tag:blogger.com,1999:blog-27233067286116073272024-03-18T03:12:41.152-07:00HistoryonicsThis blog is a space for me to rant in that most seventeenth-century sense of the word; and to cut and paste the ideas and comments that don't seem to fit in more traditional forms of academic publication.Tim Hitchcockhttp://www.blogger.com/profile/17851547190864328027noreply@blogger.comBlogger44125tag:blogger.com,1999:blog-2723306728611607327.post-17284370912831689792019-05-16T09:07:00.000-07:002019-05-17T01:25:33.018-07:00The long and the short of the eighteenth century<div style="-webkit-text-stroke-color: rgb(0, 0, 0); -webkit-text-stroke-width: initial; font-family: "Trebuchet MS"; font-size: 11px; font-stretch: normal; line-height: normal; margin-bottom: 8px;">
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<b><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><i><span style="-webkit-font-kerning: none; font-size: 11pt;">What follows is the text for a short presentation I gave at a one-day conference in late May 2019:</span><a href="https://www.history.ac.uk/events/event/19542"> Eighteenth Century Now: The Current State of British History.</a><span style="-webkit-font-kerning: none; font-size: 11pt;"> The event was organised by ECR scholars working with the Long Eighteenth Century Seminar (</span></i></span></span></b><span style="-webkit-font-kerning: none; font-size: 11pt;"><b><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><i>Miranda Reading, Dr Joseph Cozens, Dr Sally Holloway and Esther Brot). The panel I contributed to was charged to look at 'short and long term approaches to eighteenth-century history', and I took this as an opportunity to reflect on the changing nature of the field over the last forty years. An excellent review of the day as a whole can be found <a href="https://pastandpresent.org.uk/reflections-upon-18th-century-now/">here</a>. In the nature of a text for public presentation, it retains all the quirks and foibles of 'speech'.</i></span></span></b></span><br />
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<span style="-webkit-font-kerning: none; font-size: 11pt;">It seems to me that history works in just a few ways. It can be an explanation of the present – how we got here. Or it can be a ‘distant mirror’ – a way of contrasting the past and the present. In either case, its importance, the justification for all the effort, is that it informs how we understand the present; understand the politics of the present and understand the challenges of the present.</span></div>
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<span style="-webkit-font-kerning: none; font-size: 11pt;">But in the case of eighteenth-century British history these two approaches also determine the long and the short it. And the relative dominance of either approach has either given the period and place real significance, or at least threatened to focus attention elsewhere. </span></div>
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<span style="-webkit-font-kerning: none; font-size: 11pt;">When I first engaged seriously with British history in the mid-1970s, eighteenth-century Britain was a proving ground for modernisation theory. The idea was that understanding ‘the first industrial revolution’ would allow us to understand how non-Western societies might replicate that ‘take off’. Economic historians poured endless hours into understanding capital flows, innovation and the take up of new technology – and the centre of the world was Birmingham and Ironbridge. As part of the same project, the demographers put eighteenth-century Britain at the centre of a story of profound demographic change – the great transition in growth rates and life expectancy around 1800. And the urban historians added their voice – describing the development of a new urban world – a Renaissance – brought in to explain the growing pace of innovation, and the growing freedoms of mind and body. The main narrative (essentially a Marxist recounting of the stages of economic development) gave point and purpose to a dozen sub-disciplines from women’s history to agricultural history, to the history of science.</span></div>
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<span style="-webkit-font-kerning: none; font-size: 11pt;">These were all ‘long’ eighteenth-century stories, with roots stretching back into the sixteenth and seventeenth centuries; and influence reaching forward to the present. And you could add to these the political narratives that became more prominent in the 1980s – reflecting a new concern for the history of the state and the evolution of the ‘public sphere’. These evolved in dialogue with the Thatcherite and neo-conservative attacks on the state; with the decline of the Soviet Union, and the rise of the EU; with the workings of politics in a new age of mass communications. But they nevertheless remained long stories.</span></div>
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<span style="-webkit-font-kerning: none; font-size: 11pt;">But, it seems to me that a constellation of fundamental changes took place in the 1990s that has tended to push academic history and the history of eighteenth-century Britain in particular towards something very much shorter.</span></div>
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<span style="-webkit-font-kerning: none; font-size: 11pt;">First, these long stories were themselves increasingly undermined. Faith in the social sciences and the developmental models that underpinned them largely collapsed. In part this collapse reflected the critique associated with post modernism; but more importantly the neo-conservative political project of dismantling the state made grand explanation seem less convincing and less desirable. The social sciences were and are all about influencing the policies of the state as an agent of change – and are inimical to the small state ideologies that gained prominence in the 1980s. Neo-liberalisms – whether Thatcherite or Blairite – do not invite explanation, as they are predicated on supposedly ‘natural’ aspects of human behaviour. </span></div>
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<span style="-webkit-font-kerning: none; font-size: 11pt;">For the political narrative, the collapse of the Soviet Union drew the breath from political history. Habermas, for instance, was all about understanding the origins of fascism, and the politics of democratic societies; and the failure of the Soviet Union – leading to Fukiyama’s claim for ‘the end of history’ – made the relevance of these kinds of long-term political narratives much less obvious. The West had won, and no more needed to said.</span></div>
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<span style="-webkit-font-kerning: none; font-size: 11pt;">The same decade also witnessed a subtler transition – the digital revolution. I know my undergraduates look on the slide rule I used for basic maths in the 1970s, as if it came from an entirely different world. This sense of a profound disjuncture - a gulf of generational miss-understanding - makes sustaining a long story of explanation ever more difficult. </span></div>
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<span style="-webkit-font-kerning: none; font-size: 11pt;">In other words, almost all the long stories – with the eighteenth century at their pivot - that dominated post-war academic history writing lost purchase in the 1990s.</span></div>
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<span style="-webkit-font-kerning: none; font-size: 11pt;">All of which simply left a charred landscape of failed narratives – into which flowed history as a form of distant mirror. In part, this was about the rise of identity politics. In most instances, to ‘explain’ an identity is to challenge its very basis. LGBTQ+ history, for example, almost always takes the form of a distant mirror precisely because an explanation of the origins of a gay identity would imply nurture over nature. In gender history an explanation of change undermines the assumed coherence and universality of patriarchy – making less obvious appeals to shared experience based on gender. In the 1990s separate spheres (a long story of gender) was replaced by the gentleman’s daughter (a short, distant mirror, reading).</span></div>
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<span style="-webkit-font-kerning: none; font-size: 11pt;">What grew in this charred landscape were beautiful micro-histories that spoke powerfully to the present – and were and are powerfully political and frequently progressive. But the problem with a distant mirror approach is that it doesn’t really matter which period or place you choose to study. The quality of difference, and the ability to make a modern reader empathise with someone across that gulf of difference is the only measure of success. There is no real reason to choose to write the history of the eighteenth-century Britain rather than 16</span><span style="-webkit-font-kerning: none; font-size: 7.33pt;"><sup>th</sup></span><span style="-webkit-font-kerning: none; font-size: 11pt;"> century Spain, or twelfth century Japan. Or indeed 1960s London. They are all different, and they all allow us to view ourselves through that distant mirror.</span></div>
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<span style="-webkit-font-kerning: none; font-size: 11pt;">Of course, the irony is that you would have expected this transition to result in a decline of eighteenth-century British history as a discipline and subject. Why look to the eighteenth century</span><span style="-webkit-font-kerning: none; font-size: 11pt;">, when any other period or place would do the same cultural work. And yet, despite the decline of explanation, the period remains absolutely fizzing. There were 10,000 more publications produced on 18</span><span style="-webkit-font-kerning: none; font-size: 7.33pt;"><sup>th</sup></span><span style="-webkit-font-kerning: none; font-size: 11pt;"> century Britain between 2008 and 2018 than were published between 1978 and 1988 (based on a structured search of the Brepolis Bibliography of British and Irish History).</span></div>
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<span style="-webkit-font-kerning: none; font-size: 11pt;">I think the explanation lies in part with the twentieth</span><span style="-webkit-font-kerning: none; font-size: 11pt;"> century's creation of a profoundly sophisticated archival infrastructure, which was then turned into a profoundly sophisticated digital infrastructure. One reason eighteenth-century Britain remains a central and popular field is because it is the most digitised where and when in the world. Between JISC Historic Books, and digitised newspapers; between crime records and parish records; between a remarkably comprehensive system of archives – housed in a remarkable stone-built infrastructure and made findable through integrated national systems; between the wealth of ego-documents and the new languages of the self; all written in a language understood by 20% of the world’s population, eighteenth-</span><span style="-webkit-font-kerning: none; font-size: 11pt;">century Britain is more richly evidenced, and more readily accessible to more people, than anywhere else. Eighteenth-century Britain remains popular in part because it is easy.</span></div>
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<span style="-webkit-font-kerning: none; font-size: 11pt;">And that may be enough. Much of the work being done at the moment – in ecological history, women’s history, in animal-human relations, disability studies – in a dozen separate fields – is both fantastic and powerfully political. It is justified by its intelligence and its careful navigation between the past and the present. But, I am increasingly of the opinion that our abandonment of explanation brings with it real dangers; and the necessity to think harder about what we are doing with all that ‘short’ history. </span></div>
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<span style="-webkit-font-kerning: none; font-size: 11pt;">For one thing, simply ploughing this well-tilled soil re-enforces the dominance of the same old voices – rich white people do not need a lot more of our attention. And there is an urgent need to expand the ‘right to be remembered’ to the 98% of the world’s population that do not currently get much action between hard covers. </span></div>
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<span style="-webkit-font-kerning: none; font-size: 11pt;">And it may be that the wealth of our archive can be turned to account in serving that right to be remembered, but there needs a real and self-conscious effort to make it happen. There has been much work on British and anglo-phone working lives, for instance, but there remains a massive task of reconstructing the lives of non-western peoples, of the enslaved and the colonised. It may be that the very wealth of our archive makes this more possible, but it is only with self-conscious effort that we can escape the assumptions that underpin the archives themselves (the clerks’ hectoring, racist voice) to turn that archive to account. </span></div>
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<span style="-webkit-font-kerning: none; font-size: 11pt;">In other words, I guess where I have ended up is in with two or three largely contradictory conclusions. The first is that in the absence of a traditional Marxist ‘explanation’, the purpose and point of eighteenth-century British history is limited. It was important because of where it sat in that bigger analysis. In many respects the eighteenth century is either long, or it is meaningless.</span></div>
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<span style="-webkit-font-kerning: none; font-size: 11pt;">But second, and on a more optimistic note, the wealth of inherited documentation means that even in the absence of a long story, there are powerful short stories to craft. But if we are to abandon the older long stories, we need to be very clear about the purpose of our short ones.</span></div>
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<span style="-webkit-font-kerning: none; font-size: 11pt;">I want to end, however, by sharing a bit of anxiety. Anxiety is always better when shared! In the end, I am concerned that however good those short stories are, they will not be enough. One of the few long eighteenth century stories that survived the 1990s and is growing is prominence in this new dystopian political world of the 2010s, is a ‘white nationalist’ narrative that puts Britain and Northern Europe at the heart of an explicitly racist story. We are witnessing the re-emergence of eugenics and race theory – justified by accounts of colonial expansion.</span></div>
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<span style="-webkit-font-kerning: none; font-size: 11pt;">We need new long stories to ensure that the work of generations – and the wealth of the archive – are not turned to a racist account. </span></div>
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<span style="-webkit-font-kerning: none; font-size: 11pt;"> All of which is just to suggest that the most powerful uses of the eighteenth century are the long ones; and that unless we self-consciously find new big stories to tell, I am uncertain that the short ones will sustain us.</span></div>
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<b><i><span style="-webkit-font-kerning: none; font-size: 11pt;">A brief post-endum</span></i></b><br />
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<i><span style="-webkit-font-kerning: none; font-size: 11pt;">In the questions that followed <a href="https://en.wikipedia.org/wiki/J._C._D._Clark">Jonathan Clark</a> suggested that he had essentially invented the 'long eighteenth century' in response to the structure of the Cambridge Tripos - which split modern history at 1750. The claim is slightly problematic as a quick search turns up the phrase <a href="https://books.google.co.uk/books?id=zK3q-R6RHYkC&pg=PR46&dq=%22long+eighteenth+century%22&hl=en&sa=X&ved=0ahUKEwjS9rqjqqDiAhXEVBUIHdIdCPgQ6AEITjAI#v=onepage&q=%22long%20eighteenth%20century%22&f=false">as early as 1963</a> when Jonathan Clark was just 12 years old. But his claim does expose a real gulf in expectation and experience, and I entirely understand why he might have experienced the field as if he had invented it. Afterall, I was reading British history from the perspective of Berkeley California, and from that perspective it slotted neatly into a global understanding of historical change that was both wide and long. By contrast Prof. Clark was researching the field in dialogue with the Cambridge undergraduate curriculum. To this day that curriculum is built on a narrow understanding of British political history. I remain committed to the long eighteenth century because of its ability to reflect on a global story, but understand the desire to write the period as little England. But Clark's question/comment also took me back to an aspect of this story that I did not discuss on the day. Clark is absolutely right to suggest that the community of scholars who grew to maturity in Cambridge during the 1970s (including himself - at least tangentially), really did shape the 'long eighteenth century' in powerful ways. Perhaps most self-evidently, the group of scholars who accumulated around J.H. Plumb - including John Brewer, Simon Schama, David Cannadine, Linda Colley and Roy Porter essentially re-worked the field as a very different kind of story. John Brewer and John Styles' <u>An Ungovernable People</u> (1980) was a direct repost to Douglas Hay, et al, <u>Albion's Fatal Tree</u> (1976). And perhaps most importantly, Neil McKendrick, John Brewer and J.H. Plumb's <u>Birth of a Consumer Society</u> (1982) turned on its head generations of 'supply side' and Marxist economic history; chiming with the new Thatcherite abandonment of industrial policy, in favour of a reliance on consumer behaviour and 'demand side' economics. Most of this work was essentially liberal, rather than Marxist in approach, but J.H. Plumb's urgent adoption of Thatcherism in the 1980s reflects the lintellectual direction of travel. In other words Prof Clark was right. At least a couple of 'long eighteenth centuries' were created at Cambridge in his youth; but none of them are quite the period or place I inhabit. </span></i></div>
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Tim Hitchcockhttp://www.blogger.com/profile/17851547190864328027noreply@blogger.com218tag:blogger.com,1999:blog-2723306728611607327.post-70082568443291311392019-01-26T08:48:00.001-08:002019-01-27T07:52:17.032-08:00Historical simulacra: breathing life into the digital dead<!--[if !mso]>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footer"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index heading"/>
<w:LsdException Locked="false" Priority="35" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
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<span style="font-size: small;"><i>The blog post that follows is adapted from the text of a short presentation I gave to a symposium held at the University of Sussex on the 18th of January 2019 - <a href="https://historyofemotions2019.com/">Subjectivity, Self-Narratives and the History of Emotions</a>. It was organised by my excellent colleague <a href="http://www.sussex.ac.uk/profiles/396225">Dr Laura Kounine</a>, and I was honoured to be asked. I very much enjoyed the day, and the other presentations reflected a wonderful variety of perspectives on the history of emotion, illustrating just why the 'emotional turn' has grown in signficance. Having said this, as usual, I found myself 'outside the tent, pissing in' - not able to write a convincing 'history of emotions', and not entirely convinced by much of anything. </i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVBx0sDsz4q1hQ26FmsIflXWZ9X_LRzUFlm6ZTZgV7mzPObZCAb1GTRDkcLX7G74nl4Lg7Qmv2gYfGb7TOY3YmjWJ5zzF69ildpTjQ5gFE8Qh4_xoQJPHx6NVeQcPdkmAHJLum0GofpQxH/s1600/Slide1.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVBx0sDsz4q1hQ26FmsIflXWZ9X_LRzUFlm6ZTZgV7mzPObZCAb1GTRDkcLX7G74nl4Lg7Qmv2gYfGb7TOY3YmjWJ5zzF69ildpTjQ5gFE8Qh4_xoQJPHx6NVeQcPdkmAHJLum0GofpQxH/s320/Slide1.JPG" width="320" /></a></div>
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I am afraid the talk that follows is much more a case of me
thinking aloud rather than taking the form of a clearly thought through
position piece.<span style="mso-spacerun: yes;"> </span>As often happens – at
least to me – the synopsis and title of this talk was written long before the
talk itself, and it has turned out rather differently than I initially
envisaged.<span style="mso-spacerun: yes;"> </span>I very much hope that this
does not seem disrespectful.<span style="mso-spacerun: yes;"> </span>I should
also admit at the outset that while I very often try and write with emotions, I
am not a historian of emotions; and hence am rather speaking from outside the
tent.<span style="mso-spacerun: yes;"> </span></div>
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With these caveats in mind there are just a couple of
things I want to discuss today – first, the remarkable rise of ‘emotions’ as a
category of analysis – the creation of a what has occasionally been termed the
‘emotional turn’.<span style="mso-spacerun: yes;"> </span>And second, the impact
of new – digital – research methods on historical research.<span style="mso-spacerun: yes;"> </span>And I want to do this primarily as a way of
getting at something third – the changing nature of the ‘historical project’,
and what we actually think we are doing when we write about the dead.<span style="mso-spacerun: yes;"> </span>I believe that both these developments
impact directly on the kinds of writing we do and they have had the effect of
changing aspects of the underlying project of academic historical scholarship.</div>
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And the place to start is with the remarkable recent rise in
the history of emotions.<span style="mso-spacerun: yes;"> </span>This symposium
is perhaps evidence enough of the centrality of emotions to some of the most
innovative work of the moment.<span style="mso-spacerun: yes;"> </span>You can,
of course, trace a narrow historiographical path back to the work of people
like William Reddy and Barbara Rosenwein – and via them to the histories of
gender, post-structuralism, and all the rest.<span style="mso-spacerun: yes;">
</span>But, I don’t think this actually captures the significance of the rise
of ‘emotion’ studies.<span style="mso-spacerun: yes;"> </span>Its ubiquity is
remarkable.</div>
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I was recently asked
to contribute to a festschrift for a well-respected senior historian – to be
filled with the work of their students, inspired by fifty years of
scholarship.<span style="mso-spacerun: yes;"> </span>Now the historian in
question started off in urban history, did some medical history, and wrote a
lot of great stuff on the evolution of social policy.<span style="mso-spacerun: yes;"> </span>But, the one thing they did not do is write
about emotions.<span style="mso-spacerun: yes;"> </span>And neither did their
students.<span style="mso-spacerun: yes;"> </span>And yet when the book was
produced – including some wonderful micro-histories and accounts of the impact
of social welfare policy – it was touted by OUP as an ‘introduction to and
critical reflection on the growing field of the history of emotions’. <span style="mso-spacerun: yes;"> </span>My understanding is that this was a theme
forced on the editors by OUP.<span style="mso-spacerun: yes;"> </span>And yet, there
was no more emotion between the covers of that volume than in your average box
of shredded wheat.<span style="mso-spacerun: yes;"> </span>The press was clearly
jumping on what it perceived as a bandwagon, shoehorning some excellent social
history into this ‘growing field’.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje-X6iNdBavKvJkt-4FIv6xZO9kKFHLwjvsXCWvJnL8VrWoJ9QKmkqJqduvCkHyGTcgKtTRXqZCtFyVKRjjVAcSgFCPFWwrTwB199tlsFr3ZQfAB1FyYi8Z470elrhV2Zt0trso0EDOuBe/s1600/Slide3.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje-X6iNdBavKvJkt-4FIv6xZO9kKFHLwjvsXCWvJnL8VrWoJ9QKmkqJqduvCkHyGTcgKtTRXqZCtFyVKRjjVAcSgFCPFWwrTwB199tlsFr3ZQfAB1FyYi8Z470elrhV2Zt0trso0EDOuBe/s320/Slide3.JPG" width="320" /></a></div>
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In a similar way the seminar I help run at the Institute of
Historical Research on the Long Eighteenth Century recently ran an
introductory session for new researchers just starting out on their PhDs.<span style="mso-spacerun: yes;"> </span>We could fit in some twelve presentations,
drawn from across the country – capturing a cross section of new PhD
students working on 18<sup>th</sup> c. history.<span style="mso-spacerun: yes;">
</span>And what was remarkable was the prominence of ‘emotions’ in how those
PhD students formulated their subject.<span style="mso-spacerun: yes;">
</span>Over a third explicitly used the language of ‘emotion’ as part of the
framing of their doctorate.<span style="mso-spacerun: yes;"> </span>And while
all had smart things to say, when questioned about why they chose ‘emotions’ as
a framing device (admittedly an unfair question) they all struggled to give a
clear answer.<span style="mso-spacerun: yes;"> </span>You could still see the
impact of new sources, and older traditions, but the sore thumb that stood out
among them was one crying and laughing along the way.<span style="mso-spacerun: yes;"> </span>Economic and political history, digital
history, urban history, even history from below, were all largely absent and
in their place was ‘emotion’.</div>
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If we wanted to explain how we got here we could go back to
Lefebvre and Peter Gay perhaps, and into second wave women’s history, queer
theory, body history and the history of sexuality – or if you want another
trajectory, via anthropology and psycho-history, to Robert Darnton and Barbara
Taylor.<span style="mso-spacerun: yes;"> </span>But none of these lineages
really seem to me to account for this – sudden – popularity for the analysis
of emotions. </div>
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And what occurs to me is that the fundamental drivers of
this ‘turn’ lie primarily in a newly felt need to reconstruct unknown lives <span style="mso-spacerun: yes;"></span>and interrogate ‘experience’.<span style="mso-spacerun: yes;"> </span>Looked at not as a lineage but as an
intellectual technology in its own right, one aspect of the ‘work’ that the history of emotions
performs is to allow us to imagine the interior life of a dead person for whom
we have no personal record and to be able to footnote our imaginings along the
way.</div>
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This in turn allows us to generate on the page that sense
of a lost ‘experience’ told via the lives of people who did not otherwise
record their innermost thoughts.<span style="mso-spacerun: yes;"> </span>A
historically specific model of an emotional landscape, or community, allows us
as historians to paint the silent dead in the emotional colours of their
class, gender and epoch.<span style="mso-spacerun: yes;"> </span></div>
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In other words, the history of emotions appears to me as a
means to a literary end, and a fragment of a broader impetus to reconstruct the
worlds of people not adequately reflected in the archives – of women; of the
poor, of those excluded by race, sexuality and disability.<span style="mso-spacerun: yes;"> </span>To have a model of how emotions worked within
marriage in 1880s Leeds or Manchester, or to be able to discuss the fear felt
by untold soldiers on the Russian Front in the First World War, forms a
strategy for breathing life into the silent dead.<span style="mso-spacerun: yes;"> </span>Arguably, it allows us to embed what Virginia
Woolf described as the ‘rainbow’ in biographical writing – emotions,
perspective, interiority used on the page, to evoke a reader’s response.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjirWCI91I6tkexkEzNySXDy7TetcZE-31JsEIavKyPSZMs19-aCZweiluIKslhLdIGxwIK2Rp5-USuOC4Z1ZIoLkQA4xlDdXA0syYf8x7RbD5WUOFjmBUfST8V6Q9UZ35ezgu0YfyapiNz/s1600/Slide4.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjirWCI91I6tkexkEzNySXDy7TetcZE-31JsEIavKyPSZMs19-aCZweiluIKslhLdIGxwIK2Rp5-USuOC4Z1ZIoLkQA4xlDdXA0syYf8x7RbD5WUOFjmBUfST8V6Q9UZ35ezgu0YfyapiNz/s320/Slide4.JPG" width="320" /></a>And this is where the history of emotions seems to me to
intersect with digital history.<span style="mso-spacerun: yes;"> </span>It is a
remarkable thing, but the nature of historical research has changed
fundamentally in the last twenty-five years.<span style="mso-spacerun: yes;">
</span>The digitisation of the historical record has essentially liberated us
from many of the structures of the archive – even as it creates new controlling
structures along the way.<span style="mso-spacerun: yes;"> </span>Connections
that just thirty years ago would have been impossible to make, are suddenly
open to us via keyword searching and nominal record linkage.<span style="mso-spacerun: yes;"> </span></div>
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And for a select band of historical figures – the 18<sup>th</sup>
and 19<sup>th</sup> century anglo-phone working class - criminals, paupers and the
ancestors of various Mormons – we are confronted – indeed seduced – by the
possibility of re-constructing hitherto unfindable lives in evidence scattered
across the ever more comprehensive records of the nation state.<span style="mso-spacerun: yes;"> </span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMrIG_MDczllCX3kiCg0GVw45xvbuV0ONpxr_xCjNKCFAyt6zRkXr9vnj6Cv5Hmhwa-M9K20yHpI1VQyc2qwk8PIElIs35bLNEZ3s69QiXa8bGQBtqL6gRXlpF-QGKj0sFCNCr8MvOVnxS/s1600/Slide5.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMrIG_MDczllCX3kiCg0GVw45xvbuV0ONpxr_xCjNKCFAyt6zRkXr9vnj6Cv5Hmhwa-M9K20yHpI1VQyc2qwk8PIElIs35bLNEZ3s69QiXa8bGQBtqL6gRXlpF-QGKj0sFCNCr8MvOVnxS/s320/Slide5.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.digitalpanopticon.org/">The Digital Panopticon</a></td></tr>
</tbody></table>
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In a recent project I was part of called the Digital
Panopticon – we tied together some forty or fifty datasets covering the
trials, convictions and punishments of some 90,000 mainly working class
Londoners – criminals and transportees to Australia.<span style="mso-spacerun: yes;"> </span>For many of these men, women and children,
there are tens of brief references – single lines of information – marking
their journey through the systems of criminal justice.<span style="mso-spacerun: yes;"> </span>To this can be added census material and life
events.<span style="mso-spacerun: yes;"> </span>All building into what feels
like the bare bones of a remarkable series of biographies.<span style="mso-spacerun: yes;"> </span></div>
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This is a single person’s collection of historical data –
Jane Tyler – for whom we have 53 separate items of evidence, leading up to her
eventual transportation on the Second Fleet to Australia in 1789. </div>
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We can know people’s weight and height, their distinguishing
marks, and who they shared a prison cell with.<span style="mso-spacerun: yes;">
</span>We can know how much money they had with them when they arrived in New
South Wales; and we can read their very words recorded in the Old Bailey Proceedings.</div>
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For some, we can even look in to their eyes, and search for
meaning.</div>
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This is Sarah Durrant, convicted in 1871 of receiving two
stolen bank notes and sentenced to two years’ hard labour in Wandsworth prison
– in a mugshot that has all the characteristics of a formal portrait.</div>
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There are problems.<span style="mso-spacerun: yes;"> </span>I
have written about this <a href="http://historyonics.blogspot.com/2013/12/big-data-for-dead-people-digital.html">elsewhere</a>, so will not labour this point today; but the
digitisation of the Western archive – in part driven by the commercial impetus
to monetise popular western demand - has increasingly skewed the historical
record by race and national identity.<span style="mso-spacerun: yes;">
</span>The white working class – citizens of well-ordered states – are suddenly
hyper-available for analysis and empathy; while 98% of the rest of the world
are simply denied a ‘right to be remembered’.<span style="mso-spacerun: yes;">
</span>There is a massive challenge to right this imbalance – and to at the
very least - acknowledge the absences from the archive.</div>
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<br /></div>
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But there are also new and profound possibilities.<span style="mso-spacerun: yes;"> </span>If, as I suggested earlier, the work
performed by the history of emotions is to allow us an interior view of the
lives of those otherwise excluded from the archive; digital history has created
a framework of bald records upon which that emotional representation can be hung.</div>
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<br /></div>
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If the ‘work’ of the history of emotions is the recovery of
interior lives; the ‘work’ of digital histories, is the evidencing of external
lives.<span style="mso-spacerun: yes;"> </span>It provides what Virginia Woolf
set against her ‘Rainbow’; the ‘granite’ of event and fact – driving a narrowly
evidenced narrative made humane and palatable with emotional insight.</div>
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<br /></div>
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By combining the points of sharp light provided by digital
research methods with a model of communities of emotion, we are apparently
allowed to create more fully rounded historical actors – whose interior life is
suddenly available in a new way – whose motivations and behaviour can be
understood and used as part of a broader analysis.<span style="mso-spacerun: yes;"> </span>And given that the essence of ‘modernity’ is
generally thought of as the rise of ‘interiority’ among the middle classes of
the early nineteenth – this is a big deal.<span style="mso-spacerun: yes;">
</span>It apparently, allows us to ‘use’ working class lives and sensibilities
as part of the project of writing the dead in a new and inclusive way.<span style="mso-spacerun: yes;"> </span>For a start it helps expose the ridiculous
and infinite condescension, that suggests that historically ‘modern’ western
middle class people were somehow possessed of a richer interior emotional
landscape than pre-modern, working class and non-western people.</div>
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<br /></div>
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And as a long-term practitioner of ‘history from below’ in the
British Marxist tradition, you would imagine that I would simply be elated by
this (or whatever emotionally positive term is appropriate to my gender, class
and community).<span style="mso-spacerun: yes;"> </span>This combination of new
sources about the working class available because of digital search with a new
technology of knowing about emotions and community, would appear to do much of
the work only tilted at by micro-histories and history from below.<span style="mso-spacerun: yes;"> </span></div>
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So I wonder why I am not actually convinced? Why does this
not feel like a new high point in the history of historical scholarship?</div>
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<br /></div>
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And I think it is primarily because when you combine this
strategy with the return to narrative evident in the vast majority of academic
history writing, several slightly weird things happen.<span style="mso-spacerun: yes;"> </span></div>
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<span style="mso-spacerun: yes;"> </span></div>
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We have increasingly moved from the social sciences to the
humanities, and from explanations of the evolution of the social order; to
profound engagements with the past as a ‘distant mirror’. <span style="mso-spacerun: yes;"> </span>To my bemusement, even recent history,
including that of the 1960s and 70s – a period I remember with a clarity that
suggests I was not taking enough drugs at the time (something I absolutely
deny, by the way) <span style="mso-spacerun: yes;"> </span>– is now frequently
received as journeys into difference.<span style="mso-spacerun: yes;"> </span>In
part, my suspicion is that historians have come to accept the truism that the
digital revolution, when combined with the political and social revolutions
associated with feminism and the collapse of communism, formed a historical
disjuncture that makes traditional forms of causality seem ever less relevant.<span style="mso-spacerun: yes;"> </span>Historians have drunk the kool-aid served up
by the likes of Zuckerberg and Fukiyama.</div>
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<br /></div>
<div class="MsoNormal">
And when these journeys into the past as a foreign country –
an unrelated past world of difference - <span style="mso-spacerun: yes;"> </span>are also presented in the guise of narrative
accounts of individual lives – via biography, collective biography and
micro-histories – we change the historical project.<span style="mso-spacerun: yes;"> </span>By adopting forms of writing that use
techniques drawn from fiction but made plausible by digitisation and the
history of emotion, we effectively undermine the difference between fact and
fiction; contributing to the political process that says if it ‘feels’ right,
then it is right.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
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<br /></div>
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And this is where I become anxious.<span style="mso-spacerun: yes;"> </span>What a combination of digitsation with a
history of emotion used in pursuit of new forms of historical writing, geared
towards ‘experience’, does, is allow us to create a specific kind of historical
simulacra, in Baudrillard’s sense of the word.<span style="mso-spacerun: yes;">
</span>We can now collect small fragments of light, to illuminate this moment,
or that exchange – five or ten or twenty moments, when a historically real
person stood in front of a clerk, and had some aspect of their lives turned into the fiction of accounting.<span style="mso-spacerun: yes;"> </span></div>
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<br /></div>
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We tell ourselves we are pursuing Baudrillard’s first stage
of simulacra building – ‘the sacramental order’ – in which our partial
collection of signs reflects ‘a profound reality’.<span style="mso-spacerun: yes;"> </span>But it seems to me the addition of any claim
to insight into emotions and experience sends our representations of the past
directly to his fourth stage – the ‘pure simulcra’ in which our representations
are in fact simple fictions that have no relationship to any reality
whatsoever. We increasingly use the tools of genre writing to create empathy,
but our bricks are without straw.</div>
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<br /></div>
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If as practising historians, we simply adopt a methodology
that allows us to write from a more fully imagined human perspective; to appeal
to the idea of ‘experience’ as a topic of historical writing without also doing
the work of the social sciences along the way, we effectively abandon the older
historical project of explanation; and in the process abandon the cultural
authority that comes with interpreting how we got here.<span style="mso-spacerun: yes;"> </span>When Jo Guldi and David Armitage published
<i>The History Manifesto</i> a few years ago its many flaws were paraded before a spiteful
audience (myself included); but it did get one thing right.<span style="mso-spacerun: yes;"> </span>As they suggested, unless we claim the
high-ground of historical explanation; claim a science of social evolution
(whether Marxist or otherwise), we will become mere stylists, using the past as
a dress-up box for the intellectual equivalent of seasonal panto.</div>
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<br /></div>
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<br /></div>
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We can make our readers cry, but I worry that we
increasingly fail to make them think.</div>
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Tim Hitchcockhttp://www.blogger.com/profile/17851547190864328027noreply@blogger.com140tag:blogger.com,1999:blog-2723306728611607327.post-62380955769873637262018-04-03T02:45:00.000-07:002018-04-06T03:34:51.282-07:00Twenty five years of the REF and me.<div data-contents="true">
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Over on
Twitter there has been a recent series of posts on the <a href="https://twitter.com/hashtag/REF?src=hash"><span style="color: blue;">#REF</span></a>,
and a lot of contention about its use and its worth; and its impact on the humanities in particular. For an excellent summary see Ian Pace's blog <i><a href="https://ianpace.wordpress.com/2018/04/03/the-rae-and-ref-resources-and-critiques/">The RAE and REF: Resources and Critiques</a>. </i>The raw emotion felt in
response to the ill-treatment of many at the hands of RAE/REF managers is fully
on display - and makes for harrowing reading. The pressures on ECRs are
very real and the REF leads many academic department heads and
research administrators to make stupid, and inhumane decisions. My own experience of
the RAE and REF, however, is different, and as 240 characters won’t allow me
the space to reflect how it has shaped my career - I have posted here instead.</span></div>
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<br /></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">I
received my doctorate in 1985, via a system that seemed predicated on a belief
that supervision was just one option, human contact a luxury, and emotions superfluous.
The five years spent as a doctoral student remain a low-point in my life. Entirely unsuccessful in my attempts to find a job or secure a post-doctoral fellowship, I spent the next four years supporting myself doing a mixture of working building sites, casual teaching (mainly for US 'study abroad' programmes) and research for publishers. As an institution uniquely open to the un-employed, the IHR tea-room became my only academic point of contact. By 1989, I had essenitally given up any academic ambitions, when I was appointed as a lecturer in 'eighteenth-century social and economic history and humanities computing' at the Polytechnic of North London. It felt miraculous at the time. As far as I
can remember this was the first permanent post to come up in the UK in my
field of 18th century social history in four years, and I suspect I was appointed not for my historical expertise, but because I could cover both halves of the job description.<br style="mso-special-character: line-break;" />
<br style="mso-special-character: line-break;" />
</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">A few
years later <i>PNL</i> became the University of North London, and I was charged with running the department of history. The first RAE the 'new' universities could
participate in came soon after, in 1992. No one else in the department thought
it was worthwhile putting in a submission and there was no mechanism for
organising such a thing, so I pretty much wrote it myself. The department at
the time was a stunning place to teach (my best work experience in a 30-year
career), but there was no research funding. The annual research budget
ran to some £2,500 between some 45 humanities staff. One year there was
an actual physical fight outside the committee where that £2,500 was
allocated. My colleagues were nevertheless a remarkable group of historians including people such as Kathy Castle, John Tosh and Denis Judd. </span></div>
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<br /></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">In the
end, we were awarded a score of '3' - putting us about a third of the way up the
list of 'old' university history departments. And with that score came
approximately £90k a year in QR (Quality Related) funding for a staff of around 12, for the next
four years. This radically transformed the character of the department. This
was not all to the good. Arguably the focus on teaching changed and several
colleagues whose world view was less grounded in the powerful values of the old
poly sector let the funding rather go to their heads. But the result of
that RAE, and the redistribution of funding that followed, very much
demonstrated that there was excellent research being produced throughout the
sector. I have always believed that the RAE was introduced under Thatcher as a way of disciplining the 'old' universities, and that the 1992 inclusion of the 'new' universities, was a part of the same strategy. It worked. Everyone
substantially raised their game in the 1990s - or at least became more focussed
on research and publication. This was also a period during which student
numbers were rapidly expanding, drawing in both money and new staff (following
10 years of decline and retrenchment). My generation of historians for the most part doesn't exist. Some made a career in the US, but most of my fellow doctoral students were forced to take jobs outside of the academy, and when expansion came in the early 90s, there was a new, younger generation keen to apply. But following the 1992 RAE, my strongest emotion
was a sense of self-righteous smugness - a belief that the purpose and drive
that I found in my small department had been recognised, and the remarkable
talents of its staff rewarded.</span></div>
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<br /></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">That
success was largely repeated in 1996 - and following that RAE I moved from the
University of North London (later London Metropolitan University), to a
'Readership' at the University of Hertfordshire. I was recruited as part
of an RAE driven strategy following the poor showing of Hertfordshire's very strong history department in the previous year's exercise. Hertfordshire had failed to showcase the work of its recent appointments in its 1996 submission. It was a bitter-sweet move for me - and I
remain ambivalent about it. But while North London did not seem to want to plan for the next RAE, Hertfordshire was actively strategising. Over the next two rounds I was again
tasked with writing a department's submission, and Hertfordshire's history department's score rose from a '2' to a '5*'. In 2008 I also oversaw some
seven submissions in my then role as director of the SSAHRI (Social Science,
Arts and Humanities Research Institute) at Hertfordshire. In both these rounds,
the 'new' universities seemed to make real progress; and the ridiculous
hierarchies of the sector seemed to be gradually dissolving. There was a
recognition that even if the 'excellence' in the 'new' universities formed only
'pockets' they were nevertheless worth acknowledging and funding. When,
in 2001, the history department at Oxford Brookes received a 5* while Oxford
University's history department was rated 5, it seemed as if anything was
possible. </span></div>
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<br /></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">For successful departments in my part of the sector, the RAE
also gave new authority to academic staff. Keeping staff, recruiting new
staff, and providing a context in which academics could fulfil the requirements
of the RAE became ever more important. The number of staff promoted to 'Professor'
expanded dramatically, and while salary scales did not move much, the
distribution of posts between 'Professor', 'Reader', 'Senior Lecturer' and 'Lecturer' changed out of all recognition. Where departments had traditionally had just one 'Professor', and while 'Senior Lecturer' was the height of most academic's ambition; promotions now came thick and fast. In the process the amount of money spent on staff salaries increased significantly. Along the way there
were very difficult decisions to be made. I personally only ever excluded
one eligible person from the RAE, but the interview involved remains a raw
memory. By 2008, with the department I helped to lead riding high in the
RAE (well in to the top third of departments), I was convinced that the new
dispensation made sense.<span style="mso-spacerun: yes;"> </span>A regular RAE,
in combination with the greatly expanded funding available through the AHRC
from 2004 onwards, created what felt like a largely balanced system of support that appeared to
reward hard work and quality research wherever it was found. Humanities scholars seldom acknowledge that the funding for their reserach via the AHRC increased from £20m to £100m in a single year (2004) at a time when universities themselves where increasingly obliged to give QR funding to the units of assessment that had 'earned' it via the RAE. This substantially increased funding for the humanities as well. As a
beneficiary of the system, I was - of course - convinced by its fairness.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">The
advent of the REF and the arrival and changing level of student fees; the
lifting of the cap on student numbers, and a powerful fight-back by the elite institutions
(the Russell Group substantially upped its game in 2004), changed much of
this. </span></div>
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<br /></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">With the
advent of first £3000, and then £9,000 fees, it became clear that government policy was shifting
direction.<span style="mso-spacerun: yes;"> </span>From supporting 'pockets of
excellence' there would in future be a pattern of expansion and support largely
driven by the prejudices of parents and employers. The
'new' universities were being told to get back in their boxes. At the
same time, the inclusion of 'impact case studies' in the 2013 REF sent a strong
message that near market and STEM research was likely to be prioritised in
future. </span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;"><br /></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">By 2013,
and although Hertfordshire put in a stunning REF performance in history (ranked
well in the top ten departments nationally and level-pegging with Cambridge),
it seemed clear to me that this model of open competition would not be allowed
to continue; or that hurdles were being built in to the system that would rapidly undermine the progress of the previous twenty years. It was largely in despair at the direction of policy, that I took a post at the
University of Sussex - as the least worst compromise I could come up
with. Again, this was a move made in response to a REF strategy. In this instance it rapidly became clear that the relevant strategy
existed primarily in the minds of the VC and head of school, and had not been agreed by my new
colleagues - but there was a strategy.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">After 25
years in the now not so 'new' universities, during which the RAE and REF seemed
to form the basis for real opportunity and positive change - and the basis for grounded, long-term planning, I have since found
myself in an 'old' university, where the REF feels more a threat than a
promise. Most of my colleagues would prefer the REF did not exist, and
that research funding was simply allocated to them by dint of having secured a
job at a 'good' University. Having won the race to the finishing line they would prefer not to be obliged to compete further. In my new 'old' university REF strategies are also closely monitored from the centre - and there are few opportunities to use the process in pursuit of coherent academic planning at departmental level.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">For
myself, I look back on this journey with mixed emotions. The bureaucracy,
the games playing and the constantly changing requirements of each new RAE/REF,
served a series of British governments as a means of manipulating the university
system. First, it disciplined the 'old' universities, forcing them to
take more seriously both research and public engagement - holding them to account for the public money they received. And then, it
hung the 'new' universities out to dry, by shifting the goal posts and ensuring
that the system would be increasingly rigged in support of the 'old'
ones. In many ways, government - from Thatcher to Cameron and May - played a community against itself -
ensuring that all those academics who pretended to be part of a supportive community
of scholarship would spend their time fighting madly to beggar their neighbour. </span></div>
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<br style="mso-special-character: line-break;" />
</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">But at
the same time, I look to the promise of greater diversity offered by those
early RAE's and cannot but think they must be at least a part of the
solution. The desire to get rid of the RAE is largely a cry to 'leave us
alone'; and it is heard most loudly in the most privileged corridors of the
academy. And yet, when you look at the staff involved, if you measure
their ethnic, class and cultural diversity, what rapidly emerges is a defence
of the most selective process imaginable. Most staff in the humanities in
the 'old' universities (and the new) are white and middle class (myself included). A
substantial proportion come from 'academic' homes; and were given privileged
access to an elite education by dint of their parent's social and academic capital. If
simply getting a 'job' frees you from ever demonstrating the significance of
your work; and if all those people who did not get a job in the right corner of the academy are excluded from demonstrating the worth of
their own labours, we simply re-enforce hierarchies of privilege to the
detriment of the system. Clear benchmarks, and transparent processes seem
to me a better antidote to privilege than a strategy based on 'leaving us alone'.<br style="mso-special-character: line-break;" />
</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">ECRs have been dealt a rough hand. The process of selection has been changed without anyone ever spelling out why or how. The only explicit discussion of this I ever heard was at the AHRC, where the identification of the 'leaders of tomorrow' became an increasing pre-occupation from around 2010 as part of an emerging policy of concentrating research funding on an ever dwindling set of departments and research 'leaders'. The path to secure academic employment is now predicated on a first class degree from the 'right' university </span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">(read Oxbridge)</span>, followed by a funded doctorate at the 'right' university </span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"> (read Oxbridge)</span>, followed by a post-doc (maybe London for varieties' sake), a book of the thesis, two articles, and success in the AHRC's 'New Generation Thinkers' competition. And woe-betide anyone who fails to collect any one of these shiny tokens of achievement. The effect is to raise the bar for secure employment while not being honest with the scholars who are in fact being judged and discarded at each stage. The language of precarity actually hides an ongoing process of brutal selection. This is a form of selection that re-enforces privilege and excludes scholars who have not travelled on this most banal, lock-step journey.</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 107%;"> To be caught in this system is very hard, but the REF is not the real issue. </span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 107%;">As I approach retirement I have become increasingly uncomfortable with higher education. I look back and think with Malcom Chase that I would choose a different path if I was able to start over. Higher education feels ever more akin to
a factory for the reproduction of class and ethnic privilege - the pathways
from exclusion to success ever more narrowly policed. Ironically
it is not the 'neo-liberal' university that is the problem; but the
'neo-liberal' university dedicated to reproducing an inherited hierarchy of privileged
access that uses managerialism and rigged competition to reproduce
inequality. To my mind, the REF was a game changing opportunity, and could be again.</span></div>
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Tim Hitchcockhttp://www.blogger.com/profile/17851547190864328027noreply@blogger.com333tag:blogger.com,1999:blog-2723306728611607327.post-36636781575567382042017-07-05T09:11:00.000-07:002017-07-05T09:12:04.615-07:00Some thoughts on a monograph - James Baker's, The Business of Satirical Prints in Late-Georgian England<!--[if gte mso 9]><xml>
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<div class="Body">
<span style="font-size: large;"><i><b><span lang="EN-US" style="line-height: 107%;">I was recenlty charged to say a few words at a launch event for James Baker's new monograph,</span></b></i><span style="font-weight: normal;"><i><b> </b>The Business of Satirical Prints in Late-Georgian England<b>. I am afraid that in the nature of academic hardback monographs the volume is too expensive to actually buy, but the link to the publishers' page is <a href="http://www.palgrave.com/gb/book/9783319499888">here</a>; and James has blogged extensively about writing the volume, and the <a href="https://cradledincaricature.com/">'soft' and 'hard'</a> digital methodologies that went in to it. I am posting a version of what I said, because in working up a few enthusaistic words with which to toast the publication, it also became clear to me that this book - or perhaps just books in general - are changing in dialogue with the changing nature of historical research and publication. While I have been profoundly frustrated by what has appeared to me to be the slow evolution of the monograph (and historians' attitudes to it as a form), this book suggested that I had missed a subtle change along the way. So, for what's it worth, this is pretty much what I said.</b></i></span></span></div>
<br />
<br />
<div class="Body">
<br /></div>
<div class="Body">
<span style="font-size: large;"><b><span lang="EN-US" style="line-height: 107%;"></span></b></span></div>
<div class="Body">
<span style="font-size: large;"><b><span lang="EN-US" style="line-height: 107%;">I
was asked a few weeks ago to say a few words to help launch <i>The Business of Satirical Prints in
Late-Georgian England</i>, and I thought - why not? Before I had read the book, I
thought I sort of knew both James and Georgian England, and the kind of book it would be. And at the same time, given that James Baker is seriously into the Digital Humanities, I thought I knew a little bit about that too. And when I got my
grubby hands on the book itself – I thought – OK – that looks like a book – and
I know a little bit about those too. I don't really like them very much, but I own a few and have written a few. So, all in all, I thought this would be a walk in the park that was unlikely to challenge any of my hard won prejudices or lazy assumptions. </span></b></span></div>
<div class="Body">
<span style="font-size: large;"><b><span lang="EN-US" style="line-height: 107%;"><br /></span></b></span></div>
<span style="font-size: large;">
</span><br />
<div class="Body">
<span style="font-size: large;"><b><span lang="EN-US" style="line-height: 107%;">I was wrong. This book confounded pretty
much everything I thought I knew about James, and books, and Georgian England
and the digital humanities. </span></b></span></div>
<span style="font-size: large;">
</span><br />
<div class="Body">
<span style="font-size: large;"><b><span lang="EN-US" style="line-height: 107%;"><br /></span></b></span></div>
<span style="font-size: large;">
</span><br />
<div class="Body">
<span style="font-size: large;"><b><span lang="EN-US" style="line-height: 107%;">My
first shock came in the acknowledgements (and yes, that is the first place I
looked) – where James very kindly acknowledged both me and a bunch of other
people for their support. But uniquely
in my experience, he did so by listing our Twitter user names. I thank god I chose the relatively innocuous @TimHItchcock
– but what this brought home immediately was that this was a book that was
created in a self-conscious engagement with the digital humanities, and the
modern practise of academic history writing. It may seem a simple thing, but it confounded and messed with the way we still represent books and book writing. Despite the revolution in how we research and write books, we still pretend they are the product of old-school debate, musty research libraries, foolscap and ink - that they are written in some book-lined study, in the gaps between feasting at high table. The acknowledgements said that this book was the product of a
different technology, a different conversation, held in a different world. As a result, though a very small thing, it felt remarkably radical – and that radicalism extended through the
rest of the book. </span></b></span></div>
<div class="Body">
<span style="font-size: large;"><b><span lang="EN-US" style="line-height: 107%;"> </span></b></span></div>
<span style="font-size: large;">
</span><br />
<div class="Body">
<span style="font-size: large;"><b><span lang="EN-US" style="line-height: 107%;">Next
came the introduction – in which James outlined the intellectual forces that
brought him to the topic, and which informed his approach. The list went from Fernand Braudel and Robert Darnton to
EP Thompson – temporarily lulling me into a sense of the familiar – before moving on to
Bruno Latour and Franco Moretti.</span></b></span></div>
<div class="Body">
<br /></div>
<span style="font-size: large;">
</span><br />
<div class="Body">
<span style="font-size: large;"><b><span lang="EN-US" style="line-height: 107%;">Anyone
who knows the field of eighteenth-century British history </span></b><b><span lang="IT" style="line-height: 107%;">will realise
in a minute that this is not normal. You
can do Darnton and Thompson, or if you are under 35 and working on a literary topic you can do Latour or Moretti </span></b><b><span lang="EN-US" style="line-height: 107%;">– but bringing them
together in the same analysis forms a profound journey across intellectual
boundaries more secure than any physical wall.
