Metaphors in Digital Hermeneutics: Zooming
through Literary, Didactic and Historical Representations of Imaginary and
Existing CitiesFlorentina ArmaseluUniversity of Luxembourgflorentina.armaselu@uni.lu
Florentina Armaselu is a research scientist at the Centre for
Contemporary and Digital History (C2DH) of the University of Luxembourg.
With a background in Computer Science, literature and linguistics, her
research focuses on text encoding, digital scholarly editions, text
analysis, and Human Computer Interaction.
Charles van den
HeuvelHuygens ING, The Hague, Netherlands; University of
Amsterdamcharles.van.den.heuvel@huygens.knaw.nl
Charles van den Heuvel is Head Research of History of Science and
Scholarship at the Huygens Institute for the History of the Netherlands
of the Royal Netherlands Academy of Arts and Sciences in Amsterdam.
Furthermore, he holds the chair:
Digital Methods
and Historical Disciplines at the University of
Amsterdam.
Alliance of Digital Humanities OrganizationsAssociation for Computers and the Humanities00033701132017 November 1article
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DHQ classification scheme; full list available at http://www.digitalhumanities.org/dhq/taxonomy.xmlKeywords supplied by author; no controlled vocabularydigital hermeneuticsmetaphorzoomingz-textcities representations Structural encoding completed, bibl encoding
started. Bibl re-encoded to recoup what was lost from
commit/sync error. Validation errors fixed and figures added. First
pass of C/e complete.
The paper proposes to bridge two areas of inquiry, digital hermeneutics and
metaphor within a digital environment, by the analysis of a less studied
phenomenon, i.e. how interpretation is supported and shaped by metaphors
embedded in an interface. The study is articulated around three use cases for
literary, didactic and historical representations of imaginary and existing
cities based on a model (z-text) and interface (Z-editor) for zoomable texts. We
will try to demonstrate that the zooming and contextualization features of the
tool allow creating layers of meaning that can assist interpretation and
critical readings of literature and history.
A tool-based method for zooming assists interpretation for critical readings of
literature and history.
1. Introduction. Digital Hermeneutics and Metaphor
How can interpretations of text and images be supported and shaped by metaphors
embedded in an interface? This is the central question of our inquiry trying to
bridge digital hermeneutics and metaphor within a digital environment.
Interpretation is understood in terms of reconfiguration, reorganization,
restructuring of content, in a sense close to Samuels and McGann's
deformance as deformative critical operation and Ramsay’s transformation or transduction into an alternative vision. The aim is to foster insight on metaphor as a cognitive rather than
merely linguistic process and its interpretative incentives conveyed by means of
a digital tool. The model and interface proposed for examination
(z-text and Z-editor) encompass the metaphor of
zooming, permitting its users to work across scales and perspectives and
eventually encouraging them to make peculiar associations. All the presented use
cases, modeled via the Z-editor interface, involve cities–some imagined, some
planned, and some actually existing–as literary, historical, cultural, and
theoretical constructs. This choice is intended to illustrate how a digital tool
creates opportunities for undertaking layered investigations within disciplines
but also for engaging in cross-disciplinary exploration. Considering that
scholarship in Digital Humanities operates well from both sides, using
tool-making to advance theory and theory to imagine new tools, we combine a
practical perspective with theoretical reflection. An overview of works
originating from different fields, such as philosophy of science and
hermeneutics, cognitive linguistics, computer science and interface design,
serves as a starting point for our argument.
The assumption that digital technologies are shaping our perception and
understanding of the world has already been expressed in a variety of studies.
According to Capurro, these technologies have impact on all the levels of our
being-in-the-world, and it is by the term of digital
hermeneutics that he defines the way digital code is being
interpreted and implemented (or not) in today’s society . Going beyond the traditional sense of text-centered
interpretation, Capurro aligns with Ihde’s concept of expanding or
material hermeneutics that considers technologies as
instruments through which things can show themselves, and which may therefore play an important role in the process of
producing knowledge. In the context of interactive art, Simanowski situates the
hermeneutic act at the intersection of formal analysis of a digital artifact
(structure, interface, grammar of interaction underpinned by the hidden
text, the code) and interpretation, in the sense of how these aspects are perceived by the audience. Likewise, by their two-fold conception of digital hermeneutics, as
theory of interpretation and context for the development of applications
supporting interpretation, Akker et al. illustrate how the different types of
relationships (at the level of object, event, narrative), modeled within an
interface for online access to historical documents, may assist the user in the
interpretation of cultural heritage . Moreover,
Rockwell and Sinclair advocate for a digital hermeneutics with the focus on
computer-assisted text analysis and interpretation intended to the humanities
. Elaborating on Gualeni’s philosophical
approach to virtual worlds in video games and on
Ricoeur's theory of metaphor and narrative as reconfiguring human experience
, Romele draws attention to the “reconfiguration
power” exerted by digital technologies on their users and to the “existential
and ontological consequences” of the “production and use” of these technologies,
articulated within the digital hermeneutics framework.
