BBenzon

Beyond Quantification: Digital Criticism and the Search for Patterns

I’ve collected some recent posts (from New Savanna) on patterns into a working paper. It’s online at SSRN. Here’s the abstract and the introduction.

Abstract: Literary critics seek patterns, whether patterns in individual texts or patterns in large collections of texts. Valid patterns are taken as indices of causal mechanisms of one sort or another. Most abstractly, a pattern emerges or is enacted as some machine makes its way in an environment. An ecological niche is a pattern “traced” by an organism in its environment. Literary texts are themselves patterns traced by writers (and readers) through their life worlds. Patterns are frequently described through visualizations. The concept of pattern thus dissolves the apparent conflict between quantification and meaning, for quantification is but a means to describing a pattern. It is up to the critic to determine whether or not a pattern is meaningful by identifying the mechanism that produced the pattern. Examples from Shakespeare and Joseph Conrad.

Introduction: Patterns and Descriptions There is a sense, of course, in which I’ve been aware of and have been perceiving and thinking about patterns all my life. They are ubiquitous after all. But it wasn’t until I began studying cognitive science with the late David Hays that “pattern” became a term of art. Hays and his students were developing a network model of cognitive structure – such works became common in the 1970s. Such networks admit of two general kinds of computational process, path tracing and pattern recognition. Path tracing is computationally easy, while the pattern recognition is not. Human beings, however, are very good at perceiving and recognizing patterns.

What put the idea before me, though, as something demanding specific thought, are remarks Franco Moretti made in coming to grips with his work on the network analysis of plot structure. In Network Theory, Plot Analysis (Literary Lab Pamphlet 2, 2011, p. 11) he noted that he “did not need network theory; but I probably needed networks…. What I took from network theory were less concepts than visualization.” We then examine the visualizations to determine whether or not they indicate patterns that are worth further exploration. Continue reading “Beyond Quantification: Digital Criticism and the Search for Patterns”

UFO Events, a Thought Experiment about the Evolution of Language

The problem of human origins, of which language origins is one aspect, is deep and important. It is also somewhat mysterious. If we could travel back in time at least some of those mysteries could be cleared up. One that interests me, for example, is whether or not the emergence of language was preceded by the emergence of music, or more likely, proto-music. Others are interested in the involvement of gesture in language origins.

Some of the attendant questions could be resolved by traveling back in time and making direct observations. Still, once we’d observed what happened and when it happened, questions would remain. We still wouldn’t know the neural and cognitive mechanisms, for they are not apparent from behavior alone. But our observations of just what happened would certainly constrain the space of models we’d have to investigate.

Unfortunately, we can’t travel back in time to make those observations. That difficulty has the peculiar effect of reversing the inferential logic of the previous paragraph. We find ourselves in the situation of using our knowledge of neural and cognitive mechanisms to constrain the space of possible historical sequences.

Except, of course, that our knowledge of neural and cognitive mechanisms is not very secure. And large swaths of linguistics are mechanism free. To be sure, there may be an elaborate apparatus of abstract formal mechanism, but just how that mechanism is realized in step-by-step cognitive and neural processes, that remains uninvestigated, except among computational linguists.

The upshot of all this is that we must approach these questions indirectly. We have to gather evidence from a wide variety of disciplines – archeology, physical and cultural anthropology, cognitive psychology, developmental psychology, and the neurosciences – and piece it together. Such work entails a level of speculation that makes well-trained academicians queasy.

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What follows is an out-take from Beethoven’s Anvil, my book on music. It’s about a thought experiment that first occurred to me while in graduate school in the mid-1970s. Consider the often astounding and sometimes absurd things that trainers can get animals to do, things the don’t do naturally. Those acts are, in some sense, inherent in their neuro-muscular endowment, but not evoked by their natural habitat. But place them in an environment ruled by humans who take pleasure in watching dancing horses, and . . . Except that I’m not talking about horses.

It seems to me that what is so very remarkable about the evolution of our own species is that the behavioral differences between us and our nearest biological relatives are disproportionate to the physical and physiological differences. The physical and physiological differences are relatively small, but the behavioral differences are large.

