Monster Map: Spatial representation of gendered “monsters”

monster hunt
Monster hunt; A brave 2D man facing a dragon (flickr-Jason Gil)

(This blog is a draft version of an essay soon to be posted on Esri Storymap under the name of “Monster Hunt: Spatial Representation of Gendered Monsters.”)

In our deepest nightmares, monsters haunt us. Monsters terrify us with their grotesque bodies, supernatural ability overpowering human strength and paranormal movements. Their existence as well as their heinous actions mock human attempt to understand, grasp, and pin down what they are. So, humanity’s hunt for monsters begin.

When just about to catch them… they escape!

They escape humans not only intellectually but also spatially. One cannot catch a monster easily. It gets away just when one is about to seize it and turns into a smoke or appears to have traveled thousands of miles a way in a second. Typical monsters that easily come to mind such as Count Dracula or the Creature from Frankenstein are particularly threatening because they move about the globe so effortlessly. They dart in and out of European countries let alone the “mysterious” East and Africa.

ghost house
ghost house with spirits bound to the location

They are everywhere: globally roving about but also at home.

However, there are other monsters who stay local and threaten relatively small number of people. Female vampires who do not leave the castle, witches who demonize neighbors, ghosts bounded to houses, a creepy man-killing cat rambling around a deserted fortress, etc. The fear that we have for this type of monsters are quite different from wide-roving creatures. Interestingly enough, it seems these local monsters are usually female: “Cats,” “weird sisters” of Stoker’s Dracula who can’t hunt for themselves since they are imprisoned to the castle, a victimized female ghosts seeking revenge. This project starts from a question whether gender plays a role in special representation of a monster and looks to find a connection between spatial patterns of a monster and the specific type of monstrosity monsters embody.

Monsters and sympathy

Investigating monster literature is an extra-ordinary job. We don’t just get “scary” tales in literature; we get a glimpse of what it is to be a monster. Take Frankenstein for instance. Unlike popular adaptations that prioritize the horrific appearance of animated corpse of the Creature, Mary Shelley’s Frankenstein is a text of interplay between various perspectives. Not only do we get Dr. Frankenstein’s narrative creating, escaping, tracking the Creature’s horrific murders, but significant chunk of the narrative devoted to the Creature and his side of the story. Being born (in most shocking way possible–electronic jolts!), abandoned immediately in cold and dirt, lost in the world (literally), seeking love and connection, brutally ostracized, feeling nothing but rage to revenge on his creator. As many critics have noticed, the eloquence of the Creature gives his narrative the level of sympathy that deserves questions regarding the intention of the author. And as many great literature does, it asks questions about the meaning of monsters and monstrosity. The narrative is set in a way that the readers can sympathize, or at least understand the reasons for his monstrous actions (murdering of a little kid, wife and best friend of his creator). Is he a monster if the society made him the monster?

Pertaining to this project, the travel the Creature initiates is actually driven by the society. He is banished from one home to another only to be kicked out of to another place. He cannot stay in one place because he cannot be a member of any society. Though he is made of human, made by human, speaks human language, he is an eternal exile bound to be around the world. Even his later journey is caused by the “war” between him and Dr. Frankenstein–a war between the creator and the creature–one the Creature would want to avoid but has to face now. Two characters chase each other all over Europe and even to the North Pole.

As seen in this case, the monstrosity of a monster is intricately tied to the location and the journey. The creature becomes (aware of the fact that he is) a monster as he changes location and commits sins. Within a Gothic castle of Frankenstein, he is a gothic monster of action who is hidden, appears, and kills. At the warm cottage environment of De Lacey family, his monstrosity pertains to the surprises the family members feel looking at his body. Even though he is a same “monster,” the type of monstrosity perceived by the characters is geo-spatially distinctive. 

Dr. Frankenstein leaving horrified at the sight of his creature
Dr. Frankenstein leaving horrified at the sight of his creature but notice also how the Creature himself is surprised at being “born” (wiki commons)

And as interestingly, this has a fascinating relation to the level of sympathy. For Count Dracula, it might be argued that the level of sympathy characters (or even readers) feel is lower because he comes from a far away land. He wears strange garments, speaks with an accent, and emanates weird energy. It is his foreignness that distracts the sympathy from others. Is the Creature more sympathetic character because he is “one” of “us?” 

