text:
June Oh
English Literature PhD student, Michigan State University
Discontinuous Self: The Significances of Dickinson's Poetic Persona
Performativity in Moll Flanders: Autonomy and Relationship
Mapping Monsters: Spatial Representations of "Monsters"
Meaning of Digital Humanities and DH Scholarship
Digitally Mapping Literature–what good can it do?
"The Mechanic Muse": Text Analysis and Distant Reading: Ted Underwood
DH and Visualization
Raw: visualization
zotero exercise
Monster Map: Spatial representation of gendered "monsters"
Monster hunt; A brave 2D man facing a dragon (flickr-Jason Gil)
(This blog is a draft version of an essay soon to be posted on Esri Storymap under the name of "Monster Hunt: Spatial Representation of Gendered Monsters.")
In our deepest nightmares, monsters haunt us. Monsters terrify us with their grotesque bodies, supernatural ability overpowering human strength and paranormal movements. Their existence as well as their heinous actions mock human attempt to understand, grasp, and pin down what they are. So, humanity's hunt for monsters begin.
When just about to catch them… they escape!
They escape humans not only intellectually but also spatially. One cannot catch a monster easily. It gets away just when one is about to seize it and turns into a smoke or appears to have traveled thousands of miles a way in a second. Typical monsters that easily come to mind such as Count Dracula or the Creature from Frankenstein are particularly threatening because they move about the globe so effortlessly. They dart in and out of European countries let alone the "mysterious" East and Africa.
ghost house with spirits bound to the location
They are everywhere: globally roving about but also at home.
However, there are other monsters who stay local and threaten relatively small number of people. Female vampires who do not leave the castle, witches who demonize neighbors, ghosts bounded to houses, a creepy man-killing cat rambling around a deserted fortress, etc. The fear that we have for this type of monsters are quite different from wide-roving creatures. Interestingly enough, it seems these local monsters are usually female: "Cats," "weird sisters" of Stoker's Dracula who can't hunt for themselves since they are imprisoned to the castle, a victimized female ghosts seeking revenge. This project starts from a question whether gender plays a role in special representation of a monster and looks to find a connection between spatial patterns of a monster and the specific type of monstrosity monsters embody.
Monsters and sympathy
Investigating monster literature is an extra-ordinary job. We don't just get "scary" tales in literature; we get a glimpse of what it is to be a monster. Take Frankenstein for instance. Unlike popular adaptations that prioritize the horrific appearance of animated corpse of the Creature, Mary Shelley's Frankenstein is a text of interplay between various perspectives. Not only do we get Dr. Frankenstein's narrative creating, escaping, tracking the Creature's horrific murders, but significant chunk of the narrative devoted to the Creature and his side of the story. Being born (in most shocking way possible–electronic jolts!), abandoned immediately in cold and dirt, lost in the world (literally), seeking love and connection, brutally ostracized, feeling nothing but rage to revenge on his creator. As many critics have noticed, the eloquence of the Creature gives his narrative the level of sympathy that deserves questions regarding the intention of the author. And as many great literature does, it asks questions about the meaning of monsters and monstrosity. The narrative is set in a way that the readers can sympathize, or at least understand the reasons for his monstrous actions (murdering of a little kid, wife and best friend of his creator). Is he a monster if the society made him the monster?
Pertaining to this project, the travel the Creature initiates is actually driven by the society. He is banished from one home to another only to be kicked out of to another place. He cannot stay in one place because he cannot be a member of any society. Though he is made of human, made by human, speaks human language, he is an eternal exile bound to be around the world. Even his later journey is caused by the "war" between him and Dr. Frankenstein–a war between the creator and the creature–one the Creature would want to avoid but has to face now. Two characters chase each other all over Europe and even to the North Pole.
As seen in this case, the monstrosity of a monster is intricately tied to the location and the journey. The creature becomes (aware of the fact that he is) a monster as he changes location and commits sins. Within a Gothic castle of Frankenstein, he is a gothic monster of action who is hidden, appears, and kills. At the warm cottage environment of De Lacey family, his monstrosity pertains to the surprises the family members feel looking at his body. Even though he is a same "monster," the type of monstrosity perceived by the characters is geo-spatially distinctive.
Dr. Frankenstein leaving horrified at the sight of his creature but notice also how the Creature himself is surprised at being "born" (wiki commons)
And as interestingly, this has a fascinating relation to the level of sympathy. For Count Dracula, it might be argued that the level of sympathy characters (or even readers) feel is lower because he comes from a far away land. He wears strange garments, speaks with an accent, and emanates weird energy. It is his foreignness that distracts the sympathy from others. Is the Creature more sympathetic character because he is "one" of "us?"
So here are the questions this monster map explore:
Central Question: Does gender of the monster affect the distance traveled? How is the distance related to a level of monstrosity and level of sympathy?
Do female monsters show smaller trajectory and consequently lower level of monstrosity than male monsters? Do they have different habitation patterns than male monsters? How does spatial representation affect level of sympathy? Will the gender of the author complicate any pattern?
Will we find any unexpected patterns of monsters with this visualization? Let's hunt some monsters then. But first… who are on the menu?
Monster Corpus
Now here's a table of my monsters. Unsurprisingly, these are monsters in fiction. Yes, we do have monsters (supposedly) in real life. But here I use literary figures to explore how these literary representations because the purpose of this project is not really hunting monsters but to capture the essence of a specific culture and to enable a cultural analysis. How did people imagine a monsters to be like? Did they come from far away land or did they stem in our own soil? Did they move like the wind and disappear like the air or are they just stuck to one location? For future studies, analyzing oral histories would be interesting. But for now, I'm sticking to literature–the land of imagination filled with juicy layers of cultural perspective.
Included in the database are eighteen texts with thirty characters in total, fairly balanced between gender of the monster and author's sex. We have seven male monsters by male authors, nine female monsters by male author, six male monsters by female author, and finally seven female monsters by female author. In addition to the gender of the monster axis, I added author's sex mainly to test whether there's any interesting pattern that comes out of it. Texts include Gothic literature, Ghost literature, and other horror literature that features in-between humans, animals, witches, etc. mostly from nineteenth-century literature.
Now, before we start hunting down these monsters, let's first map out where they appear.
The actual monster map (dozens of them compiled for the convenience of our hunt)
** As the esri Storymap is in-progress, I embed a video clip that walks through an ArcGIS map (desktop version). Start at 00:45
http://ohjune.msu.domains/wp-content/uploads/2018/04/MonsterMap.mp4
Male monsters vs Female monsters
Features: Points are marked when a character is mentioned/indicated to be at such location, and lines demonstrate their travel trajectory. This line also allows the measurement of distance traveled. As will be shown later in the video, the krigging effect shows the level of monstrosity in a visualized manner. Simply, the redder the place is, the more monstrous a monster is.
First, we have a map that visualizes sightings and movements of male monsters by male authors. As you can see, they move globally and travel relatively large amount of distance. Part of the reason for the anxieties characters within these texts (and of course, for readers) is that they can never understand how monsters move so much distance at once. Combined with xenophobic fears in those eras, that they move about the world so effortlessly doubled their monstrosity.
The visualization is strikingly different for female monsters created by male authors. If male monsters by male authors showed large bounding of movements, female monsters by male authors show lesser degree of movement. The one long line that stands out here–which shows a movement from Paris to Damascus, Syria to Mauritas in Mauritania–is from Succubus. If we take this out as an outlier, the general pattern here is that female monsters almost never travel outside of her country. Their movement is well hidden from a large map and is almost invisible from this view (01:25). But if we zoom into the layer, we can see that female monsters actually move about but only to such a small degree that it's not recognizable at the level of world-view map.
The problems of scale… what's up with "measuring" monstrosity and sympathy?
As can be seen later in the video (03:00), the krigging effect shows the level of monstrosity. Like the travel journey of female monsters that couldn't be shown in a large scale map, monstrosity of female monsters has to be zoomed up close to be seen. Because this map does not show the sequence of narrative it is not easy to see just by looking at the map what exactly happened or what made the monsters "red." In the actual ArcGIS map, the users can click around each point to see the details of such information. The text title, gender of the monster and author, name of the character, the monster's relation to protagonist, what happened at that location, etc. But even with this information, how did I measure monstrosity or sympathy? Isn't that subjective response each reader has? How can you numerically tell the level of monstrosity? Is there a scale for such thing?
Yes and No. To talk about the scale, I first have to talk about how this project started in the first place. This monster map developed out of a group project that began back in 2016 when I had a graduate seminar at Michigan State University lead by Dr. Ellen McCallum and Ed Schools. I had three undergraduate teammates under the name of "monster team." Because we could not find a "canonical" monster scale, we decided to come up with one for our map and made up a totally arbitrary one. Ex. If a monster murders an innocent, 5.0 on the monster scale which is the highest. If a monster just stalks a character, 3.5 on the scale. Metamorphosis? maybe a 3.0. As we made up this scale, we realized that we should have two categories at least. One for action and one for appearances, and we averaged the two to get a final monstrosity level (Again, questions arise: why 5:5 for action and appearance? Isn't action more meaningful? Isn't appearance what's more significant in terms of defining a monster? Well… these are the questions we had to let go). Some of the description was hazy and we had to decide if "metamorphosis" is a monstrous action or appearance. But without a few exceptions like this, it was a quite clear categorization. Below is a screenshot of my monster scale. On the left we have a scale from 0 to 5 each action or appearances attached to numerical number. Total 27 actions for monstrous action category from being just "creepy" to murders. Other actions include "dream attack 3.0," "evil influence 3.0," "intimidation 1.2," "mind reading 3.0," etc. Surprisingly, there aren't whole lot of things a monster can do. Only about 27 types of actions. (Does this suggest Gothic/horror genre texts even in 18th and 19th century became formulaic?)
A screenshot of a monster scale that lists different actions/appearances of monster with an attached numerical value according to each action/appearance
Of course, doubts arise. How would you assign "intimidation" (1.2) as something less monstrous that "dream attack" (3.0)? Sometimes, "torture/imprison" (3.2) is worse than "mind control" (4.0). And this is where we step away from distance reading go into close reading, or at least, reading. What I decided I'd do is to read all of the text and check and adjusted the scale in order to make it more "universal" to all the text I had. I had to make some compromises to incorporate different levels of monstrosity. Sometimes, the description or the attitude of the narrator toward a monster who only "chases" (3.0) a character is so hostile that it is scarier than a matter-of-fact "murder of a stranger" (4.5).
And as I had doubts that maybe making up a monstrosity scale wasn't a good way to "distance read," I came across a surprising phenomena. As a group, we all had similar scale set up. Every one of group member was working on different texts and thus, supposedly different scales. But when I went into read their text to change whatever was necessary on the scale, I found that I had very little to challenge. Maybe the texts we chose were ones that leads to more general response. Maybe I was already prejudiced? I even developed my own scale and compared the differences of the overall averages of monstrosity level but the differences were ignoble. Surprisingly so. Maybe we have this fantasy that each individual's reading experience is so unique and subjective that we can't come up with a universal response. Are we ignoring the fact that writers (sometimes…or usually?) intend to create a general response? Well, at the very least, a horror genre writer wouldn't want the reader to find the text funny. A murder is supposed to be more dangerous and horrific than just killing a baby animal. How else do we have legal penalty system? But again, it is literature not laws. It could be argued that Mary Shelley has the Creature and Dr. Frankenstein chase each other for what seem like ages than just murdering confrontation because it would be more "monstrous" to have this constant influence over one another's life. Some big theoretical questions remain in making the scale…