Initially considered a purely linguistic and aesthetic phenomenon, metaphor is
more and more studied in relation with cognitive processes, and implicitly
interpretation, mediated or not via computers. Advocating for an experientialist
approach within the broader context of a neural theory of language, Lakoff and
Johnson assume that metaphor is one of the most basic mechanisms we have for
understanding our experience, whose primary function is to provide a partial understanding of one kind of experience in
terms of another. From an interactionist perspective, Indurkhya proposes a cognitive model
allowing to see metaphor as an unconventional description of an object or event
(target) by means of a different set of concepts
(source), which may involve the reorganization and
restructuring of the cognitive agent’s world view . In Human Computer Interaction, metaphor
is often described as providing the user with a model of the system or as a device for explaining some system functionality or
structure by asserting its similarity to another concept or thing
already familiar to the user. Other aspects of metaphor as adopted in Computer Science refer, for
instance, to its function in providing a conceptual framework for exploiting
both preexisting and emerging similarity and to its pedagogical,
design-oriented and scientific roles , or to the culturally marked
nature of computer collocations and metaphors, manifested in the process of
specialized translation from one language to another .
Within this context, evoking different approaches related to digital hermeneutics
and metaphor, our argumentation will focus on the hermeneutic potential of
metaphor as a built-in constituent of an interface, and especially on its
reconfiguring power common both to the interpretative
attempt and to the metaphoric expression in a digital setting. We assume that
such a perspective, combined with the presentation of three use cases, may
encourage insight by going beyond the description of a tool to the discussion
(and eventually theorization) of how knowledge is fashioned by means of that
tool. In order to support this view, the paper is structured in four sections.
Section 2 provides the description of the z-text model and Z-editor interface
that allows to create and explore zoomable texts. Section 3 discusses the three
cases of literary, didactic and historical interpretations fostered by the
metaphor of zooming, and the corresponding z-texts built via the Z-editor
interface. Section 4 is dedicated to conclusions and future work.
2. Z-text model. Zooming as a Multifaceted Metaphor
Steven Johnson claims that after the fixed perspective of Renaissance Art and the
collages of Cubism, the way of seeing of our era might be called the
The Long Zoom: It is, by any measure, a difficult way of thinking, in
part because our brains did not evolve tools to perceive or intuitively
understand the scales of microbes or galaxies. You can catch glimpses of
the long zoom in special-effects sequences, but to understand the
connections between those different scales, to understand our place in
the universe of the very large and the very small, you have to take
another way in. Johnson’s context was the world of computer games, but his observations
may bring to mind Srinivas’s concept of critical hermeneutics, an
attempt to reconcile interpretation and critical thinking which enables both
closeness and distantiation to the object of study . Representation at different scales
together with the possibility for perspective change constitute the main
elements of the zooming metaphor implemented in the z-text model and Z-editor
interface, as it will be described below. While the zooming function supports
bridging distant and close reading by scalable reading, the combination with
contextualization on the various planes to read text and image from various
perspectives agrees with notions of deep reading, deep maps, deep texts, or topic modeling of
hidden texts , and deep networks. This combination
allows for the creation of multiple levels of meaning and supports a continuous
process of reinterpretation from multiple perspectives, contributing this way to
recent developments of digital hermeneutic methods.
Inspired by Stephenson’s fictional primer, an interactive, scalable book that can
answer the reader’s questions by continuous expansion , the z-text model
incorporates a multifaceted zooming metaphor.
The first facet, alluding to a primer, is actually related to the idea of
exploration and learning. The content accessible at a certain moment via the
interface may stimulate the reader’s curiosity and his or her desire for further
discovery: This sort of thing no longer surprised or upset Nell
because it had happened hundreds of times during her relationship with
the Primer. Besides, she had known, from the very first day Harv had
given her the book, how the story would come out in the end. It was just
that the story was anfractuous; it developed more ramifications the more
closely she read it.
A second aspect, implied by the “anfractuous” nature of the primer, is the
representation at variable scale, which can be associated, by analogy, to the
iterative growing of a fractal, like in Mandelbrot’s measurement of a coastline
with smaller and smaller yardsticks , or to the
gradual uncovering of details by zooming on an electronic map. In order to
function, the metaphorical combination of learning, or being involved with the
text, and zooming in the z-text model includes a layered structure , to each layer corresponding a certain
signification or symbolic meaning as compared to the whole.
Figure 1 presents a z-textual layout where units of content called
z-lexias — from Barthes’s lexias, units of reading — may be expanded on the deeper levels and explored by zoom-in and
zoom-out. The z-lexias visible at a certain moment on the surface are disposed
on different planes along with the Z-axis (hence the “z-“ prefix). The process
of expanding a z-lexia is called z-writing (for instance, zl1 from
level 1 is expanded to zl1.1 on level 2) and is conceived as either an addition
of details to the selected content, or as a broadening in meaning according to a
certain logic or argumentation strategy (simple to complex, concrete to
abstract, local to global, etc.) or to a particular interpretation (as it will
be shown in the following section).