So here are the questions this monster map explore:

  • Central Question: Does gender of the monster affect the distance traveled? How is the distance related to a level of monstrosity and level of sympathy?

Do female monsters show smaller trajectory and consequently lower level of monstrosity than male monsters? Do they have different habitation patterns than male monsters? How does spatial representation affect level of sympathy? Will the gender of the author complicate any pattern?

Will we find any unexpected patterns of monsters with this visualization? Let’s hunt some monsters then. But first… who are on the menu?

Monster Corpus

Now here’s a table of my monsters. Unsurprisingly, these are monsters in fiction. Yes, we do have monsters (supposedly) in real life. But here I use literary figures to explore how these literary representations because the purpose of this project is not really hunting monsters but to capture the essence of a specific culture and to enable a cultural analysis. How did people imagine a monsters to be like? Did they come from far away land or did they stem in our own soil? Did they move like the wind and disappear like the air or are they just stuck to one location? For future studies, analyzing oral histories would be interesting. But for now, I’m sticking to literature–the land of imagination filled with juicy layers of cultural perspective.

Included in the database are eighteen texts with thirty characters in total, fairly balanced between gender of the monster and author’s sex. We have seven male monsters by male authors, nine female monsters by male author, six male monsters by female author, and finally seven female monsters by female author. In addition to the gender of the monster axis, I added author’s sex mainly to test whether there’s any interesting pattern that comes out of it. Texts include Gothic literature, Ghost literature, and other horror literature that features in-between humans, animals, witches, etc. mostly from nineteenth-century literature.

text listNow, before we start hunting down these monsters, let’s first map out where they appear.

The actual monster map (dozens of them compiled for the convenience of our hunt)

** As the esri Storymap is in-progress, I embed a video clip that walks through an ArcGIS map (desktop version). Start at 00:45

Male monsters vs Female monsters

  • Features: Points are marked when a character is mentioned/indicated to be at such location, and lines demonstrate their travel trajectory. This line also allows the measurement of distance traveled. As will be shown later in the video, the krigging effect shows the level of monstrosity in a visualized manner. Simply, the redder the place is, the more monstrous a monster is.

First, we have a map that visualizes sightings and movements of male monsters by male authors. As you can see, they move globally and travel relatively large amount of distance. Part of the reason for the anxieties characters within these texts (and of course, for readers) is that they can never understand how monsters move so much distance at once. Combined with xenophobic fears in those eras, that they move about the world so effortlessly doubled their monstrosity.

The visualization is strikingly different for female monsters created by male authors. If male monsters by male authors showed large bounding of movements, female monsters by male authors show lesser degree of movement. The one long line that stands out here–which shows a movement from Paris to Damascus, Syria to Mauritas in Mauritania–is from Succubus. If we take this out as an outlier, the general pattern here is that female monsters almost never travel outside of her country. Their movement is well hidden from a large map and is almost invisible from this view (01:25). But if we zoom into the layer, we can see that female monsters actually move about but only to such a small degree that it’s not recognizable at the level of world-view map.

The problems of scale… what’s up with “measuring” monstrosity and sympathy?

As can be seen later in the video (03:00), the krigging effect shows the level of monstrosity. Like the travel journey of female monsters that couldn’t be shown in a large scale map, monstrosity of female monsters has to be zoomed up close to be seen. Because this map does not show the sequence of narrative it is not easy to see just by looking at the map what exactly happened or what made the monsters “red.” In the actual ArcGIS map, the users can click around each point to see the details of such information. The text title, gender of the monster and author, name of the character, the monster’s relation to protagonist, what happened at that location, etc. But even with this information, how did I measure monstrosity or sympathy? Isn’t that subjective response each reader has? How can you numerically tell the level of monstrosity? Is there a scale for such thing?

