lfischbe/diss · Datasets at Hugging Face

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These fragile chains persist through affective stances:
* Knowing (bias, belief, preference, embodiment)
* Listening (durational attunement to relation and environment at multiple scales)
* Being careful (building iteratively and according to agreed-on protocols)
* Being immediate (reinforcing learning, engagement, and position)
* Being interpretive (recognizing the limits of shared meaning and what cannot be translated)
* Being intersubjective (the collective work of producing and managing viewpoints)
[...]
Synthesizing is a kind of listening.
Computer scientists Chris Olah and Adam Jermyn, in arguing for more qualitative methods in the interpretation of AI models, name this the signal of structure: “any structure in one's qualitative observations which cannot be an artifact of measurement or have come from another source, but instead must reflect some kind of structure in the object of inquiry, even if we don't understand it.” What they are describing here is how recognition happens qualitatively. This is an approach that works on and alongside quantitative methods.
Practiced skills of listening and eliciting are critical for qualitative research. In a review of research methods for developing patient reported outcome measures, Brédart et al. outline the various listening modes to be applied when formulating PROMs through an interview process:
* Active listening: Listen with attention to the interviewee's speech; participate actively, prompt with an openness to go further.
* Attentive silences: Differentiate between heavy silence after an intrusive question, silence which allows one to take breath, silence to reflect upon the question, and silence in the rhythm of speech.
* Reflecting: Reformulate and reflect back what you hear; encourage further disclosure.
* Synthesizing: Check understanding of what you hear before moving to another topic; give the interviewee the opportunity to correct if there is misunderstanding; indicate that the interviewee's narrative has been heard.
* Recognizing resistance: In face of avoidance or unauthentic testimony, reflect on what happens, underline that there is no right or wrong answer, revisit and rearticulate the aims of the research.[127]
[...]
Métis anthropologist and scholar of Indigenous studies Zoe Todd, in conversation with their collaborator, sound artist Am Kanngieser, describes the role of consent in environmental research, as an ongoing, continuous obligation to renew one’s relationship to the place of study. This relationship is maintained through an awareness of context and specificity: “we all listen from a particular place and that needs to be explicitly stated and that needs to be explicitly interrogated.” This cycle of stating and questioning fits with an understanding of consent as an ongoing obligation that requires “constant conversation” and “respect for protocols” that determine where permission needs to be sought, and what kinds of relations need to be built over time.[128]
[...]
Can this continuous attention to building relations over time contribute to juridical applications of informed consent—particularly in regard to the importance of documenting consent?[129]
[...]
Sound artists and organizers Ultra-red define the term soundscape as an active transformation, an organization, of the field of sound.
The soundscape is produced as a mutable subject of collective inquiry, the place (topos) where articulations of need, demand, and desire contribute to the process of shared decision-making. This is an important idea for community-centered research, where the needs, demands, and desires of both researchers and community representatives must be made clear, and continuously updated as they shape one another.
Need, here, refers to the basic requirements or necessities that individuals or communities identify as essential. Demand is articulated when a need is expressed or called for, often in a more formal or organized manner. It represents a specific request or claim based on the identified needs.
Desire, on the other hand, encompasses a deeper, often unconscious motivation that drives individuals or communities beyond their immediate needs and demands. It includes the emotional and subjective aspects that influence how needs and demands are perceived and acted upon.
As described in Ultra-red’s methodology of Militant Sound Investigation, the soundscape becomes apparent, and is made accessible, by a disciplined and political act of deference, through listening.
The first step, this political act of deference, sets the terms of a shared purpose and collective effort: “acknowledging an affiliation renders the first cut inscribed in the undifferentiated field of need, demand, desire.” The investigation proceeds to compose the soundscape through a series of articulations, where “each cut is an opportunity for differentiating, acknowledging, and organizing the field of sound.”[130]
Listening, with the aid of technology (e.g. microphone, audio recorder, pen and paper), carries the “capacity to recall the investigators to silence” to “correct the tendency to fixate on demands that do not resonate with the curiosity, friendship, love” that hold the collective effort together.[131]
By actively listening within the soundscape, investigators come to understand how need, demand, and desire are interconnected, with demand being inclusive of both conscious articulations responding to needs and the indivisible remainder known as desire.
[...]
For Am Kanngieser and others with auditory processing disorder, the field of sound is rendered as an undifferentiated object, equally present in its multiple facets: “Every sound that I hear is at the same level of importance. I don’t have a filter of a voice, or a wave, or a bird, or the wind, it’s all at the same level of significance.”
Instead of addressing a generic reader, investigator, or witness, can neurodiverse approaches to method be assumed? Would this alter prior notions of discipline, deference, and mutability within the listening field?
[...]
Conclusion: The ends of care
Hush now, don't explain[132]
* Beyond instrumentality
* Beyond causality
* Beyond traditional boundaries (in medicine and otherwise)
* The question of accessibility
* And the question of trust
“The trust implicit in the virtuous practice of medicine demands that clinicians learn to reach beyond their own assumptions in order to hear and be affected by the details of the unfamiliar worlds of patients,” write Marina Tsaplina and Raymond Barfield, in their outline for the role of imagination in the practice of health humanities: “This demands acknowledging the vulnerability and variation of human bodies, including the clinician’s own, and training clinician imaginations to perceive the way structural foundations of health and biopolitical power shape embodied lives”.[133] Care, the authors go on to articulate, should be oriented by both goals and processes. In the face of unknown changes produced by the introduction of new technologies such as AI, it is critical to reaffirm humane principles:
The fact of care is living in an entangled way, an agential commitment to interconnectedness.
* Care forms relations, or maintains / reinforces existing relations
* Care sets boundaries, creating enclosures of protected space and time
* Care forms identities by naming ambiguities, becoming and inhabiting roles
* Care sets commitments (priorities)
* Care governs movement: speed, exchange, transfer
* Care is a protocol, it has an object: a way of acting-on, relating-to, being-with
Interdependence with technology and among people with different needs and situations gives rise to new forms of expertise and autonomy. What can and cannot be specified about these new forms?
“There are certain experiences that cannot be fully specified in a human society without destroying the basic individual structural plasticity needed for the establishment of consensual domains and the generation of language and, hence, for human creativity in general. Love is one of these experiences, and as long as [humanity] has a language can become observers through the experience of love”.[134]
Then it’s love. Love as a process of becoming unbodied (Belcourt); love that always means nonsovereignty (Berlant); love that discriminates, separating like from other (Chun);[135] the loving perception that comes from traveling between worlds (Lugones).
[...]
There is almost not an interval
on view august 17—september 8 2024
Human Resources LA (410 Cottage Home St. LA CA 90012)

