fichero_director.py: Running Fichero on Multiple Processors

What is Fichero? It is a Python-based pipeline for large-scale document processing—think thousands of scanned pages, each requiring cropping, enhancement, OCR, and transcription.

I’ve had versions of Fichero working for six month. But, it was slow. Fichero processed one step at a time, then the next. It was slow. The challenge, taking advantage of computing power, multiple processors, and not getting bogged down.

This week, I got fichero_director.py working, which uses Celery to run Fichero “workers” on multiple processes, each doing different steps at the same time.

Imagine one cook making 100 pizzas, one after the others. Versus 8 cooks making 8 pizzas at a time.

How does it work? Fichero_director.py breaks down workflows into CPU-intensive and I/O-intensive steps. For example, image tasks are CPU-heavy, while transcription using language models or converting to Word documents is mostly I/O-bound by disk or LLM inference. Tasks are sent to Celery queues based on script type.

Fichero_director tries to tune for the host system. On M1 Macs, for example, the hope is CPU workers use the performance cores, while more numerous I/O workers handle slower operations on the efficiency courses.

On my machine, I have 8 cores, and fichero_directory.py uses them all.

To follow along, there is a simple dashboard that tracks real-time progress, showing each folder’s status and current step. Each folder is processed independently, with logs written per folder and per step.

Morning Pages

It’s been a long time since I written what Julia Cameron calls morning pages. Free writing, first thing. But with a summer of writing stretching out before me, I’m going to get back to the habit of writing a little, first thing. Writing any long piece is an exercise in sustained returning to the words. But, I am busy with academic chores, and the morning can be a moment to get back to the work of putting the words together, which I want to complete this summer. A moment to think on the page, with a pencil, as a way to think on paper through the coming day, not just a day of writing, but also a day of writing.

What to work on today?

A chapter that needs an edited. Rather than doing a continuation from where I left of yesterday, which was revising, I’m going to go back to where I was a few weeks, to work on rewriting the whole thing into shape. Then I can polish. Forward momentum is more important than polish, at least in the early stage.

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pdf_splitr.py

On problem with scanning books, for academic purposes, is one often ends up with two pages side by side, in a single PDF. This makes it hard to OCR, read, annotate, or process.

pdf_splitr is a (very) simple Python tool, which I ‘wrote’ with cursor.ai and Claude. It splits each page into left and right halves, while preserving annotations and handling different page sizes. It uses the Media Box, so as not to change the resulting file size.

It runs from the command line or as a drag-and-drop macOS app using Automator, making it easy to turn scans of two pages into 1 page PDFs.

pdf_splitr.py

2 pages

1 Page

wordwright.py

As a graduate student, my supervisor sat me down one day and confessed to me that he used WordPerfect’s spell-checking window because it helped him find passive voice. He, like I, overused it.

From that moment, over the years, I’ve found many ways to automate the flagging of passive voice in my writing. I’ve written scripts to find it in Tinderbox and BBedit. I’ve written scripts to find words I don’t want or that are redundant. But, with those scripts, it means I have to read and remove the words by hand. Sometimes, this forces me to think to find a better way of saying something. Sometimes, they can deleted without much care.

WordWright.py is a collection of python scripts that automates these editing steps, the ones I use on a regular basis. It’s a variation on what I described a few years ago in Writer’s Diary #09: On Freewriting a First Draft.

Simply. I free-wrote > used ChatGPT to fix typos > used DeepL to make minor changes > used ProWritingAid to remove adverbs and redundant expressions and make minor stylistic fixes.

WordWright automates this process, except for the ProWritingAid step. With a keyboard shortcut, I can write a paragraph, then use wordwright to grammar check the text and remove stylistic bugaboos.

It’s not so different from what John McPhee describes in his New Yorker article on Structure, or in the book Draft No. 4. He uses tools to find duplicate expressions.

Writing is not one step; it is many steps. Hundreds. Wordwright helps make a few of those steps easier, but it won’t help you with figure out what you think, make your ideas your own, reworking them, or make them sing. That takes time, at a desk, doing the work.

WordWright doesn’t fundamentally change this process, I don’t find.

But, it is a little easier to get into a state of flow, because I don’t have to stop and go to different apps to fix typos, grammar, adverbs, or overused expressions.

In fact, it’s the case that prolific writers have wonderful editors—sometimes it’s a spouse, an assistant, and publisher.

What WordWright gives offers is not so much a first reader, but a first editor. Never the last, mind.

Using AI this way is, in my mind, not so different from a spell checker or WordPerfect’s passive voice checker. Just more powerful.

WordWright GitHub page.

