digital mapping Archives

Austin Historical Atlas: Mapping Austin’s Historical Markers

(Preview of our first page: “Austin Development During World War I”)

In recent years, discussions of Confederate monuments have dominated narratives of public memory in the United States. As important as this discussion is, however, Civil War monuments make up a relatively small percentage of historic markers in American cities. Although less contentious, state and national historic markers polka dot our city-scapes, quite literally inscribing in bronze information about the city’s past on our buildings, street corners, and in our urban parks.

Often these markers seem inconspicuous. Many list the names of long dead citizens, or remark on the importance of architectural styles far beyond the working knowledge of casual perusers. However, these marked places do not exist in a vacuum. Their importance relies on their relationships to other buildings and to the city at large. Yet, that relationship is hidden. The markers speak, when we learn their language, about important aspects of a city’s collective history, even about histories that the marker makers never intended to reveal. Our hope, at Not Even Past, is to make these connections visible through a series of maps which we are calling a digital atlas. In the process we will see what unexpected information might be revealed by the historical markers in our home city of Austin, Texas.

A black and white map of Austin, Texas focusing on the city's downtown area — Map of Austin in 1920 (via Wikimedia)

This will by no means be the first digital map of historical markers in the city of Austin. The Texas Historical Commission offers its own map of markers, which naturally include our city. Google Maps has a limited version, along with Stopping Points, and numerous other websites. These maps tend to be thorough, covering relatively reliably the markers they promise, and usually offering addresses, marker titles, and occasionally the marker text (as well as limited and unreliable descriptive metadata). In the case of the Texas Historical Commission they even offer thematic maps (i.e. Women’s History, African American History, Education, etc.).

The Austin Historical Wiki, from the UT departments of Architecture and Historic Preservation, take on important issues in the field of preservation. How do places get preserved, and how can open sourced maps (in this case a Wiki) help to utilize historical markers more effectively? How can we discover what the community wants from their markers, rather than reflecting the desires of a wealthy, motivated, and organized few? (To read their fascinating reflections on the project click here.) Their goals are both admirable and important. Nevertheless, the Austin Historical Wiki, much like these other mapping initiatives, fail (or perhaps more accurately do not attempt) at our goal of providing historical context to often bland and obtuse historical markers scattered throughout the city.

A contemporary map of the City of Austin, Texas — Contemporary Map of the city of Austin (via Wikimedia)

Historians are slowly learning from geographers, anthropologists, architects, and many others how to mine historical information that can be found in landscapes. Geographers and architectural historians are especially good at finding and relaying information on materials, whether it be the type of granite used for the Texas Capitol Building, or the way in which the Balcones Escarpment provides Austin with reliable water during dry seasons. Historians, in contrast, specialize in creating narratives out of historical information. By combining these methodologies of space, data, and narrative voice with technologies such as GIS (Geographical Information Systems), historic markers can reveal a more interesting and comprehensible history of Austin that is already written onto the city.

The goal of our Digital Atlas is a map that can be viewed in layers, allowing connections to be drawn between different markers. This may involve comparing a number of markers that occur in the same year (our first post will be about three markers related to 1917), or it may be something more familiar, in that markers are arranged and colored to allow us to see how women’s lived experience has changed over time. We will release these layers slowly, month by month. Some may include only a few historical markers, while others could utilize ten, twenty, or thirty.

To begin, the maps, while interactive in a limited capacity, will not necessarily help people make connections between markers on their own. However, as layers increase, and more and more markers are entered in our Digital Atlas, we hope to create a map large enough, and with sufficiently searchable metadata, so that the map could be used as a teaching tool in classrooms, as well as a way to discover more about Austin for the curious reader.

An image of the Texas Historical Commission Plaque for the First Classes of the University of Texas Law School — Example of Texas Historical Commission Plaque (via Wikimedia)

The goal of this mapping project is not fully formed. We want to visualize the cityscape, historically contextualize existing markers, challenge existing narratives, and identify events and people who deserve to be commemorated with historical markers, but we expect the project –and our readers—to take us in additional directions.

Building useful digital humanities and public history projects can be difficult and confusing at the start. Despite enthusiasm on the part of departments or faculty, there is little in the way of formal training for graduate students in digital methods and tools. In this project, we are learning by doing, and expect to adapt and change as our needs change and follow the twists and turns it takes us on. What we can promise is transparency in our struggles and our accomplishments, honest reflection on the conflict between our goals and the reality of digital mapping, and the hope that such transparency will help others digital humanists considering such projects.

Read our first edition now: Development During World War I

Mapping & Microbes: The New Archive (No. 22)

by Christopher Rose

Can the microbe speak?