Based on the distance analysis, the average distance of monsters have start difference according to gender. Female monsters traveled on average 423 km whereas male monsters traveled 4495 km. As expected from the visualization on the map, male monsters travel about ten times more than female monsters. On the other hand shows that female monsters show a slightly higher level of monstrosity. Considering that appearance and action assigned to 2.5 and 3.0 monstrosity have significant difference, this could be seen as a rather meaningful difference. On monstrosity-action scale, malicious attitude is counted as a 2.5 while 3.0 includes kidnapping, chasing, mind reading, accusing innocents, attacking innocents, dream attack, haunting, and imposing evil influence. For monstrosity-action scale, 3.0 monstrosity is described as one that's not human but perceived as or disguised as human whereas one that's human but little different or ugly is a 2.0 monster.
It then seems then female monsters travel less but show higher level of monstrosity when male monsters travel much further but is perceived as less monstrous. Below graphs shows distance measurement and monstrosity level of monsters categorized by the gender of the monster and author (ex. MM: Male monster by Male author).
What to make of these pattern?
One conclusion we can draw out of these result is that the types of horror male monsters and female monsters elicit are quite different. If male monsters threaten the globe infecting, killing, and haunting everyone, female monsters are local getting revenge to those around her.
One common feature of female monsters, which greatly heightens their level of monstrosity, is their sexuality. Although sexual aspect of male monsters such as vampires is seen as dangerous, this characteristic is not shared by many male monsters. For female monsters, they all emanate or evoke sexual energy and sometimes it is the only "evil" aspect of their monstrosity. Lois' monstrosity mainly stems from the fact that she is beautiful and that she excites sexual desire in two religious men. And allegedly, the only wrong of succubus is her strangely excessive beauty that "shed[s] . . . joys around her" (312). Makala maintains that monsters–ghosts in particular–of nineteenth-century are an avenue for women writers to articulate their experience of 'social terror' against patriarchy (54). If eighteenth-century's persecuted maidens traveled through labyrinths and dungeons of a debilitated castle and proved their physical strength and mental power (Moers 129), this heroinism is transferred into female monsters and ghosts. Strength and power of females that could not be expressed under normal circumstances of patriarchy was inherited by female monsters. Female writers place the placeless—monsters—sexual desire, frustration against patriarchy, injustices—in a much dramatic form of a "monster." They do not have to travel much far to show their monstrosity. They stay within the bounds of the domestic house (or neighborhoods—extended "home") brandishing their failure to be placed within existing society.
Spatial representation of monsters shows interesting differences between gender of the monster though it is complicated when the gender of the writer is included in the discussion. By taking a broader and higher perspective than the group mapping project, this project could discern meaningful patterns of monsters in terms of distance, locations, boundary of movements, and how these spatial elements are connected to characteristics of monstrosity and sympathy monsters demonstrate. The result of this project gives valuable support for humanistic approach of horror literatures validating the difference between gender of the monster and authors and their intention in creating such monsters.
Spatial analysis of this horror literature not only confirm traditional readings of texts but also brings insight to "outliers" that do not fit into the larger schema. Texts such as Frankenstein and Lifted Veil are interesting outliers of female works which have their monsters travel great distance with low-average monstrosity. Considering that Frankenstein is one of the most often referred text that brings controversy to the definition of "female gothic," its unique spatial representation of the creature is another element that deserves further investigation.
We know their pattern… now what to do? How can I share it to the world?
Now that we've studied monster's habitation pattern, it'll be best if we can share this knowledge to the world. As a part of DH seminar (Spring 18), I'm developing a storymap on Esri website to publicize this map. As I used desktop version of ArcGIS, I first had to transfer my data to online ArcGIS account through which I can create layers of map that are translatable to storymap.
This turned out to be a difficult job. Since Online ArcGIS is like a free try-out version, it doesn't support many of the complex analysis I had embedded in my map such as grouping layers ad krigging analysis. And because it doesn't support grouping layers, I had to take individual feature in different export data. Say, I had "MM map" consisting of points, lines, krigging, minimal bounding of 8 different characters. It means I had 32 different features compiled in one map. In order to transfer that one map, I had to export each and every feature in different file so that online ArcGIS recognize that file. On top of that, because my meta data is so large (30 columns with more than 700 rows), online ArcGIS is keeps giving me bugs. As I mentioned before, my meta data includes text title, gender of the monster and author, name of the character, the monster's relation to protagonist, what happened at that location, page number, duration, published date, any important things to note, etc. And when one hovers over or click each point, it should generate a information table that tells the audience what that point means. Without it, it's just a point on a map. Unfortunately, Online ArcGIS is not allowing me to do that for some reason I still have to figure out.
A screenshot of metadata As you can see, each point has information about the character, page number, relation to the protagonist, level of monstrosity, monstrous action and appearance, etc. which unfortunately were not transferable to online ArcGIS at all…
Thus my failure. But working with storymap was also fun. I put a lot of thought picking out style/format of my map and decided to pick one that is best to embed long essay with the map at the background. This style I chose also allows the audience to be interactive with the map zooming in and out to see where monsters are seen.
Uncertainties, assumptions, compromises and continued challenges
Uncertainties/Assumptions: With mentioned compromises above, almost in every text, there are pointed locations that are based on assumptions. Moreover, the range of accuracy vary from point to point. For example, in Lois the Witch, I used two historical maps of Salem to indicated sites of prison, execution place, courts, etc., but locations of character's houses were selected randomly out of several points of residents. The difference of scale should be noticed since there are large differences in detailedness of geographic information. Whereas texts like The Succubus gives out even street names, The Vampyre or "Tomb of Sarah" sets its characters in large settings such as "Rome," or "Greece." Fictional spaces were also mapped within a larger context of the text. Even when 'Dwoldling,' a set place for "Phantom Coach" turned out to be fictional, it was mapped according to the information that it was 12 miles from 'Wyke,' a moorland far north of England. Besides, the distance traveled is mainly conjectured out of a straight line connected between each point of location.
Map of Salem I used as a reference when I was mapping fictional locations in Lois the Witch. (Salem Map (University of Virginia))
I also had the conflict between my selves–a humanities scholar who wants to challenge things vs the author of this map who wants to visualize my map in the best way possible. I have my male monsters in green and black and female monsters in pink and red. I have to say I still doubt whether this was a smart choice. But I had to pick my battle. Since I am publishing this to a general public, I thought I'd use colors that best visualize the purpose of my map–compare and contrast between genders of monster.
Where to go now
By end of 2018, I wish to publish this storymap online and polish it enough to enter it into storymap contest which will be open again next spring. I've looked through past year's winner and looks like there's no category for "fictional" maps. Usually it's travel, history, migration, etc. dominated with one honorary fictional map that a dad and 5 year-old girl made. I've also received feedback from my colleagues that many of them would like to use this as a pedagogical tool when they're teaching. Not only for classes that read gothic novels but also for theory class as well. What does it mean that we don't usually track down locations and look at maps when we read novel? Does it mean that readers are distanced from imagining those situations less realistically? Does that enhance a sense of horror? Or does it hinder it? This map doesn't just "hunt" monsters. It's a question mapped out: of genre, characterization, visualization, and above all, reading experience.
Special thanks to contributors…
Monster group teammates, Dr. Ellen McCallum, and Ed Schools
IAH209: Dangerous Art
The Aged in History Past–Classroom assignment using digital tools or technology
What did people in Enlightenment era think of aged people? In an era when progress, human perfectibility, development, and above all, reason prevailed, how do contemporaries understood aged people who decline into physical or mental "decay"?
Summary of Assignment:
This assignment is designed to help you learn how to conduct a history data research in order to answer some of the questions we've been asking this semester about the representation of the aged and cultural understanding of old age, especially thinking in terms of the cognition and the concept of "selfhood" in Enlightenment era. First, you'll learn firsthand how to search for materials in early modern era and how to effectively find sources you need out of hundreds of thousands of documents. Then you'll try out a text mining tool to (maybe) pick out an interesting pattern in those documents.
Learn how to search for primary source
To search for primary texts (ECCO, EBBO, Mind as Metaphor)
To come up with fitting keywords
Try out digital tools that incorporates an analysis (Voyant)
Think about what you discovered in the connection to the idea of cognition and selfhood and ultimately what it says about cultural understanding of old age.
First, read Ch 3. The New Science: Aging and Agency, Age and Identity in Eighteenth-Century England by Helen Yallop and summarize key points she makes about the agency of the aged in Eighteenth-Century Britain and select 10 vocabulary that epitomizes eighteenth-century contemporaries' understanding of the aged (ex. definition, metaphor, etc: "old and poor," debilitated, "idiocy," "storehouse" of wisdom, "dependency," "gout," etc. ) Also mark three early modern texts mentioned in the book you find interesting or think most significant while reading.
Second, utilize the primary search digital tools such as ECCO or EBBO. Search for three texts and type in the keywords you found. What are the result? Are you seeing any pattern? Also, if you'd like, type in some keywords in Mind as Metaphor database. What are some synonyms or overarching concepts that appear?
Third, pick out about 1000 words from primary text that includes some of the keywords and run it through Voyant. What do you see there? What do these pattern challenge/support/complicate what we've been discussing so far? Does it match what Yallop is saying?
Finally, post one or two critical question using padlet.
EBBO (Early English Books Online)
ECCO (Eighteenth Century Collections Online)
Mind as a Metaphor
Things I learned + Things could be incorporated
Padlet & Voice Thread
Different (fun!) adaptations (ex. poetry, drawings, comics, films, writings, screenplay, script, etc.)–explanation for chosen medium.
Wikipedia analysis: using voyant
Using movie script/letters/literary works and analyzing it to voyant
Twine game
Chronology time
Why important question!
Project planning for my monster map and how it's going…
My map project was sailing smooth, but just yesterday I ran into some problems. (Hopefully another meeting with ArcGIS specialist that I'm having tomorrow will troubleshoot these issues.)
So far, I've learned to use storymap and how to translate my offline map into an online version of ArcGIS. The process seems simple enough. I first have to decide which feature of the map would be incorporated into my base map. Storymap doesn't allow you to make ANY changes after you import the exported data, so I have to be sure of what I'm presenting before I export it.
The first problem I'm having is that storymap only allows vector data to be transported. All of my analysis is done on desktop version and this cannot be shown online. The solution could be that I do analysis (such as minimal bounding and krigging) online after I get my exported base map but it seems impossible to do what I want. The aesthetic is just wrong. Because the heart of this project is at comparison/contrast between gender, I need different symbols or at least colors to show the contrast. But one map only allows one style.