Here was a mixture of Thomspon’s Marxist literary approach, with Braudel’s
social science, and Darnton’s cultural history; with Latour’s anthropology of
scientific practice; and Moretti’s tools based explporations. What looked initially like a book defined by
its topic – the late Georgian satirical print – rapidly emerged as a book
defined by its intellectual ambition.</span></b></span></div>
<span style="font-size: large;">
</span><br />
<div class="Body">
<br /></div>
<div class="Body">
<span style="font-size: large;"><b><span lang="EN-US" style="line-height: 107%;">In
the end, it fulfils that ambition. It brings together a genre of description
that Thompson perfected; with Braudel’s clear understanding of the
materialities of life; with Darnton’s sharp ear for cultural difference – and
then throws into the mix, Latour’s beautiful engagement with the cultural
practises of production, and Moretti’s joy in deploying the tools of distant
reading. </span></b></span></div>
<span style="font-size: large;">
</span><br />
<div class="Body">
<br /></div>
<div class="Body">
<span style="font-size: large;"><b><span lang="EN-US" style="line-height: 107%;">The
chapter that seemed to me to epitomise the book – not because it used any of
the tools of the digital humanities, but because it contained a breadth of
approach and understanding that transcends normal history writing – is chapter
three on the mechanics of making prints. It dealt with that magic combination of copper and
paper and ink; of engraving, and etching and mezzotint deployed in pursuit of
cultural impact. It seemed to me that in
that chapter, James captures perfectly the ambiguities of making – the extent
to which every cultural act and every material act is a balance between
purpose, materiality and constraint. It
felt to me he could have been writing about the evolution of the home
computer, the internet of things, or the materialities of code. What he has nigh on perfected is a balance between cultures of materiality, and the limits to our ability to escape that materiality.</span></b></span></div>
<span style="font-size: large;">
</span><br />
<div class="Body">
<br /></div>
<span style="font-size: large;">
</span><br />
<div class="Body">
<span style="font-size: large;"><b><span lang="EN-US" style="line-height: 107%;">In
the end, what I think I learned most fully from this book is that it is
possible to practise digital history – to make new narratives, informed by new
technologies, in direct engagement with old ones. And that the outcome will look different to
the kinds of books that historians have now been writing for over 200 years. This still looks like a book, but actually it is something more than that - it is an encoding of a journey through data and tools; through history certainly, but also through the mechanics of the academy.</span></b></span></div>
<div class="Body">
<br /></div>
<div class="Body">
<span style="font-size: large;"><b><span lang="EN-US" style="line-height: 107%;">One
of the complaints heard about the digital humanities – or indeed the digital
revolution – is that it has not transformed how we do history, or sociology,
literature or anthropology – that somehow it has failed to fulfil the early
hyperbole. But this book suggests that a different kind of history is gradually emerging; and that while it will no doubt retain the form of the codex, it is nevertheless different. By self-consciously using the conditions of the present, to rework our inherited
forms of history writing, this book represents a positive step forward. </span></b></span></div>
<div class="Body">
<br /></div>
<span style="font-size: large;">
</span><br />
<div class="Body">
<span style="font-size: large;"><b><span lang="EN-US" style="line-height: 107%;">In other words, it
is a radical, self-conscious, and technically informed experiment in
genre. It is a practical intervention in
the creation of digital history. Buy
it if you really want to subsidse the commercial academic presses, or figure out how to access it in other ways, but read it.</span></b></span></div>
<div class="Body">
<br /></div>
Tim Hitchcockhttp://www.blogger.com/profile/17851547190864328027noreply@blogger.com104tag:blogger.com,1999:blog-2723306728611607327.post-20218012882178423082017-02-03T02:48:00.002-08:002017-02-03T02:48:15.942-08:00Research Infrastructure and the Future of National Libraries<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="header"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footer"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
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<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
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<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
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<i>In my role as a member of the <a href="http://www.bl.uk/aboutus/governance/advisorycouncil/">British Library Advisory Council</a>, I was recently asked to present a few thoughts on how research infrastructure might change in response to the changing demands of academics. This post records my notes for that discussion. It does not record what I said to that committee on the day - and certainly does not imply that the British Library in any way endorses or subscribes to my views; but it does reflect what I believe is the necessary direction of travel in the provision of resources for academic research. </i></div>
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<br /></div>
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<br /></div>
<div class="MsoNormal">
I have been asked to speak for a few minutes about
developments in academic research and the implications these might have for the
British Library; and where I really wanted to start was with a quick appreciation of
where we have come from.</div>
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<br /></div>
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It is important to remember that we are sitting at the
centre of what was a 200 year project to create a comprehensive – divided, but
universal - infrastructure for research and knowledge creation.<span style="mso-spacerun: yes;"> </span>All you have to do is walk down Museum Row –
from The Science Museum, to the Natural History Museum, to the V&A – each
with their active Higher Education equivalent research staff – to remember that we
inherited a powerful, cross disciplinary research infrastructure. <span style="mso-spacerun: yes;"> </span>Or look back to the old round reading room of
the British Library with its 400-odd volumes of an ever changing manuscript catalogue –
seeking to encompass all of human knowledge.<span style="mso-spacerun: yes;"> </span>Whatever your field, whatever you methodology,
the nineteenth and early twentieth century created an infrastructure in stone
and brick.</div>
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<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
In the last fifty years much of this has either been
transformed, or else become increasingly redundant – catering for an ever
shrinking body of old-school scholars; while much of the effective
infrastructure that underpins research has moved elsewhere.<span style="mso-spacerun: yes;"> </span>Arguably 'Science, Technology, Engineering and Medicine' (STEM) subjects, with their greater resources have led
the way in creating endless new data stores and distributed infrastructural
kit.<span style="mso-spacerun: yes;"> </span>And while buildings – like the
<a href="https://www.crick.ac.uk/">Crick Institute</a>, or <a href="https://home.cern/">CERN</a> – represent a fragment of a constant ongoing rebuilding of
intellectual infrastructure, they are just the tip of a much larger
transformation that has taken a new form.</div>
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<br /></div>
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Through repositories like Cern’s<a href="https://zenodo.org/"> Zenodo</a> project; through the
Genome project (with at the time, its seemingly huge demand for data storage),
with Gold Open Access science journals (built on commercial publishing models,
and incorporating their own data stores), with <a href="https://github.com/">GitHub </a>and with a collaborative
project-based approach to research, STEM has created a new distributed
knowledge infrastructure – because the older one failed first for their
disciplines.<span style="mso-spacerun: yes;"> </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"></span>In the process STEM has
largely side-stepped the brick and stone infrastructure along the way – in
particular the British Library.<span style="mso-spacerun: yes;"> </span>You will
not find a physicist or an astronomer in any of the Library’s reading
rooms.<span style="mso-spacerun: yes;"> </span>In other words the hardest end of STEM seems to me to have
cracked substantial elements of this conundrum, and left the other two thirds
of the research landscape – from the softer end of STEM, to social science,
business and economics, and the humanities, largely eating dust, and reliant on
an increasingly creaky twentieth century infrastructure.</div>
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<br /></div>
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So, in the first instance, it seems to me that we are
challenged to rethink ‘research’ data, and publication as a new form of
infrastructure.<span style="mso-spacerun: yes;"> </span>So, the Library – or
somewhere – needs to create a context in which notes and files, data stores of
all kinds can be shared and curated – in a digital form.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>And
this data, or data store, needs in turn to be tied directly to the public
commentary – or publication – built upon that data.</div>
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<br /></div>
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But in the process there is also something more subtle going
on.<span style="mso-spacerun: yes;"> </span>While STEM has led in a particular
direction, it has brought with it a particular style of research organisation,
which again changes the nature of the infrastructure required.<span style="mso-spacerun: yes;"> </span>All you have to do is look at the evolution
of the <a href="http://www.rcuk.ac.uk/">Research Councils UK</a> – from its shared services centre, to an ever growing emphasis on
inter-disciplinary funding – and emphasis on large team projects, and the
training of Early Career Researchers to be ‘leaders’ – by which they mean
project heads – to see a direction of travel towards large teams of
‘laboratory-ish’ groups, fronted by media friendly ‘interpreters’.<span style="mso-spacerun: yes;"> </span>And of course, this
is all combined with a precipitate concentration of research funding on an ever
smaller number of ever more self-congratulatory institutions.</div>
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<br /></div>
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In other words, it seems to me that national research
culture – and in a more chaotic way, international infrastructure as well - is
faced with a twofold change.<span style="mso-spacerun: yes;"> </span>First,
there is a fundamental transformation in the most significant core of the
research ‘infrastructure’ from bricks and mortar, to online - to immediately
accessible data; with the tools to use it and ‘publish it’.</div>
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<br /></div>
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And second we are faced with a gradual, forced move towards
larger and more ‘laboratory-like’ forms of research, in which collaboration –
both virtual and face-to-face – are increasingly normal.</div>
<div class="MsoNormal">
By way of a caveat, however, we are also faced with a
multi-generational lag in which every variety of lone and independent scholar
will want the same old, same old – to be available regardless of the cost.</div>
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<br /></div>
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All of which just leads me to believe that the evolving
nature of research – mainly that based in Higher Education – needs urgent attention in the
following areas.</div>
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<br /></div>
<br />
<ul>
<li><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>The shared curation and storage of data and
research materials – building on STEM models, but made friendlier to different
data types.</li>
<li><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>We also need the tools to work with that data –
and training that supports their use.</li>
<li><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>We need to explore different validation and authorisation
models for ‘publication’.<span style="mso-spacerun: yes;"> </span>At the moment
we are allowing a multi-billion pound business to be built on national expenditure,
and we need to reclaim elements of this – through new models of peer review and
distribution.<span style="mso-spacerun: yes;"> </span>These in turn need to be
tied to data – vertically integrated from data to experiment to commentary -
and more amenable to collaboration – with a traceable development path through
all of it.</li>
<li><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";"></span></span></span>We also need a clearer commitment to non-HE
researchers.<span style="mso-spacerun: yes;"> </span>We need to acknowledge that
HE – as gatekeeper of research authority - forms part of the problem.<span style="mso-spacerun: yes;"> </span>And we need to keep a weather eye on the
boundaries around who can research.<span style="mso-spacerun: yes;"> </span>The
BL certainly needs to create an infrastructure for HE research, but it needs to
be an infrastructure that is open to everyone.</li>
</ul>
<br />
<div class="MsoNormal">
In other words, and as usual, the British Library needs to remember that
it is a national machine for research and learning, committed to access to all
knowledge, for everyone who needs it; and to use these first principles to
navigate a remarkably complex and rapidly changing landscape.</div>
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<br /></div>
<div class="MsoNormal">
We also need to remember, as William Gibson said: ‘<a href="https://en.wikiquote.org/wiki/William_Gibson">The future is already here – it’s just not very evenly distributed</a>’.</div>
Tim Hitchcockhttp://www.blogger.com/profile/17851547190864328027noreply@blogger.com116tag:blogger.com,1999:blog-2723306728611607327.post-26821246867518649472017-01-20T03:25:00.001-08:002017-01-20T03:33:40.153-08:00Humanities2<span style="font-size: large;"><i>What follows is the lightly revised text of a 'Provocation' I presented at the launch event held to celebrate the creation of the <a href="http://www.dhi.ac.uk/">Digital Humanities Institute</a></i><i> from the Humanities Research Institute. Held in Sheffield on the 17th of January 2017, the event perhaps required more celebration than critique (and the DHI deserves to be celebrated). But I hope that the main point - that we need to move beyond the textual humanities to something more ambitious - comes through in what follows.</i></span><br />
<br />
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
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</i></span><br />
<div class="MsoNormal">
<span style="font-size: large;"><span style="line-height: 107%;">I have been
working with what has up till now been the Humanities Research Institute for
almost twenty years. I have witnessed as it has
grown with each project, and engaged with each new twist and turn in that
remarkable story of the evolution of the digital humanities in the UK since the
1990s. It has been a real privilege. </span></span></div>
<div class="MsoNormal">
<br /></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal">
<span style="font-size: large;"><span style="line-height: 107%;">Of all the centres created in the UK in that time – the HRI has been the most
successful, and most influential. And it
has been successful, because, more than any other equivalent it has created a sustainable
model of online publishing of complex inherited materials, and done so in
delicate balance with an ongoing exploration of the new things that can be done
with each new technology – and in balance again with a recognition of the new
problems the online presents.</span></span></div>
<div class="MsoNormal">
<br /></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal">
<span style="font-size: large;"><span style="line-height: 107%;">I frequently
claim that the UK is at the forefront of the digital humanities – not
necessarily because the UK has been at the bleeding edge of technical
innovation; or because its academics have won many of the intemperate arguments
that pre-occupy critical theory.
Instead, it is at the forefront of worldwide developments because,
following the HRI, the UK figured out early that the inexorable move to the
online, both demanded a clarity of purpose, and a constant and ongoing
commitment to sustainable publication.
The HRI, and now the DHI, represent that clear and unambiguous
commitment to putting high quality materials online in an academically credible
form; and an equally unambiguous commitment to measured innovation in search
and retrieval, representation, and analysis.</span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: large;"><span style="line-height: 107%;"></span></span></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal">
<span style="font-size: large;"><span style="line-height: 107%;">But, while
it is a moment to look back on a remarkable achievement, it is also a moment to
grasp the nettle of change. This re-foundation
is a clear marker of that necessity and reflects a recognition both that the Humanities
as a whole are on the move, and that the roles the DHI might play in that
process are themselves changing.</span></span></div>
<div class="MsoNormal">
<br /></div>
<span style="font-size: large;"><span style="line-height: 107%;">For me, this sets a fundamental challenge. And where I
tend to start is with that label ‘The Humanities’. This category of knowing has never really sat very comfortably
for me. It has always seemed a
rather absurd, portmanteau import from the land of Trump – a kind of Trumpery –
used to give a sense of identity to the thousand small private Universities
that pock-mark the US; and to a collection of ill-assorted sub-disciplines brought together primarily in defence of their funding. And it goes without saying, ‘The Humanities’ are
always in crisis.</span></span><br />
<span style="font-size: large;"><span style="line-height: 107%;"> </span>
</span><br />
<div class="MsoNormal">
<span style="font-size: large;"><span style="line-height: 107%;">But, if you
asked me to define the ‘humanities’ part of that equally awkward phrase – the
Digital Humanities – it has to encompass that process through which a society
learns about itself; where it re-affirms its collective identity and
values; where the past and the present
work in dialogue. And whether that is
via history, or literature, philosophy or politics, or the cultural components
of geography and sociology – the ‘Humanities’ is where a community is first
created and then constantly redefined in argument with itself, and with its
past. </span></span></div>
<br />
<span style="font-size: large;"><span style="line-height: 107%;">For all
the addition of the ‘digital’ to the equation, that underlying
purpose remains, and remains uniquely significant to
a working civil society. </span></span><br />
<div class="MsoNormal">
<br /></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal">
<span style="font-size: large;"><span style="line-height: 107%;">But, up
until now – that conversation – that dialogue between the past and the present
– has pre-eminently taken the form of text – the texts of history books and
novels; long analytical articles and essays; aphorisms, poems and manifestos. And even when you add the ‘digital’ to create
the ‘Digital Humanities’, the dominance of ‘text’ remains constant. Indeed, if you look at the projects that have
been undertaken by the HRI over the last two decades, the vast majority have
been about text, and the re-representation of inherited text in a new digital
format. You can, of course, point to
mapping projects, and 3d modelling of historic buildings, but the core work of
the ‘digital humanities’ to date has been taking inherited text, and making it
newly available for search and analysis as a single encoded stream of data.</span></span></div>
<div class="MsoNormal">
<br /></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal">
<span style="font-size: large;"><span style="line-height: 107%;">This is a fantastic thing – the digital humanities have given us new access to old text; and
created several news forms of ‘reading’ along the way – distant, close, and
everywhere in between. It has arguably,
created a newly democratic world of knowledge – in which some 40% of all humans
have access to the web and all the knowledge contained therein – </span><a href="http://www.internetlivestats.com/internet-users/"><span style="line-height: 107%;">all 3.5 billion of them</span></a><span style="line-height: 107%;">.
That small-minded world many of us grew up in, of Encyclopaedia salesmen peddling access to
a world of information most of us were otherwise excluded from by class and race and gender – is simply
gone. This is a very good thing.</span></span></div>
<div class="MsoNormal">
<br /></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal">
<span style="font-size: large;"><span style="line-height: 107%;">But, while the first twenty years of the web forms a place where
the stuff of the post-enlightenment dead needed to find a home; our hard work
recreating this body of material also means that we have spent the last twenty
years very much swimming against the tide of the ‘humanities’ as a set of
contemporary practises. We have
reproduced an old-school library, but online – with better finding aids and
notetaking facilities, and we have made it
more democratic and hyper-available – for all the paywalls in the world. But at the
same time, we have also allowed ourselves to limit that project to a ‘textual’
humanities; when the civic and civil conversation that the ‘humanities’ must
represent, has itself moved from text to sound and from sound to image. There is a sense in which we are desperately
trying to represent a community – a conversation – made up of an ever changing
collection of voices in an ever changing series of formats, but trying to do
so, via that single encoded stream of knowing:
text.</span></span></div>
<div class="MsoNormal">
<br /></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal">
<span style="font-size: large;"><span style="line-height: 107%;">This is
where the greatest danger and the greatest opportunity for the ‘digital humanities’
lies – because if you look at ‘data’ in its most abstract forms, this equation
between knowing and text, is breaking down, and is certainly changing at a dramatic
pace.</span></span></div>
<div class="MsoNormal">
<br /></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal">
<span style="font-size: large;"><span style="line-height: 107%;">The greatest
technological developments shaping the cultures of the twentieth century focussed
on creating alternatives to text.
Whether you look to sound and voice, via radio and recording; or image
and movement, via film and television – the first half of the twentieth century
created a series of new forms of aural and visual engagement that gave to sound
and image, the same universal reach that for the preceding four hundred years, was
provided by print. The second half
of the twentieth century, and the first decade of the twenty-first, was equally
taken up with putting sound and image in our everyday - jostling for
attention, and pushing aside – text. </span></span></div>
<div class="MsoNormal">
<br /></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal">
<span style="font-size: large;"><span style="line-height: 107%;">It is
perhaps difficult to remember that the car radio only became commonplace in the
1950s; and that the transistor radio making mobile music possible – on the
beach and on the street – was a product of the same decade. Instant photography and moving
images were similarly, only given freedom to go walkabout in the 1970s and 1980s,
with luggable televisions, and backbreaking video cameras. </span></span></div>
<div class="MsoNormal">
<br /></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal">
<span style="font-size: large;"><span style="line-height: 107%;">This trajectory of change – and ever greater focus on the non-textual – has simply increased in pace with the advent of
the smart phone and the tablet. While at
the margins, the Kindle may have changed how we read <i>Fifty Shades of Grey</i> on
public transport; it was the Walkman, the iPod, and the smartphone that have most
fundamentally changed how we spend our time - what kinds of signals we are
interpreting from minute to minute. The most powerful developments of the last
decade have involved maps and images – from Google Earth to Flickr and
PinInterest.</span></span></div>
<div class="MsoNormal">
<br /></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal">
<span style="font-size: large;"><span style="line-height: 107%;">Ironically,
while the book and the journal article have remained stubbornly the same - even
in their digital forms; and while much of ‘digital humanities’ efforts have
been directed towards capturing a technology of text that had been largely
invented by 1600, and remained largely unchanged since; the content of our
culture has been radically transformed by the creation of unlimited sound and
image. </span></span></div>
<br />
<span style="font-size: large;"><span style="line-height: 107%;">If you
want proof of this, all you need do reflect on the triggers of your
imagination when contemplating the 1960s or 1980s – or the 2000s or 2010s. We have become a world of sound and image. </span></span><br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: large;"><span style="line-height: 107%;">Half the time we now narrate the past through
discographies of popular music; and most of what we know about the past is
delivered via image rich documentaries, and historical dramatizations – wholly
dependent on film archives for their power and claim to authenticity. Our conversation – that dialogue with the
dead, that forms the core of the humanities – has become increasingly
multi-modal; and multi-valiant. </span><span style="line-height: 107%;">A simple
measure of this – is that the percentage of text on the web has been declining
steadily since the mid-2000s. According
to Anthony Cociolo, text currently represents only </span><a href="http://www.informationr.net/ir/20-3/paper682.html"><span style="line-height: 107%;">some 27% of web content</span></a><span style="line-height: 107%;">. </span></span></div>
<div class="MsoNormal">
<br /></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal">
<span style="font-size: large;"><span style="line-height: 107%;">Over the last two decades the Digital Humanities has crafted a technology for the representation of text; but we now need to pay more attention to all that other
data – the non-textual materials that increasingly comprise our cultural
legacy, and the content of our humanities conversation.</span></span></div>
<div class="MsoNormal">
<br /></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal">
<span style="font-size: large;"><span style="line-height: 107%;">And the digital humanities have a genuine opportunity to create
something exponentially more powerful than the textual humanities. What the digital side of all this allows, is the removal of the barriers between sound and image and text – between novel,
song and oil painting. Each of these is
no more than just another variety of signal – of encoding – now, in the
digital, divided one from the other by nothing more substantial than a
different file format.</span></span></div>
<div class="MsoNormal">
<br /></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal">
<span style="font-size: large;"><span style="line-height: 107%;">If we
can multiply sound by text – give each encoded word a further aural inflection;
and each sound a textual representation of its meaning to the listener – we
make the humanities stronger and more powerful.
By bringing text and image together; we create
something that allows new forms of analysis, new layers of complexity, and new
doubts and claims, to be heard among the whispering voices of that humanities
conversation. In part, this is a simple
recognition that the physical heft of a book, changes how you read it; and that
doing so on a crowded tube train, is different from reading even the very same physical
book on a sunny beach. </span></span></div>
<div class="MsoNormal">
<br /></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal">
<span style="font-size: large;"><span style="line-height: 107%;">Much has
already been done to bring all these signals on to the same screen – to map
texts; and add image to commentary; but there is an opportunity to go much
further with this, and to acknowledge in a methodologically consistent way, that we can use
sound and image, place, space and all the recoverable contexts of human
experience to generate a more powerful, empathetic understanding of the past;
to have a fuller more compelling conversation with the dead. To my mind, we need new methodologies that
allow us to analyse and deconstruct multiple signals, multiple data streams –
sound multiplied by text by image by space.
We need to recreate the humanities by multiplying its various strands, one against the
other, to create something more powerful, more challenging, and more
compelling. Perhaps, the <i>Humanities<sup>3</sup></i>.</span></span></div>
<span style="font-size: large;">
</span><br />
<span style="font-size: large;"> </span><i><br /></i>Tim Hitchcockhttp://www.blogger.com/profile/17851547190864328027noreply@blogger.com38tag:blogger.com,1999:blog-2723306728611607327.post-64010538997181529492016-07-06T02:33:00.000-07:002016-08-28T04:02:11.740-07:00The Digital Humanities in Three Dimensions<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
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<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><i><span style="font-size: 16.0pt; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">This post is adapted from a talk I gave to the
annual conference of the Australasian Association of Digital Humanities in
Hobart on 21st June 2016. It was a great conference with some great
papers, leading to some great discussions. This particular talk generated
perhaps more heat than light, but the main point seems important to me.</span></i></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span>
<br />
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large; line-height: 150%;">The
Digital Humanities is a funny beast. I tend to think of it as something
of a pantomime horse – with criticism, distant reading and literary theory
occupying the front end – all neighing and foot stamping at the MLA each year
(and in the <a href="https://lareviewofbooks.org/article/neoliberal-tools-archives-political-history-digital-humanities/#!" target="_blank"><i>Los Angeles Review of Books</i></a>) - while history, geography and
library science are stuck in the rear – doing the hard work of creating new
digital resources, and testing new tools. Firmly at the back end of this
arrangement, I spend much of my time hoping that the angry debates in the
front don’t result in too many ructions behind.</span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large; line-height: 150%;">But as a
result of this weird portmanteau existence the Digital Humanities – its debates
and its aspirations - has been largely about text. As Matthew Kirchenbaum
has noticed – much of it can be found in the English department. Its
origins are always located in the work of Father Busa and its greatest stars
from Franco Moretti onwards, keep us focussed on the ‘distant reading’ of words.
Indeed, the object of study for most Digital Humanists remains the inherited
text of Western culture – now available for recalculation via Google Books,
ECCO, EEBO, and Project Gutenberg. </span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span></div>
<div style="line-height: 150%;">
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large; line-height: 150%;">And
because Digital Humanities is being led from areas of the academy that take as
its object of study a canonical set of texts (however extensive and contested);
we have been naturally led to use tools that privilege text analysis and to
ignore methodologies that are focussed elsewhere. The popular tools on
the block are topic modelling of text, and network analysis based on the
natural language processing, of text. This is particularly
true in North America where subjects such as <a href="http://www.aag.org/galleries/education-files/hdmurphyjghe.pdf" target="_blank">geography</a> do not have as strong an
institutional presence as in Europe and much of the rest of the world, and
where the spatial and sonic turns in the humanities feel less well established. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large; line-height: 150%;"><span lang="EN-AU" style="line-height: 150%;">This emphasis on text tends to make the
Digital Humanities feel rather safer than it should. </span></span></span><span style="font-size: large;"><span style="font-family: "arial" , "helvetica" , sans-serif;">W</span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><span lang="EN-AU" style="line-height: 150%;">hile the digital humanities is
frequently cited for its disruptive potential - its ‘affordances’ – it is
inherently conservative about what constitutes a legitimate subject, and has
breathed new life into areas that forty years ago lready felt moribund. The Enlightenment, and the papers of Newton,
Austen, Bentham and Darwin – all dead writers of an elite stamp - have been
revived and their ‘texts’ been made hyper-available<span style="font-family: "arial" , "helvetica" , sans-serif;">.</span> </span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><span lang="EN-AU" style="line-height: 150%;">In part, this is just about the rhythms of the
academy. The Digital Humanities arose just as post-modernism and second wave
feminist criticism seemed to exit stage left, and with them, much of the
imperative to critique the canon. But it
is also a result of underlying economic structures and the technologies of
twentieth-century librarianship. We very
seldom acknowledge it, but the direction of our work is frequently determined
and universally facilitated by the for-profit commercial information sector – by
the likes of ProQuest, Google and Elsevier, Ancestry.com and Cengage Gale. And they in turn are the product of a
hundred-year history that has shaped what is available to all researchers in the humanities. </span></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><span lang="EN-AU" style="line-height: 150%;">If you want to know why, for example, <i>The Times Digital Archive</i> was the first
major newspaper available online; if you want to know why early modern English
books came next; if you want to know why Indian and African and South American literature is not available in the same way, it is down to
selections made by these companies, and selections made, not last year, but a
hundred years ago.</span></span></span></div>
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bias involved - is just a ghost of commercially produced, for profit,
microfilm. In other words, we have text
because that is what people thought was important in 1906 or 1927, or 1935. We tend to forget that microfilm was the great new technology of the twentieth century - and was itself part of an apparently radical disruptive intellectual project. It is worthwhile remembering the details.</span></span><span style="font-size: large; line-height: 150%;"> </span></span><!--[if gte mso 9]><xml>
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<div class="MsoNormal" style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><span lang="EN-AU" style="line-height: 150%;">In 1906 </span><span lang="EN-AU"><a href="https://en.wikipedia.org/wiki/Paul_Otlet" title="Paul Otlet"><span style="line-height: 150%;">Paul Otlet</span></a></span><span lang="EN-AU" style="line-height: 150%;"> and </span><span lang="EN-AU"><a href="https://en.wikipedia.org/wiki/Robert_Goldschmidt" title="Robert Goldschmidt"><span style="line-height: 150%;">Robert
Goldschmidt</span></a></span><span lang="EN-AU" style="line-height: 150%;"> proposed the <i>livre microphotographique</i> – library of
microfilm – as a <i>World Center Library of Juridical, Social and Cultural
Documentation</i>. This was to be the
ultimate universal library and knowledge machine – the library at Alexandria
made new – and it was made possible by microfilm.</span></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large; line-height: 150%;"><span lang="EN-AU" style="line-height: 150%;"> </span></span></span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large; line-height: 150%;"><span lang="EN-AU" style="line-height: 150%;">Later
perfected for commercial uses, by the late 1920s, microfilm was the
methodology of choice used by the Library of Congress to film and republish
some 3 million volumes from the British Library between 1927 and 1935; and in
1935, Kodak started filming <i>The Times</i> on a commercial basis.</span></span></span></div>
</div>
<div style="line-height: 150%;">
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large; line-height: 150%;">And this pre-history of heritage material on the web is relevant for a simple reason. It
costs less than a penny per page to generate a digital image from a microfilm.
It is automated to the point that all you do is feed the reel into a machine
wait. By way
of comparison, it costs around 15 pence per page to generate a similar image
from a real book – even with modern automation, and three
times that again capture a page of manuscript in an archive. For many of
the projects designed during the first decade of the web, it was cheaper to
have material microfilmed first, as a first step in digit<span style="font-family: "arial" , "helvetica" , sans-serif;">isation</span><span style="font-family: "arial" , "helvetica" , sans-serif;">.</span></span></span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large; line-height: 150%;"><span style="font-family: "arial" , "helvetica" , sans-serif;">S</span>eventeenth and eighteenth century books are available online <span style="font-family: "arial" , "helvetica" , sans-serif;">precisely </span>because the Library of Congress microfilmed
them in in the 1920s; and <i>The Times Digital Archive</i>
is a<span style="font-family: "arial" , "helvetica" , sans-serif;">vailable</span> because Kodak microfilmed it over eighty years ago. Chinese and Arabic literature is not available in the same way because the Library of Congress and Kodak and their ilk decided it was not important. Pro-Quest, the multi<span style="font-family: "arial" , "helvetica" , sans-serif;">-billion poun<span style="font-family: "arial" , "helvetica" , sans-serif;">d</span></span> corporation that supplies half the material used by Digital Humanities scholars, started as University Microfilms International in 1938. </span><span style="font-size: large; line-height: 150%;"> </span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large; line-height: 150%;">In other
words, what happened in the twentieth century – the aspiration to create a
particular kind of universal library, and to commercialise world culture (and to
a 1930s mind, this meant male and European culture) – essentially shapes what
is<span style="font-family: "arial" , "helvetica" , sans-serif;"> n</span>ow available on line. This is why most of the material we currently
have is in black and white instead of colour. And most importantly, it is why we have text; and in particular,
canonical texts in English.</span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large; line-height: 150%;">And if
the Digital Humanities was really only the front end of that pantomime horse,
this would not <span style="font-family: "arial" , "helvetica" , sans-serif;">be</span> that big a deal. But the Digital Humanities is also
the back end – all the people creating the infrastructure that defines world
culture online. If you ask an undergraduate (or most humanities
professors) about their research practises, it rapidly becomes clear that hard
copy wood pulp has been replaced by digital materials. What we study is
what we can find on line. </span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large; line-height: 150%;">In part,
the selection bias driven by the role of microfilm and the textual bias this
implies, just means that like the humanities in general, the digital sort is
inherently, and institutionally, Western centric, elitist and racist.
Rich white people produced the text that the humanities tend to study and despite the heroic multi-generation effort that has sought to recover
female voices; or projects seeking to give new voice to the poor – from below -
this selective intellectual landscape remains. </span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large; line-height: 150%;">In other
words, the textual Digital Humanities offers a superficial and faux radicalism
that effectively re-enforces the conservative character of much humanities
research. The Digital Humanities' problem in
recruiting beyond white and privileged practitioners is not just down to the
boorish cultures of code – rude male children being unwelcoming - but a
result of its object of study.</span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large; line-height: 150%;">All of
which is just by way of introducing the real subject of this post - that for us
to actually grasp the ‘affordances’ that the digital makes possible we really
need to change that ‘object of study’ and move beyond microfilmed
cultures. </span></span><br />
<br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large; line-height: 150%;">And that when we add
space and place, time and sound, to our analysis<span style="font-family: "arial" , "helvetica" , sans-serif;">, </span>and when we start from a
hundred other places than the English department – from geography and
archaeology, to quantitative biology and informatics – we can create something that is more compelling, more revealing and more
powerful – and arguably more inclusive and democratic along the way.</span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large; line-height: 150%;"><span style="font-family: "arial" , "helvetica" , sans-serif;">B</span>y way of pursuing this idea, I want to go through a few of the different ways
new tools and approaches create real opportunities to move beyond the analysis
of ‘text’ to something more ambitious; and in the process attack that very real
inherent bias – and inherent conservatism - that the ‘textual’ humanities
brings with it. </span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><i><span style="line-height: 150%;">The rain
falls on every head </span></i><span style="line-height: 150%;">– and I
just want explore how we can move beyond the elite and the Western, the
privileged and the male. </span></span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large; line-height: 150%;">In
the humanities we think of digitisation of text,but in a dozen other fields, they
are digitising different components of the physical world. And when
everything is digital – when all forms of stuff come to us down a single
pipeline - everything can be inter-related in new ways. The web and
the internet simply provides a context
in which image, sound, video and text are brought onto a single page. </span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><span style="line-height: 150%;">Consider for a moment the ‘<a href="http://www.live.ac.uk/our-work/haptic-cow" target="_blank">Haptic Cow</a>’ project from the Royal
Veterinary College in London. In this instance they have developed a full
scale ‘haptic’ representation of a cow in labour, facing a difficult birth,
which allows students to physically engage and experience the process of
manipulating a calf in situ. Imagine this technology applied to a more
historical event, or process, or experience. It suggests that the object
of study can be different, and should include the haptic - the feel and heft of
a thing in your hand. This is being coded for millions of objects through
3d scanning; but we do not yet have an effective way of incorporating that 3d
encoding into our reading of the past. </span></span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large; line-height: 150%;">And if
we can ‘feel’ an object, it changes how we read the text that comes with it; or
the experience that text encodes. The world would look and feel very
different if we organised it around those objects – the inherited texts
attached to them perhaps - but those objects’ origin and materiality forming
the core of the meaning we seek to interrogate. We can use the technology
to think harder about the changing nature of work, or punishment, the ‘feel’ of
oppression and luxury. Museums and
collections - the catacombs of culture - are undoubtedly just as powerfully selective and controlling as the
unseen hand of the publishers and archivists; but in stepping beyond text, we
can hope to play the museums off against the text.</span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span>
<br />
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large; line-height: 150%;">The same
could be said of the aural - that weird world of sound on which we continually
impose the order of language, music and meaning; but which is in fact a stream
of sensations filtered through place and culture. For people working in
musicology there feels to be a ‘sonic turn’ in the humanities, but most of us
have paid it little he<span style="font-family: "arial" , "helvetica" , sans-serif;">ed.</span></span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large; line-height: 150%;">There
are projects like the <a href="https://vpcp.chass.ncsu.edu/" target="_blank">Virtual St Paul's Cross</a>, which allows
you to ‘hear’ John Donne’s sermons from the 1620s, from different vantage
points around the yard. Donne is a dead white man <i>par excellence</i><span style="font-family: "arial" , "helvetica" , sans-serif;">, </span>but
the project changes how we imagine the text and the event. And again begins to navigate
that normally unbridgeable space between text and the material world to help give us access to the experience of the beggar in the
crowd, of women, children and the historically unvoiced. </span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large; line-height: 150%;">For myself,
I want to understand a sermon heard in the precise church in which it was
delivered; a political speech in the field, or parliamentary chamber; or an
impassioned defence in the squalid courtroom in which it was enacted, or under
an African judgement tree – with the weather and the smell thrown in. And
I want to hear it from the back of the hall, through the ears of a child or a
servant. </span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large; line-height: 150%;">This would help challenge us to think harder and
differently about text that purport to represent speech, and text that sits
between the mind and the page. Recorded voice – even in the form of text
– is inherently more quotidian, is inherently more likely to give us access
to the 90 percent of the population whose voices are recorded, but whose 'text' is not. Text
recording speech is different to text produced by the elite power users of the
technology of writing – who write directly from mind to page. This at
least shifts us a bit – from text, to voice.</span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large; line-height: 150%;">Similarly,
in the work of people such as Ian Gregory, we can see the beginnings of new
ways of reading both the landscape, and the textual leavings of the dead in the
landscape. His projects on <a href="http://www.lancaster.ac.uk/mappingthelakes/" target="_blank">mapping the Lakeland poets</a>; and
mapping 19<sup>th</sup> century government reports, imply a new and different
kind of reading.</span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span>
<br />
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large; line-height: 150%;">What
happens to a traveller's journal when it is mapped onto a landscape? <span style="font-family: "arial" , "helvetica" , sans-serif;">W</span>hat
happens to a landscape painting when we can see both its reference landscape,
and the studio in which it was completed? What happens to even text, when
it is understood to encode a basic geographical relationship? How do we
understand a conversation on a walk when we can map its phrases and exchanges
against the earth’s surface? And what forms of analysis can undertake
when each journey, each neighbourhood, each street and room, are available to
add to the text associated with them? </span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><i><span style="line-height: 150%;">The rain
falls on every head.</span></i></span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large; line-height: 150%;">All of
which is to state the obvious. There are lots of new technologies that
change how we connect with historical evidence – whether that is text or
something more interesting; and that we increasingly access it all via that
single remarkable pipeline that is the online and the digital.
</span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large; line-height: 150%;">But it
strikes me that adding these new dimensions to the object of study allows us
to do something important. I have spent the last thirty-eight years
working on a ‘history from below’ focused on the lives of eighteenth century
London’s working people. And what I want to suggest is that these new
dimensions and methodologies actually make that project fundamentally more
possible; and by extension makes the larger project of recovering the voices
and experience of the voiceless dead, more possible. When you add in the
haptic, the mapped and the geographical, the aural and the 3D, what you
actually end up with is a world in which non-elite – and non-western - people
are newly available in a new way. You also move from a kind of history as
explanation, to history as empathy – across cultures and genders, across time
and space.</span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large; line-height: 150%;">Sound
and space and place, are fundamentally more intellectually democratic than text.
90% our inherited canon is inherited from rich dead white men; and yet the
thronging multitude who stood in St Paul’s Churchyard; the quotidian hoards who
walked through the streets and listened to the ballad singers, experienced
something that we can now recover. The sound of judgement as experienced
by the women and men who stood trial at the Old Bailey, and their voice of
defiance, can be recovered. And even the cold and wind of a weather that
can now be captured day by day for a quarter of a millennium; can be added to
the democratic possibilities new digital resources allow. Add in the
objects in the museums, the sounds of the ships, and their course through the
oceans; the measurable experience of labour, and imprisonment, the joy of music
and movement, the inherited landscapes, bearing all the marks of the toil of
the voiceless dead, and you end up with something new. The material world – in
digital – gives us access to the rest of the world, and begins to create tools
that speak to the 99% of the world’s population who, in 1700 or 1800 did not
read or write, and did not leave easy traces for us to follow. The Digi<span style="font-family: "arial" , "helvetica" , sans-serif;">tal Humanities in Three Di<span style="font-family: "arial" , "helvetica" , sans-serif;">men<span style="font-family: "arial" , "helvetica" , sans-serif;">sions, </span></span></span>challenges us and empowers us, to write a different, more inclusive, kind of history.</span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span></div>
<div style="line-height: 150%;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><i><span style="line-height: 150%;">The rain
falls on every head. </span></i></span></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: large;"><br /></span></span></div>
Tim Hitchcockhttp://www.blogger.com/profile/17851547190864328027noreply@blogger.com80tag:blogger.com,1999:blog-2723306728611607327.post-40647745887437618702015-07-06T01:10:00.000-07:002017-01-20T04:14:27.870-08:00Sources, Empathy and Politics in 'history from below'.<!--[if gte mso 9]><xml>
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<span style="font-size: large;"><i>This post was commissioned for inclusion in an online symposium on 'history from below' over at the <a href="https://manyheadedmonster.wordpress.com/2015/07/06/sources-empathy-and-politics-in-history-from-below/" target="_blank">Many Headed Monster</a>, and is best read in conjunction with the other pieces posted there. I am reposting it here just by way of keeping track of stuff. </i></span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-size: large;"><br /></span></div>
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<span style="font-size: large;">The purpose and form of history writing has been much debated
in recent months; with micro-history, and by extension history from below,
being roundly condemned by historians Jo Guldi and David Armitage as the
self-serving product of a self-obsessed profession. For Guldi and Armitage the route to power
lies in the writing of grand narrative, designed to inform the debates of modern-day
policy makers – big history from above.
Their call to arms – <i><a href="http://historymanifesto.cambridge.org/" target="_blank">The History Manifesto</a> – </i>has met with a <a href="http://www.historians.org/Documents/AHR_Exchange.pdf" target="_blank">mixed reception</a>.
Their use of evidence has been demonstrated to fall short of the highest
academic standards, and their attempts to revise that evidence <i>sotto voce</i> has been castigated for its
lack of transparency. </span></div>
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<br /></div>
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<span style="font-size: large;">Regardless of the errors made along the way, of more concern
to practitioners of ‘history from below’ is Guldi and Armitage’s assumption that
in order to influence contemporary debate and policy formation we should
abandon beautifully crafted small stories in favour of large narratives that
draw the reader through centuries of clashing forces to some ineluctable
conclusion about the present. I have no
real argument with the kind of history they advocate – and the success of
recent works such as Thomas Piketty’s <i>Capital</i>,
suggest that it can both do justice to the evidence, and contribute modern
policy debate. And I am sure with a
couple of decades’ hard work (there were 19 years between the publication of
the <i>Communist Manifesto</i>, and <i>Das Kapital</i>), Guldi and Armitage will
produce a book that lives up to the hype.</span></div>
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<br /></div>
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<span style="font-size: large;">But, they fundamentally miss-represent the politics of
history writing, and of micro-historical analysis in particular. And what they seem to miss is a simple
appreciation of the shock of the old. The
lessons of history are very seldom about ‘how we got here’ with all its
teleological assumptions, but more frequently about how we can think clearly
about the present, when we cannot escape from it. </span></div>
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<br /></div>
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<span style="font-size: large;">Understanding classical Greek attitudes to sexuality; Tokugawa
Japan’s system of governance, or the use of concentration camps in the Boer War
is not about grand narrative, but the interrogation of difference. What the past has given us is an ‘infinite
archive’, reflecting a real – if not fully knowable – world. By interrogating that archive, we are freed
to test our assumptions about the present.
In a scientific mode, we might literally test a theory against the
evidence; but just as valid, in a humanist mode we can interrogate a word, a
phrase and emotion for its meaning. In
either case, history rapidly becomes a tool to think with – testing and probing
the past because it allows us to think about the present more carefully. </span></div>
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<br /></div>
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<span style="font-size: large;">For this purpose, for the purpose of thinking <i>with</i>
history, the precise topic of historical analysis is secondary, and ‘grand
narrative’ is counterproductive. In
part, grand narrative doesn’t work for this purpose because it is inherently
teleological, and brings with it ill-digested assumptions about how human
society functions. One need look no
further than the facile accounts of empire found in the work of historians like
Niall Fergusson to see the pitfalls; or the risible nationalist diatribes of
‘<a href="http://www.historytoday.com/various-authors/fog-channel-historians-isolated" target="_blank">Historians for Britain’ collective</a>. If
you start with a ‘dog in the fight’ – a defence of American ‘empire’; or an
anti-EU agenda - your ability to see clearly is at least compromised.</span></div>
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<br /></div>
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<span style="font-size: large;">‘History from below’, by contrast appeals to a very
different kind of politics; and it is in essence, a politics of empathy and
voice explored through a conversation with the dead. In the British Marxist tradition, it was
founded in the creation of a humanist account of the ‘radical tradition’ that
gave to every stockinger and handloom weaver an identity and personality. The politics of this tradition was found in
the demand that the reader empathise with individual men and women caught in a
whirl of larger historical changes, and it was, and is, a politics of emotion. The methodologies of ‘history from below’ use
detail and empathy to demand of readers a personal engagement with a specific
time and place; just as micro-histories uses the contrast between the everyday
and the remarkable, to force the readers’ engagement.</span></div>
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<span style="font-size: large;">And as a political project, both ‘history from below’ and
micro-histories have been remarkably successful. The public politics of the west in the last fifty
years have been dominated by forms of the ‘identity’ politics. These new politics have helped to push aside
the twentieth century’s disastrous obsession with nationalisms (the focus of
both older grand narratives, and the crutch leant on by historians such as
Fergusson and ‘Historians for Britain’). </span></div>
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<span style="font-size: large;">We now have detailed and beautiful histories of the
experience of the enslaved, of people excluded by race, gender and sexuality;
by dis/ability and poverty. Each of
these ‘histories from below’ have evolved in dialogue with contemporary
politics, both feeding the activism of modern campaigns, and perhaps more
importantly, ensuring that no-one can be dismissed as less feeling, less human,
less important, than anyone else. By
changing the focus of historical writing and research, ‘history from below’ has
effectively eroded the inherently racist notion of the ‘volk’ in favour of
‘leuten’; has eroded nationalisms in favour of individual experience.</span></div>
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<br /></div>
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<span style="font-size: large;">In other words, history from below has been a remarkably
successful form of cultural politics (and Politics), that owes its basic
success to the creation of an imaginative and empathetic connection between the
individuals, past and present. But to
achieve this end, history from below has made a further contribution to both
historical scholarship and methodology that places it at the centre of a wider
set of developments.</span></div>
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<br /></div>
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<span style="font-size: large;">Despite the (over) reliance of historians such as Edward
Thompson on government spy reports, and many social historians’ addiction to
parliamentary ‘blue books’; history from below demands that we seek alternative
pathways to knowing about individuals – that we seek out readings that work
self-consciously against the grain and documents that, however fleetingly,
record the experience from below. And
herein lies the problem and the opportunity.
Our sources create a fundamental tension between the bureaucratic character
of most inherited documentation reflecting experience from below (endless lists
and accounts), and the political work of history from below as a project – to
create empathy across time and space.
