JADH 2021
“Digital Humanities and COVID-19”
September 6-8, 2021
The University of Tokyo, JAPANhttps://www.hi.u-tokyo.ac.jp/JADH/2021/

The 11th Conference ofJapanese Association for Digital Humanities
Proceedings of JADH conference, vol. 2021
Organized by
Organizing Committee, Japanese Association for Digital Humanities
Hosted byHistoriographical Institute, The University of Tokyo
Co-organized byInternational Institute for Digital Humanities
Supported by
IPSJ SIG Computers and the Humanities
Japan Art Documentation Society
Japan Association for English Corpus Studies
Japan Society for Digital Archives
Japan Society for Information and Media Studies
Japan Society of Information and Knowledge
The Mathematical Linguistic Society of Japan

Proceedings of JADH conference, vol. 2021
Edited by Historiographical Institute, The University of Tokyo
Copyright © 2021 by the Japanese Association for Digital Humanities
Published by Historiographical Institute, The University of Tokyo
3-1, Hongo 7-chome, Bunkyo-ku, Tokyo 113-0033, JAPANhttps://www.hi.u-tokyo.ac.jp/
Online edition: ISSN 2432-3144

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Print edition: ISSN 2432-3187

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Table of Contents
Table of Contents ................................................................................................................. 3
JADH 2021 Committees ...................................................................................................... 9Time Table.......................................................................................................................... 11[Plenary – 1] ....................................................................................................................... 12
Keener than Connoisseurs’ Eyes: Analysis and Experience of Ancient Art throughVirtual Reality (VR) .......................................................................................................... 12
Kyoko Haga
[Plenary – 2] ....................................................................................................................... 14(Dis)Connections in Digital Japanese Studies ................................................................. 14
Paula R. Curtis
Style Comparative study of Japanese medieval picture scrolls focusing on landscapesusing GM Method with IIIF Curation Platform ............................................................ 16
Chikahiko Suzuki, Akira Takagishi, Asanobu Kitamoto
Book Barcoding for Differential Reading -Application to Woodblock-printed Books
in the Bukan Complete Collection- .................................................................................. 22
Asanobu Kitamoto
Digital technologies and the spatial organisation of exhibitions: Interactive art asreflective experience .......................................................................................................... 28
Marianna Charitonidou
The Re-centered Text: Digital restructuring in Amira Hanafi’s A Dictionary of the
Revolution........................................................................................................................... 31
David Thomas Henry WrightExperimental LDA Topic Modelling of Tennyson’s Epic Poems.................................. 34
Iku FUJITA
A study on the readerly aspects of Electronic Poetry through Cognitive Poetics ....... 45
Mariyam Nancy J, David Arputharaj
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Architectural Drawings Exposed and the Effect of Digitization: The Rise of
Artefactual Value vs the Democratization of Knowledge .............................................. 47
Marianna Charitonidou
Intersectionality and Digital Humanities in the Teaching of Architectural History:
Diversity in the Dissemination of Knowledge ................................................................. 48
Marianna Charitonidou
Multilingual word embeddings and low resources: identifying influence in Antiquity............................................................................................................................................. 51
Marianne Reboul, École Normale Supérieure de Lyon
Skin Deep: Exploring Ideals of Japanese Beauty through Social Media ..................... 55
Amy Grace Metcalfe, Emily Ohman
Analyzing “Mechanisms” in the British National Corpus ............................................ 59
Yuki Sugawara
One Challenge, Not Two Problems: Regular Expressions for Researching a SingleAuthor Corpus ................................................................................................................... 62
Dr. Robert W. Williams
Picking out Arabian Names from Fahrasa by Jaʻfar b. Idrīs al-Kattānī without
Reading Arabic .................................................................................................................. 66
Yuri Ishida, Kensuke Baba
POS tagging for Vedic Sanskrit using deep learning ..................................................... 69
Yuzuki Tsukagoshi
Spectral analysis for idetifying octave playing in piano works ..................................... 72
Mai Takahashi, Michikazu Kobayashi, Ikki Ohmukai
Token-based semantic vector space model for classic poetic Japanese........................ 77
Xudong Chen, Hilofumi Yamamoto, and Bor Hodošček
Open source datasets of the Hachidaishū for the research of classical Japanese poetic
vocabulary .......................................................................................................................... 82
Hilofumi Yamamoto, Bor Hodošček
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Exploring Metadata Quality Issues in Non-English Corpora: Preliminary
Assessments of HathiTrust Records of Late Imperial Chinese Books ......................... 88
Wenyi Shang, Jacob Jett, J. Stephen Downie
Dataset Construction for Cross-genre Plot Structure Extraction................................. 93
Hajime Murai, Shuuhei Toyosawa, Takayuki Shiratori, Takumi Yoshida, Shougo
Nakamura, Yuuri Saito, Kazuki Ishikawa, Sakura Nemoto, Junya Iwasaki, Akiko Uda,
Shoki Ohta, Arisa Ohba, Takaki Fukumoto
Basic Plot Structure in the Adventure and Battle Genres ............................................. 97
Yuuri Saito, Takumi Yoshida, Shougo Nakamura, Kazuki Ishikawa,Shoki Ohta, Arisa
Ohba, Takaki Fukumoto, Hajime Murai
Construction of ShiJi Spatiotemporal Information Platform on the Framework of
Research-oriented Knowledge Bases ............................................................................. 101
Jung-Yi Tsai, Pi-Ling Pai, Hsiung-Ming Liao, You-Jun Chen, Richard Tzong-Han Tsai*,
I-Chun Fan
Cross-genre Plot Analysis of Detective and Horror Genres ........................................ 106
Junya Iwasaki, Shuuhei Toyosawa, Kazuki Ishikawa, Shoki Ohta, Hajime Murai
Using Moodle as a Multi-Modal Tool for Ainu Language Education ........................ 111
Matthew Cotter, Takayuki Okazaki, Jennifer Teeter
An Attempt at Creating Integrated Retrieval for Chinese Excavated Materials: An
Implementation of a Search Function across Interpretations of Ancient Characters........................................................................................................................................... 114
Shumpei Katakura
Collecting Canons: Comparing Guodian and Mawangdui Laozi Texts with the Dead
Sea Scrolls ......................................................................................................................... 117
Janelle Peters
Development of Database for Japanese Conversation Patterns: an observation fromnoun phrases ending with focus particle "mo (also)" .................................................. 120
Mika Ebara, Hilofumi Yamamoto

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Drug-focused text summarization of coronavirus-related articles for the discovery of
COVID-19 therapies ....................................................................................................... 124
Setsuro Matsuda
Reconstruction and Utilization of Text Data Using TEI:

Case study of the

Shibusawa Eiichi Denki Shiryo ....................................................................................... 126
Boyoung Kim, Satoru Nakamura, Yuta Hashimoto,Naoki Kokaze, Sayaka Inoue, Toru
Shigehara, Kiyonori Nagasaki
Development of a support system for extracting mentioned bibliographical data fromthe Encyclopédie entries .................................................................................................. 130
Satoru Nakamura, Ayano Kokaze, Yoshiho Iida, Naoki Kokaze, Tatsuo Hemmi
Platformed reflections on the Pandemic: Covid-19 and Electronic Literature ......... 134
Anna Nacher, Søren Bro Pold, Scott Rettberg
Digital Humanities and the way forward for ethnographic research: What we learned
from Covid-19? ................................................................................................................ 139
Deepika Kashyap
Virtual Communities and Post-Pandemic Possibilities: Animal Crossing New Digital
Humanities ....................................................................................................................... 141
Quinn Dombrowski, Elizabeth Grumbach, Merve Tekgürler
Building Web Corpus of Old Nubian with Interlinear Glossing as Digital Cultural
Heritage for Modern-Day Nubians ................................................................................ 144
So Miyagawa, Vincent W.J. van Gerven Oei
Development of data-driven historical information research infrastructure at theHistoriographical Institute in the University of Tokyo................................................ 148
Satoru Nakamura, Taizo Yamada
Compilation of Semantic Data Archive: A New Method of Learning “Local Culture”........................................................................................................................................... 152
Kwangwoo Kim, Soohyeon Kim
Towards a Structured Description of the Contents of the Taisho Tripitaka ............. 161