In thinking about this problem I have found it useful to think about how at least some chimpanzees came to acquire a modicum of language. All of them ended in failure. In the most intense of these efforts, Keith and Cathy Hayes raised a baby chimp in their household from 1947 to 1954. But that close and sustained interaction with Vicki, the young chimp in question, was not sufficient. Then in the late 1960s Allen and Beatrice Gardner began training a chimp, Washoe, in Ameslan, a sign language used among the deaf. This effort was far more successful. Within three years Washoe had a vocabulary of Ameslan 85 signs and she sometimes created signs of her own. Continue reading “UFO Events, a Thought Experiment about the Evolution of Language”

Bootstrapping Recursion into the Mind without the Genes

Recursion is one of the most important mechanisms that has been introduced into linguistics in the past six decades or so. It is also one of the most problematic and controversial. These days significant controversy centers on question of the emergence of recursion in the evolution of language. These informal remarks bear on that issue.

Recursion is generally regarded as an aspect of language syntax. My teacher, the late David Hays, had a somewhat different view. He regarded recursion as mechanism of the mind as a whole and so did not specifically focus on recursion in syntax. By the time I began studying with him his interest had shifted to semantics.

He had the idea that abstract concepts could be defined over stories. Thus: charity is when someone does something nice for someone without thought of a reward. We can represent that with the following diagram:

The charity node to the left is being defined by the structure of episodes at the right (the speech balloons are just dummies for a network structure). The head of the episodic structure is linked to the charity node with a metalingual arc (MTL), named after Jakobson’s metalingual function, which is language about language. So, one bit of language is defined by s complex pattern of language. Charity, of course, can appear in episodes defining other abstract stories, and so on, thus making the semantic system recursive.

Now let’s develop things a bit more carefully, but still informally. Nor do we need to get so far as the metalingual definition of abstract concepts. But we do need the metalingual mechanism. Continue reading “Bootstrapping Recursion into the Mind without the Genes”

Digital Criticism Comes of Age, a Post at 3QD

I’ve got a new post at 3 Quarks Daily: The Only Game in Town: Digital Criticism Comes of Age.

I open with Moretti – natch – then to Willard McCarty’s 2013 Busa Award Lecture, where he talks of embracing the computer as Other. I end with Said on his belief in an autonomous aesthetic realm, despite the difficulties of conceptualizing how it could possibly work. The thrust of the article, though, is whether or not we can actually get this venture moving, really moving. What are the chances of really embracing the Other?

Though I made my peace with the computer years ago, and so am biased, I don’t know the answer to that question. But I’ve made some progress in figuring out what that question entails and that form the bulk of my essay.

The issue is one that’s been with academic literary study since the early 20th Century. In the 1920s the matter was stated most succinctly by Archibald MacLeish, that poems should not mean but be. In that late 1950s we find ourselves in the “Polemical Introduction” to Northrup Frye’s well-known Anatomy of Criticism (pp. 27-28):

The reading of literature should, like prayer in the Gospels, step out of the talking world of criticism into the private and secret presence of literature. Otherwise the reading will not be a genuine literary experience, but a mere reflection of critical conventions, memories, and prejudices. The presence of incommunicable experienced in center of criticism will always keep criticism as art, as long as the critic recognized that criticism comes out of it but cannot be built on it.

The issue came home to me in a rejection letter for my first essay on “Kubla Khan” – which ended up going into Language and Style in 1985 – where the reviewer complained that the essay “ought to argue with itself, to put into question some of the patterns it establishes-or better, perhaps to let the poem talk back.”

What does he mean, “let the poem talk back”? I know very well that the statement isn’t meant to be taken literally. But what’s the non-literal version of the statement? Under what circumstances could a poem do something like talk back?

Under face-to-face performance circumstances. To be sure, the poem doesn’t talk, but the poet does. The poet recites the poem, the teller spins the tale, the audience reacts with silence, groans, laughter, remarks, and the poet replies. There we the poet/story-teller on an even footing, in the same “space,” one that really IS interactive. But criticism really isn’t like that, no matter how much this or that critic wishes otherwise. Continue reading “Digital Criticism Comes of Age, a Post at 3QD”

Toward a Computational Historicism. Part 4: Into the Autonomous Aesthetic

This is the fourth and last in a series of posts that began with Discourse and Conceptual Topology, moved to From History to Abstraction, and then Abstraction at the Time Scale of History.

In the 6th pamphlet from Stanford’s Literary Lab, “Operationalizing”: or, the Function of Measurement in Modern Literary Theory, Franco Moretti ended with a call to explicate the theoretical consequences of computing for literary study. That’s what I’ve been doing. It is now time to wrap up the exposition.

