updates file extensions, compresses assets, updates paths

archives/nines.md

@@ -4,13 +4,13 @@ Once a text is encoded in TEI, the work of a textual scholar has only begun. Enc
 
 When you find a work encoded in TEI online, it might not be clearly apparent at first glance. You can find the TEI materials of _The Old Bailey Online_ by clicking "View as XML" at the bottom of a particular entry \(TEI is a version of XML, which is a more general [markup language](https://en.wikipedia.org/wiki/Markup_language)\). If you do so for [this entry](http://www.oldbaileyonline.org/browse.jsp?id=t18881119-50&div=t18881119-50&terms=ripper#highlight) on a robbery case involving mention of Jack the Ripper, you can take a look at their TEI. It might not recognize a lot of the tags \(there are _loads_ of TEI tags\), but the general arrangement of them should look familiar:
 
-![Jack the Ripper TEI](/assets/archives/old-bailey-tei.png)
+![Jack the Ripper TEI](/assets/archives/old-bailey-tei.jpg)
 
 Focus on what you do know: the tagging syntax, and where to go to look for help. A lot of working with technology consists of not panicking and then looking up what you don't know. But I digress.
 
 When you look at the entry on the _Old Bailey Online_, almost all the tags disappear:
 
-![Same entry without TEI](/assets/archives/old-bailey-sans-tei.png)
+![Same entry without TEI](/assets/archives/old-bailey-sans-tei.jpg)
 
 We have already talked a bit about the functions you can get from TEI, but, after all, those might not be enough to warrant the amount of work that goes into putting together a TEI-encoded text.
 
@@ -26,13 +26,13 @@ If you have ever tried to access a resource from an online newspaper only to be
 
 Once materials are put online, it is possible to connect them to a wider, global network of similar digital materials. In the same way that a library gathers information about the materials so that they may be organized in a systematic way \(more on **metadata** in our chapter on "Problems with Data"\), the process has to be overseen carefully in order for this networking to happen. Technical standards also shift \(TEI tags can change over time\), so archival materials require constant maintenance. If you have ever used a digital archive, you have taken advantage of a vast and often invisible amount of labor happening behind the scenes. The hidden work of gallery, library, archive, and museum \(or **GLAM**\) professionals ensures that our cultural heritage will remain accessible and sustainable for centuries to come.
 
-![nines splash page](/assets/archives/nines-splash.png)
+![nines splash page](/assets/archives/nines-splash.jpg)
 
 The **Networked Infrastructure for Nineteenth-Century Electronic Scholarship ([NINES](https://www.nines.org))** is one such digital humanities organization that attempts to facilitate this process and gather archived materials pertaining to the Nineteenth Century. You might think of NINES as something like a one-stop shopping for all your nineteenth-century digital humanities and text analysis needs. It gathers together peer-reviewed projects on nineteenth-century literature and culture that were put together by different research teams around the globe; some focus on an individual author, others on a genre \(periodicals or "penny dreadfuls"\) or a particular issue \(disability or court cases\). If you go to the site and scroll through "Federated Websites," you'll see the range of projects you can get to from NINES, from one on the eighteenth-century book trade in France to another featuring the letters of Emily Dickinson. For the purposes of this class, you'll notice that some of the projects will be extremely useful to you, such as the Old Bailey Online, which contains trials records from London's central criminal court. Others, such as a project on the journals of Lewis and Clark, won't be relevant for this class -- but might be for others you are taking.
 
 You might also notice that NINES has a relatively expansive view of what the nineteenth century is, since this site includes projects that deal with the late eighteenth and early nineteenth century. Historians often talk of the "long nineteenth century" as the period from the beginning of the French Revolution in 1789 to the outbreak of World War I in 1914. In other words, historians of the nineteenth century like to claim big chunks of other people's time periods.
 
-![nines federation](/assets/archives/nines-federated.png)
+![nines federation](/assets/archives/nines-federated.jpg)
 
 Archives submit themselves for affiliation with NINES so that their materials can be searchable alongside other NINES sites, but they must pass a rigorous process of **peer review** first. Academic journals rely on peer review to ensure that scholarship meets particular standards of rigor and relevance; you can think of it as a bit like quality control for scholarly writing. The peer review process typically involves submitting an article or book to a series of blind reviewers who, anonymous themselves, write letters in support or rejection of the project and offer suggestions for improvement. Should the piece pass, it moves onto publication and receives the explicit seal of approval from the publication.
 
