emiT | Time

This past week has involved a lot of application of the material we have been learning for the past few weeks. Seeing the value of our time spent familiarizing ourselves with DH methodology tools and research techniques is really exciting. Yet, it all comes with a price tag.

Time. Lots of time. Time spent reading. Time spent discussing possible questions. And more time spent questioning those questions. There is no avoiding this. This is the nature of research – insightful findings come at the expense of time spent emmersing in the material and (as in our case as interns being new to the Digital Humanities) time spent learning how to approach our research topics in a systematic, efficient way.

Our work putting together a group proposal was fulfilling. Naturally, we first discussed an encompassing theme into which our individual interests fit. Emma’s fascination with the first college library overlapped with Katie’s beguilment with early learning at Amherst as viewed through the course catalogs, which in turn intersected with Amanda’s captivation with the lived experience between 1821-61, and finally my own attraction to the same topic as it relates to physical environments and boundaries between college and town. All these seamlessly wove into our chosen theme: “Early Learning at Amherst,” which captures our overlapping curiosities.

Writing individual proposals to contribute to our group abstract was as thrilling as it was challenging. I was initially overwhelmed by the possibilities within my chosen topic: an investigation into the physicalities and boubdaries of early college architecture and how it facilitated learning. Yet, I felt constricted by our chosen theme. This push/pull dynamic was mentally stimulating, yielding a project proposal that is challenging and possible to complete within our limited time frame.

My project investigates the lived experiences of early Amherst including, but not limited to, student and faculty life and the intersection between the college and town of Amherst. Focusing attention on learning at Amherst in various forms (academic, physical education, social aptitude), I will funnel my attention towards investigating the physical and social structures that facilitated such learning. Although this investigation lends itself to mapping the spaces and movements of peoples of interest over the period between 1821-61, it is not exclusively confined to place-making. An analysis of visual material, complemented by textual evidence will offer new insights into how Amherst College students, faculty, and townspeople built a conducive learning environment (both literally and figuratively) in early Amherst.

I am still a far cry from mastering DH methodologies and techniques. Nonetheless, I feel more confident to take on an individual project than I was last week. Progress, I presume, is the purpose of learning. Inevitably, however, effective research will emiT | Time. It’s important to reflect on that.

From Drifting About to Diving In

There is something to be said for wandering.

I am prone to long walks in forests, eyes flitting from mossy rock to rotten stump to staid trees. I don’t set out searching for certain creatures, so every chipmunk, starling, frog is a wondrous treasure. At times I’ll be mesmerized by flashes of blue sky between branches or the mirror world just beneath a puddle, and I’ll stand, still and silent, for minutes entranced.

That’s how these first few weeks of research have felt. Sticking, at first, to clearly laid-out paths– the Amherst College Early History collection– then wandering, traipsing out to the Dramatics Collection, to carpenters’ ledgers, to faculty minutes, or else following a flickering idea, an elusive bird, from tree to tree.

And it’s been wonderful, this welcome perusal, this pleasant wandering. But after a while, one craves a purpose, a point, a destination. Eyes seek trail markers, hunger for guaranteed views at the end of a hike.

That’s how proposals feel. We know our way around the woods, trust our garnered skills, and are ready to march on with purpose. We’re sitting around a map that we’ve half filled in ourselves and plotting out a course for the weeks to follow. It’s fun. Like kids playing at being pirates, searching for that fabled X.

There were challenges as well, of course. Narrowing down our interests into something researchable, hopefully manageable, has the pain of all the paths not taken. Finding a guiding question for our inclinations is daunting too– moving from that pure joy of exploration to the sedate pleasure of purpose can feel like a loss, even though it isn’t.

I’m glad we had, as it were, practice proposals first. I’m ready for commitment, for rolling up my sleeves and digging deep into data, but I’d not want to rush in too quickly to anything less than the perfect match. Perhaps it’s too limiting to think of the right research path as a some sort of destined affair, but, well, I’m a romantic at heart.

I’ve been hanging out a lot with the course catalogs– we’re pretty close at this point– but I’m not sure if I’m ready for that next step. There’s a lot I like about them– the endless numbers lurking beneath the surface, those statistics waiting to be visualized, the subtler questions of formatting, that culture and mentality embedded in form, and the sheer continuity and scope of them– but I can’t help but wonder what other potential matches are out there.

I am reassured that the decision is not entirely my own– I know my team will help me narrow down my options into one topic that will play nicely with their own. I’m excited to walk alongside my fellow archival adventurers into new territory.