Theresa Hak Kyung Cha “Mouth to Mouth” (1975) black and white video, sound
“People will never believe you are "without events." And that is why decay is slow, and why it is not devastation.”
Intervals are what a threshold makes, a here and there, (held) in suspension, a distinction (telling the difference), undifferentiated (holding difference), without separation, a crossing, where limits meet, anticipation (a margin to move in), body horror (I’m an alien), reperforming events, switching (logic), binary, alternating, lenticular, talking back, the transformation of silence into language and action, some temporalities (for sure), stop motion, flicker, duration, bracketing, the suspension of judgment, the withholding of assent, the preconditions, the prior logic, intersection, coincidence, suture, stitch, montage, cut, rupture, glitch, break, gap, clearing, hesitation, some kinds of waiting, losing control, building community, falling in love, between thought and speech, between speech and act, between action and listening, between memory and futurity, between what’s in my head and what’s in yours, side by side, boundary objects, parallel selves, the fantasy of continuity, a movement between the pieces, fragments of actual energy, time away, life, a long take, notes in a chord, frames in a film, unnatural bridges. “Allegory, here, is material,” Ian White wrote: “An interval, occupied.”
“Intervals,” Trinh T. Minh-Ha observed, don’t “bring about any tremor like ‘passion,’ ‘death,’ or ‘love.’” It’s thanks to intervals, however, that “a direct relation is possible: a relation of infinity assumed in works that accept the risks of spacing and take in the field of free resonances—or, of indefinite substitutions within the closure of a finite work” (Trinh T. Minh-Ha “Beware of Wolf Intervals”).
A barely-perceptible interval is space enough for holding movement between pieces that have been cut apart or never really touched, whose relation is latent or obscured. We will approach "intervals" as tainted binaries or boundaries: before and after, bodies and spaces, events and images, internal and external, spoken and thought, original and translation. Forms to explore include traveling in time, interpolating (imagined continuities), waiting (pausing, anticipating), transducing (moving across one medium into another), flickering, hovering over, pivoting on, or crossing of thresholds, pushing sequences out of order, ambivalence, and self-contradiction. Intervals show a special kind of coherence across duration, distance, or difference. Intervals are the mechanics of memory and representation, the choreographies of reconstruction, where fiction and testimony are glued together to assemble critical, speculative, fabulous histories.
“There is almost not an interval. For a very long time everybody refuses and then almost without a pause almost everybody accepts. In the history of the refused [...] the rapidity of the change is always startling.”
The whiplash of recognition!
Work:
“Every illness is a musical problem” (Novalis)
“what it meant to be in narrative, to feel narrative gather in my body and feel it work to move out of my body” (gladman “untitled environments”)
“She opens the gap between signs and their referents to reveal modes of reading, seeing, and listening capable of attending to those losses.” (Lamm “mouth work” p. 175)
Mladen dolar - voice as excess of speech (?)
Larry rinder “the plurality of entrances”
Ludwig Wittgenstein's formulation, 'a picture held us captive. And we could not get outside of it, for it lay in our language, and language seemed to repeat it to us inexorably'. Ludwig Wittgenstein, Philosophical Investigations, trans. by G.E.M. Anscombe (New York: Macmillan, 1968), p. 48.
“A constellation of images and a set of visual experiences that create a frame of beholding that mirrors back an image of the self as an object that belongs to it.” (Lamm “mouth work” p.181)
“My thesis is that Blackness, dysfluency and music are forces that open time.” (Ellis “The Clearing” p.216)
“The contradiction of stuttering is that I'm both speaking and not speaking.” (Ellis 222)
“An indication that not everything has been captured” (philbrick) “friction inside the image” (Rawls)
Glossary
Abduction
The sustained and tentative work of making educated guesses. “Feedforward loopings” between observation and theory-making; thinking between the past, present and future. (See: Anticipation, Inference, Sampling)
Accessibility
Simply put, accessibility is an act of love., It can be thought of, together with disability, as a socially constructed fact (where access is impeded or assisted as a function of culture, convention, design, etc.), as compliance, a matter of juridical distinction (detailed in accessibility laws or guidelines, such as the Americans with Disabilities Act (ADA) or Occupational Safety and Health Administration standards (OSHA)), and as a political act of anticipating how best to accommodate diverse needs. (See: Accommodation, Compliance, Disability, Disability Justice, Impairment)
Accommodation
A specific change or modification made to an environment, policy, or procedure to ensure that individuals with impairment or disability can access the world. (See: Accessibility, Compliance, Disability, Disability Justice, Environment, Impairment)
Accuracy
How close a prediction is to a known measurement. (See: Ground Truth, Precision)
Affect
Flows of intensity between and among subjects and objects that precede, or result from, cognition, emotion, and expression.

