Rationale<\/h2>\n
As we\u2019ve explored in a number of assignments throughout the semester, you can get a different sense of texts if you do pattern recognition at a slightly different angle. So far this has meant that we\u2019ve considered a novel via its geography, a poetry collection at the macro level, and films that we summed. But in each case, we did the \u201cnormal\u201d humanities thing by reading or watching the text and discussing it. Only\u00a0then\u00a0<\/em>did we look at it through a computational lens.<\/p>\n But what if we decided to try pattern recognition and interpretation on something so large that a class could\u00a0never<\/em>\u00a0read it in a single semester, let alone the last\u00a0two weeks? Consider this one last crazy digital humanities experiment!<\/p>\n Part of this experiment will involve us confronting, once again, the friction of formats. Computational approaches require computable information, and it turns out that print books aren’t. Or at least, they aren’t\u00a0yet<\/em>. This project brings us yet another way to think about getting material from one format into another.<\/p>\n Collectively, we will finish building a dataset of all of Hemingway\u2019s stories, novels, and nonfiction. (Say, \u201cThanks!\u201d to my previous classes for getting us started.) Individually, you will be scanning a number of pages from one or two of his books and then processing those scans with optical character recognition (OCR) software.<\/p>\n It turns out that books can be kind of hard to scan since there\u2019s all that pesky page-turning to deal with. We\u2019re going to simplify things by making these books less book-like and removing their bindings.<\/p>\n Sadie Amanda Elizabeth This project, including the final, is worth 10% of your grade in the class. As an experimental class project, you are not being graded on what you and your group find about Hemingway\u2019s work. After all, we simply don\u2019t know what we\u2019ll find\u2014if anything.<\/p>\n Instead, you\u2019ll be graded on (1) whether you accomplish all the parts of the assignment (pass\/fail); (2) how engaged you are with the work; and (3) how well you apply the method of screwing around \/ pattern recognition\/interpretation we\u2019ve been embracing throughout the semester.<\/p>\n This assignment was designed by Brian Croxall<\/a> and is licensed with a Creative Commons BY (CC BY 4.0) license<\/a>. Special props to Stewart Varner<\/a> for telling me to stop thinking about Whitman; David Mimno<\/a> and Ted Underwood<\/a> for encouragement; and Paul Fyfe<\/a> and Jason B. Jones<\/a> for an idea that I gleefully ripped off.<\/p>\n","protected":false},"excerpt":{"rendered":" Results See all the blog posts about our distant reading of Hemingway. Rationale As we\u2019ve explored in a number of assignments throughout the semester, you can get a different sense of texts if you do pattern recognition at a slightly different angle. So far this has meant that we\u2019ve considered a novel via its geography, … The Nitty Gritty<\/h2>\n
Scanning<\/h3>\n
\n
\n
OCR<\/h3>\n
\n
\n
\n
\n![\"\"](\"http:\/\/briancroxall.net\/f17dh\/wp-content\/uploads\/2017\/11\/Untitled.jpg\")
<\/a><\/li>\n
\n![\"\"](\"http:\/\/briancroxall.net\/f17dh\/wp-content\/uploads\/2017\/11\/Untitled-1.jpg\")
<\/a><\/li>\n\n
\n![\"\"](\"http:\/\/briancroxall.net\/f17dh\/wp-content\/uploads\/2017\/12\/page_zones.jpg\")
<\/a><\/li>\n
\n![\"\"](\"http:\/\/briancroxall.net\/f17dh\/wp-content\/uploads\/2017\/12\/strange_characters.jpg\")
<\/a><\/li>\n
\n![\"\"](\"http:\/\/briancroxall.net\/f17dh\/wp-content\/uploads\/2017\/11\/Prizmo-1.jpg\")
<\/a><\/li>\nBook Assignments<\/h3>\n
\n\n
\n Name<\/strong><\/td>\n Book(s)<\/strong><\/td>\n Pages<\/strong><\/td>\n<\/tr>\n \n Anderson<\/td>\n \u00a0AFTA<\/td>\n 1-202<\/td>\n<\/tr>\n \n Bunker<\/td>\n \u00a0TOS \/ OM<\/td>\n \u00a0All \/ All<\/td>\n<\/tr>\n \n Burdick<\/td>\n \u00a0SAR<\/td>\n 1-200<\/td>\n<\/tr>\n \n Calder<\/td>\n \u00a0GoE<\/td>\n 1-200<\/td>\n<\/tr>\n \n Davidson<\/td>\n \u00a0THHN<\/td>\n 1-200<\/td>\n<\/tr>\n \n Dichmann<\/td>\n \u00a0AtR \/ AFTA \/ SAR<\/td>\n 201-283 \/ 203-332 \/ 201-251<\/td>\n<\/tr>\n \n Farnsworth<\/td>\n \u00a0SS<\/td>\n <\/td>\n<\/tr>\n \n Harper<\/td>\n \u00a0SS<\/td>\n <\/td>\n<\/tr>\n \n Kim<\/td>\n \u00a0SS<\/td>\n <\/td>\n<\/tr>\n \n Lyman<\/td>\n \u00a0SS<\/td>\n <\/td>\n<\/tr>\n \n Pickrell<\/td>\n \u00a0IS<\/td>\n 1-200<\/td>\n<\/tr>\n \n Rackleff<\/td>\n \u00a0IS<\/td>\n 201-400<\/td>\n<\/tr>\n \n Sampson<\/td>\n \u00a0FWBT<\/td>\n <\/td>\n<\/tr>\n \n Thiriot<\/td>\n \u00a0FWBT<\/td>\n <\/td>\n<\/tr>\n \n Vite<\/td>\n \u00a0FWBT<\/td>\n <\/td>\n<\/tr>\n \n Whitaker<\/td>\n \u00a0AtR<\/td>\n \u00a01-200<\/td>\n<\/tr>\n \n Croxall<\/td>\n Odds and Ends<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n Book Abbreviations<\/h3>\n
\n
Final<\/h3>\n
\n
Group 1<\/h4>\n
\nMaddie
\nMike
\nPaul
\nTara<\/p>\nGroup 2<\/h4>\n
\nKelly
\nAlex
\nLiz
\nStephen<\/p>\nGroup 3<\/h4>\n
\nShelbi
\nClarissa
\nMiles
\nChris<\/p>\nGrading<\/h2>\n
Credits<\/h2>\n