The conundrum becomes, how do we turn a name, perhaps a number, if you
are lucky, a single line – in to a human being.</span></div>
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<br /></div>
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<span style="font-size: large;">In part, the answer to this quandary has been found in
family and community reconstruction; in the creation of relational databases
that pull together fragments of information from as wide a body of sources as
can be managed. When, for instance,
small fragments of narrative sieved from pauper letters and examinations, are
combined with details of pensions lists and the raw biology available through
the International Genealogical Index, we come close to being able to create compelling
simulacra of the dead. A shared
experience of childbirth, or hunger; of disability or simple poverty, can be
enough to bring to the readers’ minds’ eye a fully formed human being – all the
details filled in via the readers’ imagination. </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: large;">But even these limited details are unavailable for many. So we also use strategies of detailed
contextualisation. In part, these
strategies mimic the forms of fiction – where small details are used to
compress a scene to it tightest compass.
In history from below, we might use location and the built environment
as ways of giving authority to an event that would otherwise be dull and
off-putting – one of a million settlement examinations; one of five hundred
shared beds in a workhouse. All of which
simply gets us to the point where the form and genre of writing history from
below comes in to direct conflict with the sources we normally use, creating a
tension which in turn explains why ‘history from below’ has been both
remarkably productive in the creation of new methodologies; and why, more
importantly, it creates a need to rethink and remake the genre of history
writing more broadly.</span></div>
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<br /></div>
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<span style="font-size: large;">In other words, in the face of challenges from advocates of
‘big history from above’ it seems to me that we are confronted with a series of
opportunities, created by the very practise of writing history from below; that
in turn provide the basis for a fuller political agenda. We have an answer to the siren calls of ‘big
history’. And the answer demands just a
few things.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: large;">First, we need to be much more sophisticated in how we
theorise the process of writing and presentation. There is currently no-one seriously unpacking
the literary practise of historical writing from below in a way that would
allow us to examine it as an object of study in its own right. And yet, by being more self-conscious in how
we construct emotion and engagement through textual practise, we can raise our
game substantially – allowing us to recognise (and teach) the different techniques
we use; and to categorise varieties of history writing in new ways. And while no one would want to see too much
self-obsessed naval gazing, there is a real opportunity for substantial criticism
that would in turn allow us to present ‘history from below’ as a more fully
described set of generic conventions. Not perhaps a ‘science’, but a clear
methodological choice.</span></div>
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<br /></div>
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<span style="font-size: large;">Second, we need to embrace innovation more fully, and to
identify the digital tools that allow us to construct lives and experience from
the distributed leavings of the dead.
The world of early modern and nineteenth century Britain, in particular,
are newly available to new forms of connection.
Nominal record linkage, building on a generation of work undertaken by
family historians, should allow us to tie up and re-conceptualise the stuff of the
dead, as lives available to write about.
Or we can revolutionise close reading of text through a radical
contextualisation of words. By allowing
every single word or phrase to be mapped against everything written in the year
or decade – we could create a form of close reading that makes for powerful
history writing. Or, we could think
about contextualisation more imaginatively, by adding a few more dimensions to
the context in which we place our objects of study. Where is the 3D courtroom and church pulpit;
where the soundscape and sound model; where the comprehensive weather data that
would allow us to write a life, an event, a moment in new and different detail?</span></div>
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<span style="font-size: large;"> And finally, my
belief is that we need to be more explicit about the political work that we
think ‘history from below’ is doing. If
we think the work contributes to a modern political conversation, I think we
need to say so – not to simply advocate for our own beliefs, but to use the
past to think more carefully about the present.
From my perspective, it does not matter over much if the thinking is
about gender, poverty, race or disability; but about ensuring that a
conversation with the dead forms a part of our conversation about the
present. </span></div>
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<span style="font-size: large;">When the likes of Jo Guldi and David Armitage, and the
‘Historians for Britain’ group advocate for big history and the <span class="tgc"><i>longue durée</i></span>, they are making specific claims about how
they can intervene in a modern politics; and effectively denigrating other
people’s politics along the way. It is
only by countering these claims, and replacing them with our own more subtle analysis
that we can do full justice to the aspirations and labours of our
colleagues. There is a coherent
intellectual project in ‘history from below’, that perhaps needs more critical
inspection, that perhaps needs more technical innovation, but which
nevertheless provides the best opportunity we have to create an inclusive,
progressive, empathetic history – a way of thinking clearly with the past. </span></div>
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Tim Hitchcockhttp://www.blogger.com/profile/17851547190864328027noreply@blogger.com31tag:blogger.com,1999:blog-2723306728611607327.post-69778101710726618522015-05-29T02:11:00.004-07:002017-01-20T04:16:03.272-08:00The UK Web Archive, Born Digital Sources and Rethinking the Future of Research<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"><i>The following post is derived from a short talk I gave at a doctoral training event at the British Library in May 2015, focused on using the <a href="http://www.webarchive.org.uk/ukwa/" target="_blank">UK Web Archive</a>. It was written with PhD students in mind, but really forms a meditation on the opportunities created when we are working with web sites rather than print. While lightly edited, the text retains the ticks and repetitions of public presentation.</i></span></span><br />
<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzWFLXYtfOODCrqjVi4BZnPw5olQ_L576Y-JLKTGgH0oF7Db51y6hOQcAY1U83lc_29DSolP4ka71koQ-l-AexIMyZptxUGsM_g-L45SQPkrEzwjTIs6tEq8I2Ws6fDebg8bXMADxIWBaK/s1600/office+1984.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzWFLXYtfOODCrqjVi4BZnPw5olQ_L576Y-JLKTGgH0oF7Db51y6hOQcAY1U83lc_29DSolP4ka71koQ-l-AexIMyZptxUGsM_g-L45SQPkrEzwjTIs6tEq8I2Ws6fDebg8bXMADxIWBaK/s320/office+1984.jpg" width="214" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;">My office c.1984</span></td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">I normally work on properly dead
people of the sort that do not really appear in the UK Web Archive – most of
them eighteenth-century beggars and criminals.
And in many respects the object of study for people like me –
interlocutors of the long dead - has not
changed that much in the last twenty years.
For most of us, the ‘object of study’ remains text. Of course the ‘digital’ and the online has
changed the nature of that text. How we
find things – the conundrums of search – shape the questions we
ask.
And a series of new conundrums have been added to all the old ones –
does, for instance, ‘big data’ and new forms of visualisation, imply a new
‘open eyed’ interrogation of data? Are
we being subtly encouraged to abandon older social science ‘models’, for
something new? And if we are, should
these new approaches take the form of ‘scientific’ interrogation, looking for
‘natural’ patterns – following the lead of the <a href="http://www.culturomics.org/" target="_blank">Culturomics</a> movement; or perhaps
take the form of a re-engagement with the <span class="tgc">longue durée</span>– in
answer to the pleas of the <a href="http://historymanifesto.cambridge.org/" target="_blank"><i>History Manifesto</i></a>. Or perhaps we should be seeking a return to
‘close reading’ combined with a <a href="http://historyonics.blogspot.co.uk/2014/11/big-data-small-data-and-meaning_9.html" target="_blank">radical contextualisation</a> - looking at the
individual word, person, and thing – in its wider context, preserving
focus across the spectrum.</span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">And of course, the online and the
digital also raises issues about history writing as a genre and form of
publication. Open access, linked data, open data, the
'crisis' of the monograph, and the opportunities of multi-modal forms of
publication, all challenge us to think again about the kind of writing we do,
as a literary form. Why not do your PhD as a graphic novel? Why
not insist on publishing the research data with your literary over-lay? Why not do something different? Why not self-publish?</span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">These are conundrums all – but
conundrums largely of the ‘textual humanities’. </span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">Ironically, all these conundrums
have not had much effect on the academy and the kind of scholarship the academy
values. The world of academic writing is
largely, and boringly, the same as it was thirty years ago. How we do it has changed, but what it looks
like feels very familiar.</span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">But the born digital is
different. Arguably, the sorts of things
I do, history writing focused on the properly dead, looks ‘conservative’ because it
necessarily engages with the categories of knowing that dominated the nineteenth
and twentieth centuries – these were centuries of text, organised into
libraries of books, and commentated on by cadres of increasingly professional
historians. The born digital – and most
importantly the UK web archive – is just different. It sings to a different tune, and demands
different questions – and if anywhere is going to change practise, it should be
here. </span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">Somewhat to my frustration, I
don’t work on the web as an ‘object of study’ – and therefore feel uncertain about what it can
answer and how its form is shaping the conversation; but I did want to suggest
that the web itself and more particularly the UK Web Archive provides an
opportunity to re-think what is possible, and to rethink what it is we are
asking; how we might ask it, and to what purpose.</span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">And I suppose the way I want to frame
this is to suggest that the web itself brings on to a single screen, a series
of forms of data that can be subject to lots of different forms of analysis. A few years ago, when APIs were first
being advocated as a component of web design, the comment that really struck
me, was that the web itself is a form of API, and that by extension the Web Archive
is subject to the same kind of ‘re-imagination’ and re-purposing that an API
allows for a single site or source. </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">As a result, you can – if you want –
treat a web page as simple text – and apply all the tools of distant reading of text - that
wonderful sense that millions of words can be consumed in a single gulp. You can apply ‘topic modelling’, and Latent
Semantic Analysis; or Word Frequency/Inverse Document Frequency measures. Or, even more simply; you can count words,
and look for outliers – stare hard at the word on the web! </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">But you can also go well beyond
this. In performance art, in geography
and archaeology, in music and linguistics, new forms of reading are emerging
with each passing year that seem to me to significantly challenge our sense of
the ‘object of study’ – both traditional text and web page.
In part, this is simply a reflection of the fact that all our senses and
measures are suddenly open to new forms of analysis and representation. When
everything is digital – when all forms of stuff come to us down a single
pipeline - everything can be read in a
new way. </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn-7OsNSyxoAaURqhjXA5tdLrLejBSLZ7kCRti45gPklQZcl8grd89xnXMAnIGk_Jvp28rA7gxjYgy7cwMm6fkux6W8y21YtVe-cOmPGrOCneH-0WNThVncMquRTi-xBVgN7oCE_bOhd5X/s1600/Slide2.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn-7OsNSyxoAaURqhjXA5tdLrLejBSLZ7kCRti45gPklQZcl8grd89xnXMAnIGk_Jvp28rA7gxjYgy7cwMm6fkux6W8y21YtVe-cOmPGrOCneH-0WNThVncMquRTi-xBVgN7oCE_bOhd5X/s320/Slide2.JPG" width="320" /></a></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"> Consider for a moment the <a href="http://www.live.ac.uk/haptic-cow" target="_blank">‘LIVE’</a> project
from the Royal Veterinary College in London, and their ‘haptic simulator’. In this instance they have developed a full
scale ‘haptic’ representation of a cow in labour, facing a difficult birth,
which allows students to physically engage and experience the process of
manipulating a calf in situ. I haven’t
had a chance to try this, but I am told that it is a mind altering
experience. It suggests that reading can
be different; and should include the haptic - the feel and heft of a thing in
your hand. This is being coded for
millions of objects through 3d scanning; but we do not yet have an effective
way of incorporating that 3d text into how we read the past. </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">
</span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"> The same could be said of the aural - that
weird world of sound on which we continually impose the order of language,
music and meaning; but which is in fact a stream of sensations filtered through
place and culture. </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ659wsvi_5zMtfm4vqkJ3WYa0zLfHDxbV90hYkyu5D9NJBQSRlI2I0IOcIOHrrjUaEERKSxrBBSCSt-qHCHD0OJGHWzgSzcKTUWuTR-8wuQuX8DdzQoK3Mm1DGc_uqUZDdiz4sfJjDNS1/s1600/Slide3.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ659wsvi_5zMtfm4vqkJ3WYa0zLfHDxbV90hYkyu5D9NJBQSRlI2I0IOcIOHrrjUaEERKSxrBBSCSt-qHCHD0OJGHWzgSzcKTUWuTR-8wuQuX8DdzQoK3Mm1DGc_uqUZDdiz4sfJjDNS1/s320/Slide3.JPG" width="320" /></a></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span></div>
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<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">Projects like the <a href="http://vpcp.chass.ncsu.edu/" target="_blank">Virtual St Paul's Cross</a>, which allows you to ‘hear’ John Donne’s sermons from the 1620s, from
different vantage points around the yard, changes how we imagine them, and
moves from ‘text’ to something much more complex and powerful. And begins to navigate that normally
unbridgeable space between text and the material world. And if you think about this in relation to
music and speech online – you end up with something different on a massive
scale.</span></span></div>
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<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">One
of <a href="http://www.digitalpanopticon.org/?p=763" target="_blank">my current projects</a> is to create a sound scape of the courtroom at the Old
Bailey - to re-create the aural experience of the defendant - what it felt like
to speak to power, and what it felt like to have power spoken at you from the
bench. And in turn, to use that knowledge to assess who was more effective in
their dealings with the court, and whether, having a bit of shirt to you, for
instance, effected your experience of transportation or imprisonment. And the point of the project is to simply add
a few more variables to the ones we can securely derive from text. </span></span></div>
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<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">It is an attempt to add just a couple of
more columns to a spreadsheet of almost infinite categories of knowing. And you could keep going – weather, sunlight,
temperature, the presence of the smells and reeks of other bodies. Ever more layers to the sense of place. In part, this is what the gaming industries
have been doing from the beginning, but it also becomes possible to turn that
creativity on its head, and make it serve a different purpose.</span></span></div>
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<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">In the work of people such as <a href="http://www.lancaster.ac.uk/fass/history/profiles/ian-gregory" target="_blank">Ian Gregory</a>, we can see the beginnings of new ways of reading both the landscape,
and the textual leavings of dead. Bob
Shoemaker, Matthew Davies and I (with a lot of other people) tried to do
something similar with Old Bailey material, and the geography of London in the
<a href="http://www.locatinglondon.org/" target="_blank">Locating London’s Past</a> project.</span></span></div>
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<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLIfFr3R3522Ro9QRW77KQrImtgoFgXVXEFGRqJYV1pP3emaLALmQVSCmF50MPVaPrgLRXQBmvJzeVSeA3zoutuTff2Zrwgsyr3lI23rqZp2hVlxgrOEQjOhceuehKJTbk3Lim7_M0_Ev7/s1600/Slide4.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLIfFr3R3522Ro9QRW77KQrImtgoFgXVXEFGRqJYV1pP3emaLALmQVSCmF50MPVaPrgLRXQBmvJzeVSeA3zoutuTff2Zrwgsyr3lI23rqZp2hVlxgrOEQjOhceuehKJTbk3Lim7_M0_Ev7/s320/Slide4.JPG" width="320" /></a></span></div>
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<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;"></span></span></div>
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<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">This map is simply colours blue, red and
yellow mapped against brown and green. I
have absolutely no idea what this mapping actually means, but it did force me
to think differently about the feel and experience of the city. And I want to be able to do the same for all
the text captured in the UK domain name.
</span></span></div>
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<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">All of which is to state the obvious. There are lots of new readings that change
how we connect with historical evidence – whether that is text, or something
more interesting. In creating new digital forms of inherited
culture - the stuff of the dead - we naturally innovate, and naturally enough,
discover ever changing readings. But the
Web Archive, challenges us to do a lot more; and to begin to unpick what
you might start pulling together from this near infinite archive. </span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<br /></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">In other
words, the tools of text are there, and arguably moving in the right direction,
but there are several more dimensions we can exploit when the object of study
is itself an encoding.</span></span></div>
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<br /></div>
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<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkAuSDTXr2Lmzk0O_z5RFxYW3qHBVw7kMesw7Ar5euU3EjeNIRukAYfFkufzAh8O3iwJ2WJ-m8K6Wrb01QSPblirWiFLH_AnqNuBteJtsYb8VdkOs9yqo8nz18aJoedy0bAxx5NH-ZeLmF/s1600/Slide5.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkAuSDTXr2Lmzk0O_z5RFxYW3qHBVw7kMesw7Ar5euU3EjeNIRukAYfFkufzAh8O3iwJ2WJ-m8K6Wrb01QSPblirWiFLH_AnqNuBteJtsYb8VdkOs9yqo8nz18aJoedy0bAxx5NH-ZeLmF/s320/Slide5.JPG" width="320" /></a></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">Each web
page, for instance, embodies a dozen different forms. Text is obvious, but it is important to
remember that each component of the text – each word and letter, on a web page -
is itself a complex composite. What
happens when you divide text by font or font size; weight, colour, kerning,
formatting etc. By location - in the
header, or the body, or wherever the CSS sends it; or more subtly by where it
appears to a users’ eye - in the middle of a line – or at the end.</span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<br /></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">Suddenly, to
all the forms of analysis we have associated with ‘distant reading’ there are
five or six further columns in the spread sheet – five or six new variables to
investigate in that ‘big data’ eye-opened sort of way.</span></span></div>
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<br /></div>
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<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjv6V_KfDK2AT0vLo_CFOfW61G5yd6S5V9FCd4Iu9nyuEjPsKFNiz7tMQyfgnUgD_hvFggnsWnX6q67vOQUbED7pk1qJ1mJfZckAKi-3uo2YJ02ipp09eGLa7WFpSZtbVvP3J8OgGNxkUz/s1600/Slide6.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjv6V_KfDK2AT0vLo_CFOfW61G5yd6S5V9FCd4Iu9nyuEjPsKFNiz7tMQyfgnUgD_hvFggnsWnX6q67vOQUbED7pk1qJ1mJfZckAKi-3uo2YJ02ipp09eGLa7WFpSZtbVvP3J8OgGNxkUz/s320/Slide6.JPG" width="320" /></a></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">And that is
just the text. The page itself is both a
single image, and a collection of them – each with their own properties. And one of the great things that is coming
out of image research is that we can begin to automate the process of analysing
those screens as ‘images’. Colour,
layout, face recognition etc. Each page,
is suddenly ten images in one – all available as a new variable; a new column
in the spreadsheet of analysis. And, of
course, the same could be said of embedded audio and video.</span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<br /></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">And all of
that is before we even look under the bonnet.
The code, the links, the meta data for each page – in part we can think
of these as just another iteration of the text; but more imaginatively, we can
think about it as more variables in the mix.</span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<br /></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">But, of
course, that in itself miss-understands the web and the Web Archive. The commonplace metaphor I have been using up
till now is of a ‘page’ – and is the intellectual equivalent of skeumorphism - relying
on material world metaphors to understand the online.</span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<br /></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">But these
aren’t pages at all, they are collections of code and data that generate in to
an experience in real time. They do not
exist until they are used - if a website in the forest is never accessed, it does
not exists. The web archive therefore is
not an archive of ‘objects’ in the traditional sense, but a snapshot from a
moving film of possibilities. At its
most abstract, what the UK Web Archive has done, is spirit in to being the very
object it seeks to capture – and of course, we all know that in doing so, the
capturing itself changes the object. <span lang="EN">Schrödinger's cat </span>may be alive or dead, but its box is
definitely open, and we have visited our observations upon its content. </span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<br /></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">So to add
to all the layers of stuff that can fill your spreadsheet, there also needs to
be columns for time and use; re-use and republication. And all this is before we seek to change the
metaphor and talk about networks of connections, instead of pages on a website.</span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<br /></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<span style="font-size: large;"><span style="font-family: "georgia" , "times new roman" , serif;">Where I end
up is seriously jealous of the possibilities; and seriously wondering what the
‘object of study’ might be. In the
nature of an archives, the UK Web Archive imagines itself as an ‘object of
study’; created in the service of an imaginary scholar. The question it raises is how do we turn
something we really can’t understand, cannot really capture as an object of
study, to serious purpose? How do we
think at one and the same time of the web as alive and dead, as code, text, and
image – all in dynamic conversation one with the other. And even if we can hold all that at once,
what is it are we asking?</span></span></div>
<div style="margin: 0cm 0cm 0.0001pt;">
<br /></div>
Tim Hitchcockhttp://www.blogger.com/profile/17851547190864328027noreply@blogger.com50tag:blogger.com,1999:blog-2723306728611607327.post-72249934517370696602015-04-27T04:04:00.000-07:002017-01-20T04:17:35.909-08:00Voices of Authority: Towards a history from below in patchwork<div class="separator" style="clear: both; text-align: center;">
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<br />
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: "calibri" , "sans-serif"; font-size: large; line-height: 150%;">This post is intended to very briefly describe a project I am about halfway
through - that seeks to experiment with the new permeability that digital
technologies seem to make possible - to create a more usable 'history from below', made up of lives knowable only through small fragments of information.</span><br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "calibri" , "sans-serif"; font-size: large; line-height: 150%;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKsTYkKOrB7jcJL7OWc5P1nw-B6sjgm7qRCI5iLJ3vAUqK1MpkBnneJBcG1J85I978nbVaMiMvSwxdMQ1cVgRG7BImSfI41r3fCOo3U0nL4l4yX0R8mfPCFGCYkb3Dosji_1BGlXohfzcj/s1600/Slide1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKsTYkKOrB7jcJL7OWc5P1nw-B6sjgm7qRCI5iLJ3vAUqK1MpkBnneJBcG1J85I978nbVaMiMvSwxdMQ1cVgRG7BImSfI41r3fCOo3U0nL4l4yX0R8mfPCFGCYkb3Dosji_1BGlXohfzcj/s1600/Slide1.JPG" width="320" /></a></span></div>
</div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: "calibri" , "sans-serif"; font-size: large; line-height: 150%;">This
particular project is called ‘Voices of Authority’, and is a small part of a
larger AHRC funded project – <a href="http://www.digitalpanopticon.org/" target="_blank">The Digital Panopticon</a> – that is seeking to
digitise and link up the records reflecting everyone tried in London between
around 1780 and 1875, and either sent to prison, or else transported to
Australia.<span style="mso-spacerun: yes;"> </span>This small element of the wider project is bringing together a series of different ways of knowing
about a particular place, time and experience – the Old Bailey courtroom from
around 1750-1850, and the experience of being tried for your life and for your liberty.<span style="mso-spacerun: yes;"> </span>The conceit behind this project, is really a
suggestion that building something in three dimensions, with space, physical
form and performance, along with new forms of analysis of text; can change how
we understand the experience of the trial process; and to allow a more fully empathetic engagement with defendants; along with a better understanding of how their experience impacted on the exercise of power and authority.</span></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: "calibri" , "sans-serif"; font-size: large; line-height: 150%;">This project is only half completed – so this is very much a report of 'work in progress'. But, in essence, what seeks to do is bring together three distinct
different forms of ‘data’ and to re-organise that data around individual defendants.<span style="mso-spacerun: yes;"> </span></span><br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: large;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4hrtsOGFP30HSKGRvYAueTHJMQ4Xt0cGvOob5iblIf3MsfMj1UiC3NIXxRkVQ1cAUQsXukneyAuDHXCG8i9D29gaRtwV1tscl6tqrEJlmV2KYnaF-EQBBvIVUTV488hzGrEFcyA1xN_NW/s1600/Slide2.JPG" width="320" /></span></div>
</div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: "calibri" , "sans-serif"; font-size: large; line-height: 150%;">First, it
takes the text of the Old Bailey Proceedings – the trial accounts of some
197,745 trials held between 1674 and 1913, and recognises them as comprising
two different and distinct things – a bureaucratic record of the trials
themselves (names, verdicts, punishments); and at the same time, one of the largest corpora of recorded spoken language
created prior to the twentieth century – some 40 million words of direct, recorded
testimony for the period under analysis.</span><br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisFGa_8DZwsKjuwIvt0s93nmlD5B5Py39TZDTiCp9RQrZwEduFtJZRK7xbZ8GR_GLLxCeTGi0EZFS1n7vUuB1mNjgPYtr3OQZVE4rj_jR20XXcFc_ZRsfYaJG6mIGW9zYUpcSMpLv30Do7/s1600/Slide3.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisFGa_8DZwsKjuwIvt0s93nmlD5B5Py39TZDTiCp9RQrZwEduFtJZRK7xbZ8GR_GLLxCeTGi0EZFS1n7vUuB1mNjgPYtr3OQZVE4rj_jR20XXcFc_ZRsfYaJG6mIGW9zYUpcSMpLv30Do7/s1600/Slide3.JPG" width="320" /></a></span></div>
</div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: "calibri" , "sans-serif"; font-size: large; line-height: 150%;">These
understandings of the <i>Proceedings</i> are, of course, built on projects of much
longer duration; including the <a href="http://www.oldbaileyonline.org/" target="_blank">OldBailey Online</a>, and more particularly, on Magnus Huber’s additional linguistic
mark-up of the <i>Proceedings</i>, which allows ‘speech’ to be pulled from the trial
text, and to identify the speaker along the way. This is available via the <a href="http://www.uni-giessen.de/oldbaileycorpus/" target="_blank">Old Bailey Corpus</a>.</span></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: large;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8V0rYXTF1OT1jU0sLpNgwfSD8N8l49WUf892JzG1MNEWzF1SAXKp2qIScMhmAuGs2x0pU5TRGMIoNW95kzg-oWCP52jMgF1TfCBnZDcJk-JDlLuCLhMFglLruj7eobZ3WeMRxBCLtXqtn/s1600/Slide4.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8V0rYXTF1OT1jU0sLpNgwfSD8N8l49WUf892JzG1MNEWzF1SAXKp2qIScMhmAuGs2x0pU5TRGMIoNW95kzg-oWCP52jMgF1TfCBnZDcJk-JDlLuCLhMFglLruj7eobZ3WeMRxBCLtXqtn/s1600/Slide4.JPG" width="320" /></a></span></div>
<span style="font-size: large;"><br /></span></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: "calibri" , "sans-serif"; font-size: large; line-height: 150%;">The project also builds on text and data mining
methodologies – including <a href="http://criminalintent.org/" target="_blank">direct counting of word and phrase distributions</a>,</span><span style="font-family: "calibri" , "sans-serif"; font-size: large; line-height: 150%;"> and the
application of a form of explicit semantic analysis, that allows us to look at
the <a href="http://www.pnas.org/content/111/26/9419.abstract" target="_blank">changing character of language</a> used in witness statements over the course
of the eighteenth and nineteenth centuries.</span><br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu2NWCcB5Z65wxyfXEgpVpH8bS9zikZBJm-Q74QzL-lbz-gyrG8acLnJk_DSw3KOFj8lWNYQXKV4UH1ryZTY_vONqdTtSvRsuMN1gv5nzPkNa72owRFyoR-G4OUiZ0xbOeYTWKHqSla-qc/s1600/Slide5.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu2NWCcB5Z65wxyfXEgpVpH8bS9zikZBJm-Q74QzL-lbz-gyrG8acLnJk_DSw3KOFj8lWNYQXKV4UH1ryZTY_vONqdTtSvRsuMN1gv5nzPkNa72owRFyoR-G4OUiZ0xbOeYTWKHqSla-qc/s1600/Slide5.JPG" width="320" /></a></span></div>
<span style="font-family: "calibri" , "sans-serif"; font-size: large; line-height: 150%;"> </span><span style="font-size: large;">
</span></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div style="line-height: 150%; margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: "calibri" , "sans-serif"; font-size: large; line-height: 150%;">In other
words, the first element of the project is the text and speech, crimes, punishments and dates provided by the Old Bailey Proceedings.</span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: large; line-height: 150%;">The second element is the body of the criminal - the physical body of the individual men and women involved. </span><span style="font-size: large; line-height: 150%;">The broader project is creating a dataset of some 66,000 men and women – with substantial and detailed
information about their lives, both before and after transportation or
imprisonment – reflecting the inter-relationship between the people who became
defendants and criminals with the systems of a global empire. And this material provides a huge amount of data about bodies –
to add to the words individuals spoke to power.<span style="mso-spacerun: yes;">
</span>Height, weight, eye colour, tattoos among a range of other aspects of a physical self.<span style="mso-spacerun: yes;"> </span>Suddenly, we know if a collection of words
was spoken by a ten stone, 5 foot two inch woman with brown hair and black
eyes, and a withered left arm; or by a six foot man with an anchor tattoo on
his left arm, and a scar above squinting blue eyes.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: large; line-height: 150%;">To think about it another
way, this bit of the ‘project’, allows us to worry about the ragged boundary
between the ‘physical’ as recorded in a set of numerical and standardised
descriptions, and the ‘textual’ – the slippery and ambiguous content of each
witness statement.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXokNsc4X6gqtUAY72Ux8CDro5Bkx3g0VnpxwNEtKUFUpX9-W41zJ5fqpyP8We5kULAT3JbemV8KdkLnQlI3S9vNxXtudKwUWtLVMObqRLWfeWebYct7scH6KfmgWmGyU85e1I2yH3NISZ/s1600/Slide7.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXokNsc4X6gqtUAY72Ux8CDro5Bkx3g0VnpxwNEtKUFUpX9-W41zJ5fqpyP8We5kULAT3JbemV8KdkLnQlI3S9vNxXtudKwUWtLVMObqRLWfeWebYct7scH6KfmgWmGyU85e1I2yH3NISZ/s1600/Slide7.JPG" width="320" /></a></span></div>
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: large; line-height: 150%;">In relation to ‘history from below’, this allows
us to put together the lives of people like William Curtis, who as a 16 year
old, in the summer of 1843, had a perfectly healthy tooth pulled, before
stealing the dentists’ coat. And Sarah Durrant, who
was convicted for receiving two banks notes worth 2000 pounds. It all allows us to know
their words (their textualities), and at the same time to see them as part of a
different kind of truth – of place and body.<span style="mso-spacerun: yes;">
</span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwLG6dApxcsVyxZ6uCaBQUD-JdVLUt_iJtHLEKdNE8PAdtUf4CicAZLK8U92ezxLVzO3-Hm7fI8ci3q_qzbeoGlaEcClxrQ5b5_bd95B0TXKXeRbxxtNUTMwW_EQoyQEbYNr4niphTPbSp/s1600/Slide8.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwLG6dApxcsVyxZ6uCaBQUD-JdVLUt_iJtHLEKdNE8PAdtUf4CicAZLK8U92ezxLVzO3-Hm7fI8ci3q_qzbeoGlaEcClxrQ5b5_bd95B0TXKXeRbxxtNUTMwW_EQoyQEbYNr4niphTPbSp/s1600/Slide8.JPG" width="320" /></a></span></div>
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: large; line-height: 150%;">The aspiration is to essentially code for the variabililties
of body type at scale, to add a further dimension to both the records of the
bureaucracy of trials (charge, verdict punishment), and the measurable content
of the textualities of those same trials.</span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: large; line-height: 150%;">And finally, we are
adding one additional dimension – space – a ‘scene of trial’.</span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: large; line-height: 150%;">For this we are first of
all building on a project called <a href="http://www.locatinglondon.org/" target="_blank">Locating London’s Past</a>, which among other
things, maps crime locations on to the historic landscape of London. And to this we are adding
a reconstruction of the courtroom, where all these trials took place.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: large; line-height: 150%;">Simply using Sketch-up, we have made most progress on the George Dance’s building, finished in the late
1770s and providing the main venue for the relevant trials for the next hundred
years – basing the models on the architectural plans from which it was
built.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-size: large; line-height: 150%;">In the process of creating this model, huge amounts of imformation about trial procedure has been revealed, including the changing layout of
the court, and the relative position of the different speakers. The design itself reflects a hitherto unacknowledged transition in the character of how witnesses and defendants were
divided in this evolving space, evidencing a new story of the evolution
of the criminal trial. </span><br />
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</span></span></span><span style="font-size: large; line-height: 150%;">The architecture itself, suggests that there was a clear
transition from a situation in which witnesses and victims stood in a similar
relation to the judge and jury (both facing the judge, relatively close to one
another); to one - like a modern anglo-american courtroom<span style="mso-spacerun: yes;"> </span>- where the judge and witnesses are on one
side, and the defendant on the opposite side of the courtroom.<span style="mso-spacerun: yes;"> </span>In other words, the character of the
adversarial relationship at the core of the adversarial trial was re-defined,
with the witnesses and victim re-located on the either side of the argument, and
the judges role, redefined as arbiter between them.<span style="mso-spacerun: yes;"> </span>At some level, in the process community
resolution was replaced by court judgement.<span style="mso-spacerun: yes;">
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<span style="font-size: large; line-height: 150%;">If you want to explain why conviction
rates at the Old Bailey rose from under 50% in the mid eighteenth century, to
over eighty percent at the end of the nineteenth century, starting from
precisely the moment when the courtroom was rebuilt, this ‘fact on the ground’
needs to be part of the story.</span></div>
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<span style="font-size: large; line-height: 150%;"><br /></span><span style="font-size: large; line-height: 150%;">What has also been revealed is
the importance of levels – with lawyers speaking upwards to the judge, jury,
witnesses and defendant, from a cock-pit several feet below their eye
level.<span style="mso-spacerun: yes;"> </span>Like a theatre audience, the judge,
jury and defendant looked down on the stage below.<span style="mso-spacerun: yes;"> </span>In other words, what was created, at least
for a short time (70 years), was the real feel of a ‘theatre’ in which, as a barrister,
you were forced to perform to the gods.<span style="mso-spacerun: yes;"> </span></span><br />
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<span style="font-size: large; line-height: 150%;">Looking forwarding to
the next stage, this particular sub-project is seeking to move from the ‘art’ of making and performance, through a
humanist and historical appreciation of ‘experience’, towards the tools of
social science and informatics – seeking to combine the close reading of a
single desperate plea, with the empathy that can only come with physical
knowledge, with that macroscopic image of all the similar words spoken over a
hundred years – how that one plea fits in a universe of words and bodies.<span style="mso-spacerun: yes;"> And all of this, is in turn, being undertaken in pursuit of a more nuanced and empathetic engagement with the lives of working people - both for its own sake, and as part of a new analysis of the workings of power 'from below'.</span></span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large; line-height: 150%;">With luck, this will
allow us to move beyond a simple analysis of the courtroom, and the ‘adversarial
trial’ - to an analysis through which we can see the whole system from the
defendants’ perspectiv. </span></div>
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<span style="font-size: large; line-height: 150%;">In other words, the next
step is about creating a history of the British criminal justice system, and of
transportation from an experiential perspective on a large scale – contributing
to a history of common human experience, evidenced
from the distributed leavings of the dead, analysed with all the approaches
available to hand, from all the perspectives available.</span></div>
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Tim Hitchcockhttp://www.blogger.com/profile/17851547190864328027noreply@blogger.com221tag:blogger.com,1999:blog-2723306728611607327.post-26751242190353732212014-11-09T06:54:00.000-08:002017-01-20T04:18:52.952-08:00Big Data, Small Data and Meaning<span style="font-size: large;"><i>This post was originally written as the text for a talk I gave at a British Library Lab's event in London in early November 2014. In the nature of these things, the rhythms of speech and the verbal ticks of public speaking remain in the prose. It has been lightly edited, but the point remains the same. </i> </span><br />
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<span style="font-size: large;">In recent months there has been a lot of talk about big stuff. Between 'Big Data' and calls for a return to ‘<i>Longue durée</i>’ history writing, lots of people seem to be trying to carve out their own small bit of 'big data'. This post represents a reflection on what feels to me to be an important emerging strategy for information interrogation driven by the arrival of 'big data' (a 'macroscope'); and a tentative step beyond that, to ask what is lost by focusing exclusively on the very large. </span><br />
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<span style="font-size: large;">And the place I need to start is with the emergence of what feels to me like an increasingly commonplace label – a ‘macroscope’ - for a core aspiration of a lot of people working in the Digital Humanities. </span><br />
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<span style="font-size: large;">As far as I can tell, the term ‘macroscope’ was coined in 1969 by Piers Jacob, and used as the title of his science fiction/fantasy work of the same year – in which the ‘macroscope’, a large crystal, able to focus on any location in space-time with profound clarity, is used to produce something like a telescope of infinite resolution. In other words, a way of viewing the world that encompasses both the minuscule, and the massive. The term was also taken up by Joel de Rosnay and deployed as the title of a provocative book on systems analysis first published in 1979. The label has also had a long and undistinguished afterlife as the trademark for a suite of project management tools – a ‘methodology suite’ - supported by the Fujistu Corporation. </span><br />
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<span style="font-size: large;">But I think the starting point for interest in the possibility of creating a ‘macroscope’ for the Digital Humanities, comes out of computer science, and the work of Katy </span><span style="font-size: large;"><span style="font-size: large;"><span style="font-size: large;">Börner</span></span> from around 2011. </span><br />
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<span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg09Y1kGhcNmMWMhSI9YRWu9GjXGS4488h8gKJSh_H7Pj5GzJyRDR13XVKMa-67ZACKekftpQB848bAbJn1ZUBPLzc1Pa2wLrEnNik3IGb0RVNEpH8fgPckNeYfTTMcLXS4pLzWlP577krs/s1600/Slide3.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg09Y1kGhcNmMWMhSI9YRWu9GjXGS4488h8gKJSh_H7Pj5GzJyRDR13XVKMa-67ZACKekftpQB848bAbJn1ZUBPLzc1Pa2wLrEnNik3IGb0RVNEpH8fgPckNeYfTTMcLXS4pLzWlP577krs/s1600/Slide3.JPG" width="200" /></a></span></div>
<span style="font-size: large;">Her designs and advocacy for the development of a ‘Plug and Play Macroscope’, seems to have popularised the idea to a wider group of Digital Humanists and developers. To quote </span><span style="font-size: large;"><span style="font-size: large;"><span style="font-size: large;">Börner</span></span>: </span><br />
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<span style="font-size: large;"><a href="http://cacm.acm.org/magazines/2011/3/105316-plug-and-play-macroscopes/fulltext" target="_blank">'Macroscopes provide a "vision of the whole," helping us "synthesize" the related elements and detect patterns, trends, and outliers while granting access to myriad details. Rather than make things larger or smaller, macroscopes let us observe what is at once too great, slow, or complex for the human eye and mind to notice and comprehend.' (Katy Börner, ‘Plug-and-Play Macroscopes’, Communications of the ACM, Vol. 54 No. 3, Pages 60-6910.1145/1897852.1897871)</a></span><br />
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<span style="font-size: large;">In other words, for </span><span style="font-size: large;"><span style="font-size: large;"><span style="font-size: large;">Börner</span></span>, a macroscope is a visualisation tool that allows a single data point, to be both visualised at scale in the context of a billion other data points, and drilled down to its smallest compass.
This was not a vision or project initially developed in the humanities. Instead it was a response to the conundrums of ‘Big Data’ in both STEM academic disciplines, and the wider commercial world of information management. But more recently, a series of ‘macroscope’ projects have begun to emerge from within the humanities, tied to their own intellectual agendas, and subtly recreating the idea with a series of distinct emphases. </span><br />
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<span style="font-size: large;">Perhaps the project most heavily promoted recently, is <a href="http://papermachines.org/" target="_blank"><i>Paper Machines</i></a>, created by Jo Guldi and Chris Johnson-Robertson – and the MetLab at Harvard. This forms a series of visualisation tools, built to work with <a href="https://www.zotero.org/" target="_blank"><i>Zotero</i></a>, and ideally allowing the user to both curate a large scale collection of works, and explore its characteristics through space, time and word usage. In other words, it is designed to allow you to build your own Google Books, and explore.
There are problems with <i>Paper Machines</i>, and most people I know have struggled to make it work consistently. But it rather nicely builds on the back of functionality made available through <i>Zotero</i>, and effectively illustrates what might be described as a tool for ‘distant reading’ that encompasses elements of a ‘macroscope’. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0gHXc-3DFHOh6VlwJxDfNs50e2Uhyphenhyphenw-I2paj1wXe7miI1onBbqGQk5bIyX1GLqipcWhTNErhv3YFp12yOd3MyoJnpYnAJMvapA0_mhVNAAoC6btRaDk8SKtGUYauZ2_e-BRblhnKucLxw/s1600/Slide4.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0gHXc-3DFHOh6VlwJxDfNs50e2Uhyphenhyphenw-I2paj1wXe7miI1onBbqGQk5bIyX1GLqipcWhTNErhv3YFp12yOd3MyoJnpYnAJMvapA0_mhVNAAoC6btRaDk8SKtGUYauZ2_e-BRblhnKucLxw/s1600/Slide4.JPG" width="200" /></a></div>
<span style="font-size: large;">What is most interesting about it, however, is the use its creators make of it in seeking to shift a wider humanist discussion from one scale of enquiry to another.
Last month, to great fanfare, CUP published Jo Guldi and David Armitage’s <a href="http://historymanifesto.cambridge.org/" target="_blank"><i>History Manifesto</i></a>, which argues that once armed with a ‘macroscrope’ – <i>Paper Machines</i> in their estimation </span><span style="font-size: large;"><span style="font-size: large;">–</span> historians should pursue an analysis of how ‘big data’ might be used to re-negotiate the role of the historian – and the humanities more generally.
Basically, what Guldi and Armitage are calling for through both the <i>Manifesto</i> and through <i>Paper Machines</i>, is the re-invention of ‘<i>Longue durée</i>’ history – telling ever larger narratives about grand sweeps of historical change, encompassing millennia of human experience. And to do this in pursuit of taking on the mantle of a public intellectual, able to speak with greater authority to ‘power’. </span><br />
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<span style="font-size: large;">In the process they explicitly denigrate notions of ‘micro-history’ as essentially irrelevant. At one and the same time, they seem to me to celebrate the possibility of creating a ‘macroscope’, while abjuring half its purpose.
What we see in this particular version of a ‘macroscope’ is a tool that privileges only one setting on the scale between a single data point, and the sum of the largest data set we can encompass. In other words, by seeking the biggest of big stories, it is missing the rest. </span><br />
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<span style="font-size: large;">Perhaps the other most eloquent advocate for a ‘macroscope’ at the minute is Scott Weingart. With Shawn Graham and Ian Milligan, he is writing a collective online ‘book’ entitled, <a href="http://www.themacroscope.org/" target="_blank"><i>Big Digital History: Exploring Big Data through a Historian’s Macroscope</i></a>. The book is a nice run through of digital humanist tools, but the important text from my perspective is a blog post Weingart published on the 14 September 2014. The post was called: <a href="http://www.scottbot.net/HIAL/?p=40944" target="_blank"><i>The moral role of DH in a data-driven world</i></a>; and in it, Weingart advocates a very specific vision of a ‘macroscope’, in which the largest scale of reference and view is made intelligible through the application of a formal version of network analysis. </span><br />
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<span style="font-size: large;">Weingart is a convincing advocate for network analysis, performed in light of some serious and sophisticated automated measures of distance and direction. And his work is a long way ahead of much of the naïve and unconvincing use of network visualisations current in large parts of the Digital Humanities. Weingart also makes a powerful case for where a limited number of DH tools – primarily network analysis and topic modelling - could be deployed in re-engaging the ‘humanities’ with a broader social discussion. </span><br />
<br />
<span style="font-size: large;">Again, like Guldi and Armitage, Weingart seeks in 'Big Data' a means through which the Humanities can ‘speak to power’.
As with the work of Armitage and Guldi, the pressing need to turn Digital Humanities to political account appears to motivate a search for large scale results that can be deployed in competition with the powerful voices of a positivist STEM tradition. My sense is that Weingart, Armitage and Guldi are all essentially scanning the current range of digital tools, and selectively emphasising those that feel familiar from the more ‘Social Science’ end of the Humanities. And that having located a few of them, they are advocating we adopt them in order to secure our place at the table. </span><br />
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<span style="font-size: large;">In other words, there is a cultural/political negotiation going on in these developments and projects that is driven by a laudable desire for ‘relevance’, but which effectively moves the Humanities in the direction of a more formal variety of Social Science. </span><br />
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<span style="font-size: large;">Others still, are arguably doing some of the same work, but using a different language, or at the least seeking a different kind of audience.
Jerome Dobson, for example, has recently begun to describe the use of Geographical Information Systems (GIS) in historical geography, as a form of ‘macroscope’. This usage doesn’t come freighted with the same political claims as are current in Digital Humanities, but seem to me an entirely reasonable way of highlighting some of the global ambitions – and sensitivity to scale - that are inherent in GIS. The notion - perhaps fostered most fully by Google Earth - that you can both see the world in its entirety, as well as zoom in to the smallest detail, seems at one with a data driven ‘macroscope’. But, again, the scale most geographers want to work with is large – patterns derived from billions of data points. And again, the siren call of GIS, tends to pull humanist enquiry towards a specific form of social science. </span><br />
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<span style="font-size: large;">And finally, we might also think of the approach exemplified in the work of Ben Schmidt as another example of a ‘macroscope’ approach – particularly his ‘prochronism’ projects. These take individual words in modern cinema and television scripts that purport to represent past events – things like <i>Downton Abbey</i> and <i>Mad Men</i> - and compares them to every word published in the year they are meant to represent. </span><br />
<br />
<span style="font-size: large;">Building on Google Books and Google Ngrams, Schmidt is effectively mixing scales of analysis at the extremes of ‘big data’, on the one hand – all words published in a single year – and small data, on the other.
Of all the examples mentioned so far, it is only Schmidt who is actually using the functionality of a ‘macroscope’ effectively, making it all the more ironic that he doesn’t adopt the term. </span><br />
<br />
<span style="font-size: large;">And almost uniquely in the Digital Humanities – a field equally remarkable for its febrile excitement, and lack of demonstrable results – Schmidt’s results have been starkly revealing. My favourite example, is his analysis of the scripts of <i>Mad Men</i>, which illustrates that early episodes referencing the 1950s, overuse language associated with the ‘performance’ of masculinity – words that reflect ‘behaviour’. And that later episodes, located in the 1970s, overuse words reflecting the internalised emotional experience of masculinity. For me this revealed beautifully the larger narrative arc of the programme in a way that had not been obvious prior to his work.
Schmidt has little of the wider agenda to influence policy and politics evident in that of Armitage, Guldi and Weingart, but ironically, it is his work that is having some of the greatest extra-academic impact, via the anxiety it has created in the script writers of the shows he analyses. </span><br />
<br />
<span style="font-size: large;">All of which is simply to say that playing with and implementing ideas around a ’macroscope’ is quite popular at the moment. And a direction of travel which, with caveats, I wholly support.
But it also leaves me in something of a conundrum. </span><br />
<br />
<span style="font-size: large;">Each of these initiatives, with the possible exception of Schmidt’s work, seems to locate themselves somewhere other than the Humanities I am familiar with. And this seems odd. Issues of scale are central to this. Claiming to be doing ‘big history’ sounds exciting; while claiming that more formal ‘network analysis’, will answer the questions of a humanist enquiry, appears to create a bridge between disciplines – allowing Humanists and more data driven parts of the Social Sciences to share a methodology and a conversation. But with the exception of Schmidt’s work, these endeavours seem to be privileging particular types of analysis – Social Science types of analysis – over more traditionally Humanist ones. </span><br />
<br />
<span style="font-size: large;">In some ways, this is fine. I have discovered to my own benefit, that working with ‘Big Data’ at scale and sharing methodologies with other disciplines is both hugely productive, and hugely fun. To the extent that ‘big stories’ and new methodologies provide the justification for collaborating with researchers from a variety of disciplines – statisticians, mathematicians and computer scientists – they are wholly positive, and a simple ‘good thing’. </span><br />
<br />
<span style="font-size: large;">And yet… I find myself feeling that in the rush to define how we use a ‘macroscope’, we are losing touch with what humanist scholars have traditionally done best. </span><br />
<br />
<span style="font-size: large;">I end up is feeling that in the rush to new tools and ‘Big Data’ Humanist scholars are forgetting what they spent much of the second half of the twentieth century discovering – that language and art, cultural construction, human experience, and representation are hugely complex – but can be made to yield remarkable insight through close analysis. In other words, while the Humanities and ‘Big Data’ absolutely need to have a conversation; the subject of that conversation needs to change, and to encompass close reading and small data. </span><br />
<br />
<span style="font-size: large;">The Stanford Humanities Centre defines the ‘Humanities’ as: </span><br />
<br />
<i><a href="http://shc.stanford.edu/what-are-the-humanities" target="_blank"><span style="font-size: large;">'…the study of how people process and document the human experience. Since humans have been able, we have used philosophy, literature, religion, art, music, history and language to understand and record our world.' </span></a></i><br />
<br />
<span style="font-size: large;">Which makes the Humanities sound like the most un-exciting, ill-defined, unsalted, intellectual porridge ever. And yet, when I think about the scholarly works that have shaped my life, there is none of this intellectual cream of wheat. </span><br />
<br />
<span style="font-size: large;">Instead, there are a series of brilliant analyses that build from beautifully observed detail at the smallest of scales.
