%PDF-1.5 % 6 0 obj << /Length 68 /Filter /FlateDecode >> stream x3T0 BC]=CcKcS=Ss\B.=KscCc<,e5Vp Bt;A 8 endstream endobj 3 0 obj << /Type /XObject /Subtype /Form /FormType 1 /PTEX.FileName (/var/tmp/pdfjam-BEfw3Q/source-1.pdf) /PTEX.PageNumber 1 /PTEX.InfoDict 9 0 R /BBox [0 0 612 792] /Resources << /Font << /T1_0 10 0 R/T1_1 11 0 R/T1_2 12 0 R/T1_3 13 0 R>> /ProcSet [ /PDF /Text ] >> /Length 5533 >> stream /Artifact <>BDC 0 0 0 rg 0 i BT /T1_0 1 Tf 0 Tc 0 Tw 0 Ts 100 Tz 0 Tr 7.144 0 0 7.144 18 781.5785 Tm (IMAGINING WHAT YOU DON'T KNOW: THE THEORETICAL GOALS OF THE ROSSETTI ARC\ HIVE.)Tj ET EMC /Article <>BDC q 0 18 612 756 re W* n BT /T1_1 1 Tf 19.6612 0 0 19.6612 7.9377 735.3407 Tm (IMAGINING WHAT YOU DON'T KNOW: THE THEORETICAL )Tj 0 -1.2 TD (GOALS OF THE ROSSETTI ARCHIVE.)Tj /T1_0 1 Tf 11.1128 0 0 11.1128 7.9377 681.8661 Tm ( )Tj /T1_1 1 Tf 15.387 0 0 15.387 7.9377 665.7044 Tm (JEROME McGANN)Tj /T1_0 1 Tf 11.1128 0 0 11.1128 7.9377 637.2072 Tm ( )Tj ET 0.5 0.5 0.5 rg 7.938 627.384 m 7.938 628.971 l 604.062 628.971 l 603.268 628.178 l 8.732 628.178 l 8.732 628.178 l h f 0.875 0.875 0.875 rg 604.062 628.971 m 604.062 627.384 l 7.938 627.384 l 8.732 628.178 l 603.268 628.178 l 603.268 628.178 l h f 0 0 0 rg BT /T1_1 1 Tf 12.8225 0 0 12.8225 7.9377 595.5104 Tm (I)Tj /T1_0 1 Tf 11.1128 0 0 11.1128 7.9377 566.7322 Tm (In a trenchant meta-theoretical essay, Lee Patterson investigated what h\ e called "The Kane-Donaldson )Tj /T1_2 1 Tf (Piers Plowman)Tj /T1_0 1 Tf (", that is to )Tj T* (say, the 1975 Athlone Press edition of the B Text. I say "meta-theoretic\ al" because the edition itself constitutes the primary )Tj T* (theoretical event. Patterson's essay elucidates the theory of that extra\ ordinary work of scholarship. )Tj 0 -2.557 TD (According to the editors' themselves, their edition is "a theoretical st\ ructure, a complex hypothesis designed to account for a )Tj (body of )Tj 0 -1.2 TD (phenomena in the light of knowledge about the circumstances which genera\ ted them" \(212\). Needless to say, this "body of )Tj T* (phenomena" is problematic to a degree. Patterson studies the evolution o\ f Kane and Donaldson's "complex hypothesis" about these )Tj T* (phenomena as the hypothesis gets systematically defined in the edition i\ tself. These are his conclusions: )Tj 2.857 -2.557 Td (As a system, this edition validates each individual reading in terms of \ every other reading, which means that if some of )Tj 0 -1.2 TD (these readings are correct, then--unless the editorial principles have b\ een in an individual instance misapplied--they )Tj T* (must all be correct. This is not to say that the edition is invulnerable\ , only that criticism at the level of )Tj T* (counterexample. . .is inconsequential. . . . Indeed, the only way [criti\ cism] could be effective would be if [it] were part )Tj T* (of a sustained effort to provide a contrary hypothesis by which to expla\ in the phenomena--to provide, in other words, )Tj T* (another edition. \(69\))Tj -2.857 -2.457 Td ( )Tj 0 -1.1 TD (Patterson's startling last judgment--deliberately outrageous--is not sim\ ply a rhetorical flourish. He is aware of the intractabl)Tj (e )Tj 0 -1.2 TD (character of the )Tj /T1_2 1 Tf (Piers Plowman)Tj /T1_0 1 Tf ( materials. But he admires, justifiably, the comprehensiveness and the r\ igor of the Kane-Donaldson )Tj T* (work. Even more, he admires its visionary boldness. In thinking about Ka\ ne and Donaldson's project, was Patterson also thinking )Tj (of )Tj T* (Blake? )Tj /T1_3 1 Tf 0 -2.562 TD (I must create my own system or be enslaved by another man's)Tj 0 -1.2 TD (I will not reason and compare. My business is to create)Tj /T1_0 1 Tf 0 -2.552 TD (If he wasn't, he might have been, perhaps he should have been. For Patte\ rson's essay is acute to see what is so special about th)Tj (e Kane-)Tj 0 -1.2 TD (Donaldson edition: not merely that it is based upon a clearly imagined t\ heory of itself, but that the theory has been given full)Tj ( )Tj 0 -1.2 TD (realization. "Counterexample" will not dislodge the "truth" of the Kane-\ Donaldson edition. Indeed--Patterson himself does not sa)Tj (y )Tj T* (this, though it is implicit in his argument--even a different "theory" o\ f the )Tj /T1_2 1 Tf (Piers Plowman)Tj /T1_0 1 Tf ( materials will necessarily lack critical )Tj T* (force against the theoretical achievement represented in the Kane-Donald\ son edition. Only another theory of the work that )Tj T* (instantiates itself as a comprehensive edition could supplant the author\ itative truth of the Kane-Donaldson text. )Tj 0 -2.557 TD (Why this requirement should be the case is one part of my subject in thi\ s essay. The other part, which is related, concerns proc)Tj (edures )Tj 0 -1.2 TD (of theoretical undertaking as such. In this last respect my focus will b\ e on electronic textuality. )Tj 0 -2.557 TD (Let me address the first issue, then: the theoretical status of what Wil\ liam Carlos Williams called "embodied knowledge" \(which )Tj 0 -1.2 TD (may be rendered in the Goethean proverb "In the beginning was the deed"\)\ . There is an important sense in which we should see the)Tj ( )Tj T* (Kane-Donaldson project as a gage laid down, a challenge to scholars to i\ magine what they know or think they know. The edition )Tj T* (begs to be differed with, but only at the highest level--only at an equi\ valent theoretical level, in another edition. In this re)Tj (spect it )Tj T* (differs from other editions that have seen themselves as theoretical pur\ suits. Here I would instance Fredson Bowers' )Tj /T1_2 1 Tf (The Dramatic )Tj ET EMC /Artifact <>BDC Q BT /T1_0 1 Tf 7.144 0 0 7.144 18 8.5785 Tm (http://web.archive.org/web/20041123091955/http://www.iath.virginia.edu/~\ jjm2f/chum.html \(1 of 13\)6/27/2005 3:48:13 PM)Tj ET EMC endstream endobj 17 0 obj << /Length 68 /Filter /FlateDecode >> stream x3T0 BC]=CcKcS=Ss\B.=KscCc<,e5Qp Bt;N و endstream endobj 14 0 obj << /Type /XObject /Subtype /Form /FormType 1 /PTEX.FileName (/var/tmp/pdfjam-BEfw3Q/source-1.pdf) /PTEX.PageNumber 2 /PTEX.InfoDict 9 0 R /BBox [0 0 612 792] /Resources << /Font << /T1_0 10 0 R /T1_1 12 0 R >> /ProcSet [ /PDF /Text ] >> /Length 7377 >> stream /Artifact <>BDC 0 0 0 rg 0 i BT /T1_0 1 Tf 0 Tc 0 Tw 0 Ts 100 Tz 0 Tr 7.144 0 0 7.144 18 781.5785 Tm (IMAGINING WHAT YOU DON'T KNOW: THE THEORETICAL GOALS OF THE ROSSETTI ARC\ HIVE.)Tj ET EMC /Article <>BDC q 0 18 612 756 re W* n BT /T1_1 1 Tf 11.1128 0 0 11.1128 7.9377 758.1051 Tm (Works of Thomas Dekker)Tj /T1_0 1 Tf ( or almost any of the editions of American authors that were engaged und\ er the aegis of the Greg-Bowers )Tj 0 -1.2 TD (theory of editing. These works do not go looking for trouble, as the Kan\ e-Donaldson project did \(so successfully\). They imagine )Tj T* (themselves quite differently, as is readily apparent from the scholarly \ term they aspired to merit: definitive. In this line of )Tj (work the )Tj 0 -1.2 TD (scholar proceeding with rigor and comprehensiveness may imagine a )Tj /T1_1 1 Tf (de facto)Tj /T1_0 1 Tf ( achievement of critical completeness. Not that other )Tj 0 -1.2 TD (editions might not be executed, for different reasons and purposes. But \ the "theoretical structure" of the so-called critical ed)Tj (ition, in )Tj T* (this line of thought, implicitly \(and sometimes explicitly\) argues tha\ t such undertakings would be carried out within the horizo)Tj (n of )Tj T* (the definitive critical edition. )Tj 0 -2.557 TD (In the past 15 years or so scholars have all but abandoned the theory of\ the "definitive edition", although the term still appea)Tj (rs from )Tj 0 -1.2 TD (time to time. The Kane-Donaldson theoretical view, that a critical editi\ on is an hypothesis "designed to account for a body of )Tj T* (phenomena in the light of" our given historical knowledge, must be judge\ d to have gained considerable authority during this peri)Tj (od. )Tj T* (As Patterson's essay suggests, theirs is fundamentally a dialectical and\ dynamic theory of critical editing. Not of course that )Tj (a Greg-)Tj T* (Bowers approach need fail to appreciate the indeterminacy of particular \ editing tasks and problems. On the contrary. But the gen)Tj (eral )Tj T* (theoretical approach is different. Bowers, for example, inclines to tech\ nical rather than rational solutions to problematic issu)Tj (es, as his )Tj 0 -1.2 TD (famous insistence on collating multiple copies of a printed work clearly\ demonstrates. This is a procedure that flows from a )Tj 0 -1.2 TD (disciplined theoretical position. But it differs from the theoretical po\ sture adopted by Kane and Donaldson, who take a much mor)Tj (e )Tj T* (skeptical view of the authority of positive data. )Tj 0 -2.557 TD (Over against these two theoretical approaches to editing stands that gre\ at tradition of what Randy McLeod would call \(I think\) ")Tj (un-)Tj 0 -1.2 TD (editing": that is, the scholarly reproduction of text in documentary for\ ms that reproduce more or less adequate replicas of the )Tj T* (originary materials. Until recently this approach has scarcely been seen\ as "theoretical" at all. But