It’s 5:30 pm, and I’ve been staring at my computer screen for over eight hours. There’s a crick in my neck, my breathing is shallow, my blood pressure has elevated, and the entire Giza governorate has just disappeared off of the map the instant that I finished tracing its borders—for the third time. I take a deep breath, utter a few choice unpleasant words under my breath, make sure to save my work, and turn off the computer. Today, the dragon has won.

I am two weeks into what I had originally, and naively, thought would be a one-week project to map the outbreak of epidemic and epizootic diseases in Egypt during the First World War, which comprises a subsection of my dissertation project. It’s not a great time to be working on Egypt, as it’s become nearly impossible to get research clearance from the Egyptian government. Funding has also become a near impossibility: my optimism at being named a finalist for a Fulbright in early 2016 was short lived; the program was suspended due to security concerns before awards were announced.

While online resources are scarce, I did find that the Egyptian government’s official gazetteer has an online index of its entire run since the 1870s. Over the course of several days, I discovered that the gazetteer was a virtual treasure trove of exactly the sort of data I’ve been looking for: reports of disease outbreaks in detailed locations up and down the Nile Valley. Over a week, I compiled a spreadsheet of almost 800 records for the period between late 1914 and mid-1919.

The question, of course, was what to do with this data. I was certain the diseases would tell me something, if I could just figure out how to get them to speak.

Map showing typhus outbreaks in Egypt, September 1, 1914 – May 31, 1919 (created by Chris Rose)

It was Julia Gossard, a UT alumna now teaching at Utah State University, who pointed me in the direction of the Programming Historian, a website dedicated to helping historians use digital tools to process data through modeling, mapping, and other methods. I didn’t have time to learn a programming language, but mapping was an idea I liked. The site has several columns about creating maps, using open source mapping software. While I’m a big fan of open source, especially when it replaces costly technical software, I was a bit uneasy about the lack of support for the platform – in short, I foresaw the ability to get myself into trouble, but not out of it.

A little digging around led me to the unexpected find that UT has an institutional subscription to ARCGIS, which is the (otherwise very expensive) industry standard mapping platform. Using UT’s institutional subscription to Lynda.com, I started training myself to use ARCGIS.

Had I known what I was getting myself into, I probably wouldn’t have dived right in.

Mapping the data required me to tag each record with the latitude and longitude of the reported location. This led me to one of the key stumbling blocks for all scholars of the Middle East who’ve dabbled in the digital humanities—so much data is out there on the web, but much of it is transliterated from the original language. There is no universally recognized Arabic-to-Latin transliteration method, and the potential inconsistencies are well on display in the web’s largest open-source geographic database, Geonames.org. While some of its Egyptian entries contained the original names in Arabic script, most did not, leaving me to guess—frequently incorrectly—how they might have been rendered. Since Geonames is open-source, I added the names both in Arabic and one of the more commonly recognized transliteration systems to Geonames’s database as I went, which will hopefully make someone else’s life a little easier.

People fleeing a cholera outbreak at the port of Boulaq (near Cairo) in 1883 (via Wellcome Collection)

Finally, it was time to start mapping, and herein lay another challenge. ARCGIS has an expansive built in library of open source data, which included, as I had hoped, administrative maps of Egypt. I very quickly realized, however, that the administrative borders of the early 21c did not correlate directly to those of the early 20c. At least one governorate has since been split into three and there were a lot of unfamiliar names on the maps. I discovered that the UT Libraries has a copy of the 1917 Egyptian census, which has a big fold out map of the country. I scanned it, brought it home and compared it to the current maps … and realized that it was probably going to be easier to draw the 1917 map in ARCGIS rather than try to adapt the contemporary maps.

The process took nearly two weeks, employing long forgotten Photoshop skills (yay for bezel curves!), tracing a century old map and rendering it onto a satellite image of contemporary Egypt. The resultant map is, as they say, “good enough.” It’s probably got a distortion of around 2 miles, but it’ll never appear in print at that level of detail. Maybe when my monograph becomes a best-seller, I’ll hire someone to re-draw it.

I learned that ARCGIS has some quirks. It has a tendency to freeze up every 60-90 seconds. I quickly learned to save my work every time I did anything, a lesson that came in handy when, for some reason, the entire Giza governorate vanished inexplicably … three times … after I drew it. (The following morning, I discovered that the governorate hadn’t vanished, it was just invisible. I still don’t actually know why).

Finally, the big day came. After the blood, sweat, tears, swearing, and yelling at the cat, the map was finished. I overlay my disease data, and sat back to look at the results.