Algorithmic Violence
“The violence that an algorithm or automated decision-making system inflicts by preventing people from meeting their basic needs,” where violence refers not to physical brute force, but rather to prohibitive mechanisms or actions that negatively shape people’s experiences and opportunities.
Anamnesis
ἀνάμνησις [a calling to mind, remembrance]. In medicine, a patient’s retelling, in their own words, of their medical history. Also referred to as recall retrospection. In the Platonic dialogue Meno (also Phaedo, and Phaedrus), a teacher asks questions to bring forth knowledge a student already has, as the practice of calling tacit, timeless knowledge to mind. In the Christian tradition, anamnesis figures centrally in the liturgy of eucharist: “τοῦτο ποιεῖτε εἰς τὴν ἐμὴν ἀνάμνησιν [do this in remembrance of me]” (Luke 22:19). (See: History (Hx), Life-Writing, Patient-Generated Health Data (PGHD), Poetics)
Analysis
Breaking something into pieces to learn about the patterns that form its identity. A method or set of methods that may be, in turn: reductive, revealing, relational, instrumental (as in, making and using instruments), embodied, troubling... “the entanglement of ideas and other materials” (Barad); a relay between totality and imagination (Glissant); “the intimacy of scrutiny” (Lorde).,, (See: Data, Imagination, Information, Instrument, Synthesis)
Anticipation
The “politics of temporality and affect,” concerned with the “margin of maneuverability” in which momentary possibilities are reconfigured. Preparing, optimizing, managing uncertainties. (See: Abduction, Analysis, Apparatus)
Apparatus
“A thing that lies in wait or in readiness for something,” per Vilém Flusser’s definition: a simulation of thought, a system or organizing principle that enables something to function. Theorized by Michel Foucault as dispositif, an apparatus holds the relationship between discursive (what is said) and non-discursive (what is unsaid) practices. Karen Barad’s philosophical framework of agential realism extends the concept of apparatus to stress the interconnectedness of observers, instruments, and objects or phenomena being studied, emphasizing the entanglement of human and non-human agencies in the construction of knowledge. (See: Discourse, Instrument, Model, Outcome, Simulation)
Apperception
Cognition and perception together—awareness of sensation, where data becomes information through active and subjective interpretation. (See: Data, Information, Interpretability, Listening, Patient-Reported Outcome (PRO), Self-report)
Application programming interface (API)
A set of rules for how different computer programs should communicate with one another. The rules of an API describe a structure for making requests and responses, determining a program’s capacity for interoperability with other programs (See: Software as a medical device (SaMD))

