“Image Description at the William Blake Archive”
Kari
Kraus
University of Rochester, USA
The larger objective of this paper is to follow the lead of Matthew Kirschenbaum
and the participants in his panel at last year's ALLC/ACH conference in
Charlottesville, Virginia, in thinking about visual electronic resources as
structured data. More specifically, I propose to turn the spotlight on a
significant portion of the William Blake Archive's metadata: its SGML-encoded
image descriptions. Introductory remarks will emphasize the image descriptions
as a design feature intended to maximize use of and complement the Archive's
other image resources, but the balance of the paper will consider more
foundational issues: what exactly are image descriptions in formal terms? What
is their relationship to their first-order objects? What kinds of problems do
they present for the project team? What functions do they serve? My aim is to
provide a broad overview of our practices and the challenges we face (both
theoretical and practical) in describing images. The full version of this
presentation will attend closely to the discursive features of the image
descriptions and their principles of inclusion of pictorial data on the grounds
that they serve as a barometer of the general reliability of the search and
retrieval functions.
The image descriptions and their characteristic terms - which are best considered
as a unit - are an integral part of the Archive's paradigm of image search and
retrieval. General descriptions are available via a link to a separate window
from all Object View pages in the Archive, and more specific descriptions are
returned in the course of an image search. The descriptive commentary is also
available to the user who invokes an Inote session from any of several windows
and pages. (Inote, which has received much press in humanities computing circles
since its public debut, is a java-based image annotation tool developed at IATH
that superimposes a four-quadrant grid on an image. Clicking an area of interest
opens a separate annotation viewer containing the editorial commentary targeted
to the selected region.) The image descriptions are conceptually inextricable
from the Archive's characteristic terms, a menu of which the user selects from
when launching an image search. Though it is tempting to devote a portion of the
paper to an evaluation of how the Archive's controlled vocabulary measures up
when compared to other established classification and vocabulary browsers (such
as IconClass, the Art and Architecture Thesaurus, and the Library of Congress
Thesaurus for Graphic Materials), that subject is sufficiently complex to
warrant separate treatment at some future date.
Strictly speaking, the Archive's search engine consults only the SGML-encoded
characteristic terms when returning hits to a user. The exact function of the
prose that appears between <illusobjdesc> tags is more difficult to
define. My provisional account of the purpose of the descriptions is threefold:
first, they illustrate that the visual-to-verbal transposition isn't a simple
one-step operation: more complexly, images are first captured in prose and from
the prose we extract smaller searchable units. Second, the descriptions provide
a system of checks and balances that allow the user to cross-reference them with
the characteristic terms, making the underlying logic of the hits returned in
the course of a search session explicit. Third, they offer us a space where
Willard McCarty's metadata rule of disambiguation can be violated: as I will
explain in more detail in my talk, a fair amount of uncertainty and doubt is
built into the descriptions as a response to iconographic ambiguities in the
source material; this interpretive uncertainty is, if not effaced entirely, at
least diluted at the characteristic level. These functions aside, it is my sense
that the descriptions aren't being mined for information as effectively as they
could be, though the beta version of WBA 2.0, scheduled for public release later
this summer, should make it possible to harvest their data in new ways.
Because the Archive's image search and retrieval software, Dynaweb, must consult
an SGML information base that is, of course, textual rather than pictorial in
content, the descriptions and their corresponding characteristic terms serve as
a verbal proxy for their visual objects. To put it otherwise, the annotations
function as metatext (rather than, as in conventional print relationships,
paratext) to the primary data, creating an unusual onus of responsibility for
the editors and assistants to provide descriptions and terms that show as much
fidelity as possible to the originals in order to guarantee optimum results for
the user searching across the visual collection.
This process of faithfully, accurately, and thoroughly translating from one
medium (the visual) to another (the verbal) is, as one would expect, beset by
difficulties. But we are not without precedent or aid. In particular, the
problems we encounter in the course of composing our image descriptions can be
profitably understood by looking to the growing body of literature in Humanities
Computing on encoding transcripts of source materials. My suggestion assumes
that at heart the two endeavors (describing images and transcribing texts) are
first and foremost acts of translation - the former
from pictorial data to linguistic data, the latter from - to take the example of
the Beowulf Project - chirographical marks in a codex manuscript to the
descriptive codes of SGML - and as such are prey to all the difficulties
inherent in the translation process.
At last year's ALLC/ACH conference, Paul Caton and Julia Flanders raised the
issue of the measurability of data as an important consideration for project
teams interested in encoding renditional information: they stressed the
necessity of
“"having a clear sense of what the units of information are, how to
identify and distinguish them consistently, and how to record them
accurately. It [the criterion of measurability] represents/requires an
attempt to decide . . . what threshold of perceptibility will be
maintained: . . . what will be considered either too small or too costly
or difficult to record."”
At the Blake Archive, our efforts to extract iconographic content from the source
material for the purposes of image description are routinely complicated by just
the kinds of measurability and perceptibility difficulties outlined by Caton and
Flanders. Should Blake's interlinear motifs be captured in as much detail as the
large-scale designs? Should the hatched lines that appear meaningless in the 100
dpi image but representational in the 300 dpi be described (and thus made
searchable)? Should we even avail ourselves at all of the 300 dpi images as
resources to transform our unaided human eyes into Argus eyes, or is this
approach contrary to the central tenets of diplomatic editing? What about the
left arm of that central figure on plate 16 in copy D of The
Marriage of Heaven and Hell, which was printed but colored on the
impression so that it blends almost imperceptibly with the adjacent figure's
gown? Is that wispy line extending from the ascender of the letter "b" a bird or
a vine, or is it both? Indeed variations on the last question may reflect the
most common kind of perceptual ambiguity the annotator of Blake encounters,
attributable in part to Blake's almost profligate use of metaphors; his peculiar
syncretic insight makes it dangerous to ever rule out the possibility that a
design motif has multiple referents: flora and fauna are often
indistinguishable, a human figure may be a composite of several characters, and
a lock of hair easily morphs into a coiled serpent.
The final version of the paper will address our working solutions to the problems
enumerated in the foregoing paragraph. I will conclude by briefly shifting the
emphasis from the creation of image descriptions to their potential use,
offering some parting thoughts and caveats on the kind of knowledge that the
image descriptions might produce when used in conjunction with the Archive's
other image tools and resources.
References
Paul Caton Julia Flanders. “Encoding Rendition in Primary Source Texts Using
TEI.” Unpublished essay, 1999. Presented at ACH-ALLC 99. University of Virginia, Charlottesville. 12 June 1999.. : , 1999.
Morris Eaves Robert N. Essick Joseph Viscomi. The William Blake Archive. : ,
unknown. Inote. Software from the Institute for Advanced Technology in the Humanities. : ,
Matthew Kirschenbaum et al. “Refining Our Notions of What (Digital) Images Really
Are..” ACH-ALLC 99. University of Virginia, Charlottesville. 10 June 1999. : , 1999.
Willard McCarty. Humanities Computing as Interdiscipline. : ,