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Yoichiro Watanabe, Kiyonori Nagasaki, Hyunjin Park, Yifán Wáng, Tomohiro Murase,
Masayoshi Watanabe, Norimichi Yajima, Yoshihiro Sato, Yūi Sakuma, Xinxing Yu,
Masahiro Shimoda, Ikki OhmukaiClassification of face images in the frontispiece paintings of Sutra copies in gold ink
on indigo paper by deep convolutional neural networks ............................................. 164
Toshiaki Aida, Tomomi Kobayashi, Aiko Aida
The difference in transitional process between Western instrumental and vocal music........................................................................................................................................... 169
Daisuke Miki, Akihiro Kawase, Kenji Hatano
e-Sukhāvatī: An Innovative Digital Platform for Studying the Smaller Sukhāvatīvyūha........................................................................................................................................... 172
SIU Sai-yau
New Possibilities of Digital Publishing and Online Exhibition— A Case Study of theWebsite “Reflections on COVID-19”............................................................................. 178
Lin, Wen Jiun
Sonifying the pandemic – innovative approaches towards data interaction andengagement formats for scientific, educational and artistic purposes ........................ 192
Michael Stark, Amelie Dorn, Renato Rocha Souza
Thailand Towards Digitization– the past, the present, the future and gray digital gap........................................................................................................................................... 196
Saiyud Moolphate, Nadila Mulati, Thin Nyein Nyein Aung, Motoyuki Yuasa,, Myo Nyein
Aung,
Wikidata as a Low-tech Solution to Leverage Semantic Technologies and A Case
Study of CBDB ID’s Reconciliation with Wikidata ..................................................... 199
Fudie Zhao
[Workshop – 1]................................................................................................................. 203
歴史学におけるデータ共有，統合化，多角的協働 ................................................... 203[Workshop – 2]................................................................................................................. 205
海外 DH 教育動向調査 ................................................................................................... 205
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JADH 2021 Committees
Program Committee:•

Paul Arthur (Edith Cowan University, Australia)•

Marcus Bingenheimer (Temple University, USA)•James Cummings (Newcastle University, UK)•

J. Stephen Downie (University of Illinois, USA)•Øyvind Eide (University of Cologne, Germany)•

Makoto Goto (National Museum of Japanese History, Japan)•

Shoichiro Hara (Kyoto University, Japan)•

Yuta Hashimoto (National Museum of Japanese History, Japan), Chair•

Bor Hodošček (Osaka University, Japan)•

JenJou Hung (Dharma Drum Institute of Liberal Arts, Taiwan)•

Jieh Hsiang (National Taiwan University, Taiwan)•

Akihiro Kawase (Doshisha University, Japan)•

Nobuhiko Kikuchi (Kansai University, Japan)•

Asanobu Kitamoto (ROIS-DS Center for Open Data in the Humanities / National
Institute of Informatics, Japan)•

Maciej Eder (Pedagogical University of Kraków, Poland)•

Yoko Mabuchi (National Institute for Japanese Language and Linguistics, Japan)•

Charles Muller (University of Tokyo, Japan)•

Hajime Murai (Future University Hakodate, Japan)•

Kiyonori Nagasaki (International Institute for Digital Humanities, Japan)•

Satoru Nakamura (University of Tokyo, Japan)•

Chifumi Nishioka (Kyoto University, Japan)•

Ikki Ohmukai (University of Tokyo, Japan)•

Geoffrey Rockwell (University of Alberta, Canada)•

Martina Scholger (University of Graz, Austria)•

Masahiro Shimoda (University of Tokyo, Japan)•

Raymond Siemens (University of Victoria, Canada)•

Tomoji Tabata (Osaka University, Japan)•

Ruck Thawonmas (Ritsumeikan University, Japan)•

Toru Tomabechi (International Institute for Digital Humanities, Japan)•

Kathryn Tomasek (Wheaton College, USA)•

Ayaka Uesaka (Osaka University, Japan)•

Raffaele Viglianti (University of Maryland, USA)•

Christian Wittern (Kyoto University, Japan)•

Taizo Yamada (University of Tokyo, Japan)
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Natsuko Yoshiga (Saga University, Japan)

Local Organizers:•

Hiroshi Hakoishi (Historiographical Institute, The University of Tokyo)•

Kanako Hirasawa (Historiographical Institute, The University of Tokyo)•

Satoshi Inoue (Historiographical Institute, The University of Tokyo)•

Kiyonori Nagasaki (International Institute for Digital Humanities)•

Satoru Nakamura (Historiographical Institute, The University of Tokyo)•

Ikki Ohmukai (Graduate School of Humanities and Sociology, The University ofTokyo)•

Ayako Shibutani (Historiographical Institute, The University of Tokyo)•

Toru Tomabechi (International Institute for Digital Humanities)•

Taizo Yamada (Historiographical Institute, The University of Tokyo) - Chair•

Hidenori Watanave (Interfaculty Initiative in Information Studies, The University ofTokyo)

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Time Table
September 6 (Mon), Day 1
10:30-14:00

Workshop 1

15:00-17:00

Workshop 2

September 7 (Tue), Day 2
10:00-10:30

Opening

10:30-12:00

Long Paper 1: Visuality (Room A)

10:30-12:00

Long Paper 2: Literature and Poetry (Room B)

12:00-13:00

Board Meeting

13:00-14:00

Plenary Talk I: Kyoko Haga (Room A)

14:30-16:00

Long Paper 3: Architecture (Room A)

14:30-16:00

Short Paper 1: Text Analysis (Room B)

16:30-18:00

Poster

18:00-19:30

Free Talk

September 8 (Wed), Day 3
9:30-10:30

Plenary Talk II (Room A)

11:00-12:00

Long Paper 4: Historical Texts (Room A)

12:00-13:00

AGM (JADH Annual General Meeting, Room A)

13:30-15:00

Long Paper 5: DH and the Pandemic (Room A)

13:30-15:00

Short Paper 2: Archiving and Analysis of Cultural Heritages (Room B)

15:30-17:00

Short Paper 3: Digitization under the Pandemic (Room A)

17:00-17:30

Closing (Room A)

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[Plenary – 1]
Keener than Connoisseurs’ Eyes: Analysis and Experience ofAncient Art through Virtual Reality (VR)Kyoko Haga1
Bio
Kyoko Sengoku-Haga is Professor of Art History with the Center for Evolving Humanities
in the Graduate School of Humanities and Sociology at the University of Tokyo. Her
research focuses on both religious and technical aspects of Western Classical art, andregarding the latter, from 2007 she has been conducting a joint research project with Prof.
Katsushi Ikeuchi and Prof. Takeshi Oishi in the Computer Vision Laboratory of theInstitute of Industrial Science at the same university. She is also a project member of the
Virtual Reality Educational Research Center and a fellow of the Art Center, both of which
are organizations within the University of Tokyo. She has written books and articles on
Greek and Roman Art, including The Ancient Sculpture of Rhodes (2006, Collegium
Mediterranistarum Herend Award in 2007) and History of Western Art, vol. 1 (2017, main
author), and supervised several special exhibitions on ancient Greek and Roman art such as
A Journey to the Land of Immortals: Treasures of Ancient Greece (Tokyo National
Museum, 2016) and Roman Wall Paintings of Pompeii (Mori Arts Center Gallery, Tokyo,
2016). From 2017 she is promoting a VR Art Appreciation project of special art
exhibitions in collaboration with Asahi Shimbun-sha.
Abstract
In the field of art, VR technique (in its broadest sense) is applied in various ways, such as
to record and reproduce works of art for various purposes and to analyze them for research
purposes, as well as to create new works.
The importance of recording and reproducing works of art has long beenrecognized. At first, this was in terms of the cultural heritage, which is in danger ofdamage or destruction. Now, many projects of recording works of art as high-resolution
images are going on in the world and many museums, sometimes in collaboration with
Google Arts and Cultures, have opened their collections of data on the internet. In addition,
during these years under the COVID-19 crisis, some special exhibitions have beenrecorded as 3D Walkthroughs although in a rather simple way. If we can develop a methodof archiving special exhibitions as VR content that is realistic enough to be appreciated as
1 Graduate School of Humanities and Sociology, the University of Tokyo