The traversal of the structure to read the z-lexias and made them visible on the
screen is called z-reading and supposes a back and forth movement
through the layers, downward for zoom-in, upward for zoom-out. Since the
conception of layers and their symbolic entailment depend on the author’s
intentions and imagination, the zooming metaphor may be more or less apparent to
the reader and its degree of accomplishment is determined by the inner logic
driving the transition from one scale to another.
The ZoomImagine interface,
Z-editor, allows both z-writing and z-reading, to each mode (expansion, zoom-in,
zoom-out) corresponding a distinct hovering cursor. As illustrated in Figure 1,
the metaphor of zooming is enriched by an additional facet for perspective
change, represented by magnifying glasses and planes of different colors (right
bottom), which may turn the representation into a multidimensional conceptual
space. For example, a z-lexia on level i can be expanded on level i+1 following
multiple perspectives (e.g. attached to a red, green or yellow magnifying
glass), each opening a distinctive succession of layers of meaning. The
magnifying glass stands therefore for a multifaceted symbol, as a tool for
curiosity-driven exploration, discovery and learning by making visible what is
at first hidden, and as a device providing a kaleidoscopic view on the object of
inquiry.
From a technical point of view, Z-editor is a Java-based editor for documents in
XML-TEI format. To each level corresponds an XML file, the ancestor-descendants
relationships between z-lexias being modelled by means of a system of
identifiers relating a parent on a certain level to its children on the
subsequent one. There is no automatic processing for constructing the levels,
the content and significance of each layer of meaning depend on the author’s
ingenuity. However, the XML-TEI encoding is completely transparent to the user.
Although it can be used for annotation and map-like exploration, compared with
editorial platforms for annotation or for connecting maps, narratives and
timelines, such as Pliny and Neatline, Z-editor is more centered on
the concepts of variable scale and perspective change as organizing principles
mainly of text (that can also include images). Therefore, it can be used as a
tool for reading and interpretation of existing texts (and images), reconfigured
along with a zoomable layout, or as an instrument supporting creative scenarios
implying, for instance, the incorporation of details in a gradually expanding
piece of writing in a view spotlighting the process rather than the final
product. The first point (reading, interpretation and reconfiguration of
content) makes the object of the present study.
3. Use cases - Theoretical and Exploratory Standpoints. Imaginary Cities in
Literature and History and Historical Analysis of Town Planning
After this introduction to the z-text model underlying the ZoomImagine software
(Z-editor) we will demonstrate that the zooming and contextualization features
of such a tool allow creating layers of meaning that support interpretation and
critical readings of literature and history. The results of three use cases will
be discussed in which the Z-editor was used to explore cross-overs between text
and image and history and literature in descriptions of imaginary cities and
imaginary depictions of existing cities in order to establish their potential
role in the history of town planning. The choice for this topic of imaginary
cities in relation to town planning in literature and history makes possible to
assess the potential of models like z-text for the development of digital
hermeneutic methods. It also allows to use a wide array of texts and images,
reading interpretations of various authors and critics from various disciplines
and to compare theoretical reflections and practical applications. We claim that
digital tools should be used to widen the scope of literary and historical
analyses by combining multiple perspectives and not only focus on certain
patterns in one dimension. For instance, the historical research of town
planning in the digital era is still conditioned by morphological pattern
recognition tradition that goes back to 19th century civic
art studies such as the international renown and much translated
work
Der Städtebau nach seinen künstlerischen
Grundsätzen of Camillo Sitte (1889) and Der
Städtebau (1890) of Josef Stübben . Urban
morphology, practiced by 20th century in that tradition by urban historians (for
instance Michael Conzen, Saverio Muratori, Lewis Mumford and Pierre Lavedan),
analyzes the spatial structure of towns by focusing on patterns of streets,
building blocks and lots. Some authors such as Gerard Eimer in his Die Stadtplanung in schwedischen Ostseereich
(1600-1715). Mit Beiträgen zur Geschichte der
Idealstadt (1961) or Bruno Fortier, La
métropole imaginaire: Un atlas de Paris (1989), tried as the titles
of their publications reveal to use the morphological approach to link the
structure of existing towns with mappings of ideal, imaginary cities. In this
morphological approach images and cartographical resources of imaginary, ideal
and of existing cities are often translated into grid or radio-concentric
diagrams for comparative analyses. These translations not seldom result in
reduction of complexity at the cost of understanding contextual differences
between these various images of cities. Such morphological readings of images
and cartographic sources (and their limitations) were enhanced by the
introduction of GIS in the history of town planning and architecture . However, GIS is only partially suitable for mapping
literary or historical landscapes. For instance, The
Mapping Lake District Literature pilot of Lancaster University makes
possible to follow the trails of the authors Thomas Gray and Samuel Taylor
Coleridge but the imaginary landscapes depicted in their epistolary journal and
letters cannot be plotted by geographical coordinates on the map. In his
exploration of the potential of spatial humanities, David Bodenhamer asks the
question: how we as humanists make GIS do what is not intended to
do, namely, represent the world as culture and not simply mapped
locations?Bodenhamer proposes to create deep maps that
contextualize GIS by combining them with multiple layers of multimedia artifacts
that can be viewed separately and collectively providing various perspectives.