Let us begin with a passage from one of the last essays published by Edward Said, Globalizing Literary Study (PMLA, Vol. 116, No. 1, 2001, pp. 64-68). In his second paragraph Said notes: “An increasing number of us, I think, feel that there is something basically unworkable or at least drastically changed about the traditional frameworks in which we study literature“ (p. 64). Agreed. He goes on (pp. 64-65):

I myself have no doubt, for instance, that an autonomous aesthetic realm exists, yet how it exists in relation to history, politics, social structures, and the like, is really difficult to specify. Questions and doubts about all these other relations have eroded the formerly perdurable national and aesthetic frameworks, limits, and boundaries almost completely. The notion neither of author, nor of work, nor of nation is as dependable as it once was, and for that matter the role of imagination, which used to be a central one, along with that of identity has undergone a Copernican transformation in the common understanding of it.

What has happened to all those things, as Alan Liu has noted in “The Meaning of the Digital Humanities” (PMLA 128, 2013, 409-423) is that they have dissolved into vast networks of objects and processes interacting across many different spatial and temporal scales, from the syllables of a haiku dropping into a neural net through the process of rendering ancient texts into movies made in Hollywood, Bollywood, or “Chinawood” (that is, Hengdian, in Zhejiang Province) and shown around the world. Continue reading “Toward a Computational Historicism. Part 4: Into the Autonomous Aesthetic”

Toward a Computational Historicism. Part 3: Abstraction at the Time Scale of History

Poets are the hierophants of an unapprehended inspiration; the mirrors of the gigantic shadows which humanity casts upon the present; the words which express what they understand not; the trumpets which sign to battle, and feel not what they inspire; the influence which is moved not but moves. Poets are the unacknowledged legislators of the world.
–Percy Bysshe Shelley

In the first post in this series, Discourse and Conceptual Topology, I reviewed network models on three scales, micro, meso, and macro. In the second post, From History to Abstraction, I moved to the micro scale and argued that the mechanism of abstraction proposed by David Hays gives us a way of thinking about how a historical process can lead to subsequent abstraction and illustrated the model through an examination of Shakespeare’s Sonnet 129. In this post I examine Heuser and Le-Khac on the 19th Century British novel and undertake a formal comparison of The Winter’s Tale and Wuthering Heights in which I argue that Brontë had the advantage of conceptual machinery unavailable to Shakespeare, though in some way anticipated by him. I hope to conclude this series with a fourth post in which I return to purely theoretical and methodological matters.

History: Showing and Telling

As we all know, one of the major problems of literary studies up to now is that it has concentrated its attentions on a relatively small body of texts, the so-called canon, and has allowed the examination of those texts to stand as a proxy for all of literary history. The assumption is either that, because of their quality, those are the only texts that matter or, perhaps, their quality allows them to “stand-in” for the rest. The widespread availability of powerful computers now allows as to put these assumptions to the test or, rather, simply to abandon them.

Sister disciplines have developed techniques for analyzing large bodies of texts, corpus linguistics, and literary critics are applying these to newly available digital text collections. I want to examine one such study, Ryan Heuser and Long Le-Khac, A Quantitative Literary History of 2,958 Nineteenth-Century British Novels: The Semantic Cohort Method (Stanford Literary Lab, Pamphlet 4, May 2012; HERE is an older post on this study). Their corpus included almost 3000 British novels spanning the period from 1785 to 1900. What they discovered, roughly speaking, is a shift from abstract terms to concrete, which they characterize as shift from telling (abstract terminology) showing (concrete terms). They read this shift through Raymond Williams (The Country and the City) as reflecting a population shift from small rural closely-knit communities to large urban communities where people are constantly amid strangers. Continue reading “Toward a Computational Historicism. Part 3: Abstraction at the Time Scale of History”

Toward a Computational Historicism. Part II: From History to Abstraction

I examined three different uses of network vizualizations, topic models, Moretti’s plot diagrams, and cognitive networks in first part of this essay, Discourse and Conceptual Topology. When I posted that I imagined only a second part. In the writing, though, that second part grew and grew, so I cut it in two.

In this part I pose the problem of time and discuss two essays by Stephen Greenblatt, “The Cultivation of Anxiety: King Lear and His Heirs” and “Psychoanalysis and Renaissance Culture” and then compare Amleth (Saxo-Grammaticus) with Hamlet (Shakespeare). I then move back to cognitive networks and talk about Hays’s concept of metalingual defintion and conclude with more Shakespeare, Sonnet 129. I’ll get to Heuser and Le-Khac in Part 3: Prophesy.