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art, it may help those people who have difficulty accessing real museums including highschool students of remote rural areas and old people with physical challenges. It may solve
the regional disparities in art education and enrich people’s lives in an aging society.
Regarding the use of VR, or 3D data, for the purpose of art studies, it isextremely useful for analyzing ancient art, because the conserved artworks are not inabundance, and in most cases, the condition is quite poor. With the help of 3D models, we
can reconstruct fragmentary objects correctly at least in respect to its geometric aspect.
However, that is not all; the digital eye can analyze art objects better than any skilled
connoisseurs’ eyes.
Taking an example of our research on ancient Greek and Roman art, 3D shapecomparison technique enables us to examine the precision of making copies of famous
works. To explain the method briefly, firstly, ancient statues are scanned with 3D laserrange sensors with an accuracy of ±50μm to create very precise 3D models. Next, tocompare their shapes, two 3D models are aligned together using the ICP algorithm. Lastly,
to visualize the gap of the two 3D models, the distances between them are colored. We
compared four Roman copies of a single Greek original masterpiece, the Doryphoros (theSpear-Bearer), created by Polykleitos in the 5th century BCE. As a result, we proved that
Roman sculptors were capable of copying Greek originals quite precisely both in bronze
and in marble. Even in marble copies concerning the heads and feet of statues, weobserved that the errors of copies are within 2mm.
With the same method, we have revealed the actuality of a Greek sculptor’screation process as well. Comparing the Doryphoros of Polykleitos with another of his
works, the Diadoumenos (the youth tying a fillet around his head), we found that the great
sculptor reused the face and foot models of the former work for the latter. He must have
kept the master model of the Doryphoros in his workshop, presumably to repeat its“Canon” (“standard”, probably a combination of body part proportions) in a new work. It
suggests the possibility of distinguishing his unidentified works from his contemporaries’
works. Actually, in the case of the famous statuary group of three Wounded Amazons, oneof the three was to be attributed to Polykleitos but without any reliable evidence scholars
continued the discussion for a hundred years. However, we have succeeded to get to theanswer by the clear results of the 3D shape comparison.

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[Plenary – 2]
(Dis)Connections in Digital Japanese Studies
Paula R. Curtis1
Bio
Paula R. Curtis is a historian of medieval Japan. She is presently Postdoctoral Fellow and
Lecturer in History with the Terasaki Center for Japanese Studies at University ofCalifornia, Los Angeles. Her current book project, The Casters of Kawachi: Artisans andthe Production of Medieval Japan, focuses on metal caster organizations and theirrelationships with elite institutions from the twelfth to sixteenth centuries. She also works
on the history of documentary forgery in premodern Japan and recently published “An
Entrepreneurial Aristocrat: Matsugi Hisanao and the Forging of Imperial Service in Late
Medieval Japan” with Monumenta Nipponica.
In addition to historical work on premodern Japan, Dr. Curtis collaborates in, leads, andproduces numerous online projects. Most recently, she is working to develop Japan Past &Present, a new digital platform project sponsored by the Yanai Initiative for Globalizing
Japanese Humanities at the University of California, Los Angeles and Waseda University.
This project is a joint effort between UCLA and Waseda to promote the study of Japan
globally, across disciplinary and geographic borders. Dr. Curtis is a collaborator with
Digital Humanities Japan, an international and interdisciplinary community of scholars andprofessionals interested in utilizing digital methods, tools, and resources for JapaneseStudies, and hosts the blog What can I do with a B.A. in Japanese Studies? In addition, she
curates several online resources, such as job advertisement data and visualizations in East
Asia Studies and a database of Digital Resources and Projects on East Asia. Moreinformation can be found on her website: http://prcurtis.com/
Abstract
As academics, we are primed to question ourselves along with our research subjects. Many
who attend this conference have likely had a moment where they have pondered “Am I adigital humanist?” A question that is no less daunting than the perpetual “What is digital
humanities?” Why does claiming DH scare many of us, and why does it matter to still takethe leap? This talk will address the stumbling blocks that many early career researchers
1 Postdoctoral Fellow and Lecturer in History, Terasaki Center for Japanese Studies,

University of California, Los Angeles
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(and, indeed, many others) take in discovering the possibilities and limitations of digital
methods. Speaking from personal experience in my own recent, digital beginnings
exploring documentary culture and socioeconomic networks among artisans and theirpatrons in medieval Japan, I will highlight not only the connections we make in our
research, but also the (dis)connections within our scholarly circles that have led to thecomparatively slow growth of digital Japanese Studies in North America and elsewhere. I
will offer an overview of the state of the field in North America, including conferences,
workshops, publications, future projects, and, more importantly, resources for community
building and collaboration that remain underutilized. A truly global DH Japan community
has yet to blossom, however. One core reason is that, though our field encounters uniqueobstacles because of the Eurocentric and monolingual digital environments that dominate
DH, the real challenges facing our progress in digital Japanese Studies are nottechnological, but social and institutional. This talk will both survey these issues and offer
suggestions on how we might productively move forward.

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Style Comparative study of Japanese medieval picture scrolls
focusing on landscapes using GM Method with IIIF Curation
Platform
Chikahiko Suzuki1, Akira Takagishi2, Asanobu Kitamoto1
Introduction
Illustrations of picture scrolls in medieval Japan are divided into two elements. One is thehuman figures, who appear in the story. The other is a landscape, which constitutes thestage where people are drawn. Both elements are important for analyzing the style ofpainters.
We have already performed an analysis about facial expressions of humanfigures using GM method [1][2] on Platform (ICP) [3][4]. By analyzing the details and thewhole, we were able to reinforce previous research and gain new findings. In addition, GM
method was able to compare a large number of facial expressions that were difficult withthe physical method such as using cards or photos. It has also become possible to shareresearch results in a reusable format.
This time we focus on landscapes, especially depiction of plants and waters.
Same as facial expressions, analyzing landscapes in picture scrolls can clarify the situationof production. We also aim to show the potential of GM method that can be applied not
only to facial expressions but also to various elements.
Materials and Methods
The target material is Yugyo Shounin Engi-Emaki Shojo-Kouji Kouhon 遊行上人縁起絵
巻 清浄光寺 甲本 (Kouhon) archived in Shojo-Kouji Temple. This is a 10-volume
picture scroll depicting the foundation of the Jishu sect of Buddhism in the Kamakura
period (12th to 14th). Kouhon is one of the manuscripts of Yugyo Shonin Engi Emaki
whose original version has been lost.
The production of Kouhon has been the studied by many scholars. Iwahashi
proposed a hypothesis that Kouhon is a mixture of three styles (ABC) [5]. Our study on theanalysis of facial expressions with the GM method also supports this hypothesis.
Combining our knowledge about the production of picture scrolls in medieval Japan, ABC
styles likely correspond to three workshops, not three individual painters. Each workshop
consisted of the master painter who is in charge of the main part and several assistantpainters who draw the secondary part such as the landscape.
1 ROIS-DS Center for Open Data in the Humanities / National Institute of Informatics
2 The University of Tokyo

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To compare different styles, we applied the GM method for organizing andanalyzing digital images from the Kouhon. The GM method consists of two steps. The firststep is “curation” in which we crop a part of images and add metadata. The second step is“arrangement” of images using the metadata. The GM method could be performed in an
analog way using scissors, glue or photo cards, the digital version of the GM method using
the IIIF Curation Platform enables us to perform a large-scale analysis for any IIIF
materials with support for sharing the results in a reusable format.
For analysis, we cropped 180 plants and 28 depicted waters from Kouhon. We
then added metadata such as "theme" and "source (巻 volumes / 段 scenes)". We used the
IIIF Curation Board [6] to arrange landscape elements by ABC styles identified in theprevious research to compare different styles (Fig1, 2).