I look back to the British Marxist tradition in history – to Raphael Samuel and Edward Thompson – and what I see are closely described lives, built from fragments and details, made emotionally compelling by being woven into ever more precise fabrics of explanation. </span><br />
<br />
<span style="font-size: large;">A gesture, a phrase, a word, an aching back, a distinctive tattoo. 'My dearest …. Remember when…' </span><br />
<br />
<span style="font-size: large;">The real power of work in this tradition, lay in its ability to deploy emotive and powerful detail in the context of the largest of political and economic stories. And the political project that underpinned it, was not to ‘speak to power’, but to mobilise the powerless, and democratise identity and belonging. With Thompson’s liquid prose, a single poor, long dead framework knitter affected more change than any amount of more formal economic history. </span><br />
<br />
<span style="font-size: large;">Or I think of the work of Pierre Bourdieau, Arlette Farge and de Certeau, and the ways in which they again use the tiny fragments of everyday life - the narratives of everyday experience - to build a compelling framework illustrating the currents and sub-structures of power. </span><br />
<br />
<span style="font-size: large;">Or I think of Michel Foucault, who was able to turn on its head every phrase and telling line – to let us see patterns in language – discourses – that controlled our thoughts. Foucault profoundly challenged us to escape the limits of the very technologies of communication and analysis we used; and to see in every language act, every phrase and word, something of politics. </span><br />
<br />
<span style="font-size: large;">By locating the use of a ‘macroscope’ at the larger scale, seeking the <i>Longue durée</i>, and the ear of policy makers, recent calls for how we choose to deploy the tools of the Digital Humanities appear to deny the most powerful politics of the Humanities. If today we have a public dialogue that gives voice to the traditionally excluded and silenced – women, and minorities of ethnicity, belief and dis/ability – it is in no small part because we now have beautiful histories of small things. In other words, it has been the close and narrow reading of human experience that has done most to give voice to people excluded from ‘power’ by class, gender and race. </span><br />
<br />
<span style="font-size: large;">Besides simply reflecting a powerful form of analysis, when I return to those older scholarly projects I also see the yearning for a kind of ‘macroscope’. Each of these writers strive to locate the minuscule in the massive; the smallest gesture in its largest context; to encompass the peculiar and eccentric in the average and statistically significant. </span><br />
<br />
<span style="font-size: large;">What I don’t see in modern macroscope projects is a recognition of the power of the particular; or as William Blake would have it: </span><br />
<br />
<span style="font-size: large;">To see a World in a grain of sand, </span><br />
<span style="font-size: large;">And a Heaven in a wild flower...</span><br />
<span style="font-size: large;"> <i>Auguries of Innocence</i> (1803, 1863). </span><br />
<br />
<span style="font-size: large;">Current iterations of the idea of a macroscope, with all their flashy, shock and awe visualisations, probably score over these older technologies of knowing in their sure grasp of data at scale, but in the process they seem to lose the ability to refocus effectively. </span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCHGFiVqDt-7V_si5ZsLQliG7ToXoU-LIrZBLT8IzEAiVRHNLRPbQt5ZZsiR7_cXZ1D9c2PJG-Ro0Z1dUno_ApAID6MnvSvQ60ZyjsGePUSJI3-LAqitChEOwQH-OjtSMjvs7_PiTUQw0z/s1600/Slide10.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCHGFiVqDt-7V_si5ZsLQliG7ToXoU-LIrZBLT8IzEAiVRHNLRPbQt5ZZsiR7_cXZ1D9c2PJG-Ro0Z1dUno_ApAID6MnvSvQ60ZyjsGePUSJI3-LAqitChEOwQH-OjtSMjvs7_PiTUQw0z/s1600/Slide10.JPG" width="200" /></a></div>
<span style="font-size: large;">For all the promise of balancing large and small scales, the smaller and particular seem to have been ignored.
Ever since the Apollo 17 sent back its pictures of earth as a distant blue marble, our urge towards the all-inclusive, global and universal has been irresistible. I guess my worry is that in the process we are losing the ability to use fine detail in the ways that make the work of Thompson and Bourdieau, Foucault and Samuel, so compelling. </span><br />
<br />
<span style="font-size: large;">So, by way of wending towards some kind of inconclusive conclusion. I just want to suggest that if we are to use the tools of 'Big Data' to capture a global image, it needs to be balanced with the view from the other end of the macroscope (along with every point in between). </span><br />
<br />
<span style="font-size: large;">In part this is just about having self-confidence as humanist scholars, and ironically serving a specific role in the process of knowing, that people in STEM are frequently not very good at. </span><br />
<br />
<span style="font-size: large;">Several recent projects I was privileged to participate in, involved some hugely fun work with mathematicians and information scientists exploring the changing linguistic patterns found in the Old Bailey trials – all 127 million words worth. And after a couple of years of working closely with a bunch of brilliant people, what I gradually realised was that while mathematicians do a lot of ‘close reading’ – of formulae and algorithms - like most scientists, they are less interested than I am in the close reading of a single datum.
In STEM cleaning data is a chore. Geneticists don’t read the human genome base by base; and our knowledge of the Higgs Boson is built on a probability only discovered after a million rolls of the dice, with no one really looking too carefully at any single one. </span><br />
<br />
<span style="font-size: large;">In many respects ‘big data’ actually reinforces this tendency, as the assumption is that the ‘signal’ will come through, despite the noise created by outliers and weirdness. In other words, ‘Big Data’ supposedly lets you get away with dirty data. In contrast, humanists do read the data; and do so with a sharp eye for its individual rhythms and peculiarities – its weirdness. </span><br />
<br />
<span style="font-size: large;">In the rush towards 'Big Data' – the <i>Longue durée</i>, and automated network analysis; towards a vision of Humanist scholarship in which Bayesian probability is as significant as biblical allusion, the most urgent need seems to me to be to find the tools that allow us to do the job of close reading of all the small data that goes to make the bigger variety.
This is not a call to return to some mythical golden age of the lone scholar in the dusty archive – going gradually blind in pursuit of the banal. This is not about ignoring the digital; but a call to remember the importance of the digital tools that allow us to think small; at the same time as we are generating tools to imagine big. </span><br />
<br />
<span style="font-size: large;">In relation to text, you would think this is easy enough. Easy enough to, like Ben Schmidt, test each word against its chronological bed-fellows; or measure its distance from an average for its genre.
When I am reading a freighted phrase from the 1770s, like ‘pursuit of happiness’, I want to know that till then, ‘happiness’ was almost exclusively used in a religious context – ‘Eternal Happiness’ - and that its use in a secular setting would have caught in a reader’s mind as odd and different - new. We should be able to mark the moment when Thomas Jefferson allowed a single word to escape from one ‘discourse’ and enter another – to read that word in all its individual complexity, while seeing it both close and far. </span><br />
<br />
<span style="font-size: large;">I know of no work designed to define the content of a ‘discourse’, and map it back in to inherited texts. I know of no projects designed with this notion in mind. And if you want a take home a message from this post, it is a simple call for ‘radical contextualisation’. </span><br />
<br />
<span style="font-size: large;"> To do justice to the aspirations of a macroscope, and to use it to perform the Humanities effectively – and politically – we need to be able to contextualise every single word in a representation of every word, ever. Every gesture contextualised in the collective record all gestures; and every brushstroke, in the collective knowledge of every painting. </span><br />
<br />
<span style="font-size: large;">Where is the tool and data set that lets you see how a single stroll along a boulevard, compares to all the other weary footsteps? And compares it in turn to all the text created along that path, or connected to that foot through nerve and brain and consciousness. Where is the tool and project that contextualises our experience of each point on the map, every brush stroke, and museum object? </span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYpC9zDwD_5O43A1ix3V4tw2PLphrYVJEfQ9pDV3EJiHUOBfTHsjAoKUV0s1AhaNH-W9ukGv7IyhnB-aDgfHLqlkoEqJL-nIgGItXXqxXZfNC-_-OFihZuGORdeEdioMoy2xVqP_kaBn6k/s1600/Slide11.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYpC9zDwD_5O43A1ix3V4tw2PLphrYVJEfQ9pDV3EJiHUOBfTHsjAoKUV0s1AhaNH-W9ukGv7IyhnB-aDgfHLqlkoEqJL-nIgGItXXqxXZfNC-_-OFihZuGORdeEdioMoy2xVqP_kaBn6k/s1600/Slide11.JPG" width="200" /></a></div>
<span style="font-size: large;">This is not just about doing the same old thing – of trying to outdo Thompson as a stylist, or Foucault for sheer cultural shock. My favourite tiny fragment of meaning – the kind of thing I want to find a context for - comes out of Linguistics. It is new to me, and seems a powerful thing: Voice Onset Timing – that breathy gap between when you open your mouth to speak, and when the first sibilant emerges. This apparently changes depending on who are speaking to – a figure of authority, a friend, a lover. It is as if the gestures of everyday life can also be seen as encoded in the lightest breathe. Different VOTs mark racial and gender interactions, insider talk, and public talk.</span><br />
<br />
<span style="font-size: large;">In other words, in just a couple of milliseconds of empty space there is a new form of close reading that demands radical contextualisation </span><span style="font-size: large;"><span style="font-size: large;">(I am grateful to <a href="http://www.anthro.ucla.edu/faculty/norma-mendoza-denton" target="_blank">Norma Mendoza-Denton</a> for introducing me to VOT)</span>.
And the same kind of thing could be extended to almost anything. The mark left by a chisel is certainly, by definition, unique, but it is also freighted with information about the tool that made it, the wood and the forest from which it emerged; the stroke, the weather on the day, and the craftsman. </span><br />
<br />
<span style="font-size: large;">One of the great ironies of the moment is that in the rush to big data – in the rush to encompass the largest scale, we are excluding 99% of the data that is there. And if we are going to build a few macroscopes, I just want to suggest that, along with the blue marble views, we keep hold of the smallest details.
And if we do so, looking ever more closely at the data itself – remembering that close reading can be hugely powerful - Humanists will have something to bring to the table, something they do better than any other discipline. They can provide a world of ‘small data’ and more importantly, of meaning, to balance out the global and the universal – to provide counterpoint in the particular, to the ever more banal world of the average. </span>Tim Hitchcockhttp://www.blogger.com/profile/17851547190864328027noreply@blogger.com726tag:blogger.com,1999:blog-2723306728611607327.post-61642516192384270142014-07-15T21:39:00.000-07:002017-01-20T04:20:10.832-08:00Doing it in public: Impact, blogging, social media and the academy<!--[if gte mso 9]><xml>
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<div style="text-align: justify;">
<span style="font-size: large;"><i>The text below
is derived from a short talk I gave in February for the Library at the
University of Sussex. At the time (and in the text) I promised to post it
as a blog, but never quite found the time. </i> </span></div>
<span style="font-size: large;">
</span><br />
<br />
<span style="font-size: large;">
</span><span style="font-size: large;">Impact is an awkward thing in British Higher Education.
Most of the time it feels like just one more bludgeon used to batter hapless
academics into submission. It is frequently shorthand for an agenda
handed down from on high, privileging near-market research and the agendas of
government. And yet no one spends a lifetime researching, teaching and
writing about something if they don't believe it is important - if they don't
believe that what they do contributes to a better world. We all want to have
'impact'. The question is how can we do so in a way that reflects our own
values, rather than those of whatever government happens to be in power this
week?</span><br />
<br />
<span style="font-size: large;">
</span><span style="font-size: large;">This question is all the more important
because our traditional assumptions about how our work effects a broader social
discourse seem increasingly threadbare. When the print run of most
monographs number just a few hundred copies (most of which disappear in to
American research libraries, never to be read or used), and when journal
articles proliferate beyond number because they serve the needs of big
publishing, rather than academic dialogue - we need to think harder about how
we do the job of the humanities. If we simply continue in an older vein -
having small (vociferous) conversations amongst ourselves, in professional
seminars and at conferences, through book reviews and in the specialist hard
copy press - we will lose our place in the broader social dialog. If there is a
'crisis' in the humanities, it lies in how we have our public debates, rather
than in their content. </span><br />
<span style="font-size: large;">
</span><br />
<a href="https://www.blogger.com/blogger.g?blogID=2723306728611607327" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2723306728611607327" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2723306728611607327" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2723306728611607327" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2723306728611607327" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><span style="font-size: large;">It seems to me that the solution to this problem
is all around us, and that in order to address it, we need to remember that the
role of the academic humanist has always been a public one - however mediated
through teaching and publication. By building blogging, and
twitter, flickr, and shared libraries in Zotero, in to our research
programmes - into the way we work anyway - we both get more research done, and
build a community of engaged readers for the work itself. We can do what
we have always done, but do it better; as a public performance, in dialog
amongst ourselves, and with a wider public.</span><br />
<br />
<span style="font-size: large;">
</span><span style="font-size: large;">The best (and most successful)
academics are the ones who are so caught up in the importance of their
work, so caught up with their simple passion for a subject, that they publicise
it with every breadth. Twitter and blogs, and embarrassingly enthusiastic
drunken conversations at parties, are not add-ons to academic research, but a
simple reflection of the passion that underpins it. </span><br />
<span style="font-size: large;">
</span><br />
<span style="font-size: large;">A lot of early career scholars, in
particular, worry that exposing their research too early, in too public a
manner, will either open them to ridicule, or allow someone else to 'steal'
their ideas. But in my experience, the most successful early career
humanists have already started building a form of public dialog in to their
academic practise - building an audience for their work, in the process of
doing the work itself. </span><br />
<br />
<span style="font-size: large;">
</span><span style="font-size: large;">Perhaps the best example of this is Ben
Schmidt, and his hugely influential blog: <a href="http://sappingattention.blogspot.com.au/" target="_blank">Sapping Attention</a>. His blog
posts contributed to his doctorate, and will form part of his first book.
In doing this, he has crafted one of the most successful academic careers of
his generation - not to mention the television consultation business, and
world-wide intellectual network.</span><br />
<a href="https://www.blogger.com/blogger.g?blogID=2723306728611607327" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2723306728611607327" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2723306728611607327" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2723306728611607327" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=2723306728611607327" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><br />
<span style="font-size: large;">
</span><span style="font-size: large;">Or Helen Rogers, whose maintains two blogs: <a href="http://convictionblog.com/" target="_blank">Conviction:
Stories from a Nineteenth-Century Prison</a> - on her own research; and also
the collaborative blog, <a href="http://www.writinglives.org/" target="_blank">Writing Lives</a>, created as an outlet
for the work of her undergraduates. They bring together research and teaching,
and in the process are building a substantial community of interest.</span><br />
<br />
<span style="font-size: large;">
</span><span style="font-size: large;">Or Adam Crymble and his blog - <a href="http://adamcrymble.blogspot.com.au/" target="_blank">Thoughts
on Public & Digital History</a> - where he melds practical posts
addressing straightforward DH problems, with substantial interventions in
policy. Crymble's recent appointment to a lectureship in digital history
rested in large measure on his blog. </span><br />
<br />
<span style="font-size: large;">
</span><span style="font-size: large;">The list could go on. <a href="http://manyheadedmonster.wordpress.com/" target="_blank">The Many Headed Monster</a>, the
collective blog authored by Brodie Waddell, Mark Hailwood, Laura Sangha
and Jonathan Willis, is rapidly emerging as one of the sites where 17th century
British history is being re-written. While Jennifer Evans is
writing her next book via her blog, <a href="http://earlymodernmedicine.com/" target="_blank">Early Modern Medicine</a>.</span><br />
<br />
<span style="font-size: large;">
</span><span style="font-size: large;">The most impressive thing about these blogs
(and the academic careers that generate them), is that there is no waste - what
starts as a blog, ends as an academic output, and an output with a ready-made
audience, eager to cite it.</span><br />
<br />
<span style="font-size: large;">
</span><span style="font-size: large;">For myself the point is that these
scholars don't waste text, and neither do I. If I give a talk, I turn it
into a blog. Not everything is blogged, but the vast majority of the
public presentations I make as part of my job, will be. And while many of
these texts will never contribute to an academic article, about half of them do.
As a result blogging has become part of my own contribution to what I think of
as an academic public sphere. It becomes a way of thinking in public and
revising ones work, to make it better, in public. And knowing that there
is an audience (whatever its size), changes how one does it - forcing you to
think a little harder about the reader, and to think a little harder about the
standards of record keeping and attribution that underpin your
research. </span><br />
<br />
<span style="font-size: large;">
</span><span style="font-size: large;">One of my favourite blogging experiences
involves embedding blogs in undergraduate assessment. By forcing students
to write 'publicly', their writing rapidly improves. From being
characterized by the worst kind of bad academic prose - all passive voice
pomposity - undergraduate writing in blogs is frequently transformed in to
something more engaging, simply written, and to the point. From writing
for the eyes of an academic or two, students are forced to imagine (or
actually confront) a real audience. Blogging has the same effect on more
professional academic writers - many of whom assume that if the content is
good, the writing somehow doesn't matter.</span><br />
<br />
<span style="font-size: large;">
</span><span style="font-size: large;">But as importantly, blogs are part of
establishing a public position, and contributing to a debate. </span><br />
<br />
<span style="font-size: large;">
</span><span style="font-size: large;">Twitter is in some ways the same - or at
least, like blogging, twitter is good for making communities, and finding
collaborators; and letting other people know what you are doing. But, it
also has another purpose. </span><br />
<br />
<span style="font-size: large;">
</span><span style="font-size: large;">Dan Cohen - the director of the Digital
Public Library of America - always says about Twitter that the important thing
is that at the end of the week, it makes you aware of all the publications
and developments, calls for papers, and conferences, you need to know
about in order to keep up with your corner of the academy. It is not about what
you had for breakfast. It is about being on top of your field.</span><br />
<br />
<span style="font-size: large;">
</span><span style="font-size: large;">Between them, twitter and blogging just make
good academic sense. And while you need to avoid all the kittens and
trolls, click bate and self-promoting gits, these forms of social media are
rapidly evolving in to the places where the academic community is
embodied. They are doing the job of the seminar, and the letters
page. They are where our conversation is happening.</span><br />
<br />
<span style="font-size: large;">
</span><span style="font-size: large;">And on participating in this 'academic public
sphere', there are only a few rules. First - be yourself. If you
want credit, you have to own your material. In other words, never be
anonymous. And second, remember that everything from Academia.edu, to
Twitter, to Facebook and Flickr, is a form of publication, and should be taken
seriously as such. If you would not say it in an academic review, or in
the questions following a public lecture, don't say it on Twitter.</span><br />
<br />
<span style="font-size: large;">
</span><span style="font-size: large;">And finally, keep track of it. Use <a href="http://www.google.com.au/analytics/" target="_blank">GoogleAnalytics</a>,
or something similar. Know who you are talking to. This involves
nothing more challenging than cutting and pasting four lines of code, but
provides more data, at a more granular level than you can possibly need. </span><br />
<br />
<span style="font-size: large;">
</span><span style="font-size: large;">All of which is simply to say, that social
media are building in to what feels like an increasingly coherent environment
reflecting communities of interest - allowing us, online, to be just what we
claim to be the rest of the time - a <i>community</i>
of scholars. The objections - which usually come down to the fear that
someone will steal your ideas, your work, your credit - are best addressed by
doing it in public. And in the process there is every hope that we can
rebuild the humanities as a wider public discussion, able to more effectively
reach beyond the academy - to have 'impact'. </span><br />
<span style="font-size: large;">
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<![endif]-->Tim Hitchcockhttp://www.blogger.com/profile/17851547190864328027noreply@blogger.com385tag:blogger.com,1999:blog-2723306728611607327.post-91152081500091940622014-01-03T06:01:00.001-08:002017-01-20T04:22:03.372-08:00Judging a book by its URLsIt will sound odd, but I have recently had a great time editing URLs. Robert Shoemaker and I have have just finished a book for CUP, derived from the <a href="http://www.londonlives.org/" target="_blank">London Lives</a> project, and called - <i>London Lives: Poverty, Crime and the Making of a Modern City, 1690-1800</i>. It is a long book (170,000 words) and each quote and reference in it is linked via a URL to the original document or article, book or web-resource used as evidence or to contextualize the argument. It will be published as both an ebook and in hard copy, and the links need to be robust, and secure. My estimate is that there are in the region of 4,000 URLs included in the manuscript (which was written collaboratively in PMWiki). In the end, I found that I could identify an appropriate link for 98% of all footnote references, but then had to eliminate around 10% of these, as the relevant URL was just not useable. The book took some nine years, and I am glad it is finished.<br />
<br />
One of my final jobs was editing those 4000 URLs. It took about three months work, spread over the last year, and I have just finished spending a week or so confirming what I hope will be their final form. When I have told people about this work many have looked incredulous and suggested that this is the sort of technical implementation process that should be left to others. A couple of otherwise nice people have suggested I dump this job on the shoulders of the nearest PhD student. But for myself, it is precisely the kind of thing that an author should do for themselves. And in doing it, two things kept coming to mind. First was how the role of the scholar in creating a rigorous academic apparatus is a central part of the intellectual journey that academic writing involves - and that we should see the implementation of the online version of this in the light of the precise writing of footnotes and references that mark out good scholarship. And second, that URLs encode a system of design and intent, online architecture and system of access, that signal the quality and permanence (the academic credibility and perceived audience) of historical materials online. And that just as we have always sorted and judged scholarship by its form, we should think a bit harder about how the form of a URL can let us interrogate online materials.<br />
<br />
On the first point, I do not know of much discussion of the joys of this kind of academic slog. There is a lot of good writing on research and archives (by <a href="http://books.google.co.uk/books/about/Dust.html?id=qDMqPjEUcdkC" target="_blank">Ca</a><a href="http://www.blogger.com/null" target="_blank">rolyn Steedman</a> and <a href="http://books.google.co.uk/books?id=FU-rAAAAQBAJ" target="_blank">Arlette Farge</a> among many others), on writing and thinking, but no-one talks much about the painstaking labour that goes in to turning a rough draft in to a final finished piece of scholarship. And here I am really talking about generating accurate and fully comprehensive footnotes that reflect both the material cited, and the research journey that resulted in the main text. This has become much easier with online catalogs and citation management packages, but nevertheless remains laborious and a reflection of our collective and individual commitment to a particular kind of evidenced discussion. But for me it also represents my favourite compromise. The writing of history is a wonderfully imaginative and creative process. And in some respects we wish to judge the product of history writing as art. Is it enjoyable to read? Is it convincing? Does it do the job of good writing in liberating the readers' imagination? In making these judgements we tend to appeal to a notion of 'value' that is cultural and that privileges dominant forms of authority. This aspect of judgement is essentially romantic; with all the implications for western and elite hegemony embedded in that idea. At the same time history writing is the result of simple hard work of a more technical kind - in the archives, in collating and collecting, re-ordering and interrogating data. And it is valuable because it encompasses that hard work. The beauty of the academic apparatus is that it evidences this and in the process generates a different measure of value. In other words it is where quality is tied to a 'labour theory of value'. I love the academic slog because it is where un-moored judgement is tied down to hard labour; and where value can be universalized in a common human experience (work). In other words I really enjoyed editing 4000 URLs precisely because in them and their associated footnotes lies a claim to and evidence of the hard labour that underpins the book itself.<br />
<br />
At the same time, the process also taught me to read URLs differently. Clearly coders and web designers do this as a matter of course. But I am a historian and want to read URLs as a scholar, rather than as a programmer or designer. And for me, the important thing is that URLs embed the structure of a site, making it plain to see for anyone willing to look hard; and that they are made up of both the character of a library reference, and a command directed at the new technology of discovery - the Internet . There are just lots of different types of URL.<br />
<br />
There are 'Search URLs' that include all the elements that take the user past a collection to a specific object, but don't let you go directly there without the query. And there are URLs that encode a cataloging hierarchy. There are URLs that sift data, or work in your browser to change the data delivered, highlighting phrases or sifting material. And there are URLs that encode licensing, passwords, and access information. It is easy enough to find that the whole search journey that took you from a library catalog to an individual item is encoded directly in the URL, and even personalized to you, the machine you are using, or the forms of access you can deploy. It is easy to find URLs that run on for hundreds of characters, each element divided by a '&' or a '%', or such.<br />
<br />
But in creating robust reproducible links to credible historical materials most of these URLs are at least problematic if not useless. If they include details for institutional access, or session information, they cannot be re-used by someone else. These URLs are friable and fragile things and not fit for scholarly purposes. And as a result, for the <i>London Lives</i> book we have been forced to eliminate all the links we originally hoped to include to forty or fifty different sites. To take a single example, most archives structure their online collections with search in mind, making it difficult to link to a single item. I spent a lot of time finding the catalog entry for every manuscript we cited in the London Metropolitan Archives, and Westminster Archives Centre, only to regretfully strip out the links when confronted by a complex URL that just did not look credible as a long term citation of the item itself.<br />
<br />
Even in its simplest, and in the form recommended by the site for sharing a link, a London Metropolitan Archives URL looks like this:<br />
<br />
<a href="http://search.lma.gov.uk/scripts/mwimain.dll/144/LMA_OPAC/web_detail/REFD+P69~2FBRI~2FB~2F001~2FMS06554~2F004?SESSIONSEARCH">http://search.lma.gov.uk/scripts/mwimain.dll/144/LMA_OPAC/web_detail/REFD+P69~2FBRI~2FB~2F001~2FMS06554~2F004?SESSIONSEARCH</a><br />
<br />
<br />
Since we had consulted these items in their physical form in any case, it did not seem too problematic to leave out these links, but a shame nevertheless. And likewise, with paywall material there seemed little point in dangling real access, and the promise of credible evidence, before the eyes of readers who would not be able to go beyond the login screen. It seemed better to cite a specific item in combination with a general (unlinked) URL and date of consultation as reflecting our own research journey, rather than to promise access when we could not deliver it.<br />
<br />
With few exceptions the URLs that have been retained (and there are still 4000 of them) address specific items with a specific ID, and usually run to 20 to 40 characters. DOIs are not bad once you figure out their structure and reformulate them as they should be, rather than the way they are normally cited on journal web pages.<br />
<br />
<a class="urllink" href="http://dx.doi.org/10.1353/sec.2010.0268" rel="nofollow" title="">dx.doi.org/10.1353/sec.2010.0268</a> <br />
<br />
And Google Books creates a very nice URL once you strip out all the complex formatting instructions that are normally generated as part of a search and inserted after the main ID. This is what a Google Books' URL looks like if you were to use the 'search' version: <br />
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<a href="http://books.google.co.uk/books?id=1sMJGt7_rTAC&printsec=frontcover&dq=%22Prosecution+and+Punishment:+Petty+Crime+and+the+Law%22&hl=en&sa=X&ei=rrzGUq_aDsSy7Aa_9YGQCg&redir_esc=y#v=onepage&q=%22Prosecution%20and%20Punishment%3A%20Petty%20Crime%20and%20the%20Law%22&f=false" target="_blank"> http://books.google.co.uk/books?id=1sMJGt7_rTAC&printsec=frontcover&dq=%22Prosecution+and+Punishment:+Petty+Crime+and+the+Law%22&hl=en&sa=X&ei=rrzGUq_aDsSy7Aa_9YGQCg&redir_esc=y#v=onepage&q=%22Prosecution%20and%20Punishment%3A%20Petty%20Crime%20and%20the%20Law%22&f=false</a><br />
<br />
And this URL will take to the same book:<br />
<br />
<a class="urllink" href="http://books.google.co.uk/books?id=1sMJGt7_rTAC" rel="nofollow" title="">books.google.co.uk/books?id=1sMJGt7_rTAC</a><br />
<br />
And the Eighteenth-century Short Title Catalog generates some of the most elegant URLs I have found:<br />
<br />
<a class="urllink" href="http://estc.bl.uk/T174945" rel="nofollow" title="">estc.bl.uk/T174945</a><br />
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And to a lesser extent, so does the Ethos collection of doctoral theses at the British Library.<br />
<br />
<a class="urllink" href="http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.354762" rel="nofollow" title="">ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.354762</a><br />
<br />
And London Lives and the Old Bailey Online do pretty well on this score:<br />
<br />
<a class="urllink" href="http://www.londonlives.org/browse.jsp?div=LMSMPS501980014" rel="nofollow" title="">www.londonlives.org/browse.jsp?div=LMSMPS501980014</a><br />
<a href="http://www.oldbaileyonline.org/browse.jsp?ref=t17910413-19">http://www.oldbaileyonline.org/browse.jsp?ref=t17910413-19</a><br />
<br />
<br />
In part, I suspect that these issues would all disappear if I had a better sense of the layer of structure that lies beneath the WWW. But for the moment I am keen to have a short, human-readable URL that looks like it will last longer than the session I am currently logged on for. All of which simply takes me back to the joy of academic slogging and the importance of the academic apparatus as something that evidences hard work and opens up scholarship to credible criticism that goes beyond simple romantic appreciation and prejudice.<br />
<br />
I know all too well that one of the skills of an academic is the ability to judge a book by its cover and the form of the text it contains. For the online we need to embed URLs into precisely this process - and the joy of all that editing was that at the end of it, I feel I have learned to do just that. <br />
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<br />Tim Hitchcockhttp://www.blogger.com/profile/17851547190864328027noreply@blogger.com118tag:blogger.com,1999:blog-2723306728611607327.post-46328380216444691162013-12-09T02:41:00.000-08:002017-01-20T04:23:31.075-08:00Big Data for Dead People: Digital Readings and the Conundrums of Positivism<i>The following post is drawn from the text of a keynote talk I delivered at the CVCE conference on 'Reading Historical Sources in the Digital Age', held in Luxembourg on the 4th and 5th of December 2013. In the nature of these kinds of texts the writing is designedly rough, the proof reading rudimentary, and the academic apparatus largely absent.</i><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn-xhjvAjtnNbj6vimKWQr904wwdLASmQcmJ3G8t-cGo_hkY2mnkqOltQmgQl9qOQ8aUHbuM2mMw2YZBmbCt6xFvSI0ryCnIU6HflilvV4XpNamK4ND0KjN2cDfRY-mHuuujUYgMUveQrp/s1600/Slide1.JPG"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn-xhjvAjtnNbj6vimKWQr904wwdLASmQcmJ3G8t-cGo_hkY2mnkqOltQmgQl9qOQ8aUHbuM2mMw2YZBmbCt6xFvSI0ryCnIU6HflilvV4XpNamK4ND0KjN2cDfRY-mHuuujUYgMUveQrp/s320/Slide1.JPG" /></a><br />
<br />
<br />
This talk forms a quiet reflection on how the creation of new digital resources has changed the ways in which we read the past; and an attempt to worry at the substantial impact it is having on the project of the humanities and history more broadly. In the process it asks if the collapse of the boundaries between types of data - inherent in the creation of digital simulcra - is not also challenging us to rethink the 'humanities' and all the sub-disciplines of which it is comprised. I really just want to ask, if new readings have resulted in new thinking? And if so, whether that new thinking is of the sort we actually want? <br />
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As Lewis Mumford suggested some fifty years ago, most of the time:<br />
<br />
‘… minds unduly fascinated by computers carefully confine themselves to asking only the kind of question that computers can answer...’ <br />
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<a href="http://archives.newyorker.com/?i=1962-12-01#folio=148">Lewis Mumford, “The Sky Line "Mother Jacobs Home Remedies",” The New Yorker, December 1, 1962, p. 148.</a> <br />
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But, it seems to me that we can do better than that, but that in the process we need to think a bit harder than we have about the nature of the Digital History project.<br />
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Perhaps the obvious starting point is with the concept of the distant reading of text, and that wonderful sense that millions of words can be consumed in a single gulp. Emerging largely from literary studies, and in the work of Franco Moretti and Stephen Ramsay, the sense that text – or at least literature – can be usefully re-read with the tools of the digital humanities has been regularly re-stated with the all the hyperbole for which the Digital Humanities is so well known. And, within reason, that hyperbole is justified. <br />
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My favourite example of this approach is Ben Schmidt’s analysis of the dialogue in Mad Men, in which he compares the language deployed by the scriptwriters against the corpus of text published in that particular year drawn from Google books. In the process he illustrates that early episodes over-state the ‘performative’ character of the language, particularly in relation to masculinity – that the scriptwriters chose to depict male characters talking about the outside world and objects, more frequently than did the writers of the early fifties. And that in the later episodes of the series, they depict male characters over-using words associated with interiority, emotions and personal perceptions. What I like about this is that it forms one of the first times I have been really surprised by ‘distant reading’. I just had not clocked that the series was developing a theme along these lines – that it embedded a story of the evolution of masculinity from a performative to an interiorised variety. But once Schmidt used a form of distant reading to expose the transition it felt right, obvious and insightful. In Schmidt’s words: ‘the show's departures from the past… let us see just how much everything has changed, even more than its successes.’… at mimicking past language. The same could be done with the works of George Elliot or Tolstoy (who both wrote essentially ‘historical’ novels), and with them too, I look forward to being surprised. In other words, the existence of something like Google Books and the Ngram viewer - which Schmidt's work depends upon - actually can change the character of how we ‘read’ a sentence, a word, a phrase, a genre – by giving a norm against which to compare it. Is it a ‘normal’ word, for the date? or more challenging, for the genre? for the place of publication? for the word's place in the long string of words that make up an article or a book? <br />
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<a href="http://sappingattention.blogspot.co.uk/2012/03/mad-men-anachronism-hunting.html"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1XnCUty_otwTrbHT_zGl3SyzJu9lVxSaUytORSWaFUo0gUD1BRUlnzVvQzQu7Q2GdpwUo48H3RXA6QRuIyAoCAMfwx0-UBtpgDB2k50Bybf3upnExIy-Kug5S9GfYvfiQg6DQFpertK2U/s320/Slide3.JPG" /></a><a href="http://sappingattention.blogspot.co.uk/2012/03/mad-men-anachronism-hunting.html"> </a><br />
<br />
<br />
But having lauded this example, I think we also have to admit that in most stabs at distant reading seems to tell us what we already know.<br />
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<a href="https://books.google.com/ngrams/graph?content=coal%2Ciron%2Csteel%2Csteam&case_insensitive=on&year_start=1700&year_end=1900&corpus=1&smoothing=3&share=&direct_url=t4%3B%2Ccoal%3B%2Cc0%3B%2Cs0%3B%3Bcoal%3B%2Cc0%3B%3BCoal%3B%2Cc0%3B%3BCOAL%3B%2Cc0%3B.t4%3B%2Ciron%3B%2Cc0%3B%2Cs0%3B%3Biron%3B%2Cc0%3B%3BIron%3B%2Cc0%3B%3BIRON%3B%2Cc0%3B.t4%3B%2Csteel%3B%2Cc0%3B%2Cs0%3B%3Bsteel%3B%2Cc0%3B%3BSteel%3B%2Cc0%3B%3BSTEEL%3B%2Cc0%3B.t4%3B%2Csteam%3B%2Cc0%3B%2Cs0%3B%3Bsteam%3B%2Cc0%3B%3BSteam%3B%2Cc0%3B%3BSTEAM%3B%2Cc0"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-M5lHWV38h9KdzTwAT0SOSqr4S4IHLgUDuXzOXfFrGcjvIRzr9ILXsv8e_LVRqar9Glzofmx50vgqn1AUARkZVAKskF50bP-Q8cqaYXHh-mmmVf789_SMgP-TbCBFD0GGvlVABB4P_R8r/s320/Slide4.JPG" /></a><br />
<br />
<br />
There was an industrial revolution involving iron. There was a war in the 1860s and so on. <br />
<br />
What surprises me most, is that I am not more surprised.<br />
<br />
In part, I suspect the banal character of most ngrams and network analyses is a reflection of the extent to which books, indexes, and text, have themselves been a very effective technology for thinking about words. And that as long as we are using digital technology to re-examine text, we are going to have a hard time competing with two hundred years of library science, and humanist enquiry. Our questions are still largely determined by the technology of books and library science, so it is little wonder that our answers look like those found through an older techonology.<br />
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<br />
<a href="http://tywkiwdbi.blogspot.co.uk/2010/09/public-library-of-cincinnati-and.html"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm1WBf4PPuO0Sx36c9aMG6tIqDdBOdPUfNko4-Koj1PKKEFcmy1XfRSAzjrvZwH4YGo0MzhLi0VeZi3_Igjs9RXNSxwrx-1LOrppqQ7uSfL4Tspun6OjkoGLMkyVVbhgPJIDiDNiSBQarR/s320/Slide5.JPG" /></a> <br />
<br />
<br />
But, the further we move away from either the narrow literary cannon; and more importantly the code that is text, to include other types of readings of other types of data - sound, objects, spaces - I hope the more unusual and surprising our readings – both close and distant - might become. And it is not just text and objects, but also cultures. The current collection of digital material that forms the basis for most of our research is composed of the maudlin leavings of rich dead white men (and some rich dead white women). Until we get around to including the non-cannonical, the non-Western, the non-textual and the non-elite, we are unlikely to be very surprised.<br />
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For myself, I am wondering how we might relate non-text to text more effectively; and how we might combine - for historical purposes - close and distant reading into a single intellectual practise; how we might identify new objects of study, rather than applying new methodologies to the same old bunch of stuff. And just by way of a personal starting point, I want to introduce Sarah Durrant. She is not important. Her experience does not change anything, but she does provide a slightly different starting point from all the rich dead white men. And for me, she represents a different way of thinking through how to ask questions of computers, without simply asking questions we know computers can answer.<br />
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Sarah claimed to have found two bank notes on the floor of the coffee house she ran in the London Road, on the Whitsun Tuesday, 1871; at which point she pocketed them. In fact they had been lifted from the briefcase of Sydney Tomlin, in the entrance way of the Birkbeck Bank, Chancery Lane, a few days earlier.<br />
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<a href="http://www.nationalarchives.gov.uk/records/victorian-prisoners-photographs.htm"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifgtryyn-RGjQByeKSvIa9zteo6SSxqDD3ntvHp2FBnHdWI5a8Sm6rNtFKOQWe9wedJydGuw7SSGUHXdNrDtgvFDcWgmXNR8ASet2k8NIbNSvaMy8ANgYGZ9IQfM8bPy3EB4bhll4KVTY7/s320/Slide6.JPG" /></a><br />
<br />
<br />
We know what Sarah looked like. This image is part of the record of her imprisonment at Wandsworth Gaol for two years at hard labour, and is readily available through the website of the UK's National Archives. We have her image, her details, her widowed status, the existence of two moles - one on her nose and the other on her chin. We have her scared and resentful eyes staring at us from a mug shot. I don't have the skill to interpret this representation in the context of the history of portraiture, or the history of photography - but it creates a powerful if under-theorised alternative starting point from which to read text - and has the great advantage of not being ‘text’; or at least not being words.<br />
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But, we also have the words recorded in her trial.<br />
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<a href="http://www.oldbaileyonline.org/browse.jsp?ref=t18710109-137"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQsHu7rkXd5oIAt1s_2zn8L78NC6LcMUJe8k3aVGkUWfi3Yg9gxVmipPc5beZ9NHYpGIZMTfrFvGIMBXu2sPz5IdaOQYHj3mOHYb3n5yhiaCmertVDhO8e_9z9SIoyqxkdRUP9w3VFzaT2/s320/Slide7.JPG" /></a><br />
<br />
And because we have marked up this material to within an inch of their life in XML to create layer upon layer of associated data, we also have something more.<br />
<br />
<a href="http://www.oldbaileyonline.org/browse.jsp?foo=bar&path=sessionsPapers/18710109.xml&div=t18710109-137&xml=yes"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX-iJvQHT8xTDvpmJ8RHuuiPPaLT0lYTIpSFIC1YtWh1EyNxvJQo774PB47Ga9sYMCFcf5fAtvrh8355U05IVYM1OFn4I5NKb4_xAWyNbyiZf4BPWGMXnrrCDdrjuYKZGb6wZiRkDP1QQE/s320/Slide8.JPG" /></a><br />
<br />
In other words, for Sarah, we can locate her words, and her image, her imprisonment and experience, both in ‘text’ and in the leavings of the administration of a trial, as marked up in the XML. And because we have studiously been giving this stuff away for a decade, there is a further ‘reading’ that is possible, via an additional layer of XML provided by Magnus Huber and his team at the University of Giessen. He has marked up all the text that purports to encompass a ‘speech act’. And so we also have a further ‘reading’ of Sarah as a speaker, and not just any speaker, but a working class female speaker in her 60s.<br />
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<a href="http://www.uni-giessen.de/oldbaileycorpus/"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsHgUpwqf7YUhedt0jbtg83tWeLIKAvuxJM80xuhOSN26rMrLZ6a1gWORQGYjv3V3U6j3Nux4KLPcYuCvZpqaUbxtIJ_yn873WqQqzJj0s-iiLADGuEwucEqW1iUlUnxQdNkqc2VS0s8wP/s320/Slide9.JPG" /></a><br />
<br />
<br />
And of course, this allows us to compare what she says, to other women of the same age and class, using the same words; with a bit of context for the usage.<br />
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<a href="https://books.google.com/ngrams/graph?content=whitsun&year_start=1825&year_end=1875&corpus=1&smoothing=3&share=&direct_url=t1%3B%2Cwhitsun%3B%2Cc0"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6lfVhnWIUhslAq2DtWfEEpoKknKePC8-AyEtiU8gnb7abraIfp_SMM5FT2ihVvp7WpaH8TcV8hHCPDsNvG1LtwNlGC72azeWRd1KXSglUldBKB2AdLOZIB9KqNsGYB2H02u3wYgdGShGq/s320/Slide10.JPG" /></a><br />
<br />
<br />
So, we already have a few ‘readings’, including text, bureaucratic process, and purported speech.<br />
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From all of which we know that Sarah, moles and all, was convicted of receiving; and that she had been turned in by a Mrs Seyfert - a drunk, who Durrant had refused a hand-out. And we know that she thought of her days in relation to the Anglican calendar, which by 1871, was becoming less and less usual – and reflects the language of her childhood.<br />
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<a href="http://www.oldbaileyonline.org/images.jsp?doc=187101090081"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNAC-7YKfyFh1Zp56blYOb5iMyUUHT3038rLLE1lYbKNO8MpoNru8xsLW5FDWMjDclNNcNPOFz761AovcnQ_fP9RPC-yn8WLmEf3LHUUVVqETKVREZjNHYF8mg6_QmhfNeMlm-vl6v7D5d/s320/Slide11.JPG" /></a><br />
<br />
<br />
And, of course, we have an image of the original page on which that report was published – a ghost of the material leavings of an administrative process. <br />
<br />
<a href="http://gale.cengage.co.uk/times.aspx/"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBqsD6SecCg_ESRQmdKMhXGUxwC2UmMJoFLrFLxbcmtChjR1nyWPAajN5zgjDoJlkNSq-bpEfqhtu2_Ho8Ce0Us1CsO31Ei5JcL-9_HUSKpO6lsCZ0ql1uTCC-vzZiLrYkxpCW0KeZSITs/s320/Slide12.JPG" /></a><br />
<br />
<br />
And just in case, we can also read the newspaper report of the same trial.<br />
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So far, so much text, with a couple of layers of XML, and the odd image. But we also know who was in Wandsworth Gaol with her on the census day in 1871.<br />
<br />
<a href="http://www.nationalarchives.gov.uk/records/census-records.htm"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDY9wjhcCC1UmtimC2vB-ZPCdVLZX1jC3uuyNtBi82W2NQcAM3qRln6OZivmmPpIyno1jVjOeb6KsOTCHhWbyh-vM5n4THvBDDANA-OhuqMZCJx5lgSzX2wkvkT0ffOQsbJjK-ChCONtZK/s320/Slide13.JPG" /></a><br />
<br />
And we know where Durrant had been living when the crime took place – in Southwark, at No 1 London Road. <br />
<br />
<a href="http://www.locatinglondon.org/"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-1zfT603NKjPPtCqc7wQuuCVjI88rs7p5Pfx5y9-tMuTMTUVzwGGA0ElMWbExJ50pT5DOF7pp1UtoQLOhGXqY5DEPIilVyGuzX05jXB1JArkg7SyC_nxh8cYWdpcpc4Phmg0z4coeV4Bc/s320/Slide14.JPG" /></a><br />
<br />
<br />
We know that she was a little uncertain about her age, and we know who lived up one flight of stairs, and down another. Almost randomly, we can now know an awful lot about most nineteenth century Londoners, allowing us to undertake a new kind of 'close reading'. <br />
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From which it is a small step to The Booth Archive site posted by the London School of Economics, which in turn lets us know a bit more about the street and its residents. <br />
<br />
<br />
<a href="http://booth.lse.ac.uk/cgi-bin/do.pl?sub=view_booth_and_barth&args=531000,180400,6,large,5"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT1hWshY43SiuKXP4xRhs8mziq4csWJaW4th9_X3Y4d13PrBKo8JShyphenhyphenydOdDdPv5yCeh223OcNK946y1UG-HC_bLgEku5g808GiIicuTZ_sgN4acdYI_4WbcbgFxJwMJT2uUsdDfZpE1FY/s320/Slide16.JPG" /></a><br />
<br />
<br />
‘a busy shopping street', with the social class of the residents declining sharply to the West - coded Red for lower middle class.<br />
<br />
<a href="http://booth.lse.ac.uk/static/b/districts.html"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifLHYWJ-z97ydUltQhVRhiz7dkNWE0GixUO51RUGJIuPabBy6mJ1_KzlVL1frydjhWwuFb4TVNqo5DK-_QPOAqNxI6RdkKsbgKKIL0XubrT5Yury4stwTQv-83rCksSLzUqKWwh_eTAlcl/s320/Slide17.JPG" /></a><br />
<br />
But we can still do a bit better than this. We can also do what linguists and literary scholars are doing to their own objects of study - we can take apart the trial, for instance, as a form of generic text using facilities such as Voyant Tools. Turning a ‘historical reading’ in to a linguistic one:<br />
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<br />
<a href="http://voyant-tools.org/"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixtY9LWJuJf9VIxihpSnIED8cp-U5odVFx5B6joYmy3Dhb1qQzQQpuTN4_vpADN2wuRZlxZAXqUmI0Ytx7Egqh0pvaDIOOG1Li1Vy6QaEK1OdrzmyVqFyPIQ2AaYbB2wEcB_cdhjpRRdWo/s320/Slide18.JPG" /></a><br />
<br />
<br />
And, if the OCR of the Times Digital Archive was sufficiently good (which it isn’t) - we could have compared the trial account, with the newspaper account as a measurable body of text.<br />
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And as with Magnus Huber’s Corpus mark-up, using that linguistic reading of an individual trial as a whole, in relation to Google Books, we could both identify the words that make this trial distinctive, and start the process of contextualising them. We could worry, for instance, at the fact that the trial includes a very early appearance of a 'Detective' giving evidence, and suggesting that Sarah’s experience was unusual and new - providing a different reading again:<br />
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<a href="https://books.google.com/ngrams/graph?content=detective&year_start=1800&year_end=2000&corpus=1&smoothing=3&share=&direct_url=t1%3B%2Cdetective%3B%2Cc0"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdCQKff00VWGNN3XsH2USggFn2Usq96UQs6BKU8lm91Vn-axTxYeBtnGhsIfB7d3CsBCXKXTeW-G65fJqKJvBKG_j9BxPN2-9DJ0y3IiJSkYS3r2c-E5luXsuDqa9HqBOxCfqbyq1p7woX/s320/Slide19.JPG" /></a><br />
<br />
In other words, our ability to do a bit of close reading - of lives, of people, of happenstance, and text, with a bit of context thrown in, has become much deeper than it was fifteen years ago. <br />
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But we can go further still. We could contextualise Sarah's experience among that of some 240,000 defendants like her, brought to trial over 239 years at the Old Bailey, and reported in 197,475 different accounts. We can visualise these trials by length, and code them for murder and manslaughter, or we could just as easily do it by verdict, or gender, punishment, or crime location. The following material is the outcome of a joint research project with William Turkel at the University of Western Ontario. <br />