We have disparate interests, to be sure, but our passion for this project will help us bridge those differences. And it’s crucial that we all bring together those different perspectives into something holistic. There are, in all our interests, sites for synthesis. We may need to narrow down our topics into that one thread that weaves best into the tapestry, but it’s still our own colors dancing through the whole.

weaving, metaphor, I'm so week
There’s a lot to be done, a focus to be found, paths to leave less traveled — that can feel like a lot and a loss, like laying down limits just as we’re getting busy. But there’s still plenty of time for wandering, adventuring, as long as it’s in the right direction — we’re not out of the woods yet.

A Method to (DH) Madness

I must admit: after the first week of my Digital Scholars internship, I thought the task of researching the early college history in the span of two months was insurmountable. Among many linear feet of manuscripts, countless volumes of publications, articles, and journals, apparently, lies new insights into the early college history that I must dig out. This task beats finding a needle in a haystack for difficulty, I thought. I equated it to finding a silver one hidden among a needle-stack in fifty shades of gray, all within a limited time frame – nearly impossible. After an additional week of methodology workshops, however, I found my concerns abated.

This week focused our attention as interns on text analysis techniques: Google Ngrams, Voyant, Lexos, and topic modeling. In addition to learning how to distill large volumes of text, I picked up a few new words that allow for better understanding of the hermeneutics of my corpus (I may need practise at using these new words though). I have come to understand the methodologies applied to Digital Humanities in a practical way (as is natural for my architecture background). Like a fulcrum, text analysis tools do not change the load of information to be lifted from the Archives and Special Collections (pun always intended). Rather, the tools allow for more output for the effort placed into analyzing large volumes of text in a limited span of time.

I will not go into the details of the features of each of the tools we learned mostly because I am yet to fully grasp each of them, and partly because they each achieve similar outcomes: to translate texts into graphic information. Text analysis is a neat art! As a visual learner I appreciate how, for example, a phrase or argument can be traced in a body of text, or across different texts that may or may not be explicitly related. This is valuable in our quest as interns to acquire new insights into the old material available in the Archives and Special Collections.

The text analysis workshops have reshaped my approach to my project for the internship. Rather than exclusively focus on using visual material such as photographs and architectural drawings to understand early Amherst College architecture, I will be analyzing college publications and journals from between 1821 – 1861 to compliment my findings thus far. Previously, I was overwhelemed by the quantity of the material available for the scope of our research. Now, given additional time-saving tools, I am ready to begin analysis of texts that point to the rich early college architecture.

I cannot say that I have mastered many of the new research tools we have been taught. Nonetheless, I feel more confident that the task before us is possible given our awareness of more efficient ways to climb the mountain of material before us. It seems, afterall, there is a method to this madness.

Armed for Inquiry

I am not mathematically minded. After my Precalc midterm, my teacher looked at me with a mix of awe and disappointment and asked, “Katie, what happened?” I forged through Psych Statistics wielding rote memorization like a machete. No matter how many times I order the exact same meal at Fresh Side, I still have to break out my calculator app to figure out the tip.

Despite this… I love data.

I also love intuition– the spectral webs of crisscrossing themes and the cotton candy feel of abstract ideas spinning together.

But there’s something exciting about boiling down complex ideas into simple, manipulatable numbers. To see those intuitions finally concrete in scatterplots and percentages– or else thereby denied and replaced by a new realm of phantasmagoric possibilities.

This love of data has been amplified by the various methodology workshops we’ve been doing. Learning about tools like Voyant and MALLET, the ways they can act as not a substitute for analysis but as a supplement or stimulus, and looking at data visualization, the way arguments can be made in images– all of it has been exhilarating. There are so many paths to walk down that ultimately I don’t feel terrible about having to narrow it down to just a few; there are thousands of good and great options, sure, but I just have to find the right ones.

Data exists everywhere– these workshops have convinced me of that. They’ve given me a new way of looking at our archival resources– inaugural speeches can be analyzed for trends, student publications can be broken down into topics, course catalogs can be distilled into graphs, charts, numbers. I’ve always been one to value the anecdote and its place in painting abstract ideas– now I realize that as beautiful as broad strokes are, there’s also power in pointillism.

Me, looking for the right paths and armed for the expedition.
Me, looking for the right paths and armed for the expedition.

So I’m ready to move on from frolicking to focusing– both have their merits– and to start circling in on a final topic. I have all these new, powerful methodologies– I want to sic them on something.