Figure 1: Plants arranged with IIIF Curation Board(Seal color is green = painter A, red = painter B, blue = painter C)

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Figure 2: Water arranged with IIIF Curation Board(Seal color is green = painter A, red = painter B, blue = painter C)
Results
First, we show the results of analysis on the water. Although water has only 28 elements intotal, the three styles are clearly different. Water classified as A has thin lines in both thesea and river, and the waves are regularly drawn. The water drawn by B is decorative, withwaves shaped like scales on the sea and complex lines representing the flow on the river. It
seems that the sea and the river have different styles. However, in every scene, the tip of
the wave is drawn in a way called Warabite-jou 蕨手状, so we can read a common
painting style. Although C is drawn using some shades, it is less drawn than the other two
styles.
Second, we show the result of analysis on the plants. Japanese picture scrolls use“pine” to represent an evergreen tree, and “maple” as a deciduous tree. From the way ofdrawing these typical trees, the three styles are clearly different. A draws a tree with wellproportioned style with a straight centerline. Another feature is that the dotted moss Tentai
点苔 that attaches to trees is regularly arranged. The impression is classic in the Middle
Ages (Fig3). On the other hand, B draws a tree with a thick outline and various forms withmany curves. It is also characterized by moss with irregular size and arrangement. B draws
bright and huge flowers that do not appear in other painters' parts (Fig. 4). C has a palestyle, with less overlapping branches and a flat tree shape (Fig. 5).

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Figure 3: Classic style trees by A

Figure 4: Various forms of trees and flowers by B

Figure 5: Pale and flat style by C
In the next step, we focused on the details of the plant. We can observe different
manners within ABC styles. B has common features, but the way of drawing branches
differs depending on the volume and scene (Fig6). Due to the difference in manner, we canfind the hands of multiple painters. A has a small number of plants, C is a pale and flat
depiction, so it is difficult to find a different manner in each. Even so, it is possible toassume the hands of multiple painters from the difference in the amount of drawing.

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Figure 6: Variations of the trees by B.
Characteristic broken branches that do not appear in the first half (upper), appear in
the second half (lower). Emphasized with a red circle.
Discussion
By analyzing the landscape of Kouhon using the GM method, we support previous
research that identified three styles. Furthermore, we found different manners in each style.
This finding leads to the restoration of the production situation. This also confirms the
hypothesis that master and assistant painters performed production in a team.
We also showed that the GM method is effective not only for human figures but
also for landscapes. This method may be extended to other elements that make up thelandscape such as soil, buildings, and small tools. We are planning to apply this method tothe comparison of multiple works to help clarify the lineage of manuscripts.

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Reference[1]. Chikahiko Suzuki, Akira Takagishi, Alexis Mermet, Asanobu Kitamoto, Jun
Homma. Analysis of difference between male and female facial expressions inJapanese picture scrolls using GM Method with IIIF Curation Platform, JADH2020,
pp.90-95, 2020[2]. Chikahiko Suzuki, Akira Takagishi, Jun Homma, Alexis Mermet, Asanobu
Kitamoto. Difference between male and female in medieval Japanese picture scrolls-Style comparative study for Yugyo Shounin Engi-Emaki using GM Method with
IIIF Curation Platform-, Jinmoncom Symposium 2020, pp.67-74, 2020[3]. IIIF Curation Platform http://codh.rois.ac.jp/icp/index.html.en Accessed on 202108-20.
[4]. Asanobu Kitamoto, Jun Homma, Tarek Saier. IIIF Curation Platform: Next
Generation IIIF Open Platform Supporting User-Driven Image Sharing, Jinmoncom
Symposium 2018, pp.327-334, 2018
[5]. Haruki Iwahashi. Yugyo-Shonin-Engi-Emaki; Seijoko-Ji-Bon ni tsuite. Ars
buddhica (185), pp.51-59, 1989
[6]. IIIF Curation Board http://codh.rois.ac.jp/software/iiif-curation-board/ Accessed on
2021-08-20.

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Book Barcoding for Differential Reading -Application to
Woodblock-printed Books in the Bukan Complete CollectionAsanobu Kitamoto12
1. Introduction
This paper proposes a method called “book barcoding” for the bibliographic study ofwoodblock-printed books. The goal is to realize “differential reading” [4,5], which is amethod for highlighting visual differences between different books with the help ofcomputational algorithms. Textual comparison of different books has been extensively
studied, but the visual comparison is still dependent on the manual side-by-side
comparison, which is both time-consuming and highly unreliable. To solve this problem,
we propose “book barcoding,” a method that combines several computational algorithms
with the following research contributions. First, we have extended a page-by- page
collation method, already proposed by the authors, to a book-by-book collation methodwith the help of the Gale-Shapley algorithm [3]. Second, we developed a tool called“vdiff.js” for highlighting differences in the page-by-page collation. Third, we constructeda platform for differential reading of the Bukan Complete Collection on the book-by-bookcollation.
2. Book Barcoding Method
What is book barcoding?
Book barcoding is inspired by “DNA barcoding” [7] in the field of biodiversity researchfor specimen identification and species discovery. DNA barcodes are unique DNA
sequences, placed in the Barcode of Life Data Systems (BOLD) database - an online
workbench that includes a reference library of DNA barcodes to assign identities tosequences of unknown origin. This idea motivated us to develop a similar framework forwoodblock-printed books to develop a reference library of features of known page images
and identify the book of unknown origin by finding the best match in the library. The bookbarcoding consists of collations in two levels, namely the page-by-page collation, and thebook-by-book collation.
Page-by-page collation

1 ROIS-DS Center for Open Data in the Humanities (CODH)
2 National Institute of Informatics

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We have already proposed a method for the page-by-page collation [6]. First, we apply the
AKAZE feature detectors in OpenCV 3 and extract keypoints and descriptors from a page
image to store them in the database. Second, given the pair of page images, we fetch
keypoints and descriptors from the database, match them using Hamming distance as the
distance metric between descriptors, and estimate a projective transformation matrix using
the RANSAC algorithm [2]. Third, we count the number of inlier keypoints to estimate thegoodness of matching between two images. Green lines in Figure 1 shows corresponding
inlier keypoints.