Yes and No. To talk about the scale, I first have to talk about how this project started in the first place. This monster map developed out of a group project that began back in 2016 when I had a graduate seminar at Michigan State University lead by Dr. Ellen McCallum and Ed Schools. I had three undergraduate teammates under the name of “monster team.” Because we could not find a “canonical” monster scale, we decided to come up with one for our map and made up a totally arbitrary one. Ex. If a monster murders an innocent, 5.0 on the monster scale which is the highest. If a monster just stalks a character, 3.5 on the scale. Metamorphosis? maybe a 3.0. As we made up this scale, we realized that we should have two categories at least. One for action and one for appearances, and we averaged the two to get a final monstrosity level (Again, questions arise: why 5:5 for action and appearance? Isn’t action more meaningful? Isn’t appearance what’s more significant in terms of defining a monster? Well… these are the questions we had to let go). Some of the description was hazy and we had to decide if “metamorphosis” is a monstrous action or appearance. But without a few exceptions like this, it was a quite clear categorization. Below is a screenshot of my monster scale. On the left we have a scale from 0 to 5 each action or appearances attached to numerical number. Total 27 actions for monstrous action category from being just “creepy” to murders. Other actions include “dream attack 3.0,” “evil influence 3.0,” “intimidation 1.2,” “mind reading 3.0,” etc. Surprisingly, there aren’t whole lot of things a monster can do. Only about 27 types of actions. (Does this suggest Gothic/horror genre texts even in 18th and 19th century became formulaic?)

A screenshot of a monster scale that lists different actions/appearances of monster with an attached numerical value according to each action/appearance
A screenshot of a monster scale that lists different actions/appearances of monster with an attached numerical value according to each action/appearance

Of course, doubts arise. How would you assign “intimidation” (1.2) as something less monstrous that “dream attack” (3.0)? Sometimes, “torture/imprison” (3.2) is worse than “mind control” (4.0). And this is where we step away from distance reading go into close reading, or at least, reading. What I decided I’d do is to read all of the text and check and adjusted the scale in order to make it more “universal” to all the text I had. I had to make some compromises to incorporate different levels of monstrosity. Sometimes, the description or the attitude of the narrator toward a monster who only “chases” (3.0) a character is so hostile that it is scarier than a matter-of-fact “murder of a stranger” (4.5).

And as I had doubts that maybe making up a monstrosity scale wasn’t a good way to “distance read,” I came across a surprising phenomena. As a group, we all had similar scale set up. Every one of group member was working on different texts and thus, supposedly different scales. But when I went into read their text to change whatever was necessary on the scale, I found that I had very little to challenge. Maybe the texts we chose were ones that leads to more general response. Maybe I was already prejudiced? I even developed my own scale and compared the differences of the overall averages of monstrosity level but the differences were ignoble. Surprisingly so. Maybe we have this fantasy that each individual’s reading experience is so unique and subjective that we can’t come up with a universal response. Are we ignoring the fact that writers (sometimes…or usually?) intend to create a general response? Well, at the very least, a horror genre writer wouldn’t want the reader to find the text funny. A murder is supposed to be more dangerous and horrific than just killing a baby animal. How else do we have legal penalty system? But again, it is literature not laws. It could be argued that Mary Shelley has the Creature and Dr. Frankenstein chase each other for what seem like ages than just murdering confrontation because it would be more “monstrous” to have this constant influence over one another’s life. Some big theoretical questions remain in making the scale…

Result

Mapping analysis result 1

Based on the distance analysis, the average distance of monsters have start difference according to gender. Female monsters traveled on average 423 km whereas male monsters traveled 4495 km. As expected from the visualization on the map, male monsters travel about ten times more than female monsters. On the other hand shows that female monsters show a slightly higher level of monstrosity. Considering that appearance and action assigned to 2.5 and 3.0  monstrosity have significant difference, this could be seen as a rather meaningful difference. On monstrosity-action scale, malicious attitude is counted as a 2.5 while 3.0 includes kidnapping, chasing, mind reading, accusing innocents, attacking innocents, dream attack, haunting, and imposing evil influence. For monstrosity-action scale, 3.0 monstrosity is described as one that’s not human but perceived as or disguised as human whereas one that’s human but little different or ugly is a 2.0 monster.

Mapping analysis result 2

It then seems then female monsters travel less but show higher level of monstrosity when male monsters travel much further but is perceived as less monstrous. Below graphs shows distance measurement and monstrosity level of monsters categorized by the gender of the monster and author (ex. MM: Male monster by Male author).

Mapping analysis result 3

What to make of these pattern?

One conclusion we can draw out of these result is that the types of horror male monsters and female monsters elicit are quite different. If male monsters threaten the globe infecting, killing, and haunting everyone, female monsters are local getting revenge to those around her.