Such multilayered multimedia objects would indeed permit to contextualize maps
represented by geographical coordinates with non-geographical, spatial
information. However, they do not allow to start from the other end, i.e. from
non-Euclidean, topical spaces for instance, such as the imaginary cities that
often inspired urban planners and architects. In this context the remarks of the
author, Italo Calvino (1923-1985), of our first use case Le
Città Invisibili (Invisible Cities) of
1972 are of interest. Calvino considered his Invisible
Cities relevant and actual for contemporary debates on town
planning: I feel that the idea of the city which the book conjures
up is not outside time; there is also (at times implicit, at other
explicit) a discussion on the city in general. I have heard from a
number of friends in town planning that the book touches on some of the
questions that they are faced with in their work; and this is no
coincidence, as the background from which the book springs is the same
as theirs.It is this common background, a continuous space with textual and visual
representations consisting of imaginary and existing cities, that we want to
explore and that forms the starting point of our three cases:
The first, literary case concerns readings of the Invisible Cities in which Calvino describes Marco Polo’s
accounts of visits to cities to Kubla Kahn, Emperor of the Tartars. In this
case, the z-text model allows zooming on imaginary spaces in this framework
story and navigating in an associative way between the Invisible Cities, related publications and artistic
impressions, as well as critical readings hereof.The zooming metaphor via Z-editor in the second, didactic case around the
Dutch scholar of Flemish origin, Simon Stevin (1548-1620), teacher to
Maurice, Count of Nassau, Prince of Orange (1567-1625), will demonstrate
that the most common purely functional interpretations of his ideal city and
houses as planning instrument for the construction of real cities are not
convincing, but that these should be read in the context of didactic and
educational purposes.The third, historical case discusses how a z-text can be used to explore
different levels of historical evidence of various imaginary depictions of
existing cities. To this end, drawings of the citadel and the city of
Groningen in the Netherlands in an atlas of the Flemish engineer Pierre
Lepoivre (1546-1626) will be analyzed in a comparative way.
3.1. Literary Case. Invisible Cities — a
"Rhizomatic" Layout inside/outside Calvino's Text
The publication of
Le Città Invisibili in
1972 by Italo Calvino was directly followed by translations and comments
by literary critics and by visualizations of artists inspired by the
poetical descriptions of the imaginary cities in the imageless book. The
division into 11 themes associated with the city that return each 5
times in the book — City and Memory, City and Desire, City and Signs,
Thin Cities, Trading Cities, Cities and Eyes, Cities and Names, Cities
and the Dead, Cities and the Sky, Continuous Cities and Hidden Cities —
has resulted into various interpretations of these imaginary urban
spaces. Kerstin Pilz uses Gilles Deleuze and Felix Guattari’s concept of
rhizomatic space to underpin her argument for a
postmodern reading of city descriptions , while
Sambit Panigrahi underlines the importance of cities as strata that are perennially
oscillating between deterritorialisation and
reterritorialisation based on concepts proposed by the same philosophers. Thus,
Panigrahi compares Calvino’s description of the continuous city of
Leonia that each days breaches through its boundaries of deposited waste
at its circumference with Deleuze and Guattari’s explanation of a
multilayered stratum that deterritorializes from a center to periphery
through multiple states (epistrata) and the creation of new peripheral
centres with their peripheries (parastrata).
Starting from these hypotheses, the zooming metaphor embedded in the
z-text model makes possible to interpret, through rhizomatic lens,
Calvino’s text itself “as strata” that can be explored by zoom-in and
zoom-out. According to Deleuze and Guattari, a rhizome is made of lines
of segmentarity and stratification as its dimensions, and lines
of flight or deterritorialization as the maximum dimension after
which the multiplicity undergoes metamorphosis, changes in
nature. The z-text created following this
interpretation implied a restructuration articulated along with
different lines of stratification and flight (or metamorphosis), inside
and outside Calvino’s text.
Figure 2 illustrates a reorganization of
Leonia description which appeared to us as oscillating (to
paraphrase Panigrahi’s analysis) around the new-old
divide. The first level of the representation (left) contains fragments
(z-lexias) mainly focusing on the concept of new
verbalized through expressions like refashion,
fresh, brand-new,
latest, up-to-date,
new, renew. The second
level (right) completes the text with elements that highlight the
tension between the passion and enjoyment of Leonia’s inhabitants for
incessant renewal and the inevitable accumulation of old produced by it,
expressed by phrases such as remains,
yesterday’s Leonia,
garbage, expel,
discard, yesterday’s
existence. Zooming-in or out to surface or hide these
elements from deeper strata, may draw attention to
the new-old opposition and dynamics inherent to the
text. The figure shows the result of a zoom-in action, manifested by the
expansion of the clicked z-lexia from the left and the retrieval of
Calvino’s original fragment on the right.