Figure 1: Matching of keypoints for the page-by-page collation. The green lines showcorresponding inlier keypoints between two images.
Book-by-book collation
This step focuses on selecting the best matching of pages between two books. This
problem can be formulated as a stable marriage problem, which was originally proposed
for finding the best match between a group of men and a group of women, assuming thateach member has an ordering of preference for a member in another group. We define thepreference as the number of inlier keypoints, where a higher number means a higher
preference. We use the Gale-Shapley algorithm, a classical algorithm for computing the3 https://opencv.org/

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best matching, to obtain the list of page pairs between two books, based on the “barcode”
of each page.
3. Book Barcoding Method
Processing Workflow
To prepare for the differential reading, we established a workflow as follows. First, weselected 336 Bukan books in the “Bukan Complete Collection” released from ROIS-DS
Open Data Center for Humanities (CODH), derived from digitized images from the
National Institute of Japanese Literature (NIJL). The form of books is either portrait orlandscape. A portrait book was captured as an image of facing pages, so we split it into two
images so that one image captures the paper region of a half sheet. On the other hand, alandscape book was captured as a half sheet, so we only cropped the paper region. The
dataset has 143,616 images, including 111,114 portrait images (from 55,557 original
images) and 32,502 landscape images. We then applied the AKAZE feature detector to
obtain 67,071,993 keypoints, or on average, about 467 keypoints for each image. Next, weapplied the page-by-page collation using the RANSAC algorithm and the book-by-bookcollation using the Gale-Shapley algorithm. We selected 3,678 book pairs with similar
publication years, computed keypoint matching for 47,867,443 page pairs, and selected
411,959 page pairs by the Gale-Shapley algorithm. These values may change by the settingof various parameters.
vdiff.js and the Web-based Platform
The next challenge is to build a Web-based tool and platform for exploring differential
reading on preprocessed results. First, we developed a JavaScript-based tool, vdiff.js 4, forthe page-by-page collation. As Figure 2 shows, the tool supports differential reading
through direct superimposition and difference highlighting using three interfaces, such asvertical sliders and blue-red coloring, and four corresponding points set through the API or
modified on the vdiff.js editor. Second, we developed a Web-based platform fordifferential reading5 of the Bukan Complete Collection based on the results of the bookby-book collation. As Figure 3 illustrates, corresponding pages are colored by thepreference score from red to green, blue to approximate the reliability of matching. The
gray color represents a page without a corresponding page due to incorrect arrangement or
many occurrences of editing. Here, differential reading can be extended to differential
transcription, the method of transcribing only the difference, to reduce the amount oftranscription along with the longitudinal publication history. Moreover, differential
4 http://codh.rois.ac.jp/software/vdiffjs/
5 http://codh.rois.ac.jp/bukan/diff/

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transcription can be extended to the statistical analysis of differences, such as the activityof the publishing industry to manage the frequency of information updates.

Figure 2: The result of the page-by-page collation visualized as the superimposition of
two images using vdiff.js. Blue color shows pixels from the book on the left, while redcolor, on the right6.

6 http://codh.rois.ac.jp/cgi-

bin/bukan/compare_page.pl?book_id_1=200018823&image_id_1=00010&book_id_2=200018825&image_id_2=00011&page_type=225

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Figure 3: The result of the book-by-book collation. Background color from red togreen, blue represents the ascending order of the preference score, while the graycolor represents a page without a corresponding page7.
4. Conclusion
This paper proposed the book barcoding method and developed tools and platforms fordifferential reading of woodblock-printed books. The result is a prototype of the generalpurpose visual edition comparison platform, where researchers study the evolution, or
phylogenies, of editions based on visual comparison for textual and non-textual
information. We expect that this will be the foundational research platform forbibliographic studies of pre-modern Japanese text.
Acknowledgment
The author thanks Mr. Jun Homma for his significant contribution to vdiff.js. He also
thanks Prof. Kumiko Fujizane and Prof. Kazuaki Yamamoto of the National Institute ofJapanese Literature for helpful comments on the research. A part of the research is basedon the work of Mr. Thomas Leyh who contributed to this project while he was an NII
internship student. This work is partially supported by JSPS KAKENHI Grant Number
JP19H01141.

7 http://codh.rois.ac.jp/cgi-

bin/bukan/select_page.pl?book_id_1=200018823&book_id_2=200018825
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Reference[1]. Alcantarilla, P. F., Nuevo, J., and Bartoli, A (2011) Fast explicit diffusion for
accelerated features in nonlinear scale spaces. Trans. Pattern Anal. Machine Intell, 34:7,
1281–1298.
[2]. Fischler, M. A., and Bolles, R. C. (1981) Random sample consensus: a paradigm formodel fitting with applications to image analysis and automated cartography. Commun.
ACM 24:6, 381–395.
[3]. Gale, D. and Shapley, L. S. (1962) College Admissions and the Stability of
Marriage. The American Mathematical Monthly, 69:1, 9-15.
[4]. Kitamoto, A., Horii, H., Horii, M., Suzuki, C., Yamamoto, K (2017) Structuring
Time- Series Historical Sources by Human-Machine Specialization: Toward theConstruction of Edo Information Platform Referring to “Bukan”. Proceedings of IPSJSIG Computers and the Humanities Symposium 2017, pp. 273-280 (in Japanese).
[5]. Kitamoto, A., Horii, H., Horii, M., Suzuki, C., Yamamoto, K. and Fujizane, K.
(2018) Differential Reading by Image-based Change Detection and Prospect for HumanMachine Collaboration for Differential Transcription. Digital Humanities 2018.
[6]. Leyh, T., Kitamoto, A. (2020) Computer Vision-based Comparison of Woodblockprinted Books and its Application to Japanese Pre-modern Text, Bukan. Tenth
Conference of Japanese Association for Digital Humanities (JADH2020), pp. 53-59.
[7]. Moritz C, Cicero C (2004) DNA Barcoding: Promise and Pitfalls. PLoS Biol 2:10,
e354.

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Digital technologies and the spatial organisation of exhibitions:Interactive art as reflective experience
Marianna Charitonidou1
The paper examines how augmented and virtual reality and the use of interactive digitalinterfaces have affected the design of exhibition spaces. The aim is to shed light on how
interactive digital interfaces have influenced the way exhibition spaces are experienced. A
topic that the space syntax analysis has not addressed comprehensively is the impact ofinteractive technologies on how the visitors experience exhibition spaces. The paper also
explains why the concept of “spatial configuration”, which is central for the space syntax
approach, is pivotal for better grasping the relationship between new media art and thearchitecture of exhibition spaces, and their respective use of augmented and virtual reality.
It explores an ensemble of immersive art examples, paying special attention to the
distinction between immersion and interactivity. Its objective is to render explicit how
extended reality technologies contributed to the design of immersive experiences,influencing significantly the interrelations between the technical, aesthetic and institutional
aspects not only of exhibition design, but of the dissemination of artworks as well.
At the centre of the paper is the role of extended reality technologies indesigning immersive experiences in the case of art practices that place particular emphasison participation, interaction, technology and digital media. A new kind of subjectivity
emerges thanks to the development of the so-called immersive art. Panayiota A.
Demetriou, in ‘‘Imagineering’ mixed reality (MR) immersive experiences in the postdigital
revolution: innovation, collectivity, participation and ethics in staging experiments asperformances’, used the term ‘imagineer’ to describe this new kind of subjectivity.
According to Demetriou, “[t]he Imagineer is an interaction designer, an experience
designer, a user experience researcher, a facilitator, a connector and networker, atranslator, a project manager, a visionary entrepreneur” (2018, p. 170). The shifts insubjectivity concern both the visitor and the creator. The visitors adopt a more active role,
which is achieved thanks to their interactivity or interaction with the artworks. In parallel,
the status of the creators is transformed significantly in the case of experiential immersiveart. The artworks are not any more related to the intentionality of the artist that conceives
them and leads the process of their making but are the result of a much more complex andtransdisciplinary process, which can be achieved thanks to the formation ofmultidisciplinary art collectives such as the teamLab. Symptomatic of this stance is the factthat the people that work for teamLab use the term ‘ultra-technologist’ to describe their
1 ETH Zurich