@@ -44,7 +44,7 @@ One of the early missions of NINES was to provide scholars who could perform thi
 
 The peer reviewers at NINES had several comments in their feedback for you. They wanted you to make changes before they would accept your project into NINES, but, good news! These comments make your work much stronger anyway, and you are happy to do them \(peer review doesn't always go so smoothly\). Once reviewed, NINES makes the archival materials available for searching alongside other peer-reviewed projects. You can see an example search of _The Old Bailey Online_ [here](http://www.nines.org/search?q=old%20bailey). Now that your archival materials are part of the archive, a search for 'old bailey' in NINES reveals objects not only in NINES, but also in a wide range of other archives.
 
-![old bailey federated search results](/assets/archives/nines-old-bailey-search.png)
+![old bailey federated search results](/assets/archives/nines-old-bailey-search.jpg)
 
 **What does peer review mean for you as a user of an archive?**
 
@@ -54,7 +54,7 @@ If you've made it this far in life, you've probably realized that you can't trus
 
 Beyond the fact that you can have a lot of confidence in the projects you find here, NINES is just going to make it easier for you to find things. For one, you might not have known about all these different projects. NINES has also made sure that these projects "play nice" with each other (a.k.a. interoperability), which means you can find references to a particular topic or word across these projects with a simple search.
 
-![nines crime search](/assets/archives/nines-crime-search.png)
+![nines crime search](/assets/archives/nines-crime-search.jpg)
 
 Doing a search for "crime" gets you all the references to this term in all of the different projects linked to NINES, saving you from having to search each individual one. \(One warning: only some of the results you get in the left pane will get you to material from the online projects affiliated with NINES. In other cases, NINES is searching library catalogs where the material is not available digitally. In this instance, if you wanted to read the first work, Alexandre Dumas's _Celebrated Crimes_, you would have to drive to Charlottesville and go to UVA's Special Collections Library.\)
 

archives/tei.md

@@ -33,11 +33,11 @@ Think about all the annotations that you put on your own pages as you read them.
 
 And we can represent it graphically, like so, where black denotes the stanza boundaries, horizontal blue the lines, and the rotating colors under the final words describe a rhyme scheme:
 
-![marking up poem by hand graphically](/assets/archives/tei-graphic.png)
+![marking up poem by hand graphically](/assets/archives/tei-graphic.jpg)
 
 But you probably would need a moment to realize what was going on if you came to this having not highlighted things yourself. We can perform a similar function with text annotations, which gets closer to a meaning that we could understand without having any prompting:
 
-![tei with text annotations](/assets/archives/tei.png)
+![tei with text annotations](/assets/archives/tei.jpg)
 
 But for a computer to understand this, we need an even more delineated way of describing the passage. We have to pay careful attention to **syntax**, the ways in which we mark particular things to provide information to the computer. Computers require very specific systematic guidelines to be able to process information, as you will learn in our chapter on Cyborg readers. Scholars have been working for years to develop such a system for describing texts in a way that can be processed by software. The *Text Encoding Initiative* (TEI), the result of this work, is an attempt to make abstract humanities concepts legible to machines. TEI applied to the passage, might begin to look something like this:
 

assets/image-convert.py

@@ -0,0 +1,28 @@
+import os
+from PIL import Image
+
+
+def all_files(dirname):
+    for (root, _, files) in os.walk(dirname):
+        for fn in files:
+            yield os.path.join(root, fn)
+
+
+def convert_image(file):
+    img = Image.open(file)
+    print(os.path.splitext(file)[0] + '.jpg')
+    img.save(os.path.splitext(file)[0] + '.jpg')
+    os.remove(file)
+
+
+def main():
+    fns = []
+    for fn in all_files('.'):
+        if os.path.splitext(fn)[1] == '.png':
+            fns.append(fn)
+
+    for fn in fns:
+        convert_image(fn)
+
+if __name__ == '__main__':
+    main()

close-reading/prism-part-one.md

@@ -14,15 +14,15 @@ The game asks you to make graphic representations of these decisions, to identif
 
 *Prism* is a digital version of the same game. Given a choice between a few predetermined categories, *Prism* asks you to highlight a given text. In this *Prism *example, readers are asked to mark an excerpt from Edgar Allan Poe's *The Raven*. By selecting one of the buttons next to the categories on the right, your cursor will change into a colored highlighter. Clicking and dragging across the text will highlight it in the same way that you might if you were reading a print version.
 
