As part of my duties as an Andrew W. Mellon Fellow in the Digital Humanities, I am required to serve as a Research Assistant for one of the many digital humanities projects at the University of Rochester. I was drawn to the William Blake Archive for several reasons. First, the Archive is a foundational DH project. Its depth and multi-institutional workflow serve as a model for onlookers hoping to recreate a successful digital collaboration. Selfishly though, I was also drawn to the William Blake Archive with an intent to gain more experience in XML, TEI, and digital-documentary editing. I hoped to adapt elements of the William Blake Archive for a more recent digital project ongoing at the University of Rochester, the Seward Family Digital Archive.Continue reading
The William Blake Archive is pleased to announce the publication of A Descriptive Catalogue of Pictures, Poetical and Historical Inventions, Painted by William Blake, in Water Colours, Being the Ancient Method of Fresco Painting Restored: and [water color] Drawings, For Public Inspection, and for Sale by Private Contract. Printed by a job printer in a small run, perhaps fewer than one hundred copies, the catalogue accompanied his self-organized one-man exhibition of 1809-10. It hung in the rooms above his brother’s haberdashery shop in Soho—Blake’s childhood home. The price of the catalogue included admission to the exhibition.
Did you know that the search function of the William Blake Archive is one of the most helpful features of the site, allowing you to search both text and image content?
With our search function, you can plug in search terms that lead you not only to poetry and prose, but to images that illustrate the ideas or content that interest you.Continue reading
2018 marks the 100 year anniversary of the ending of WWI, (that is if you do not factor in the Treaty of Versailles in 1919) and just so happens to coincide with a graduate seminar I am currently enrolled in called “The Great War and Modern Memory.” This class has curiously overlapped in subtle ways with my time spent pondering Blake in the Archive. Blake, of course, did not fight in WWI, but in a strange mixture of past and present, similar to this blog post, he inspired many of the WWI poets and even artists who lived through the Great War and who drew upon his poetry and art in inspiring their own.Continue reading
One of the more significant items on my busy schedule this semester is teaching Introduction to Digital Media Studies here at UR. It’s a class I very much enjoy teaching, and one for which I also very much enjoyed designing the syllabus.
Intended as a survey of all things DMS, the class cruises through a wide variety of ideas, tech, people, and histories. Given my close association with the Blake Archive for the last 4.5 years (really?!), I couldn’t help but sneak some BA in there.Continue reading
Last time I blogged about the <choice> Tag Project, I established a semi-comprehensive list of situations that required <choice> tags, and ended with a series of unsettled questions. Since then I have investigated the issue more thoroughly and now, having answered those questions, I can put together a more definitive guide.Continue reading
A while back (actually it’s been more than a year) I wrote about our efforts to develop a set of shared terms to be used across the Four Zoas and Marginalia projects. We’ve been struggling with this since, with the use of <layer> in the marginalia encoding as an interim solution. Since the Four Zoas project has unusual (ahem) layout and intensive revisions, we introduced <zone> to represent the spatial structure of the text and <stage> as a child element of line in an attempt to represent every act of editing in detail. For the marginalia however, we needed a tag to distinguish between Blake’s writing and the typographic text more than anything to denote layers of revision and editing within the line. In order to avoid confusion, we decided to use <layer> for our schema. The results looked like this:Continue reading
The William Blake Archive is pleased to announce the publication of a digital edition of Blake’s Visions of the Daughters of Albion Copy R from the Bayerische Staatsbibliothek, Munich; colored impressions of Visions Plates 1, 2, and 3 (Copy mpi) from the Morgan Library and Museum; a proof of Visions Plate 6 from the Fitzwilliam Museum that belongs to our previously published Visions Copy a; and five monochrome wash drawings for the wood engravings in Thornton’s Virgil added to the seven previously published designs.Continue reading
Knowing how hard it is for me to put together a blog post with a couple of illustrations, I can’t imagine what it would be like to make a film. That’s why I spoke to Matt Wilmshurst, a London- and Sussex-based filmmaker and visual effects artist. He’s the writer and director of Blake in Sussex, currently in production, which promises to tell the tale of the Blakes’ turbulent three years outside London.Continue reading