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professional activity or discipline or field of expertise and not the most conventional term
‘artist’. The shifts that take place in the field of arts, curation and museums do not concern
only the artists and the visitors but the whole system of dissemination and promotion of thearts, including all its institutional aspects. The system of financing the artists and themuseums is transform as well as the status of art galleries.
An important distinction is that between interactivity and immersion. According
to Panayiota A. Demetriou, interactivity and immersion differ in the sense that the former
involves “attentiveness to signs”, while the latter “occurs at the disappearance of signs”(2018, p. 177). Useful for understanding when an experience is immersive is the remarkthat “for an experience to be considered immersive it must be more than a threedimensional image that surrounds a user”. The current trends in immersive art arecharacterized by the tendency to prioritize augmented reality instead of virtual reality. A
common critique of virtual reality is related to the fact that it – virtual reality – “has been
considered to restrict immersion by isolating its users, not only the person wearing theheadset, but also anyone standing near them”. (ibid., p. 178)
The coexistence of the virtual and the physical enhances the sense of immersion,and the interaction not only between the visitor and the artwork, but also that between thevisitors. To fully grasp the transformations that immersive art provokes, we should
seriously take into consideration the interrelations between the technical, the artistic, andthe institutional aspects. Augmented reality is just one of the various forms of mixed
reality technologies that can be used in exhibition design and in the creation of immersiveart artworks. The feature of augmented reality that is at the centre of this paper is thecoexistence of the digital content and the physical world. To have an overview of thegeneralized use of virtual reality and augmented reality technologies in museums and art
galleries in Europe, we can bring to mind that, in 2015, they “piloted in exhibitions in overa quarter of European museums”, as Richard Yu-Chang Li and Alan Wee-Chung Liew
underscore, in ‘An interactive user interface prototype design for enhancing on-sitemuseum and art gallery experience through digital technology’ (2015). This was the casein 2015 and today the use of virtual reality and augmented reality technologies in museums
and art galleries in Europe is much more generalized than back then.
Selective References
Demetriou, Panayiota A. (2018) ‘‘Imagineering’ mixed reality (MR) immersive
experiences in the postdigital revolution: innovation, collectivity, participation and ethics
in staging experiments as performances’, International Journal of Performance Arts andDigital Media, 14(2), pp. 169-186.

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Navarrete, T. (2019) ‘Digital heritage tourism: innovations in museums’, World Leisure
Journal 61(3), pp. 200-214. doi: 10.1111/muse.12201
Negroponte, N. (1995) Being Digital. New York: Alfred A. Knopf.
Parker, E. and Saker, M. (2020) ‘Art museums and the incorporation of virtual reality:
Examining the impact of VR on spatial and social norms’, Convergence, 26(5–6), pp.
1159–1173. doi: 10.1177/1354856519897251.
Paul, C., ed. (2016) A Companion to Digital Art. London: Wiley-Blackwell.
Penn, A. (2003) ‘Space Syntax and Spatial Cognition: Or Why the Axial Line?’,Environment and Behavior, 35(1), pp. 30–65. doi: 10.1177/0013916502238864.
Shanken, E. A. (2016) ‘Contemporary Art and New Media Digital Divide or Hybrid
Discourse?’, in Paul, C., ed. (2016) A Companion to Digital Art. New York: WileyBlackwell, pp.463-481.
Shehade, M. and Stylianou-Lambert, T. (2020) ‘Virtual Reality in Museums: Exploring theExperiences of Museum Professionals’, Applied Sciences, 10(11), p. 4031. doi:
10.3390/app10114031
Simanowski, R. (2011) Digital Art and Meaning: Reading Kinetic Poetry, Text Machines,
Mapping Art, and Interactive Installations. Minneapolis: University of Minnesota Press.
vom Lehn, D., Heath, C. and Hindmarsh, J. (2001) ‘Exhibiting Interaction: conduct andcollaboration in museums and galleries’, Symbolic Interaction, 24, pp. 189–216.
Westerby G. and Keegan, K. (2019) ‘Digital Art History and the Museum: The Online
Scholarly Collection Catalogues at the Art Institute of Chicago’, Visual Resources, 35(12), pp. 141-154, doi: 10.1080/01973762.2018.1553445
Wang, X. (2009) ‘Augmented Reality in Architecture and Design: Potentials andChallenges for Application’, International Journal of Architectural Computing, 7(2), pp.
309–326. doi: 10.1260/147807709788921985.
Wineman, J. D. and Peponis, J. (2010) ‘Constructing Spatial Meaning: Spatial Affordancesin Museum Design’, Environment and Behavior, 42(1), pp. 86–109. doi:
10.1177/0013916509335534.
White, M. (1997) ‘Cabinet of Curiosity: Finding the Viewer in a Virtual Museum’,
Convergence, 3(3), pp. 29–71. doi: 10.1177/135485659700300305.
Yu-Chang Li, R. and Wee-Chung Liew Alan (2015) ‘An interactive user interface
prototype design for enhancing on-site museum and art gallery experience through digitaltechnology’, Museum Management and Curatorship, 30(3), pp. 208-229. doi:
10.1080/09647775.2015.1042509

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The Re-centered Text: Digital restructuring in Amira Hanafi’s A
Dictionary of the Revolution
David Thomas Henry Wright1
Amira Hanafi’s A Dictionary of the Revolution (2017) is a born-digital literary work that
documents the “rapid amplification of public political speech following the uprising of 25
January 2011 in Egypt” (Hanafi, 2016). Material for the work was collected through an
engagement with 200 individuals in Egypt from March to August 2014. Hanafi created a
vocabulary box containing 160 Egyptian words that were frequently used in publicpolitical conversation from 2011 to 2013. The resultant work contains 125 imagined
dialogues derived from the transcribed conversations.

Figure 1: Amira Hanafi’s A Dictionary of the Revolution explores the language of theEgyptian revolution.

1 Nagoya University

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This paper analyses the decentering and subsequent re-centering of language in Hanafi’s A
Dictionary of the Revolution. It views A Dictionary of the Revolution as an example ofexperimental decentered text similar to Jacques Derrida’s Glas (1974). Following
Derrida’s approach as applied to digital literature/language art as proposed by John Cayley(2018), it also views language as “media-agnostic”. In addition to the digital work’s form,
it also examines the work’s code through Mark Marino’s Critical Code Studies (2020).
Marino writes:
But the code is not enough in itself. It is crucial to explore context. Who wrote
the code? When and why? In what language was the code written? What
programming paradigm was used? Was it written for a particular platform(hardware or software)? How did the code change over time? What material orsocial constraints impacted the creation of this code? How does this code
respond to the context in which it was created? How was the code received byothers? (28)
To explore the architecture and impact of this digital structure, this work ispresented as a born-digital essay that engages directly with the code used to format andstructure A Dictionary of the Revolution (permission to use this code developed by Youssef
Faltas for this purpose has been granted by Amira Hanafi). This research is regarded as‘practice-led research’ as defined by Smith and Dean (2009). This paper also extends
current digital literary review formats proposed in the publication The Digital Review.
This paper not only reflects on the digital structure, but directly engages with it.
As born-digital works utilize digital code and technology to create new meaning, it
therefore follows that criticism should also utilize the same digital code and technology. In
so doing, this practice-led research develops a better understanding of Hanafi’s form, thatin turn can be proposed as a new interconnected digital essay format that can be classified
as a ‘third-generation electronic literature’ form (as defined by Flores 2019). Such a form,
I argue, could be utilized to better represent the collective, polyphonic response to major
political and global events, such as a response to the COVID-19 pandemic by depicting
decentered, kaleidoscopic viewpoints.
References[1]. Ackermans, H. (2019) ELMCIP. ‘A Dictionary of the Revolution’. Available athttps://elmcip.net/creative-work/dictionary-revolution [accessed on 18 June 2021][2]. Cayley, J. (2018) Grammalepsy: Essays on Digital Language Art, London:
Bloomsbury Academic.
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[3]. Derrida, J. (1978) [trans. A. Bass] Writing and Difference, London: Routledge.
[4]. Derrida, J. (1986) Glas, Lincoln: University of Nebraska Press.
[5]. Flores, L. (2019) ‘Third Generation Electronic Literature’, Electronic Book Review,
7 April, at https://electronicbookreview.com/essay/third- generation-electronicliterature/ (accessed 4 May 2021).
[6]. Hanafi, A. (2016) A Dictionary of the Revolution. Available athttps://www.ibraaz.org/projects/143 [accessed on 18 June 2021][7]. Hanafi, A. (2017) A Dictionary of the Revolution. Available at
http://www.qamosalthawra.com/en [accessed on 18 June 2021][8]. Marino, M. (2020) Critical Code Studies, Cambridge: MIT Press.
[9]. Smith, H. and Dean, R.T. (2009) Practice-led Research, Research-led Practice in
the Creative Arts. Edinburgh: Edinburgh University Press.