So, I went to a different storymap style which lets you to have two different maps and compare those. Now then, a bigger problem. My desktop version map won't be exported. I have all the points, lines, shapes, analysis there but these grouping of layers won't be translated let alone be selected separately. The problem is that I have different attribute tables coming from multiple excel sheets not one.
If I find a way to select and filter out what I need from my map and divide & export this into multiple maps (ex. 1. male monster points vs female monster points, 2. male author lines vs female author lines, 3. male monster monstrosity krigging vs female monste monstrosity krigging, etc.), I think the storymap would look so….. good. I was very excited when I started tweaking with storymap since I found a perfect formatting and a narrative (developed out of my cartographer's statement and will be turned into a conference paper-like essay) that fits so well!
So for now, I'll have to troubleshoot this issue & if it turns out that I can't in time for the presentation, I'll have to find out whether the LEADR lap is equipped with ArcMap so that I can at least show what I initially planned to do and will be doing…
Link to my revised workplan
Memory Loss, Alzheimer, Blogging, and 3D Models
January this year, Wendy Mitchell's Somebody I Used to Know was published. According to its introductory quotes, it is a "Brave, illuminating and inspiring, […] the first memoir ever written by someone living with dementia." I've heard her talk on Guardian Book Podcast and followed her radio appearances. And her personal vivacity and dignity is amazing. she does sound a bit out of breath, stumbles, but shows yet no sign of language deficit at the moment. She and a "ghost writer" wrote this book together and as Wendy herself admits, she does not remember what is said in her memoir. It would be ironic if it weren't so poignant that her cognitive decline has outweighed her endeavor to write a memoir.
But what is a memoir? Is it supposed to mean more to me than my audience? Why do one write a memoir?
As the book advertises itself, this is "the first memoir ever written" by someone living with dementia. There are memoirs written by a husband, a daughter, but never one him/herself. As a person specializing in age studies and early modern ("Long Eighteenth-Century" to be exact), I would hesitate to call this "the first" memoir and would definitely disagree if one calls this a first attempt of a person with age-related mental impairment. Diaries of early modern women demonstrate their frustration with declining health, enervated energy, dwindling opportunities of social activities, as well as memory loss.
Even before i was challenged by Wendy's memoir, one theme that haunts these sources is the purpose of such writings (mostly women's diaries). Women in early modern Britain was very specific. It was to give lesson, to prove useful to her posterity. It was saying "This is my life experiences. Learn from it" though usually in a much apologetic way that fit women of 18th-century.
But of course, to give lesson is not the only motive for such writing. Spending time formerly used to child rearing and housekeeping was one but what is most intriguing to me is the desire to just "record." This desire to store memory arises when one realizes that she might lose it very soon. "Finding decays, especially in my memory, I think it not improper to leave this testimony under my hand of that kind Providence which has followed me all my days," writes Sarah Savage, a devout Christian in early 18th Century living in Bristol.
Wendy Mitchell's blog: "Which me am I today"
Wendy's book is actually a second stage of her such memory-recording. She gained prominence in Alzheimer community through her blog. Titled "Which me am I today?" Wendy blogs her days. On her Home page, she says "I started this blog to allow me, in the first instance, to write all my thoughts before they're lost." She is using this technology to record "all" her thoughts before they're lost. Though her blog reads "which me am I today," she wants to remain one person, Wendy with two daughters and a beloved cat with all her thoughts.
This is not to blame her. She utilizes this new technology–which she says she never used ever before–"I have never 'tweeted', 'blogged' or 'facebooked' in my life but since I was diagnosed, everything else in my life has changed, so why not this"–in the same way early modern female writers utilized paper and pen.
But unlike a sheet of paper and a pen, technology has a distinct aura. An aura that is so discreet but also ingrained. There is a promise–never fulfilled–that it will allow you to record "all."
cf. "San Junipero" in Black Mirror: Your whole memory is uploaded to a little USB-like external drive so entirely that you can live on after you "die."
During past decade, we've seen a much appreciated development in 3D printing, 3D rebuilding, especially in the fields of ancient history. Now British Museum allows you to take a look at a piece of sculpture from 2 BC, a click on the web takes you to a 3D virtual tour of a colorful ancient Egyptian Monastery. The 3D digital access restored the color of the ancient times which basically means you can experience the color the ancient persons experienced. If you walk into the monastery, all you can see is faded blurred shapes with shaded colors. But awaits you are the reconstructed visualizations of that monastery. You can restore it just the way it was before and leave that record for futurity.
If we take one step away, or even add just one layer that constantly reminds us that this is an interpretation and not the truth-real-experience, I think we'll be fine and thrive with this amazing contribution.
My weird Kennedy speech.
http://ohjune.msu.domains/wp-content/uploads/2018/02/kennedy30.wav
media space link
So this is my sound file for Kennedy speech. I used a program called "Audacity." I don't know what this file is and it is embarrassing. Let me just remove it one week after tonight…
My frustrating experience searching for aging-related primary source…
Since DH seminar this week is for moving images and I'm not one of those people who'll be diving into that… I want to record my frustrating experience I am having for a few weeks now and also a few happy moments searching for aging-related primary text in eighteenth-century.
Age studies is a relatively new field having its first significant rise in the 70s and the intersection of age studies and literature has only began to take good shape. In addition to it still searching for possible texts for analysis, the fact that there has been a terminology change in how people expressed what we consider as now "aging" is giving me a difficult time finding just the right source. But of course, this is the challenge for anyone doing a historical research or anyone searching for primary text in general.
(Paul Sandy, 'Wine Seller' 1759: an apparently low-class old woman selling wine looks healthy and happy)
Since I was blocked by ECCO (Eighteenth Century Collection Online)–which said there is no interesting reference to aging in eighteenth century literature (I love you ECCO but I don't trust you…), I started searching for university libraries that lists some databases for long eighteenth century primary source sites.
Memorial university libraries: early modern Britain – 15th to 18th C
Unique English Imprints, pre-1800: US National Library of Medicine
London Lives 1600 to 1800:Crime, Poverty and SocialPolicy in the Metropolis ☆
Early Modern Resources
British History Online
EuroDocs
USC Libraries
William Hogarth: Links to Online Image Archives of Paintings and Prints by Hogarth ☆
17th and 18th Century Burney Collection Newspapers ☆
Gale News Vault ☆
Eighteenth-Century Journals Parts I through IV ☆
Periodicals Archive Online ☆
Eighteenth Century Journals, Part I-V ☆
British Periodicals, Collections I and II ☆
British Newspapers 1600-1950 ☆
Empire Online
London Low Life ☆
British History Sources 1500-1900 ☆
Early English Prose Fiction ☆
Eighteenth-Century Fiction ☆
English Drama
English Poetry Database
English Poetry (2nd edition)
Eighteenth Century Drama: Censorship, Society and the Stage ☆
Jane Austen's Fiction Manuscripts ☆
Proceedings of the Old Bailey London 1674-1913 ☆
The Gazette ☆
English Historical Documents ☆
Maybe I'm just lazy here… but I hope there could be a search engine or a software program that enables me to type in a key word and pulls up all the record from various sites.
For spring break, I plan to visit these sites and to write down the summary of their usefulness and categorize them also. For now I have a little star next to the link to mark the sites that was useful.
Revised project plan below
So… it's time to get serious with my mapping project. Since it's been more than a year I worked on monster map (and thus forget even what my data represented and how many texts are included in my data) and since I don't know anything about esri story map (except a few great samples I found), let's plan how I'll go about publishing my map. I used workplan template provided by my DH course and it seems I only have three agenda:
Review of data set
Learn how to use story map (esri)
Upload & Tweak around the map
The only dependency is that I'd have to be in the library to work on ArcGIS. I'd assume for now that uploading and revising how my map looks would take the longest (is it aesthetically pleasing? What text should go beside my map and in what order? What would be the most effective way to present the "story" map? And what am I ultimately trying to show?). Though the program and the result of story map looks simple and easy enough, from my last experience, I know it is not. Even though I only have three steps now, I'll probably have to make a sub-mini-plans and schedule them in order finish this before the semester.
Revised Project Plan
It has been almost seven years since Moretti's radical claim disturbed the humanities. The fundamentals of reading a text, "close-reading"–which I just taught my undergraduates last week and will continue to do so, is now being questioned. Given that it is humanities' job to challenge whatever is the "fundamental," it may not be so surprising that we are now questioning our own method of study. But this questioning is more than a challenge to the method; it is an examination of our approach to art and ultimately what we are trying to get out of this field.
I can't tell for sure how much text a scholar must read but the comps list (comprehensive exam list: a list of texts you propose to read in order to write your doctoral dissertation) has around 150 works of literature (both primary and secondary). Say you are an avid reader and read around 150 during your BA and MA, and 150 more taking graduate seminars and for other responsibilities (including pleasure-reading). As a second-year PhD student about to compose my comps list, I'm around 450 (given that I already read the text for my comps exam). As NYT puts it, Moretti asks, "so what?" Even if you are an avid reader and read 1,000 texts, what about the other texts?
My immediate response would be it is not about the numbers of texts you read but about what each text represents and about how to exercise your own critical eyes on that text. Right? But again, even if I do not totally agree with Moretti, there is something insightful about the so-called "distant reading." I do believe some concerns about quantitative approach to literature such as "how can numbers represent the "infinate variation of human perception" (Drucker, 2017)?" But they do provide an additional perspective. They do not have to be the alternative but another axis that humanities might consider.
I have recently been to a distant reading workshop here at MSU with Ted Underwood. His project involves machine learning which is basically a program which learns from examples rather than definitions and finds patters that might be meaningful to a looking eye. For example, his recent publication "The Life Cycles of Genres" investigates the development of genres using word frequency calculating program and finds patterns. When did the "Gothic" give way to, say (if), science fiction? In order to answer such question, one might start with defining what Gothic is. Despite decades of scholar's effort, however, it is not easy to grasp what Gothic really is. Instead of finding a "definition" of this elusive genre, quantitative method finds a list of text, the corpus, and finds patterns that occur throughout. As Underwood admits, this might find things that affirm our previous findings if it does not come up with "novel" findings. But isn't it what we "traditional" scholars do anyways? And at least, we will know, quantitatively, it is proved.
click to view Ted Underwood's new publication "The Life Cycles of Genre" (Image from the URL below)
The most intriguing part about Underwood's talk was how he accepts these models as they contain biases and utilizes that fact for his analysis. Like how would one corpus set developed by librarians as "science fiction" would differentiate the result from another data set by goodreads? This talk made me think maybe it isn't just about the distant reading approach itself but the mere lack of study that is already out there that makes it seem troubling. The same would've gone for close-reading. If there is only a hundreds of scholars analyzing 19th century novel, their consensus, if there is one, about that time period would not mean much. If we have various data sets questioning or at least bringing in multiple assumptions/bias/social norms, it would be the start of looking at art in a meaningful way.
New York Times: Distant Reading
Topic Modelling
Titanic passenger data: age group, class, survival
x-axis: IMDB rating, y-axis: production budget, color: genre
Red: box office, blue: production budge
defoe
discontinuity
distant reading
mapping analysis
mapping literature
moll flanders
monster map
performative self
poetic persona