While the “new-old” stratification determined a reconfiguration on levels
inside
Leonia text, further interpretation,
using different “lines of flight” and changing of perspectives, implied
ramifications of the z-text outside Calvino’s text. The first extension
refers to visual representations, not belonging to the original work,
but imagined by various artists, the second –moving on the same plane
with contextual information- enables other readings of Calvino’s work,
both by critics and himself. Recently, Elio Baldi focused on Calvino’s
various roles in interactions between authors and critics by
occasionally looking through the lens of the writer and in other moments
through the eyes of the reader or editor .
Indeed, lectures by Calvino and interviews with the author reveal many
shifts in perspectives on multiple planes. In a published lecture
dealing with the writing of Invisible Cities, Calvino reacts to
almost all critics, but also states that the author’s view
no longer counts and provides interpretations as one reader
among others. Calvino sometimes directly
puts the Invisible Cities into context by
referring to works that similarly are inspired by Marco Polo’s travels,
such as the poem Kubla Kahn by Samuel
Taylor Coleridge , The Message from the Emperor by Franz Kafka of 1919 , or Il Deserto dei
Tartari (The Tartar Steppe) by
Dino Buzzati of 1940 . On other occasions, references are
indirect, for example when Calvino notes that the atlas of Kubla Kahn
contains images of “lands visited in thought, but not yet discovered or
founded: New Atlantis, Utopia, the City of the Sun” . On a more detailed level the
possibility of sideways movements becomes important when Calvino reacts
to all those critics who underlined the importance of the closing
sentence by claiming that the Invisible
Cities is “a many facetted book” with “various possible
‘conclusions’” . By combining the
zooming functionality with the representation of visual and contextual
information a z-text becomes a multidimensional space as explained
below.
Figure 3 presents an extension of a level 2 z-lexia (top left) describing
Leonia’s stratified “load of refuse”, by a change of perspective
(orange, VISUAL magnifying glass, bottom left) that includes an artistic
illustration of the city and its mountains of leftovers (Brannigan,
2006). The same fragment can be expanded by considering a different,
contextualization angle (blue, CONTEXT magnifying glass, top right),
adding, for instance, on levels 3, 4 Kafka’s depiction of the imperial
city “piled high with its own refuse” and the walls and towers of Coleridge’s Xanadu . Further contextualization on levels 5, 6
(bottom right) enriches the representation of Marco Polo’s tales of
impossible cities, narrated to the Kahn, by Calvino’s own
reflections on the crisis of the overgrown city and the
destruction of the natural environment, as one of the main
topics of his book . Since these
extensions are not part of the original content (unlike the first
z-text), they can be interpreted as engendered by different
lines of flight, determining the metamorphosis
of the text that becomes image or paratext.
The interface may support therefore both the reading (and restructuring)
of the
Invisible Cities text, according to
a stratified interpretation (Figure 2), and its expansion by adding
layers of related forms of expression and reflection (Figure 3). While
the latter example hints to potential artistic, literary and reflective
contextualizations inspired by Calvino’s comments, we may further
imagine this type of gradual extension outside Invisible Cities as developed (similarly to Barthes’s
analysis in S/Z) in line with different interpretative
codes highlighting the
writability and plurality of the text. As
Calvino observes: And yet, all these pages put together did not
make a book: for a book (I think) is something which has a
beginning and an end (even if it’s not a novel, in the strict
sense of the word). It is a space which the reader must enter,
wander round, maybe lose his way in, and eventually find an
exit, or perhaps even several exits, or maybe a way of breaking
out on his own. If we enter our concentric city of Leonia again immediately new
associative perspectives pop up. As shown in the figure above, we
recognize for instance Calvino’s reference to Kafka’s story of the
Emperor’s messenger wanting to report about the death of Kubla Kahn by
trying in vain to break through the walls surrounding the palace . Nowadays, the concentric rings of garbage
surrounding Leonia has also become symbolic for polluted, unlivable
cities. However, another of Calvino’s references, the one to
Campanella’s concentric walled City of the Sun
allows to link the form of Leonia with images of built and not built
fortified cities that are relevant to our two next cases focusing on the
impact of visualizations of imaginary and existing cities for town
planning, fortification and architectural design.
3.2. Didactic Case. Simon Stevin's Multilayered System Based on the
Concept of "Mirror-Symmetry”
In the years 1605 and 1608, the Flemish mathematician Simon Stevin
(1548-1620) published five books in two volumes with the title
Wisconstighe Ghedachtenissen (Mathematical Memoirs) that can be seen as a
compilation of his private lessons to Prince Maurice of Orange
(1567-1625) on mathematics, natural sciences and military arts at the
court in The Hague. In the fifth book, Van de
Ghemengde Stoffen (Miscellanea), Stevin explained in a note that he had not been
able to finish several treatises announced in the table of content (on
Arithmetic, Book keeping, Architecture, Music
Theory, Military Arts and other topics) in time for the
printer and planned, therefore, to publish these at a later moment . By the time Stevin died in
1620, only a few fragments of these announced treatises had appeared in
other publications.