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Experimental LDA Topic Modelling of Tennyson’s Epic Poems
Iku FUJITA1Introduction
This study aims to investigate the application of Latent Dirichlet Allocation (LDA), a typeof topic model [1], on verse texts and its effectiveness in poetry research. Topic modellingis considered a promising approach in the field of digital humanities and text mining [2].
While Tabata [3], Kiyama [4], Huang [5] and some other studies have examined prosetexts using topic modelling, few studies, apart from Rhody [6], Navarro-Colorado [7],Henrichs [8], and Okabe [9], have investigated the possibility of applying topic modelling
to poetry. The use of the method still has room for improvement with regard to its
application to a corpus of poems. This paper purports to report emerging results of running
LDA on a corpus of verse texts and discuss the feasibility of practicing LDA with small
size segments, using the Victorian poet Alfred Tennyson’s poems.
Methodology
When LDA is employed on a prose text, the texts are often divided into consecutive
segments of equal size. Some set the segment size to 1,000 words [10], 2,000 or greater[11], depending on their research questions. One of the most crucial decisions to make inemploying LDA on verse texts is the size of a segment. As shown in Table 1, the vast
majority of Tennyson’s poems, his lyrical poems in particular tend to be shorter than 1,000
words apiece, while the poet wrote not a few epic poems, which tend to have a larger
number of word tokens in comparison with lyrical poems. Thus, the segment size should
be set carefully depending on the corpus in use. This study uses his 26 epic poems which
consist of more than 2,000 words so that each work is divided into at least two segmentswith 1,000 words each (Table 2).
Masada [12] reports that LDA is successfully applied on a short text corpus(approximately ten words) as long as hyperparameters and other preferences areappropriately adjusted. However, since his target corpus is the titles of English journals, it
is questionable whether his observations hold good for a short prose/verse text corpus. In
this study, we used three different settings: slicing texts into 1,000-, 100-, and 25-wordconsecutive segments, to examine whether a small segment size is also applicable to poetry
corpus. Each setting was decided on the basis of the composition of the corpus in terms of
the size of each of the poems included. As shown in Table 1, the group of poems with
100–199 word-tokens is the largest group in the set; thus, 100 was adopted as a tentative
1 Student at Graduate School of Language and Culture, University of Osaka

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standard of segment size. Additionally, the shortest poem has 26 tokens; therefore, themost approximate value 25 was set as the minimum of segment size. When each text wassliced into equal-sized consecutive segments, final two parts were joined together unlessthe final chunk was exactly 1,000, 100 or 25 words in length.
Before running the LDA, function words and proper nouns were excluded as
stopwords. On the other hand, all adverbs are included in the examination. Table 3 shows
the conditions of LDA topic modelling of each segment size, and all conditions are set tothe same to see whether the segment size differences influence the topic modelling results.
Table 1: The descriptive statistics of Tennyson’s Poetical Works.

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Table 2: The list of 26 epic poems of Tennyson.

Table 3: The conditions of LDA topic modelling.

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Results
Tables 4 to 6 show the list of ten topics with their key words when the segment size was
set to 1,000, 100, and 25, respectively. The label of each topic was represented by threemost contributing words to the topic. All and then appeared in multiple topics in three
Tables. Moreover, vocatives and titles of the characters, as king, sir, lord, and so forth,influenced the results, as topics 1, 3, 6, 7 (Table 4). As Kuroda [11] points out, deciding
what constitutes stopwords is a ticklish issue for topic modelling. How to decide stopwords
avoiding arbitrariness should be discussed in a different paper.
Table 4: The list of topics with their key words (seg. Size 1,000).

Table 5: The list of topics with their key words (seg. Size 100).

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Table 6: The list of topics with their key words (seg. Size 25).

The most prevalent topic (according to the hyperparameter ⍺) in each of thethree LDA runs is shown with its top 20 key words and word-weight details (Table 7).
Table 8 shows the ⍺ values of all the topics. Correlation coefficients between the topics
with the highest ⍺ value are given in Table 9. The correlation coefficients were calculated
based on word-weights. Table 9 suggests the correlation coefficients tend to get lower
when the ratio of segment size difference is larger. However, the correlation coefficients,
as a whole, indicated high positive correlations; therefore LDA can also be applied to thesmall segment size of poetry.

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Table 7: Keys and weights of three highest ⍺ value topics.

Table 8: ⍺ values of 10 topics, three segment sizes.

Table 9: Correlation of word weights (The highest ⍺ value topic of each examination)

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Figures 1, 2, and 3 show heatmap representations of the outputs of LDA,
segment size 1,000, 100, and 25, respectively. In each Figure, ten most prominent topics
are arrayed vertically, and the 26 poems are arrayed horizontally. In three Figures, the Idyls
of the King series and an Arthurian poem lie in the same major cluster, and the other nonIdyls works belong to the right major cluster. In Figure 1 and 2, a poem from the Idyls
series, Merlin and Vivien (MelnVivIdylK57), is located in non-idyls’ cluster, amongst theworks in which females take the essential roles as key figures because topic 5 tends to beshown as a prominent topic of MelnVivIdylK57 in Figure 1, while topic 7 is significant in
Idyls cluster.
From Figure 1 to Figure 3, although there can be seen subtle differences, theclusters are remarkably similar. The Idyls series tend to be located in the same majorcluster, and others are in the other major cluster.

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Figure 1: The heat map of LDA topic modelling result(seg. size: 1,000; No. of topic: 10).

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Figure 2: The heat map of LDA topic modelling result(seg. size: 100; No. of topic: 10).

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Figure 3: The heat map of LDA topic modelling result(seg. size: 25; No. of topic: 10).
Implications for Future Study
To sum up, the findings of this study indicate that LDA is an adequate and plausible
method for poetry study as well as prose text study. However, future investigations arenecessary to validate the conclusions that can be drawn from this study, especiallyobserving other diagnostics values and finding the most relevant way to presume thenumber of topics.
Reference
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[1]. T Blei, M. D., Ng, Y. A., and Jordan, I. M. (2003). “Latent Dirichlet Allocation.”
Journal of Machine Learning Research 3, 2003, pp. 993-1022.
[2]. Meeks, E. and Weingart, B. S. (2012). “The Digital Humanities Contribution to Topic
Modeling.” Journal of Digital Humanities, vol.2, No. 1 Winter 2012, pp. 1-6.
[3]. Tabata, T. (2017). “Mapping Dickens's Novels in a Network of Words, Topics, andTexts: Topic Modelling a Corpus of Classic Fiction.” Japanese Association for
Digital Humanities Conference 2017, September 2017, Doshisha University.
[4]. Kiyama, N. (2018). “How Have Political Interests of U.S. Presidents Changed?: A
Diachronic Investigation of the State of the Union Addresses through Topic
Modeling.” English Corpus Studies, Vol. 25, pp. 79-99.
[5]. Huang, C. (2020). “Quantitative Analysis of Chinese Mystery Novels: Focusing on
the Works of Cheng Xiao Qing and Gui Ma Xing.” Studies in Language and Culture
Osaka University. 2019, pp. 31-45.
[6]. Rhody, M.L. (2012). “Topic Modeling and Figurative Language. ” CUNY Academic
Works, 2012, pp. 19-35.
[7]. Navarro-Colorado, B. (2018). “On Poetic Topic Modeling: Extracting Themes andMotifs From a Corpus of Spanish Poetry.” frontiers in Digital Humanities, 20, 2018,
pp. 5-15.
[8]. Henrichs, A. (2019). “Deforming Shakespeare's Sonnets: Topic Models as
PoemsAuthor(s). ” Criticism, Vol. 61, No. 3, pp. 387-412.
[9]. Okabe, M. (2019). “Thou and You in Emily Dickinson's Poems Using Topic
Modeling: Reconsideration of Interjections.” Proceedings of Japanese Association
for Digital Humanities Conference 2019, pp. 125-131.
[10]. Huang, C. (2020). “Experimental Topic Analysis on Chinese Mystery Prose Texts.”
Studies in Language and Culture Osaka University. 2020, pp. 1-17.
[11]. Kuroda, A. (2017). “Quantitative Anlysis of Literary Works: Novels of Sir Arthur
Conan Doyle.” Studies in Language and Culture, Osaka University. 2016, pp. 23-41.
[12]. Masada, T. (2019). “Topic model-no Kiso-to Ouyou (The Basis and Application of
Topic modelling).” Japanese Society of Computational Statistics Study Group “IR(Institutional Research)-no tame-no Toukeiteki Model Kouchiku-ni Kansuru
Kenkyuu (Research on the Statistical Model Construction for the Institutional
Research)” Workshop, March 2019, The Institute of Statistical Mathematics.