text:
The Freewheeling Freelancer
Taking my life and work wherever my bicycle takes me.
The Saint Lawrence River
Posted on 11-Aug-2018 @ 14:00 by JT Hine
The ride from the Langlais cottage at 700 m of elevation to the Saint Lawrence River (elevation almost zero) was a blistering series of terrifying downhills and challenging climbs. Jack, Hilda and Emily were paying for the three weeks spent without their loaded panniers. Still, they stopped at particularly breathtaking overlooks to admire the view (and to slow down their heart rates).
"Mom had some news last night," said Emily as they looked at the river from a cliff.
"Is everything OK?" asked Hilda.
"Fine. Greg Sprouse is being transferred, and guess who's coming in to replace him." Hilda and Jack shrugged. "Frank Daglio!"
"Now that really is a coincidence."
"According to Mom, Frank asked for Charlottesville after meeting us. Something about being closer to an international airport without having to serve in Headquarters itself."
"A man after my heart," said Jack. "I hated Washington duty."
"It sounds like he's thinking of racking up frequent flyer miles to and from Amsterdam," said Emily. "We'll see how that shapes up."
They mounted their bicycles and flew down the next ten-kilometre stretch. They stopped just beyond Sainte-Brigitte-de-Laval to eat the picnic lunch that Louise Langlais had packed. Then they rode down to the right bank of the Montmorency River. From there, it was a steady downhill along the Boulevards Raymond and Lloyd Welch to Courville, which was where the built-up suburbs downstream from Québec City ended.
They rode to Montmorency Falls by riding through Villeneuve and along the Route Verte by the Saint Lawrence River. They could see the bridge to the Île d'Orléans and a cable car ride. The island itself was a vast expanse of farmland. Mud flats made the shore unapproachable by boat.
"It's beautiful," said Emily, looking at the Falls from the bike path, "but I think I like the Laurentians better."
"Me, too," said Hilda. "That was so quiet and clean, wasn't it?"
"Well, I, for one, am not complaining about a well-paved bike path along a big river," said Jack. As expected, they rolled into Beaupré about 3 p.m., pausing to take pictures at the Church of the Blessed Virgin, a major pilgrimage site in Canada.
The directions from Jean-Paul Langlais were excellent, but the road was a surprise. They rode the highway north out of Beaupré exactly 900 metres, then stopped in a wide bend in the highway. Woods shaded both sides of the road. They could see a development beyond the woods to the left. The woods on the right were taller and denser.
"That must be it," said Emily, pointing to the woods on the right.
"What?" said Jack.
"There's a dirt track between those two trees."
"So there is. Let's check it out. There's nothing else here."
"Jean-Paul said it was a long, dirt driveway," said Hilda.
They turned down the dirt track, which was only one vehicle wide. Occasionally they dodged branches that showed signs of having been beat up by passing cars or trucks. About 100 metres into the dark woods, the road became very steep with occasional ruts from rain. Suddenly, it levelled into a clearing right by the bank of the river. Jack caught himself just in time to keep from spilling over, but the two women stopped smoothly and dismounted normally.
"Welcome! I'm glad you made it." A deep voice with a British public-school accent reached them from the back porch, and a trim man with short grey hair came smiling down the steps. "You must be Jean-Paul's friends." He approached them with his hand out. "Jerome Gordon-Smythe. Call me Jerry."
They shook hands and introduced themselves.
"Jean-Paul's directions were excellent," said Jack, "but he didn't explain the driveway very well."
"Frightfully sorry about that," said Jerry. "I hardly ever use it, so it has fallen into disrepair."
"How do you get in and out?" asked Emily.
"On the river. We hardly ever need to drive anywhere. When we do, we rent a car in Villeneuve and leave the boat there."
"Makes sense to me," said Hilda. "None of us has a car."
Jerry grinned. "Come, let's get you settled. I want to hear all about your adventures. What little Jean-Paul told me has me as excited as a six-year-old at Christmas!" He led them to the upstairs, where he had three bedrooms, one of which was obviously his home office.
"I hope this will suit you, young lady." He pointed to the twin bed across from the desk. "The washroom is big, but we have only the one."
"That will be fine, sir," said Emily.
"Jerry. You don't work for me."
Emily blushed. "Jerry."
Jerry showed Hilda and Jack to the guest bedroom. Like the office, it had a view of the woods beyond the river.
"I'll be out on the verandah keeping an eye out for her ladyship. You can take your showers now or later. No need to change clothes for us."
They opted to clean up, so they took turns using the shower and changed into street clothes.
Jerry was sitting on a verandah looking downriver when Jack came into the living room. Jerry put his book cover down and turned around.
"Did I make that much noise?" Jack asked.
"Not at all. Just that sixth sense. You know." Jack nodded. "What'll you have?"
"A beer would be nice."
"I forgot to chill it."
"If it's a good beer, that's fine."
Jerry smiled. "A civilized man." He crossed to the bar and got out two bottles of Ind Coope Long Life. "Have to leave Québec to get this one, but it's worth it." They clinked glasses and sat down. "I hope the ladies aren't powdering too much."
"They're not the powder type," Jack grinned. "But their hair does take longer to dry."
"Had enough powder on me before the shower." Both men jumped up to find Hilda pausing at the entrance to the living room. She had her trekking clothes on, shirt and shorts.
"Now, that's silent," said Jerry with an admiring smile.
"Are those bottles of Long Life I see on the bar?"
Jerry was already crossing the room. As he poured a mug for Hilda, Emily walked in, also wearing a short trekking outfit.
"Beer for you, too?" Jerry asked.
"If you don't mind, I'd like something cold, maybe an orange juice."
"That we have." Jerry reached into the refrigerator under the bar. Soon everyone was seated on the balcony. The river ran swiftly past the house.
"What's that roar?" asked Emily.
"The rapids and the Saint Anne Canyon. The white-water rafting ends just around the bend upstream." He pointed with his mug. "Ah – there's milady herself."
A Boston Whaler was coming upstream, the bow waves crashing into the trees and river bank on either side. At the wheel, an athletic-looking woman with a blond ponytail waved to Jerry. She did not slow down as she turned toward the house but went into full reverse to bring the boat to a gentle halt somewhere beneath them. They heard the engine stop. Moments later, she came into the living room from a door next to the stairs from the bedrooms. She was taller than Emily, fair, well-tanned, and the lines on her face spoke of much time on the water, in the wind and sun. Also of much laughter and smiling. Jerry gave her a kiss and turned to the guests.
"Margaret, may I present Major Hilda Paisley, Major Jack Rathburn and you-know-who?"
Emily laughed. Jack rolled his eyes. Margaret Gordon-Smythe reached out to Emily first.
"Emily, so pleased to meet you." She shook hands with the others. "Please call me Maggie." Jerry appeared with a glass of white wine. "Thank you, dear. Would you mind bringing up the shopping?"
Jack hastened to accompany Jerry to the boat. The others went to the verandah and sat down. The shadows were already long, and the temperature was dropping, a combination of the tall woods, the steep hills to the west of them and the water rushing by the house.
"This is quite the hideaway," said Hilda. "I take it you two don't care for big cities and crowds."
"This suits us perfectly," said Maggie. "We have friends everywhere, but we like to be able to reach out on our own terms."
"We also like not being easy to find," added Jerry, coming in with Jack from the kitchen. "It allows us to live in something resembling a real retirement."
Jack and Hilda exchanged glances. "I could use a place like this right now," she said.
"Me, too," said Emily.
"You're welcome to stay as long as you like. Jean-Paul only described the barest outlines of your adventures, and I don't dare trust what I see on the telly. Tell us about it. "
They spent the next hour recounting their stories, much to the delight of their hosts.
"But what about you?" asked Hilda.
"Some time in the Army and here we are," said Jerry.
Emily was staring at them. "Jean-Paul said that you were SAS." Jerry nodded. "That sounds like more than 'some time in the Army'."
"Well, most of the good stories haven't been declassified yet, so I have to hold on a while longer."
"Jean-Pierre is going into the Canadian Special Forces."
"That's partly my fault, you know. I love that boy, and we got along so well. Maryse may never forgive me."
"Speaking of Maryse – and others I've seen," Emily said, looking at Jack and Hilda, "how did you two meet?"
Maggie laughed. "That story is mostly declassified."
"The embarrassing parts anyway," said Jerry with a smile at his wife. "We were in the Falklands – miserable cold operation that. I was leading my first team on a raid on the other side of the hill from Port Howard. We put ashore and did what we came to do, then ran into an irate farmer on the way back to the boat. Our orders were not to engage civilians. We got away from him, but he put a load of buckshot in my derrière as we reached the beach." He looked at Maggie.
"I had the honour of plucking the little beads out on the way back to their ship." She winked. "Nice arse, so I decided to keep him." Emily blushed and giggled.
After the laughter died down, Emily asked, "what were you doing there?"
"Well, it was my boat! The SAS didn't have anything that could cross the rough water at the time."
"Maggie already had a reputation throughout the Falklands. She was a one-woman SAR team with that boat. Our commander asked her to lend a hand." Jerry smiled warmly at his wife.
"SAR?"
"Search and Rescue," said Jerry. "There's a memorial plaque in the sea rescue station with a list of all the people she brought ashore. And she's not even dead yet!"
Jack looked at Maggie. "That explains the dramatic approach this afternoon."
"I had to be careful today," said Maggie. "Two dozen eggs in the load."
The banter continued for another half-hour. Then they all moved to the kitchen to continue chatting while the Gordon-Smyths put supper together.
"The nice thing about living here is you can have good English food with the freshest ingredients. The fish and the produce are unbeatable here." Jerry heated up the deep fryer. "You've probably been drowning in wonderful French cuisine, haven't you?" They nodded. "Tonight, it's fish and chips and more warm beer."
The Americans learned that Maggie was born and raised in the Falklands. Jerry came back on leave six months after the war and proposed. They lived all over the world together, but when he had a long deployment, she would fly back to the Falklands until his unit came home.
"The Army was a good life, but you can understand why we like the water and a certain isolation," she explained.
The yawning started at ten p.m. It had been a long day on the road. In their rooms, the three Americans fell deeply asleep with the background noise of the river.
The next morning over breakfast, Jerry showed them where they would be going.
"There's no hurry," said Jerry. "We can get to Rivière Ouelle in less than five hours—"
"Less than three," Maggie gave them a wicked grin.
"I thought we would let them enjoy the view. Take pictures. That sort of thing."
"You're trying to save on fuel again."
"Not a bad idea, love."
After breakfast, Jack helped load the dishwasher while Emily scrubbed the pans. Jerry checked out the big boat. Emily, Hilda and Jack double-checked their rooms, then loaded their panniers below to the boat. The mooring area occupied the vast space among the stilts beneath the house, with two slips and a generous dock area around each boat. They carried their bikes down to the boat. Jerry lashed them together and to the life rails on the fantail with bungee cords.
Maggie climbed up to the bridge, fired up the engine and let it purr for a moment. Then she threw the boat into full reverse on the port engine and put a twist on the two screws, churning up the river. Emily and her friends grabbed the rail in surprise as the boat pulled out with its stern pointing neatly upstream. Maggie put the engines ahead slow and let the river carry them to the Saint Lawrence.
"Why not the dramatic show we saw yesterday?" Jack asked Jerry.
"It's very shallow all the way past the mud flats on the North Shore of the Saint Lawrence. This boat draws more water than the Boston Whaler, so going fast could suck mud into the engines."
Jack nodded and joined the others.
They came to the channel of the Saint Lawrence River. Maggie increased speed and turned downstream. Emily used her phone to take pictures of the farms on the Île d'Orléans and of Beaupré on the other side. The boat moved nimbly, passing the outbound freighters and keeping to the other side of the river from the inbound ships.
"Is there always this much traffic on the river?" Emily asked.
"There is unless the river or Lake Ontario freezes over," said Jerry. "We've seen that a couple of times."
They enjoyed a picnic lunch about noon, with Jerry taking a turn at the wheel while Maggie ate. By mid-afternoon, Maggie was bringing the boat alongside the one pier in Rivière Ouelle. It belonged to a friend of theirs, who was visiting relatives in Manitoba.
"Stay in touch," said Jerry. "You're welcome together or separately."
"Anytime," said Maggie. "It was wonderful to meet you and hear your stories."
After hugs, the Americans mounted their bicycles and rode up to Highway 132, where the Route Verte led to the end of the Gaspé Peninsula. On the other side of the Ouelle River, they turned left back toward the Saint Lawrence and soon were checking into the Municipal Campground. They bought food for supper and set up their camp half-way back from the shore.
They ate an early supper. With the sun still well above the horizon, Hilda suggested a walk on the beach.
"The sunsets here are unique, and to die for," she said.
"Swimming?" asked Emily.
"It's allowed, but I don't feel like sharing the water with all those ships."
As the sun came closer to the horizon, campers and neighbours gathered on the beach. A group was singing around a guitar, and a half-dozen campfires were going as the sun slowly fell below the Saint Lawrence.
"That is truly spectacular," said Jack. "Almost as beautiful as you are."
Hilda smiled and gave him a hug. "I don't light up the place."
"Oh, yes, you do."
Emily sat immobile on the sand, soaking in the beauty of the moment, enjoying the music nearby, and feeling intensely happy to be on the road with her friends.
Smooth roads and tailwinds,
This entry was posted in bicycling, Emily & Hilda, Fiction and tagged Emily, Hilda, Jack, Québec by JT Hine. Bookmark the permalink.