This case discusses interpretations on Stevin’s uncompleted treatise on
town planning and architecture of which fragments were adapted and
published posthumously by his son Hendrik Stevin in his
Materiae Politicae Burgherlicke Stoffen
(Political Matters Civic Affairs)
(1649) and Wisconstich Filosofisch Bedryf
(Mathematical-Philosophical Act)
(1667). Charles van den Heuvel made a reconstruction of Stevin’s
treatise on town planning and architecture, De
Huysbou, on the basis of excerpts in manuscripts of scholars
such as Isaac Beeckman, Constantijn and Christiaan Huygens and Hendrik
Stevin that circulated in the Dutch Republic . Stevin’s diagrams of ideal buildings and town known via the
publication in Hendrik Stevin’s Materiae
Politicae have been often described in purely morphological
and rational terms . However, we will try to reveal, via the
zooming features of the Z-editor interface, that Stevin’s city
architecture was not conceived as one rational whole, but rather should
be read from a didactic perspective to explain a multi-layered model of
an ideal city and houses all based on the same underlying concept of
mirror-symmetry. Nowadays we are familiar with the concept of
mirror-symmetry, but at the time that Stevin wrote his treatise authors
on architecture used the term ‘symmetria’ in the Vitruvian tradition
i.e. as the harmonious ratio of the parts to the whole. For that reason
Stevin introduced the neologism: lycksijdcheyt,
literally like-sidedness. For Stevin, this distinction was not trivial.
But in his view, mirror-symmetry had its origins in nature, unlike the
proportional symmetry of Vitruvius and his followers, and should
therefore serve as the basis for logical architecture: [...] a building should be like an animal, and
if one wishes to make it correctly, one should follow nature. By
which it should be understood that just as nature or the Creator
of animals produces like-sidedness, so the architect should
emulate this and design buildings with like-sidedness. (transl. ).
The zooming and contextualization features of the Z-editor (Figure 4)
allow us to demonstrate why the relationships between Stevin’s town and
houses should be understood in the context of his didactic explanation
of the underlying principle of mirror-symmetry rather by the rational
arguments based on morphological correspondences between some (but not
all) of the buildings blocks of houses and the town. A closer look at
Stevin’s town plan reveals that most, but not all features can be
explained rationally. The rectangular ground plan with its square
buildings blocks enables an efficient distribution of houses and can be
therefore read from a civic planning perspective as rational. However,
the bastions with acute pointed faces and the odd double flanks from the
bastions adjacent to the corner bastions are compromises from a military
point of view. Stevin was well aware of that. In his treatise on
fortification,
De Sterctenbouwing, Stevin explained that the optimal form for
a large city to defend itself would be a hexagon. A comparison on level
1 (city) shows indeed that the hexagonal perimeter of the fortress city
results in bastions with more obtuse points that are less vulnerable for
collision after a heavy impact of gunfire. Also zooming reveals that
Stevin’s city cannot be read as one coherent whole. Hoeven/Louwen
represented Stevin’s city as a system of building components that could
be pieced together . However, if we zoom-in
to 2nd level, that represents buildings
blocks containing different numbers of houses, it becomes clear that as
a result of the variations in their rectangular form they would not all
fit into the square buildings blocks represented in the town plan.
Despite their differences, the blocks have in common that they are
organized in such a way that all houses receive as much light as
possible from the inner courts and that the rules of mirror-symmetry are
always respected. In short, Stevin was not interested in forms of towns
and dwellings in which contrasting demands of military, economic or
social orders were planned as one whole. Instead, Stevin’s writings on
the layout of houses and towns are characterized by the separation of
different levels and the segregation of adjacent functions. Stevin’s
synthesis of houses into blocks, blocks into towns and the ordering of
urban extensions focused more on the organizational method than on the
precise form. And this method was governed by a single principle: that
of mirror-symmetry, to which all other organizational forms were
subordinated. The reason why Stevin’s city has been read by many authors
as one systematic whole might have been enhanced by their use of its
representation in print in the work of Hendrik Stevin. Hendrik Stevin
represented his father’s city with all the names of the civic functions:
palace, churches, markets, university etc. engraved in the image itself.
This way, the image of the city could be read independently as one
whole. However, Hendrik Stevin’s excerpt in the manuscript version of
the Huysbou, drawn after the original
drawings, reveals that his father’s representation of the town,
buildings blocks and separated houses consists of a series of diagrams
(including letters/numbers referred to in the descriptions) that can
only be understood in combination with the text and other illustrations.