Time and History

For physics, I understand, time presents a problem. It seems to have a direction, as some processes are irreversible. Why? If you drop a small quantity of ink into a tumbler of water – as I did in A Primer on Self-Organization: With some tabletop physics you can do at home – it diffuses, irreversibly so. The ink particles never collect together into the compact volume they had when first dropped into the water. Why?

Continue reading “Toward a Computational Historicism. Part II: From History to Abstraction”

Toward a Computational Historicism. Part 1: Discourse and Conceptual Topology

Poets are the unacknowledged legislators of the world.
– Percy Bysshe Shelley

… it is precisely because we are talking about ordinary language that we need to adopt a notation as different from ordinary language as possible, to keep us from getting lost in confusion between the object of description and the means of description.
¬–Sydney Lamb

Worlds within worlds – that’s how Tim Perper, my friend and colleague, described biology. At the smallest scale we have individual molecules, with DNA being of prime importance. At the largest scale we have the earth as a whole, with all living beings interacting in a single ecosystem over billions of years. In between we have cells, tissues, and organs of various sizes, autonomous organisms, populations of organisms on various scales from the invisible to continent-spanning, and interactions among populations of organisms on various scales.

Literature too is like that, from single figures and tropes, even single words (think of Joyce’s portmanteaus) through complete works of various sizes, from haiku to oral epics, from short stories through multi-volume novels, onto whole bodies of literature circulating locally, regionally, across continents and between them, from weeks and years to centuries and millennia. Somehow we as humanists and literary critics must comprehend it all. Breathtaking, no?

In this essay I sketch a potential computational historicism operating at multiple scales, both in time and textual extent. In the first part I consider network models on three scale: 1) topic models at the macroscale, 2) Moretti’s plot networks at the mesoscale, and 3) cognitive networks, taken from computational linguistics, at the microscale. I give examples of each and conclude by sketching relationships among them. I open the second part by presenting an account of abstraction given by David Hays in the early 1970s; in this model abstract concepts are defined over stories. I then move on to Hauser and Le-Khac on 19th Century novels, Stephen Greenblatt on self and person, and consider several texts, Amleth, Hamlet, The Winter’s Tale, Wuthering Heights, and Heart of Darkness.

Graphs and Networks

To the mathematician the image below depicts a topological object called a graph. Civilians tend to call such objects networks. The nodes or vertices, as they are called, are connected by arcs or edges.

Such graphs can be used to represent many different kinds of phenomena, a road map is an obvious example, a kinship tree is another, sentence structure is a third example. The point is that such graphs are signs of phenomena, notations. They are not the phenomena itself. Continue reading “Toward a Computational Historicism. Part 1: Discourse and Conceptual Topology”

The Only Game in Town: Remarks on Alan Liu and Digital Humanities

I’ve collected five New Savanna posts on Alan Liu into a single PDF; you can download it from my SSRN page, Remarks on Alan Liu and the Digital Humanities,
A Working Paper. Abstract and introduction below.

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Abstract: Alan Liu has been organizing and conceptualizing digital humanities (DH) for two decades. I consider a major essay, “The Meaning of the Digital Humanities,” two interviews, one with Katherine Hayles and the other with Scott Pound, and a major blog post in which Liu engages Stephen Ramsay. Other investigators included: Willard McCarty and Franco Moretti. Some of Liu’s themes: DH as symbolic of the future of the humanities, the need for theory as well as practical projects, the role of DH in enlarging the scope of the “thinkable,” the importance of an engineering mindset, and the need for a long-term effort in revivifying the humanities.

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Computation has theoretical consequences—possibly, more than any other field of literary study. The time has come, to make them explicit.
–Franco Moretti

I first heard about Alan Liu back in the late 1990s, when he was working on Voice of the Shuttle. I may or may not have submitted some links, I don’t really remember, but if so, that would have been it. Since then I gather that he’s been acting as a Johnny Appleseed for what has come to be called digital humanities, an ambassador, or in the corporate jargon of Apple Inc., an evangelist.