Writer’s Diary #57: A Room, A Purse, and No Phone?

I seem to have spent a few days reading and reacting to Virginia Woolf’s A Room of One’s Own. It’s my third reading now. First thing. Four fifty-minute chunks. As I re-read it and my notes, I respond to it, and my notes, and I (re)write.

What to make of her description of a rather unsuccessful morning in the British Library, where all she finds is men writing about women? Obsessed it seems. She’s angry.

But then she goes for lunch.

A nice lunch. She has coffee too. And find a newspaper. To pay, she reaches into her purse. Five shillings and ninepence. Her purse produces 10 shilling notes. Her Aunt died, giving her 500 pounds a year. In perpetuity. (It was only 2500 pounds, in total, in reality.)

That’s 39.10 CAD for a lunch! A good lunch. Expensive, I imagine? How can she afford it?

Her aunt’s money. She doesn’t have to work.

It hits me in a flash.

When I was a student, I had no money, but I did have some. Not like my students today. I had scholarships and loans and easy student jobs.

First year, I lived with friends.

Later, I parlayed them into cheap rent and cheap food through global arbitrage. (I was a librarian, making minimum wage, in Ontario, working in Ecuador.)

I lived frugally, but rent and wine and food in Spain 2002 and Ecuador in 2005 were far cheaper than in Ontario.

Rent in Colombia as a graduate student doing ethnographic fieldwork, when I spent my days walking, thinking, eating good food, and reading, was something else. Less still, when I went the gold mines.

That fieldwork was funded by the Canadian taxpayer and Carleton University. To great expense. It was decent money. And, my accidental exercise in global arbitrage, made my purchasing power much higher.

Not deliberately, but accidentally. I moved where my money went further, and the scholarship and grants allowed me to spend two years wandering around Bogotá and the Chocó and letting my mind wander and writing.

(When the purse ended, I experienced the opposite. Moving to Yale, with a shrinking scholarship as the Canadian dollar collapsed.) I walked, and wrote, but was far more stressed about money. Anxious. I spent those three years trying to find a job. Which I did. Then, a decade worrying about money as one salary only goes so far.

But then, and maybe now again as Mercedes works, I have the equivalent for lunches.

(I used to go to the library, then walk and spend 40,000 pesos on a lunch in Bogotá now. That is one day’s minimum wage.)

But, for the last decade, my phone would have been in the way. Making the mind wandering impossible.

But, not as as student. As a student, I had no phone. So, many times, I did what Woolf describes—the thinking and daydreaming and writing and letting the mind wander and making connections. It’s this that Woolf’s famous essay is an exercise in. (It does it by showing, not telling.)

It’s fiction, to be sure. But there is an element of autobiography. What about calling it a fictionalized auto-ethnographic account of writing? The day dreaming by the river, the flash of insight lost by walking on turf, the lunch, and a walking into the evening thinking about the gold that went into the college, and a walk to the library and then the next day at the British Museum and then lunch paid for by her Aunt’s inheritance.

I think it is.

But, of course, she had no iPhone, computer, or Internet. Has all of this connection robbed us of our ability to let our mind wander and make connections?

Yes.

But, need it?

No.

Zadie Smith, an other famous English novelist, essayist, and short-story writer, doesn’t have a phone.

These two facts might be connected.

Writer’s Diary #56: A room of One’s Own

In the draft, I had an aside about the importance of a room of one’s own with a lock. My thought? A room of one’s own, with a lock, and without a computer, phone, or interruptions. But, yesterday morning, and again this morning, I re-read Virginia Woolf’s famous essay. Not only is it a feminist critique of the materiality of artistic creation and the ways in which women have been excluded for centuries. But in Woolf’s words, and in the story she weaves, you can also begin to see the glimmers of a method to fiction.

The walking and daydreaming, the trespassing on lawns, the lunches, the attempts to go to libraries, the walks before dinner and the remembering of snippets of ideas, of poems. The walks and strolls across in Oxbridge.

But it’s also the next day, and other days, of being in the room and taking books down and putting them back on the shelves, of going to the library and reading with a notebook, and of misremembered lines and lost quotations, and the concentration that goes into the work.

Even as I was doing that, I had my daughter behind me, asleep on the couch at 4 o’clock in the morning because she couldn’t sleep. She woke up early. I cuddled her. She fell back into bed.

And as I was writing, there were four or five messages. Running partners. Dentist appointments. Concentration.

But there’s also a bricolage in there.

Pulling down books. Looking at shelves. Going to the library for ideas.

Pulling down books. Looking at shelves. Going to the library to get ideas.