One common feature of female monsters, which greatly heightens their level of monstrosity, is their sexuality. Although sexual aspect of male monsters such as vampires is seen as dangerous, this characteristic is not shared by many male monsters. For female monsters, they all emanate or evoke sexual energy and sometimes it is the only “evil” aspect of their monstrosity. Lois’ monstrosity mainly stems from the fact that she is beautiful and that she excites sexual desire in two religious men. And allegedly, the only wrong of succubus is her strangely excessive beauty that “shed[s] . . . joys around her” (312). Makala maintains that monsters–ghosts in particular–of nineteenth-century are an avenue for women writers to articulate their experience of ‘social terror’ against patriarchy (54). If eighteenth-century’s persecuted maidens traveled through labyrinths and dungeons of a debilitated castle and proved their physical strength and mental power (Moers 129), this heroinism is transferred into female monsters and ghosts. Strength and power of females that could not be expressed under normal circumstances of patriarchy was inherited by female monsters. Female writers place the placeless—monsters—sexual desire, frustration against patriarchy, injustices—in a much dramatic form of a “monster.” They do not have to travel much far to show their monstrosity. They stay within the bounds of the domestic house (or neighborhoods—extended “home”) brandishing their failure to be placed within existing society.

Spatial representation of monsters shows interesting differences between gender of the monster though it is complicated when the gender of the writer is included in the discussion. By taking a broader and higher perspective than the group mapping project, this project could discern meaningful patterns of monsters in terms of distance, locations, boundary of movements, and how these spatial elements are connected to characteristics of monstrosity and sympathy monsters demonstrate. The result of this project gives valuable support for humanistic approach of horror literatures validating the difference between gender of the monster and authors and their intention in creating such monsters.

Spatial analysis of this horror literature not only confirm traditional readings of texts but also brings insight to “outliers” that do not fit into the larger schema. Texts such as Frankenstein and Lifted Veil are interesting outliers of female works which have their monsters travel great distance with low-average monstrosity. Considering that Frankenstein is one of the most often referred text that brings controversy to the definition of “female gothic,” its unique spatial representation of the creature is another element that deserves further investigation.

We know their pattern… now what to do? How can I share it to the world?

Now that we’ve studied monster’s habitation pattern, it’ll be best if we can share this knowledge to the world. As a part of DH seminar (Spring 18), I’m developing a storymap on Esri website to publicize this map. As I used desktop version of ArcGIS, I first had to transfer my data to online ArcGIS account through which I can create layers of map that are translatable to storymap.

This turned out to be a difficult job. Since Online ArcGIS is like a free try-out version, it doesn’t support many of the complex analysis I had embedded in my map such as grouping layers ad krigging analysis. And because it doesn’t support grouping layers, I had to take individual feature in different export data. Say, I had “MM map” consisting of points, lines, krigging, minimal bounding of 8 different characters. It means I had 32 different features compiled in one map. In order to transfer that one map, I had to export each and every feature in different file so that online ArcGIS recognize that file. On top of that, because my meta data is so large (30 columns with more than 700 rows), online ArcGIS is keeps giving me bugs. As I mentioned before, my meta data includes text title, gender of the monster and author, name of the character, the monster’s relation to protagonist, what happened at that location, page number, duration, published date, any important things to note, etc. And when one hovers over or click each point, it should generate a information table that tells the audience what that point means. Without it, it’s just a point on a map. Unfortunately, Online ArcGIS is not allowing me to do that for some reason I still have to figure out.

spreadsheet metadata
A screenshot of metadata As you can see, each point has information about the character, page number, relation to the protagonist, level of monstrosity, monstrous action and appearance, etc. which unfortunately were not transferable to online ArcGIS at all…

Thus my failure. But working with storymap was also fun. I put a lot of thought picking out style/format of my map and decided to pick one that is best to embed long essay with the map at the background. This style I chose also allows the audience to be interactive with the map zooming in and out to see where monsters are seen.

