{"id":6790,"date":"2007-07-15T12:40:52","date_gmt":"2007-07-15T12:40:52","guid":{"rendered":"http:\/\/www.earthwidemoth.com\/blog\/2007\/07\/15\/passive-observa-1\/"},"modified":"2007-07-15T12:40:52","modified_gmt":"2007-07-15T12:40:52","slug":"passive-observa-1","status":"publish","type":"post","link":"https:\/\/www.earthwidemoth.com\/blog\/2007\/07\/15\/passive-observa-1\/","title":{"rendered":"Passive Observation"},"content":{"rendered":"\u23f3 Approximate reading time: <\/span> 3<\/span> mins<\/span><\/span>

Earlier this week, I took a look at the
\nTED Talk presented by
\nJonathan Harris<\/a>, creator of the programmed-art installations
\nWordCount<\/a>,
\n10×10<\/a>,
\nPhylotaxis<\/a>,
\nWe Feel Fine<\/a>, and
\nseveral more<\/a>, including his most recent
\nproject, Universe<\/a>. Universe, like
\nmost of Harris’ work, presents a more dynamic and aesthetically lively interface
\nfor encountering large samples of texts, such as news feeds from all over the
\nworld, collections of blog entries, or the British National Corpus.  No
\nquestion Harris’ projects stand apart from nearly everything else I’ve seen
\nonline where sizeable corpuses are rendered visually. I mean that these projects
\nare created in such a way that they lead with artfulness, enriching data
\nvisualization with aesthetics.<\/p>\n

<\/p>\n

If you play the TED Talk, you’ll hear Harris talk about We Feel Fine, a
\nproject that gathers "feel" and "feeling" statements and funnels them back
\nthrough the interface he designed.  He calls this process "passive
\nobservation." Subjects implicitly assent to We Feel Fine’s use of their writing
\nbecause they have published it online.  It is out there, available on the
\nweb. In this context, the "passive" allows for working with a large sample of
\ntexts.  It’s not humanly possible to read every weblog entry published in a
\nsingle day for instances of "feel" and "feeling."  I think of Harris’s
\nmethods as well-aligned with Moretti’s "distant reading." Passive observation,
\nin effect, bears some correspondence to distant reading.  In much the same
\nway "distant" is a term in need of recuperation, particularly in the humanities,
\nso too is "passive," given that active and activity usually win the day. 
\nRare are the arguments against the active<\/i>, against activity<\/i>,
\nagainst activism<\/i>, against the act<\/i> (as event?). Is passive in
\n"passive observation" opposite of active? Not necessarily.  If by "active,"
\nwe refer to the efforts it would take an army of readers to glance a few million
\nblog entries for "feel" and "feeling," passive indicates a different way<\/i>–aggregate, casual filter, pass<\/i> over if<\/i>, drifting
\nattitude or manner (the sub-terrain of Burke’s agency<\/i>, which incorporates
\ninstruments<\/i>).  Relaxed finding not so much bound to today’s set of
\nblog entries as a focal act or object of study but speculative and futuristic,
\nopen to an undetermined end. <\/p>\n

Harris’s most recent project, Universe, abstracts global news coverage.
\nUniverse is explained at length in the talk linked above.  The notion of
\nconstellations is central here.  Constellations of words, references,
\nnames, figures.  And although Harris’s work serves generally as a relay to
\nthe texts, he does not seem concerned with writing or rhetoric. The writing that
\nall of these projects piggyback is phenomenal, its constructedness and context
\nis downplayed if not ignored altogether. Within Universe, Harris extends the
\nforming of constellations to a "mythology of the world." Maybe we could hold up
\nthese projects alongside Barthes on the spreading and ripening of myth and its
\nsocial geography; its discursiveness, its rootedness in select social strata,
\nand its micro-climates:<\/p>\n

\nThus every myth can have its history and its geography; each is in fact the
\nsign of the other: a myth ripens because it spreads. I have not been able to
\ncarry out any real study of the social geography of myths. But its perfectly
\npossible to draw what linguists would call isoglosses of a myth, the lines which
\nlimit the social region where it is spoken. (149)<\/p><\/blockquote>\n

After all, these projects set out after text-based pattern.  <\/p>\n

While I am enthusiastic about Harris’s work, I view much of it with a faint
\nwish at the back of my mind, a wish that it will one day be set loose from the
\ngallery so that others might adapt and appropriate it (with credit where due). 
\nMaybe I’ve mentioned it before, but why not have WordCount scale to any set of
\ntexts? Certainly Harris is under no obligation to share the back-end on any of
\nthese projects, particularly the attention-getters and recent releases. 
\nBut at a time when the only attention being systematically given by universities
\nto large corpuses of texts is to march student essays through the
\ncriminal-infested by-ways of Turnitin.com, it’s encouraging to think about some
\nof the other ways these open-ended text-trajectories (i.e., student writing or
\nwriting in any field or discipline) might be read distantly or observed
\npassively.  We Feel Fine for an entire curriculum or program, where "feel"
\nand "feeling" can be aggregated and re-associated right along with [verbs of
\nchoice, perhaps "argue" and "arguing" for so much academic interchange]. 
\nImagine a hybrid set of applications blending Harris’s projects with
\nMONK<\/a> and with texts of the everyday not
\nlimited to news feeds, digitized literary archives, or national corpuses,
\napplications, that is, scalable to whatever. <\/p>\n","protected":false},"excerpt":{"rendered":"

\u23f3 Approximate reading time: <\/span> 3<\/span> mins<\/span><\/span>Earlier this week, I took a look at the TED Talk presented by Jonathan Harris, creator of the programmed-art installations WordCount, 10×10, Phylotaxis, We Feel Fine, and several more, including his most recent project, Universe. Universe, like most of Harris’ work, presents a more dynamic and aesthetically lively interface for encountering large samples of texts,…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[170],"tags":[470,808,144,696,695],"class_list":["post-6790","post","type-post","status-publish","format-standard","hentry","category-method","tag-dissertation","tag-distant-reading","tag-methods","tag-monk","tag-observation"],"yoast_head":"\nPassive Observation - Earth Wide Moth<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.earthwidemoth.com\/blog\/2007\/07\/15\/passive-observa-1\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Passive Observation - Earth Wide Moth\" \/>\n<meta property=\"og:description\" content=\"\u23f3 Approximate reading time: 3 minsEarlier this week, I took a look at the TED Talk presented by Jonathan Harris, creator of the programmed-art installations WordCount, 10×10, Phylotaxis, We Feel Fine, and several more, including his most recent project, Universe. 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