I read in the introduction to the 2000 Penguin edition that on the day she gave the lecture she wrote:

“My ambition is, from this very moment—eight minutes to six, on Saturday evening—to attain complete concentration again.”

Total concentration! It takes a room and money (CAD$70,000 in Canadian money, I’m guessing), and I know it helps to be white.

Total concentration! It takes a room and money (CAD$70,000 in Canadian money, I’m guessing), and I know it helps to be white and a man.

But a walk, and lunch, and time, and concentration are best achieved without the technology in my pocket. Which is its own difficulty.

Writer’s Diary #55: Just do it

Today’s update:

I met a drummer friend yesterday, along with another artist—a goldsmith. My drummer friend has been trying to work steadily every day. Four hours. He writes it down. He inspired me to try again. If he can drum for four hours a day, maybe I can find time to write? Just do it. “Do it” He said

He works at night; I am a morning person. So, I did my four hours in four 50 minute chunks this morning. It’s nice to be done by 9:30.

The other friend, the goldsmith, said, “I only let myself start on something new once I’ve finished something.”

That is my challenge—always starting something new. Perhaps I can finish something, before starting on another big project..

Anyway, a nice morning on the bricolage chapter. Re-read the whole draft. Lots to do.

I ended on a side tangent re-reading Woolf’s A Room of One’s Own. She’s talking about women and fiction; I think I’m talking about distraction and anthropology.

But anyway, I have to finish reading it again tomorrow.

For now, I’m done and of to a maple syrup sugar shack with the kids.

In Praise of Makeshift Finishing

Tubb, Daniel. “In Praise of Makeshift Finishing.” Anthropologica 66, no. 2 (2025): 1–8. DOI / Mirror

This article reflects on the challenges of writing and finishing. Using experience of sorting ethnographic field notes, I explores how the desire for a perfect structure and method hinders progress. It is an argument for imperfection in the writing. An argument for finishing, even imperfectly, as essential to transforming ideas into tangible work. It advocates an iterative, hands-on approach to writing.

University Bureaucracies as the Death of Play: The 1968 Strax Affair and the Arts of Discombobulation

Dressler, H., Pleshet, N. & Tubb, D. (2025). “University Bureaucracies as the Death of Play: The 1968 Strax Affair and the Arts of Discombobulation.” Critical Education, 16(1), 125–154. https://doi.org/10.14288/ce.v16i1.186926. PDF / Mirror

The bureaucratic precepts engendered by modern universities produce a slew of negative effects inimical to educational justice. Drawing on historiographical evidence from the 1968 Strax Affair, a little-known protest held at the University of New Brunswick, we identify the arts of discombobulation as a novel approach to challenge the intellectual constraints imposed by university bureaucracies. By theorizing the arts of discombobulation, we aim to counteract bureaucracy’s most alienating affective residues, equipping scholars with an administrative arsenal capable of transforming the corporate academy into a playful, joyful environment. Inspired by cultural historian Johan Huizinga’s theory of the “play-function,” we introduce five interrelated tactics—burlesque versions of both formal and informal administrative practices—that amplify the contradictions inherent to the corporate academy’s contemporary bureaucratic structure: personalization, befuddlement, signal jamming, mapping, and abeyance. Even during moments of Kafkaesque bureaucratic defeat, discombobulation can generate a sense of heightened play necessary to fuel democratic resistance.

University Bureaucracies as the Death of Play: The 1968 Strax Affair and the Arts of Discombobulation

I’m excited to share my short article, with Noah Pleshet and Harrison Dressler, just published in Critical Education!

Our article, University Bureaucracies as the Death of Play: The 1968 Strax Affair and the Arts of Discombobulation, examines how modern university bureaucracies stifle intellectual freedom and creativity. Through the lens of the 1968 Strax Affair—a little-known student protest at the University of New Brunswick—we explore how administrative structures constrain academic life in ways that are often inimical to educational justice.

But rather than simply critiquing bureaucracy, we propose a playful response: the arts of discombobulation. Inspired by Johan Huizinga’s theory of the “play-function,” we outline five interrelated tactics—personalization, befuddlement, signal jamming, mapping, and abeyance—that scholars can use to disrupt the intellectual and emotional alienation imposed by university administration. By embracing these burlesque tactics, we argue, academics can carve out spaces of joy, resistance, and creative play within the corporate academy.

Even when faced with Kafkaesque bureaucratic absurdities, discombobulation can provide the playful energy necessary for democratic resistance. We hope this piece contributes to ongoing conversations about reclaiming the university as a site of intellectual curiosity and radical possibility.

Read the full article, and let us know what you think on mastodon.

Download it here.