Uncertainties, assumptions, compromises and continued challenges

  • Uncertainties/Assumptions: With mentioned compromises above, almost in every text, there are pointed locations that are based on assumptions. Moreover, the range of accuracy vary from point to point. For example, in Lois the Witch, I used two historical maps of Salem to indicated sites of prison, execution place, courts, etc., but locations of character’s houses were selected randomly out of several points of residents. The difference of scale should be noticed since there are large differences in detailedness of geographic information. Whereas texts like The Succubus gives out even street names, The Vampyre or “Tomb of Sarah” sets its characters in large settings such as “Rome,” or “Greece.” Fictional spaces were also mapped within a larger context of the text. Even when ‘Dwoldling,’ a set place for “Phantom Coach” turned out to be fictional, it was mapped according to the information that it was 12 miles from ‘Wyke,’ a moorland far north of England. Besides, the distance traveled is mainly conjectured out of a straight line connected between each point of location.
Map of Salem I used as a reference when I was mapping fictional locations in Lois the Witch. (http://salem.lib.virginia.edu/maps.html)
Map of Salem I used as a reference when I was mapping fictional locations in Lois the Witch. (Salem Map (University of Virginia))

I also had the conflict between my selves–a humanities scholar who wants to challenge things vs the author of this map who wants to visualize my map in the best way possible. I have my male monsters in green and black and female monsters in pink and red. I have to say I still doubt whether this was a smart choice. But I had to pick my battle. Since I am publishing this to a general public, I thought I’d use colors that best visualize the purpose of my map–compare and contrast between genders of monster.

Where to go now

By end of 2018, I wish to publish this storymap online and polish it enough to enter it into storymap contest which will be open again next spring. I’ve looked through past year’s winner and looks like there’s no category for “fictional” maps. Usually it’s travel, history, migration, etc. dominated with one honorary fictional map that a dad and 5 year-old girl made. I’ve also received feedback from my colleagues that many of them would like to use this as a pedagogical tool when they’re teaching. Not only for classes that read gothic novels but also for theory class as well. What does it mean that we don’t usually track down locations and look at maps when we read novel? Does it mean that readers are distanced from imagining those situations less realistically? Does that enhance a sense of horror? Or does it hinder it? This map doesn’t just “hunt” monsters. It’s a question mapped out: of genre, characterization, visualization, and above all, reading experience.

 

Special thanks to contributors…

Monster group teammates, Dr. Ellen McCallum, and Ed Schools

The Aged in History Past–Classroom assignment using digital tools or technology

What did people in Enlightenment era think of aged people? In an era when progress, human perfectibility, development, and above all, reason prevailed, how do contemporaries understood aged people who decline into physical or mental “decay”?

  • Summary of Assignment:

This assignment is designed to help you learn how to conduct a history data research in order to answer some of the questions we’ve been asking this semester about the representation of the aged and cultural understanding of old age, especially thinking in terms of the cognition and the concept of “selfhood” in Enlightenment era. First, you’ll learn firsthand how to search for materials in early modern era and how to effectively find sources you need out of hundreds of thousands of documents. Then you’ll try out a text mining tool to (maybe) pick out an interesting pattern in those documents.

  • Goal:
  1. Learn how to search for primary source
    1. To search for primary texts (ECCO, EBBO, Mind as Metaphor)
    2. To come up with fitting keywords
  2. Try out digital tools that incorporates an analysis (Voyant)
  3. Think about what you discovered in the connection to the idea of cognition and selfhood and ultimately what it says about cultural understanding of old age.
  • Assignment:

First, read Ch 3. The New Science: Aging and Agency, Age and Identity in Eighteenth-Century England  by Helen Yallop and summarize key points she makes about the agency of the aged in Eighteenth-Century Britain and select 10 vocabulary that epitomizes eighteenth-century contemporaries’ understanding of the aged (ex. definition, metaphor, etc: “old and poor,” debilitated, “idiocy,” “storehouse” of wisdom, “dependency,” “gout,” etc. ) Also mark three early modern texts mentioned in the book you find interesting or think most significant while reading.

Second, utilize the primary search digital tools such as ECCO or EBBO. Search for three texts and type in the keywords you found. What are the result? Are you seeing any pattern? Also, if you’d like, type in some keywords in Mind as Metaphor database. What are some synonyms or overarching concepts that appear?

Third, pick out about 1000 words from primary text that includes some of the keywords and run it through Voyant. What do you see there? What do these pattern challenge/support/complicate what we’ve been discussing so far? Does it match what Yallop is saying?