redpajama_set_name: RedPajamaCommonCrawl


text:
Recent Initiatives
Supporting community projects and services
The Trust provides charities with grants to support the running costs of various projects and services.
In the last ten years The NFU Mutual Charitable Trust has donated almost £3m to fund education and social welfare projects in towns and villages across the UK.
Here are some examples of who we're helping right now:
Providing opportunities for 30,000 young people
Young farmers' clubs are one of the UK's largest rural youth organisations with clubs across England, Scotland, Wales and Northern Ireland. Young people growing up in the countryside often feel isolated or left behind. The YFCs provide a range of educational, social and development opportunities so that 10 to 26-year-olds from rural communities can broaden their horizons and grow their self-esteem. We're happy to support their good work.
{Quotation}
Introducing a different way of life
Many children from urban areas have never visited the countryside. Farms for City Children gives these young people the opportunity to live and work on a real farm for a week. Last year we helped the charity welcome around 3,000 pupils from across the UK to a world they'd never experienced before.
Helping rural families out of hardship
Farming can be an unpredictable profession that often doesn't allow those inside it to financially prepare for later life. Farming Help is the umbrella organisation for four charities that help farming families avoid, or deal with, financial need. The charities provide support in a number of ways, from pastoral care and business advice to short and long-term grants, affordable housing, and even training to help develop skills that can bring in an income that doesn't rely on the farm. Last year the charities collaborated to help more than 3,000 families across the UK.