And I feel prepared for the journey– I’ve been armed for inquiry, I’ve got a great team beside me, and I’m eagerly awaiting the challenges ahead.

After all, we’re dealing in data, and data is fun.

Brawl to Ballet (and Embracing the Battle)

Two men, two journals. Or, rather, fifteen men between 1821 and 1861 in Amherst College with an odd assortment of journals, diaries and autobiographies. Or, actually, forty years of Amherst College students living and recording their lives only to have a fraction end up in the archives, tucked away in neat little folders in dark boxes on metal shelves.

rackham mice bird pageBut for me, today, there is only Alfred and Augustus, class of ’58 and ’39, with their patterned leather-bound books enclosing nineteenth century scrawl. And even that is too broad a scope.

Augustus Wing was a philosophical mind, particularly fond of poetry and linguistics, with a keen appreciation of geography and theology and a tendency to jot down bits of history.

Alfred Ellsworth, on the other hand, is a more opaque figure. Not because his journal lacks substance– it was auctioned off with a letter noting its rich Amherst-related contents — but because, quite frankly, I can stare and stare and stare and make little sense of his slender slanting scrawl.

So I spend my time with Augustus.

***

The data is marshaled into precise little rows, the columns standing side by side. Each student from the class of 1825 with their hometown right up against their place and date of death. As if that weren’t already cold and impersonal enough, another sheet strips away the human touch of “Colerain” and “Woodbridge” and replaces them with lengthy strings of latitude and longitude.

But, strangely, it’s not as austere as it seems. As the numbers shift from from 42 to 33, or 77 to 89, you see a life far flung from the familiarity of home. Lincoln Clark and Robert Coffin, next to each in the class list might now be lying next to each other in their graves– both died in the Massachusetts town of Conway. And of the 31 classmates, seven of them– seven!– died in the decade after their freshman year.

The data waits, geographical coordinates ready to map across the United States patterns of concentricity and change. TimeMapper and MapStory lurk between tutorial and troubleshooting tabs, their infrastructure perfect for the task at hand. And yet…

I am thwarted. I add a layer of my data, but nothing appears on screen. Following the diagram in the FAQs, I publish my Google spreadsheet, only to have the website insistently inform me that I should try publishing my sheet. I stare at the other projects and their pristine visualizations and wonder in despair if the rest of the world will ever see the beauty in my data.

***

I am used to living, research-wise, in the best of all possible worlds. With all my texts in neat type, with the library making available any article I require, with Word and Scrivener and Powerpoint all mastered — with all this, I am used to threading together themes with data and established theory with original commentary, everything dressed up and bolstered by with alliteration, chiasmus, and tricolons crescens.

Now I encounter resistance in both the material and the medium, especially at the point of welding them together. For how can I honestly present a picture of student life at Amherst if there’s a rich source I neglected? How much worse will that lacuna be when magnified by the data’s presentation? Is it dishonest, as well, to use anything less than the optimal software to display the data if by doing so its representation loses clarity and possibly significance as well?

This battleground between data and its display is a new one for me, and at times I feel unequipped. Which should dictate which? Whose side am I fighting on? Am I paramedic trying to keep both armies alive, or a Valkyrie ready to whisk away the weaker to a different sort of glory?

I think, perhaps, that as I learn to negotiate that space between it will become less of a brawl and more of a ballet, methodology, data, and research questions each a moving piece but ultimately moving in harmony. That is the ideal, at least.

And as I work towards such a state, I’ll keep dreaming up research questions and digging through the archives. My naive hope at the beginning was to meld medium and material, to have one reflect and amplify the other. I realize now that the task will be more difficult than I imagined– by that only makes me all the more determined to achieve such an arduous but ultimately invaluable union. And to do so I will need an intimate understanding of early Amherst. The hard (yet easy data) of birth and death sites alongside trickier anecdotes and opinions gleaned from diaries, journals, publications, lecture notes and letters. I must be even-handed in my research, push back at the resistance, and aim to achieve a balance.

It is only fair, I think, to have one Alfred for each Augustus.

 

Day 1/3

I’ve only been through the internship for a fraction of the time that the other interns, Amanda, Emma, and Katie, have been (international student issues). As reassuring as they were in pointing out that we’re in the same boat of inquiry into the Digital Humanities field, which is new to us all interns, I can’t help but feel that they are a leg up in our collective quest to untangle the mysteries of DH.

My first day started with getting me up to speed with what I missed in the first two days. My collegues summarized the function and form of DH from the first week’s readings beautifully in three words: accessibility, authenticity, and aesthetics. While this multifaceted field cannot be constrained by these three words, I found it a good foundation to begin my understanding of DH.