Finally, post one or two critical question using padlet.

 

EBBO (Early English Books Online)

ECCO (Eighteenth Century Collections Online)

Mind as a Metaphor

Voyant

padlet

 

 

  • Things I learned + Things could be incorporated

Padlet & Voice Thread

Different (fun!) adaptations (ex. poetry, drawings, comics, films, writings, screenplay, script, etc.)–explanation for chosen medium.

Wikipedia analysis: using voyant

Using movie script/letters/literary works and analyzing it to voyant

Twine game

Chronology time

Why important question!

Project planning for my monster map and how it’s going…

My map project was sailing smooth, but just yesterday I ran into some problems. (Hopefully another meeting with ArcGIS specialist that I’m having tomorrow will troubleshoot these issues.)

So far, I’ve learned to use storymap and how to translate my offline map into an online version of ArcGIS. The process seems simple enough. I first have to decide which feature of the map would be incorporated into my base map. Storymap doesn’t allow you to make ANY changes after you import the exported data, so I have to be sure of what I’m presenting before I export it.

The first problem I’m having is that storymap only allows vector data to be transported. All of my analysis is done on desktop version and this cannot be shown online. The solution could be that I do analysis (such as minimal bounding and krigging) online after I get my exported base map but it seems impossible to do what I want. The aesthetic is just wrong. Because the heart of this project is at comparison/contrast between gender, I need different symbols or at least colors to show the contrast. But one map only allows one style.

So, I went to a different storymap style which lets you to have two different maps and compare those. Now then, a bigger problem. My desktop version map won’t be exported. I have all the points, lines, shapes, analysis there but these grouping of layers won’t be translated let alone be selected separately. The problem is that I have different attribute tables coming from multiple excel sheets not one.

If I find a way to select and filter out what I need from my map and divide & export this into multiple maps (ex. 1. male monster points vs female monster points, 2. male author lines vs female author lines, 3. male monster monstrosity krigging vs female monste monstrosity krigging, etc.), I think the storymap would look so….. good. I was very excited when I started tweaking with storymap since I found a perfect formatting and a narrative (developed out of my cartographer’s statement and will be turned into a conference paper-like essay) that fits so well!

So for now, I’ll have to troubleshoot this issue & if it turns out that I can’t in time for the presentation, I’ll have to find out whether the LEADR lap is equipped with ArcMap so that I can at least show what I initially planned to do and will be doing…

 

Link to my revised workplan

Memory Loss, Alzheimer, Blogging, and 3D Models

January this year, Wendy Mitchell’s Somebody I Used to Know was published. According to its introductory quotes, it is a “Brave, illuminating and inspiring, […] the first memoir ever written by someone living with dementia.” I’ve heard her talk on Guardian Book Podcast and followed her radio appearances. And her personal vivacity and dignity is amazing. she does sound a bit out of breath, stumbles, but shows yet no sign of language deficit at the moment. She and a “ghost writer” wrote this book together and as Wendy herself admits, she does not remember what is said in her memoir. It would be ironic if it weren’t so poignant that her cognitive decline has outweighed her endeavor to write a memoir.

But what is a memoir? Is it supposed to mean more to me than my audience? Why do one write a memoir?

As the book advertises itself, this is “the first memoir ever written” by someone living with dementia. There are memoirs written by a husband, a daughter, but never one him/herself. As a person specializing in age studies and early modern (“Long Eighteenth-Century” to be exact), I would hesitate to call this “the first” memoir and would definitely disagree if one calls this a first attempt of a person with age-related mental impairment. Diaries of early modern women demonstrate their frustration with declining health, enervated energy, dwindling opportunities of social activities, as well as memory loss.

Even before i was challenged by Wendy’s memoir, one theme that haunts these sources is the purpose of such writings (mostly women’s diaries). Women in early modern Britain was very specific. It was to give lesson, to prove useful to her posterity. It was saying “This is my life experiences. Learn from it” though usually in a much apologetic way that fit women of 18th-century.

But of course, to give lesson is not the only motive for such writing. Spending time formerly used to child rearing and housekeeping was one but what is most intriguing to me is the desire to just “record.” This desire to store memory arises when one realizes that she might lose it very soon. “Finding decays, especially in my memory, I think it not improper to leave this testimony under my hand of that kind Providence which has followed me all my days,” writes Sarah Savage, a devout Christian in early 18th Century living in Bristol.