Figure 4 and 5 present two z-texts. Figure 4 denotes a transposition of
Stevin’s drawings and texts allowing the reader to traverse the
conceptual space by zooming-in and out through the city, buildings block
and house, down to the very definition of
like-sidedness. This traversal corresponds to a
change of scale in the representation of the city and its parts
correlated with a didactic argumentation lead by the principle of
mirror-symmetry inspired by Stevin’s text itself.
The second z-text in Figure 5 illustrates zooming with perspective change
(PRINT/MANUSCRIPT) in a contextualisation text that explains the differences between the manuscript and the printed
version, determined by Hendrik’s changes in his father’s representation
of the town.
Zooming provides therefore a figurative way of unfolding our
contextualization and interpretation of Stevin’s multi-layered model
that allowed him, in his role of private tutor, to explain the
principles and natural logic of his architecture and town planning on
each level, most clearly for educational and pedagogic purposes. Logical
and lucid models - albeit incomplete - were for Stevin a more
appropriate means of achieving that goal than a complete reproduction of
reality that, with all its contradictions, might obscure the problem, or
to say it in Simon Stevin’s own words in his work on fortification because the teaching should not be complicated
by arguments.
3.3. Historical Case. Multiple Levels of Historical Evidence in Lepoivre Atlas
Stevin was not only the tutor, but also a military advisor to Prince
Maurice and accompanied him on all his campaigns in the first decades of
the Eighty Years War in the Low Countries against Spain. Although Prince
Maurice became Captain General of the Army and Admiral of the Fleet
after the assassination of his father William the Silent in 1584 when he
was 18 years old, his inexperience was not the only reason that his
uncles insisted on training him in the military arts. Training in the
military arts made part of the education of noblemen where elementary of
warfare and fortification were taught along dancing, singing, playing
music, drawing, fencing and of course disciplines such as mathematics,
physics, logic, rhetoric, and languages. On the ceiling of the Palazzo
dei Cinquecento in Florence, Archduke Cosimo I dei Medici is depicted
drawing a fortress with a compass in his hand and Stevin explained how
Prince Maurice developed an instrument in order to learn to draw
fortifications in the correct way. Knowledge of fortification drawings
belonged to the cultural education of noblemen and designs that once
played a role in the practice of building defenses for cities ended up
in their collections. Often they were re-used or adapted for decorations
of fortified cities on the walls of their palaces or to create beautiful
atlases. It is in this context that the atlas presented in 1624 by the
Flemish engineer Pierre Lepoivre (ca. 1546 – 1627) to the archdukes
Albert VI and Isabel of Austria, sovereigns of the Habsburg Netherlands
must be understood . At first sight,
Les Plans des Villes des Païs de
Hennault, d’Artois, de Breband très noblement descripts à la
plume, drawn by Lepoivre between 1615-1622, seem
to provide trustworthy depictions of historical battles and sieges that
took place in the Eighty Years War in the Low Countries. A closer
reading of the drawings however, reveals that Lepoivre mixed his own
mappings of historical events with interpretations of other
cartographical depictions of besieged towns and unexecuted designs of
cities, resulting in different levels of reliability and
trustworthiness. This becomes clear for instance in four drawings in his
atlas based on designs that the Italian engineer Bartolomeo Campi
(?-1573) made for the city and citadel of Groningen in the Netherlands.
The detail of the bastion was probably directly copied after Campi’s
design of 1570 . Lepoivre included a drawing
after Campi’s design for a hexagonal citadel, – similar to Stevin’s
fortress city in the form of hexagon- but a pentagonal one was executed.
The third drawing shows Groningen with the hexagonal citadel that never
existed in that form and the fourth as a part of the Siege of Groningen
in 1594, when the citadel that existed was already dismantled .
The Z-editor not only allows moving along the four different levels of
historical evidence, but also to position these drawings between more
and less imaginary depictions of existing cities.
In Figure 6, the explanatory texts and drawings from
Lepoivre Atlas are structured on four levels corresponding
to different illustrations of the city of Groningen (bird eye view, plan
with the hexagonal citadel, the hexagonal citadel itself, detail of the
bastion) that can be traversed by zooming-in (right to left) and
zooming-out (left to right). Two alternative views (outline with
pentagonal citadel and pentagonal citadel alone) are also provided on
level 2 and 3 via perspective change (AGUSTINO-CAMPI, ALEOTTI-CAMPI). As
the symbolic representation (bottom left) suggests, the z-text allows
the reader not only to explore the projection of the city at different
scales but also to understand Lepoivre drawings in a larger context
based on the degree of reliability of historical evidence, as further
explained below.
Pierre Lepoivre had assisted in the execution of the citadel of Groningen
and must therefore have known which designs of Campi had been approved
for execution . Nowadays, we would call
Lepoivre’s variations on Campi’s non executed designs historical
falsifications, however at the time of Lepoivre the mixing of sources to
illuminate historic events that took place apparently was not considered
to be problematic. Not only Lepoivre knew also the archdukes in their
official role of sovereigns of the Habsburg Netherlands must have known.
