
  • added "Tokenizer" class in module "weka.core.tokenizers"
  • added "StringToWordVector" filter class in module "weka.filters"
  • added simple workflow engine (see documentation on Flow)
April 15, 2015, 12:37:22
  • added convenience methods "no_class" (to unset class) and "has_class" (class set?) to "Instances" class
  • switched to using faster method objects for methods "classify_instance"/"distribution_for_instance" in "Classifier" class
  • switched to using faster method objects for methods "cluster_instance"/"distribution_for_instance" in "Clusterer" class
  • switched to using faster method objects for methods "class_index", "is_missing", "get/set_value", "get/set_string_value", "weight" in "Instance" class
  • switched to using faster method objects for methods "input", "output", "outputformat" in "Filter" class
  • switched to using faster method objects for methods "attribute", "attribute_by_name", "num_attributes", "num_instances", "class_index", "class_attribute", "set_instance", "get_instance", "add_instance" in "Instances" class
January 5, 2015, 03:43:56
  • added unit testing framework
  • added method "refresh_cache()" to "weka/core/" to allow user to refresh local cache
  • method "get_classname" in "weka.core.utils" now handles Python objects and class objects as well
  • added convenience method "get_jclass" to "weka.core.utils" to instantiate a Java class
  • added a "JavaArray" wrapper for "arrays, which allows getting/setting elements and iterating
  • added property "classname" to class "JavaObject" for easy access to classname of underlying object
  • added class method "parse_matlab" for parsing Matlab matrix strings to "CostMatrix" class
  • "predictions" method of "Evaluation" class now return "None" if predictions are discarded
  • "Associator.get_capabilities()" method is now a property: "Associator.capabilities"
  • added wrapper classes for Java enums: "weka.core.classes.Enum"
  • fixed retrieval of "sumSq" in "Stats" class (used by "AttributeStats")
  • fixed "cluster_instance" method in "Clusterer" class
  • fixed "filter" and "clusterer" properties in clusterer classes ("SingleClustererEnhancer", "FilteredClusterer")
  • added "crossvalidate_model" method to "ClusterEvaluation"
  • added "get_prc" method to "plot/" for calculating the area under the precision-recall curve
  • "Filter.filter" method now handles list of "Instances" objects as well, applying the filter sequentially to all the datasets (allows generation of compatible train/test sets)
January 5, 2015, 00:30:01

NB: This release is not backwards compatible!

  • requires "JavaBridge" 1.0.9 at least
  • moved from Java-like get/set ("getIndex()" and "setIndex(int)") to nicer Python properties
  • using Python properties (also only read-only ones) wherevere possible
  • added "weka.core.version" for accessing the Weka version currently in use
  • added "jwrapper" and "jclasswrapper" methods to "JavaObject" class (the mother of all objects in python-weka-wrapper) to allow generic access to an object's methods:
  • added convenience methods "class_is_last()" and "class_is_first()" to "weka.core.Instances" class
  • added convenience methods "delete_last_attribute()" and "delete_first_attribute()" to "weka.core.Instances" class
December 22, 2014, 09:21:53
  • fixed "" to download Weka 3.7.12 instead of 3.7.11 (this time correct URL)
December 17, 2014, 21:43:28
  • fixed to download Weka 3.7.12 instead of 3.7.11
December 17, 2014, 21:38:31
  • fixed "Instance.set_value" method:
  • added sub-section "From source" to section on installing the library
  • upgraded to Weka 3.7.12
December 17, 2014, 21:11:43
  • fixed to include the jars again when using eggs (via include_package_data etc)
  • added detailed instructions for installing the library
December 16, 2014, 01:58:17
  • added "get_class" method to "weka.core.utils" which returns the Python class object associated with the classname in dot-notation
  • "from_commandline" method in "weka.core.utils" now takes an optional "classname" argument, which is the classname (in dot-notation) of the wrapper class to return - instead of the generic "OptionHandler"
  • added "Kernel" and "KernelClassifier" convenience classes to better handle kernel based classifiers
November 1, 2014, 09:59:54
  • added "create_string" class method to the "Attribute" class for creating a string attribute
  • ROC/PRC curves can now consist of multiple plots (ie multiple class labels)
  • switched command-line option handling from "getopt" to "argparse"
  • fixed Instance.get_dataset(self) method
  • added iterators for: rows/attributes in dataset, values in dataset row
  • incremental loaders can be iterated now
October 17, 2014, 00:16:26
  • moved wekaexamples module to separate github project:
  • added "stratify", "train_cv" and "test_cv" methods to the Instances class
  • fixed "to_summary" method of the Evaluation class: failed when providing a custom title
September 25, 2014, 00:39:02
  • fixed adding custom classpath using jvm.start(class_path=[...])
August 29, 2014, 05:00:14
  • added static methods to Instances class: summary, merge_instances, append_instances
  • added methods to Instances class: delete_with_missing, equal_headers
August 29, 2014, 04:58:45
  • fixed installer: now includes CHANGES.rst and DESCRIPTION.rst as well
June 26, 2014, 02:38:12
  • fixed weka/plot/ imports to avoid error when testing for matplotlib availability
  • Instance.create_instance (weka/core/ now accepts Python list and Numpy array
June 26, 2014, 02:14:16
  • added troubleshooting section for Mac OSX to documentation
  • recompiled helper jars with 1.6 rather than 1.7
  • added link to Google Group
May 29, 2014, 06:02:41
  • added CostMatrix support in the classifier evaluation
  • fixed various retrievals of double arrays (accessed them incorrectly as float arrays), like distributionForInstance for a classifier
  • Instances object can now retrieve all (internal) values of an attribute/column as numpy array
  • added plotting of cluster assignments to weka.plot.clusterers
  • fixed weka.core.utils.from_commandline method
  • fixed weka.classifiers.PredictionOutput (get/set_header methods)
  • predictions can be turned into an Instances object now using weka.classifiers.predictions_to_instances
May 23, 2014, 06:40:42
  • dependencies for plotting are now optional (pygraphviz, PIL, matplotlib)
  • plots now support custom titles
May 19, 2014, 03:02:32
  • improved documentation
  • added PRC curve plot
  • aligned to PEP8 style guidelines
  • fixed variety of little bugs (not so commonly used methods)
  • fixed lib directory reference in make files for Java helper classes
May 17, 2014, 13:37:54
  • added matrix plot
  • added scatter plot for two attributes
  • fixes in constructors of classes
  • added MultiFilter convenience class
  • predictions (of classifiers) can now be collected and output using the PredictionOutput class
  • added support for attribute statistics
May 13, 2014, 07:11:07
  • constructors now take list of commandline options as well
  • added Weka package support (list/install/uninstall)
  • ROC plotting for classifiers
  • improved code documentation
  • added more examples
  • added more datasets
  • using javabridge 1.0.1 now
May 2, 2014, 03:35:38

Initial Announcement on

April 28, 2014, 23:18:48

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