These fragile chains persist through affective stances:

* Knowing (bias, belief, preference, embodiment)

* Listening (durational attunement to relation and environment at multiple scales)

* Being careful (building iteratively and according to agreed-on protocols)

* Being immediate (reinforcing learning, engagement, and position)

* Being interpretive (recognizing the limits of shared meaning and what cannot be translated)

* Being intersubjective (the collective work of producing and managing viewpoints)

[...]

Synthesizing is a kind of listening.

Computer scientists Chris Olah and Adam Jermyn, in arguing for more qualitative methods in the interpretation of AI models, name this the signal of structure: “any structure in one's qualitative observations which cannot be an artifact of measurement or have come from another source, but instead must reflect some kind of structure in the object of inquiry, even if we don't understand it.” What they are describing here is how recognition happens qualitatively. This is an approach that works on and alongside quantitative methods.

Practiced skills of listening and eliciting are critical for qualitative research. In a review of research methods for developing patient reported outcome measures, Brédart et al. outline the various listening modes to be applied when formulating PROMs through an interview process:

* Active listening: Listen with attention to the interviewee's speech; participate actively, prompt with an openness to go further.

* Attentive silences: Differentiate between heavy silence after an intrusive question, silence which allows one to take breath, silence to reflect upon the question, and silence in the rhythm of speech.

* Reflecting: Reformulate and reflect back what you hear; encourage further disclosure.

* Synthesizing: Check understanding of what you hear before moving to another topic; give the interviewee the opportunity to correct if there is misunderstanding; indicate that the interviewee's narrative has been heard.

* Recognizing resistance: In face of avoidance or unauthentic testimony, reflect on what happens, underline that there is no right or wrong answer, revisit and rearticulate the aims of the research.[127]

[...]