McLeod and others have bee)Tj (n able )Tj T* (to show the great advantages to be gained by theoretically sophisticated\ forms of documentary procedures. Many doors of percepti)Tj (on )Tj T* (have been cleansed by R. W. Franklin's )Tj /T1_1 1 Tf (The Manuscript Books of Emily Dickinson)Tj /T1_0 1 Tf ( \(1981\), by Michael Warren's )Tj /T1_1 1 Tf (The Parallel King )Tj T* (Lear)Tj /T1_0 1 Tf ( \(1989\), and by the astonishing genetic texts that have come to us fro\ m Europe, like D. E. Sattler's )Tj /T1_1 1 Tf (Friedrich Holderlin. )Tj T* (Samtliche Werke)Tj /T1_0 1 Tf ( \(1984\). )Tj 0 -2.557 TD (Let us remind ourselves about what is at stake in these kinds of work. I\ n another day--say, in the late 19th century--an edition)Tj ( like )Tj 0 -1.2 TD (Warren's would have emerged from the influence of institutions such as t\ he Early English Text Society. To that extent it would b)Tj (e )Tj 0 -1.2 TD (seen as an archival work meant primarily to preserve and make accessible\ certain rare documents. But of course Warren's edition )Tj (is )Tj T* (very different, it is an investigation into the character and status of \ documents and their relationships \(intra- as well as ext)Tj (ra-textual\). )Tj T* (Like Sattler's great edition, it instantiates a self-conscious and theor\ etical argument. Moreover, Warren's immediate subject, )Tj /T1_1 1 Tf (King )Tj T* (Lear)Tj /T1_0 1 Tf (, is implicitly offered as a strong argument for rethinking the textuali\ ty of the Shakespeare corpus as a whole. The play isn't )Tj (seen )Tj T* (precisely as representative because the case--which is to say, the docum\ entary material--is too idiosyncratic. This unusual )Tj T* (documentary survival, however, is used to encourage and license new acts\ of attention toward the whole of the Shakespeare canon,)Tj ( )Tj T* (as well as to analogous texts beyond. )Tj 0 -2.557 TD (More speculative theoretical undertakings operate very differently from \ works like Warren's and Sattler's. Having emerged from t)Tj (he )Tj 0 -1.2 TD (genre of the scholarly essay and monograph, speculative theory tends to \ move an argument through processes of \(as it were\) natur)Tj (al )Tj T* (selection. Paul De Man was a careful builder of the absences he presente\ d, seiving his materials with great discrimination. In t)Tj (extual )Tj T* (and editorial works, by contrast, the whole of each phyla as they have e\ ver been known--every individual instance of all the kno)Tj (wn )Tj T* (lines--lays claim to preservation and display. Everyone comes to judgmen\ t: strong and weak, hale and halt, the ideal and the )Tj T* (monstrous. )Tj 0 -2.557 TD (They come, moreover, in )Tj /T1_1 1 Tf (propria persona)Tj /T1_0 1 Tf (, and to that extent they come on their own terms. Franklin's edition of\ Dickinson points up )Tj 0 -1.2 TD (the theoretical advantage that flows from this method of proceeding. His\ fidelity to the original manuscripts was so resolute th)Tj (at the )Tj T* (documents would eventually be called to witness against him--or rather, \ against certain of Franklin's less significant ideas abo)Tj (ut )Tj T* (Dickinson's texts. Franklin's work exploded our understanding of Dickins\ on's use of the physical page as an expressive vehicle. )Tj (We )Tj T* (now see very clearly that she often designed her textual works in the ma\ nner of a visual or graphic artist. )Tj 0 -2.557 TD (These unmistakeable cases have come to function something like the case \ of King Lear--strange survivals helping to elucidate )Tj 0 -1.2 TD (surfaces that might otherwise seem commonplace and unremarkable. Frankli\ n himself has resisted and even deplored many of the )Tj T* (critical moves that his own work made possible. His edition did not set \ out to demonstrate some of its most important ideas: tha)Tj (t )Tj T* (Dickinson used her manuscript venue as a device for rethinking the statu\ s of the poetic line in relation to conventions of print)Tj ( )Tj 0 -1.2 TD (display, for example; or that the execution of the \(private\) fascicles\ and the \(public\) letters together comprise a "theory" of )Tj (verse )Tj ET EMC /Artifact <>BDC Q BT /T1_0 1 Tf 7.144 0 0 7.144 18 8.5785 Tm (http://web.archive.org/web/20041123091955/http://www.iath.virginia.edu/~\ jjm2f/chum.html \(2 of 13\)6/27/2005 3:48:13 PM)Tj ET EMC endstream endobj 21 0 obj << /Length 68 /Filter /FlateDecode >> stream x3T0 BC]=CcKcS=Ss\B.=KscCc<,e5Up Bt;N ٱ endstream endobj 18 0 obj << /Type /XObject /Subtype /Form /FormType 1 /PTEX.FileName (/var/tmp/pdfjam-BEfw3Q/source-1.pdf) /PTEX.PageNumber 3 /PTEX.InfoDict 9 0 R /BBox [0 0 612 792] /Resources << /Font << /T1_0 10 0 R /T1_1 12 0 R /T1_2 11 0 R >> /ProcSet [ /PDF /Text ] >> /Length 7209 >> stream /Artifact <>BDC 0 0 0 rg 0 i BT /T1_0 1 Tf 0 Tc 0 Tw 0 Ts 100 Tz 0 Tr 7.144 0 0 7.144 18 781.5785 Tm (IMAGINING WHAT YOU DON'T KNOW: THE THEORETICAL GOALS OF THE ROSSETTI ARC\ HIVE.)Tj ET EMC /Article <>BDC q 0 18 612 756 re W* n BT /T1_0 1 Tf 11.1128 0 0 11.1128 7.9377 758.1051 Tm (freedom every bit as innovative as Whitman's; or that fragmentary script\ s might possess an integrity that develops through a dyn)Tj (amic )Tj 0 -1.2 TD (engagement between a text and its vehicular \(material\) form. These way\ s of thinking about texts are real if unintended consequen)Tj (ces )Tj T* (of Franklin's work. The edition itself, however, was clearly undertaken \ through a different set of ideas. Most apparent, it was )Tj (a kind )Tj 0 -1.2 TD (of preliminary move toward producing a new print edition of the poems, t\ his time organized by fascicle rather than by hypothetic)Tj (al )Tj 0 -1.2 TD (chronology or topical areas \(the two previously dominant ordering syste\ ms\). Franklin is now completing that print edition. And )Tj T* (while it may have considerable success--Dickinson is one of our central \ American myths--it is unlikely to match the theoretical )Tj T* (achievement of )Tj /T1_1 1 Tf (The Manuscript Books)Tj /T1_0 1 Tf (. That achievement is being pursued elsewhere, in the textual works bein\ g organized through )Tj T* (the so-called )Tj /T1_1 1 Tf (Dickinson Archive)Tj /T1_0 1 Tf (, a scholarly venue sponsoring a variety of approaches to editing Dickin\ son materials. )Tj 0 -2.557 TD (Projects of this kind have a strong documentary orientation. They are al\ so electronic. Why? Because digital technology has creat)Tj (ed a )Tj 0 -1.2 TD (field of significant new possibilities for facsimile and documentary edi\ ting projects. In this respect, remarkable genetic editi)Tj (ons like )Tj T* (Sattler's, although they come to us in codex form, prophecy an electroni\ c existence. They are our age's incunabula, books in win)Tj (ding )Tj T* (sheets rather than swaddling clothes. At once very beautiful and very ug\ ly, fascinating and tedious, these books drive the resou)Tj (rces )Tj T* (of the codex form to its limits and beyond. Think of the Cornell )Tj /T1_1 1 Tf (Wordsworth)Tj /T1_0 1 Tf (, a splendid example of a postmodern incunable. )Tj T* (Grotesque systems of diexis and abbreviation are developed in order to f\ acilitate negotiation through labyrinthine textual scene)Tj (s. To )Tj T* (say that such editions are difficult to use is to speak in vast understa\ tement. But their intellectual intensity is so apparent )Tj (and so great )Tj T* (that they bring new levels of attention to their scholarly objects. Deli\ berate randomness attends every feature of these works, )Tj (which )Tj T* (are as well read as postmodern imaginative constructions as scholarly to\ ols. This result comes about because their enginery of )Tj T* (scholarship is often as obdurate and non-transparent as the material bei\ ng analyzed. )Tj 0 -2.557 TD (The works I have been talking about suggest how editions may constitute \ a theoretical presentation. Their totalized factive )Tj 0 -1.2 TD (committments gives them a privilege unavailable to the speculative or in\ terpretive essay or monograph. Because the three )Tj T* (documentary editions just discussed--Franklin's, Warren's, and Sattler's\ --call special attention to the theoretical status of te)Tj (xtual )Tj T* (materials, including their own mediating qualities and procedures, these\ works represent a vanguard for new levels of critical )Tj T* (reflexiveness. )Tj 0 -2.557 TD (Their greatest significance, however, only appeared after they were draw\ n into the orbit of another more encompassing textual )Tj 0 -1.2 TD (innovation: electronic hypertextuality. It gradually became clear that h\ ad each of these editions been conceived and executed in)Tj ( )Tj 0 -1.2 TD (digital forms, their documentary and critical imperatives would have dis\ covered a more adequate vehicle. )Tj 0 -2.557 TD (At that point I began to imagine something that scholars have not, I thi\ nk, known before. Lee Patterson might have called it a ")Tj (true" )Tj 0 -1.2 TD (theory of documentary editing, Randall McCloud an \(un\)serious effort a\ t Unediting. Or call it a hypermedia archive with a relati)Tj (onal )Tj T* (and object-oriented database. Its truth as theory is two-fold: as a full\ y searchable set of hyperrelated archival