-![prism highlights of the raven](/assets/close-reading/prism-raven-highlights.png)
+![prism highlights of the raven](/assets/close-reading/prism-raven-highlights.jpg)
 
 After you click "Save Highlights", the tool combines your markings with those made by everyone else who has ever read the same *Prism* text to help you visualize how people are marking things. By default, *Prism* will bring up the **winning facet visualization**, which colors the text according to the category that was most frequently marked for each individual word. Clicking on an individual word will color the pie chart and tell you exactly what percentage the word got from each category. 
 
-![prism winning facet](/assets/close-reading/prism-raven-winning-facet.png)
+![prism winning facet](/assets/close-reading/prism-raven-winning-facet.jpg)
 Seeing a graphic representation of the reading process might help you to notice things that you might not otherwise. For example, here you might notice that people tended to mark passages containing first person pronouns as "sense." Is it because "sense" implies thinking? Phrases like "I remember," "my soul grew," and "I stood there wondering" do suggest an emphasis on introspection, at the very least. Did you mark the same phrases, or did you select other passages?
 
 *Prism* comes with two visualizations baked into it. To change visualizations, click the "Font Size Visualization" button on the right sidebar. The **font size visualization** lets you see which parts of the text tended to be more frequently thought of as belonging to a particular category: *Prism* resizes the text to reflect concentrations of reading. So in this example, where readers were marking for "sound," they tended to mark rhyming words more frequently.
-![prism font size visualization](/assets/close-reading/prism-raven-font-size.png)
+![prism font size visualization](/assets/close-reading/prism-raven-font-size.jpg)
 Makes sense, and you might have done the same. By selecting the other category, you could check out what readers tended to mark for "sense."
 
 By design, *Prism* forces you to think more deeply about the categories that you are given for highlighting. The creator of this *Prism* wants you to mark for "sound" and "sense" - categories that relate to Alexander Pope's famous formulation of poetry from *An Essay on Criticism*. In it, Pope suggests that the sound of a poem should complement the  underlying meaning of the poem. So the creator of this game wants you to try and pinpoint where these categories overlap and where they depart. You might not have known this context, though you might have intuited elements of it. Guided reading in this way might change how you otherwise would read the passage, and the absence of clear guidelines complicates your experience of the text. 

conclusion/adapting.md

@@ -17,29 +17,29 @@ The contents of this book are hosted in [a repository on GitHub](https://github.
 
 First you will need to make a copy of our GitHub repository for your own account. When logged in and looking at our repository page, you should see these three buttons in the top-left corner of the window:
 
-![fork button on github](/assets/conclusion/fork-button.png)
+![fork button on github](/assets/conclusion/fork-button.jpg)
 
 **Forking** is Github's term for creating a copy of a repository for yourself - imagine a road forking and diverging into two paths. If you click fork, GitHub should start the copying process. When finished, you will be redirected to your fresh copy of the repository.
 
-![copy of github repository after forking](/assets/conclusion/github-forking.png)
+![copy of github repository after forking](/assets/conclusion/github-forking.jpg)
 
 Note the "forked from bmw9t/introduction-to-text-analysis" window at the top of the window, which lets you know where the book originated from. Above that you will see your own book's location.
 
 #### Publishing
 
-You have a copy of the files that make up the book, but you will need to sync them with GitBooks if you want to publish them online in the same way that we have done here. To do so, after logging into GitBooks you will click on the green 'Import Button.' ![gitbook add book button](/assets/conclusion/gitbook-add-book.png)
+You have a copy of the files that make up the book, but you will need to sync them with GitBooks if you want to publish them online in the same way that we have done here. To do so, after logging into GitBooks you will click on the green 'Import Button.' ![gitbook add book button](/assets/conclusion/gitbook-add-book.jpg)
 
 Selecting the "GITHUB" option, you will need to link your GitHub account and verify your account by an email.
 