<br />
<a href="http://criminalintent.org/2011/08/white-paper-on-criminal-intent-project/"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm1AWPEn97CyMnKYHeUQ5LBsqCz0yanF7SrDGaId8GCBFzspsaMHJQSM2xeU746Jwtb3fwO0zrAsK5m0Z4RTzjkbjnt3meqay1lFalz-4ydsD_VIgvPSiKLmPUdef8K_R794PZ_y1h4s5U/s320/Slide20.JPG" /></a><br />
<br />
<br />
Sarah Durrant is here:<br />
<br />
<a href="http://criminalintent.org/2011/08/white-paper-on-criminal-intent-project/"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJfDcdaO0ytjV_OQTOgVW0A8lQg1FS1aQcEhXd2c0IPhyphenhyphenLzvpfUb0HfdaTnTtjtWCYE-hEWRRAeAcr57gWo4xqpRGRoKbF3yhnI6SaaSzcX-1OaojzgsOnPWJzL0-jsIqhfm3JtrtqGC33/s320/Slide21.JPG" /></a><br />
<br />
<br />
And in the process we can locate her experience in relation to the rise of ‘plea bargaining’ and the evolution of a new bureaucracy of judgement and punishment, as evidenced here:<br />
<br />
<a href="http://criminalintent.org/2011/08/white-paper-on-criminal-intent-project/"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizWM0wNlQYdHMAvQbxi6zL9TYPJADmbAnYuipfEdCZNaW6pj8bOU37JvSxoRrcLicKKGyqQB-NL26murRSViXzPYQ_hwDAsiIx7T7IPZpok3NBD6iOKjE4U8QM6xdU4JoeChvV61zj9uuY/s320/Slide22.JPG" /></a><br />
<br />
Sarah’s case stood in the middle of a period during which, for the first time, large numbers of trials were being determined in negotiation with the police and the legal profession – all back-rooms and truncheons – resulting in a whole new slew of trials that were reported in just a few words. Read in conjunction with the unusual appearance of a ‘detective’ in the text, and her own use of the language of her youth, the character of her experience becomes subtly different, subtly shaded. <br />
<br />
To put this differently, one of the most interesting things we can know about Sarah, is that she was confronted by a new system of policing, and a new system of trial and punishment, which her own language somehow suggests she would have found strange and hard to navigate. We also know that she was desperate to enter a plea bargain. "I know I have done wrong; but don't take me ... [to the station], or I shall get ten years"— pleading to be let go, in exchange for the two bank notes.<br />
<br />
And in the end, it was the court's choice to refuse Durrant's plea for a bargain: <br />
<br />
"THE COURT would not withdraw the case from the Jury, and stated, the case depended entirely upon the value of the things stolen. GUILTY of receiving— Two Years' Imprisonment." <br />
<br />
In other words, Sarah’s case exemplifies the implementation of a new system of justice in which the state – the police and the court – took to themselves a new power to impose its will on the individual. And, it also exemplifies the difficulty that many people – both the poor and the old – must have had in knowing how to navigate that knew system. <br />
<br />
But it also places her in a new system designed to ensure an ever more certain and rising conviction rate. And of course, we can see Sarah’s place in that story as well:<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1RvUALrtErdeJcKGzh4KjgKzRL16QhIXwC6TCyujZ71gG2HfNlEL3JXNcVm1X5PZclDqIg4iTeYLQ1rbANmeTYEQ6NmuawAxwyfSDssbavVc2tyGwx7jWHxNR55RwApQp3s4mcHIYXwjT/s1600/Slide23.JPG"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1RvUALrtErdeJcKGzh4KjgKzRL16QhIXwC6TCyujZ71gG2HfNlEL3JXNcVm1X5PZclDqIg4iTeYLQ1rbANmeTYEQ6NmuawAxwyfSDssbavVc2tyGwx7jWHxNR55RwApQp3s4mcHIYXwjT/s320/Slide23.JPG" /></a><br />
<br />
<br />
Even without the plea bargain, Sarah’s conviction was almost certain – coming as it did in a period during which a higher proportion of defendants were found guilty than at almost any other time before or since. Modern British felony conviction rates are in the mid-70 percent range. <br />
<br />
Or alternatively, we can go back to the trial text and use it to locate similar trials – ‘More like this’ – using a TF-IDF – text frequency/inverse document frequency methodology, to find the ten or hundred most similar trials.<br />
<br />
<a href="http://www.oldbaileyonline.org/obapi/"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU7CgjQCGCAH_Ih8Kwwc2_kyIJK4BuUGF-hkXyx0lIV1XLxQ7erfqOifjOhrk2DolKGsXF-CQE7PXUhEz-e6DQjYA03v0GVWlY8uDE20SKwQK-Suvzq6yXFh8EHSwoqkRUF1OiLMjnmr8h/s320/Slide24.JPG" /></a><br />
<br />
In fact these seem to be noteworthy mainly for the appearance of bank-notes and female defendants, and the average length of the trials – none, for instance, can be found among the shorter plea bargains trials at the bottom of the graph, and instead are scattered across the upper reaches, and are restricted to the second half of the nineteenth century - sitting amongst the trials involving the theft of 'bank notes'; and theft more generally, which were themselves, much more likely than crimes of violence, to result in a guilty verdict. At a time when the theft resulted in a conviction rates of between 78% and 82%; killings had a conviction rate of between 41% and 57%.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY3Gep7wLvE5Ij7ZkBwYR-avqWf-lQRi6I6Wq53XYLPuXq6BSLnwInv_RiLu1Jhp8Gf3hNZ9nOFawUP_FaY_xXxh1LnBtSFgT6rm7jV_PJfYYCC6H3hlC4hNymjo6vwafpHUyDooBCv8Mq/s1600/Slide25.JPG"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY3Gep7wLvE5Ij7ZkBwYR-avqWf-lQRi6I6Wq53XYLPuXq6BSLnwInv_RiLu1Jhp8Gf3hNZ9nOFawUP_FaY_xXxh1LnBtSFgT6rm7jV_PJfYYCC6H3hlC4hNymjo6vwafpHUyDooBCv8Mq/s320/Slide25.JPG" /></a><br />
<br />
In other words, applying TF-IDF methodologies provides a kind of bridge between the close and distant readings of Sarah's trial. <br />
<br />
And of course, while I don’t do topic modelling, you could equally apply this technique to the text, by simply thinking of the trials as ‘topics’; and I suspect you would find similar results.<br />
<br />
But we can read it in other ways as well. We can measure, for instance, whether the trial text has a consistent relationship with the trial outcome - did the evidence naturally lead to the verdict? This work is the result of a collaboration between myself and Simon DeDeo and Sara Klingenstein at the Santa Fe Institute (see <a href="http://www.mdpi.com/1099-4300/15/6/2246">Dedeo, et al,</a><a href="http://www.mdpi.com/1099-4300/15/6/2246"> 'Bootstrap Methods for the Empirical Study of Decision-Making and Information Flows in Social Systems'</a>, for a reflection of one aspect of this work). And in fact, trial texts by the 1870s did not have a consistent relationship to verdicts - probably reflecting again the extent to which legal negotiations were increasingly being entered in to outside the courtroom itself, in police cells, and judge’s chambers - meaning the trials themselves become less useful as a description of the bureaucratic process:<br />
<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJj2p2Z2xxCenFNCuK7bZ7Gaqz0CFi7nciKZXcfqM_DnmD3vXyxuhb6ITsBV8iPS6lnpxqRZWIazBjw1HD_R3-JZJRNf3PmyTaODpW1gjMTw9e9vkOlRWwmfbZm3Vc3k3OW6jAKL3QF6bh/s1600/Slide26.JPG"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJj2p2Z2xxCenFNCuK7bZ7Gaqz0CFi7nciKZXcfqM_DnmD3vXyxuhb6ITsBV8iPS6lnpxqRZWIazBjw1HD_R3-JZJRNf3PmyTaODpW1gjMTw9e9vkOlRWwmfbZm3Vc3k3OW6jAKL3QF6bh/s320/Slide26.JPG" /></a><br />
<br />
<br />
Or, coming out of the same collaboration, we can look to alternative measures of the semantic content of each trial - in this instance, a measure of the changing location of violent language. This analysis is based on a form of ‘explicit semantics’, using the categories of Roget’s thesaurus to group words by meaning. Durrant's trial was significantly, but typically, for 1871, unencumbered with the language of violence. Whereas, seventy years earlier, it would as equally, be likely to contain descriptions of violence – even though it was a trial for that most white collar of crimes, receiving.<br />
<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKeMsz3my6ZiWYGXX0FAPeysHjILshb_AgmynGlyjN-coxSG1RLgpzyL2YojhU0i0PNAigjYBkx8-_z592h73x6_T1usKHX6L0oQKy44xgOOTcRIebAgdIawhocHGIcEKmBg-fhIS6FvWD/s1600/Slide29.JPG"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKeMsz3my6ZiWYGXX0FAPeysHjILshb_AgmynGlyjN-coxSG1RLgpzyL2YojhU0i0PNAigjYBkx8-_z592h73x6_T1usKHX6L0oQKy44xgOOTcRIebAgdIawhocHGIcEKmBg-fhIS6FvWD/s320/Slide29.JPG" /></a><br />
<br />
<br />
In other words, the creation of new tools and bodies of data, have allowed us to 'read' this simple text and the underlying bureaucratic event that brought it into existence, and arguably some of the social experience of a single individual, in a series of new ways. We can do ‘distant reading’, and see this trial account in the context of 127 million words - or indeed the billions of words in Google Books; and we can do a close reading, seeing Sarah herself in her geographical and social context. <br />
<br />
In this instance, each of these readings, seems to reinforce a larger story about the evolution of the court, of a life, of a place - a story about the rise of the bureaucracy of the modern state, and of criminal justice. But it was largely by starting from a picture, a face, a stair of fear, that the story emerged.<br />
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But the point is wider than this. Reading text – close, distant, computationally, or immersively - is the vanilla sex of the digital humanities and digital history. It is all about what might be characterised as the 'textual humanities'. And for all the fact that we have mapped and photographed her, Sarah remains most fully represented in the text of her trial. But, if you want something with a bit more flavour we need to move beyond what was deliberately coded to text – or photographs – and be more adventurous in what we are reading. <br />
<br />
In performance art, in geography and archaeology, in music and linguistics, new forms of reading are emerging with each passing year that seem to significantly challenge our sense of the ‘object of study’. In part, this is simply a reflection of the fact that all our senses and measures are suddenly open to new forms of analysis and representation - when everything is digital, everything can be read in a new way. <br />
<br />
Consider for a moment: <br />
<br />
<a href="http://www.rvc.ac.uk/Research/News/HapticSimulators.cfm"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK4MfzeKBIDbC2ZvvEZVfc1mDOo-YCS3tmM6eht2JcDdXk9vBVc8ZbVwLD54NDbozziFgT56bnNHa634svMb_z30u3cuYy7lbORYICO3u_I92c33iTuBMuLJMQEB_4TC6OoP6fNHB-EvwY/s320/Slide30.JPG" /></a><br />
<br />
<br />
This is the ‘LIVE’ project from the Royal Veterinary College in London, and their ‘Haptic Interface’. In this instance they have developed a full scale ‘haptic’ representation of a cow in labour, facing a difficult birth, which allows students to physically engage and experience the process of manipulating a calf in situ. I haven’t had a chance to try this, but I am told that it is a mind altering experience. But for the purpose of understanding Sarah’s world, it also presents the possibility of holding the banknotes, of diving surreptitiously into the briefcase, of feeling the damp wall of her cell, and the worn wooden rail of the bar at the court. It suggests that reading can be different; and should include the haptic - the feel and heft of a thing in your hand. This is being coded for millions of objects through 3d scanning; but we do not yet have an effective way of incorporating that 3d text in to how we read the past. <br />
<br />
The same could be said of the aural - that weird world of sound on which we continually impose the order of language, music and meaning; but which is in fact a stream of sensations filtered through place and culture. <br />
<br />
<a href="http://virtualpaulscrossproject.blogspot.co.uk/"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoaTPTsvbNVf94LhG5ZsR0e1lbswZHkd49pXGQFxmLHKWRvMPeXvrk4wkPcunRibpWrOszmmQZFT9lWe1gaKIp9osHSJxx_7QrgqRvsuVsrF9vCLjhvk4G6TBZKvaneM42kQRxO_mOxdpb/s320/Slide31.JPG" /></a><br />
<br />
<br />
Projects like the Virtual St Paul's Cross, which allows you to ‘hear’ John Donne’s sermons from the 1620s, from different vantage points around the square, changes how we imagine them, and moves from ‘text’ to something much more complex, and powerful. And begins to navigate that normally unbridgeable space between text and the material world.<br />
<br />
For Sarah, my part of a <a href="http://www.digitalpanopticon.org/">larger project to digitise andlink the records </a>of nineteenth-century criminal transportation and imprisonment, is to create a soundscape of the courtroom where Sarah was condemned; and to re-create the aural experience of the defendant - what it felt like to speak to power, and what it felt like to have power spoken at you from the bench. And in turn, to use that knowledge, to assess who was more effective in their dealings with the court, and whether, having a bit of shirt to you, for instance, effected your experience of transportation or imprisonment.<br />
<br />
All of which is to state the obvious. There are lots of new readings that change how we connect with historical evidence – whether that is text, or something more interesting. In creating new digital forms of inherited culture - <a href="http://historyonics.blogspot.co.uk/2013/05/stuff-and-dead-people.html">the stuff of the dead</a> - we naturally innovate, and naturally enough, discover ever changing readings. <br />
<br />
And in the process it feels that we are slowly creating an environment like Katy Börner's notion of a Macroscope - that set of tools, and digital architecture, that allows us to see small and large, at one and the same time; to see Sarah Durrant's moles, while looking at 127 million words of text.<br />
<br />
<a href="http://cacm.acm.org/magazines/2011/3/105316-plug-and-play-macroscopes/fulltext"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7FhCMt8FwivPYofj6d1x5T7lfdmtLL6DClH4q6SzDj14NDibGdLyXQLXdSINv5FkXyLDT2anVj5OvhSngH1DnUsKs9QCuA5nwQEpEJmXV0d8AlNhJVZexMBcpHeYDbpJyxY7zUK3YdWs2/s320/Slide33.JPG" /></a><br />
<br />
<br />
But, before I descend in to that somewhat irritating, Digital Humanities cliché where every development is greeted as both revolutionary, and life enhancing - before I become a fully paid up techno-utopian, I did want to suggest that perhaps all of these developments still leave us with the problem I started with - that the technology is defining the questions we ask. And it is precisely here, that I start to worry at the second half of my title: the 'conundrums of positivism'.<br />
<br />
About four years ago - in 2009 or so, I was confronted by something I had not expected. At that time, Bob Shoemaker and I had been working on digitising trial records and eighteenth-century manuscripts for the Old Bailey and London Lives projects for about ten years. In the Old Bailey we had some 127 million words of accurately transcribed text and in the London Lives site, we had 240,000 pages of manuscript materials reflecting the administration of poverty and crime in eighteenth-century London - all transcribed and marked up for re-use and abuse by a wider community of scholars. It all felt pretty cool to me. <br />
<br />
But for all the joys of discovery and search digitisation made possible, and the joys of representing the underlying data statistically; none of it had really changed my basic approach to historical scholarship. I kept on doing what I had always done - which basically involved reading a bunch of stuff, tracing a bunch of people and decisions across the archives of eighteenth-century London, and using the resulting knowledge to essentially commentate on the wider historiography of the place and period. My work was made easier, the publications more fully evidenced, and new links and associations were created, that did substantially change how one might look at communities and agency. But, intellectually, digitisation, the digital humanities, did not feel different to me, than had the history writing of twenty years before – to that point, I found myself remarkable un-surprised. But then something happened.<br />
<br />
About that time, Google Earth was beginning to impact on geography. With its light, browser based approach to GIS, it had allowed a number of people to create some powerful new sites. Just in my own small intellectual backyard, people like Richard Rogers and a team of collaborators out the National Library of Scotland, were building sites that allowed historical maps to be manipulated, and populated with statistical evidence, online, and in a relatively intuitive Google maps interface. And this was complemented by others, such as the New York Public Library warping site.<br />
<br />
<a href="http://addressinghistory.edina.ac.uk/"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3g5Bk8A3zKyUXfGkCUmKudBmBRcLz-zkMesDliZxMwUCM7egc_gCAOf7VQJ3dAwdeIU_02-SuWV7TJsHOjxZEayqAgJ31JWu2gNQsrlC9JTkt2l8LgqfvwA0qm9CNHIfSv_sdCfQRkSSE/s320/Slide34.JPG" /></a><br />
<br />
It was an obvious thing to want to do something similar for London. And it was a desire to recreate something like this, that led to the <a href="http://www.locatinglondon.org/">Locating London's Past</a>, a screenshot of which I have used already a couple of times. The site used a warped and rectified version of John Rocque's 1746 map of London, in association with the first 'accurate' OS map of the same area, all tied up in a Google Maps container, to map 32,000 place names, and 40,000 trials, and a bunch of other stuff.<br />
<br />
<a href="http://www.locatinglondon.org/"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt-lQb7I35qNwiT6QvZoEm795Z9bYAmbWi1JRNMDq3_HpVOhAATHZKfZHd03gmD10jKvgXvRjazn-lpHQNrZcylrziP0LNMv2i2xVQvs2F_mskn5WtlAsfU35Siv3bWE1xrzTnaJmQWKkb/s320/Slide35.JPG" /></a><br />
<br />
<br />
But this was where I had my comeuppance. Because in making this project happen, I found myself working with <a href="http://www.museumoflondonarchaeology.org.uk/Corporate/Contact-us/MOLA-management-team/peterrauxloh.htm">Peter Rauxloh</a> at the Museum of London Archaeological Service, and several of his colleagues - all archaeologists of one sort or another. And from the moment we sat down at the first project meeting, I realised that I was confronted with something that fundamentally challenged my every assumption about history and the past. What shocked me was that they actually believed it.<br />
<br />
Up till then it had been a foundational belief of my own, that while we can know and touch the leavings of the dead, the relationship between a past 'reality' and our understanding of it was essentially unknowable - that while we used the internal consistency of the archive to test our conclusions, and in order to build ever more compelling descriptions and explanations of change - actually, we were studying something that was internally consistent, but detached from a knowable reality. In most cases, we were studying 'text', and text alone - with its at least ambiguous relationship to either the mind of the author (whatever that is), and certainly an ambiguous relationship to the world the author inhabited.<br />
<br />
Confronted by people happy to define a point on the earth's surface as three simple numbers, and to claim that it was always so, was a shock. This is not to say that the archaeologists were being naïve, far from it, but that having been trained up as a text historian - essentially a textual critic - in those meetings I came face to face with the existence of a different kind of knowing. And, of course, this was also about the time that 'culturomics' was gaining extensive international attention; with its claim to be able to 'read' history from large scale textual change, and to create a 'scientific' analysis of the past. Lieberman Aiden and Michel claim that the process of digitisation, has suddenly made the past available for what they themselves describe as '<a href="http://www.culturomics.org/Resources/A-users-guide-to-culturomics">scientific purposes</a> <br />
<br />
In some respects, we have been here before. In the demographic and cliometric history so popular through the 1970s and 80s, extensive data sets were used to explore past societies and human behaviour. The aspirations of that generation of historians were just as ambitious as are those of the creators of culturomics. But, demography and cliometrics started from a detailed model of how societies work, and sought to test that model against the evidence; revising it in light of each new sample and equation.<br />
<br />
The difference with most 'big data' approaches and culturomics is that there is no pretence to a model. Instead, their practitioners seek to discover patterns in the entrails of human leavings hoping to find the inherent meanings encoded there. What I think the scientific community - and quite frankly most historians - finds so compelling is that like quantitative biology and DNA analysis, big data is using one of the controlling metaphors of 20th-century science, 'code breaking' and applying it to a field that has hitherto resisted the siren call of analytical positivism.<br />
<br />
Since the 1940s the notion that 'codes' can be cracked to reveal a new understanding of 'nature' has formed the main narrative of science. With the re-description of DNA as just one more code in the 1950s, wartime computer science became a peacetime biological frontier. In other words, what both textual ‘big data’, and the spatial turn, bring to the table is a different set of understandings about the relationship between the historical 'object of study', and a knowable human history; all expressed in the metaphor of the moment - code. <br />
<br />
We can all agree that text and objects and landscape form the stuff of historical scholarship, and I suspect that none of us would want to put an exclusionary boundary around that body of stuff. But simply because the results of big data analysis are represented in the grammar of maths (and in 'shock and awe' graphics); or in hyper-precise locations referenced against the modern earth's surface, there is an assumption about the character of the 'truth' the data gives us access to. One need look no further than the use of 'power law' distributions - and the belief that their emergence from raw data reflects an inherently 'natural' phenomenon - to begin to understand how fundamentally at odds traditional forms of historical analysis - certainly in the humanities - is from the emerging 'scientific' histories associated with 'big data'.<br />
<br />
But, it is not really my purpose to criticise either the Culturomics team, or archaeologists and geographers (who are themselves engaged in their own form of auto-critique). Rather I just want to emphasise that in choosing to move towards a 'big data' approach - new ways of reading the past - and in adopting the forms of representation and analysis that come with big data, all of us are naturally being pushed subtly towards a kind of social science, and a kind of positivism, which has been profoundly out of favour for at least the last thirty years.<br />
<br />
In other words, there seems to me to be a real tension between the desire on the one hand to include the 'reading' of a whole new variety of data in to the process of writing history; and, on the other, the extent to which each attempt to do so, tends to bring to the fore a form of understanding that is at odds with much of the scholarship of the last forty years. We are in danger of giving ourselves over to what sociologists refer to as 'problem closure' - the tendency to reinvent the problem to pose questions that available tools and data allow us to answer - or in Lewis Mumfords words, ask questions we know that computers can answer.<br />
<br />
It feels to me as if our practise as humanists and historians is being driven by the technology, rather than being served by it. And really, the issue is that while we have a strong theoretical base from which to critique the close reading of text - we know how complex text is - we do not have the same theoretical framework within which to understand how to read a space, a place, an object, or the inside of a pregnant cow - all suddenly mediated and brought together by code - or to critique the reading of text at a distance. And as importantly, even if there are bodies of theory directed individually at each of these different forms of stuff (and there are); we certainly do not have a theoretical framework of the sort that would allow us to relate our analysis of the haptic, with the textual, the aural and the geographical. Having built our theory on the sands of textuality, we need to re-invent it for the seas of data. <br />
<br />
But to come to some kind of conclusion: history is not the past, it is a genre constructed by us from practises first delineated during the enlightenment. Its forms of textual criticism, its claims to authority, its literary conventions, the professional edifice which sifts and judges the product; its very nature and relationship with a reading and thinking public; its engagement with memory and policy, literature and imagination, are ours to make and remake as seems most useful.<br />
<br />
For myself, I will read anew, and use all the tools of big data, of ngrams and power laws; and I will publish the results with graphs, tables and GIS; but I refuse to forget that my object of study, my objective, is an emotional, imaginative and empathetic engagement with Sarah Durrant, and all the people like her.<br />
<br />
<a href="http://www.nationalarchives.gov.uk/records/victorian-prisoners-photographs.htm"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRpXh7-ds6nNZKtF-_6fenl72cFwbtp3-IroFFoPjLX_tt_uP2bnIYKb6c9am-6dEmExK_cFYEYM-e9G02EM5o7nvuJvnJNYbVD8_Bt7poqy0InUtnsQXo0q1EC7EGdCNMc4ToEqtO3BnZ/s320/Slide36.JPG" /></a><br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpBciYshq5ew-cCXxar6eA_kKp8-WFVXAdtuX3pOjn31drpUDQk7eHnkCsRwk-t5myx1KzoE5IQ6AF0pb5M4_p0NGA779P9FNY157GrkkKpsySgQqOw5bk8GrrJo6lIY6UecP4SLfR5k5T/s1600/Slide1.JPG"><br /></a>Tim Hitchcockhttp://www.blogger.com/profile/17851547190864328027noreply@blogger.com502tag:blogger.com,1999:blog-2723306728611607327.post-89266975749778674912013-09-08T08:46:00.001-07:002017-01-20T04:24:49.861-08:00Wood and Memory <i>The post that follows is personal. It is in the tradition of memoir-like and self-revealing blogging; and I am posting it here because this blog started off as a hybrid that was intended to encompass both my professional and private personae. In the last eighteen months or so it has rather evolved in to a more professional beast, with digital history and policy overwhelming more personal topics. But this transition was not intended. In other words, if you are looking for a nice post on 'Big Data', or the politics of Open Access, please look away now.</i><br />
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<span style="font-size: large;"><b>Wood and Memory </b></span><br />
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I did not know my uncle very well. Richard Pozzini ('Dicky') was my mother's much younger brother, and I only knew him for a couple of years when I was ten and eleven, and he was in his late twenties. At the age of 28, in the late 1960s he killed himself. As a child, my brother and sisters and I were protected from the full impact of his death, and it was seldom spoken of. A couple of years later, Virgil and Gina, Dicky's mother and father, my grandparents, moved into a small apartment above a garage attached to my parent's house in San Francisco, and for the next eight or nine years, I lived in and out of their home. I never heard my grandfather, Virgil (Nonno), mention Dicky in all those years, nor did Dicky's mother, Gina (Nonni), then, or in the thirty years to her death in 2001, ever voluntarily discuss him without being prompted. Nor has my mother, Dicky's older sister, talked much about him - few fond memories of a shared childhood. He was always present, in carved objects and panels, in the models he made as a child, but mainly in the silence he left behind. <br />
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<tr><td class="tr-caption" style="text-align: center;">Gina, Florence, Virgil and Richard 'Dicky' Pozzini. c.1949.</td></tr>
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But I remember Dicky, and I want to record my memories of him, and just take some time to think about him, and to do something to memorialise a wonderful and creative life that nevertheless ended in despair.<br />
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Dicky did many things - he was a farmer, and a cyclist, a photographer, a student of Italian literature, a member of the Peace Corp in Brazil and an artist; but my memories of him are as a student of nature and a maker of things.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9D9o6wrP3ZhRk_rEvP7_N2w08d4qYX4ABeT0dXfwo4sEJivL2kOuTrcO_ZuvRaojlcjGJ6MfW9-F_v3v_IKa6lRM4NM7BIniVsuEaDL9uVBwam7IAb4eEAkrV9uZsWNHrECMt1WZTeJUX/s1600/Birds.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9D9o6wrP3ZhRk_rEvP7_N2w08d4qYX4ABeT0dXfwo4sEJivL2kOuTrcO_ZuvRaojlcjGJ6MfW9-F_v3v_IKa6lRM4NM7BIniVsuEaDL9uVBwam7IAb4eEAkrV9uZsWNHrECMt1WZTeJUX/s320/Birds.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A series of a bird sculptures made around 1968 or 69.</td></tr>
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He grew up on the smallholding his parents Virgil and Gina bought in the early 1930s, as immigrants trying to recapture the rural lifestyle they had left behind in Northern Italy: fourteen acres of grapes and walnut trees in El Campo, Woodbridge, just outside Lodi in the Central Valley of California. The area is now famous for its wine, but then it felt like the dry, hot factory floor of California agriculture. Dicky's parents made a hard scrabble living combining wine making and market gardening with whatever work came to their very skillful hands. In my memory they seemed to be experimenting with a new crop, a new strategy to make money every year. Virgil made all their furniture, and Gina made all their clothes. Dinner was as likely to feature song birds or hare, as meat from a butcher. And while there was always food on the table, it never felt like there was a lot of money in the bank. <br />
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The 'Ranch' was really just a classic California subdivision, with a small bungalow, a tank house, a windmill (which had been replaced by an electric pump by the 1960s), a well and a few out-buildings. And it was never big enough to support them as an exclusively agricultural concern. Gina went to work in the fruit (processing peaches and cherries through the hot nights of summer) and Virgil made furniture and fitted kitchens for his better-off neighbours in the workshop. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzR4UpT5MDdQ9MO02Q_oZcvlAsqqFcoby_XYeLLD4Z7CXK23ZDV1oxSoSOsyRanI24h7cOKVUisgc_FBrBSxCU1PxsqTRgH-Dk5TseGbJWm2gSzZxEX_ek4Qv_VzpYKdM4wPU7b0wYQPKy/s1600/Dicky+on+a+tractor+with+a+neighbour+%2528May%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzR4UpT5MDdQ9MO02Q_oZcvlAsqqFcoby_XYeLLD4Z7CXK23ZDV1oxSoSOsyRanI24h7cOKVUisgc_FBrBSxCU1PxsqTRgH-Dk5TseGbJWm2gSzZxEX_ek4Qv_VzpYKdM4wPU7b0wYQPKy/s320/Dicky+on+a+tractor+with+a+neighbour+%2528May%2529.jpg" width="320" /></a></div>
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Dicky grew up driving tractors, and working in the shop, helping with the wine; fishing and hunting the river trout and small birds of the neighbourhood; and just getting on with all the gathering and processing that a small holding required. It was a life of making and repairing, processing and planning for the next season; and it required huge imagination as well as simple hard work. One of my earliest memories of Dicky is helping him make sausages in the tank house kitchen (reserved for processing large batches of food). While I was allowed to turn the handle, he stood over the meat grinder expertly tying off each link as the meat filled the casing. But it was not all work. He also took us on adventures to the river, and taught us how to make whistles from a a bit of reed. He was the first person I ever saw use a cast-net for river fishing. <br />
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But more than anything, from an early age he was a wonderful craftsman. My brother still has the perfect miniature model cars Dicky made as a child (reflecting designs from the 1910s and 1920s), and my parents have the carvings of birds, and of a bunch of grapes and a rooster that he made. The panels always hung on the wall in my grandparents' living room.<br />
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El Campo was anything but an easy life. Virgil was a disappointed man who had spent twenty years living in all-male quarters in mining towns, and lodging houses - a victim of that largely male diaspora suffered by the Irish, Italians and Poles in the first decades of the last century. He was given to alcohol and socialising; and drank a fair portion of the wine he made. He always hankered after a return to Italy, but following his marriage in 1929, he never went back. He could be violent to his wife and children, and has always been held up by my mother as the canker at the heart of that particular knotty world. She herself was largely protected from him by her own mother, but as a boy Dicky was expected to tough it out. But, Dicky also had good friends, and a varied life at the heart of a small community. His childhood certainly did not leave him fearful, or unambitious, frightened of the world, or unable to make friends.<br />
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After high school, Dicky went to Italy cycling through the North - to visit relatives, and I suspect, just to get out of rural America. By all accounts the trip was a hard one - with little money and less support - but it must have been enough to spark a desire to study Italian literature, which he did for a couple of years at San Francisco State. I don't know how long this lasted, though he never finished the degree. And soon enough, he was off to Brazil with the Peace Corp, and a couple of years later, following a short stay back at the Ranch, returned to Brazil to help set up an agricultural co-operative in the rain forest.<br />
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The co-operative eventually failed, and Dicky found himself back in San Francisco in his late twenties, and in need of a living. With three or four false starts behind him, I suspect returning the US was very hard. In that particular world, there was not much sympathy for failure. <br />
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I remember driving up to Lodi with him in what must have been one of his first visits to see his parents after returning for good from South America. We drove the eighty miles or so in the most dilapidated pick-up you can imagine - there was no key, and Dicky had to hot wire it every time we stopped. Virgil and Gina had given up the Ranch the year before and had moved in to a small house in Lodi; and the afternoon was punctuated with Virgil and Dicky arguing, while Gina and I listened from the kitchen. I will always remember Virgil saying, 'If I thought you were going to return, we would never have sold the Ranch'.<br />
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<tr><td class="tr-caption" style="text-align: center;">Dicky and me (aged 10) around 1967 or 68.</td></tr>
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I doubt Dicky could ever have gone back to El Campo, but it seemed a powerful accusation to me at the age of nine or ten, still shocked by the loss of a much loved childhood haunt.<br />
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Dicky did not talk to me about the argument, and we drove back to San Francisco pretty much in silence (I was a kid). And in the next month or so, Dicky went about setting up a wood working shop on Valencia Street, and tried to figure out how to make a living.<br />
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For the next year or so he was a frequent visitor to my parents house, and a regular presence in our lives. I remember visiting Muir Woods with him once, and being allowed to use his Rolex camera for a few close ups of plants and insects. At weekends there were the craft fairs where he sold the small pieces he was making by then. It was San Francisco in 1968 and 1969, so all the work was psychedelic, loud and colourful. As kids we were encouraged to make 'God's Eyes' and scented candles. <br />
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I don't remember how long this lasted - probably not more than eighteen months. My parents heard of Dicky's suicide late on a Sunday night, on our return from a long weekend trip to somewhere I don't remember. He had shot himself.<br />
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From here my memories are about how not to deal with a death like Dicky's. The silence, the mismanaged attempts to protect children from hard adult emotions. The awkward attempts to explain the truth; and to work through the guilt that wracked my parents' and grandparents' lives for years. <br />
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But that tragedy and experience is not the point of this blog. Instead, I just wanted to remember a person, Dicky Pozzini. He was a craftsman and an artist, a socialist, and a generous soul. Lives are made of people and experience, and Dicky is one of the people who has shaped my life, and whom I simply want to remember.<br />
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These days I am doing as much woodworking as time allows; making stuff, because making stuff is important. And every time I cut in to a piece of black walnut, with its evocative smell so familiar from my childhood, or let my gouge reveal the curve of bowl on the lathe, I think of Dicky.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL2jxDB3aFiF17_h4P6roFx9iKHrOBzg3b1DgZhiyyCckQ9m_AWDb_GgkOkBD0Am_lHdtXWNkSzu3kr3OG_uBB3pIDOAR4ACSVHnT8vu8NOMA3KG-y_-n2BgMnUAi4Zrv6UX9AhLsg5oHD/s1600/Fish.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL2jxDB3aFiF17_h4P6roFx9iKHrOBzg3b1DgZhiyyCckQ9m_AWDb_GgkOkBD0Am_lHdtXWNkSzu3kr3OG_uBB3pIDOAR4ACSVHnT8vu8NOMA3KG-y_-n2BgMnUAi4Zrv6UX9AhLsg5oHD/s320/Fish.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Two fish sculptures made by my son, Nick and I in 2011. The walnut was laid down to cure by Dicky Pozzini in 1968.</td></tr>
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<br />Tim Hitchcockhttp://www.blogger.com/profile/17851547190864328027noreply@blogger.com21tag:blogger.com,1999:blog-2723306728611607327.post-91544011611122494942013-05-22T01:46:00.000-07:002017-01-20T04:26:00.763-08:00Stuff and Dead People<!--[if gte mso 9]><xml>
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<span style="font-size: large;">In recent years I find myself using the terms <i>Stuff</i> and <i>Dead
People</i> in talks and titles more and more. And as a historian I find
myself conceptualising my work as being about <i>Stuff</i> inherited from <i>Dead
People</i>. Both expressions just sound right. But it occurs to me
that while I have a relatively clear sense of what I am intending to convey
when I use these terms, their meanings might not be entirely apparent to
others. For this reason I thought I would have a stab at providing a
couple of definitions, and a brief explanation of why I find these terms so useful</span><br />
<span style="font-size: large;">
</span><br />
<span style="font-size: large;">
</span><span style="font-size: large;">In my usage<i> Stuff </i>encompasses all the different varieties of
artefact that can be used in practising history. The term is in some
respects an attempt avoid saying that our object of study is text or image, the
manmade landscape or a piece of furniture, or indeed even data in its broadest
form. Instead, the use of <i>Stuff</i> is intended to signify that my
practise as a historian actively seeks to make use of all of these
things. In terms of an epistemology, it is an attempt to distance myself
from the categories of knowing that I (we) have inherited. <i>Stuff </i>denies
the taxonomies of knowing that define a museum object as being different to a
pamphlet; a hedgerow different to a teapot. In part this usage
reflects a profound disillusion with the narrow practise of textual comparison
that lies at the heart of the Rankean tradition of historical analysis; but it
is also a recognition that new technologies allow us to encompass new types of
evidence in new ways. When all <i>Stuff</i> is data it can be
interrogated across boundaries that seemed natural and unbreachable just a few
decades ago (between a hedgerow and a teapot). And while data itself is also a
form of <i>Stuff</i>, and the transition from varieties of stuff to data is itself
a process of creating a new taxonomy, there remains a rather wonderful
transition involved. There is an opportunity to rethink the
meanings of <i>Stuff</i>, and without a new vocabulary it is all that much more
difficult to do so.</span><br />
<span style="font-size: large;">
</span><br />
<span style="font-size: large;">
</span><span style="font-size: large;">In other words, <i>Stuff</i> is a simple rejection of post-enlightenment categorisation.</span><br />
<span style="font-size: large;">
</span><br />
<span style="font-size: large;">
</span><span style="font-size: large;">In some respects <i>Dead People</i> serves a similar function. The use
of <i>Dead People</i> avoids the traps of both identity and social modelling;
while at the same time giving some shape to the object of historical study
(human culture in the past). Ironically some <i>Dead People</i> are still
alive. Henry Kissinger is apparently still breathing, but is nevertheless
a figure of substantial historical analysis. In my view he is undeniably <i>Dead
People</i>. At the same time, because cultural history seems to take
longer to turn journalism in to books, Amy Winehouse and Michael Jackson may be
dead, but they are not yet <i>Dead People</i>. </span><br />
<span style="font-size: large;">
</span><br />
<span style="font-size: large;">
</span><span style="font-size: large;">The term <i>Dead People</i> implies a refusal to describe the people of past
as men or women, workers or citizens, artists or authors. And in doing
so, like <i>Stuff</i>, is used to signal that I do not find the traditional
categories and boundaries that comprise social science very helpful.</span><br />
<span style="font-size: large;">
</span><br />
<span style="font-size: large;">
</span><span style="font-size: large;"><i>Stuff</i> we inherit from <i>Dead People</i> is my object of study as a
historian. </span><br />
<span style="font-size: large;">
</span><br />
<span style="font-size: large;">
</span><span style="font-size: large;">One could convey these ideas using other words. The results
might be a bit long winded, but <span style="font-size: large;">could </span>certainly point up
my intention. At the same time, the use of these terms serve a slightly wider
function. They form an attempt to de-centre the language of historical
and social science authority that underpins the professional claims of
academic historians as a whole. By refusing to use the categories and languages of authority we inherited, I am
self-consciously rejecting the systems that underpin the professional
academic practise of history. </span><br />
<span style="font-size: large;">
</span><br />
<span style="font-size: large;">
</span><span style="font-size: large;">It is perhaps a ridiculous comparison, but I like to think of the
use of these terms as akin to the transition in thinking brought about by the
evolution of labelling in quantum theory between the proposal of the eight-fold-way in the 1950s and the November Revolution of 1974. Like most people
of my generation and education, I was raised in an Einsteinian universe in
which unusual phenomenon were described in the most secure of scientific jargon
- we believed in the physics because it was expressed in the language of authority.
But in the 1970s, in particular, a whole new language of <i>strangeness</i> and
<i>charm</i> was broadcast to a popular audience. As a teenager schooled in an older tradition, this challenged me to rethink. By
using everyday words to describe complex phenomena I was forced to interrogate what I believed more closely than I would otherwise have done. I don't understand quantum, but suspect I understand Einsteinian physics better as a result! I use the terms <i>Stuff</i> and <i>Dead People</i> in the hope
that their use will challenge listeners to question the labels and phenomena
they think I am talking about.</span><br />
<span style="font-size: large;">
</span><span style="font-size: large;"> </span><br />
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Tim Hitchcockhttp://www.blogger.com/profile/17851547190864328027noreply@blogger.com10tag:blogger.com,1999:blog-2723306728611607327.post-34679298011534089372013-04-11T07:46:00.000-07:002017-01-20T04:27:04.590-08:00Hearing the Dead - Ten years of the Old Bailey Online<span style="font-size: large;"><br /></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://www.oldbaileyonline.org/"><span style="font-size: large;"></span></a><span style="font-size: large;"><a href="http://www.blogger.com/blogger.g?blogID=2723306728611607327" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKuCX1q0DGBDo1STXA1rM7Z01W9Z2RoeZ61n_d_kRKLwvYShvv-BRuExLooVFjH_ASS-T1QnV3YjFje06GvLGy62cBjmWsz34XO6Egxlznqyd1fvWBnlSqqeyOIrQWVTnuP2CIK7z3scdR/s320/The+Proceedings+of+the+Old+Bailey,+London+1674+to+1834+-+Mozilla+Firefox_2013-04-04_15-12-36.png" width="320" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.oldbaileyonline.org/"><span style="font-size: large;">The Old Bailey Homepage, 2003</span></a></td></tr>
</tbody></table>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">The <a href="http://www.oldbaileyonline.org/">Old Bailey Online</a>
has now been around for a decade - and we are celebrating. But it also
seems a good moment to take stock of what went right and what went
wrong and just reflect for a moment on fifteen years of project
work. </span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">My most vivid memories are of the team of people involved. They were amazing, and I feel hugely privileged to have worked with them all; most especially with Bob Shoemaker, who has been a constant collaborator and friend for over three decades, through at least five projects and two books. But also a whole crew of people who came together to make something good happen. Just in relation to the period before the initial launch in 2003, there was Jamie McLaughlin and Simon Tanner, Ge<span style="font-size: large;">of<span style="font-size: large;">frey Laycock, </span></span>Louise Henson, John Black, Edwina Newman, Kay O'Flaherty, and Gwen Smithson. What they produced was ground breaking, and that was a simple result of their hard work and good sense. Since then a dozen more people have been involved - most importantly Sharon Howard. </span><br />
<br />
<span style="font-size: large;">I suppose the real question is: if we had to do it over again, what
would we have done differently? Speaking for myself, rather than for the
project, I can't think of all that much I would change. Perhaps we
could have chosen better software to begin with, and been generally more
technically saavy, and worried less about IP. But these seem small things from this distance. I guess I regret the six months of my time, and several thousand pounds of project money spent licensing the images we used for the background pages on the site. The experience demonstrated to me that the copyright system in online images is broken, but it seems a hard lesson won at a relatively high cost!</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">I also regret over egging some of the early discussion about the project. The whole 'new history from below' narrative which we developed in thinking about the site simply raised the ire of a group of historians offended by the hubris; or who felt their own expertise was somehow threatened. I hold my hands up to the charge of hubris (though I still stand by the need for a<a href="http://historyonics.blogspot.co.uk/2010/04/new-history-from-below.html"> 'new' history from below</a>). Digitisation and the Internet, and Digital Humanities more broadly does lend itself to hyperbole, and I am far from immune to its attractions. But mainly it was unnecessary, as the site has effected the wider historical agenda and the kinds of history people write with no need for any one to lead the way or yell about it.</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">And what we got right - however fortuitously - seems to me to outweigh these issues. Looking back on the decisions we made in the late 1990s, the choice of a double-entry rekeyed text, in combination with XML tagging turned out to be perfect, even if it was through luck rather than expertise (though Michael Pidd's experience and initial steer helped!). We also got the timing right. Because it was 2003, because we started the project in 1998/9, the launch received a lot of news coverage, and generated what seemed at the time a ridiculous amount of usage - without us having to pursue the kinds of detailed 'impact' plans the funding councils now demand. </span><br />
<br />
<span style="font-size: large;">But mainly, I like to think what we got right was our decision and commitment to digitise the most compelling source of social history I know; of history from below. I am continuously moved by the fact that lots of people now read eighteenth-century trials who would never preoviously have thought to seek them out. Professional historians have always known what powerful voices the <i>Proceedings</i> contain, but putting them online in a form that is easy to use and free has meant that millions of people who would not otherwise have been minded to read this stuff, have done. They have used what they found in the <i>Proceedings</i> in novels and on television, in endless undergraduate dissertations and in more books than I want to read; and I take neither credit nor blame for their work. But, I believe that the decision to <span style="font-size: large;">make free<span style="font-size: large;">ly avai<span style="font-size: large;">la<span style="font-size: large;">ble </span></span></span></span>a source that prior to 20<span style="font-size: large;">03 could only be read by </span>a small and privileged group of academics, was an unproblematic good thing. </span><br />
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<tr><td style="text-align: center;"><span style="font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIsvaqoyFq6M1NDnROEVAnmI-Kl5lbFCK8TK21G5Lvo3Q_kS0YRgJMeLORXc5GgQHUK3a3AZ6csc2_1BMs_0T7Rx4iksL-ZT87HPW3qzn07aSi-fVzVdIr2adusd5VetNT-DK5lmoZOqNR/s1600/Bob+and+Tim+-+2003.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIsvaqoyFq6M1NDnROEVAnmI-Kl5lbFCK8TK21G5Lvo3Q_kS0YRgJMeLORXc5GgQHUK3a3AZ6csc2_1BMs_0T7Rx4iksL-ZT87HPW3qzn07aSi-fVzVdIr2adusd5VetNT-DK5lmoZOqNR/s320/Bob+and+Tim+-+2003.jpg" width="320" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;">Bob Shoemaker (right) and Tim Hitchcock, 2003. Clock the monitor!</span></td></tr>
</tbody></table>
<span style="font-size: large;">Most people forget just how elitist and exclusive academic libraries could be (and still can); how hard it was to get access to microfilm, special collections and rare books. Unless you had been vetted (largely for class and race) by some great institution, you were simply out of luck. I like to think the Old Bailey Online undermines that exclusivity just a bit. I also like to think that in combination with <a href="http://www.londonlives.org/">London Lives</a> the site has helped to make a corner of social history I love, and have committed my life to studying, a little more secure from the infinite condescension of the present. </span><br />
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<span style="font-size: large;">In the next ten years I very much hope that the <i>Proceedings</i> will form the basis of a growing body of more technically sophisticated analyses, using all the techniques of datamining, corpus linguistics and information science, all made easier by the API. But most importantly, I hope that people continue to hear the voices of anger and pain it contains; and that for just a second they let their imaginations take them to that brutal theatre of judgement where working people were forced to negotiate with power.</span><br />
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<span style="font-size: large;"><br /></span>Tim Hitchcockhttp://www.blogger.com/profile/17851547190864328027noreply@blogger.com9tag:blogger.com,1999:blog-2723306728611607327.post-56472573466858037612013-03-04T02:38:00.000-08:002017-01-20T04:28:13.001-08:00OA in the UK<!--[if gte mso 9]><xml>
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<span style="font-size: large;">Between the <a href="http://www.researchinfonet.org/wp-content/uploads/2012/06/Finch-Group-report-FINAL-VERSION.pdf">Finch Report</a> in the UK, and more direct moves
towards a comprehensive <a href="http://blogs.nature.com/news/2013/02/us-white-house-announces-open-access-policy.html">Open Access policy</a> for government funded research in
the US, it seems we are confronted by an important moment in the evolution of
the ecology of scholarship within which academic history writing is produced
and published. </span><br />
<br />
<span style="font-size: large;">A recent <a href="http://events.history.ac.uk/event/show/7871">one-day colloquium</a>
sponsored by the Institute of Historical Research and the Royal Historical
Society was called precisely to bring together major institutional players
(Scholarly Societies, Journals, and Publishers) for a conversation about the
best ways forward (the <a href="http://thebroadside.org/tw-archives/historyOA.php">Tweet stream is here</a>). The general feeling
seems to be that while every well-meaning historian is keen to promote Open
Access (a show of hands at the conference confirmed this), the Gold Route,
whereby authors and institutions are asked to shoulder the cost of peer review
and publishing, is just not workable in the humanities. </span><br />
<br />
<span style="font-size: large;">There is also the beginnings of what many
feel is an apparent solution to the problem.