materials; as )Tj (a reflexive )Tj T* (system capable of self-study at various scales of attention. In 1993, Th\ e Rossetti Archive was begun as an effort to realize thi)Tj (s )Tj T* (double theoretical goal. In describing it then I said that its aim was t\ o integrate for the first time the procedures of documen)Tj (tary and )Tj T* (critical editing. )Tj 0 -2.557 TD (But this initial purpose was governed by received understandings of thes\ e two approaches. Formed through a long history of )Tj 0 -1.2 TD (scholarship grounded and organized in codex forms, these understandings \ would have their imaginative limits searched and exposed)Tj ( )Tj T* (in the practical work of designing and executing The Rossetti Archive. T\ his result was inevitable. Although The Rossetti Archive)Tj ( )Tj T* (was not conceived as a tool for studying the theoretical structure of pa\ per-based textual forms, it has proven very useful in th)Tj (at )Tj T* (respect. Translating paper-based texts into electronic forms entirely al\ ters one's view of the original materials. So in the fir)Tj (st two )Tj T* (years of the Archive's development I was forced to study a fundamental l\ imit of the scholarly edition in codex form that I had n)Tj (ot )Tj T* (been aware of. Using books to study books constrains the analysis to the\ same conceptual level as the materials to be studied. )Tj T* (Electronic tools raise the level of critical abstraction in the same way\ that a mathematical approach to the study of natural )Tj T* (phenomena shifts the theoretical view to a higher \(or at any rate to a \ different\) level. )Tj /T1_2 1 Tf 12.8225 0 0 12.8225 7.9377 119.1725 Tm (II)Tj /T1_0 1 Tf 11.1128 0 0 11.1128 7.9377 90.3944 Tm (That last idea, which still seems an important one, led me to write "The\ Rationale of HyperText" about four years ago. The furth)Tj (er )Tj 0 -1.2 TD (development of The Rossetti Archive since that time has brought new alte\ rations to the work's original conception and purposes. )Tj (Or )Tj T* (perhaps they are not so much alterations as supplements. For the project\ "to integrate the procedures of documentary and critica)Tj (l )Tj 0 -1.2 TD (editing" keeps turning to worlds unrealized. The Rossetti Archive seemed\ to me, and still seems to me, a tool for imagining what)Tj ( we )Tj 0 -1.2 TD (don't know. The event of its construction, for example, gradually expose\ d the consequences of a crucial fact I did not at first )Tj ET EMC /Artifact <>BDC Q BT /T1_0 1 Tf 7.144 0 0 7.144 18 8.5785 Tm (http://web.archive.org/web/20041123091955/http://www.iath.virginia.edu/~\ jjm2f/chum.html \(3 of 13\)6/27/2005 3:48:13 PM)Tj ET EMC endstream endobj 25 0 obj << /Length 68 /Filter /FlateDecode >> stream x3T0 BC]=CcKcS=Ss\B.=KscCc<,e5Sp Bt;N endstream endobj 22 0 obj << /Type /XObject /Subtype /Form /FormType 1 /PTEX.FileName (/var/tmp/pdfjam-BEfw3Q/source-1.pdf) /PTEX.PageNumber 4 /PTEX.InfoDict 9 0 R /BBox [0 0 612 792] /Resources << /Font << /T1_0 10 0 R /T1_1 12 0 R >> /ProcSet [ /PDF /Text ] >> /Length 6738 >> stream /Artifact <>BDC 0 0 0 rg 0 i BT /T1_0 1 Tf 0 Tc 0 Tw 0 Ts 100 Tz 0 Tr 7.144 0 0 7.144 18 781.5785 Tm (IMAGINING WHAT YOU DON'T KNOW: THE THEORETICAL GOALS OF THE ROSSETTI ARC\ HIVE.)Tj ET EMC /Article <>BDC q 0 18 612 756 re W* n BT /T1_0 1 Tf 11.1128 0 0 11.1128 7.9377 758.1051 Tm (adequately understand: that the tool had included itself in its own firs\ t imagining. We began our work of building the Archive u)Tj (nder )Tj 0 -1.2 TD (an illusion or misconception--in any case, a transparent contradiction: \ that we could know what was involved in trying to imagin)Tj (e )Tj T* (what we didn't know. Four years of work brought a series of chastening i\ nterdictions, stops, revisions, compromises. )Tj 0 -2.557 TD (In the end, despite these events, I see more clearly how one can indeed \ imagine what you don't know. You can build The Rossetti )Tj 0 -1.2 TD (Archive, which is just such an imagining, and it can be fashioned to rev\ eal its various \(and reciprocal\) processes of knowing an)Tj (d )Tj T* (unknowing. These can be either intramural or extramural. The Rossetti Ar\ chive's self-exposures, for example, emerge from two of )Tj T* (the project's basic understandings \(they are reciprocals\): first, the \ Archive can build the history of its own construction into)Tj ( itself \(the )Tj 0 -1.2 TD (ongoing histories of its productions and its receptions\); second, it ca\ n expose those historicalities to each other at various s)Tj (cales and )Tj T* (levels. )Tj 0 -2.557 TD (These self-exposures might be of many kinds. To give you a good general \ sense of what we have done let me focus on one aspect of)Tj ( )Tj 0 -1.2 TD (the Archive's work: the decision to make digital images the center of th\ e project's computational and hypertextual goals. This )Tj T* (decision followed our aspiration to marry critical and facsimile editing\ , and our belief that electronic textuality had arrived )Tj (at a point )Tj T* (where the desire could be realized. So in 1992 we began trying to bring \ about the convergence of these ancient twain. )Tj 0 -2.557 TD (Let me recapitulate a bit of the recent history of humanities computing \ initiatives. Current work in electronic text and data )Tj 0 -1.2 TD (management fall into two broad categories that correspond to a pair of i\ maginative protocols. On one hand we have hypertext and )Tj T* (hypermedia projects--information databases organized for browsing via a \ network of complex linkages. These characteristically )Tj T* (deploy a mix of textual and image materials that can be accessed and tra\ versed by means of a presentational markup language like)Tj ( )Tj T* (HTML. On the other hand are databases of textual materials organized not\ so much for browsing and linking/navigational moves as )Tj T* (for in-depth and structured search and analysis of the data. These proje\ cts, by contrast, require more rigorous markup in full S)Tj (GML. )Tj T* (If they deploy digital images, the images are not incorporated into the \ analytic structure. They will be simple illustrations, t)Tj (o be )Tj T* (accessed--perhaps even browsed in a hypertext--for reference purposes. )Tj 0 -2.557 TD (One kind of project is presentational, designed for the mind's eye \(or \ the eyes' mind\); the other is analytic, a logical structu)Tj (re that can )Tj 0 -1.2 TD (free the conceptual imagination of its inevitable codex-based limits. Th\ e former tend to be image-oriented, the latter incline t)Tj (o be )Tj 0 -1.2 TD (text-based. )Tj 0 -2.557 TD (To date, almost all of the most impressive electronic text projects have\ been text-based: Robinson's Chaucer project, McCarty's )Tj /T1_1 1 Tf (Ovid)Tj /T1_0 1 Tf (, )Tj 0 -1.2 TD (Duggan's )Tj /T1_1 1 Tf (Piers Plowman)Tj /T1_0 1 Tf (, the University of Bergen's Wittgenstein project. Set beside these kind\ s of works, even the most complex )Tj T* (hypertext--)Tj /T1_1 1 Tf (The Perseus Project)Tj /T1_0 1 Tf (, for instance, or the literary "webs" developed by George Landow at Bro\ wn University--will seem )Tj T* (relatively primitive scholarly instruments. \(The great exception to thi\ s generalization would be those non-proprietary and wholl)Tj (y )Tj T* (decentered projects that grow and proliferate randomly, like the network\ of gopher servers or--the spectacular instance--the Wor)Tj (ld-)Tj T* (Wide Web's [WWW] network of hypermedia servers.\) )Tj 0 -2.557 TD (So far as localized hypermedia projects are concerned, works like those \ developed in Storyspace have a distinct attraction, as t)Tj (he )Tj 0 -1.2 TD (amazing success of WWW demonstrates. Crucially, they operate at the macr\ o-level of our human interface. Elaborated front-end )Tj T* (arrangements reinforce an important message: that however strange or vas\ t the materials may sometimes appear to be, the user can)Tj ( )Tj T* (maintain reasonable control of what happens and what moves are made. The\ buzzwords that iconify such a message are "user-)Tj T* (friendly" and, most widespread of all, "interactive". )Tj 0 -2.557 TD (Not without reason do hypertext theorists regularly imagine their world \ in terms of spatial and mapping metaphors. Not without )Tj 0 -1.2 TD (reason did the greatest current hypertext project \(WWW\) decide to code\ its data in HTML \(it could have supported a more rigorous)Tj ( )Tj T* (DTD for its materials\), or make the accessing of images \(rather than t\ he analysis of their information\) a key feature of its wor)Tj (k. )Tj T* (WWW's success derives from its humane--indeed, its humanistic--interface\ . Of course WWW, like all hypermedia engines, is )Tj T* (grotesquely pinned down by the limits of the color-monitor. Still, thoug\ h limited by the monitor \(whether in two or three )Tj T* (dimensions\), hypertexts like WWW can simulate fairly well the eye-organ\ ized environment we are so used to. )Tj 0 -2.557 TD (By contrast, SGML-type projects need take little notice of the eye's aut\ hority. They are splendid conceptual machines, as we see)Tj ( )Tj 0 -1.2 TD (when we reflect on the relative unimportance of sophisticated monitor eq\ uipment to text-based SGML projects. The appearance of )Tj T* (text and data is less crucial than their logical organization and functi\ onal flexibility. )Tj 0 -2.557 TD (The computerized imagination is riven by this elementary split, as every\ one knows. It replicates the gulf separating a Unix from)Tj ( a )Tj ET EMC /Artifact <>BDC Q BT /T1_0 1 Tf 7.144 0 0 7.144 18 8.5785 Tm (http://web.archive.org/web/20041123091955/http://www.iath.virginia.edu/~\ jjm2f/chum.html \(4 of 13\)6/27/2005 3:48:13 PM)Tj ET EMC endstream endobj 29 0 obj << /Length 68 /Filter /FlateDecode >> stream x3T0 BC]=CcKcS=Ss\B.