Wendy Mitchell’s blog: “Which me am I today”

Wendy’s book is actually a second stage of her such memory-recording. She gained prominence in Alzheimer community through her blog. Titled “Which me am I today?” Wendy blogs her days. On her Home page, she says “I started this blog to allow me, in the first instance, to write all my thoughts before they’re lost.” She is using this technology to record “all” her thoughts before they’re lost. Though her blog reads “which me am I today,” she wants to remain one person, Wendy with two daughters and a beloved cat with all her thoughts.

This is not to blame her. She utilizes this new technology–which she says she never used ever before–“I have never ‘tweeted’, ‘blogged’ or ‘facebooked’ in my life but since I was diagnosed, everything else in my life has changed, so why not this”–in the same way early modern female writers utilized paper and pen.

But unlike a sheet of paper and a pen, technology has a distinct aura. An aura that is so discreet but also ingrained.  There is a promise–never fulfilled–that it will allow you to record “all.”

Gugu Mbatha-Raw and Mackenzie Davis in Black Mirror (2011)

cf. “San Junipero” in Black Mirror: Your whole memory is uploaded to a little USB-like external drive so entirely that you can live on after you “die.”

During past decade, we’ve seen a much appreciated development in 3D printing, 3D rebuilding, especially in the fields of ancient history. Now British Museum allows you to take a look at a piece of sculpture from 2 BC, a click on the web takes you to a 3D virtual tour of a colorful ancient Egyptian Monastery. The 3D digital access restored the color of the ancient times which basically means you can experience the color the ancient persons experienced. If you walk into the monastery, all you can see is faded blurred shapes with shaded colors. But awaits you are the reconstructed visualizations of that monastery. You can restore it just the way it was before and leave that record for futurity.

If we take one step away, or even add just one layer that constantly reminds us that this is an interpretation and not the truth-real-experience, I think we’ll be fine and thrive with this amazing contribution.

 

 

My frustrating experience searching for aging-related primary source…

Since DH seminar this week is for moving images and I’m not one of those people who’ll be diving into that… I want to record my frustrating experience I am having for a few weeks now and also a few happy moments searching for aging-related primary text in eighteenth-century.

Age studies is a relatively new field having its first significant rise in the 70s and the intersection of age studies and literature has only began to take good shape. In addition to it still searching for possible texts for analysis, the fact that there has been a terminology change in how people expressed what we consider as now “aging” is giving me a difficult time finding just the right source. But of course, this is the challenge for anyone doing a historical research or anyone searching for primary text in general.

(Paul Sandy, ‘Wine Seller’ 1759: an apparently low-class old woman selling wine looks healthy and happy)

Since I was blocked by ECCO (Eighteenth Century Collection Online)–which said there is no interesting reference to aging in eighteenth century literature (I love you ECCO but I don’t trust you…), I started searching for university libraries that lists some databases for long eighteenth century primary source sites.

Memorial university libraries: early modern Britain – 15th to 18th C

Unique English Imprints, pre-1800: US National Library of Medicine

London Lives 1600 to 1800:Crime, Poverty and SocialPolicy in the Metropolis ☆

Early Modern Resources

British History Online

EuroDocs

Early English Books Online

USC Libraries

William Hogarth: Links to Online Image Archives of Paintings and Prints by Hogarth ☆

MSU

17th and 18th Century Burney Collection Newspapers  ☆

Gale News Vault ☆

Eighteenth-Century Journals Parts I through IV  ☆

 

Periodicals Archive Online ☆

Eighteenth Century Journals, Part I-V ☆

British Periodicals, Collections I and II ☆

British Newspapers 1600-1950  ☆

Empire Online

London Low Life  ☆

British History Sources 1500-1900 ☆

Early English Prose Fiction  ☆

Eighteenth-Century Fiction  ☆

English Drama

English Poetry Database

English Poetry (2nd edition)

Eighteenth Century Drama: Censorship, Society and the Stage ☆

Jane Austen’s Fiction Manuscripts ☆

Proceedings of the Old Bailey London 1674-1913 ☆

The Gazette ☆

English Historical Documents ☆

Maybe I’m just lazy here… but I hope there could be a search engine or a software program that enables me to type in a key word and pulls up all the record from various sites.