Métis anthropologist and scholar of Indigenous studies Zoe Todd, in conversation with their collaborator, sound artist Am Kanngieser, describes the role of consent in environmental research, as an ongoing, continuous obligation to renew one’s relationship to the place of study. This relationship is maintained through an awareness of context and specificity: “we all listen from a particular place and that needs to be explicitly stated and that needs to be explicitly interrogated.” This cycle of stating and questioning fits with an understanding of consent as an ongoing obligation that requires “constant conversation” and “respect for protocols” that determine where permission needs to be sought, and what kinds of relations need to be built over time.[128]

[...]

Can this continuous attention to building relations over time contribute to juridical applications of informed consent—particularly in regard to the importance of documenting consent?[129]

[...]

Sound artists and organizers Ultra-red define the term soundscape as an active transformation, an organization, of the field of sound.

The soundscape is produced as a mutable subject of collective inquiry, the place (topos) where articulations of need, demand, and desire contribute to the process of shared decision-making. This is an important idea for community-centered research, where the needs, demands, and desires of both researchers and community representatives must be made clear, and continuously updated as they shape one another.

Need, here, refers to the basic requirements or necessities that individuals or communities identify as essential. Demand is articulated when a need is expressed or called for, often in a more formal or organized manner. It represents a specific request or claim based on the identified needs.

Desire, on the other hand, encompasses a deeper, often unconscious motivation that drives individuals or communities beyond their immediate needs and demands. It includes the emotional and subjective aspects that influence how needs and demands are perceived and acted upon.

As described in Ultra-red’s methodology of Militant Sound Investigation, the soundscape becomes apparent, and is made accessible, by a disciplined and political act of deference, through listening.

The first step, this political act of deference, sets the terms of a shared purpose and collective effort: “acknowledging an affiliation renders the first cut inscribed in the undifferentiated field of need, demand, desire.” The investigation proceeds to compose the soundscape through a series of articulations, where “each cut is an opportunity for differentiating, acknowledging, and organizing the field of sound.”[130]

Listening, with the aid of technology (e.g. microphone, audio recorder, pen and paper), carries the “capacity to recall the investigators to silence” to “correct the tendency to fixate on demands that do not resonate with the curiosity, friendship, love” that hold the collective effort together.[131]

By actively listening within the soundscape, investigators come to understand how need, demand, and desire are interconnected, with demand being inclusive of both conscious articulations responding to needs and the indivisible remainder known as desire.

[...]

For Am Kanngieser and others with auditory processing disorder, the field of sound is rendered as an undifferentiated object, equally present in its multiple facets: “Every sound that I hear is at the same level of importance. I don’t have a filter of a voice, or a wave, or a bird, or the wind, it’s all at the same level of significance.”

Instead of addressing a generic reader, investigator, or witness, can neurodiverse approaches to method be assumed? Would this alter prior notions of discipline, deference, and mutability within the listening field?

[...]

Conclusion: The ends of care

Hush now, don't explain[132]

* Beyond instrumentality

* Beyond causality

* Beyond traditional boundaries (in medicine and otherwise)

* The question of accessibility

* And the question of trust

“The trust implicit in the virtuous practice of medicine demands that clinicians learn to reach beyond their own assumptions in order to hear and be affected by the details of the unfamiliar worlds of patients,” write Marina Tsaplina and Raymond Barfield, in their outline for the role of imagination in the practice of health humanities: “This demands acknowledging the vulnerability and variation of human bodies, including the clinician’s own, and training clinician imaginations to perceive the way structural foundations of health and biopolitical power shape embodied lives”.[133] Care, the authors go on to articulate, should be oriented by both goals and processes. In the face of unknown changes produced by the introduction of new technologies such as AI, it is critical to reaffirm humane principles:

The fact of care is living in an entangled way, an agential commitment to interconnectedness.

* Care forms relations, or maintains / reinforces existing relations

* Care sets boundaries, creating enclosures of protected space and time

* Care forms identities by naming ambiguities, becoming and inhabiting roles

* Care sets commitments (priorities)

* Care governs movement: speed, exchange, transfer

* Care is a protocol, it has an object: a way of acting-on, relating-to, being-with

Interdependence with technology and among people with different needs and situations gives rise to new forms of expertise and autonomy. What can and cannot be specified about these new forms?