The author takes the reader through Rosemundy and up to Goonown and Goonbell with a large number of historic images culled from his vast collection, many of them previously unpublsihed.  Well-informed captions are provided.
The story of the successful international search for the figurehead of the 'Lady Agnes'. Includes the story of the vessel from her launch at St Agnes in 1877.
The story of the large 18th century house in St Agnes, from 1967 a hotel, but formerly home of the Carne family (1840-1909). It became a Mother and Baby Home in 1919 and over the next 45 years around 1200 babies were born there.
This is 'a day by day account of how the Second World War affected the inhabitants and villages of Trevellas, Mithian, St Agnes, Blackwater, Mount Hawke and Porthtowan on the North Coast of Cornwall.' Extensively researched it is full of information about the people and events, with numerous personal recollections adding to the material from documentary sources.   Abundantly illustrated.
Records the life and work of the women and girls who worked at the mines, and clay works in the St Austell area.
Produced as a tribute to those who gave their lives during the Great War, this carefully researched book records all the data which could be discovered about them, as well as others known to have been casualties, and others who served. More than that, it examines the impact of those difficult years locally, and the period after the war ended through references from the local press. It contains numerous photos.
A varied collection of items relating to the parish including a number of transcribed documents from the 16th to 19th centuries.   A limited print run, A4 insize, and simple office binder.
A collection of 9 varied articles on old St Ives by an 'Old Cornwall' member and bard of the Cornish Gorsedh.
A collection of 7 varied articles on old St Ives by an 'Old Cornwall' member and bard of the Cornish Gorsedh.
A collection of 8 varied articles on old St Ives by an 'Old Cornwall' member and bard of the Cornish Gorsedh.
A booklet containing 24 historic images from the collection of the St IvesArchive Trust, showing, gigs, crabbers, warships, and a variety of other vessels, but also the fascinating harbour scenes of activity for which the town is famous.
"Women and girls at the mines of West Cornwall".
This includes Rock, Porthilly, Trebetherick, Polzeath and Port Quin. A  lovelier corner of Cornwall would be hard to name, and it is described "in colourful, revealing detail" by the author.
An encouragement to look at the rich archaeological remains of the Isles of Scilly, with a helpful gazetteer of numerous sites to view.
[STITHIANS] ALWAYS SOMETHING INTERESTING... STITHIANS, NO 7.
8 essays by the Stithians Local History Group, on 'The Philosophers', the workhouse, St Stithians College in Johannesburg, E J Sarah's recollections at 90, farming changes, C19 emigration to South Australia, Trelusback, and poverty and poor relief.
7 essays by the Stithians Local History Group, on C19 population, old local families, Ennis and Carbis farm, Crellow, 1930s cost of living, Wm H Turner's dismissal as schoolmaster in 1893, and the Stithians Local History Group itself.
10 essays by the Stithians Local History Group, on Tretheague, Menerdue, Vellansbrockye, C19 education, Alfred Richards of Trenarth, Rosemanowes Quarry, 4 former contributors, Knuckey brothers - South Australia pioneers, mock mayors, and 'octogenariangossip'.
"The text takes the reader on a colourful journey of discovery, from the river's humble beginnings in remote north Cornwall through its varying borderland riverscapes and on until its meetings with the sea." (Cover blurb). A fascinating book which looks at the communities, industries and so on along the way.
Records the life and work of the women and girls who worked at the mines, smelters, clay and brick works of the Tamar area.
Starting as a village Millennium project to tell something of the story of Troon, near Camborne in west Cornwall, the author - an 'Old Cornwall' member and bard of the Cornish Gorsedh - has "set the more modern community against its historical context..."


text:
Name Jevin West Institution University of Washington Field of science Foundations Personal website https://jevinwest.org/
Metascience 2019 Symposium
Back to Media
Jevin West
University of Washington Related
Field of science Foundations Personal website https://jevinwest.org/ Participation
Jevin West is an Assistant Professor in the Information School at the University of Washington and co-founder of the DataLab. He is an Adjunct Faculty member in the Paul G. Allen School of Computer Science & Engineering, Data Science Fellow at the eScience Institute and Affiliate Faculty in the Center for Statistics & Social Sciences at UW. He develops knowledge discovery tools to study and facilitate science. His methods aim to detect the origins of scientific disciplines, the social and economic biases that drive these disciplines, and the impact the current publication system has on the health of science. This work led to a new course on Calling BS that he and his colleague, Carl Bergstrom, developed to combat misinformation that comes wrapped in data, figures, visualizations and statistics. The course is now being taught at universities around the globe.


The popular Zoku Quick Pop Maker has a lot of things going for it, but sometimes freshly-made freezer pops in as little as seven minutes is just not quick enough. Fear not, freezer food fans, the Zoku Storage Case has the answer. The sturdy contraption offers long-term storage in the freezer for up to six Quick Pops at a time–assuming you can keep any around for that long.


text:
Q: Removing XML nodes to reduce the size of an XML log file to a given size I'm having some difficulty removing nodes from an xml file.  I've found lots of examples of others doing this in powershell through various means, the code below would seem to be identical to many of the other examples I've seen, but I'm not getting the desired behavior.
My goal is to reduce the size of the output XML until it's below 4KB.
The code below doesn't error out, but the count of objects in $updateactivity never changes, so the node doesn't seem to be removing.
This is a log in xml format, so I'm removing the oldest entries first.
sample xml:
<?xml version="1.0" encoding="utf-16"?>
<LogEntries version="1.0" appname="Dell Command | Update" appversion="4.3.0">
    <LogEntry>
        <serviceVersion>2.3.0.36</serviceVersion>
        <appname>DellCommandUpdate</appname>
        <level>Normal</level>
        <timestamp>2022-01-07T13:29:57.9364469-08:00</timestamp>
        <source>UpdateScheduler.UpdateScheduler.Start</source>
        <message>Starting the update scheduler.</message>
        <trace/>
        <data/>
    </LogEntry>
</LogEntries>

code:
    [xml]$dcuxml = get-content "C:\ProgramData\dell\UpdateService\Log\Activity.log"
    $xmllog = $dcuxml.LogEntries
    $update_activity = $xmllog.LogEntry | NotableDCU
    $i = 0
    Do{
        foreach($entry in $update_activity){
            $entry.parentnode.RemoveChild($entry)
            $xmlsize = [System.Text.Encoding]::UTF8.GetByteCount(($update_activity.InnerXml | Out-String)) / 1KB
        }
    }while($xmlsize -gt 3.99)

A: This is an alternative solution that uses a streaming approach based on XmlReader and XmlWriter only. Compared to my first solution, it does not limit the size of the input file depending on the amount of available RAM.
While my first solution reads the whole input file into an XmlDocument in memory, this one only keeps as many log entries in memory, as needed for the output file.
Also it is much faster than the first solution, because it doesn't incur the overhead of creating a DOM (a log file of 63 MB with 100k entries took about 1.5 seconds to process using the current solution, while it took more than 6 minutes(!) using my first solution).
A disadvantage is that the code is more lengthy than my first solution.
$inputPath      = "$PWD\log.xml"
$outputPath     = "$PWD\log_new.xml"

# Maximum size of the output file (which can be slightly larger as we only
# count the size of the log entries).
$maxByteCount   = 4KB

$writerSettings = [Xml.XmlWriterSettings] @{
    Encoding = [Text.Encoding]::Unicode   # UTF-16 as in input document
    # Replace with this line to encode in UTF-8 instead
    # Encoding = [Text.Encoding]::UTF8
    Indent = $true
    IndentChars = ' ' * 4   # should match indentation of input document
    ConformanceLevel = [Xml.ConformanceLevel]::Auto
}

$entrySeparator = "`n" + $writerSettings.IndentChars

$totalByteCount = 0
$queue = [Collections.Generic.Queue[object]]::new()

$reader = $writer = $null

try {
    # Open the input file.
    $reader = [Xml.XmlReader]::Create( $inputPath )

    # Create or overwrite the output file.
    $writer = [Xml.XmlWriter]::Create( $outputPath, $writerSettings )
    $writer.WriteStartDocument()  # write the XML declaration

    # Copy the document root element and its attributes without recursing into child elements.
    $null = $reader.MoveToContent()
    $writer.WriteStartElement( $reader.Name )
    $writer.WriteAttributes( $reader, $false )

    # Loop over the nodes of the input file.
    while( $reader.Read() ) {
        # Skip everything that is not an XML element
        if( $reader.NodeType -ne [xml.XmlNodeType]::Element ) {
            continue
        }

        # Read the XML of the current element and its children.
        $xmlStr = $reader.ReadOuterXml()
        # Calculate how much bytes the current element takes when written to file.
        $byteCount = $writerSettings.Encoding.GetByteCount( $xmlStr + $entrySeparator )

        # Append XML string and byte count to the end of the queue.
        $queue.Enqueue( [PSCustomObject]@{
            xmlStr = $xmlStr
            byteCount = $byteCount
        })
        $totalByteCount += $byteCount

        # Remove entries from beginning of queue to ensure maximum size is not exceeded.
        while( $totalByteCount -ge $maxByteCount ) {
            $totalByteCount -= $queue.Dequeue().byteCount
        }
    }

    # Write the last log entries, which are below maximum size, to the output file.
    foreach( $entry in $queue ) {
        $writer.WriteString( $entrySeparator )
        $writer.WriteRaw( $entry.xmlStr )
    }

    # Finish the document.
    $writer.WriteString("`n")
    $writer.WriteEndElement()
    $writer.WriteEndDocument()
}
finally {
    # Close the input and output files
    if( $writer ) { $writer.Dispose() }
    if( $reader ) { $reader.Dispose() }
}

The algorithm basically works like this:

*

*Create a queue of custom objects that store the XML and the size in bytes per log entry.