=KscCc<,e5Wp Bt;N endstream endobj 26 0 obj << /Type /XObject /Subtype /Form /FormType 1 /PTEX.FileName (/var/tmp/pdfjam-BEfw3Q/source-1.pdf) /PTEX.PageNumber 5 /PTEX.InfoDict 9 0 R /BBox [0 0 612 792] /Resources << /Font << /T1_0 10 0 R >> /ProcSet [ /PDF /Text ] >> /Length 7309 >> stream /Artifact <>BDC 0 0 0 rg 0 i BT /T1_0 1 Tf 0 Tc 0 Tw 0 Ts 100 Tz 0 Tr 7.144 0 0 7.144 18 781.5785 Tm (IMAGINING WHAT YOU DON'T KNOW: THE THEORETICAL GOALS OF THE ROSSETTI ARC\ HIVE.)Tj ET EMC /Article <>BDC q 0 18 612 756 re W* n BT /T1_0 1 Tf 11.1128 0 0 11.1128 7.9377 757.6382 Tm (Mac world. It also represents the division upon which The Rossetti Archi\ ve was consciously built. That is to say, from the outse)Tj (t I )Tj 0 -1.2 TD (held the project responsible to the demands of hypermedia networks, on o\ ne hand, and to text-oriented logical structures on the )Tj T* (other. This double allegiance is fraught with difficulties and even with\ contradictions, as would be regularly shown during the )Tj (first )Tj 0 -1.2 TD (period of the Archive's development \(1992-1995\). Nevertheless, I deter\ mined to preserve both commitments because each addressed )Tj 0 -1.2 TD (a textual ideal that seemed basic and impossible to forego. We knew that\ we did not have the practical means for reconciling the)Tj ( two )Tj T* (demands--perhaps they can never be reconciled--but even products like Dy\ natext, imperfect as they were \(and are\), held out a )Tj T* (promise of greater adequacy that spurred us forward. Besides, the tensio\ n fostered and exacerbated by this double allegiance mig)Tj (ht )Tj T* (prove a kind of felix culpa for the project, a helpful necessity to moth\ er greater invention. This was my initial belief, and ev)Tj (ents have )Tj 0 -1.2 TD (only strengthened that faith. )Tj 0 -2.557 TD (So our idea was to build the Archive along a kind of double helix. On on\ e hand we would develop a markup of the text data in )Tj 0 -1.2 TD (SGML for a structured search and analysis of the Archive's materials. On\ the other we would design a hypertext environment for t)Tj (he )Tj T* (presentation of the primary documents--Rossetti's books, manuscripts, pr\ oofs, paintings, drawings, and other designs--in their )Tj T* (facsimile \(i.e., digital\) forms. A key problem from the outset, then, \ was how to integrate these different organizational forms.)Tj ( We )Tj T* (arrived at two schemes for achieving what we wanted. One involved a piec\ e of original software we would develop, now called )Tj ET 0 0 1 RG 0.56 w 10 M 0 j 0 J []0 d 7.938 554.18 m 30.775 554.18 l S 0 0 1 rg BT /T1_0 1 Tf 11.1128 0 0 11.1128 7.9377 555.8607 Tm (Inote)Tj 0 0 0 rg (. Although I won't be discussing that part of the project today in great\ detail, I shall come back to it briefly later in connec)Tj (tion )Tj 0 -1.343 TD (with another matter. The other plan was to develop an SGML markup design\ that would extend well beyond the conceptual )Tj 0 -1.2 TD (framework of TEI, the widely-accepted text markup scheme that had spun o\ ff from SGML. TEI has become the standard protocol )Tj T* (for organizing the markup of electronic textual projects in humanities. \ )Tj 0 -2.557 TD (This is not the place to enter a critique of the limitations of a TEI ap\ proach to text-encoding. Suffice it to say that the ling)Tj (uistic )Tj 0 -1.2 TD (orientation of TEI did not suit our documentary demands. Bibliographical\ codes and the graphic design of texts are not easily )Tj T* (addressed by TEI markup. But those features of texts are among our prima\ ry concerns; after all, we had chosen Rossetti as our mo)Tj (del )Tj 0 -1.2 TD (exactly because his work forced us to design an approach to text markup \ that took into account the visibilities of his expressiv)Tj (e )Tj T* (media. What we wanted was a text-markup scheme that could deal with the \ whole of the textual field, not simply its linguistic )Tj T* (elements. So in 1992 we began the effort to design an SGML-based documen\ tary markup for structured search and analysis of all th)Tj (e )Tj T* (work of Dante Gabriel Rossetti. )Tj 0 -2.557 TD (Those initial design sessions immediately exposed an unanticipated probl\ em: the presence of textual concurrencies. SGML markup )Tj 0 -1.2 TD (of text organizes its fields as a series of discrete textual units. Each\ unit can comprise imbedded subseries of the same logica)Tj (l form, )Tj T* (and further subseries can be developed indefinitely. But SGML processors\ have no aptitude for is markup of textual features that)Tj ( are )Tj T* (concurrent but logically distinct. A classic instance would be trying to\ permit a simultaneous markup of a book of poems by page)Tj ( )Tj T* (unit and by poem. In SGML you are led to choose one or the other as the \ logical basis of the markup design. )Tj 0 -2.557 TD (At that point we had two options: to abandon SGML and look for a markup \ language that could process concurrent structures; or to)Tj ( )Tj 0 -1.2 TD (try to modify SGML to accommodate the needs of The Rossetti Archive. In \ choosing the latter option, as we did, we were )Tj T* (consciously committing ourselves to an inevitable set of unforeseeable p\ roblems. For the truth is that all textualizations--but )Tj (pre-)Tj T* (eminently imaginative textualities--are organized through concurrent str\ uctures. Texts have bibliographical and linguistic struc)Tj (tures, )Tj T* (and those are riven by other concurrencies: rhetorical structures, gramm\ atical, metrical, sonic, referential. The more complex t)Tj (he )Tj T* (structure the more concurrencies are set in play. )Tj 0 -2.557 TD (We made our choice for SGML largely because we could find no system for \ dealing with concurrencies that possesses the analytic )Tj 0 -1.2 TD (depth or rigor of SGML, and because the project was not to design a new \ markup language for imaginative discourse. True, buildin)Tj (g )Tj T* (a general model for computerized scholarly editing depends on an adequat\ e logical conception of the primary materials, and it do)Tj (es )Tj T* (not bode well to begin with a logic one knows to be inadequate. On the o\ ther hand, what were the choices? If natural languages )Tj T* (defeat the prospect of complete logical description, an artistic deploym\ ent of language is even more intractable. In such cases )Tj T* (adequacy is out of the question. Besides, SGML is a standard system. We \ are aware of its limitations because the system is broad)Tj (ly )Tj T* (used and discussed. As Hamlet suggested, we seemed better off bearing th\ e ills we had than flying to others we knew nothing of. )Tj T* (And there was one other important consideration: the basic concurrency o\ f physical unit v. conceptual unit might be addressed an)Tj (d )Tj T* (perhaps even accommodated through other parts of the design structure of\ the Archive--through the markup of images, through )Tj T* (software for analyzing image information, and through the hypermedia des\ ign. )Tj 0 -2.557 TD (So in 1992 we began building The Rossetti Archive with what we knew were\ less than perfect tools and under clearly volatile )Tj 0 -1.2 TD (conditions. Our plan was to use the construction process as a mechanism \ for imagining what we didn't know about the project. In )Tj ET EMC /Artifact <>BDC Q BT /T1_0 1 Tf 7.144 0 0 7.144 18 8.5785 Tm (http://web.archive.org/web/20041123091955/http://www.iath.virginia.edu/~\ jjm2f/chum.html \(5 of 13\)6/27/2005 3:48:13 PM)Tj ET EMC endstream endobj 33 0 obj << /Length 68 /Filter /FlateDecode >> stream x3T0 BC]=CcKcS=Ss\B.