-![import github repository to gitbook](/assets/conclusion/gitbooks-import-github.png)
+![import github repository to gitbook](/assets/conclusion/gitbooks-import-github.jpg)
 
 After linking your GitHub account, if you have more than one respository under your name you will have to select the one that you want to import to GitBooks. In this case, we will import the *Introduction to Text Analysis* repository.
 
-![select your repo in GitBooks](/assets/conclusion/gitbook-repo-selection.png)
+![select your repo in GitBooks](/assets/conclusion/gitbook-repo-selection.jpg)
 
 Give your repository a name and a description, and you're all set. A complete form should look something like this:
 
-![Complete form for importing a github repository into GitBooks](/assets/conclusion/gitbooks-github-complete-import-template.png)
+![Complete form for importing a github repository into GitBooks](/assets/conclusion/gitbooks-github-complete-import-template.jpg)
 
 You now have a working copy of the book hosted on GitHub and rendered in GitBooks (GitBooks should automatically redirect you to your copy). You can do anything you want with these files, and they won't affect our own base copy of the resources. 
 
@@ -57,23 +57,23 @@ If markdown feels too complicated, GitBooks also provides a handy [desktop edito
 
 But I can also highlight text and press command + b as I would in Microsoft Word to produce the same effect.
 
-![gitbooks editor interface](/assets/conclusion/gitbooks-editor-interface.png)
+![gitbooks editor interface](/assets/conclusion/gitbooks-editor-interface.jpg)
 
 The interface provides a preview of what your text will look like to the right of the window, which can be very helpful if you are new to markdown. If you do decide to work in the GitBooks Editor, you will need to log in the first you do so. Then select the "GitBooks.com" option for importing. 
 
-![gitbooks cloning locally](/assets/conclusion/gitbooks-clone.png)
+![gitbooks cloning locally](/assets/conclusion/gitbooks-clone.jpg)
 
 The computer will **clone**, or copy, the book to your computer. From there, you can follow the instructions in the [editor's documentation](https://help.gitbook.com/). The only significant difference from MS Word is that, after saving your work, you will need to click the sync button to upload your content to GitHub.
 
-![gitbooks sync](/assets/conclusion/gitbooks-sync.png)
+![gitbooks sync](/assets/conclusion/gitbooks-sync.jpg)
 
 After doing so, any changes you have made from the GitBooks editor will also change the GitHub repository's files, which will then automatically get rendered in the GitBooks version of the site. You are all set!
 
 #### Editing with Terminal
 
 If you are planning to use terminal, the process is fairly similar. Once you have forked and have your own copy of the book on github, you will just clone it to your computer using the clone url found at the top of your repository's page on GitHub. Here is the one for the original book:  
 
-![github clone url](/assets/conclusion/clone-url.png)
+![github clone url](/assets/conclusion/clone-url.jpg)
 
 Find your own clone url, copy it to your clipboard, and use it like so (without curly braces):
 

conclusion/where-to-go.md

@@ -2,7 +2,7 @@
 
 While writing this book, I used [GitBook's text editor](https://www.gitbook.com/editor/osx) so that I could preview the final product before it was published online. I found it really annoying to type while my text was screaming at me like this: Test
 
-![sentence difficulty in GitBook editor](/assets/conclusion/sentence-difficulty.png)
+![sentence difficulty in GitBook editor](/assets/conclusion/sentence-difficulty.jpg)
 The most irritating thing was that I could not tell what metrics they were using to diagnose my writing. What makes a sentence difficult? The number of words in each sentence? The number of clauses? Subjects in particular positions? I have all sorts of opinions about why writing might be unclear, but, as best I could tell, the editor was mostly basing their suggestions on the number of words in each sentence. I turned the feature off and went on with my life, but not before noting a truism of working digital humanities: using a tool built by someone else forces you to abide by their own assumptions and conventions. 
 
 You might have had similar feelings while reading this book. You have used a series of powerful tools in the course of working through this book, but tools have their limitations. While using *Prism*, for example, you might have wished that you could see an individual user's interpretations to compare it with the group's reading. Or when using *Voyant*, you might have wondered if you could analyze patterns in the use of particular parts of speech throughout a text.