But it wasn’t until early in 2012 that I started to focus on the so-called digital humanities (aka DH). To be sure, Matt Kirschenbaum showed up at The Valve (alas, now dormant) for the Moretti book event (Graphs, Maps, Trees) and, for that matter, Moretti himself put in a few appearances. I snagged a promising book reference from Kirschenbaum (Dominic Widdows, Geometry and Meaning), but for me that event was about Moretti, not DH. It took Stanley Fish to get me thinking about DH. He’d gone to the MLA convention, attended some DH sessions, and blogged about it in January, 2012: Mind Your P’s and B’s: The Digital Humanities and Interpretation. Of my posts tagged “digital humanities”, only a bit less than a quarter of them were written before Fish. The rest come after.

Sometime in the wake of Fish I came across anxiety within the DH community about the lack of Theory, with Alan Liu prominent among the worriers. Now I was irritated. On the one hand, it seems to me that Theory has lost most of its energy – for what it’s worth, it was an examination of that morbidity that had attracted me to The Valve (the discussions of Theory’s Empire) in the summer of 2005. On the other hand, there’s a rich body of theory around computation, language, the mind, and evolutionary process (read: history) which is relevant, it seemed to me, to DH and yet which has been for the most part neglected. There is more to theorizing humanity than is dreamt of in Theory.

Finally, in March of this year I saw a video of Liu’s Meaning of the Humanities talk at NYU. I watched it, liked it, and contacted Alan. He responded by sending me a PDF of his PMLA article of the same title (“The Meaning of the Digital Humanities”, PMLA 128, 2013, 409-423). That prompted me to write the first of the blog posts I’ve collected here: Computer as Symbol and Model: On reading Alan Liu.

Liu begins and ends his PMLA article with the figure of Claude Lévi-Strauss, whose structuralism was “a midpoint on the long modern path toward understanding the world as system” (p. 418). If understanding world as system is included in the remit of DH, then I’m on board. In between his invocations of Lévi-Strauss Liu manages to argue against the notion that “there are immaculately separate human and machinic orders” (p. 416). I’m down with that too. Continue reading “The Only Game in Town: Remarks on Alan Liu and Digital Humanities”

Lakoff lecture that debuts his current neural theory and has a detail concerning “meander”

Here’s a video of a lecture Lakoff recently gave at the Central European University. It’s cued to the beginning, but the segement that particularly interests me starts at about 11:03:

The specific point that interests me concerns the verb “to meander.” Here’s what Lakoff says; he’s talking about work done by Teenie Matlock:

What she pointed out, experimentally, was that if you take the difference between the road runs through the valley and the road meanders through the valley it takes longer to understand meander. Because you’re tracing it in your mind, you’re tracing the path, eventhough the road is just sitting there, right? You’re understanding it in terms of motion.

Why does that interest me? “Kubla Khan”, what else?

ll. 3-7, look at the verbs:

Where Alph, the sacred river, ran
Through caverns meaureless to man
Down to a sunless sea.
So twice five miles of fertile ground
With walls and towers were girdled round:

ll. 25-26

Five miles meandering with a mazy motion
Through wood and dale the sacred river ran,

There, in line 25, we have meandering, one of the verbs Lakoff mentioned. I’m not sure of the significance except that THAT part of the poem is set in a conceptual space that is structured by time while the earlier lines, which also mention the rive, is set in a conceptual space that is structured by space.

Finally, I do have a quibble with this FORM IS MOTION business. It is this, when researching Beethoven’s Anvil I looked at some of the literature on navigation and found that, contrary to my intuitions, that navigation by landmarks is a secondary method, not primary. The primary method is dead-reckoning. In dead-reckoning distance traversed is a function of elapsed time and speed. If you walk for three hours (on one heading) at the rate of four miles per hour you will have traversed 12 miles.

What’s interesting is that speed conflates/combines time AND space. And it seems to be primitive here. Whatever the nervous system is doing, it’s NOT noting distance and then dividing by time to come up with speed. Why not? Because you can’t do that until the traverse is complete. Rather, it’s got an ongoing estimate of speed and that’s what it uses.

I’ve not read their latest stuff on this, on the one hand, nor have I really tried to think this through, on the other hand. So maybe they’ve got it all worked out. But at the moment I’m thinking they don’t.

Also, THIS has to be differentiated from judging form relative to eye movements used to trace form, which Lakoff and Turner alluded to in More Than Cool Reason. These are two different mechanisms, eye tracing and navigation. They may both involve time and space, but they’re neurally and functionally different. How does THAT difference show up in language? Continue reading “Lakoff lecture that debuts his current neural theory and has a detail concerning “meander””