To the three words the other three interns came up with, I would add a fourth: connectivity. My initial understanding of DH is in its role to connect; be it pieces of data to make more data, or data to the people who consume it. In “What is Metadata,” an article published in the Scientific American journal, Bonie Swoger explains how metadata can be used to connect otherwise meaningless pieces of data to produce valuable information: “Without metadata, discovery and reuse of digital information would be much harder.” A major part of DH is in amalgamating this information and in distributing it equitably and systematically, resulting in a recursive, iterative process.

As an Architectural Studies major at Amherst, I am drawn to such recursive, iterative processes. This internship not only presents the opportunity for me to explore a new and fascinating field of inquiry, but also the prospect of learning about the architecture of a place I called home for the past four years. The Archives and Special Collections have a bounty of articles, journals, and photographs that I am excited to dig into for the next two months. Our collective inquiry as interns into the history of Amherst between 1810 and 1861 will undoubtedly unearth findings that are relevant to Amherst today. This summer, I hope to study old Amherst architecture to see how trends in aesthetics and cultural building practices may inform current renovation and construction projects on campus such as the Greenway project, or not.

After a long first day of reading and discussions, I still feel that I don’t have a full grasp of what DH is about. This statement is likely to remain true to the end of the summer, and hopefully through the course of my academic career. That is the beauty of learning – the endless pursuit of knowledge. To have a team of curious minds to join in the journey is but a sweet bonus. I look forward to working with Amanda, Emma, Katie, and the Frost Library team this summer.

Early Work for “Early Amherst”

The first two days have been a whirlwind of information. I think it’s fair to say that the three of us (Takudzwa will join us soon!) were blown away by the versatility and expressive power of Digital Humanities, the enthusiasm of everyone involved in this endeavor, and the endlessly fractalling potential for our project.

rackham three girls in wind

The Archives already feel like an upcoming adventure. Unassuming as the Reading Room seems, with its quiet tables and gentle book cradles, it nonetheless feels like the edge of canyon or the bottom of a mountain–  the sheer scope of the collections available (90 linear feet of student publications alone!) electrifies the air. Tantalizing too is the long list online of the special collections, the finding aids all lined up for inspection and susceptible to quick control-F.

Though it’s only the second day, I feel as if ideas for the project have been arising, colliding, and coalescing in my mind for weeks. Already I’ve jumped from Jacob Abbott to Noah Webster to Lucius Boltwood and back, eyes lighting up as the same names pop up in faculty minutes, transcribed journals, and history books. I’ve stared, puzzled, at 19th century handwriting and each author’s chirographical eccentricities, parsing out with difficulty “Athenian” and “Alexandrian,” just to have those two literary societies mentioned easily and offhandedly in Fuess’s book (along with the tidbit that people were assigned to either in alternating alphabetical order).

My questions– bifurcating with every new piece of information– are perhaps too manifold to list. Let me focus, instead, on my goals for this internship.

I am enchanted with DH theory and praxis, and I’m hoping not just to immerse myself equally in the DH world and the world of early Amherst but also to have the two inform each other.

Though I acknowledge I will be limited by the tools available and the team’s proficiency thereof, the idea of melding medium and subject matter is too much of a siren call to shake. To have the interface and experience of our project reflect its very content, to mirror the values of research subjects within their own representation, to allow ease of access and friction in ways that imitate the generation of information– such ideals are tantalizing.

But even if the quixotic remains beyond my lance’s reach, I feel certain that the cohort’s endeavors here will never be wasted. Already our ideas spark off each other’s, our passions lending new lenses to the same sources. Humorous tidbits (expulsion for chicken stealing, grave concern over oversleeping ) are shared with the same frequency as more serious discoveries, and it is rare that one observation is not met with another’s connection. I fervently hope that such academic camaraderie continues.

The final goal I’ll mention is more worldly. That I have found a field that synthesizes my love of learning with my deep commitment to effective and aesthetic communication– which I hopefully achieve in my creative writing– feels strangely both inevitable and like a windfall. The future for me– until now always somewhat murky– now opens another possible path. Though I’ve but two months this summer to immerse myself in the theory, praxis, and intellectual joy of DH, I hope it will be enough to allow me to continue further in the field.