=KscCc<,e̵Pp Bt;N , endstream endobj 30 0 obj << /Type /XObject /Subtype /Form /FormType 1 /PTEX.FileName (/var/tmp/pdfjam-BEfw3Q/source-1.pdf) /PTEX.PageNumber 6 /PTEX.InfoDict 9 0 R /BBox [0 0 612 792] /Resources << /Font << /T1_0 10 0 R /T1_1 12 0 R >> /ProcSet [ /PDF /Text ] >> /Length 6908 >> stream /Artifact <>BDC 0 0 0 rg 0 i BT /T1_0 1 Tf 0 Tc 0 Tw 0 Ts 100 Tz 0 Tr 7.144 0 0 7.144 18 781.5785 Tm (IMAGINING WHAT YOU DON'T KNOW: THE THEORETICAL GOALS OF THE ROSSETTI ARC\ HIVE.)Tj ET EMC /Article <>BDC q 0 18 612 756 re W* n BT /T1_0 1 Tf 11.1128 0 0 11.1128 7.9377 758.1051 Tm (one respect we were engaged in a classic form of model-building whereby \ a theoretical structure is designed, built, and tested, )Tj (then )Tj 0 -1.2 TD (scaled up in size and tested at each succeeding juncture. The testing ex\ poses the design flaws that lead to modifications of the)Tj ( )Tj T* (original design. That process of development can be illustrated by looki\ ng at one of our SGML markup protocols--)Tj ET 0 0 1 RG 0.56 w 10 M 0 j 0 J []0 d 519.062 729.754 m 576.771 729.754 l S 0 0 1 rg BT /T1_0 1 Tf 11.1128 0 0 11.1128 519.0617 731.4343 Tm (the DTD for )Tj ET 7.938 714.831 m 235.106 714.831 l S BT /T1_0 1 Tf 11.1128 0 0 11.1128 7.9377 716.5113 Tm (marking up Rossetti Archive Documents \(or RAD\))Tj 0 0 0 rg (. This DTD is used for all textual \(as opposed to pictorial\) documents\ of Rossetti's )Tj 0 -1.343 TD (work, as well as for important related primary materials \(like the Pre-\ Raphaelite periodical )Tj /T1_1 1 Tf (The Germ)Tj /T1_0 1 Tf (\). It defines the terms within )Tj 0 -1.2 TD (which structured searches and analyses of the documents will be carried \ out. My immediate interest is not in the SGML design as )Tj T* (such but in the record of modifications to the design. That record appea\ rs as the list of dated entries at the top of the docume)Tj (nt. )Tj 0 -2.557 TD (Before discussing some of these entries let me point out two matters of \ importance. First, note that the date of the first entry)Tj ( is "6 Oct )Tj 0 -1.2 TD (94". That date is just about one year after we completed the first desig\ n iterations for the Rossetti Archive DTDs. A great many)Tj ( )Tj T* (modifications to the initial design were made during that year, but we d\ id not at first think to keep a systematic record of the)Tj ( )Tj 0 -1.2 TD (changes. So there is a pre-history of changes held now only in volatile \ memory: i.e., the personal recollections of the individu)Tj (als )Tj T* (involved, and in paper files that contain incomplete records of what hap\ pened in that period. )Tj 0 -2.557 TD (Second, the record does not indicate certain decisive moments when the A\ rchive was discovering features of itself it was unaware)Tj ( of. )Tj 0 -1.2 TD (In these cases no actual changes were made to the DTDs. For example, we \ regularly discovered that different persons implementing)Tj ( )Tj T* (the markup schemes were liable to interpret the intent of the system in \ different ways. We tried to obviate this by supplying cl)Tj (ear )Tj T* (definitions for all the terms in use, as well as a handbook and guide fo\ r markup procedures. But it turned out--surprise, surpri)Tj (se--that )Tj T* (these tools were themselves sometimes ambiguous. The Archive is regularl\ y reshaped, usually in minor ways, when we discover )Tj T* (such indeterminacies. )Tj 0 -2.557 TD (External factors have also had a significant impact on the the form and \ content of the Archive, and we found ourselves driven in)Tj (to )Tj 0 -1.2 TD (unimagined directions. One of the most interesting shifts came about bec\ ause of our problems with permissions and copyrights. Th)Tj (e )Tj T* (cost of these exploded as the Archive was being developed, and in certai\ n cases we were simply refused access to materials. This)Tj ( )Tj T* (problem grew so acute--the date is 1994--that I decided on a completely \ new approach to the issue of facsimile reproduction of )Tj T* (pictures and paintings. Rather than construct the first installment of t\ he Archive around digital facsimiles made from fresh ful)Tj (l-)Tj T* (colour images \(slides, transparencies, photographs\), I determined to e\ xploit a vast contemporary resource: the photographs made )Tj (of )Tj T* (Rossetti's works during and shortly after his lifetime, many done by fri\ ends and other early pioneers in photography. Rossetti i)Tj (s one )Tj T* (of the first modern artists to take a serious interest in photography--t\ he photographs he made of Jane Morris and Fanny Cornfort)Tj (h )Tj T* (with J. R. Parsons are themselves masterpieces of the art. )Tj 0 -2.557 TD (This shift to early photographic resources--the materials date from the \ mid-1860s to about 1920--has two great advantages, one b)Tj (oth )Tj 0 -1.2 TD (scholarly and practical, the other scholarly. The move allows us to temp\ orize on the extremely vexed issue of copyright. We use )Tj T* (whatever fresh full-colour digital images we can afford and work toward \ developing standards for the scholary use of all such )Tj T* (materials. These procedural advantages bring a number of significant sch\ olarly gains as well. On one hand we now comprehensively)Tj ( )Tj T* (represent Rossetti's visual work in the medium that was probably its maj\ or early disseminating vehicle. On another, we create a )Tj T* (digital archive of great general significance for studying both the hist\ ory of photography and the history of painting. )Tj 0 -2.557 TD (Whether extra-mural or intra-mural, however, these changes to the Rosset\ ti Archive are, first, the realized imaginings of what w)Tj (e )Tj 0 -1.2 TD (didn't know; and second, clear instances of a theoretical power beyond t\ he range of strictly speculative activities. Let's look )Tj (again for )Tj T* (a moment at some intramural examples coded in the historical log of the \ RAD DTD. The recorded alterations in that DTD design )Tj T* (were made as we scaled up the project from its initial development model\ \(which involved only a small subset of Rossetti )Tj T* (documents\). This is a record of a process of imagining what we didn't k\ now. The imagining comes through a series of performative)Tj ( )Tj T* (moves that create a double imaginative result: the discovery of a design\ inadequacy, and a clarification of what we had wanted b)Tj (ut )Tj T* (were at first unable to conceive. )Tj 0 -2.557 TD (Some of the modifications are relatively trivial--for example, this one:\ )Tj 2.857 -2.557 Td ( )Tj -2.857 -2.557 Td (The change permits the markup of an ornamental line break on title pages\ . Small as it is, the change reflects one of the most )Tj 0 -1.2 TD (important general demands laid down by our initial conceptions: to treat\ all the physical aspects of the documents as expressive)Tj ( )Tj T* (features. )Tj ET EMC /Artifact <>BDC Q BT /T1_0 1 Tf 7.144 0 0 7.144 18 8.5785 Tm (http://web.archive.org/web/20041123091955/http://www.iath.virginia.edu/~\ jjm2f/chum.html \(6 of 13\)6/27/2005 3:48:13 PM)Tj ET EMC endstream endobj 37 0 obj << /Length 68 /Filter /FlateDecode >> stream x3T0 BC]=CcKcS=Ss\B.=KscCc<,e̵Tp Bt;N U endstream endobj 34 0 obj << /Type /XObject /Subtype /Form /FormType 1 /PTEX.FileName (/var/tmp/pdfjam-BEfw3Q/source-1.pdf) /PTEX.PageNumber 7 /PTEX.InfoDict 9 0 R /BBox [0 0 612 792] /Resources << /Font << /T1_0 10 0 R /T1_1 11 0 R /T1_2 12 0 R >> /ProcSet [ /PDF /Text ] >> /Length 6102 >> stream /Artifact <>BDC 0 0 0 rg 0 i BT /T1_0 1 Tf 0 Tc 0 Tw 0 Ts 100 Tz 0 Tr 7.144 0 0 7.144 18 781.5785 Tm (IMAGINING WHAT YOU DON'T KNOW: THE THEORETICAL GOALS OF THE ROSSETTI ARC\ HIVE.)Tj ET EMC /Article <>BDC q 0 18 612 756 re W* n BT /T1_0 1 Tf 11.1128 0 0 11.1128 7.9377 754.4631 Tm (A more obviously significant change is the following: )Tj 2.857 -2.557 Td ()Tj -2.857 -2.557 Td (This calls for the introduction of the attribute "r" \(standing for "ref\ erence line"\) to all line, line group, and variant line v)Tj (alues in the )Tj 0 -1.2 TD (Archive. The small change defines the moment when we were able to work o\ ut a line referencing system for the Archive that permit)Tj (s )Tj T* (automatic identification of equivalent units of text in different docume\ nts. We of course knew we wanted such a system from the )Tj T* (outset, but we were unable to feel confident about how the system should\ be organized until we had three years of experience wit)Tj (h )Tj 0 -1.2 TD (many different types of textual material. )Tj 0 -2.557 TD (Working out this scheme for collating Rossetti's texts revealed an inter\ esting general fact about electronic collating tools: th)Tj (at we do )Tj 0 -1.2 TD (not yet have any good program for collating units of prose texts. The po\ etic line is a useful reference unit. In prose, the text)Tj (ual )Tj T* (situation is far more fluid and does not lend itself to convenient divis\ ion into discrete units. The problem is especially appar)Tj (ent when )Tj T* (you try to mark up working manuscripts for collation with printed texts.