Both the past and present presidents of the Royal Historical Society,
and some 21 editors of major humanities journals, <a href="http://www.history.ac.uk/news/2012-12-10/statement-position-relation-open-access">signed a letter</a> proposing
the imposition of an increased embargo period on the articles in their journals
- essentially suggesting they be allowed to have three years in which to make
money on their publications before being forced to make them available through
Open Access. They also proposed maintaining a two-track
system to ensure that overseas and non-academic authors are excluded from the
government led requirement for Open Access.
</span><br />
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<span style="font-size: large;">To me this feels like Saint Augustine's plaint: "Grant
me chastity and continence, but not yet." (Confessions 8:17).</span></div>
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<span style="font-size: large;">Let me be clear, though.
I understand completely the anxieties motivating these institutions and
commentators. A narrowly defined Gold
Route process of the sort privileged by the Finch Report is not workable in the
humanities. The 'author pays' model is
predicated on the direct funding of research by government, and on the
assumption that the consumers of research outputs are the same as the
producers. In the case of history this
is not true. </span></div>
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<span style="font-size: large;"> The vast majority of
historical research and publication is not funded by project grants; and while
a higher proportion is funded through the Universities, and through QR, there
is still a large body of excellent work that is undertaken by independent
scholars, or as part of a self-funded PhD, or by staff in institutions which do
not receive QR funding or participate in the REF. And similarly, all historians seek to reach a
wider audience than most scientists, and imagine their work in the light of a successful 'trade
monograph'; which itself forms a recognised academic achievement. </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-size: large;">In other words, I largely agree with the diagnosis that the main
thrust of the Finch Report is unworkable.
Though, of course, the Report does not restrict academics to the single
route to Open Access, and makes it clear that other types of OA (Green Route)
are entirely consistent with the objective of making publicly funded research
available to the public. Following on
from this, I also believe the RCUK policy to cover the new costs entailed through
grants is also largely unworkable, and if poorly executed in pursuit of a
narrow Gold Route form of publication will create issues of fair access, with institutional
meddling in academic decision making and serious problems for post-graduates
and early career academics. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: large;">What is missing in all this is any positive model of Open
Access publishing that takes seriously the fundamental interests and values of history
as a discipline, as opposed to the interests of the collection of institutions
and journals that purport to speak for it.
For myself I have a clear sense of what I would like Open Access in
history (and more broadly in the academy) to look like in ten years' time; and
it would have the following characteristics:</span></div>
<div class="MsoNormal">
<br /></div>
<br />
<ul>
<li><span style="font-size: large;"><span style="font-family: "symbol";"><span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span>It would be built on the deposit of articles and
research data (including notes) in institutional repositories, linked to APIs
that allow their content to be re-'published', mashed up and re-used (with
acknowledgment).</span></li>
<li><span style="font-size: large;"><span style="font-family: "symbol";"><span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span>The route to 'publication' would include the
initial deposit of research materials, followed by the posting of a 'rough
draft' for comment and revision, leading to a post-publication peer review
system. The author would then be allowed
to specify at what revision the 'article' is complete, with perhaps a six month
norm for revisions. See for instance the <a href="http://www.historyworkingpapers.org/">History Working Papers Project</a>.</span></li>
<li><span style="font-size: large;"><span style="font-family: "symbol";"><span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span>Metrics for downloads, re-use and citations for
the now online article will be used to generate a measure of scholarly
importance. These metrics can include
the kind of complex systems for assessing 'authority' (i.e. whose post peer
review assessments are worth most) implicit in the <a href="http://www.timeshighereducation.co.uk/story.asp?storycode=420926">Altmetrics</a> movement.</span></li>
<li><span style="font-size: large;"><span style="font-family: "symbol";"><span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span>'Journals' will be made up of adopted 'articles'
that fit their theme and which are moulded to a particular house style in the
open peer review process. In this
ecology of scholarship journals will take on a new intellectual role in shaping
debate and argument, and in defining academic communities, and will have a
'promoting' role rather than a 'publishing' role.</span></li>
<li><span style="font-size: large;"><span style="font-family: "symbol";"><span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span>Academic monographs will be seen as a simple
extension of article publication - i.e. either in the form of long articles, or
perhaps as a collection of pieces created as 'articles'.</span></li>
<li><span style="font-size: large;"><span style="font-family: "symbol";"><span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span>Genuine 'Trade History' will continue to be sold
in the generic forms of biography and narrative etc., but the underlying academic
historical content will be available in institutional repositories, while the
revisions and adaptions for a popular audience are dealt with separately.</span></li>
<li><span style="font-size: large;"><span style="font-family: "symbol";"><span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span>The co-archiving of secondary writing and notes
and research materials will allow for the creation of an increasingly
vertically integrated form of writing, in which source material and commentary
are connected.</span></li>
<li><span style="font-size: large;"><span style="font-family: "symbol";"><span style="font-family: "times new roman"; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span>The costs of maintaining, curating and archiving
the system will be borne by the Universities, with savings from the journal and
book purchasing costs. A separate tNA
or British Library repository will support and archive the work of otherwise
unaffiliated scholars.</span></li>
</ul>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal">
<br /></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal">
<span style="font-size: large;">Getting to this point is not straightforward. But the universities are fully empowered to
use the RCUK funding to beef up their repositories, rather than paying journal
fees. The repositories could also take a first step
towards a more rigorous ecology of scholarship by archiving and making
available the underlying research data we all endlessly collect (and jealously
guard as the capital of an ego driven system of professional advancement). </span></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal">
<br /></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal">
<span style="font-size: large;">At the moment most public debate and effort seems to be
devoted to preserving the current business model that underpins the
public/private partnership that lies at the heart of academic publishing. The
journals worry that their main income stream (allowing them to provide studentships
etc) will be eliminated; while the publishers worry that their privileged
position between subsidised creators of content and subsidised buyers of
content will be squeezed. Both these
anxieties are justified. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: large;"> But, we need to
ask ourselves whether we really want to use the roundabout and expensive route
of generating income from University Library budgets via the publication of
materials produced by academic staff, to take money from the providers of
education - the Universities - in order to give it to the journals and scholarly
societies, in order to allow them, to in turn purchase education from the
Universities. It is ridiculous. </span></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal">
<br /></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal">
<span style="font-size: large;">As for the academic presses, they have spent thirty years
squeezing the 'added value' from their operation. In-house copy-editing and proof reading for
the most part went ages ago. And many
presses now demand what amounts to 'camera ready' copy. If the presses do not want to serve their
traditional role in an ecology of scholarship (sifting and polishing its
products), then it is not clear what their profits are based on. At the moment, the greatest input on the
part of the presses lies in advertising and licensing content, policing its
re-use and in producing hard copy versions of books and articles that are largely
unwanted (ask any librarian). A
thoroughgoing Open Access model eliminates the need for selling, licensing, and
policing, while time will take care of the romantic attachment to wood pulp.</span></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal">
<br /></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal">
<span style="font-size: large;">Current debate seems most fully motivated by a reactionary
and defensive fear that a change in the nature of academic publication will
unravel the systems of authority and organisational finance that used to
deliver public debate. But, if we have
faith in the importance of the academy and of scholarship, then we need to
continually re-invent the process. Open
Access provides a perfect opportunity to reconnect with the founding principles
of the academy.</span></div>
<span style="font-size: large;">
</span><br />
<div class="MsoNormal">
<br /></div>
Tim Hitchcockhttp://www.blogger.com/profile/17851547190864328027noreply@blogger.com11tag:blogger.com,1999:blog-2723306728611607327.post-68371576005932570222013-02-27T02:42:00.005-08:002017-01-20T04:29:43.579-08:00Drills and holesI have just spent a couple of days at the annual conference of the NFAIS (<span class="st">National Federation of Advanced Information Services</span>) in Philadelphia. I was giving a brief paper at the request of the good people at the British Library about developments in text mining in the Humanities, and I was happy to be invited and to participate.<br />
<br />
But it was only when I had sat through a day or two of presentations that I realised just how out of place I was, and how irrelevant my comments were. It turns out the NFAIS is the trade organisation for all the companies (and some libraries) that have been building a commercial operation for a hundred years by placing themselves between information and those who need it. Thompson-Reuters were heavily represented, as was Cengage/Gale, several medical abstracting services, and a host of companies providing data to particular sectors of the economy such as the building trades and architects. And they were all presenting their well articulated models of data gathering and manipulation designed to deliver a pablum of stuff to the desktops of America's commercial movers, shakers and capitalists. Interestingly, the people who weren't there, were Google, Facebook, Twitter, the Creative Commons or representatives of the Open Access movement. Neither new model capitalists, nor Open Access evangelists were present. And while there was a strand of discussion focussed on research and academic library services, this was a small corner of an essentially old style commercial ecology. Nor were the real innovations in data modelling and analysis coming out of CS on display. A constant sub-theme of the conference seemed to be a tetchy criticism of Google for having done a half-arsed job of inter-mediating between data and users, while the Twitter stream for this event was almost non-existent. It was clear that these data professionals were having their conversation somewhere else - though I never did find out where. <br />
<br />
There was a lot of talk about Altmetrics as a way of adding value to the data people already had, prior to selling it to the managers of research and education. And the theme of the event appeared to be a call to extend a hundred year old business model to ensure that these companies were delivering precisely the data that people needed (rather than what they thought they wanted), in a form that allowed them to use that data without thinking. The controlling metaphor was - people buy a drill, because they really want a hole. <br />
<br />
I was bemused by this. I don't want a hole. I want a drill, a hammer, a saw and a workshop to make stuff in. And I certainly don't want anyone else to second guess what it is I am making (perhaps wonky, but original).<br />
<br />
And then it occurred to me where my disconnect came from. The NFAIS and the companies they represent derive from a long and largely American tradition of late Enlightenment data processing. Their origins lie in Union Catalogues and abstracting services via microfilm; in creating a pre-digested, post-Enlightenment world of understood data, that could be packaged and catalogued and sold as yard after yard of uniform reference volumes. NFAIS used to stand for the <span class="st"><i>National Federation of Abstracting and Information Services.</i></span> I have always put the American obsession with this kind of thing down to its inability to get over the European Enlightenment long after the rest of us got bored.<br />
<br />
My overwhelming impression was that all these companies were anxious to widen the gap between data and its users, to ensure that they continued to have a role and an income - tapping the stream between the two for annual profit. Some of the work was reasonably sophisticated (though most of it felt more 'relational database' than anything more innovative), and it was clear that many saw the way forward as providing faster access to real-time data in a form that would become normalised in a business context (or well funded, close to market STEM). <br />
<br />
In retrospect, and after having heard the presentations which came after my own, what I really should have said more forcefully, is get out of the way, this is boring, and it misses the point entirely. We are rapidly approaching the stage when the devil's contract between private companies and the public sector, which has governed data delivery in both the humanities and STEM for the last fifteen years on line (and a hundred years off-line) is going to break down. Open Access, for example, is just a wedge issue for a wider re-thinking of how research and data, and its users will interact. And the fact that both the British and American governments were there first, is an indication that this particular community is not paying sufficient attention.<br />
<br />
I am not overly exercised by the profiteering of these companies (if people want to sell their souls for a health plan and a cheap suit, that is OK by me). Nor do I really want to castigate them for their place in an information food chain. Companies like Cengage/Gale have coralled a useful amount of money for data processing. I am just struck by the lack of serious engagement with the real changes in the fundamental relationship between the production and consumption of data that the last fifteen years has wrought. More than anything else, my three days in Phili has brought home to me that I simply don't inhabit the same data universe that I did fifteen years ago. <br />
<br />
<br />
<br />
<br />
<br />
<br />Tim Hitchcockhttp://www.blogger.com/profile/17851547190864328027noreply@blogger.com18tag:blogger.com,1999:blog-2723306728611607327.post-17154031563499231272012-10-29T04:47:00.001-07:002017-01-20T04:11:55.654-08:00A Five Minute Rant for the Consortium of European Research Libraries<!--[if gte mso 9]><xml>
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<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";">I have been asked to participate in a panel at the annual CERL conference - and to speak for no more than five minutes or so. Initially, I was just going to wing it, but then, in writing up a couple notes, five minutes worth of text found its way on to the screen. In the spirit of never wasting a grammatical sentence, the text is below. I probably wont follow it at the conference, but it reflects what I wanted to say.<br />
</span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 12pt;">
<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";">CERL - British Library, 31 October 2012:<br />
</span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 12pt;">
<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";">We all know just how transformative
the digitisation of the inherited print archive has been. Between Google Books, ECCO, EEBO, Project
Gutenberg, the Burney Collection, the British Library's 19<sup>th</sup> century
newspapers, the Parliamentary Papers, the Old Bailey Online, and on and on,
something new has been created. And it
is a testament to twenty years of seriously hard graft. But, it is one of the great ironies of the
minute that the most revolutionary technical change in the history of the human
ordering of information since writing - the creation of the infinite archive,
with all its disruptive possibilities - has resulted in a markedly conservative
and indeed reactionary model of human culture.</span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 12pt;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 12pt;">
<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";">For both technical and legal reasons,
in the rush to the on line, we have given to the oldest of Western canons a new
hyper-availability, and a new authority. With the exception of the genealogical sites,
which themselves reflect the Western bias of their source materials and
audience, the most common sort of historical web resource is dedicated to
posting the musings of some elite, dead, white, western male - some scientist,
or man of letters; or more unusually, some equally elite, dead white woman of
letters. And for legal reasons as much
as anything else, it is now much easier to consult the oldest forms of
humanities scholarship instead of the more recent and fully engaged
varieties. It is easier to access work from
the 1890s, imbued with all the contemporary relevance of the long dead, than it
is to use that of the 1990s. </span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 12pt;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 12pt;">
<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";">Without serious intent and political
will - a determination to digitise the more difficult forms of the
non-canonical, the non-Western, the non-elite and the quotidian - the materials
that capture the lives and thoughts of the least powerful in society - we will
have inadvertently turned a major area of scholarship, in to a fossilised
irrelevance.</span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 12pt;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 12pt;">
<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";">And this is all the more important
because just at the same moment that we have allowed our cultural inheritance
to be sieved and posted in a narrowly canonical form; the siren voices of the
information scientists: the Googlers, coders and Culturomics wranglers, have
discovered in that body of digitised material, a new object of study. All digital texts is now data, that date is
now available for new forms of analysis, and that data is made up of the stuff
we chose to digitise. All of which embeds a subtle biase towards a
particular subset of the human experience.
Using measures derived from Ngrams, and topic modelling, natural
language processing, and TF-IDF similarity measures; scientists are beginning
to use this text/data as the basis for a new search for mathematically
identifiable patterns. And in the
process, the information scientists are beginning to carve out what is being
presented as 'natural' patterns of change, that turn the products of human
culture into a simple facet of a natural, and scientifically intelligible
world. The only problem with this is
that the analysts undertaking this work are not overly worried by the nature of
the data they are using. For most, the
sheer volume of text makes its selective character irrelevant.</span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 12pt;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 12pt;">
<span style="font-size: large;"><span style="font-family: "arial" , "sans-serif";">But if we are not careful, we will
see the creation of a new 'naturalisation' of human thought based on the
narrowest sample of the oldest of dead white males. And to this particular audience I just want
to suggest that we need to be much more critical about what it is that we
digitise; what we allow to represent the cultures libraries and collections
stand in for; and that we need to engage more comprehensively and intelligently
with the simple fact that we are in the middle of a selective recreation of
inherited culture.</span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 12pt;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: 12pt;">
<br /></div>
Tim Hitchcockhttp://www.blogger.com/profile/17851547190864328027noreply@blogger.com66tag:blogger.com,1999:blog-2723306728611607327.post-28465531852570043982012-07-11T08:13:00.001-07:002017-01-20T04:09:37.694-08:00Place and the Politics of the Past<b><i>Preface</i></b><br />
<br />
<b><i>The talk that forms the basis for this post was written for the annual Gerald Aylmer seminar run by the Royal Historical Society and the National Archives, and was delivered on 29 February 2012. The day was given over to a series of great projects, most of which came out of historical geography, and I was charged with providing a capstone to the event, and presenting a more general overview of the relationship between history and geography. There was a good audience of academics, archivists and librarians, all with a strong digital cast of mind and I very much enjoyed it. Unusually, I am also pretty sure I still agree with the majority of it even some six months after I sat down to write it. At the same time, I have put off posting it until now because it just did not quite feel like a blog post - too much history, too much text, too much of an internal discussion among academics. I have also recently found myself wary of blogging, having discovered (who knew?) that blogs form a sort of publication that people occasionally read. But, the work of people like <a href="http://digitalriffs.blogspot.co.uk/">Andrew Prescott</a> has also reminded me of just how important it is to continue having the discussion. In the nature of a public talk, the text is rather informal, the notations slapdash, and the links non-existent.</i></b><br />
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<span style="font-size: large;"><b>Place and the Intellectual
Politics of the Past</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy18C3LgjGwSn7XlZElU5-Dfwxi6BkciOR0ghrPDKBapAErqUz0WQ3VCy3pDmklOpfh7NXqi4haAa87cvBdIYdX3UP8G1GM3wHUbC63p4_YzHEJPPOYpmHWfPEMk5YWjy6CsR_aQh_dIMJ/s1600/Slide1.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy18C3LgjGwSn7XlZElU5-Dfwxi6BkciOR0ghrPDKBapAErqUz0WQ3VCy3pDmklOpfh7NXqi4haAa87cvBdIYdX3UP8G1GM3wHUbC63p4_YzHEJPPOYpmHWfPEMk5YWjy6CsR_aQh_dIMJ/s320/Slide1.JPG" width="320" /></a><b> </b></div>
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Currently there is a rather wonderful raproachment between historical
geographers and historians; with archivists and librarians (as usual) providing
the meat, gristle and spicy practical critique. This is brilliant.<span style="mso-spacerun: yes;"> </span>These are cognate disciplines
which need to be in constant dialogue.<span style="mso-spacerun: yes;"> </span>The
habits of mind and analytical tools of geographers need to inform our understanding
of the past; while the mental ticks of the historian, and the authority of
history as a literary genre, are necessary tools for communicating all kinds of
memory to a wider audience.</div>
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Frustratingly, over the last half century, this
cross-fertilisation hasn’t always flourished.<span style="mso-spacerun: yes;">
</span>Geography Departments (and even historical geographers) have not done a
lot of talking to history departments, and vice versa.<span style="mso-spacerun: yes;"> </span>Many geographers, through the 70s and 80s, in
particular, became ever more engrossed in the technical manifestations of their
field; while many historians have fallen for the joys of the linguistic turn.</div>
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In part, this has been about funding and the structures of
higher education.<span style="mso-spacerun: yes;"> </span>In the great taxonomy
of knowledge inherent in the creation of the notion of STEM subjects vs the Humanities,
Geographers naturally gravitated towards the areas with more secure
funding.<span style="mso-spacerun: yes;"> </span>While historians, frustrated by
the changing politics of their field – the collapse of ‘modernity’ as a form of
historical explanation (both right looking and left looking) – pursued theory,
gender and language, to the exclusion of positivist measurable change – they
chose places of endless debate and disagreement – usually in the form of a
various versions of identity politics - as a route to a politicised audience.<span style="mso-spacerun: yes;"> </span>Similarly, whereas historical geographers
looked to Europe and a thriving institutional base; historians tended to more
frequently look westward to North America, where historical geography is almost
unknown – or at least denied the security of an extensive network of independent
academic departments.</div>
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All of which is simply to say, that we are confronted with
two fields that should be in constant dialogue, but which simply have not
passed much more than the odd civil word in the last few decades.<span style="mso-spacerun: yes;"> </span>In the process, they have developed different
technologies of knowing and different systems of training and analysis.<span style="mso-spacerun: yes;"> </span>It strikes me that an event celebrating
Gerald Aylmer’s cross genre engagement with history and archives, with the
structures of the archive, and the stories that can be told with them, is just
the right place to bring these disciplines back onto the same map, or at least
to reconsider where in a rapidly changing technical environment, that necessary
dialogue might take place.</div>
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Of course, for most of the last decade or so we have had the
‘spatial turn’ in history; and for longer than that, the creation of a
post-modern geography.<span style="mso-spacerun: yes;"> </span>Historians have
struggled to define ‘space’ and context in ever more material (if still rather
flabby) terms; while some historical geographers have taken theories of
discourse and language seriously and extended them to the clear air enclosed by
the mind-forged boundaries symbolically represented on every map.</div>
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But this has been little more than a casual rapprochement –
driven largely by academic fashion; and has not fundamentally changed the centre
ground of either discipline. Most historians still trade in text mediated by
uncertainty and theory; while historical geographers, strive to tie data to a
knowable and certain fragment of the world’s surface.</div>
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What I want to suggest today, is that something rather more
profound than the ‘spatial turn’ <span style="mso-spacerun: yes;"> </span>is also
happening in the background, and that it promises to force these disciplines
(and several others) back into a more direct relationship.<span style="mso-spacerun: yes;"> </span></div>
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And this change, this possibility, is being driven by
technology; both in the form of the ‘infinite archive’ – the Western Text
Archive second edition; and also through the direct public access to a newly
usable online version of GIS-like tools, in the form of Google Maps and its
many imitators.<span style="mso-spacerun: yes;"> </span></div>
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To deal with historians and the infinite archive first - I
don’t think that historians have quite twigged it yet – though librarians and
archivists certainly have - but the rise of the ‘infinite archive’ has
fundamentally changed the nature of text.<span style="mso-spacerun: yes;">
</span>It has turned text in to ‘data’, with profound implications for how we
read it, and deploy it as evidence.<span style="mso-spacerun: yes;"> </span>My
guestimate is that between fifty and sixty per cent of all non-serial
publications in English produced between Caxton and 1923 – between the first
English press and Mickey Mouse – has been digitised to one standard or another;
with a smaller percentage of serial materials thrown in.</div>
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This has ensured that the standard of scholarship has in
many ways improved.<span style="mso-spacerun: yes;"> </span>It is now possible
to consult a wider body of literature before setting out to analyse it.<span style="mso-spacerun: yes;"> </span>But, it has also pushed us to the point where
it is no longer feasible to read all the material you might want to consult in
a classic immersive fashion.<span style="mso-spacerun: yes;"> </span>Instead we
are moving towards what Franco Moretti has dubbed ‘distant reading’, and towards
the development of new methodologies for ‘text mining’ – or the statistical
analysis of large bodies of text/data.<span style="mso-spacerun: yes;"> </span>Stephen
Ramsay’s new book, <i>Reading Machines</i>, illustrates four or five examples of what
he describes as a new form of ‘Algorythmic Literary Criticism’, but is simply a
taster for a wider series of practical methodologies.<span style="mso-spacerun: yes;"> </span>That Tony Grafton, president of the American
Historical Association could recently and hyperbolically claim that textmining
was simply the ‘future’ of history, and that it was already here; reflects a
truth most digital humanists (whose ranks are dominated by librarians and archivists)
have been struggling with for the last three or four years; but which most
historians are only now becoming aware of.</div>
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The Google Ngram viewer, which allows you to rapidly chart
the changing use of words and phrases as a percentage of the total published
per year is just the most high-profile online tool in a wider technological landscape.<span style="mso-spacerun: yes;"> </span>The associated, and ill-named, ‘culturomics’
movement being built on the back of the ngram viewer is another.<span style="mso-spacerun: yes;"> </span>I love the ngram viewer, and spend my Sundays
charting the changing use of dirty words decade by decade.<span style="mso-spacerun: yes;"> </span>But it also forms the basis for a newly statistical
approach to language.<span style="mso-spacerun: yes;"> </span>And lest we
forget, recorded language is the only evidence most historians use.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMh48DCertmQ0ARkpP3zB6On1lninxXjHuwQiJhYRZIzjMOifD2Pr0m0QJjhZ0Q4Nxe1TP24_X9B1PvTprHEvLv-QFf45CrxbH7lihBJeagCipHTRBpS_aqBKj63c5MKQI1gKi2eEEh3vi/s1600/Slide2.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMh48DCertmQ0ARkpP3zB6On1lninxXjHuwQiJhYRZIzjMOifD2Pr0m0QJjhZ0Q4Nxe1TP24_X9B1PvTprHEvLv-QFf45CrxbH7lihBJeagCipHTRBpS_aqBKj63c5MKQI1gKi2eEEh3vi/s320/Slide2.JPG" width="320" /></a></div>
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<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">
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I am not entirely convinced by the culturomics work, which
focuses on describing social and linguistic change through consistent mathematical
formulae, but in related studies by people such as Ben Schmidt, Tim Sherratt
and Rob Newman, one can find the beginnings of a pioneering analysis of large
scale texts that promise to remodel how we understand cultural change, and the
relative influence of events. <span style="mso-spacerun: yes;"> </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt9f6XtP6NM1dGMMJ3O_jvJBIFg83SCy-recSAXJ-U7rbTRA0XMfzTTMG8O8JSEgbg2KsP4NVQR1aE72SIaY6Q6PcOmBxMKBZfvbIxKUItAYQaAXxKcLk4X0gpPxivMwoQW-63ClJ4gUta/s1600/Slide3.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt9f6XtP6NM1dGMMJ3O_jvJBIFg83SCy-recSAXJ-U7rbTRA0XMfzTTMG8O8JSEgbg2KsP4NVQR1aE72SIaY6Q6PcOmBxMKBZfvbIxKUItAYQaAXxKcLk4X0gpPxivMwoQW-63ClJ4gUta/s320/Slide3.JPG" width="320" /></a> </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmhgANPf6iqoQD31-Lxv5FrzyS1h3jYWpU0DD3u00HOs4HxV9y7K2n7sjF3nhC57xxm83IqNnBbPmK96J_lEU00GRKC0ajFk2J0fvZIKem3j5dmmsKh69A7NoZCgqp0bvjjzJSiu93oNsU/s1600/Slide4.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmhgANPf6iqoQD31-Lxv5FrzyS1h3jYWpU0DD3u00HOs4HxV9y7K2n7sjF3nhC57xxm83IqNnBbPmK96J_lEU00GRKC0ajFk2J0fvZIKem3j5dmmsKh69A7NoZCgqp0bvjjzJSiu93oNsU/s320/Slide4.JPG" width="320" /></a></div>
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These graphs simply illustrate that the word ‘outside’ both
grew in commonality over the course of the nineteenth century (perhaps
understandably as people’s lives migrated inside); and that if this phenomenon
were a reflection of naturally evolving language (embedded in people’s
vocabulary in youth), its adoption according to the age of the authors whose
work has been published, would look like the first graph; but that in fact it
looks like the second.<span style="mso-spacerun: yes;"> </span>In other words,
these visualisations created by Schmidt suggest a history of the adoption of
the use of the word ‘outside’ in response to events; and in the process give us
a way of measuring the cultural impact of specific happenings – its import as
measured by individual responses to them.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjZmNxDOTAGMIbPdO355ZqaFOwa9qzTtEbDI_UZi3oTEDtuWR2k-HPs8eN4vnkFm7IZnB-xXp26ldfXUPC2oFytDUzTxiv1Bqcsclu7jK2lIETZDDZ39ePsZuqC7nBQ3WkBXXZ-GNnJ0hF/s1600/Slide5.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjZmNxDOTAGMIbPdO355ZqaFOwa9qzTtEbDI_UZi3oTEDtuWR2k-HPs8eN4vnkFm7IZnB-xXp26ldfXUPC2oFytDUzTxiv1Bqcsclu7jK2lIETZDDZ39ePsZuqC7nBQ3WkBXXZ-GNnJ0hF/s320/Slide5.JPG" width="320" /></a></div>
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Or look at Tim Sherratt’s visualisations of the use of the
terms ‘Great War’ and ‘First World War’ in 20<sup>th</sup> century Australian
newspapers.<span style="mso-spacerun: yes;"> </span>While entirely
commonsensical, the detailed results of the 1940s in particular mark out the
evidence for a month by month reaction to events; allowing both more directed
immersive reading (drilling down to the finest detail), and a secure
characterisation of large scale collections.</div>
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<span style="mso-spacerun: yes;"> </span></div>
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</span></div>
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Or to bring this back to a British perspective, we can look
at work Bill Turkell and I have done on the Old Bailey Online – simply charting
the distribution of the 125 million words reported in 197,000 trials, to
analyse both the nature of the Old Bailey Proceedings as a publication, and
their relationship to words spoken in court – in this instance to illustrate,
among a few other things, that serious crimes like killing were more fully
reported than others in the 18<sup>th</sup> century proceedings, and that this
pattern changed in the 19<sup>th</sup> century.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsZUHjNsyFhyphenhyphenWT6QsQxo240FsPnV5wFl5e0sFxAU0-OMLXRQBXd0Wfn5OV2VTb22LCVbDbvdwZGe9c1LAEQ2XA_vU-xu84T9deIdk3I8Iu7BP9BH2g_LZEPCFcFLMa0jKrRcMBnhXgRL4b/s1600/Slide6.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsZUHjNsyFhyphenhyphenWT6QsQxo240FsPnV5wFl5e0sFxAU0-OMLXRQBXd0Wfn5OV2VTb22LCVbDbvdwZGe9c1LAEQ2XA_vU-xu84T9deIdk3I8Iu7BP9BH2g_LZEPCFcFLMa0jKrRcMBnhXgRL4b/s320/Slide6.JPG" width="320" /></a></div>
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This stuff works and is important; and will necessarily form
a standard component of the research of anyone who claims to understand the
past through reading.<span style="mso-spacerun: yes;"> </span></div>
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But it points up a further issue.<span style="mso-spacerun: yes;"> </span>If each paragraph in the infinite archive,
all the trillions of words, is simply a collection of data, it immediately
becomes something that can be tied to a series of other things – to any other
bit of data.<span style="mso-spacerun: yes;"> </span>A name, a date, a selection
of words, or a phrase, or most importantly in this context, a place – defined
as a polygon on the surface of the earth.<span style="mso-spacerun: yes;">
</span>In other words, the texts that form the basis for western history can
now be geo-referenced and tied directly to a historical/geographical
understanding of spatial distribution, which can in turn be cross analysed with
any other series of measures of text – textmining makes text available for
embedding within a geographical frame.<span style="mso-spacerun: yes;"> </span></div>
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I can’t emphasise this enough: the creation of a digital
edition of the western print archive means that it can be collated against all
the other datasets we possess.<span style="mso-spacerun: yes;"> </span>The
technology of words, and how we engage with them, has changed; creating a new
world of analysis.<span style="mso-spacerun: yes;"> </span>With a bit of Natural
Language Processing, and XML tagging; and a shed load of careful work, a
component of text that hitherto has been restricted to human understanding
becomes subject to precise definition: “he walked for twenty minutes from St
Paul’s westward, coming first to Covent Garden, and then onwards to Trafalgar
Square’, changes from a complex narrative statement reflecting an individual’s
experience, into three individual locations, a journey’s route, and a rate of
travel; each capable of being expressed as a polygon, a line, a formulae – a
specific bit of translatable data.</div>
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What I want to say next might not sound quite right in this
context.<span style="mso-spacerun: yes;"> </span>But, I am hoping this
development of text as data, and by extension, text tied to place, will have a
more profound impact on our understanding of the past precisely because, for
the most part, it has not emerged from historical geography.<span style="mso-spacerun: yes;"> </span>It has been driven by people interested first
in text, and only then, in data such as place. </div>
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<br /></div>
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As a long-time admirer of the work of historical
geographers, and avid reader of it; I believe that the rise of a highly
sophisticated form of desktop GIS, requiring substantial training and expertise
to make work, has contributed to the evolution of a widening gap between
disciplines, and has in some ways distanced historical geographers from the
kind of audience historians have traditionally courted.<span style="mso-spacerun: yes;"> </span>The rise of the geographer as ‘expert’ has
been both impressive and excluding.</div>
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But, in the last few years a real alternative has
emerged.<span style="mso-spacerun: yes;"> </span>I understand geographers are
sniffy about it, and I know full well that it doesn’t provide the kind of
powerful analytical environment that a fully functioning <span style="mso-bidi-font-weight: bold;">GIS Editor</span>, <span style="mso-bidi-font-weight: bold;">Analyst</span> and <span style="mso-bidi-font-weight: bold;">Viewer package
can generate in combination with a</span> <a href="http://en.wikipedia.org/wiki/Spatial_database" title="Spatial database"><span style="mso-bidi-font-weight: bold;">Spatial database</span></a><span style="mso-bidi-font-weight: bold;"> management system</span>.<span style="mso-spacerun: yes;"> </span>But it is usable and it is continually
getting better.<span style="mso-spacerun: yes;"> </span>And I mean Open Street
Map, Google Earth and Google maps, and the range of open source browser side
services that build on it, like BatchGeo.</div>
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Together they make available to everyone, a good and growing
proportion of the tools previously only available to a technocratic elite.<span style="mso-spacerun: yes;"> </span>In the process and in combination with the
transition of text in to data; we are suddenly in a position to do something
different.</div>
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My favourite exploration of what can actually be done online
in an intuitive and accessible way, is Richard Rodger’s collaborative project
with the National Library of Scotland: Visualising Urban Geographies, and the associated
Addressing History sites:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXZDs_Wmy7-gPrP2N8M2EybdeSV7H7mFQDoGzN15QJwvR-kaSuLZqEHlxkPPw2XoZ_I4KCRmRTT_uRs2i31pBtEEM5qly0qPi04nn-C3LXHh8spctaUJbghGZEdEOzUB7XaIIbQqs2qehn/s1600/Slide7.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXZDs_Wmy7-gPrP2N8M2EybdeSV7H7mFQDoGzN15QJwvR-kaSuLZqEHlxkPPw2XoZ_I4KCRmRTT_uRs2i31pBtEEM5qly0qPi04nn-C3LXHh8spctaUJbghGZEdEOzUB7XaIIbQqs2qehn/s320/Slide7.JPG" width="320" /></a></div>
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<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span></div>
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<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span></div>
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<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTSbQEvg5vmpFxxzLVctEps8XIFhdjZFPp5YuYnYMPOuJ0TNT_ie_cwdl0IO8kbhOm0ZVx2jmuaXltWjYdzFY6dgYH9D7o-Kc0137GHm4sMhSB5C8dH25PsYBLZaPANqEYXve70Wgub3ZQ/s1600/Slide8.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTSbQEvg5vmpFxxzLVctEps8XIFhdjZFPp5YuYnYMPOuJ0TNT_ie_cwdl0IO8kbhOm0ZVx2jmuaXltWjYdzFY6dgYH9D7o-Kc0137GHm4sMhSB5C8dH25PsYBLZaPANqEYXve70Wgub3ZQ/s320/Slide8.JPG" width="320" /></a> </div>
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The important thing about these projects is that they allow
a wider audience to use historical maps in the way a historical geographer
would, and to upload their own KLM files, and to explore the data, and relate
it to a modern map.<span style="mso-spacerun: yes;"> </span>It is historical
geography made user friendly.<span style="mso-spacerun: yes;"> </span>And that
is important.</div>
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<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0k2Klvkx5AOROqInmLuKJx-2TdWhjlDPpZCX2VDp2g9nBWjf0lzcBM1Uvtset8TLNXQeiXKO7jI0-nOzEEwryNP2guGhBHyBd_aa4yNLVTIQ2FhtejGjJ1qCq2OJH-DEg3xpHi3C1bLUg/s1600/Slide9.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0k2Klvkx5AOROqInmLuKJx-2TdWhjlDPpZCX2VDp2g9nBWjf0lzcBM1Uvtset8TLNXQeiXKO7jI0-nOzEEwryNP2guGhBHyBd_aa4yNLVTIQ2FhtejGjJ1qCq2OJH-DEg3xpHi3C1bLUg/s320/Slide9.JPG" width="320" /></a></div>
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I am also a great fan of the New York Public Library Labs,
Map Rectifyer Project, which crowd sources the kind of warping of maps that
people just could not previously do.<span style="mso-spacerun: yes;"> </span></div>
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<br /></div>
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<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA7PRrwh979uDsweWXIc8lUE9cIx0Syx18vVrng4NxfMW-PHmhLCQNvY37yF2jYDJzHAPpqwl_eqbf-ljoEXOAVHjm9NoZqUNKj4u_0W2oU4UK-zD9fBkUwN_RkR8OTSRjPQkfHonm87t9/s1600/Slide10.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA7PRrwh979uDsweWXIc8lUE9cIx0Syx18vVrng4NxfMW-PHmhLCQNvY37yF2jYDJzHAPpqwl_eqbf-ljoEXOAVHjm9NoZqUNKj4u_0W2oU4UK-zD9fBkUwN_RkR8OTSRjPQkfHonm87t9/s320/Slide10.JPG" width="320" /></a></div>
<div class="MsoNormal">
And more recently, the British Library’s adaptation of the
same methodology to their own map collections.</div>
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<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span></div>
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<br /></div>
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As much as anything projects like these educate a wider
public (including historians) about the methodologies and issues traditionally
faced by historical geographers, and generally hidden behind a beautifully
presented set of final maps designed to make a point, rather than to allow an
intellectual journey.<span style="mso-spacerun: yes;"> </span>These sites form
open invitations to discover all the issues associated with the underlying maps
and all the problems with the data.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
</div>
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Together, text as data and user friendly GIS make it newly
possible to imagine an environment in which geographical information, and
display, form a natural and unproblematic component of every other analytical
process.<span style="mso-spacerun: yes;"> </span>It makes possible a situation
in which historians cease to be mere text merchants, obsessed with the perfect
quote, and compelling (if largely un-evidenced) argument; and where geographers
have a new access to the subtle mappings of the marks of ‘culture’ in its
broadest sense – a new way of thinking about the geographical distribution of
behaviours and ideas, that bring within a geographical fold questions
traditionally preserved for others.<span style="mso-spacerun: yes;"> </span></div>
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<br /></div>
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By extension, In other words, I want to suggest that it is
very much the moment for a bonfire of the disciplines, and that while history
and geography can now begin to speak in new terms, the same forces are also making
it possible for literature, and art history; for all the disciplines of memory
and explanation, to speak in new ways to each other.<span style="mso-spacerun: yes;"> </span>We quite suddenly share a new culture of data
– and data can be translated.</div>
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<br /></div>
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I will return to both these developments in a minute.<span style="mso-spacerun: yes;"> </span>But, by way of illustrating the kinds of
things that we are now able to do as a result of this newly open and analytical
framework – through the mash-up of text and space - I want to spend a little time
discussing a project that Bob Shoemaker, Matthew Davies and I, and a large team
of other people, recently completed, called Locating London’s Past.<span style="mso-spacerun: yes;"> </span>Please excuse me for spending the next couple
of minutes on something that sounds a little bit too much like ‘me and my
database’ to be entirely appropriate.<span style="mso-spacerun: yes;"> </span></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP4psZOVE84x8TG5HFqFNZZDaUaBV863sdkgPewmCnEnw92ZaTeYU3pvjZ1E54dGROjBZtP-4RXZZWHLHIXDQ9wPXiADcYFePpZEaY4tyhHY3jh4JPrI5pnANiU2nFQFD8ZOG1sTIwy_1_/s1600/Slide11.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP4psZOVE84x8TG5HFqFNZZDaUaBV863sdkgPewmCnEnw92ZaTeYU3pvjZ1E54dGROjBZtP-4RXZZWHLHIXDQ9wPXiADcYFePpZEaY4tyhHY3jh4JPrI5pnANiU2nFQFD8ZOG1sTIwy_1_/s320/Slide11.JPG" width="320" /></a></div>
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</span></div>
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In itself, Locating London’s Past is not particularly
important, but it illustrates one naïve <span style="mso-spacerun: yes;"> </span>attempt to play with these new possibilities;
to take text/data and accessible online GIS, and make something that facilitates
mapping words.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
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This project grew from the rich soil that is failure.<span style="mso-spacerun: yes;"> </span>Five or six years ago, as a final component
of the original Old Bailey project, we struggled to incorporate a mapping
feature on to the site that could be delivered online.<span style="mso-spacerun: yes;"> </span><span style="mso-bidi-font-family: Arial;">But
in the last few years, we realised something was changing; and inspired in
particular by the Edinburgh project, we decided to try again.<span style="mso-spacerun: yes;"> </span>The outcome - Locating London’s Past –<span style="mso-spacerun: yes;"> </span>does three things that are new.<span style="mso-spacerun: yes;"> </span>First, it makes available a fully rasterised
and warped version of both John Rocque’s 1746 map of London; and the first
‘accurate’ OS map of the capital created between 1869 and 1880 – both of which
have been fully ‘polygonised’, and related to a modern Google maps
representation of London.<span style="mso-spacerun: yes;"> </span>And second it
brings together around 40 million words of text, and a raft of established
datasets – a couple of hundred million lines of data - in a newly geo-coded
form that can be ‘mapped’ against both area and local population, at the level
of streets, parishes and wards.<span style="mso-spacerun: yes;"> </span>And
finally, it relates both these resources to the first comprehensive, parish
level population estimates for the 18<sup>th</sup> century.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
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<span style="mso-bidi-font-family: Arial;">In the process it
brings together text and maps in a new way, delivered in a cut down Google maps
container that even a historian can understand.<span style="mso-spacerun: yes;">
</span>For the maps and GIS, we turned to Peter Rauxloh of the Museum of London
Archaeological Service (MOLA), who worked with<span style="mso-spacerun: yes;">
</span>scans and an index of place names drawn from Rocque’s map created by
Patrick Mannix, to develop the kind of resource that underpins the best sort of
traditional desk bound GIS project.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
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<span style="mso-bidi-font-family: Arial;">The 24 sheets of
the original map were turned in to a single image, and then </span><i><span style="mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">warped</span></i><span style="mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> onto
the first reliable Ordinance Survey map from 1869-1880, creating a direct
geo-referenced relationship between the first accurate modern representation of
London and Rocque’s eighteenth-century version. </span></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4_glUwM_UhNCOu3ZisWJycq27NogPbEwa24CaDKW4EYfWTYQKRzp0DUBSCa8XWsWlxCHe_SSctCtw72pT8ruS6ksuEyhyElEcrrsjArHEg6iquYhrCA1Qx46w06mShClVR4xmGeoNjd9U/s1600/Slide12.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4_glUwM_UhNCOu3ZisWJycq27NogPbEwa24CaDKW4EYfWTYQKRzp0DUBSCa8XWsWlxCHe_SSctCtw72pT8ruS6ksuEyhyElEcrrsjArHEg6iquYhrCA1Qx46w06mShClVR4xmGeoNjd9U/s320/Slide12.JPG" width="320" /></a> </div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span><b><span style="mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b><span style="mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Rocque 1746 After Georeferencing</span></b><span style="mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span style="mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">The geo-referencing
operation involved identifying some 48 common points between Rocque's original
map and a modern OS map; leaving us the task of defining all the streets,