“There are certain experiences that cannot be fully specified in a human society without destroying the basic individual structural plasticity needed for the establishment of consensual domains and the generation of language and, hence, for human creativity in general. Love is one of these experiences, and as long as [humanity] has a language can become observers through the experience of love”.[134]

Then it’s love. Love as a process of becoming unbodied (Belcourt); love that always means nonsovereignty (Berlant); love that discriminates, separating like from other (Chun);[135] the loving perception that comes from traveling between worlds (Lugones).

[...]

There is almost not an interval

on view august 17—september 8 2024

Human Resources LA (410 Cottage Home St. LA CA 90012)

Theresa Hak Kyung Cha “Mouth to Mouth” (1975) black and white video, sound

“People will never believe you are "without events." And that is why decay is slow, and why it is not devastation.”

Intervals are what a threshold makes, a here and there, (held) in suspension, a distinction (telling the difference), undifferentiated (holding difference), without separation, a crossing, where limits meet, anticipation (a margin to move in), body horror (I’m an alien), reperforming events, switching (logic), binary, alternating, lenticular, talking back, the transformation of silence into language and action, some temporalities (for sure), stop motion, flicker, duration, bracketing, the suspension of judgment, the withholding of assent, the preconditions, the prior logic, intersection, coincidence, suture, stitch, montage, cut, rupture, glitch, break, gap, clearing, hesitation, some kinds of waiting, losing control, building community, falling in love, between thought and speech, between speech and act, between action and listening, between memory and futurity, between what’s in my head and what’s in yours, side by side, boundary objects, parallel selves, the fantasy of continuity, a movement between the pieces, fragments of actual energy, time away, life, a long take, notes in a chord, frames in a film, unnatural bridges. “Allegory, here, is material,” Ian White wrote: “An interval, occupied.”

“Intervals,” Trinh T. Minh-Ha observed, don’t “bring about any tremor like ‘passion,’ ‘death,’ or ‘love.’” It’s thanks to intervals, however, that “a direct relation is possible: a relation of infinity assumed in works that accept the risks of spacing and take in the field of free resonances—or, of indefinite substitutions within the closure of a finite work” (Trinh T. Minh-Ha “Beware of Wolf Intervals”).

A barely-perceptible interval is space enough for holding movement between pieces that have been cut apart or never really touched, whose relation is latent or obscured. We will approach "intervals" as tainted binaries or boundaries: before and after, bodies and spaces, events and images, internal and external, spoken and thought, original and translation. Forms to explore include traveling in time, interpolating (imagined continuities), waiting (pausing, anticipating), transducing (moving across one medium into another), flickering, hovering over, pivoting on, or crossing of thresholds, pushing sequences out of order, ambivalence, and self-contradiction. Intervals show a special kind of coherence across duration, distance, or difference. Intervals are the mechanics of memory and representation, the choreographies of reconstruction, where fiction and testimony are glued together to assemble critical, speculative, fabulous histories.

“There is almost not an interval. For a very long time everybody refuses and then almost without a pause almost everybody accepts. In the history of the refused [...] the rapidity of the change is always startling.”

The whiplash of recognition!

Work:

“Every illness is a musical problem” (Novalis)

“what it meant to be in narrative, to feel narrative gather in my body and feel it work to move out of my body” (gladman “untitled environments”)

“She opens the gap between signs and their referents to reveal modes of reading, seeing, and listening capable of attending to those losses.” (Lamm “mouth work” p. 175)

Mladen dolar - voice as excess of speech (?)

Larry rinder “the plurality of entrances”

Ludwig Wittgenstein's formulation, 'a picture held us captive. And we could not get outside of it, for it lay in our language, and language seemed to repeat it to us inexorably'. Ludwig Wittgenstein, Philosophical Investigations, trans. by G.E.M. Anscombe (New York: Macmillan, 1968), p. 48.