\ The person who discovers a reasonably simple solution t)Tj (o )Tj T* (this problem will have made a signal contribution not just to electronic\ scholarship, but to the theoretical understanding of pr)Tj (ose )Tj T* (textuality in general. )Tj 0 -2.557 TD (But let us return to the history of RAD revisions. Look at the notation \ for 14 June 1995: )Tj 2.857 -2.557 Td ()Tj -2.857 -2.557 Td (A large-scale change in our conception of the Archive's documentary stru\ cture is concealed in this small entry. The line calls f)Tj (or the )Tj 0 -1.2 TD (use of the "group" tag in the markup structure for the serials to be inc\ luded in the Archive \(like The Germ\). Behind that call, )Tj T* (however, lies a difficult process that extended over several years. The \ problem involved documents with multiple kinds of materi)Tj (als )Tj T* (\(like periodicals\). The most problematic of these were not the periodi\ cals, however, but a series of primary Rossettian document)Tj (s--)Tj T* (most importantly, composite manuscripts and composite sets of proofs. In\ these materials the problems of concurrency became so )Tj T* (extreme that we began to consider the possibility of abandoning SGML alt\ ogether--which would have meant beginning the whole )Tj 0 -1.2 TD (project from scratch. )Tj 0 -2.557 TD (As it turned out, we found a way to manipulate the SGML structure so as \ to permit a reasonably full presentation of the structur)Tj (e of )Tj 0 -1.2 TD (these complex documents. That practical result, however, was not nearly \ so interesting as the insights we gained into general )Tj T* (problems of concurrency and into the limitations of SGML software. )Tj 0 -2.557 TD (Consider the following situation. Rossetti typically wrote his verse and\ prose in notebooks of a distinctive kind. Two of these )Tj (survive )Tj 0 -1.2 TD (intact to this day, but the fragments of many others are scattered every\ where. Many are loose sheets or groups of sheets, many o)Tj (thers )Tj T* (come down to us as part of second-order confederations of material that \ Rossetti put together, or that were put together by othe)Tj (rs )Tj T* (\(during his lifetime or after his death\) as other second or even third\ -order arrangements. Problem: devise a markup scheme that )Tj (will )Tj T* (reconstruct on-the-fly the initial, but later deconstructed, orderings. \ Or--since in many cases we can't identify for certain wh)Tj (ich pages )Tj T* (go with which notebook phylum--devise a markup scheme that constructs on\ -the-fly the various possibilities. Or: devise a system )Tj T* (that lays out an analytic history of the re-orderings, including a descr\ iption of the possible or likely lines by which the dist)Tj (ributed )Tj T* (documents arrived at their current archival states. )Tj 0 -2.557 TD (An instrument that could perform any or all of these operations would ha\ ve wide applicability for textual scholars of all kinds )Tj (and )Tj 0 -1.2 TD (periods. I am sure it could be developed, perhaps even within SGML. It i\ s an instrument that was imagined into thought by buildi)Tj (ng )Tj T* (the Rossetti Archive. We saw it as we were trying to devise markup syste\ ms that would accommodate the composite proofs and )Tj T* (manuscripts that are so characteristic of Rossetti's extant textual mate\ rials. It is an instrument that we would like to develop)Tj ( )Tj T* (ourselves--except we're far too busy with so many other basic problems a\ nd demands. )Tj /T1_1 1 Tf 12.8225 0 0 12.8225 7.9377 95.2099 Tm (III)Tj /T1_0 1 Tf 11.1128 0 0 11.1128 7.9377 66.4317 Tm (These examples illustrate what I would call the pragmatics of theory, an\ d the sharp difference between theory, on one hand, and )Tj 0 -1.2 TD (hypothesis or speculation on the other. In humanities discourse this dis\ tinction is rarely maintained, and the term "theory" is )Tj T* (characteristically applied to speculative projects--conceptual undertaki\ ngs \()Tj /T1_2 1 Tf (gnosis)Tj /T1_0 1 Tf (\) rather than specific constructions \()Tj /T1_2 1 Tf (poeisis)Tj /T1_0 1 Tf (\). )Tj ET EMC /Artifact <>BDC Q BT /T1_0 1 Tf 7.144 0 0 7.144 18 8.5785 Tm (http://web.archive.org/web/20041123091955/http://www.iath.virginia.edu/~\ jjm2f/chum.html \(7 of 13\)6/27/2005 3:48:13 PM)Tj ET EMC endstream endobj 42 0 obj << /Length 69 /Filter /FlateDecode >> stream x3T0 BC]=CcKcS=Ss\B.=KscCc<,e54Pp Bt;N endstream endobj 39 0 obj << /Type /XObject /Subtype /Form /FormType 1 /PTEX.FileName (/var/tmp/pdfjam-BEfw3Q/source-1.pdf) /PTEX.PageNumber 8 /PTEX.InfoDict 9 0 R /BBox [0 0 612 792] /Resources << /Font << /T1_0 10 0 R /T1_1 12 0 R >> /ProcSet [ /PDF /Text ] >> /Length 6519 >> stream /Artifact <>BDC 0 0 0 rg 0 i BT /T1_0 1 Tf 0 Tc 0 Tw 0 Ts 100 Tz 0 Tr 7.144 0 0 7.144 18 781.5785 Tm (IMAGINING WHAT YOU DON'T KNOW: THE THEORETICAL GOALS OF THE ROSSETTI ARC\ HIVE.)Tj ET EMC /Article <>BDC q 0 18 612 756 re W* n BT /T1_0 1 Tf 11.1128 0 0 11.1128 7.9377 758.1051 Tm (Scientists work within the former distinction, and in this sense The Ros\ setti Archive seems a "scientific" project. Patterson's )Tj 0 -1.2 TD (discussion of the Kane-Donaldson edition of )Tj /T1_1 1 Tf (Piers Plowman)Tj /T1_0 1 Tf ( implicitly affirms the same kind of distinction, where "theory" operate\ s )Tj T* (through concrete acts of imagining. )Tj 0 -2.557 TD (The virtue of this last kind of theorizing is that it makes possible the\ imagination of what you don't know. Theory in the other)Tj ( sense--)Tj 0 -1.2 TD (for instance, Heideggerian dialectic--is a procedure for revealing what \ you do know, but are unaware of. Both are intellectual )Tj T* (imperatives, but in humanities disciplines the appreciation for theory-a\ s-poeisis has grown attenuated. The need to accommodate )Tj T* (electronic textualities to humanities disciplines, which are fundamental\ ly document- and text-based, is bringing a radical chang)Tj (e in )Tj 0 -1.2 TD (perspective on these matters. )Tj 0 -2.557 TD (The force of these circumstances has registered on nearly every aspect o\ f The Rossetti Archive, as I've already indicated. To th)Tj (is )Tj 0 -1.2 TD (point, however, I've used examples that illustrate the praxis of theory \ as it is an example of a methodological process we are v)Tj (ery )Tj T* (familiar with, though perhaps not so much in a humanities context: the p\ rocess of imagining what you know, testing it, scaling i)Tj (t up, )Tj T* (modifying it, and then re-imagining it; and then the process of repeatin\ g that process in an indefinite series of iterations. )Tj 0 -2.557 TD (At this point I want to give one more example of that process. It is the\ history of the development of a piece of software I men)Tj (tioned )Tj 0 -1.2 TD (earlier, Inote \(formerly called the Image Tool\). More than an exemplum\ of theory-as-poeisis, the story indicates, I believe, the)Tj ( )Tj T* ("strange days" that lie ahead for humanities scholars as we register the\ authority of these new electronic textualities. )Tj 0 -2.557 TD (Inote was originally an idea for computing via images rather than with t\ ext or the data represented in text. Because information)Tj ( in bit-)Tj 0 -1.2 TD (mapped images cannot be coded for analysis, our technical people were as\ ked if it would be possible to lay an electronic )Tj T* (transparency \(as it were\) over the digital image and then use that ove\ rlay as the vehicle for carrying computable marked-up data)Tj ( and )Tj T* (hypertext links. The idea was to treat the overlay as a kind of see-thro\ ugh page on which one would write text that elucidated o)Tj (r )Tj T* (annotated the imaged material "seen through" the overlay. \(The idea ori\ ginates in scholarly editions that utilize onionskin or o)Tj (ther )Tj T* (transparent pages to create an editorial palimpsest for complex textual \ situations.\) )Tj 0 -2.557 TD (As with virtually all work undertaken at IATH, this tool's design was in\ fluenced by many people who came to have an interest in )Tj (it. )Tj 0 -1.2 TD (Consequently, because I was initially most preoccupied with designing Th\ e Rossetti Archive's markup structure, my interest in th)Tj (e )Tj 0 -1.2 TD (development of Inote hung fire. My own early thought had been that such \ a tool might enable The Rossetti Archive to incorporate )Tj T* (images into its analytic text structure and thus establish a basis for d\ irect searches across the whole of the Archive at the im)Tj (age level. )Tj T* (As I worked more and more closely with SGML markup, however, I began to \ suspect that the same result might be achieved through )Tj T* (the design of a DTD for images. That idea, plus the technical difficulti\ es in building Inote, drew my attention away from the to)Tj (ol's )Tj T* (development. )Tj 0 -2.557 TD (Inote thus began to evolve in ways I \(at any rate\) had not anticipated\ . As others looked for features that would answer their in)Tj (terests, )Tj 0 -1.2 TD (it emerged as a device for editing images with multiple-style overlays t\ hat if clicked would generate a text file carrying vario)Tj (us )Tj T* (annotations to the image. These annotations would be saved as part of th\ e total Archive structure and hence could be imbedded wi)Tj (th )Tj T* (hypertext links to other images or archival documents. )Tj 0 -2.557 TD (At that point--the date is early 1995--my practical interest in the tool\ was revived. This happened because my work on the DTDs )Tj (for )Tj 0 -1.2 TD (the Archive, nearing completion, began to expose certain limitations in \ the overall design structure. It was growing very clear )Tj (that )Tj T* (the Archive's two parallel universes continued discontinuous in fundamen\ tal and \(in this case, I thought\) unhelpful ways. Inote )Tj (had )Tj T* (become a device with two primary functions: )Tj 1.607 -2.557 Td (1. it allowed one to build a random set of image points or areas to whi\ ch one could attach text materials of varying kinds; )Tj T* (2. it allowed one to imbed hypertext links to those materials. )Tj -1.607 -2.557 Td (So while the tool created navigational paths from text to image and vice\ versa, thus connecting the two basic \(and different\) ki)Tj (nds of )Tj T* (objects in the Archive; and while it drew these image-related texts \(an\ d hence the images as well\) into the full computational )Tj T* (structure, it did not organize these materials within a logical structur\ e readable in the Archive. Any searches of the materials)Tj ( would )Tj T* (have to be in effect string searches. \(Inote in its first iteration, fo\ r example, could not function in close cooperation with t)Tj (he )Tj T* (indexable fields of information as established through the Archive's DTD\ s\). )Tj 0 -2.557 TD (This limitation in the tool recalled my attention to the Archive's basic\ contradiction and double allegiance. The full evolution)Tj ( of the )Tj ET EMC /Artifact <>BDC Q BT /T1_0 1 Tf 7.144 0 0 7.144 18 8.5785 Tm (http://web.archive.org/web/20041123091955/http://www.iath.virginia.edu/~\ jjm2f/chum.html \(8 of 13\)6/27/2005 3:48:13 PM)Tj ET EMC endstream endobj 46 0 obj << /Length 69 /Filter /FlateDecode >> stream x3T0 BC]=CcKcS=Ss\B.