courts, parishes and wards that made up 18<sup>th</sup> century London.<span style="mso-spacerun: yes;"> </span>In the end, this amounted to some 29,000
separate defined polygons.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal;">
<br /></div>
<div class="MsoNormal" style="line-height: normal;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNPo0gwgoJZOcFTydv4Q92oPEJIyiHcCQGTR2INmz301efXLKeq5-msk8Ka9PAxCVOPLatIHM1-QgOe6xJhLqNiwqusRDHwy5TXUR0hFeRJXKYCEB0vKtkYVe-cPBSnT8SOfuqeppY6R0I/s1600/Slide13.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNPo0gwgoJZOcFTydv4Q92oPEJIyiHcCQGTR2INmz301efXLKeq5-msk8Ka9PAxCVOPLatIHM1-QgOe6xJhLqNiwqusRDHwy5TXUR0hFeRJXKYCEB0vKtkYVe-cPBSnT8SOfuqeppY6R0I/s320/Slide13.JPG" width="320" /></a></div>
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<span style="mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span><b><span style="mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b><span style="mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Parish boundaries which intersect with the
street of Cheapside, London</span></b><span style="mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqLBAAYkrq8b0MLqWuQdqsDUvKW1HsKjlB7MuFGRu6XgqW8N5o-BN6bb35aWqCFyF3eb2VZhZUmeeOKanbFTVojEIsWX0zIg0anOeDaAyojA_7cvylA65b13bRIh6ovCtgpCFGfgyUhssD/s1600/Slide14.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqLBAAYkrq8b0MLqWuQdqsDUvKW1HsKjlB7MuFGRu6XgqW8N5o-BN6bb35aWqCFyF3eb2VZhZUmeeOKanbFTVojEIsWX0zIg0anOeDaAyojA_7cvylA65b13bRIh6ovCtgpCFGfgyUhssD/s320/Slide14.JPG" width="320" /></a></div>
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<a href="https://www.blogger.com/blogger.g?blogID=2723306728611607327" name="toc6"></a><span style="mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span><b><span style="mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"></span></b></div>
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<b><span style="mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Completed street network for main area
covered by Rocque's map.</span></b><span style="mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"></span></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfkqAjZ4PgqJUEU2pOmZZIFbsxJJozB58dKftNef4Lid54zZnQDrN03mjyVpcSSPn9NQzwh2V-3UM9LkzXifgpOe7-oJMYNGsWgXJpiHU4PskINdE2l3gD5-Rgaj_W3aB4jjkM3aOZf60t/s1600/Slide15.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfkqAjZ4PgqJUEU2pOmZZIFbsxJJozB58dKftNef4Lid54zZnQDrN03mjyVpcSSPn9NQzwh2V-3UM9LkzXifgpOe7-oJMYNGsWgXJpiHU4PskINdE2l3gD5-Rgaj_W3aB4jjkM3aOZf60t/s320/Slide15.JPG" width="320" /></a> </div>
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<span style="mso-bidi-font-family: Arial; mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span><b><span style="mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"></span></b></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<b><span style="mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Street lines expanded to polygons based on
recorded width</span></b><span style="mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNUyPa_QkdnMecLZtz-Jj7B_mkMTQNNyvYvjY1YmSj_zfDzho2xbRiatLzyGmBoLgCiK34G0gR9fmq4Fj8oJDLXnxtoUS7G8-hv4oXzeuwOV6zsADIwoUBAPzRFt-F3DFp3M9CslpDDJHX/s1600/Slide16.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNUyPa_QkdnMecLZtz-Jj7B_mkMTQNNyvYvjY1YmSj_zfDzho2xbRiatLzyGmBoLgCiK34G0gR9fmq4Fj8oJDLXnxtoUS7G8-hv4oXzeuwOV6zsADIwoUBAPzRFt-F3DFp3M9CslpDDJHX/s320/Slide16.JPG" width="320" /></a> </div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: Arial; mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span><span style="mso-bidi-font-family: Arial;"></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: Arial;">All of which gave
us something rather cool – a proper, interactive and accurate map of 18<sup>th</sup>
century London, that among a lot else, let’s you go from here:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNUyPa_QkdnMecLZtz-Jj7B_mkMTQNNyvYvjY1YmSj_zfDzho2xbRiatLzyGmBoLgCiK34G0gR9fmq4Fj8oJDLXnxtoUS7G8-hv4oXzeuwOV6zsADIwoUBAPzRFt-F3DFp3M9CslpDDJHX/s1600/Slide16.JPG" style="margin-left: 1em; margin-right: 1em;"></a> </div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwQrWZHc94s83_1Z4tiMEI-dIeCDQfg_6fQeRviyBsJCXMyQn1iXB24ttKYhCoZnbCYBh73PXXR90_VRGMBpOC3VU1BBKkJMUiSj2E-t4DyZJ2vO4COrlNn9fljQVlajo7QlXlC5-LRh2s/s1600/Slide17.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwQrWZHc94s83_1Z4tiMEI-dIeCDQfg_6fQeRviyBsJCXMyQn1iXB24ttKYhCoZnbCYBh73PXXR90_VRGMBpOC3VU1BBKkJMUiSj2E-t4DyZJ2vO4COrlNn9fljQVlajo7QlXlC5-LRh2s/s320/Slide17.JPG" width="320" /></a></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: Arial; mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span><span style="mso-bidi-font-family: Arial;"></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: Arial;">To here:</span></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwQrWZHc94s83_1Z4tiMEI-dIeCDQfg_6fQeRviyBsJCXMyQn1iXB24ttKYhCoZnbCYBh73PXXR90_VRGMBpOC3VU1BBKkJMUiSj2E-t4DyZJ2vO4COrlNn9fljQVlajo7QlXlC5-LRh2s/s1600/Slide17.JPG" style="margin-left: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZcZBVq6Dxo1STKnZW_VSOdvyBYoUUhiqXKhDNmScy-GUiC36PABjA6vtQM6RVwrK8Kro-bnXVaJj72-fTXBlwD6BMj4KyovsVZNjk0DVpeqFEfIugJtHzvjEGhkmXlSlKv6rnasjcz7CA/s1600/Slide18.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZcZBVq6Dxo1STKnZW_VSOdvyBYoUUhiqXKhDNmScy-GUiC36PABjA6vtQM6RVwrK8Kro-bnXVaJj72-fTXBlwD6BMj4KyovsVZNjk0DVpeqFEfIugJtHzvjEGhkmXlSlKv6rnasjcz7CA/s320/Slide18.JPG" width="320" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: Arial; mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span><span style="mso-bidi-font-family: Arial;"></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: Arial;">And more
importantly, lets you go here – all those parishes securely defined: </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ7nqkQm_K69VlHLSqMzJPuCd15YJs7hmYKJ94vRIzdHxQc2n9c6A6EgWFG-w__p08CXpVI-QcP06KKro8FyMRpZ-BY8gP6wUhmznlp5NSLUDyXpw4PRs1pY0U_XXgRIM1xYFdnnb7D2PK/s1600/Slide19.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ7nqkQm_K69VlHLSqMzJPuCd15YJs7hmYKJ94vRIzdHxQc2n9c6A6EgWFG-w__p08CXpVI-QcP06KKro8FyMRpZ-BY8gP6wUhmznlp5NSLUDyXpw4PRs1pY0U_XXgRIM1xYFdnnb7D2PK/s320/Slide19.JPG" width="320" /></a></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: Arial; mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span><span style="mso-bidi-font-family: Arial;"></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: Arial;">And all those
streets and cul-de-sacs:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq08deRJIvo8XJjybHtlIuUg97_KBpZJ37TJrdfDycTiT-3vuUFNZ8CRRWMU4nVtQlFepvYbDj3FE59zEifptbRZt94lUn4YrNWCM08l_AU7mYCQjxGz9ujdSf8cyrA_x2w0B1WqQEjXIU/s1600/Slide20.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq08deRJIvo8XJjybHtlIuUg97_KBpZJ37TJrdfDycTiT-3vuUFNZ8CRRWMU4nVtQlFepvYbDj3FE59zEifptbRZt94lUn4YrNWCM08l_AU7mYCQjxGz9ujdSf8cyrA_x2w0B1WqQEjXIU/s320/Slide20.JPG" width="320" /></a></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: Arial; mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span><span style="mso-bidi-font-family: Arial;"></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: Arial;">In the process it
makes, each parish and street, ward and cul-de-sac newly available as an
analytical category – defined as a specific area, and location – defined in
terms of its distance from any other place, and the route between them, its
size and importance in a hierarchy of streets – and defined securely against
the earth’s surface.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: Arial;">All of which left
us with just one more task – the, to us, more familiar job of providing the text/data
to put into these analytical polygons.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: Arial;">And for that, we
brought in the material available from the Old Bailey online for the 18<sup>th</sup>
century crime, from London Lives, fire insurance records, voting records for
Westminster, Hearth Tax returns and plague deaths; and finally a bunch of
archaeological material from Mola.<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: Arial;">Along with the more
structured data, we ended up with a couple of hundred million words of text,
primarily reflecting crime and events – descriptions of behaviours given under
oath to magistrates, in court, at sessions and before a coroner; which we then
processed using a combination of automated methodologies, including Natural
Language Processing, and manual checking, to identify some 4.9 million place-name
instances, each tied to its own polygon.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: Arial;">All of this data
was then made available for search and mapping – including both structured and
keyword searches – so both the ability to search on the crime of ‘murder’, and
the word: teapot.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRC5zMbu8NhMqAQUdAZKYO61z0E_0zABrmNSOU9kzPevSwXworYcj6sbqxUR3BsCcUmdoBp79_iUi2yC5wALb1Yf_27ic-ZBenJ3VLRPiSz1n1Gmq97ASEg10Risr3W_OwzNhj0VjH2HnY/s1600/Slide21.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRC5zMbu8NhMqAQUdAZKYO61z0E_0zABrmNSOU9kzPevSwXworYcj6sbqxUR3BsCcUmdoBp79_iUi2yC5wALb1Yf_27ic-ZBenJ3VLRPiSz1n1Gmq97ASEg10Risr3W_OwzNhj0VjH2HnY/s320/Slide21.JPG" width="320" /></a><span style="mso-bidi-font-family: Arial; mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span><span style="mso-bidi-font-family: Arial;"></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: Arial;">Inevitably, there
are problems with the data and the map; but, it nevertheless allows us to map
things like the number of small houses in the 1690s – defined as having one or
two hearths as recorded in the Hearth Tax Returns.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyznPVvDNmxm9pmeAF1opIcQGZLZejzeBWzC7On1Cf5pVXK1J2UyF_47eko3FoDaAaFJcG9uaGId-62sJdxun1pVAT6L65-OgdQw-VhYsx0RW8-7iTizVV0zWVLro5NEFRz8-JCOIWNvov/s1600/Slide22.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyznPVvDNmxm9pmeAF1opIcQGZLZejzeBWzC7On1Cf5pVXK1J2UyF_47eko3FoDaAaFJcG9uaGId-62sJdxun1pVAT6L65-OgdQw-VhYsx0RW8-7iTizVV0zWVLro5NEFRz8-JCOIWNvov/s320/Slide22.JPG" width="320" /></a> </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: Arial; mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span><span style="mso-bidi-font-family: Arial;"></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: Arial;">Or more
contentiously, to map the distribution of suicide cases in the coroners’
inquests found by a keyword search of 5000 inquests on ‘felo’ – as in felo de
se – and ‘suicide:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqEXD-LVspJpxIiDw8117KpTTBTTC0YT-r_XYlBxQrHUNGdbudKabvs1yhpbfUd9dOWtfhGjN6zTYCmmsAaB8JlqntmlkfbPdr57Zw84Kk-1tLeMQZY_kDmem9AJF_EL-3-ab5eqmi5c4l/s1600/Slide23.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqEXD-LVspJpxIiDw8117KpTTBTTC0YT-r_XYlBxQrHUNGdbudKabvs1yhpbfUd9dOWtfhGjN6zTYCmmsAaB8JlqntmlkfbPdr57Zw84Kk-1tLeMQZY_kDmem9AJF_EL-3-ab5eqmi5c4l/s320/Slide23.JPG" width="320" /></a> </div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: Arial; mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span><span style="mso-bidi-font-family: Arial;"></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: Arial;">Or the distribution
of the mention of a horse, mare or gelding, in the Old Bailey.</span></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJzJ5Ksv0Lqa927rOI78vQKhi99mSCVoTIqD9yN63C9rd7esvWmk2Ydkil7kAVo-6cDiHOfD14d2WihuZRGyUD_4gv3-NJ1JL6jEAZ_fw2lToR1XPtaIesjTUKt8y0Coj8eGE0HPz8sCQw/s1600/Slide24.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJzJ5Ksv0Lqa927rOI78vQKhi99mSCVoTIqD9yN63C9rd7esvWmk2Ydkil7kAVo-6cDiHOfD14d2WihuZRGyUD_4gv3-NJ1JL6jEAZ_fw2lToR1XPtaIesjTUKt8y0Coj8eGE0HPz8sCQw/s320/Slide24.JPG" width="320" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: Arial; mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span><span style="mso-bidi-font-family: Arial;"></span></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: Arial;">We have not even
begun to explore what the data tells us, nor was this created in the
expectation that we would be able to do so – but the important thing is that it
does allow us and everyone else, to explore this material in a new way – and do
so quickly enough to facilitate the testing of new hypotheses, and random
midnight thoughts.<span style="mso-spacerun: yes;"> </span>And to quickly test
words against spaces, text/data against spatial data.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: Arial;">Of course, all of
this is contentious, and I suspect will leave historical geographers rather dissatisfied.<span style="mso-spacerun: yes;"> </span>The original data is variable, the percentage
securely geo-referenced is inconsistent and I am waiting for a few proper
demographers to critique the population figures. <span style="mso-spacerun: yes;"> </span>As worrying, the data is not currently
available for the more subtle analytical approaches that have been so fruitful
in historical geography.<span style="mso-spacerun: yes;"> </span>We can’t easily
define networks, for instance.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>In other words, this is a rough starting
point, and all the critical skills of a true sceptic are needed when using
it.<span style="mso-spacerun: yes;"> </span>But this site does allow us to play
with all this data in a new way, and to </span>come up with insights and
hypotheses for further investigation.<span style="mso-spacerun: yes;"> </span>To,
for instance, map all the instances of the words for the industrial colours of <span style="mso-spacerun: yes;"> </span>‘blue, red and yellow’ against the natural
hues of ‘brown and green’ to explore an urban environment and to suggest different
ways of thinking about a wider cityscape.</div>
<div class="MsoNormal">
<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">
<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzDaqFBknid0WuxYpXwEe841jSc0-hcyWbCYMZxdCBoMhHevjBL04Mb3glc7noJaQ7hr38j0YLCFNSKh5I5e5tmV3ZWXcwY2S2_RcX2Fo7DHWwl6HhcjRx2y31O9YmcKCczrP-F2bbA7ZT/s1600/Slide26.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzDaqFBknid0WuxYpXwEe841jSc0-hcyWbCYMZxdCBoMhHevjBL04Mb3glc7noJaQ7hr38j0YLCFNSKh5I5e5tmV3ZWXcwY2S2_RcX2Fo7DHWwl6HhcjRx2y31O9YmcKCczrP-F2bbA7ZT/s320/Slide26.JPG" width="320" /></a> </div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZDWD4xVUuFgxyOOAFtSvGicvjzTrKY2e1csgIzXNCWlMhOmOObfVe_641Vwsz7aGVm7V0LRjaBzcXIbPJfdOiyOJ1eJoE4N9Tcen9EEBUhE9NgbrREj3d7yo2ENJ94TGIh_HoCAAoSAKf/s1600/Slide27.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZDWD4xVUuFgxyOOAFtSvGicvjzTrKY2e1csgIzXNCWlMhOmOObfVe_641Vwsz7aGVm7V0LRjaBzcXIbPJfdOiyOJ1eJoE4N9Tcen9EEBUhE9NgbrREj3d7yo2ENJ94TGIh_HoCAAoSAKf/s320/Slide27.JPG" width="320" /></a></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
It also means that we have 40 million words of
geo-referenced text that we can use as the basis for a new kind of text mining
– that incorporates space with linguistic change; and which will add to the
geographers’ toolbox all the rather wonderful methodologies of corpus
linguistics: Measures of Text Frequency and Topic Modelling to name just two.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We are, of course, nowhere near where we really want to
be.<span style="mso-spacerun: yes;"> </span>For that, we will need to have a lot
more text, and a lot more subtlety.<span style="mso-spacerun: yes;"> </span>I
want to be able to map all the places in a newspaper by subject and category of
article – to have a scrolling representation of places mentioned in a text as I
read (either immersively or distantly).<span style="mso-spacerun: yes;">
</span>I want to be able to use corpus linguistics, semantic search and
syntactic analysis (ontologies and all the methodologies designed for
text/data) in combination with both secure place name data, and historically sensitive
boundary and population data.<span style="mso-spacerun: yes;"> </span>There is
not much point in comparing 18<sup>th</sup> century text with the modern road
network or county boundaries; or wondering why there is not a lot of text
coming from Greenland in the absence of population density figures.<span style="mso-spacerun: yes;"> </span>I want to be able to map networks defined by
individuals, defined in turn by the words they use; and networks defined by
geographical measures such as road width.<span style="mso-spacerun: yes;">
</span>What percentage of London was made up of parkland at different stages?<span style="mso-spacerun: yes;"> </span>And what words and crimes are dominant in
those different parks (Hyde Park vs Moorfields?).<span style="mso-spacerun: yes;"> </span>And as importantly, I want to be able to test
the results against secure measures of statistical significance.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
All of the components to make this happen are in place – we
all now work with data and data is interchangeable – subject to unending
automated translation - making the main technical hurdle essentially unproblematic.<span style="mso-spacerun: yes;"> </span>But there is still a long way to go.<span style="mso-spacerun: yes;"> </span>And there is also a clear and present danger
in the process. <span style="mso-spacerun: yes;"> </span>And it is that danger,
that I now want to turn to.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I spent last year co-directing one geographical project –
Locating London’s Past - and one text mining project – Datamining with Criminal
Intent.<span style="mso-spacerun: yes;"> </span>Both projects were
intellectually engaging beyond measure.<span style="mso-spacerun: yes;">
</span>I learned more about history – and sources I already thought I knew well
- doing something else with them, than I could possibly have done in a year of
reading.<span style="mso-spacerun: yes;"> </span>But I also found myself
struggling against the run of the data I was helping to produce.<span style="mso-spacerun: yes;"> </span>I came to count myself among those who Lewis
Mumford had in mind in 1962 when he warned urban geographers that: </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 18.0pt; mso-bidi-font-weight: bold;">‘… minds
unduly fascinated by computers carefully confine themselves to asking only the
kind of question that computers can answer and are completely negligent of the
human contents or the human results.’ </span><a href="http://archives.newyorker.com/?i=1962-12-01#folio=148" target="_blank"><span style="font-size: 8.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt; mso-bidi-font-weight: bold;">Lewis Mumford, “The Sky Line "Mother Jacobs Home Remedies",” <i>The
New Yorker</i>, December 1, 1962, p. 148 </span></a><span style="font-size: 8.0pt; line-height: 115%; mso-bidi-font-size: 11.0pt;"></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In other words, I found myself limping uncomfortably towards
a positivist abstraction in which there were few people, but much data;
beautiful graphs and compelling trends, but few of the moments of empathetic
engagement that make history so powerful and which form a little discussed
component of its authority as a genre of literature.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
So, at this point, having waxed on the joys of technology
and what it allows you to do, I want to stand back for a minute and remember
the individual in the landscape.<span style="mso-spacerun: yes;"> </span>And in
this instance, just one individual – a man named Charles McGee or Mckay, who
stood just here for over forty years, from at least 1809, until his death in
1854; making a living as a one-eyed crossing sweeper – a black Jamaican refugee
from Britain’s wars of colonial expansion:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkfaUlvLQIfH23WZLDFj55JnDaCSoUke4BS6kB0KaLDA54Jdc-JS3qRTqSTJFe4AM5QAU0A6M7KY8wFGAjSKnHyM2s_RCW-PyYiMKg2KRtUPrMLa42YDEdvF6XMiC4hflY1f7rhv8WBkB7/s1600/Slide28.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkfaUlvLQIfH23WZLDFj55JnDaCSoUke4BS6kB0KaLDA54Jdc-JS3qRTqSTJFe4AM5QAU0A6M7KY8wFGAjSKnHyM2s_RCW-PyYiMKg2KRtUPrMLa42YDEdvF6XMiC4hflY1f7rhv8WBkB7/s320/Slide28.JPG" width="320" /></a></div>
<div class="MsoNormal">
<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Or to put it differently, he stood just here, on a map
created just before he arrived:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7q8Z8NTWfjw1oxhtFuMrHA5_-5cYz-nIzekwMdAWc72f-_9Y8s3Nj9SBfWR1h05xWZGxLDXXw1LT0-L1zu7KND65Na_aVReJzsJ9qDCFUDoeyzhOpoHx6HrYB8Sqe1ThbgKJH2egbzEkU/s1600/Slide29.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7q8Z8NTWfjw1oxhtFuMrHA5_-5cYz-nIzekwMdAWc72f-_9Y8s3Nj9SBfWR1h05xWZGxLDXXw1LT0-L1zu7KND65Na_aVReJzsJ9qDCFUDoeyzhOpoHx6HrYB8Sqe1ThbgKJH2egbzEkU/s320/Slide29.JPG" width="320" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span></div>
<div class="MsoNormal">
Or, for a map that should have included him, here:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin3VOaMfl0U2ToX30wPRpz-DXSv7M3jE3BF3hU5KYRFL1Q4weydIvSOxwJgX2UkIucMXPlQo42u4rhoGcrGYwGv9CuVhWfWXgvqmvriQDUsLidiNI5aO0tpnLlouDqD4tEzOUs-ZSg8b64/s1600/Slide30.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin3VOaMfl0U2ToX30wPRpz-DXSv7M3jE3BF3hU5KYRFL1Q4weydIvSOxwJgX2UkIucMXPlQo42u4rhoGcrGYwGv9CuVhWfWXgvqmvriQDUsLidiNI5aO0tpnLlouDqD4tEzOUs-ZSg8b64/s320/Slide30.JPG" width="320" /></a></div>
<div class="MsoNormal">
<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span></div>
<div class="MsoNormal">
Or if we want to get down to street level, just here – the
obelisk he stood in front of, itself visible on the map:</div>
<div class="MsoNormal">
<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixiLwdmxNgkUiG_Orivns3fOC5qy0xfRBrlmImqkUlLQCHSHo4w3ZNYYKf5qWzwrpOv2raayMuJW4u6Ee31WQXsuZRfCUuaw-XJixpSscz3XFCrEDSTCtW32kqDWZYuo269AhsZZJzsjTW/s1600/Slide31.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixiLwdmxNgkUiG_Orivns3fOC5qy0xfRBrlmImqkUlLQCHSHo4w3ZNYYKf5qWzwrpOv2raayMuJW4u6Ee31WQXsuZRfCUuaw-XJixpSscz3XFCrEDSTCtW32kqDWZYuo269AhsZZJzsjTW/s320/Slide31.JPG" width="320" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
MacKay became a part of the image of this cityscape almost
immediately.<span style="mso-spacerun: yes;"> </span>William Bennet was the
first to record his presence, placing him before the obelisk dedicated to John
Wilkes that stood at the top of New Bridge Street:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt7XotabmLFqpqPvUvPRCuZXpizdILQB9uq8SOqk934HBEQpBCilStvpQe5SfhmBvtZxM041ZAuKKW58eu5leHeaKLWx0-EkawKzj_Bem_XTC9q_1gAibmoQr3XMEQ14ugFTQdTcaNgWoK/s1600/Slide32.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt7XotabmLFqpqPvUvPRCuZXpizdILQB9uq8SOqk934HBEQpBCilStvpQe5SfhmBvtZxM041ZAuKKW58eu5leHeaKLWx0-EkawKzj_Bem_XTC9q_1gAibmoQr3XMEQ14ugFTQdTcaNgWoK/s320/Slide32.JPG" width="320" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span></div>
<div class="MsoNormal">
He was already missing one eye, but had not yet started
sporting his shock of white hair:</div>
<div class="MsoNormal">
<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span><span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9NzyAMEIUEsrxIoekRw5dKdE0T9-1RlTbrRoo1_BnwwAb2HQaaHMBWmyHHYQ5ykCIfrefuNo9fc0Qzm_BhV0qQmeB_nSg6wM688awVw4fhtP2kLL0ynK3ACiNpUlkPik1RHZs_mmq4D1W/s1600/Slide33.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9NzyAMEIUEsrxIoekRw5dKdE0T9-1RlTbrRoo1_BnwwAb2HQaaHMBWmyHHYQ5ykCIfrefuNo9fc0Qzm_BhV0qQmeB_nSg6wM688awVw4fhtP2kLL0ynK3ACiNpUlkPik1RHZs_mmq4D1W/s320/Slide33.JPG" width="320" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
A year later, in 1810, he McKay was still there:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDjOMBe_JXXUStfzlJV7SvjwsksGYHVn0NLJ6cdJzflLGJIioP5rlO29qL83BKprWB9KCEY5cAX_ogFIV_Pi2S5EjOa-hgM85WwInmUicupOAWABy6u2CimxpA8K3SiNQXiN1Wlh1hzJOT/s1600/Slide34.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDjOMBe_JXXUStfzlJV7SvjwsksGYHVn0NLJ6cdJzflLGJIioP5rlO29qL83BKprWB9KCEY5cAX_ogFIV_Pi2S5EjOa-hgM85WwInmUicupOAWABy6u2CimxpA8K3SiNQXiN1Wlh1hzJOT/s320/Slide34.JPG" width="320" /></a> </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span></div>
<div class="MsoNormal">
As he was when Ackerman published the same vista in 1812.<span style="mso-spacerun: yes;"> </span>Recognisable, even though his faced has been
scratched white by some later owner of this image, clearly made uncomfortable
by his presence in the landscape:</div>
<div class="MsoNormal">
<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqScDZTBMzqbydix-H9paZJU3-2rUGDKZoTlWRI7rljBEYyiKRhj13_U-bPoNwTymSs90Rr_-5cCHk2o2s5aPPCAZrQtF6IlWq_phxgqUV-6ZZ-29POI66f9-Q26f_HsQhva5AbpJwrDEQ/s1600/Slide35.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqScDZTBMzqbydix-H9paZJU3-2rUGDKZoTlWRI7rljBEYyiKRhj13_U-bPoNwTymSs90Rr_-5cCHk2o2s5aPPCAZrQtF6IlWq_phxgqUV-6ZZ-29POI66f9-Q26f_HsQhva5AbpJwrDEQ/s320/Slide35.JPG" width="320" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Five years later, in 1817, John Thomas Smith, the keeper of
prints and drawings at the British Museum, gave us our first detailed portrait,
and our first biography.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZqoIeewnkRBuNfkbp4u7jpW2jGYlTWwrkD9QSs0KHZhDcJitN7j39GZcuXEVixLpNicyiNRtn1gs6zeqUP4AaasH_0OC8npZ2bqNlm0I46KthaZ1wTtKG78QL1QQSEQZoWuO2GnpKkzMF/s1600/Slide36.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZqoIeewnkRBuNfkbp4u7jpW2jGYlTWwrkD9QSs0KHZhDcJitN7j39GZcuXEVixLpNicyiNRtn1gs6zeqUP4AaasH_0OC8npZ2bqNlm0I46KthaZ1wTtKG78QL1QQSEQZoWuO2GnpKkzMF/s320/Slide36.JPG" width="320" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Smith claims Mckay, or McGee as he styles him, was already
old beyond credibility in 1817, though another account would put his age as 50
in that year.<span style="mso-spacerun: yes;"> </span>His hair ‘almost white’,
was tied back in a tail and Smith firmly locates him at his ‘stand… at the
Obelisk, at the foot of Ludgate-Hill’.<span style="mso-spacerun: yes;">
</span>He also claims (as do most commentaries on well known street figures),
that he was secretly wealthy; and that he attended Rowland Hill’s Methodist Tabernacle
on Sundays; that he was lately seen wearing a ‘smart coat’ the gift of a city
pastry chef, and finally that his portrait, made in October of 1815, hung in
the Twelve Bells public house on Fleet Street – around the corner from the
obelisk.</div>
<div class="MsoNormal">
<br /></div>
Two years later, George Cruickshank, includes him, broom in hand, with Billy
Waters, King George III, and a host of abolitionists, in the ‘The new
Union-Club’.<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh94H5SP2rmhweCKaSbnKA9fXFQKzaxrdg0jdsKiwkGN9Yal9PcC3kmqG6DBs_iQYoutHcNUQb22ozpQdSmYWktp4QvQkMLNWRFYGO4R_GanyfJCWxttfADF2ZePKsoQchwT_Q9s097hPac/s1600/Slide37.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh94H5SP2rmhweCKaSbnKA9fXFQKzaxrdg0jdsKiwkGN9Yal9PcC3kmqG6DBs_iQYoutHcNUQb22ozpQdSmYWktp4QvQkMLNWRFYGO4R_GanyfJCWxttfADF2ZePKsoQchwT_Q9s097hPac/s320/Slide37.JPG" width="320" /></a><br />
<span style="mso-no-proof: yes;">
</span><br />
<br style="mso-special-character: line-break;" />
<br />
<div class="MsoNormal">
And again, in 1821, in his depiction of Tom and Jerry,
‘Masquerading it among the Cadgers’:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaTClh04GJy7fYJxXjg-4q_qcgqlNyW75MRFKvVHILBm5N05TkylXsG_zljiw59U9YbRjAPbhzdfty58sDVk-_wPGp3bFjOKABWq_4fgeVWZTl5TaLVyctm0sijbOlf8nlaG_wh0i2HMwz/s1600/Slide38.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaTClh04GJy7fYJxXjg-4q_qcgqlNyW75MRFKvVHILBm5N05TkylXsG_zljiw59U9YbRjAPbhzdfty58sDVk-_wPGp3bFjOKABWq_4fgeVWZTl5TaLVyctm0sijbOlf8nlaG_wh0i2HMwz/s320/Slide38.JPG" width="320" /></a></div>
<div class="MsoNormal">
<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span></div>
<div class="MsoNormal">
And finally, in the same year, Cruickshank includes McKay in
his ‘Slap at Slop’, suggesting along the way that McKay was involved on the
edges of radical London:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSq-mkkrGi2L9dS0VcLHtd4lGlTD6Ij8NzAM0AkZUFuGWMnO7MJG8JAVlfc3md5D4EE1qqwgov1Nwcf8cFxrejhNWTRdS5I_wta3qMTXgSwvMeTjYAlatEujwckLRkVDeFtIuMFK-N4GVO/s1600/Slide39.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSq-mkkrGi2L9dS0VcLHtd4lGlTD6Ij8NzAM0AkZUFuGWMnO7MJG8JAVlfc3md5D4EE1qqwgov1Nwcf8cFxrejhNWTRdS5I_wta3qMTXgSwvMeTjYAlatEujwckLRkVDeFtIuMFK-N4GVO/s320/Slide39.JPG" width="320" /></a> </div>
<div class="MsoNormal">
<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And so to John Dempsey’s portrait from sometime in the 1820s
– which seems to me to speak of a man and a place, of a life lived in a
landscape, more powerfully than any other.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsUvytHLFXT31qVBalB4fRQ9_5IMCNfHrm7w1aKaTr8eVex2XlIqJkBRplolRVQl3kDr5uBjRVoFu_xg0AoXmhRD-vAVYb8HWbtYntCeBe9U6SfGB8hpr74NZ9NLJ3ESExdz7O_Lmqa2xm/s1600/Slide40.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsUvytHLFXT31qVBalB4fRQ9_5IMCNfHrm7w1aKaTr8eVex2XlIqJkBRplolRVQl3kDr5uBjRVoFu_xg0AoXmhRD-vAVYb8HWbtYntCeBe9U6SfGB8hpr74NZ9NLJ3ESExdz7O_Lmqa2xm/s320/Slide40.JPG" width="320" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
At the beginning of the next decade, he was still there,
depicted this time, from a different perspective:</div>
<div class="MsoNormal">
<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWbGR6Ojm41gq0XlHa0ZIzxd-bfQFO-F3hVxsKdHQymCkHkXoywBHCigxGzJO4kqZt1pFcnUWvso4n4888Oit5zBEhfsrSPLBH8xHWVv30ymIRE39rjzBJ6j6CyLCjJijcnUZzQP9LU7jA/s1600/Slide41.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWbGR6Ojm41gq0XlHa0ZIzxd-bfQFO-F3hVxsKdHQymCkHkXoywBHCigxGzJO4kqZt1pFcnUWvso4n4888Oit5zBEhfsrSPLBH8xHWVv30ymIRE39rjzBJ6j6CyLCjJijcnUZzQP9LU7jA/s320/Slide41.JPG" width="320" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And three years later, Mackay also became the model upon
which Charles Matthews based his depiction of a modern Othello in ‘the Moor of
Fleet Street’,<span style="mso-spacerun: yes;"> </span>first performed to
disastrous reviews, at the Adelphi in 1833.</div>
<div class="MsoNormal">
<span style="mso-spacerun: yes;"> </span><span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span></div>
<div class="MsoNormal">
In the play, Mackay is depicted as engaged in a battle of jealousy
and rage among the low characters of London; and is described as ‘the Moor who
for many a day hath swept Waithman’s crossing over the way’ from Ludgate Hill.<a href="http://www.blogger.com/blogger.g?blogID=2723306728611607327#_ednref1" name="_edn1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 115%;">[i]</span></span></span></span></a>
<a href="http://www.blogger.com/blogger.g?blogID=2723306728611607327#_edn1" name="_ednref1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "arial" , "sans-serif"; font-size: 11.0pt; line-height: 115%;"></span></span></span></span></a><span style="mso-spacerun: yes;"> </span>His spotted red bandana, clearly visible in
Dempsy’s depiction, invested with gypsy lore, and gypsy power, to ‘keep woman
honest, or cure the worst cold’, and given a history steeped in London’s boxing
lore, and serving in the play, the role of Desdemona’s lost handkerchief.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The best account of his later life is from Charles Diprose’s
authoritative history of St Clement Danes, where McKay lived, off Stanhope
Street.<span style="mso-spacerun: yes;"> </span>Diprose <span style="mso-spacerun: yes;"> </span>describes McKay as ‘a short, thick-set man,
with his white-grey hair carefully brushed up into a toupee, the fashion of his
youth; … he was found in his shop, as he called his crossing, in all weathers,
and was invariably civil. At night, after he … swept mud over his crossing… he
carried round a basket of nuts and fruit to places of public
entertainment...’<span style="mso-spacerun: yes;"> </span>And according to Diprose,
‘He died in Chapel Court, St Giles, in 1854, in his eighty-seventh year.’<span style="mso-spacerun: yes;"> </span>A later historian, William Purdie Treloar
claims McKay was then replaced at his stand by a drunken soldier who ‘sometimes
made 8s to 10s a day’, and drank as much each evening.<a href="http://www.blogger.com/blogger.g?blogID=2723306728611607327#_edn2" name="_ednref2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "arial" , "sans-serif"; font-size: 11.0pt; line-height: 115%;"></span></span></span></span></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-fareast-language: EN-GB; mso-no-proof: yes;">
</span></div>
<div class="MsoNormal">
All of which is simply to say, that some people stand in the
same place longer than many buildings; and have a greater right to appear on a
map, than many landmarks.<span style="mso-spacerun: yes;"> </span>As we move
towards that new data rich environment of text/data and intuitive GIS; as naïve
historians and the wider public, come to use the ideologically laden genre that
is a map as an interface for trillions of words of text; and as they step back
from their own text to view text/data from afar, I just think it is important
to remember that landscapes and cityscapes only exist between the ears of their
denizens – that we cannot map the subtleties of Ludgate Hill and New Bridge
Street without trying to know Charles Mackay.<span style="mso-spacerun: yes;">
</span>With Lewis Mumford, we need to ensure that we are not ‘<span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-size: 18.0pt; mso-bidi-font-weight: bold;">completely negligent of the human contents or the human results’ of
asking the questions only computers can answer.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
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<a href="http://www.blogger.com/blogger.g?blogID=2723306728611607327#_ednref1" name="_edn1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 115%;">[i]</span></span></span></span></a>
Note that Waithman is a wealthy linen draper with a shop on Fleet Street.<span style="mso-spacerun: yes;"> </span>His daughter is reputed to have been
especially kind to McKay, and to have received a legacy from his on his death
of £7000.<span style="mso-spacerun: yes;"> </span>Treloar gives a more detailed
account of Waithman’s role as alderman and MP, and suggests his daughter
regularly took out soup and warm food to McKay, p.124.</div>
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<a href="http://www.blogger.com/blogger.g?blogID=2723306728611607327#_ednref2" name="_edn2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><span class="MsoEndnoteReference"><span style="font-family: "arial" , "sans-serif"; font-size: 10.0pt; line-height: 115%;"></span></span></span></span></a>.</div>
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Tim Hitchcockhttp://www.blogger.com/profile/17851547190864328027noreply@blogger.com276tag:blogger.com,1999:blog-2723306728611607327.post-57495368540799251262012-01-30T06:56:00.000-08:002017-01-20T04:08:21.527-08:00Academic History Writing and the Headache of Big Data<i><span style="font-size: large;"><b>By way of a preface</b></span></i><br />
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<b><span style="font-size: 14pt; line-height: 150%;"><i>The post that follows is formed from the text of a presentation I am due to deliver at King's College London on 9 February, but which reflects what I was worrying about in early December 2011 - several months after I wrote the synopsis that was used to advertise the talk, a month before I attended the AHA conference in Chicago with its extensive programme on digital histories, and six weeks before I got around to reading Stephen Ramsay's, </i><i><a href="http://www.press.uillinois.edu/books/catalog/75tms2pw9780252036415.html">Reading Machines: Toward an Algorithmic Criticism</a>. Both listening to the text mining presentations at the AHA, and thinking about Ramsay's observations about computers and literary criticism have contributed to moving me on from the text below. In particular, Ramsay's work has encouraged me to remember that history writing has always been more fully conceived by its practitioners as an act of 'creation', and as a craft in its own right, than has literary criticism (which has more fully defined itself against a definable 'other' - a literary object of study). As a result, I found myself fully in agreement with Ramsay's proposal that digital criticisms should '...channel the heightened objectivity made possible by the machine into the cultivation of those heightened subjectivities necessary for critical work.'(p.x) But was most struck by his conclusion that the 'hacker/scholar' had moved camps from critic to creator. (p.85). It made me remember that even the most politically informed and technically sophisticated piece of digital analysis only becomes 'history' when it is created and consumed as such. This made me reflect that we have the undeniable choice to create new forms of history that retain the empathetic and humane characteristics found in the old generic forms; and simply need to get on with it. In the process I have concluded that the conundrums of positivism with which this post are concerned, are in many ways a canard that detract from crafting purposeful history. </i></span></b><br />
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<span style="font-size: x-large;"><b>Academic History Writing </b></span><br />
<span style="font-size: x-large;"><b>and the Headache of <i>Big Data </i></b></span><br />
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<span style="font-size: 14pt; line-height: 150%;">In the nature of titles and synopses for presentations such as this one, you
write them before you write the paper, and they reflect what you are thinking
about at the time. My problem is that I
keep changing my mind. I try to dress
this up as serious open mindedness – a constant engagement with a constantly
changing field, but in reality it is just a kind of inexcusable intellectual
incontinence – which I am afraid I am going to force you all to witness this
afternoon. </span></div>
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<span style="font-size: 14pt; line-height: 150%;">I
promised to spend the next forty minutes or so discussing research
methodologies, historical praxis and the challenge of ‘big data’; and I do
promise to get there eventually. But
first I want to do something deeply self-serving and self-indulgent that
nevertheless seemed to me a necessary pre-condition for making any serious
statement about both the issues raised by recent changes in the technical
landscape, and how ‘Big Data’, in particular, will impact on writing history –
and whether this is a good thing.</span></div>
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<span style="font-size: 14pt; line-height: 150%;">And
I am afraid, the place I need to start is with some thirteen years spent
developing online historical resources. </span></div>
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<span style="font-size: 14pt; line-height: 150%;">Unlike
a lot of people working in the digital humanities, in collaboration with Bob
Shoemaker, I have pretty much controlled my research agenda and the character
of the projects I have worked on from day one.
This has been a huge privilege for which I am hugely grateful, but it
means that there has been an underlying trajectory embedded within my work as a
historian and digital humanist. This agenda has been continuously negotiated with Bob Shoemaker, whose own distinct agenda and perspective has also fundamentally shaped the resulting projects, and more recently with Sharon Howard; and has been informed throughout by the work of Jamie McLaughlin who has been primarily responsible for the programming involved. But, the websites I have helped to
create were designed with our historical
interests and intellectual commitments as imperatives.
And as such they incorporate a series of explicit assumptions that have worked
in dialogue with the changing technology.
In other words, the seven or eight major projects I have co-directed are, from my perspective at least, fragments of a single coherent research agenda and project. </span></div>
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<span style="font-size: 14pt; line-height: 150%;">And
that project is about the amalgamation of the Digital Humanities with an
absolute commitment to a particular kind of history: ‘History from Below’. They form an attempt to integrate the British
Marxist Historical Tradition, with all the assumptions that implies about the
roles of history in popular memory, and community engagement, with digital delivery. In the language of the moment, they are a
fragment of what we might discuss as a peculiar flavour of ‘public history’. And what I feel I have discovered in the last
five or six years, is that there is a fundamental contradiction between the
direction of technological development, and that agenda – that ‘big data’ in
particular, and history from below don’t mix. </span></div>
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<span style="font-size: 14pt; line-height: 150%;">We
started with the <i style="mso-bidi-font-style: normal;">Old Bailey Proceedings</i>
– not because it was a perfect candidate for digitisation (who knew what that
looked like in 1999), but because it was the classic source for ‘history from
below’ and the social history of eighteenth-century London, used by Edward
Thompson and George Rude. </span></div>
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<a href="http://www.oldbaileyonline.org/" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJFfPnc1fc0EqGB3SMxmtgTH7p64IqUY6VP4afiZ4saHESUKUFWNMu-ZypGTFQDVBuXQjnCy60OPyyUbOrli0pxKJbqvLfRrKvHGFs-Ekf1yZ-OgnT9c-asV4LBHxRJ0ZLdxXTawPaxHMp/s400/Slide2.JPG" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2Kft7c8KIBeLlTg-3fZJgO65PPFt6xQvJlzdLe5rWMIAO-QmCc9azsyWM7VZziz2gPYq07_KsM35mkAscp_aCE8OaA1hiXNzBZ7OvavaWyw8SL_qOiIIf89W-XS7MuP-jlw-grzb9lGDc/s1600/Slide3.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2Kft7c8KIBeLlTg-3fZJgO65PPFt6xQvJlzdLe5rWMIAO-QmCc9azsyWM7VZziz2gPYq07_KsM35mkAscp_aCE8OaA1hiXNzBZ7OvavaWyw8SL_qOiIIf89W-XS7MuP-jlw-grzb9lGDc/s400/Slide3.JPG" width="400" /></a></div>
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<span style="font-family: "symbol"; font-size: 14pt; line-height: 150%;">·<span style="font: 7pt "Times New Roman";">
</span></span><span style="font-size: 14pt; line-height: 150%;"> </span><br />
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<ul>
<li><span style="font-size: 14pt; line-height: 150%;"> </span><span style="font-size: 14pt; line-height: 150%;">125 million words of trial accounts</span></li>
<li><span style="font-family: "symbol"; font-size: 14pt; line-height: 150%;"><span style="font: 7pt "Times New Roman";">
</span></span><span style="font-size: 14pt; line-height: 150%;">197,745 trials reflecting the brutal exercise of state
power on the relatively powerless. </span></li>
<li><span style="font-family: "symbol"; font-size: 14pt; line-height: 150%;"><span style="font-family: "times new roman";"></span><span style="font: 7pt "Times New Roman";"> </span></span><span style="font-size: 14pt; line-height: 150%;">250,000 defendants, and 220,000 victims. </span></li>
</ul>
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<span style="font-size: 14pt; line-height: 150%;">A
constant and ever changing litmus test of class and social change.</span></div>
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<span style="font-size: 14pt; line-height: 150%;">The
underlying argument – in 1999 – was that the web represented a new public face
for historical analysis, and that by posting the <i style="mso-bidi-font-style: normal;">Old Bailey Proceedings</i> we empowered everyone to be their own
historian – to discover for themselves that landscape of unequal power. By 2003, when we posted the first iteration
of the site – and more as a result of the creation of the online census’s rather
the Old Bailey itself – the argument had changed somewhat to a simple
acceptance of the worth and value of a demonstrable democratisation of access
to the stuff of social history. </span></div>
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<br /></div>
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<span style="font-size: 14pt; line-height: 150%;">The
site did not have the explicit political content of Raphael Samuel’s work or
Edward Thompson’s, but it both created an emphasis on the lived experience of
the poor, and gave free public access to the raw materials of history to what
are now some 23 million users.</span></div>
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<br /></div>
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<span style="font-size: 14pt; line-height: 150%;">And
it is important to remember at this point what most academic projects have
looked like for the last decade, and the kinds of agendas that underpin
them. If you wanted to characterise the
average academic historical web resource, it would be a digitisation project
aimed at the manuscripts of a philosopher or ‘scientist’. Newton, Bentham, the Philosophes, or founding
fathers in the US; most digital projects have replicated the intellectual, and
arguably rather intellectually old fashioned end, of the broader historical
project. Gender history, the radical
tradition, even economic and demographic history have been poorly represented
on line – despite the low technical hurdles involved in posting the evidence
for demographic and economic history in particular.</span></div>
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<span style="font-size: 14pt; line-height: 150%;">The
importance of the Old Bailey therefore was simply to grab an audience for the
kind of history that I wanted people to be thinking about – empathetic, aware
of social division and class, and focused on non-elite people. And to do so as a balance to what increasingly
seems to me to be the emergence of a very conservative notion of what
historical material looked like. </span></div>
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<span style="font-size: 14pt; line-height: 150%;">The
next step – the creation of the <i style="mso-bidi-font-style: normal;">London
Lives</i> web site, was essentially driven by the same agenda, with the
explicit addition that it should harness that wild community of family
historians, and wild interest in the history of the individual, to creating an
understanding of individuals in their specific contexts – of building lives, by
way of building our understanding of communities, and essentially – of social
relationships.</span></div>
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<br /></div>
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<br />
<br />
<a href="http://www.londonlives.org/" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHVv2NppIGamGj-09lCICfQpTvrAKYyeT43tGNLAgDNtMh9nQrs4JSKA5RlLEgeZGl3IHy-rFOppC0A3Vii6-hKvtvFCgC5CYUuRYihRmxEtUiKmA-yM-IU-KhD6AmqZgNjm1qoDmixiNC/s320/Slide4.JPG" width="320" /></a><span style="font-size: 14pt; line-height: 150%;"> </span><br />
<ul>
<li><span style="font-size: 14pt; line-height: 150%;">3.5 million names, </span></li>
<li><span style="font-family: "symbol"; font-size: 14pt; line-height: 150%;"><span style="font: 7pt "Times New Roman";"> </span></span><span style="font-size: 14pt; line-height: 150%;">240,000 pages of transcribed manuscripts reflecting
social welfare and crime</span></li>
<li><span style="font-size: 14pt; line-height: 150%;">and a framework that allowed individual users to
create individual lives, that could in turn be built in to micro-histories. </span></li>
</ul>
<span style="font-size: 14pt; line-height: 150%;">This
was social history online – the stuff of a digital history from below.</span></div>
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<br /></div>
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<span style="font-size: 14pt; line-height: 150%;">This
hasn’t garnered quite the same audience, or had the same impact as the <i style="mso-bidi-font-style: normal;">Old Bailey Online</i> (it does not contain
the glorious narrative drama inherent in a trial account), and the history it
contains is just harder work to make real.</span></div>
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<span style="font-size: 14pt; line-height: 150%;"> </span></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: 14pt; line-height: 150%;">But,
from my perspective, the character and end of the two projects were absolutely
consistent. Designed around 2004 (and
completed in 2010), in some respects <i style="mso-bidi-font-style: normal;">London
Lives</i> was a naïve attempt to make crowd sourcing an integral part of the
process – though not in order to get work done for free (which seems to be the
motivation for applying crowdsourcing in a lot of instances), but more as a way
of helping to create communities of users, who in turn become both communities
of consumers of history, and communities of creators, of their own histories. </span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: 14pt; line-height: 150%;">Around
the same time as <i style="mso-bidi-font-style: normal;">London Lives</i> was
kicking off, starting in 2005, and in collaboration with Mark Greengrass, we
began to experiment with Semantic Web methodologies, Natural Language
Processing, and a bunch of Web 2.0 techniques – all of which were driven in
part by the engagement of people like Jamie McLaughlin, Sharon Howard, Ed
McKenzie and Katherine Rogers at the Humanities Research Institute in Sheffield,
and in part by the interest generated by the Old Bailey as a ‘Massive Text
Object’ from digital humanists such as Bill Turkel. In other words, during the middle of the last
decade, the balance between the technology and its use as a mode of delivery
began to shift. We became more
technically engaged with the Digital Humanities, and this began to create a
tension with the historical agenda we were pursuing.</span></div>
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<br /></div>
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<span style="font-size: 14pt; line-height: 150%;">And
as a result, it was around this point that the basic coherence of the
underlying project became more confused.
Just as the demise of the Arts and Humanities Data Service in 2007 signalled the end of a coherent
British digitisation policy (and the end of a particular vision of how history
online might work), the rising significance of external technical developments
began to impact significantly on our agenda, as we worked to amalgamate rapid technical
innovation with the values and expectations of a public, democratic form of
history. In other words the technology began
to overtake our initial and underlying purpose.</span></div>
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<span style="font-size: 14pt; line-height: 150%;">And
the first upshot of that elision was the Connected Histories site:</span></div>
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<br /></div>
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<a href="http://www.connectedhistories.org/" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWduytEy7pfI8hYHGqrED-Kkm0HBY2Mfv1FT4y0_wIxe4sslPAZMdkUcK-fzB4GEF2ujCyunGK7-4cvcUGEwrdaFpwTNh6Fkil_MyTdyiaV2GczMcgq1SIlmSWtFEqtAUSS-Uwff4mUo8-/s320/Slide5.JPG" width="320" /></a></div>
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<ul>
<li><span style="font-family: "symbol"; font-size: 14pt; line-height: 150%;"><span style="font: 7pt "Times New Roman";"> </span></span><span style="font-size: 14pt; line-height: 150%;">15 Major web resources</span></li>
<li><span style="font-family: "symbol"; font-size: 14pt; line-height: 150%;"><span style="font: 7pt "Times New Roman";"> </span></span><span style="font-size: 14pt; line-height: 150%;">10 billion words </span></li>
<li><span style="font-size: 14pt; line-height: 150%;">150,000 images</span></li>
</ul>
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<span style="font-size: 14pt; line-height: 150%;">All
made available through a federated search facility. Everything from <i style="mso-bidi-font-style: normal;">Parliamentary Papers</i>, to collections of ephemera and the British
Museum’s collection of prints and drawings, were brought together and made
keyword searchable through an abstracted index.
With its distributed API architecture and use of NLP to tag a wide variety
of source types, it represented a serious application of what at the time were
relatively new methodologies.</span></div>
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<span style="font-size: 14pt; line-height: 150%;">And
unlike the previous sites, it was effectively driven by a changing national
context, and by technology, and included a range of partners far beyond those involved in previous projects - most significantly Jane Winter and the Institute of Historical Research. In part this
project was driven by a critique of data ‘silos’, but more fundamentally, we saw it as
an answer to the incoherence of the digitisation project as a whole, following
the withdrawal of funding to the AHDS, and the closure of the Arts and Humanities
Research Council’s Resource Enhancement Scheme.
