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I had the distinct pleasure of participating in a panel at MLA 2016 last month, titled “Bibliography in the Digital Age: Tools, Technologies, Theories” and sponsored by the forum Bibliography and Scholarly Editing.
Continue readingWe’ve blogged a few times about our progress with the Four Zoas encoding project, mostly recounting our efforts to develop a more flexible and dynamic schema as well as create an experimental display that takes advantage of our new XML elements. This progress has been slow but steady, and after a rigorous round of development focusing on a single difficult object, we’re ready to test our work across more objects and expand the schema to incorporate more textual features.
So as a theatrical monarch once said, “once more unto the breach, dear friends, once more.” Except, I can promise it will be more than just once.
Continue readingThis fall I’ve been blogging about forensic experimentation with Blake Archive images in Adobe Photoshop. The idea is that Photoshop can be a [relatively] cheap, easy, and fast way to either answer transcription questions or allow editors to model alternate views of manuscript images for Archive users. In the last two posts, I’ve used examples of faded, hard-to-read text to illustrate the potential usefulness of digital image manipulation.
Interesting stuff, but also pretty conservative in terms of total image manipulation and Photoshop’s technical abilities. This week, we’re going to push the envelope . . . just a bit.
Continue readingAs I explained in my post last week, I’ve been working on a transcription of Object 13 of The Four Zoas. After my revelation at DHSI, I decided to try encoding two basic transcriptions of the object in order to see how viewing it as an object or as a text changed my results – just as an experiment.
Continue readingIn June, I went to the Digital Humanities Summer Institute (DHSI) in Victoria, BC. I have a whole other post in my head about the ferry journey from Seattle to Victoria (beautiful!), the fish tacones at Red Fish Blue Fish (delicious!) and the nineteenth-century architecture of the city (magnificent!), but for now I’ll stick to the subject at hand: encoding the Four Zoas.
Continue readingA few months ago, I wrote a post that introduced the idea of experimenting with the Archive’s cache of high-resolution digital photography in Photoshop. Experimentation has continued and has provided some interesting results. It’s difficult to label the experiments as successes or failures—the stakes aren’t that high yet. But in the DH/Zen-like spirit of play and working-without-aiming, let’s continue with the fun.
Continue readingWe’ve blogged quite a bit about our recent work creating an experimental edition of The Four Zoas. That sort of work has been on the encoding/display end of things. And while that work is ongoing, I’ve since become occupied with digital imaging and the potential editorial/archival uses for digital software, like Adobe Photoshop.
When I first sat down to a computer with some of these questions in mind, it took about five minutes to realize I needed full, lossless, high-resolution files to see anything in meaningful detail. I was able to work out a few techniques for recovering faded text (which I will blog about in the future), but some immediate questions our Rochester group had involved compressed files vs. high-resolution. So, dear reader, if you’ll permit me, today I’m going to respond to the group in blog form with some quick explanations and comparative screenshots.
Continue readingWe have been fortunate to have a series of visiting Digital Humanities scholars at the University of Rochester over the last few months, and while all of their projects and approaches have been very different, most have still emphasized the importance of collaboration in their work. We’ve written a post about the topic before, but this time I want to focus more generally on the different kinds of group work we engage in at BAND.
Continue readingOne of the goals of Team Color Code (sidenote: this is the small group of BAND assistants who are working on The Four Zoas. We’re affectionately known as TCC, which is a name that made sense in our early days and even though it no longer does, it has stuck) is to create a schema that can also be used to tackle transcription and display problems in other works. We’ve always known that the heavily-revised pages of Blake’s Notebook would benefit from an expanded tag set, but I’m starting to come across more and more works that could also use some of the elements that we’re developing in Team Color Code meetings.
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