And now, since I’ll undoubtedly have a good laugh about it when my dreams from day two meet the research and reality of the upcoming weeks, I’ll name “Learning at Early Amherst” as the topic that entices me the most and that I hope to follow. Among the possible branches of exploration are the student self-directed literary societies, the evolving pedagogy and curriculum, and the sometimes tense relationship between students and faculty. As for resources, there are a few posters, a handful of student journals, and a number of student periodicals that present a promising starting point.

In any case, no matter what direction our research pulls us in, I know I’ve a good team beside me. In a field which embraces the expansion of expression and the tension between interpretations, there is no better way to explore any subject than with a cohort ready to dive in, develop, and debate with you.

I look forward to sharing our future explorations here, and I hope my reflections may offer you something of value!

(As a side note, I intend to include an Arthur Rackham illustration in every blog post. There’s always room in the world for more beautiful art.)

 

My Kingdom for a Time-Turner!

I don’t have a kingdom to offer, but time has passed disproportionately for this internship. The past week has been a build-up to the day of the presentation; those days were long because of the amount of work I was doing, but then they always appeared too short for the amount of work remaining. We have come so far since my last post; I didn’t even have a concrete idea of what my project would look like then, but now two weeks later, I have the privilege of looking backwards in time with a final product to boast about.

Here is A Little Magazine, complete with documentation.

Although I am proud of my project, it is certainly not the be-all and end-all. In fact, I would venture to say that the most valuable things I have learned from this Digital Scholarship internship, and the most valuable memories I have, have been the rest of “it.” The final product is a landmark, but not the cumulative experience.

I will end with a bullet-point of “it” in no particular order:

  • Building the timeline of the Student Publications Collection!
  • Knowing Lane Room too well. Knowing the computer lab on A level too well.
  • Increased knowledge of best spots in the library to counteract the temperature of the AC
  • The hypocrisy when I (almost) commit the same sin that I criticized of another website (story for another time)
  • Learning what “deliverables” mean
  • Still not knowing whether it’s “the digital humanities is” or “the digital humanities are”
  • The irony of making jokes about literary magazines, and then ended up focusing on one of them as my project
  • Not having enough time to do textual analysis and/or topic modeling; would have loved to see what kind of trends emerged
  • Learning that there are more than five librarians in the library. Really thankful for the network of librarians and other staff who have taught us and helped us along the way. [Personal note: now I know who to pester during the school year]
  • That feeling of accomplishment when my initials appeared in a streak on the Archives log-in sheet, because I came in everyday for data collection
  • Team meeting every Thursday; scrambling to prepare things for presentation
  • Learn that copyright is a thing, and that it is very complicated despite having charts to guide you through it
  • Having a group of interns to joke with in the first half of internship, and to keep up my morale during the dark days of tool failure; going crazy unproductive on one day and wake up and nail a Gephi workshop
  • Finding my way around WordPress; building something online for the first time
  • Being in the Archives for the first time; doing detective work
  • Getting stronger by lifting archival boxes from the front desk to the desk I was working on
  • First time at Mt. Holyoke; visited Leslie in the Archives
  • Emerging into the sun after a day of self-isolation in the Archives
  • That time when the word “concatenate” gained special status
  • Appreciation for access to the staff lounge (food cornucopia), with us interns at the highest priority for emails about food opportunities in the library
  • Finding the perfect spot in the Archives to take pictures of documents without my shadow blocking it
  • The beauty of Command F to look for keywords in a decades’ worth of newspaper OCR
  • Staying in the library until all the lights shut down
  • Being totally turned off by a tool at first sight, but then realizing some possible merits after having to teach a workshop on it (hint: Gephi)
  • Learning that Tableau is “like Excel, but more fun!”
  • Attended two job interviews
  • Took awkward group pictures
  • How to make a Pictionary session of publication names educational
  • This insight and call to action: Screen Shot 2016-06-24 at 10.57.58 AM
  • The havoc that puns cause on productivity, when you throw four tired interns together in a Monday afternoon, which leads me to…
  • A certain “Group Proposal” document that is in fact, bonkers. Inside joke: art rat

Signing off, but not gone,
Phuong-Nghi

 

Experimenting with the Experimental

Now that our (exhaustive) timeline of the student-publication collection is finished for the moment, we can breathe a sigh of relief before diving into our individual parts for the final project. For me, what’s clear from the outset is the constant re-evaluation of scope, specifically the need to narrow my focus. Time constraint (we have roughly less than three weeks left!) and my limited experience with digital tools necessitate that I not bite off more than I can chew:

All student publications (125+) >

Literary magazines (41) >

Experimental magazines (~7) >

Io and Adelphian (2)

 

Why literary magazines?