They had given Lepoivre official commission to make designs for reliable
fortification works and given him 500 Flemish pounds for the atlas, but
seem to have had no objection that the engineer selected or at least
included drawings based on non-executed designs or adaptations of
representations of historical events. The re-use in Lepoivre’s atlas of
the designs of Campi originally intended to explain technical details
and to support administrators in their decision to approve or disapprove
the execution hereof gave them an additional cultural meaning as objects
of prestige or study in the private collection of the archdukes.
Such multiple layers of meaning cannot be grasped in full by GIS or
existing spatial digital humanities software, but that requires tools
such as Z-editor for scalable readings and moving through geographical
and topical spaces.
Finally, we may picture ourselves navigating in an associative way
through imaginary cities whose features might have inspired both
Calvino's literary writings as Lepoivre's designs. Contemporary artists
still inspired by Calvino seem to delve into a collective visual memory
of cities, in a way Renaissance engineers linked
their designs to representations of ideal cities and new fortress towns,
from Campanella's City of the Sun to Zamosz in Poland. Renaissance ideal
fortress cities were radial concentric cities with a polygonal perimeter
with angular bastions. Therefore circumscribing and inscribing circles
played an essential role in designing fortified cities and citadels. The
design of fortifications was not just functional. Training in the
Military Arts belonged to the education of noblemen, who often collected
drawings of fortifications. Fortification atlases were cultural
artifacts amongst other books on architecture such as the many Vitruvius
editions of the Renaissance that often contained antique and modern
visual interpretations of the city described in the lost original
manuscript.
One of Calvino's references to Campanella's concentric walled City of the
Sun allows to link the form of Leonia with images of built and not built
fortified cities as the designs of citadels in the atlas of Lepoivre.
This comparison is of interest since Calvino once considered a theme
Cities and Form as well, but decided to
merge it with those of other cities . By extension, we can imagine a traversal through the space of city
forms, following multiple exploration paths and connecting imaginary
cities in literature (Calvino, Campanella) and in architectural
treatises and theory (Vitruvius) with imaginary representations of
existing cities in design (Lepoivre).
The examples presented in this section were intended to illustrate how
the reconfiguration, restructuring, reorganization of existing content
(excerpts from books, articles, essays, etc., images) may be shaped via
metaphoric and digital lens, both in the interpretation and the
production of knowledge. Our assumption was that the interface mediates
a two-stage process, by influencing our perception of a topic, as well
as the way we represent this perception via the interface. In our cases,
the metaphor of zooming determined a certain predisposition to discern
different scales, angles, associations and layers of meaning in the
material of study and, at the same time, allowed remodeling (and
ultimately rereading) the matter in a digital form consistent with that
metaphor. A phenomenon worthy of further inquiry.
4. Conclusions and Future Work
In the introduction we stated that metaphors embedded in the interface may
support and shape interpretation. It is what we tried to demonstrate navigating
through the three use cases for literary, didactic and historical
representations of imaginary and existing cities and the corresponding z-texts
built via the Z-editor, an interface for writing and reading zoomable texts.
The first case proposed a stratification of textual and visual details, made
visible or invisible through the change of scale and perspective, which allowed
a critical projection of Calvino’s
Invisible Cities
onto a rhizomatic interpretative space. In the
second example, we transposed Stevin’s conceptual system of town design into a
scalable structure, from the level of the whole city to that of a house, to the
abstract layer explaining the concept of mirror-symmetry and its role as an
organizing principle within the whole system interpreted in this way from a
didactic viewpoint. An additional z-text illustrated the contextualization of
Stevin’s work by highlighting, via the switch of perspective from manuscript to
print, the differences in the visual-textual dynamics in Simon’s versus
Hendrik’s representations of the town plans. The third experiment dealt with a
symbolic traversal at variable scale of the city of Groningen drawings from
Lepoivre Atlas which together with views of
alternative designs assisted interpretation within the larger context of more or
less reliable historical evidence.
As Eberhardt affirms referring to Gadamer’s hermeneutics, the use of zooming not
only provides more detail but also allows horizontal expansion, resulting in
widening horizons . The study of the
role of zooming in particular, and of metaphors in general, in digital
hermeneutics has, in our opinion, the potential for widening horizons, both in
terms of interpretation and of production of knowledge. Further experiments and
features development should be envisaged (e.g., allowing the users to have an
overview, reconstruct and annotate the steps they took while navigating in the
interpretative space provided by the digital tool and the implied metaphor).
Moreover, further requirements can be explored by interdisciplinary research and
training programs, like the Digital History and Hermeneutics Doctoral Training
Unit, starting in 2017 at the University of Luxembourg, intended to create a
space of experiment and to encourage critical and self-reflexive
use of digital tools and technologies, in order to stimulate creative thinking and to
improve the exploitation of these tools and technologies for research and
teaching. In this context, the combined analysis of metaphor and digital
hermeneutics may open new paths for experiment and reflection in Digital
Humanities.
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