*For each log entry of the input file:

*

*Read the XML of the log entry and calculate the size in bytes (as on disk, applying the output encoding) of the log entry. Add this data to the end of the queue.

*If necessary, remove log entries from the beginning of the queue to ensure the desired maximum size in bytes is not exceeded.

*Write the log entries from the queue to the output file.

*For simplicity we only consider the size of the log entries, so the actual output file could be slightly larger, due to the XML declaration and the document root element.

A: This is the first of two different solutions. It is less performant than my second solution, but might still be useful if you need additional DOM processing, instead of just reducing the file size (though you could do simple transformations and filtering using the 2nd solution as well).
The basic idea is to create a memory stream and serialize XML nodes one-by-one, starting from the end, until the stream has reached the defined maximum size. While doing so, calculate the number of nodes to remove. Only then actually remove the nodes from the original document and save it.
$inputPath  = "$PWD\log.xml"
$outPath    = "$PWD\log_new.xml"
$maxXmlSize = 4KB

# Use Load() method instead of Get-Content to respect encoding attribute of XML doc
$dcuxml = [xml]::new(); $dcuxml.Load( $inputPath )

$xmllog = $dcuxml.DocumentElement.ChildNodes # | NotableDCU

$writerSettings = [Xml.XmlWriterSettings] @{
    Encoding = [Text.Encoding]::Unicode   # UTF-16 as in input document
    # Replace with this line to encode in UTF-8 instead
    # Encoding = [Text.Encoding]::UTF8
    Indent = $true
    IndentChars = "`t"
    ConformanceLevel = [Xml.ConformanceLevel]::Auto
}

# Create a MemoryStream that is connected to a XmlWriter
$memStream = [IO.MemoryStream]::new()
$memWriter = [Xml.XmlWriter]::Create( $memStream, $writerSettings )
$memWriter.WriteStartDocument()
$memWriter.WriteStartElement( $dcuxml.DocumentElement.Name )
  # For simplicity we don't write the attributes of DocumentElement

$numEntriesToRemove = $xmllog.Count

# Loop over log entries in reverse until stream has reached maxXmlSize
# to count number of entries to remove.
for( $i = $xmllog.Count - 1; $i -ge 0; --$i ) {

    $xmllog[$i].WriteTo( $memWriter )
    $memWriter.Flush()  # make sure stream is actually written now

    # Check stream length which is always in bytes
    if( $memStream.Length -ge $maxXmlSize ) { break }

    # While we are below maxXmlSize, decrement the number of entries to remove
    --$numEntriesToRemove
}

# Remove log entries to bring the output size below maxXmlSize.
foreach( $entry in $xmllog[ 0..($numEntriesToRemove - 1) ] ) {
    $null = $entry.ParentNode.RemoveChild( $entry )
}

# Use XmlWriter to ensure same write settings as we used when calculating the XML stream size.
$writer = [Xml.XmlWriter]::Create( $outPath, $writerSettings )
$dcuxml.Save( $writer )
$writer.Dispose() # Close file

As for what you have tried:

*

*The count of objects in $update_activity array never changes, because when you call RemoveChild(), you just remove their references from the XML tree. The objects only get deleted when there are no more references to them. But $update_activity is an independent array of references, which keeps the nodes alive. You would have to rebuild the $update_activity array for each loop iteration to reflect the changes to the XML tree. This would be very inefficient.

*When you call $update_activity.InnerXml inside of the loop, you basically serialize all log entries everytime, again very inefficient. Also, InnerXml isn't indented, so its length doesn't reflect the size of the XML as stored on disk.

*You are using UTF8.GetByteCount(), while the document actually is encoded in UTF-16. You would end up calculating roughly half the number of bytes as needed for UTF-16, which uses two bytes per character. This problem is avoided in the above code by using an XmlWriter with the right encoding setting and reading the size of the underlying stream, which is counted in bytes.

redpajama_set_name: RedPajamaStackExchange


text:
require 'thor'
require 'wraith'
require 'wraith/save_images'
require 'wraith/crop'
require 'wraith/spider'
require 'wraith/folder'
require 'wraith/thumbnails'
require 'wraith/compare_images'
require 'wraith/images'
require 'wraith/gallery'

class Wraith::CLI < Thor
  include Thor::Actions

  attr_accessor :config_name

  def self.source_root
    File.expand_path('../../../templates/', __FILE__)
  end

  desc "setup", "creates config folder and default config"
  def setup
    template('configs/config.yaml', 'configs/config.yaml')
    template('javascript/snap.js', 'javascript/snap.js')
  end

  desc "reset_shots [config_name]", "removes all the files in the shots folder"
  def reset_shots(config_name)
    reset = Wraith::FolderManager.new(config_name)
    reset.clear_shots_folder
  end

  desc "folders [config_name]", "create folders for images"
  def setup_folders(config_name)
    create = Wraith::FolderManager.new(config_name)
    create.create_folders
  end

  no_commands do
    def check_for_paths(config_name)
      spider = Wraith::Spidering.new(config_name)
      spider.check_for_paths
    end

    def check_images(config_name)
      image = Wraith::Images.new(config_name)
      image.files
    end
  end

  desc "save_images [config_name]", "captures screenshots"
  def save_images(config_name)
    save_images = Wraith::SaveImages.new(config_name)
    save_images.save_images
  end

  desc "crop_images [config_name]", "crops images to the same height"
  def crop_images(config_name)
    crop = Wraith::CropImages.new(config_name)
    crop.crop_images
  end

  desc "compare_images [config_name]", "compares images to generate diffs"
  def compare_images(config_name)
    compare = Wraith::CompareImages.new(config_name)
    compare.compare_images
  end

  desc "generate_thumbnails [config_name]", "create thumbnails for gallery"
  def generate_thumbnails(config_name)
    thumbs = Wraith::Thumbnails.new(config_name)
    thumbs.generate_thumbnails
  end

  desc "generate_gallery [config_name]", "create page for viewing images"
  def generate_gallery(config_name)
    gallery = Wraith::GalleryGenerator.new(config_name)
    gallery.generate_gallery
    puts "Gallery generated"
  end

  desc "capture [config_name]", "A full Wraith job"
  def capture(config)
    reset_shots(config)
    check_for_paths(config)
    setup_folders(config)
    save_images(config)
    check_images(config)
    crop_images(config)
    compare_images(config)
    generate_thumbnails(config)
    generate_gallery(config)
  end
end

redpajama_set_name: RedPajamaGithub


text:
Judy Chan Ka-pui (; born 4 April 1980) is a Hong Kong politician who is a current member of the Legislative Council of Hong Kong elected through the Elections Committee. She is a member of the New People's Party and was a former member of Southern District Council for South Horizons West, until 2019.

Biography
Daughter of an antique store owner, Chan lived on the Peak and graduated from Monash University. She says that she worked in the United States for seven years before relocating to Hong Kong. She was a founding member of the New People's Party (NPP) and became known when she contested in the Southern District Council by-election in South Horizons West in 2014, defeating two pro-democracy heavyweights, the Democratic Party's former Legislative Council member Sin Chung-kai and People Power chairwoman Erica Yuen.

She then became seen as a future successor to NPP chairwoman Regina Ip. She also stood in the 2016 Legislative Council election in Hong Kong Island as a second candidate. Her ticket received more than 60,000 votes, the highest votes a ticket received in the constituency. She relinquished her United States citizenship to stand in the election.

In the 2018 Hong Kong Island by-election triggered by the oath-taking controversy which resulted in the disqualification of Demosisto's Nathan Law, Chan became the pro-Beijing representative to run against Au Nok-hin. Despite receiving more than 120,000 votes, she lost to Au with a narrow margin of 3.5 per cent.

On 5 January 2022, Carrie Lam announced new warnings and restrictions against social gathering due to potential COVID-19 outbreaks. One day later, it was discovered that Chan attended a birthday party hosted by Witman Hung Wai-man, with 222 guests.  At least one guest tested positive with COVID-19, causing all guests to be quarantined. Chan was warned by Legislative Council president Andrew Leung to not attend any meetings until after finishing her last mandatory Covid-19 test on 22 January 2022. However, she decided to attend the meeting on 19 January 2022, against Leung's orders. About the party, Chan said "It was held shortly after an intense Legislative Council election, and the same day as our oath-taking ceremony, so we just went there to chill and celebrate".

In September 2022, Chan tested positive for COVID-19.

In 2022, one of the first motions passed in the Legislative Council came from Chan, who urged a crackdown on foreign domestic helpers who were "job hopping" or leaving their employers early.