Children playing in a poor neighborhood of Alexandria under quarantine during an outbreak of typhus, sometime around WWI (via Wellcome Collection)

Have the microbes told me a story? They have. As I set forth on the next phase of my project, I have clusters of locations and specific dates to look for. But the maps have also given me more questions—Is there a correlation between a two-year outbreak of cattle plague and the rampant inflation in the cost of food during the war? Does the death of 139,000 Egyptians due to influenza at war’s end have anything to do with the eruption of a populist uprising just six weeks later? And why is this most deadly epidemic absent from the press and the pages of the official gazetteer?

I also realized the importance of presenting my data in this visual form. No one is going to go through all 800 records on my spreadsheet, but the map provides a clear snapshot of my subject and the questions it raises, and it makes a visual case for the argument I’m laying out in my dissertation. In this form, it will make my modest contribution to this field of study more convincing and accessible.

The New Archive series highlights various uses of digital tools in humanities research. More from the series:

Charlie S. Binkow explores Honest Abe’s Archive
Joseph Parrott highlights the digitalized political posters collected by archivist and artist Lincoln Cushing
Maria José Afanador-Llach discusses her experience at a Digitilization Workshop in Venice
Daniel J. Cohen and Roy Rosenzweig, Digital History: A Guide to Gathering, Preserving, and Presenting the Past on the Web

Digital Teaching: Mapping Networks Across Avant-Garde Magazines

In “The European Avant-Garde in Print” (REE 325), students explored the unique and vibrant print culture in Central Europe between the two world wars and the social and political context that produced it. I sought to expose students to the networked qualities of magazines that were published in Czech, Hungarian, Serbo-Croatian, Polish, and German. We examined contributor lists, the aesthetic qualities of the “New Typography,” and the way that the magazines cross promoted each other through advertisement.

Students discovered the transnational and multilingual interconnectivity of these magazines through the use of various digital mapping and open source publishing resources, such as Kumu and Scalar. Using Kumu’s Social Network Analysis tool, for instance, I could help students visualize how one figure, such as Karel Teige, the leading member of the leftist Czech avant-garde group Devětsil, leveraged his connections with editors elsewhere to make magazines that facilitated relations with major figures of a pan-European avant-garde. To offer just one example, through the Brno-based magazine, Pásmo, the Czech avant-garde actively collaborated with the Russian born and Berlin-based artist El Lissitzky, the German Bauhaus director Walter Gropius, and French-German correspondent Yvan Goll.

(via author)

I used digital mapping in my lectures to make this fluid exchange more concrete and dynamic for students. Then, a major component of the class was built around students developing their own digital mapping and visualization group projects. In this way, students had the opportunity to engage critically and interactively with the materials covered in the course.

One group drew on our extensive discussion of Dada periodicals published both in Europe and the United States—which we had the opportunity to view in person at the Harry Ransom Center—to reveal how some prominent artists appeared in Dada publications on both sides of the Atlantic. They also used their map to comment on who did not figure in these publications—namely, women, with the exception of the New York-based 291 contributor Agnes Meyer, whom they featured.

Another group of students chose to document connections across a series of publications not via their contributors or geographic locale, but rather in relation to shared principles of design, such as color, shape, and textual form. This group even built their map to visually reflect in its own design the various components that they chose to highlight.

Another project focused on a single magazine—the Italian Poesia—to make manifest the various personal connections between the leading figure of Italian Futurism, F.T. Marinetti, and other artists and authors related to the movement.

The digital mapping component of the course was largely made possible with the assistance of UT’s Slavic and Digital Scholarship librarian, Ian Goodale, who made multiple class visits in which students had the opportunity to workshop their digital projects, and who also held weekly office hours in the Slavic Department. Ian also created a Scalar platform that holds all the mapping projects in one place, with the Kumu maps embedded, and includes other analytical content generated by students, allowing for further connections to be drawn across the group projects.

I observe in my own classroom, and in the work of my peers both across UT and at other institutions, the need for universities and colleges to commit to allocating funding for their libraries so that they may train and hire staff who are able to support digital pedagogy. For example, this past semester, Ian Goodale also helped my colleague in the Slavic Department, Vlad Beronja, create another digital project, Yugoslav Punk, with students in his course on Punks & Divas in Southeastern Europe.

Another aim in teaching “The European Avant-Garde in Print,” was to expose students to non-European periodicals, to explore the variety of responses to inter-war social and political conditions, and also to find actors outside of a European male cohort largely not represented in the Central European set. By giving students the opportunity to create their own mapping projects, I hoped to reveal unexpected connections between these cultural products. There is more work to be done in achieving these goals in a future iteration of this course, and data visualization and digital mapping tools will facilitate students’ active learning towards this end.

You may also like:

Digital Learning: Starting from Scratch, by Joan Neuberger
Media and Politics From the Prague Spring Archive, by Ian Goodale
The Prague Spring Archive Project, by Mary Neuburger and Ian Goodale

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