For spring break, I plan to visit these sites and to write down the summary of their usefulness and categorize them also. For now I have a little star next to the link to mark the sites that was useful.

Project Management

  • Revised project plan below

So… it’s time to get serious with my mapping project. Since it’s been more than a year I worked on monster map (and thus forget even what my data represented and how many texts are included in my data) and since I don’t know anything about esri story map (except a few great samples I found), let’s plan how I’ll go about publishing my map. I used workplan template provided by my DH course and it seems I only have three agenda:

  1. Review of data set
  2. Learn how to use story map (esri)
  3. Upload & Tweak around the map

The only dependency is that I’d have to be in the library to work on ArcGIS. I’d assume for now that uploading and revising how my map looks would take the longest (is it aesthetically pleasing? What text should go beside my map and in what order? What would be the most effective way to present the “story” map? And what am I ultimately trying to show?). Though the program and the result of story map looks simple and easy enough, from my last experience, I know it is not. Even though I only have three steps now, I’ll probably have to make a sub-mini-plans and schedule them in order finish this before the semester.

Revised Project Plan

 

“The Mechanic Muse”: Text Analysis and Distant Reading: Ted Underwood

It has been almost seven years since Moretti’s radical claim disturbed the humanities. The fundamentals of reading a text, “close-reading”–which I just taught my undergraduates last week and will continue to do so, is now being questioned. Given that it is humanities’ job to challenge whatever is the “fundamental,” it may not be so surprising that we are now questioning our own method of study. But this questioning is more than a challenge to the method; it is an examination of our approach to art and ultimately what we are trying to get out of this field.

I can’t tell for sure how much text a scholar must read but the comps list (comprehensive exam list: a list of texts you propose to read in order to write your doctoral dissertation) has around 150 works of literature (both primary and secondary). Say you are an avid reader and read around 150 during your BA and MA, and 150 more taking graduate seminars and for other responsibilities (including pleasure-reading). As a second-year PhD student about to compose my comps list, I’m around 450 (given that I already read the text for my comps exam). As NYT puts it, Moretti asks, “so what?” Even if you are an avid reader and read 1,000 texts, what about the other texts?

My immediate response would be it is not about the numbers of texts you read but about what each text represents and about how to exercise your own critical eyes on that text. Right? But again, even if I do not totally agree with Moretti, there is something insightful about the so-called “distant reading.” I do believe some concerns about quantitative approach to literature such as “how can numbers represent the “infinate variation of human perception” (Drucker, 2017)?” But they do provide an additional perspective. They do not have to be the alternative but another axis that humanities might consider.

I have recently been to a distant reading workshop here at MSU with Ted Underwood. His project involves machine learning which is basically a program which learns from examples rather than definitions and finds patters that might be meaningful to a looking eye. For example, his recent publication “The Life Cycles of Genres” investigates the development of genres using word frequency calculating program and finds patterns. When did the “Gothic” give way to, say (if), science fiction? In order to answer such question, one might start with defining what Gothic is. Despite decades of scholar’s effort, however, it is not easy to grasp what Gothic really is. Instead of finding a “definition” of this elusive genre, quantitative method finds a list of text, the corpus, and finds patterns that occur throughout. As Underwood admits, this might find things that affirm our previous findings if it does not come up with “novel” findings. But isn’t it what we “traditional” scholars do anyways? And at least, we will know, quantitatively, it is proved.

click to view Ted Underwood’s new publication “The Life Cycles of Genre” (Image from the URL below)

The most intriguing part about Underwood’s talk was how he accepts these models as they contain biases and utilizes that fact for his analysis. Like how would one corpus set developed by librarians as “science fiction” would differentiate the result from another data set by goodreads? This talk made me think maybe it isn’t just about the distant reading approach itself but the mere lack of study that is already out there that makes it seem troubling. The same would’ve gone for close-reading. If there is only a hundreds of scholars analyzing 19th century novel, their consensus, if there is one, about that time period would not mean much. If we have various data sets questioning or at least bringing in multiple assumptions/bias/social norms, it would be the start of looking at art in a meaningful way.

 

Related Links

New York Times: Distant Reading

Topic Modelling