References

1980 births
Living people
Monash University alumni
District councillors of Southern District
New People's Party (Hong Kong) politicians
Hong Kong emigrants to the United States
HK LegCo Members 2022–2025
Members of the Election Committee of Hong Kong, 2021–2026
Hong Kong pro-Beijing politicians

redpajama_set_name: RedPajamaWikipedia


text:
PDFreaders.org è una campagna promossa dalla Free Software Foundation Europe rivolta a promuovere quei programmi per leggere e scrivere documenti PDF (Portable Document Format) come software libero ed a promuovere le versioni del PDF pubblicate come standard aperti.

Esistono molte versioni diverse di Portable Document Format: alcune si qualificano come standard aperto, altre sono certificate dall'ISO, altre ancora sono gravate da brevetti software.

Lettori liberi
La seguente tabella di lettori PDF è indipendente da una specifica azienda. Tutti questi sono software libero, e quindi rispettano le quattro basilari libertà di usare, studiare, ridistribuire e migliorare il software.

Infine, l'unica risorsa web consigliata, indipendente dal sistema operativo, è psview.

Note

Collegamenti esterni

Free Software Foundation


text:
Trust the progress? Markelle Fultz still weeks away from return to 76ers
Dan Devine
Philadelphia 76ers rookie Markelle Fultz probably won't be back on the court until mid-December.
OK, so on the Markelle Fultz front, the Philadelphia 76ers have good news and bad news. Which one do you want first?
[Now's the time to sign up for Fantasy Basketball! Join for free]
Good news first? I think I heard someone in the back say "good news." You got it. The good news, the Sixers announced Sunday, is that the No. 1 pick in the 2017 NBA draft "is progressing" in his return from the right shoulder soreness and "scapular muscle imbalance" that led the team to shut him down three weeks ago.
"The soreness is dissipating and the muscle balance is improving, and Fultz will continue with physiotherapy and begin progressing toward full basketball activities," the team announced.
Soreness dissipating! Muscle balance improving! Excellent!
But then, there is the bad news: that, despite the dissipation and improving balance, it doesn't sound like Fultz is especially close to getting back on the floor for game action.
"Fultz will be re-evaluated in approximately two to three weeks," the 76ers' statement continued. "His return to gameplay will be determined by how the shoulder responds to progressive basketball training and practices in the interim."
Fultz hasn't suited up since Oct. 23, when he scored two points on 1-for-4 shooting with three assists, three turnovers, two rebounds and a steal in 16 minutes of work in Philly's 97-86 win over the Detroit Pistons. The performance — tentative, labored and pained for a fourth straight game — exacerbated concerns that something was seriously wrong with the former Washington standout.
The concerns began to crop up before the start of the season, when footage from Sixers training camp and preseason games showed Fultz sporting a drastically different, and significantly less successful, shooting motion than the one he'd featured while knocking down 41 percent of his 3-point tries and 65 percent of his free throws in his lone year on campus. They persisted as Fultz began his career by making only nine of his first 27 field-goal attempts — with none coming from farther than 14 feet away — and six of his first 12 free throws.
The rumblings quickly grew loud enough that neither Fultz's camp nor the Sixers could ignore them anymore. Fultz's agent issuing a pair of confusing and seemingly contradictory statements about what exactly was going on with his client's right shoulder. First, Raymond Brothers said that the 19-year-old had "fluid drained out of the back of his shoulder" before the start of the regular season and "literally cannot raise up his arms to shoot the basketball." Several hours after that, he reversed course, saying Fultz "had a cortisone shot on Oct. 5, which means fluid was put into his shoulder — not taken out."
A day later, the Sixers — who have had more than their fair share of issues with injuries to their top draft picks, and with a method of communicating information about those injuries that doesn't exactly inspire much confidence in what's going on behind the scenes — shut Fultz down. In so doing, they committed to giving 2017's top choice — a pick the Sixers got from the Boston Celtics in exchange for 2017's No. 1 selection (used on Jayson Tatum, who looks great) and another first-round pick in either 2018 (if the Los Angeles Lakers' choice falls between Nos. 2 and 5) or 2019 (belonging to either Philly or the Sacramento Kings, whichever lands higher) — as much time as he needed to get his shoulder and his head right after a trying start to his NBA career.
"This is not normal," one Eastern Conference general manager told Bleacher Report's Ken Berger of the Fultz saga. "It's perplexing."
(And then, as a cherry on top, Fultz started shooting left-handed in a workout after being shut down.)
[Follow Ball Don't Lie on social media: Twitter | Instagram | Facebook | Tumblr]
What role Fultz will play when he returns to a Sixers team that's looked devastating at times behind the one-two punch of Joel Embiid and Ben Simmons remains to be seen. For now, though, knowing the answer to that question is far less important than Fultz simply getting back into position to be healthy enough for Brett Brown to start finding any answer.
In a vacuum, "the No. 1 pick in the draft probably won't get back on the court until mid-December at the earliest" might not seem like especially heartening news. But in the ultra-specific and incredibly odd context of a highly touted prospect prized for his range and scoring touch having his stroke completely disintegrate between Summer League and preseason, only for everyone involved to insist that things were fine until cold hard reality forced them to say otherwise, "an injury is slowly and steadily getting better" seems like cause for celebration.
Dan Devine is an editor for Ball Don't Lie on Yahoo Sports. Have a tip? Email him at devine@yahoo-inc.com or follow him on Twitter!
Follow @YourManDevine
More from Yahoo Sports:
• Former NFL star Terry Glenn dies in car accident
• Trump escalates NFL anthem feud with Lynch tweet
• Lakers speak to Ball about scuffle kerfuffle
• Dan Wetzel: We're all losers in the Trump-LaVar Ball feud


Extend the life of your Serta crib with this Full Size Platform Bed Kit from Delta Children. Easily converting your crib into a sleek platform bed, the headboard of the crib attaches to the strong and sturdy platform foundation. The platform's streamlined profile works in bedrooms small and large, and effortlessly adapts to a variety of decorating styles. Refer to your crib's instruction manual to ensure these rails are compatible with your crib.
Refer to your crib's instruction manual to ensure these rails are compatible with your crib.


Heath Newman is a multidisciplinary artist currently living and working in Northern New South Wales.
Following his graduation from Sydney College of the Arts, Heath travelled intrepidly for a year in Asia and India finding inspiration in its chaos, calmness, humanity and nature.
"The philosophical elements of my work extend beyond my painting. I've always been developing these conceptual conversations in my art and in my life. I find mythology on a philosophical level to contain such deep ideas about the nature of the world. The ability to personify emotions and the environmental landscape really connected to me, and I love to deconstruct their motifs and in a way unravel and recreate their concepts.
Everything holds its own ability for expression, somethings more than others, but regardless I like to look for the capacity of beauty in everything.
Inspired by the art of The Southern School in China and Japan and the art of making Bonsai ( under his father's tuition ), Heath draws from the idea of Literati: the scrawl of the drunken monk. Literati is a culture of art notably concerned with ink painting, splashes, calligraphic scrawls and minimalistic plant styling (bonsai.) This culture of painting and the creation of bonsai were deep in philosophical subtext concerning the art of harmonious involvement with nature. Drawing from this, Heath's art incorporates elements of hesitancy and fragility into the confident physical gestures of abstract expressionism. Combining fragments of still life, mythology, strokes, scrawls and colour fields, Heath describes his work as a mental map; both of his subconscious and of the greater, collective consciousness. These concepts endlessly inform Newman's work, alongside the exploration of texture, tone, perception and depth; the rise of colour in the human eye and brain, the appreciation and discrimination of harmony and the confusion and intrigue of visual perception.
Heath's canvas paintings are predominantly large scale, offering him a grand surface to balances his deep rooted, intelligent study of the physical and metaphysical with a light and free hand. He is a prolific artist with an interest in diverse mediums, including including work on timber and canvas, sculpture and lately a polaroid study.


text:
In case of emergency call 911
PEACEFUL FAMILIES
SEMAH INC. HORRIFIED
Addressing a press conference on July 19, 2013, at the Muslim Community Assocciation in Santa Clara, Syeda Reshma Inamdar, Executive Director and Co-Founder of SEMAH Inc., said as a domestic violence prevention organization, SEMAH is horrified at the egregious misapplication of law in Florida which allowed George Zimmerman to go free after killing unarmed 17 year old Trayvon Martin but has sentenced Marissa Alexander of Jacksonville to 20 years in prison for defending herself. Marissa Alexander, a black woman, has stated that she filed shots in the air to scare off her abusive husband. She fired in self defense, harmed no one and yet she faces 20 years behind bars while George Zimmerman is fully acquitted," she added and urged Florida Governor Rick Scott and the Florida Legislature to redress this clear travesty of justice. Reshma said that no one bring back Trayvon Martin to life but we can hopefully work to ensure that Marissa Alexander will not suffer further for having been born a black woman who was trying to defend herself.
"We should also discuss the issue of racial profiling so that justice is appliedequally to all," Resham Inamdar concluded.
SEMAH is an online conduit for resources to help build bridges to safer communities especially those that are not well served. We have a special focus on the Muslim and inter-faith communities.
© 2016 by SEMAH Inc. Proudly created with FirstDaySocial.com


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Cuddling up around the campfire has never been so easy. With adjustable arms and dual beverage holders, this chair is built for two and perfect for an outdoor cuddle puddle.
➤ Packed Dimensions: 41" x 12" x 12"
➤ Assembled: 44" x 23.5" x 39.5"