It also formed an answer to the firewalls of privilege that were
increasingly being thrown up around newspapers and other big digital resources
– an important epiphenomenon of Britain’s mixed ecology of web delivery. In
other words, while trying desperately to maintain a democratic model of
intellectual access, we were forced to respond to a rapidly changing techno-cultural
environment. </span></div>
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<br /></div>
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<span style="font-size: 14pt; line-height: 150%;">In
many respects, <i style="mso-bidi-font-style: normal;">Connected Histories</i>
was an attempt to design an architecture,
including an integral role for APIs, RDF indexes, and a comprehensive
division between scholarly resources, and front end analytical functionality,
that would keep the work of the previous decade safe from complete irrelevance. At its most powerful we believed the
architecture would allow the underlying data to be curated, logged and
preserved, even as the ‘front end’ grew tired and ridiculous. </span></div>
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<br /></div>
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<span style="font-size: 14pt; line-height: 150%;">Early
attempts to make the project automatic
and fully self-sustaining through the use of crawlers, and hackerish scraping
methodologies fell by the way, as even the great national memory institutions
and commercial operations like ProQuest and Gale, signed up to the project. </span></div>
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<span style="font-size: 14pt; line-height: 150%;">But,
we also kept the hope that <i style="mso-bidi-font-style: normal;">Connected
Histories</i> would effectively allow democratic access (or at least a
democratically available map of the online landscape) to every internet user. There was no real, popular demand for this. Google has frightened us all in to believing
there is an infinite body of material out there, so we can’t know its full extent. But it seemed important to us that what the
public has paid for should be knowable by the public.</span></div>
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<br /></div>
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<span style="font-size: 14pt; line-height: 150%;">And
here is where the conundrums of ‘Big Data’ begin. And these conundrums are of two sorts – the
first simple and technical; and the second more awkward and philosophical.</span></div>
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<br /></div>
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<span style="font-size: 14pt; line-height: 150%;">By
this time, two years ago or so, we had what looked like ‘pretty big data’, and the outline of a robust technical
architecture that separated out academic
resources from search facilities, both making the data much more sustainable and easily curated, and
the analysis much more challenging and interesting. Suddenly, all the joys of
datamining, corpus linguistics, textmining, of network analysis and interactive
visualisations beckoned.</span></div>
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<br /></div>
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<span style="font-size: 14pt; line-height: 150%;">And
it is this latter challenging and exciting analytical environment that is so
fundamentally problematic. Because we
had ‘pretty big data’, and the architecture to do something serious with it, we
suddenly found ourselves very much in danger of excluding precisely the
audience for history that we started out to address. The intellectual politics of the projects
(the commitment to a history from below), and the technology actually came in
to conflict for the first time – though this would only be apparent if you
looked under the bonnet, at the underlying architecture and the modes of
working it assumed.</span></div>
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<span style="font-size: 14pt; line-height: 150%;">One
problem is that these new methodologies are and will continue to be reasonably
technically challenging. If you need to
be command-line comfortable to do good history – there is no way the web
resources created are going to reach a wider democratic audience, or allow them
to create histories that can compete for attention with those created within
the academy – you end up giving over the creation of history to a top down,
technocratic elite. In other words, you
build in ‘history from above’, rather than ‘history from below’, and arguably
privilege conservative versions of the past.
One way forward, therefore, lay in attempting to make this new
architecture work more effectively for an audience without substantial
technical skills. </span></div>
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<br /></div>
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<span style="font-size: 14pt; line-height: 150%;">In collaboration with Matthew Davies and Mark Merry at the Centre for Metropolitan History and with the Museum of London Archaeological Service, we tried to do just this with <i style="mso-bidi-font-style: normal;">Locating
London’s Past.</i></span></div>
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<br /></div>
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<a href="http://www.locatinglondon.org/" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEwcwxp1zrK8KosnTYjki7cKPwfIMUdITtWIEItEZzsrGu9v8y9FZRtcW4eHfYezd-MBMi8qTEHjbZV8Pf3M5s3Nnsc9N6e9JGQXXnWplyA-xlA7IJM-9TiswZXWnVSy8xBpdvUJRWDSJp/s320/Slide6.JPG" width="320" /></a></div>
<ul>
<li><span style="font-size: 14pt; line-height: 150%;"><span style="font-family: "times new roman";">Seventeen</span> datasets</span></li>
<li><span style="font-size: 14pt; line-height: 150%;">4.9 million geo-referenced place names</span></li>
<li><span style="font-family: "symbol"; font-size: 14pt; line-height: 150%;"><span style="font: 7pt "Times New Roman";"> </span></span><span style="font-size: 14pt; line-height: 150%;">29,000 individually defined polygons. </span></li>
</ul>
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</div>
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<span style="font-size: 14pt; line-height: 150%;">But
the main point is that it is a shot at creating the most intuitive front end
version we could imagine of the sort of ‘mash up’ that the API architecture
makes both possible, and effectively encourages.</span></div>
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<br /></div>
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<span style="font-size: 14pt; line-height: 150%;">In
other words, this was an attempt to take what a programmer might want to
achieve with an API, and put it directly into the hands of a wider
non-technical public. And we chose maps
and geography as the exemplar data, and GIS as the best methodology, simply
because, while every geographer will tell you maps are profound ideological
constructs embedding a complex discourse, they are understood by a wider public
in an intuitive and unproblematic way – allowing that public to make use of the
statistics derivable from ‘big data’ in a way that intellectually feels like a
classic ‘mash up’, but which requires little more expertise than navigating between
stations on the London underground.</span></div>
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<br /></div>
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<span style="font-size: 14pt; line-height: 150%;">So
arguably, <i style="mso-bidi-font-style: normal;">Locating London’s Past</i> is
in a direct line from the <i style="mso-bidi-font-style: normal;">Old Bailey</i>,
and <i style="mso-bidi-font-style: normal;">London Lives</i> – seeking to engage
and encourage the same basic audience to use the web to make their own history
– and to do so from below – to create a humane, individualistic, and empathetic
history that contributes to a simple politics of humanism.</span></div>
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<br /></div>
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<span style="font-size: 14pt; line-height: 150%;">But
it is not a complete answer, and the next project highlighted the problem even
more comprehensively. At the same time
as we were working on <i style="mso-bidi-font-style: normal;">Connected Histories</i>
<i style="mso-bidi-font-style: normal;">and Locating London’s Past</i>, by way of
engaging that history from below audience, making all this stuff safe for a
democratic and universal audience - we were also involved with the first round of
the Digging Into Data Programme, with a project called <i style="mso-bidi-font-style: normal;">Data Mining With Criminal Intent</i>.</span></div>
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<br /></div>
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<a href="http://criminalintent.org/" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSzwQI0_xmgLuBuKxGLT5Lu9K1COYjeHKIw9AuPINL_kOUCQJIwaIqJFrGiGdDGAwgVYgr-DUD5RsuGBHW80dnukApVVtEVBJrVHpkHDxOgEKkIRfvrWUGeNgiPCAIbwtQ66QBt2xjxnqP/s320/Slide7.JPG" width="320" /></a></div>
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<span style="color: black; font-size: 14pt; line-height: 150%;">The <i>Data Mining with Criminal Intent</i> project brought together
three teams of scholars including Dan Cohen and Fred Gibbs from CHNM, and Geoffrey Rockwell and Stefan Sinclair of Voyant Tools, along with Bill Turkel from the University of Western Ontario, and Jamie McLaughlin from the HRI in Sheffield. It was intened to achieve just a few things. First, to
build on that new distributed architecture to illustrate how tools and data in
the humanities might be shared across the net - to embed an API methodology
within a more complex network of distributed sites and tools; and second, to create
an environment in which some ‘big data’ might be made available for use with
the innovative tools created by linguists for textual analysis. And finally to begin to explore what kinds of
new questions, these new tools and architecture would allow us to ask and
answer. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeJ2wqf_ayGfwP-rSfSnQlZ7mOx1qf8kRO9GFEfRMCgB0wcI1L-OmVW7Cg1s22yqeWZWwhMfzP9igtm9xGF8Fg6UehKWTHyc-UNZ5JejhWCa3HtFqyUaEvQ6ZvFT_CbyKFtaannPBtfLFw/s1600/Slide8.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeJ2wqf_ayGfwP-rSfSnQlZ7mOx1qf8kRO9GFEfRMCgB0wcI1L-OmVW7Cg1s22yqeWZWwhMfzP9igtm9xGF8Fg6UehKWTHyc-UNZ5JejhWCa3HtFqyUaEvQ6ZvFT_CbyKFtaannPBtfLFw/s320/Slide8.JPG" width="320" /></a></div>
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<br /></div>
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<br /></div>
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<span style="color: black; font-size: 14pt; line-height: 150%;">To achieve these ends, we brought onto a single metaphorical page, the Old
Bailey material with the browser based citation management system, Zotero, and Voyant Tools – new tools for working with large numbers of
words. </span></div>
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<br /></div>
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<span style="font-size: 14pt; line-height: 150%;">Much
of this was a simple working out of the API architecture and the implications
inherent in separating data from analysis.
But, it also led me to work with Bill Turkel, using <i style="mso-bidi-font-style: normal;">Mathematica</i> to do some macro-analysis of the <i style="mso-bidi-font-style: normal;">Old Bailey Proceedings</i> themselves.</span></div>
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<br /></div>
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<span style="font-size: 14pt; line-height: 150%;">One
of the interesting things about this is that simply because we did it so long
ago, rekeying the text instead of using an OCR methodology, the <i style="mso-bidi-font-style: normal;">Proceedings</i> are now one of the few big
resources relating to the period before 1840 or so, that is actually much use for text mining. Try creating an RDF triple out of the Burney
Collection’s OCR and you get nothing that can be used as the basis for a
semantic analysis – there is just too much noise. The exact opposite is true of the <i style="mso-bidi-font-style: normal;">Proceedings</i> because of their semi-structured
character, highly tagged content, and precise transcription. And at 127 million words, they are just about
big enough to do something sensible. And where Bill and I ended up was with a
basic analysis of trial length and verdict over 240 years, that allowed us to
critique and revise the history of the evolution of the criminal justice
system, and the rise of plea bargaining.
And we came to this conclusion through a methodology that I can only
describe as ‘staring at data’ – looking open-eyed at endless iterations of the
material, cut and sliced in different ways.
It is a methodology that is central to much scientific analysis, and it
is fun.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZdqWJ6QcooclG2icTxR179PUoAK2U0EkByXQEJ0Jn5PjFlII86bU0o84sazANaGu-dctBd7Kg4rilAKdlQTpvuAL3Iv0lAPgFYbu8gS_dbZdfmWlYjMXnXck8WdyTC1J-r6W21Zt8aKWo/s1600/Slide9.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZdqWJ6QcooclG2icTxR179PUoAK2U0EkByXQEJ0Jn5PjFlII86bU0o84sazANaGu-dctBd7Kg4rilAKdlQTpvuAL3Iv0lAPgFYbu8gS_dbZdfmWlYjMXnXck8WdyTC1J-r6W21Zt8aKWo/s320/Slide9.JPG" width="320" /></a></div>
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<br /></div>
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<br /></div>
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<span style="font-size: 14pt; line-height: 150%;">But
it is also where my conundrum comes in. However
compelling the process is, it does not normally result in the kind of history I
do. It is not ‘history from below’, it
is not humanistic, nor is it very humane.
It can only rarely be done by someone working part time out of interest,
and it does not feed in to ‘public history’ or memory in any obvious
way. The result is powerful, and intellectually
engaging – it is the tools of the digital humanities wielded to create a
compelling story that changes how we understand the past (which is fun); but it
is a contribution to a kind of legal and academic history I do not normally
write.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: 14pt; line-height: 150%;">And
the point is, that the kind of history created in this instance, is precisely
the natural upshot of ‘big data’ analysis.
In other words, what has become self-evident to me, is that ‘big data’,
and even ‘pretty big data’ inevitably creates a different and generically
distinct form of historical analysis, and fundamentally changes the character
of the historical agenda that is otherwise in place. This may seem obvious – but it needs to be stated
explicitly.</span></div>
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<br /></div>
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<span style="font-size: 14pt; line-height: 150%;">To
illustrate this in a slightly different way, we need look no further than the
doyens of ‘big data’; the creators of the Googe Ngram viewer.</span></div>
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<br /></div>
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<a href="http://books.google.com/ngrams" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpVhzKZ8Hr0mRcSE72jUhi_W0Y2_BQUS_FUQSMud-Dmbj4LhLYrRdOdaH5k3EXtpVNRbJPHMIWBj8Z4Ufd1Q3BOiBHTl4BbdykgbQVBQOmWgsvoBW_L8FqYsBf6hFs3OyC8z64x2Y8qxUP/s320/Slide10.JPG" width="320" /></a></div>
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<span style="font-size: 14pt; line-height: 150%;">I
love the </span><span style="font-size: 14pt; line-height: 150%;">Google ngram
viewer, and it clearly points the way forward in lots of ways. But if you look at what Erez Lieberman Aiden and Jean-Baptiste Michel
do with it, its impact on the form of historical scholarship begins to look
problematic. Rather like what Bill Turkel
and I did with the Old Bailey material, Lieberman Aiden and Michel appear to
claim to be able to read history from the patterns the ngram viewer exposes -
to decipher significant changes from the data itself. Their usual
examples include the analysis of the decline of irregular verbs to a precise mathematical equation, and the rise of
'celebrity' as measured by the number of times an individual is mentioned in
print. </span></div>
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<br /></div>
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<span style="font-size: 14pt; line-height: 150%;">These
imply that all historical development can, like irregular verbs, be described
in mathematical terms, and that 'human nature', like the desire for fame, can
be used as a constant to measure the changing technologies of culture.
And that like the Old Bailey – we can discover change and effect through
exploring the raw data. And that once we
do this, it will become newly available, in the words of Lieberman Aiden and
Michel, for '</span><a href="http://www.culturomics.org/Resources/A-users-guide-to-culturomics"><span style="font-size: 14pt; line-height: 150%;">scientific
purposes</span></a><span style="font-size: 14pt; line-height: 150%;">'.</span></div>
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<br /></div>
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<span style="font-size: 14pt; line-height: 150%;">In
other words, there is a kind of scientific positivism that is actively
encouraged by the model of ‘big data’ analysis.
All the ambiguities of theory and structuralism, thick description and
post modernism are simply irrelevant.</span></div>
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<br /></div>
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<span style="font-size: 14pt; line-height: 150%;">In
some respects, I have no problem with this whatsoever. I have never been a fully paid up
post-modernist, and put most simply, unlike a thorough-going post-modernist, I
think we can know stuff about the past.</span></div>
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<br /></div>
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<span style="font-size: 14pt; line-height: 150%;">I
do, however, have two particular issues. First, if I work towards a more big
data-like approach, I am forced to rework and rethink my own ‘public history’
stance. I am no longer simply making material and empathetic engagement
available to a wider audience; and therefore, the purpose of my labours is left
open to doubt (by myself at the very least).
But second, I am being drawn into a kind of positivism that
assumes what will come out of the equations (the code breaking to use the
dominate metaphor of the last 60 years) is socially usefully or morally
valuable.</span></div>
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<br /></div>
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<span style="font-size: 14pt; line-height: 150%;">In
a sense, what ‘big data’ encourages is a morality-free engagement with a
positivist understanding of human history. In contrast, the core of the historical
tradition has been focused on the dialogue between the present and the past,
and the usefulness of history in creating a working civil society. The lessons we take from the past are those
which we need, rather than those which are most self-evident. If the project of history I bought in to was
politically and morally framed (and it was), the advent of big data challenges
the very root of that project.</span></div>
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<br /></div>
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<span style="font-size: 14pt; line-height: 150%;">Of
course, this should not really be a problem, if only because history has always
been a dialogue between irrefutable evidence, and discursive construction
(between what you find in the archive and what you write in a book). And science and its positivist pretentions
have always been framed within a recognised sociology of knowledge and
constructed hermeneutic.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: 14pt; line-height: 150%;">But,
for me, I remain with a conundrum – how to turn big data in to good
history? How do we preserve the
democratic and accessible character of the web, while using the tools of a
technocratic science model in which popular engagement is generally an
afterthought rather than the point.</span></div>
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<br /></div>
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<span style="font-size: 14pt; line-height: 150%;">I
really just want to conclude about there – with the conundrum. For me, and for most of the digital
humanities in the UK, the journey of the last fifteen years or so has been
about access and audience – issues that are fundamentally un-problematic –
which can be politically engaging and beautiful; and for this, one needs look no
further than Tim Sherratt’s <i style="mso-bidi-font-style: normal;">Invisible
Australian’s</i> project.</span></div>
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<a href="http://invisibleaustralians.org/faces/" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ5McocFrenfRB2PuVmS5FSFy0JHHWRtezkeLghE3CzXyTDNeVSEyNzjDWzjnBO2pO4sXWNxDgCwhfJMAn4IZTrbxd3lIVOZvoUJcQuMDnolZGYa1rz0jypBYmbNhNE3t8Vl7BHkcJM0ed/s320/Slide11.JPG" width="320" /></a></div>
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<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: 14pt; line-height: 150%;">Even
if you prefer your history in a more elite vein than me, more people being able
to read more sources is an unproblematic good thing, a simple moral good. And arguably, having the opportunity to stare
hard at data, and look for anomalies, and weirdness, is also an unproblematic
good. </span></div>
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<span style="font-size: 14pt; line-height: 150%;">But,
if we are now being led by the technology itself to write different kinds of history
– the tools are shaping the product. If
we end up losing the humane and the individual, because the data doesn’t quite
work so easily that way, we are in danger of giving up the power of historical
narrative (the ability to conjure up a person and emotions with words), without
thinking through the nature of what will be gained in exchange. I am tempted to go back to my structuralist /
Marxist roots and start ensuring my questions are sound before the data is
assayed, but this seems to deny the joys of an open-eyed search for the
weird. I am caught between audience and
public engagement, on the one hand, and the positivist implications of big data,
on the other.</span></div>
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<span style="font-size: 14pt; line-height: 150%;">And
I am left in a conundrum. In the
synopses I wrote back in October or so, I thought I would be arguing: “</span><span style="font-size: 14pt; line-height: 150%;">that the analysis and exploration
of 'big data' provides an opportunity to re-incorporate historical
understandings in to a positivist analysis, while challenging historians to
engage directly and critically with the tools of computational linguistics.”</span></div>
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<div class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-size: 14pt; line-height: 150%;">The
challenge is certainly there, but I am less clear that the re-integration of
history and positivism can be pursued without losing history’s fundamental and
humanist purpose. For me, there remain
big issues with big data; and a challenge to historians to figure out how to
turn big data, to real historical account.</span></div>
Tim Hitchcockhttp://www.blogger.com/profile/17851547190864328027noreply@blogger.com634tag:blogger.com,1999:blog-2723306728611607327.post-55570091374326032962011-12-13T01:45:00.000-08:002017-01-20T04:07:15.736-08:00Playing around with colour on Locating London's Past<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWHuWqvPAim7PNqVnoR3CjMHUc7XfBdRYEul2rrZT6qS8ynIbly617wvQwANCf_jiFVblRUHf0ntET-I3JCb8gF_CtzTgoqoalpWKMrErKr7eAfSrWuP0iYClr_eZ0ctQR3CpThVe92Cga/s1600/Black.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4q1w9f3jpcCyPnmGceVfVdFotpemsTZQgukbhm0204vK4SoMtEQx2LrUOyjYDUfN7xqL229-O2h82H1BnM_duAJBdOYPAqqMMU4Wzmzj1Q0nKdFMeW69ncicAzRHy61pOg5a-Y7Amsi1U/s1600/White.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
Just in a spirit of playing around, and exploring large data sets without any preconceived questions or assumptions, I thought I would throw a few words at <a href="http://www.locatinglondon.org/">Locating London's Past</a> and the <a href="http://www.oldbaileyonline.org/">Old Bailey</a> dataset, and see if any patterns emerged. And it occurred to me that words for colour, when mapped on to eighteenth-century London, might come up more frequently in some parts of town over others - perhaps 'white' in neo-classical areas, and 'brown' or 'green' at the more rural boundaries.
I am not sure that anything actually emerged, but it was fun to think about.
The base measure against which you would want to compare these colour distributions would be all crime locations (34,000 or so) mapped by street.
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPcVnTt_lqLOZ9Oce1kyjQT57TUSErL04LONL5q6lG56kVO4N98IE2kdDFVqluvAjwGkApnTfNrz0ZwmDKdmoD-LePqiSGQuFGLsNxRdKueo3rRO4mOBBjcfrm32xDYtedP7Qum8UL0J2l/s1600/All+Crime+Locations.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPcVnTt_lqLOZ9Oce1kyjQT57TUSErL04LONL5q6lG56kVO4N98IE2kdDFVqluvAjwGkApnTfNrz0ZwmDKdmoD-LePqiSGQuFGLsNxRdKueo3rRO4mOBBjcfrm32xDYtedP7Qum8UL0J2l/s400/All+Crime+Locations.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">ALL CRIME LOCATIONS, BY STREET</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIsvTr59ZG6yMe4wHhMLEX_GTGaECSSlnpzJCo3vAg2SE6EC3W0qjiAUwRjfNqJ7Mw9ALYbPNeuS_nAYZXPfD19ILNahZimL5WmiDgdLUVY7YSQ9-HsrvFEMbo2muDaV2HxIQdDdb8RlmD/s1600/red.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIsvTr59ZG6yMe4wHhMLEX_GTGaECSSlnpzJCo3vAg2SE6EC3W0qjiAUwRjfNqJ7Mw9ALYbPNeuS_nAYZXPfD19ILNahZimL5WmiDgdLUVY7YSQ9-HsrvFEMbo2muDaV2HxIQdDdb8RlmD/s400/red.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">RED</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0nXg7xuzZagl3uRizRqTVghUB-G_enah_FEAwKpWLD24FKJc2EhWsxj1L-JxYnMx0Ioj639swubKfB6XtZWw-Wp_jt4FyFDle5SnJVo4OyNQ7Q8T8PD1E1AhXfOxhzHkHON0-NNRZ2Sr1/s1600/Blue.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0nXg7xuzZagl3uRizRqTVghUB-G_enah_FEAwKpWLD24FKJc2EhWsxj1L-JxYnMx0Ioj639swubKfB6XtZWw-Wp_jt4FyFDle5SnJVo4OyNQ7Q8T8PD1E1AhXfOxhzHkHON0-NNRZ2Sr1/s400/Blue.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">BLUE</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmbKP5fYEn53lYnnb49KnDG0WGoSccDYCjtxCVTLt_MbsOKk38_OgZUHPBkBYTZsU2x6J3CUL99XI4N_f3F5VgAnKKZ09MYNt6FdNV4YxiDUVKedM9ZSZ2ZNHuj9JbDHFk2j76plrB0j8_/s1600/Green.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmbKP5fYEn53lYnnb49KnDG0WGoSccDYCjtxCVTLt_MbsOKk38_OgZUHPBkBYTZsU2x6J3CUL99XI4N_f3F5VgAnKKZ09MYNt6FdNV4YxiDUVKedM9ZSZ2ZNHuj9JbDHFk2j76plrB0j8_/s400/Green.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">GREEN</td></tr>
</tbody></table>
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi90jE3R_fpC4MAPaufDREbIqgV1b8-77Uuytq9dA2wGOtsJf_E4G8pQ-ALGmOHRYd7ZtRkrHJEQBw-Gmm7x4AD-FTsCDWil0IUAsGaUzbvsqCTaxqxNSxv3BV0VWAwNXnR-eEreAVS4LRF/s1600/Brown.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi90jE3R_fpC4MAPaufDREbIqgV1b8-77Uuytq9dA2wGOtsJf_E4G8pQ-ALGmOHRYd7ZtRkrHJEQBw-Gmm7x4AD-FTsCDWil0IUAsGaUzbvsqCTaxqxNSxv3BV0VWAwNXnR-eEreAVS4LRF/s400/Brown.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">BROWN</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhElrBbz5U_YOcQuw0FeX7Nv2SULJD9wqsu3o5qc-qwq2P27CRjaN240gJ37_jswCPQ6jLk2lxwG1zyMFlzFVqGhNN6GIWUsNFTSIpz-H7ChXPz6wjEt1Xgy7wZDAbeO_R6L69cWOW3xOUX/s1600/Yellow.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhElrBbz5U_YOcQuw0FeX7Nv2SULJD9wqsu3o5qc-qwq2P27CRjaN240gJ37_jswCPQ6jLk2lxwG1zyMFlzFVqGhNN6GIWUsNFTSIpz-H7ChXPz6wjEt1Xgy7wZDAbeO_R6L69cWOW3xOUX/s400/Yellow.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">YELLOW</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4q1w9f3jpcCyPnmGceVfVdFotpemsTZQgukbhm0204vK4SoMtEQx2LrUOyjYDUfN7xqL229-O2h82H1BnM_duAJBdOYPAqqMMU4Wzmzj1Q0nKdFMeW69ncicAzRHy61pOg5a-Y7Amsi1U/s1600/White.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4q1w9f3jpcCyPnmGceVfVdFotpemsTZQgukbhm0204vK4SoMtEQx2LrUOyjYDUfN7xqL229-O2h82H1BnM_duAJBdOYPAqqMMU4Wzmzj1Q0nKdFMeW69ncicAzRHy61pOg5a-Y7Amsi1U/s400/White.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">WHITE</td><td class="tr-caption" style="text-align: center;"></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWHuWqvPAim7PNqVnoR3CjMHUc7XfBdRYEul2rrZT6qS8ynIbly617wvQwANCf_jiFVblRUHf0ntET-I3JCb8gF_CtzTgoqoalpWKMrErKr7eAfSrWuP0iYClr_eZ0ctQR3CpThVe92Cga/s1600/Black.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWHuWqvPAim7PNqVnoR3CjMHUc7XfBdRYEul2rrZT6qS8ynIbly617wvQwANCf_jiFVblRUHf0ntET-I3JCb8gF_CtzTgoqoalpWKMrErKr7eAfSrWuP0iYClr_eZ0ctQR3CpThVe92Cga/s400/Black.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">BLACK</td></tr>
</tbody></table>
<br />
Is there a pattern there? I have not really got a clue, so I thought I would put together some combinations, just on the off chance, and following a naive assumption about how colour might work in an eighteenth-century urban context (where bright colours were expensive).<br />
<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIfHX7QnLcHjN0682LS_OG-mq1o8Hqf78Teyh3qiKy7cDeTxfGqk6s52UsgpLrXU-oVnIbmCbHlTGfEJ83uOSY9B9S3RN0W8koYtrpMNqHL1E1dLESYKVIdTzRkvguCQbbuIK3rotWiNKq/s1600/Red%252C+Blue%252C+Yellow+combined.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIfHX7QnLcHjN0682LS_OG-mq1o8Hqf78Teyh3qiKy7cDeTxfGqk6s52UsgpLrXU-oVnIbmCbHlTGfEJ83uOSY9B9S3RN0W8koYtrpMNqHL1E1dLESYKVIdTzRkvguCQbbuIK3rotWiNKq/s400/Red%252C+Blue%252C+Yellow+combined.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">RED, BLUE, YELLOW</td></tr>
</tbody></table>
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVcH5Fw6bwQnliZ_TTeWPC8NO7dLnxkZcFUod_9zcY1Hcy00mpPLqiDZ6GZG7IkuWg9Jldd_RjcAhN6qE4o71shIr3b8s5jGcX6X4YPjjs44l5c51mJqAqw4iVZTFlNTGRtCza1hNMIHiv/s1600/Black%252C+White+combined.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVcH5Fw6bwQnliZ_TTeWPC8NO7dLnxkZcFUod_9zcY1Hcy00mpPLqiDZ6GZG7IkuWg9Jldd_RjcAhN6qE4o71shIr3b8s5jGcX6X4YPjjs44l5c51mJqAqw4iVZTFlNTGRtCza1hNMIHiv/s400/Black%252C+White+combined.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">BLACK, WHITE</td></tr>
</tbody></table>
<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbf3aa8zav_blf3BJF-by8JFbSOuM-FSbGUxhHZ8R0bk8j7rP7UCBX5MaNtr5RKvabaEWUMDWQVo7rv49SRaikwPECcnZ3FMRm94mT-yOB19iEXbKthrCZAa1vlyj_8wnHtI_VU0SZhbXs/s1600/Green%252C+Brown+combined.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbf3aa8zav_blf3BJF-by8JFbSOuM-FSbGUxhHZ8R0bk8j7rP7UCBX5MaNtr5RKvabaEWUMDWQVo7rv49SRaikwPECcnZ3FMRm94mT-yOB19iEXbKthrCZAa1vlyj_8wnHtI_VU0SZhbXs/s400/Green%252C+Brown+combined.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">GREEN, BROWN</td></tr>
</tbody></table>
<br />
<br />
I was still not quite convinced, but thought I should have one last go with the data displayed as 'Large Blocks', and by further combining 'manufactured colours' and 'natural' ones. <br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4rnzK9scCSW2j_xgRRzbO1utbjgP1phCpgsGvo3jeMHS278fzT9T_H1I0dFoHWRHFyfxhV5BreK6LWRRUbtWjwwIxwvRpORl7pyLFpC-O8NTELv2vReKCuGYHLX3qvnFiz3OY_GlqNNKX/s1600/Red%252C+Blue%252C+Yellow%252C+Black%252C+White+combined+Large+Blocks.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4rnzK9scCSW2j_xgRRzbO1utbjgP1phCpgsGvo3jeMHS278fzT9T_H1I0dFoHWRHFyfxhV5BreK6LWRRUbtWjwwIxwvRpORl7pyLFpC-O8NTELv2vReKCuGYHLX3qvnFiz3OY_GlqNNKX/s400/Red%252C+Blue%252C+Yellow%252C+Black%252C+White+combined+Large+Blocks.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">RED, BLUE, YELLOW, BLACK, WHITE - LARGE BLOCKS</td></tr>
</tbody></table>
<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqsItY1Y145vi9EPanksYuyUJ6n15EQPqdHwm14NN8srzQWlTvF97pisY0SN1R41woGiX87NKp_8bte70dl3yMDzB2x_ToGiCcQaIQm4pA_YFiJQPjcKO6I6GqzvPZH0nK44EOqg8hsAxp/s1600/Green+Brown+combined+Large+Blocks.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqsItY1Y145vi9EPanksYuyUJ6n15EQPqdHwm14NN8srzQWlTvF97pisY0SN1R41woGiX87NKp_8bte70dl3yMDzB2x_ToGiCcQaIQm4pA_YFiJQPjcKO6I6GqzvPZH0nK44EOqg8hsAxp/s400/Green+Brown+combined+Large+Blocks.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">GREEN, BROWN - LARGE BLOCKS</td></tr>
</tbody></table>
<br />
<br />
<br />
Or finally, the same sets of results with the sets of colours subtracted from one an another.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcA9ag8t8dLmbXO4pFQ4abA-KGOBoewA-U1GeBejgqaQeQQVn0pfuGAhzwX0MhU9mDMypHnLEYu8zQe4C5ZG_caOBu4FBqNjOn9qFf_sLWXffbmjN-zD6Occ2CTRXYPKWjgQakTBpvvu7J/s1600/Red%252C+Blue%252C+Yellow%252C+White%252C+Black+minues+Brown%252C+Green+Large+Blocks.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcA9ag8t8dLmbXO4pFQ4abA-KGOBoewA-U1GeBejgqaQeQQVn0pfuGAhzwX0MhU9mDMypHnLEYu8zQe4C5ZG_caOBu4FBqNjOn9qFf_sLWXffbmjN-zD6Occ2CTRXYPKWjgQakTBpvvu7J/s400/Red%252C+Blue%252C+Yellow%252C+White%252C+Black+minues+Brown%252C+Green+Large+Blocks.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">RED, BLUE, YELLOW, BLACK, WHITE, MINUS GREEN AND BROWN- LARGE BLOCKS</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi00jMGp0mOigSnSzJqZMy_dpjcIRbDQGXjt8muFo7GF3iDbUYuVsQArBm_zewpaXceI6-LqPFchCBbF1LoSMwYFz9si09OcfcVhkivJhZW5SxUEKFd3pJMTldG7-aAtsQeHEJ8tHP0BvUN/s1600/Green+Brown+minus+other+colours+Large+Blocks.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi00jMGp0mOigSnSzJqZMy_dpjcIRbDQGXjt8muFo7GF3iDbUYuVsQArBm_zewpaXceI6-LqPFchCBbF1LoSMwYFz9si09OcfcVhkivJhZW5SxUEKFd3pJMTldG7-aAtsQeHEJ8tHP0BvUN/s400/Green+Brown+minus+other+colours+Large+Blocks.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">GREEN AND BROWN, MINUS RED, BLUE ETC - LARGE BLOCKS</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh30yGB7Wxf9hBEFGBKAK4eJ19Qdcgv2VZNg-skm4eaF6S0em_oixyL4xmXTxh8t13lbFhVprUb0-DpnSXILtYlP7hdC50eICjMbsRX5wXXxMPv83qZzrm-39rPZ7_7cI1r5PztmBKQk1Bs/s1600/Colour+Sets%252C+minus+other+Large+Blocks.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh30yGB7Wxf9hBEFGBKAK4eJ19Qdcgv2VZNg-skm4eaF6S0em_oixyL4xmXTxh8t13lbFhVprUb0-DpnSXILtYlP7hdC50eICjMbsRX5wXXxMPv83qZzrm-39rPZ7_7cI1r5PztmBKQk1Bs/s400/Colour+Sets%252C+minus+other+Large+Blocks.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">THE TWO COLOUR SETS MINUS THEIR OPPOSITE OVERLAID ('MANUFACTURED' VS 'NATURAL) </td></tr>
</tbody></table>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi00jMGp0mOigSnSzJqZMy_dpjcIRbDQGXjt8muFo7GF3iDbUYuVsQArBm_zewpaXceI6-LqPFchCBbF1LoSMwYFz9si09OcfcVhkivJhZW5SxUEKFd3pJMTldG7-aAtsQeHEJ8tHP0BvUN/s1600/Green+Brown+minus+other+colours+Large+Blocks.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
Does this prove that 'manufactured' colours were more common in the West and East End, while 'natural' colours dominated in the northern and north-western suburbs. No, it does not. But it made me wonder.<br />
<br />Tim Hitchcockhttp://www.blogger.com/profile/17851547190864328027noreply@blogger.com17tag:blogger.com,1999:blog-2723306728611607327.post-58104256349662834732011-12-12T04:30:00.000-08:002017-01-20T04:06:07.536-08:00Playing with Locating London's Past<div class="separator" style="clear: both; text-align: left;">
<b>With colleagues at the Universities of Sheffield and the IHR, we launched a new web resource this morning that allows you to map some
seventeen different large scale datasets related to 18th century London
on to a GIS compliant version of John Rocque's 1746 map of the capital - all in a
Google Maps environment. See www.locatinglondon.org I think it is very pretty and intuitive, but what I find most
interesting about the site is that it allows you to explore a component
of these datasets that we have hitherto done very little with - the
spatial. I don't know what is there yet, but I suspect I will have a
good time finding out. </b></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: left;">
<b>My first thought was to play with a nice dichotomy in the data for the <i>Old Bailey Proceedings</i> - the published trial accounts for London, 1674-1819 (they continue to be printed up till 1913 but only the 18th century elements are currently available for mapping). </b></div>
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<br /></div>
<b>One aspect of the tagging we imposed on the <i>Proceedings</i> was a distinction between 'Crime Location' and 'Defendants' Home'. This information is pretty consistently given in the text and tagged in the XML, and the 18th century trials include around 34,000 crime locations, and around 12,000 defendants' homes. </b><br />
<b> </b>
<br />
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</div>
<div class="separator" style="clear: both; text-align: left;">
<b>A quick search for all 'Crime Locations' (34,427), when mapped on to 'Street' and displayed on to a blank screen, looks like this:</b></div>
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<br /></div>
<img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbzAzYyQYtV8zJxliEi2dGordYSBm_sWmZcqCyZJwTue3Xe6iuUFXj3l3Bj8S-P_-Z2h3HEDE-rzHJ1lw_eSw2_x_0p9kuag8YUGXoI5EjX0cSGkTNpjEDSbTePMVQxmyTak0TJTMhMIHQ/s400/Crime+Locations.JPG" width="400" />
<br />
<b>And an equally quick mapping of 12,031 Defendant's Homes looks like: </b><br />
<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN2KjQ2TKw1-nEx6F-gBL8Y9TlzbQ_p459oRL3e9jAcA8FBvIS3z2kM8rqUEdWBYBajyPv_Z3Cvc4MOOrwKhjQ3TNMSn7ki3hy5k6VNlsnYm5Zh57OtvDGXYBhaVFaOZfgY8VEuhdZiqNk/s1600/Defendant+Homes.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN2KjQ2TKw1-nEx6F-gBL8Y9TlzbQ_p459oRL3e9jAcA8FBvIS3z2kM8rqUEdWBYBajyPv_Z3Cvc4MOOrwKhjQ3TNMSn7ki3hy5k6VNlsnYm5Zh57OtvDGXYBhaVFaOZfgY8VEuhdZiqNk/s400/Defendant+Homes.JPG" width="400" /></a>
<b> </b><br />
<b>When placed over the warped version of John Rocque's 1746 map of London, the result is:</b><br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiusCcGPUE1jYLbqK0iwI2WG2Je0I4kN1Tj-IFg-cyVuHTE3CIzudau4j05bacZEs6xiQWGe-C3mi_tHAhm1XajZpHLgBMnw9_tdtxfPvBF-g4OqOTeFIDXyjMFkqFznDV9aL1k43mDaznq/s1600/Rocque+with+Crime+Locations+%2526+defendant+homes.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiusCcGPUE1jYLbqK0iwI2WG2Je0I4kN1Tj-IFg-cyVuHTE3CIzudau4j05bacZEs6xiQWGe-C3mi_tHAhm1XajZpHLgBMnw9_tdtxfPvBF-g4OqOTeFIDXyjMFkqFznDV9aL1k43mDaznq/s400/Rocque+with+Crime+Locations+%2526+defendant+homes.JPG" width="400" /></a>
<br />
<b> I don't have an argument about this data, or even much of an observation. The predominance of 'Defendants' Home' in the eastern part of the city, seems pretty compelling, and could form the basis for an analysis of the relative access to justice in eighteenth-century London, or when mapped against wealth, part of an argument about the nature of crime, and its motivation. But more importantly, the process of 'playing' with this data strikes me as central to a very different kind of research narrative than I am used to. I am not formulating questions, and then using the data to answer them - I am throwing together visualisations in search of contrasts that stand out, and look weird.</b><br />
<br />
<b>I am very much looking forward using the interactive elements of the Locating London's Past site to find anomalies and confusions that allow me to reformulate the questions I am asking.</b><br />
<br />
<br />
<br />
<br />
<br />Tim Hitchcockhttp://www.blogger.com/profile/17851547190864328027noreply@blogger.com17tag:blogger.com,1999:blog-2723306728611607327.post-82723551637776962002011-10-23T08:05:00.000-07:002017-01-20T04:04:45.972-08:00Academic History Writing and its Disconnects<br />
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<span style="font-size: large;"><b><i>This is the rough text of a short talk I am scheduled to deliver at a symposium on 'Future Directions in Book History' at Cambrdige on the 24th of November 2011.</i></b></span></div>
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<span style="font-size: large;"><b>I am on the programme as talking briefly about the ‘<a href="http://www.oldbaileyonline.org/">OldBailey Online</a> and other resources’ (by which I assume is meant <a href="http://www.londonlives.org/">London Lives</a>,
<a href="http://www.connectedhistories.org/">Connected Histories</a>, and Locating London’s Past, and the other websites I have
helped to create over the last ten or twelve years). But I am afraid I
have no interest whatsoever in discussing the Old Bailey or the other
websites. The hard intellectual work
that went in to their creation was done between 1999 and 2010, and for the most
part they have found an audience and a user base and will have their own
impact, without me having to discuss them any further. We know how to do this stuff, and anyone can
read the technical literature, and I very much encourage you to do so.</b></span></div>
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</b></span><br />
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<span style="font-size: large;"><b>Instead, I want to talk about how the evolution of the forms
of delivery and analysis of text inherent in the creation of the online,
problematizes and historicises the notion of the book as an object, and as a
technology; and in the process problematizes the discipline of history itself as we practise it in the digital present. </b></span></div>
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</b></span><br />
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<span style="font-size: large;"><b>The project of putting billions of words of keyword
searchable stuff out there is now nearing completion. We are within sight
of that moment when all printed text produced between 1455 and 1923 (when the Disney Corporation has determined that the needs of modern corporate capitalism trumped the Enlightenment ideal), will be available
online for you to search and read. The
vast majority of that text is currently configured to pretend to be made up of
‘books’ and other print artefacts, But,
of course, it is not. At some level it
is just text – the difference between one book and the next a single line of
metadata. The hard leather covers that
used to divide one group of words from another are gone; and every time you
choose to sit comfortably in your office reading a screen, instead of going to
a library or an archive, while kidding yourself that you are still reading a ‘book’,
you are in fact participating in a charade.
We are swimming in deracinated, Google-ised, Wikipedia-ised text.</b></span></div>
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</b></span><br />
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<span style="font-size: large;"><b>In other words, and let’s face it: the book as a technology
for packaging and delivery, storing and finding text is now redundant. The underpinning mechanics that determined
its shape and form are as antiquated as moveable type. And in the process of moving beyond the book,
we have also abandoned the whole post-enlightenment infrastructure of libraries
and card catalogues (or even OPACS), of concordances, and indexes and tables of
contents. They are all built around the
book, and the book is dead. </b></span></div>
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<span style="font-size: large;"><b> </b></span></div>
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</b></span><br />
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<span style="font-size: large;"><b>If this all sounds rather doom laden and apocalyptic – and
no doubt we could argue about the rosy future and romantic appeal of the hard
copy book – it shouldn’t. At least as
far as the ‘history of the book’ is concerned these developments have been
entirely positive</b></span></div>
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<span style="font-size: large;"><b>First, it has allowed us to begin to escape the intellectual
shackles that the book as a form of delivery, imposed upon us. If we can escape the self-delusion that we
are reading ‘books’, the development of the infinite archive, and the creation
of a new technology of distribution, actually allows us to move beyond the linear
and episodic structures the book demands, to something different and more
complex. It also allows us to more
effectively view the book as an historical artefact and now redundant form of
controlling technology. The 'book' is newly
available for analysis.</b></span></div>
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</b></span><br />
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<span style="font-size: large;"><b>The absence of books makes their study more important, more
innovative, and more interesting. It
also makes their study much more relevant to the present – a present in which
we are confronted by a new, but equally controlling and limiting technology for
transmitting ideas. By mentally escaping
the ‘book’ as a normal form and format, we can see it more clearly for what it
was. And to this extent, the death of
the book is a fantastic and liberating thing – the fascism of the format is beaten.</b></span></div>
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<span style="font-size: large;"><b>At the same time, I think we are confronted by a profound
intellectual challenge that addresses the very nature of the historical
discipline. This transition from the
‘book’, to something new, fundamentally undercuts what we do more generally as
‘historians’. When you start to unpick the nature of the historical
discipline, it is tied up with the technologies of the printed page and the
book in ways that are powerful and determining.
Our footnotes, our post-Rankean cross referencing and practises of
textual analysis are embedded within the technology of the book, and its
library.</b></span></div>
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</b></span><br />
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<span style="font-size: large;"><b>Equally, our technology of authority – all the visual and
textual clues that separate a CUP monograph from the irresponsible musings of a
know-nothing prose merchant – are slipping away.
While our professional identity – the titles, positions and honorifics – built
again on the supposedly secure foundations of book publishing – is ever less compelling. So the question then becomes, is history – particularly in
its post-Rankean, professional and academic form - dead? Are we losing that beautiful disciplinary
character that allows us to think beyond the surface, and makes possible complex analyses that transcend mere cleverness?</b></span></div>
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<span style="font-size: large;"><b> </b></span></div>
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</b></span><br />
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<span style="font-size: large;"><b>And on the face of it, the answer is yes – the renewed role
of the popular block buster, and an every growing and insecure emphasis on
readership over scholarship, would suggest that it is. In Britain we shy away from the
metrics that would demonstrate ‘impact’ primarily because we fear that we may not have any.</b></span></div>
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</b></span><br />
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<span style="font-size: large;"><b>Collectively we have put our heads in the sands, and our
arses in the air, and seemingly invited the world to take a shot. A single and self-evident instance that
evidences a deeper malaise is our current failure to bother citing
what we read. We read
online journal articles, but cite the hard copy edition; we do keywords
searches, while pretending to undertake immersive reading. We search 'Google Books', and pretend we are not.</b></span></div>
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<span style="font-size: large;"><b>
</b></span><br />
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<span style="font-size: large;"><b>But even more importantly, we ignore the critical impact of
digitisation on our intellectual praxis.
<a href="http://www.dlib.org/dlib/july09/munoz/07munoz.html">Only 48% of the significant words in the Burney collection ofeighteenth-century newspapers are correctly transcribed as a result of poor OCR</a>. This makes the other 52% completely
un-findable. And of course, from the
perspective of the relationship between scholarship and sources, it is always
the same 52%. My colleague <a href="http://history.uwo.ca/faculty/turkel/">Bill Turkel</a>,
describes this as the Las Vegas effect – all bright lights, and an invitation
to instant scholarly riches, but with no indication of the odds, and no exit
signs. We use the Burney collection
regardless – not even bothering to apply the kind of critical approach that
historians have built their professional authority upon. This is roulette dressed up as scholarship.</b></span></div>
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<span style="font-size: large;"><b>In other words, we have abandoned the rigour of traditional
scholarship. Provenance, edition,
transcription, editorial practise, readership, authorship, reception – the things we query issues in relation to books, are left unexplored in relation to the online text we actually read.</b></span></div>
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<span style="font-size: large;"><b>And as importantly, the way we promulgate our ‘history’ has
not kept up either. I want television
programmes with footnotes, and graphs with underlying spreadsheets and
sliders. Yes, I want narrative and
analysis, structure, point and purpose.
I want to continue to be able to engage in the grand conversation that
is history; but it cannot continue to be produced as a ragged and impotent ghost
of a fifteenth century technology; and if we don’t do something about it, we
might as well all go off and figure out how to write titillating tales of
eighteenth-century sex scandals, because at least they sell.</b></span></div>
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<span style="font-size: large;"><b>The book had a wonderful 1200 odd year history, which is
certainly worth exploring. Its form self-evidently controlled and informed significant aspects of
cultural and intellectual change in the West (and through the impositions of
Empire, the rest of the world as well); but if, as historians, we are to avoid
going the way of the book, we need to separate out what we think history is
designed to achieve, and to create a scholarly technology that delivers it.</b></span></div>
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<span style="font-size: large;"><b>
</b></span><br />
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<span style="font-size: large;"><b>In a rather intemperate attack on the work of Jane Jacobs,
published in 1962, Louis Mumford observed that:</b></span></div>
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</b></span><br />
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<span style="font-size: large;"><b>‘… minds unduly fascinated by
computers carefully confine themselves to asking only the kind of question that
computers can answer and are completely negligent of the human contents or the human results.’ </b></span></div>
<div class="MsoNormal" style="margin-left: 180pt;">
<span style="font-size: large;"><b> <a href="http://www.travel-studies.com/sites/default/files/Mumford%20Mother%20Jacobs%20Home%20Remedies%20part%20one_1.pdf" target="_blank"><span style="color: blue; font-family: "times new roman" , "serif"; line-height: 115%;">LewisMumford, “The Sky Line "Mother Jacobs Home Remedies",” The New Yorker, December 1, 1962, p. 148</span></a><span style="font-family: "times new roman" , "serif"; line-height: 115%;"></span></b></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt;">
<span style="font-size: large;"><b><span style="color: black; font-family: "times new roman" , "serif";"><br />
</span>I am afraid that in the last couple of decades, historians who are unduly
fascinated by books, have restricted themselves to asking only the kind of
questions books can answer. Fifty years
is a long time in computer science. It
is about time we found out if a critical and self-consciously scholarly
engagement with computers might not now allow us to more effectively address
the ‘human contents’ of the past.</b></span></div>
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<br /></div>
Tim Hitchcockhttp://www.blogger.com/profile/17851547190864328027noreply@blogger.com204