=KscCc<,e54Tp Bt;N 1 endstream endobj 43 0 obj << /Type /XObject /Subtype /Form /FormType 1 /PTEX.FileName (/var/tmp/pdfjam-BEfw3Q/source-1.pdf) /PTEX.PageNumber 9 /PTEX.InfoDict 9 0 R /BBox [0 0 612 792] /Resources << /Font << /T1_0 10 0 R /T1_1 12 0 R >> /ProcSet [ /PDF /Text ] >> /Length 7136 >> stream /Artifact <>BDC 0 0 0 rg 0 i BT /T1_0 1 Tf 0 Tc 0 Tw 0 Ts 100 Tz 0 Tr 7.144 0 0 7.144 18 781.5785 Tm (IMAGINING WHAT YOU DON'T KNOW: THE THEORETICAL GOALS OF THE ROSSETTI ARC\ HIVE.)Tj ET EMC /Article <>BDC q 0 18 612 756 re W* n BT /T1_0 1 Tf 11.1128 0 0 11.1128 7.9377 755.8919 Tm (markup structure--the building of the DTDs for all text and image docume\ nts--had not been matched by a corresponding )Tj 0 -1.2 TD (development in Inote, at least for those who would want--as I did--a too\ l that could function within the SGML marked database )Tj T* (\(texts as well as pictures\). This discrepancy arises because the first\ version of Inote, unlike the DTDs, was not mapped to the )Tj (logical )Tj 0 -1.2 TD (\(DTD\) structure of the files in the Archive. It would be formally inte\ grated with the SGML marked database only when it could )Tj 0 -1.2 TD (summon its materials within pre-established indexable categories. Furthe\ rmore, an adequate integration would require some kind o)Tj (f )Tj T* (mappable relation between those indexable forms and the SGML marked data\ base. )Tj 0 -2.557 TD (To address these problems I suggested that we limit our consideration, a\ t least initially, to textual images--i.e., images of )Tj 0 -1.2 TD (manuscripts, proofs, and printed documents--since these are far simpler \ than pictorial images. We began by posing the question )Tj T* ("what is the formal structure of a text page?" )Tj 0 -2.557 TD (This initial query rises through a pair of presuppositions implicit in T\ he Rossetti Archive. The first reflects the Archive's pr)Tj (actical )Tj 0 -1.2 TD (delivery of its images, which the Archive manipulates as units of either\ single pages or single page openings \(i.e., a pair of f)Tj (acing )Tj T* (pages\). That procedure flows from a second assumption about texts in ge\ neral. We assume that a "text" is a rhetorical sequence )Tj T* (organized by units of page, with each page centrally structured in terms\ of a sequence of lines commonly running from top to )Tj T* (bottom, left to right and within some set of margins \(which may be redu\ ced to nil \(practically\) on any side\). )Tj 0 -2.557 TD (In marking up the formal structure of the text image, these general conv\ entions defining the shape of the page will govern the )Tj 0 -1.2 TD (markup. Consequently, I proposed the following: that the page be formall\ y conceived as a structure of different spatial areas. I)Tj ( )Tj T* (initially proposed four marginal areas \(left and right margins plus hea\ der and footer\) and a central text area stacked into four)Tj ( equal )Tj T* (horizontal sections. This design was found to be mre complex than necess\ ary, and we eventually settled on a page design of three)Tj ( )Tj T* (stacked hrizontal areas with no mapping at the margins. )Tj 0 -2.557 TD (The essential point of this structure is to permit SGML marked textual m\ aterials to be mapped directly to digitized images. An )Tj 0 -1.2 TD (indexable code is supplied to digital materials so that a formal relatio\ n can be established between the two conceptual states o)Tj (f every )Tj T* (text \(i.e., texts conceived as linguistic fields and texts conceived as\ bibliographical fields\). SGML marked texts have nothing )Tj (to say )Tj T* (about the physical status of marked materials because the markup is not \ conceived in terms of spatial relations. Even if a set o)Tj (f )Tj 0 -1.2 TD (SGML fields were to be defined for bibliographical features of text, no \ formal structure would exist to connect the digital imag)Tj (es to )Tj T* (the SGML marked texts--because the latter have not been conceptually def\ ined in relation to the former. In the case of textual )Tj T* (materials, this formalized representation of the bibliographical field w\ ould serve primarily to facilitate the study of document)Tj (s with )Tj T* ("irregular" textual conditions \(e.g., documents with many additions, co\ rrections, and erasures; or documents with nonlinguistic )Tj T* (elements, such as Blake's illuminated texts\). At least that was the ini\ tial imagination for the scheme. )Tj 0 -2.557 TD (Inote has now been developed along these lines and its functions have be\ en applied and adapted by the editors of )Tj ET 0 0 1 RG 0.507 w 10 M 0 j 0 J []0 d 512.861 305.572 m 594.951 305.572 l S 0 0 1 rg BT /T1_1 1 Tf 11.1128 0 0 11.1128 512.8608 307.0919 Tm (The Blake Archive)Tj 0 0 0 rg /T1_0 1 Tf (. )Tj -45.436 -1.343 Td (The results can be seen in )Tj /T1_1 1 Tf (The Blake Archive)Tj /T1_0 1 Tf ('s recent release of its first installment, an edition and study tool fo\ r )Tj ET 509.316 290.649 m 585.561 290.649 l S 0 0 1 rg BT /T1_1 1 Tf 11.1128 0 0 11.1128 509.3158 292.1689 Tm (The Book of Thel)Tj 0 0 0 rg /T1_0 1 Tf (. )Tj -45.117 -2.7 Td (But not all the results. The practise of the theory of Inote revealed so\ me interesting ideas about computerizing textual materia)Tj (ls in )Tj 0 -1.2 TD (relation to a database of images. For instance, it is apparent that in s\ uch cases one should define the basic textual unit as th)Tj (e page \(as )Tj T* (is done in )Tj /T1_1 1 Tf (The Blake Archive)Tj /T1_0 1 Tf (\) rather than the work \(as is done in SGML and--alas--in The Rossetti \ Archive\). Only if the basic unit is )Tj T* (the page \(or the page opening\) can the lineation in the digital image \ be logically mapped to the SGML markup structure. Of cours)Tj (e if )Tj T* (SGML software were able to handle concurrent structures, this consequenc\ e would not necessarily follow. )Tj /T1_1 1 Tf 0 -2.557 TD (The Blake Archive)Tj /T1_0 1 Tf ('s work conforms to the original thought about Inote that it be shaped t\ o integrate the meta-data in an SGML-)Tj 0 -1.2 TD (marked text to the direct study of the digital images that constitute th\ at meta-data. As the tool was being adapted by )Tj /T1_1 1 Tf (The Blake )Tj T* (Archive)Tj /T1_0 1 Tf ( editors, however, their work exposed more severely than ever the proble\ m of analyzing the data of digital images. Blake's )Tj T* (work lent itself to the idea of Inote because that idea was fundamentall\ y a textual one; and while Blake's works are profoundly )Tj T* (iconological, they are also, at bottom, texts, not pictures. )Tj 0 -2.557 TD (We still do not have means for carrying out on-the-fly analyses of the i\ conological information in pictures \(let alone pictures )Tj (that are )Tj 0 -1.2 TD (aesthetically organized\). Our work with Inote shows how far one might g\ o--and it is pretty far, after all--to integrate an SGML )Tj T* (approach to picture markup and analysis. But the limitations of such an \ approach are also painfully clear. )Tj 0 -2.557 TD (I have no idea how or when this nexus of problems will be overcome, thou\ gh I do have some thoughts on experimental avenues that )Tj ET EMC /Artifact <>BDC Q BT /T1_0 1 Tf 7.144 0 0 7.144 18 8.5785 Tm (http://web.archive.org/web/20041123091955/http://www.iath.virginia.edu/~\ jjm2f/chum.html \(9 of 13\)6/27/2005 3:48:13 PM)Tj ET EMC endstream endobj 50 0 obj << /Length 69 /Filter /FlateDecode >> stream x3T0 BC]=CcKcS=Ss\B.