Compiling and cleaning up the template for the timeline yielded useful data for generating a variety of graphs (which hopefully will feature on the homepage of our currently non-existent website for the final project). One of these, the-distribution-of-genres graph, shows that literary magazines make up the largest group with 41 publications. But that number alone does not provide the full picture, since some publications were single issues while others, such as the Amherst Literary Magazine, last upwards of 70 years. Nevertheless, not only were literary magazines the first student publications to come out of Amherst College, they remained a staple marker of students’ intellectual and creative lives throughout Amherst’s 200-year history.

It would be a Sisyphean task to tackle all of the literary magazines. Despite the generic and bland description often attached to them, “featuring short stories, essays, and poems,” they exist in all different shapes and forms, requiring extensive work, effort, and technical ability to give them justice. To take a more logistically realistic route, I have decided to focus on the experimental literary magazines as a lens on the literary establishment at Amherst. For this purpose, I selected Io (1965-66 at Amherst, 1967-1976 post-Amherst), an anthology combining literature, anthropology, natural and physical sciences into thematic issues, intended to be “a long accumulating poem, or myth, created by those who read it.” Puzzled yet intrigued? Me, too. The other is Adelphian (1985-1986), which aimed to attract “voices one would not expect to find at Amherst,” a phrase which itself raises questions about the student climate at Amherst and what was considered acceptable by the literary establishment.

So what does it mean that they are experimental magazines? For one thing, after spending two days trekking through the pieces, I can say that they are DIFFICULT to understand. How can digital tools like textual analysis help me with these interpretive challenges? The range of topics by itself is incredible, but more challenging to wrap one’s mind around are the styles of the writers and poets, who often perform technical feats to convey their points. “Experimental” is meant to be a catch-all term, because to pin down a definition for such words is, as Samuel Butler puts it elegantly, “to enclose a wilderness of idea within a wall of words.”

Nevertheless, “experimental” is relative, as it requires a point of comparison and historical context. To provide a rounded look, I plan to comb through the Amherst Student to gather information about their reception by the student body and the faculty. What are the dynamics between the literary establishment and these experimental literary magazines? Looking at the “established literary magazine” from the same period would be beneficial in gauging the degree of experimentation, although how to depict this visually remains a challenge.

Whatever I find in these next few days, I envision the final project to involve a lot of writing. Context is crucial, because in addition to looking at individual pieces themselves, my interest in origins lingers, prompting me to learn more about the founders and contributors. Where did they end up, and did their involvement with these magazines have any influence on their career path and current work? In working with the digital, I want to emphasize the human connection as much as possible, and perhaps this is one way of doing so. Time will tell (check back in a week).

Rod Serling and Boxes 1-20

In the Amherst Special Collections, there are documents that venture onto the precipice of strange and weird, categorized within an archive beyond man, the middle ground between light and shadow, science and superstition, and it lies between the pit of mans fears (Amherst Literary Monthly) and the summit of his knowledge (everything else). It is known as the Twilight Zone.

Behind the door to this dimension lie Amherst Student clippings with headlines like “Sarat Joins [O.J.] Simpson Defense.” One front page article features a student covered in a white full-body poncho,  “SHE’s debut new mascot, Captain Condom” Publications dedicated to alternative art, advocating students to wave around Mao’s little red book. It depicts an Amherst that both was, is and will never be.

These documents, worthy of headline in any SNL Weekend Update, are legitimate. On their own, they are the quirkier aspects of life in a small college. They are united only by their deviation from the norm and not similarities, a collection of misfits. Together, they paint Amherst as a little unhinged but immensely lovable.

Unfortunately, that makes them ill suited for study. I love to snap photos of each strange feature I see, with Ripley’s Believe it or Not on speed dial. However, I can’t really find any digital use for them- I can’t even explain why we’re so drawn to them anyways! The application of some collections to projects are easy, like charting the growth of buildings or the advancement and recession of Sarat’s hairline in each photo appearance.

IMAG0772
Sarat’s “Peak” hair years- named for both the climax in hair density and the premature onset of widow’s peak.

If anything, it’s affected my attitude towards my dedicated project. I’m grateful to be exploring comedy publications, because the lines between fiction and reality and not as blurred. For now, I’d like to focus on the question I asked earlier in the summer- when was comedy looking inward and when was it looking outward? Originally, I would’ve assumed most inspiration came outward. But now…. I’m wondering if it flowed from the pioneer valley between reality and fiction, situated in the Twilight Zone.