“A constellation of images and a set of visual experiences that create a frame of beholding that mirrors back an image of the self as an object that belongs to it.” (Lamm “mouth work” p.181)

“My thesis is that Blackness, dysfluency and music are forces that open time.” (Ellis “The Clearing” p.216)

“The contradiction of stuttering is that I'm both speaking and not speaking.” (Ellis 222)

“An indication that not everything has been captured” (philbrick) “friction inside the image” (Rawls)

Glossary

Abduction

The sustained and tentative work of making educated guesses. “Feedforward loopings” between observation and theory-making; thinking between the past, present and future. (See: Anticipation, Inference, Sampling)

Accessibility

Simply put, accessibility is an act of love., It can be thought of, together with disability, as a socially constructed fact (where access is impeded or assisted as a function of culture, convention, design, etc.), as compliance, a matter of juridical distinction (detailed in accessibility laws or guidelines, such as the Americans with Disabilities Act (ADA) or Occupational Safety and Health Administration standards (OSHA)), and as a political act of anticipating how best to accommodate diverse needs. (See: Accommodation, Compliance, Disability, Disability Justice, Impairment)

Accommodation

A specific change or modification made to an environment, policy, or procedure to ensure that individuals with impairment or disability can access the world. (See: Accessibility, Compliance, Disability, Disability Justice, Environment, Impairment)

Accuracy

How close a prediction is to a known measurement. (See: Ground Truth, Precision)

Affect

Flows of intensity between and among subjects and objects that precede, or result from, cognition, emotion, and expression.

Algorithmic Violence

“The violence that an algorithm or automated decision-making system inflicts by preventing people from meeting their basic needs,” where violence refers not to physical brute force, but rather to prohibitive mechanisms or actions that negatively shape people’s experiences and opportunities.

Anamnesis

ἀνάμνησις [a calling to mind, remembrance]. In medicine, a patient’s retelling, in their own words, of their medical history. Also referred to as recall retrospection. In the Platonic dialogue Meno (also Phaedo, and Phaedrus), a teacher asks questions to bring forth knowledge a student already has, as the practice of calling tacit, timeless knowledge to mind. In the Christian tradition, anamnesis figures centrally in the liturgy of eucharist: “τοῦτο ποιεῖτε εἰς τὴν ἐμὴν ἀνάμνησιν [do this in remembrance of me]” (Luke 22:19). (See: History (Hx), Life-Writing, Patient-Generated Health Data (PGHD), Poetics)

Analysis

Breaking something into pieces to learn about the patterns that form its identity. A method or set of methods that may be, in turn: reductive, revealing, relational, instrumental (as in, making and using instruments), embodied, troubling... “the entanglement of ideas and other materials” (Barad); a relay between totality and imagination (Glissant); “the intimacy of scrutiny” (Lorde).,, (See: Data, Imagination, Information, Instrument, Synthesis)

Anticipation

The “politics of temporality and affect,” concerned with the “margin of maneuverability” in which momentary possibilities are reconfigured. Preparing, optimizing, managing uncertainties. (See: Abduction, Analysis, Apparatus)

Apparatus

“A thing that lies in wait or in readiness for something,” per Vilém Flusser’s definition: a simulation of thought, a system or organizing principle that enables something to function. Theorized by Michel Foucault as dispositif, an apparatus holds the relationship between discursive (what is said) and non-discursive (what is unsaid) practices. Karen Barad’s philosophical framework of agential realism extends the concept of apparatus to stress the interconnectedness of observers, instruments, and objects or phenomena being studied, emphasizing the entanglement of human and non-human agencies in the construction of knowledge. (See: Discourse, Instrument, Model, Outcome, Simulation)

Apperception

Cognition and perception together—awareness of sensation, where data becomes information through active and subjective interpretation. (See: Data, Information, Interpretability, Listening, Patient-Reported Outcome (PRO), Self-report)

Application programming interface (API)

A set of rules for how different computer programs should communicate with one another. The rules of an API describe a structure for making requests and responses, determining a program’s capacity for interoperability with other programs (See: Software as a medical device (SaMD))