=KscCc<,e54Rp Bt;N Z endstream endobj 47 0 obj << /Type /XObject /Subtype /Form /FormType 1 /PTEX.FileName (/var/tmp/pdfjam-BEfw3Q/source-1.pdf) /PTEX.PageNumber 10 /PTEX.InfoDict 9 0 R /BBox [0 0 612 792] /Resources << /XObject << /Im0 51 0 R /Im1 52 0 R /Im2 53 0 R /Im3 54 0 R /Im4 55 0 R >>/ColorSpace << /CS0 56 0 R /CS1 57 0 R /CS2 58 0 R /CS3 59 0 R /CS4 60 0 R >>/Font << /T1_0 10 0 R /T1_1 11 0 R /T1_2 12 0 R /T1_3 13 0 R >> /ProcSet [ /PDF /Text /ImageC /ImageI ] >> /Length 9630 >> stream /Artifact <>BDC 0 0 0 rg 0 i BT /T1_0 1 Tf 0 Tc 0 Tw 0 Ts 100 Tz 0 Tr 7.144 0 0 7.144 18 781.5785 Tm (IMAGINING WHAT YOU DON'T KNOW: THE THEORETICAL GOALS OF THE ROSSETTI ARC\ HIVE.)Tj ET EMC /WebCaptureBG BMC /WebCaptureFN <>BDC q 0 18 612 756 re W* n /Artifact <>BDC Q 0.801 0.801 0.801 rg 7.938 602.081 m 114.303 602.081 l 113.51 601.287 l 8.732 601.287 l h f 7.938 602.081 m 7.938 383.316 l 8.732 384.11 l 8.732 601.287 l h f 0.313 0.313 0.313 rg 114.303 602.081 m 114.303 383.316 l 113.51 384.11 l 113.51 601.287 l h f 7.938 383.316 m 114.303 383.316 l 113.51 384.11 l 8.732 384.11 l h f EMC q 0 18 612 756 re W* n /Artifact <>BDC Q 0.457 0.449 0.431 rg 16.669 593.349 m 105.572 593.349 l 104.778 592.555 l 17.463 592.555 l h f 16.669 593.349 m 16.669 503.018 l 17.463 503.811 l 17.463 592.555 l h f 0.949 0.945 0.935 rg 105.572 593.349 m 105.572 503.018 l 104.778 503.811 l 104.778 592.555 l h f 16.669 503.018 m 105.572 503.018 l 104.778 503.811 l 17.463 503.811 l h f EMC q 0 18 612 756 re W* n /Artifact <>BDC Q 0.457 0.449 0.431 rg 16.669 495.08 m 105.572 495.08 l 104.778 494.286 l 17.463 494.286 l h f 16.669 495.08 m 16.669 392.048 l 17.463 392.842 l 17.463 494.286 l h f 0.949 0.945 0.935 rg 105.572 495.08 m 105.572 392.048 l 104.778 392.842 l 104.778 494.286 l h f 16.669 392.048 m 105.572 392.048 l 104.778 392.842 l 17.463 392.842 l h f EMC q 0 18 612 756 re W* n /Artifact <>BDC Q 0.801 0.801 0.801 rg 7.938 368.235 m 119.066 368.235 l 118.272 367.441 l 8.732 367.441 l h f 7.938 368.235 m 7.938 32.288 l 8.732 32.288 l 8.732 367.441 l h f 0.313 0.313 0.313 rg 119.066 368.235 m 119.066 32.288 l 118.272 32.288 l 118.272 367.441 l h f EMC q 0 18 612 756 re W* n /Artifact <>BDC Q 0.457 0.449 0.431 rg 16.669 359.503 m 110.335 359.503 l 109.541 358.709 l 17.463 358.709 l h f 16.669 359.503 m 16.669 256.471 l 17.463 257.265 l 17.463 358.709 l h f 0.949 0.945 0.935 rg 110.335 359.503 m 110.335 256.471 l 109.541 257.265 l 109.541 358.709 l h f 16.669 256.471 m 110.335 256.471 l 109.541 257.265 l 17.463 257.265 l h f EMC q 0 18 612 756 re W* n /Artifact <>BDC Q 0.457 0.449 0.431 rg 16.669 248.534 m 110.335 248.534 l 109.541 247.74 l 17.463 247.74 l h f 16.669 248.534 m 16.669 150.264 l 17.463 151.058 l 17.463 247.74 l h f 0.949 0.945 0.935 rg 110.335 248.534 m 110.335 150.264 l 109.541 151.058 l 109.541 247.74 l h f 16.669 150.264 m 110.335 150.264 l 109.541 151.058 l 17.463 151.058 l h f EMC q 0 18 612 756 re W* n /Artifact <>BDC Q 0.457 0.449 0.431 rg 16.669 142.327 m 110.335 142.327 l 109.541 141.533 l 17.463 141.533 l h f 16.669 142.327 m 16.669 39.295 l 17.463 40.088 l 17.463 141.533 l h f 0.949 0.945 0.935 rg 110.335 142.327 m 110.335 39.295 l 109.541 40.088 l 109.541 141.533 l h f 16.669 39.295 m 110.335 39.295 l 109.541 40.088 l 17.463 40.088 l h f EMC EMC EMC /Article <>BDC q 0 18 612 756 re W* n 0 0 0 rg BT /T1_0 1 Tf 11.1128 0 0 11.1128 7.9377 758.1051 Tm (might be explored. Nevertheless, electronic textuality is so intimately \ bound to the manipulation of images that the issues must)Tj ( )Tj 0 -1.2 TD (remain at the forefront of attention. Logical markup through schemes der\ ived from linguistic models, powerful though they are, )Tj T* (cannot even serve the full needs of textual scholars, much less those of\ musicologists, art historians, film scholars, and artis)Tj (ts in )Tj 0 -1.2 TD (general. The Pentagon and the Infotainment industry have committed large\ resources to research into these problems, whose )Tj 0 -1.2 TD (importance is clear to them. While scholars and archivists lack those ki\ nds of financial resources, we would be wrong to stand a)Tj (side )Tj T* (while the issues are being engaged and theorized. Indeed, scholars like \ ourselves typically possess a phenomenological )Tj T* (understanding of such materials that is obscure to techno-scientific res\ earchers. So it's extremely important that traditional s)Tj (cholars )Tj T* (and critics experiment with the study of digital images, and--perhaps ev\ en more useful--set their students to play and experimen)Tj (t )Tj 0 -1.2 TD (with these materials. If there ever was a situation calling us to imagin\ e what we don't know, this is one. )Tj /T1_1 1 Tf 12.8225 0 0 12.8225 7.9377 621.3141 Tm (IV)Tj ET q 57.9455261 0 0 56.3579712 32.1478577 526.6721344 cm /Im0 Do Q 0 0 1 RG 1.588 w 10 M 0 j 0 J []0 d 31.354 525.878 59.533 57.946 re S BT /T1_0 1 Tf 11.1128 0 0 11.1128 91.6809 554.8511 Tm ( )Tj -4.319 -3.537 Td (figure 1)Tj ET q 66.6770477 0 0 69.0583649 27.7821045 415.7024841 cm /Im1 Do Q 26.988 414.909 68.265 70.646 re S BT /T1_0 1 Tf 11.1128 0 0 11.1128 96.0467 450.2317 Tm ( )Tj -4.712 -4.109 Td (figure 2)Tj 6.569 16.914 Td (An artist friend of mine and I recently stumbled into an imagining of th\ at kind. We were fooling around with )Tj T* (a digital image of Rossetti's famous painting )Tj /T1_2 1 Tf (The Blessed Damozel)Tj /T1_0 1 Tf (--filtering the image in a series of playful )Tj T* (and random ways. At a certain point we generated an image that startled \ me. The arbitrary distortion had )Tj T* (suddenly clarified a chromatic organization I had never noticed--familia\ r as this painting was. Here are two )Tj T* (images--a facsimile of the damozel's head in the original painting in th\ e Fogg Museum \(fig. 1\), and a )Tj 0 -1.2 TD (deformed version \(fig. 2\) we generated with our image editor. The chro\ matic relationships exposed here )Tj T* (were so interesting that I wanted to try some more disciplined experimen\ ts of a similar kind when I had the )Tj T* (time. In the initial series we did not keep track of the distortion sequ\ ences. Besides, the images were of )Tj T* (limited use because of the smallness of the cropped picture area. )Tj ET q 71.439682 0 0 69.0583649 27.7821045 280.125824 cm /Im2 Do Q 26.988 279.332 73.027 70.646 re S BT /T1_0 1 Tf 11.1128 0 0 11.1128 100.8093 314.655 Tm ( )Tj -4.926 -4.109 Td (figure 3)Tj ET q 66.6770477 0 0 64.2957153 30.1634216 173.9188232 cm /Im3 Do Q 29.37 173.125 68.265 65.883 re S BT /T1_0 1 Tf 11.1128 0 0 11.1128 98.428 206.0667 Tm ( )Tj -4.712 -3.895 Td (figure 4)Tj ET q 71.439682 0 0 69.0583649 27.7821045 62.949173 cm /Im4 Do Q 26.988 62.155 73.027 70.646 re S BT /T1_0 1 Tf 11.1128 0 0 11.1128 100.8093 97.4784 Tm ( )Tj -4.926 -4.109 Td (figure 5)Tj ET EMC /Article <>BDC BT /T1_0 1 Tf 11.1128 0 0 11.1128 121.4475 358.6901 Tm (Here are two recent deformations made on a larger area of )Tj /T1_2 1 Tf (The Blessed Damozel)Tj /T1_0 1 Tf ( \(original, fig. 3\). The )Tj 0 -1.2 TD (images were produced using the standard filter protocols in Adobe Photos\ hop 4.0, with some adjustments )Tj T* (to sharpen the features that were generated \(figures 4 and 5\). The rhe\ torical power of Rossetti's art is such )Tj 0 -1.2 TD (that its intellectual beauties, which are always primary concerns for hi\ m, get thrown out of relief \(as it )Tj 0 -1.2 TD (were\) when we encounter them in their natural \(so to speak\) condition\ . That is to say, Rossetti works hard )Tj T* (to ensure that his arguments will register as primary apparitions rather\ than as abstract ideas. He works this )Tj T* (way programmatically--indeed, much of his importance as an artist depend\ s upon the way he explores the )Tj T* (liminal moment between the conventions of pictorial illusionism, on one \ hand, and modernist abstraction )Tj 0 -1.2 TD (on the other. One may well recall here his famous dictum on the relation\ of spiritual and material )Tj T* (presences, ideas and phenomena: )Tj /T1_3 1 Tf 0 -2.562 TD ( Thy soul I know not from thy body, nor)Tj 0 -1.2 TD ( Thee from myself, neither our love from God.)Tj /T1_0 1 Tf 0 -2.552 TD (The formal relations between the flesh of the damozel, the stars in her \ crown, her symbolic flowers, and the )Tj 0 -1.2 TD (glimpsed world behind the heaven of embracing lovers is exposed in these\ distorted images: in one case )Tj T* (through the patterns of blue/green, in the other through their gold equi\ valents. Those patterns help to )Tj T* (explain how Rossetti manages to evoke, in this voluptuous Venetian exerc\ ise, the presence of a transnatural )Tj T* (or divine order of reality. He has concealed within the painting's decor\ ative opulence a subtle allusion to a )Tj T* (commonplace feature of primitive religious pictorialism. We glimpse the \ allusion in the two previous )Tj T* (deformations, but it leaps to our awareness when we pass the original im\ age through a black and white )Tj T* (emboss filter \(fig. 6\). In this deformation we realize that an iconic \ gold ground is being subtly evoked in )Tj T* (the broken, sinuous line of interstitial moments near the emparadised lo\ vers, and that the line explicitly )Tj T* (relates to her crown of stars and to the central triangle of her face, h\ er hands, and the lilies she is holding. )Tj ET EMC /Artifact <>BDC Q 0 0 0 rg BT /T1_0 1 Tf 7.144 0 0 7.144 18 8.5785 Tm (http://web.archive.org/web/20041123091955/http://www.iath.virginia.edu/~\ jjm2f/chum.html \(10 of 13\)6/27/2005 3:48:13 PM)Tj ET EMC endstream endobj 51 0 obj << /Subtype /Image /Length 4503 /ID 61 0 R /Filter /FlateDecode /BitsPerComponent 8 /ColorSpace 56 0 R /Width 73 /Height 71 /Type /XObject >> stream H,UOhH/&c2N(cǭw!I⠲"i"uJ`j^?Lپ[Uì+u_*rH9ﴘJWru n7büQԇțA/by2sp
ǂ @Bf](ݖ`n N\[乘WbܝL(a(J* 0Gh9q'x00Dy-Wm673q|V$Q8Q%R FEe}.H|Bpymissi"%3^Jg2Y)C8Ae$]Z)A2QN8L!Aɥ4JT\ua).,J 8ZH
xTI-pB82R5H)IygC\D*!$vKki`#'X2TSeJ,RsN66Bk9>#Ipgȉ-Y_\.)Uͤ"ťj}$'֓lJQD9 49pd