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A study on the readerly aspects of Electronic Poetry throughCognitive Poetics
Mariyam Nancy J1, David Arputharaj1
Introduction
Digital literature or electronic literature takes its roots from concrete, visual and Dadaist
poetry due to its similarity in composition and form. Digital literature is characterised bypoly vocal expressions, reader participation, and nomadic nature of the text and thepresence of audio-visual elements. This study deals with digital poetry, a genre of digital
literature, which is composed with the aid of programming languages, such as JAVA and
HTML, and other media devices, like Flash. The emergence of digital literature demanded
new theoretical frameworks that explored textuality, composition, reading andcomprehension.
Literary reading is a two-fold process that consists of perceiving the symbols
offered by the text and of making mental representations. The former is involved with thedissemination of signs that are present in the text; the other is all about meaning making
and mental representation. Theories concerning digital literature serve as an interpretative
framework, through which particular instances of the text can be read. Hypertext theorists
have addressed the concerns of the non-linear reading, multi-modality and interactivity andhave endorsed on close reading based on semiotics, linguistics and narratology. Cognitive
turn in hypertext theories was necessitated due to the resemblance between the working of
human cognition and hypertext literature as both worked on “assosiativeness” that existed
between the sign and meaning.
Research ApproachThis research has taken three major components of literature for exploring the literarinessof digital literature, namely text, textuality and text world. Roland Barthes, in his seminal
essay “From Work to Text,” defines the text as a plural, active and imaginary continuum
that is experienced only in activity or production and this resonates with the features ofdigital poetry. Textuality is the coherence of form; symbols and meaning that provide
accessibility of the text to the reader. A text world is the mental representation that iscreated from a combination of the spatial and the temporal cues offered through a narrativethat allows the reader to imagine and inscribe them in memory. Therefore, the act ofreading is more cognitive than linguistic. Such an undertaking requires an inquiry that

1 Bharathiar University

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differentiates the cognitive implications of reading a text produced in print as well as adigital medium.
This study aims to approach the readerly aspects of digital poetry throughcognitive poetics, as this area deals with the implications of the formal aspects of literarytexts on cognitive activities. Cognitive Poetics specializes in addressing the nuances of atext from a perceptual and creative level. This research aims to address elements such as
foregrounding, prototypicality, attention and deixis that are involved in anchoring the ideaof a text. It also endorses on Text World Theory to understand the meaning making
process while reading a work of electronic literature
Conclusion
The conception of digital literature begins with the ontological understanding of thisliterary form and this research is an attempt to do so. The digital medium has become an
indispensable part of human existence and the influence it exerts on poetic practices isgaining momentum. Digitalisation of literature, composition, medium or otherwise is not
an invasion of traditional literary spaces but a renaissance through a new medium,
empowered by the aesthetics of the digital that is open to all of mankind.
Reference[1]. White, A. (2007). “Understanding Hypertext Cognition: Developing Mental Models to
aid user’s comprehension.” First Monday,12(1).
[2]. Memmot, T. (2011). “Beyond Taxonomy: Digital poetics and the Problem of Reading.”
Digital Rhetoric and Poetics: Signifying Strategies in Electronic Literature, pp. 57-73.
[3]. Stockwell, P. (2002). Cognitive Poetics: An Introduction. New York: Bloomsbury Press.

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Architectural Drawings Exposed and the Effect of Digitization:
The Rise of Artefactual Value vs the Democratization of
Knowledge
Marianna Charitonidou1
Architecture exhibitions are vehicles of architectural knowledge dissemination andconstitute sites of methodological innovation. Two phenomena, pivotal for comprehending
the place of drawings in architecture exhibitions, are examined conjointly in this paper: thefirst is the rise of architectural drawings’ artefactual value, triggered by a series ofexhibitions at the Max Protetch, Leo Castelli and Rosa Esman galleries. The second
phenomenon is the effect of the digitization of architectural drawings. In-situ research on
drawings is part of the institutions’ policies for the vitalization of debates. The
democratization accompanying digitization causes an increase in the fascination caused by
the aura of the access to the original. Michel Foucault’s conviction that knowledge, powerand subjectivity are by no means contours given once and for all, but indeed series ofvariables which supplant one another, is a starting point for understanding the complexityof the double agency of democratizing and fetishizing architectural drawings. Useful forunderstanding the tension between the democratization of knowledge that accompanies thedigitization of architectural drawings and the intensification of their fetishization is Michel
Foucault’s understanding of the notion of knowledge and the distinction he draws between
the concept of connaissance and the concept of savoir. For Foucault, connaissance means
knowledge in the sense of the subject's relationship to an object and the rules which govern
this relationship, while savoir means knowledge in the sense of the underlying structure
which is the precondition of any connaissance. Christian Fuchs, in Marx in the Age of
Digital Capitalism, distinguishes two broad approaches in the so- called Internet Studies:on the one hand, an approach that is based on a cultural studies background, and, on theother hand, an approach that is based on a political economy background. Fuchs claims
that the theoretical background of the first is post-structuralist, while that of the second is
Marxist. The paper, taking as its starting point the fact that capitalism is based on the
production of technological means, which are by no means neutral, explores therelationship between the effect of digitization of the special collections of architecture andart museums and the current state of capitalism.

1 ETH Zurich

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Intersectionality and Digital Humanities in the Teaching ofArchitectural History: Diversity in the Dissemination of
Knowledge
Marianna Charitonidou1
Taking as its starting point the increasing importance of the role of digital curators within
institutions holding architectural archives, the article aims to elaborate tools coming fromintersectional theory and practice in order to produce an understanding of how women andblack men are represented in teaching architectural history in an ensemble of emblematic
schools of architecture. More specifically, the paper, through the elaboration of concepts
and tools coming from the theory of intersectionality, examine how aspects concerning
gender and race can be taken into account when establishing a curriculum of teachingarchitectural history. It is based on the hypothesis that visualisation strategies can show theevolution of the role of women and black people in architectural discourse. Drawing upon
Kimberlé Crenshaw’s work, and on the impact of the theory of intersectionality on digital
humanities and digital labour studies, the project aims to shape a method of digital curation
able to conjointly address issues of race, gender, class, ability, sexuality, or othercategories of difference while interpreting the primary sources. Particular emphasis isplaced on the fact that the intersectional perspective is the endeavour to interrogate its own
positionality and the very processes of knowledge production, the project also explores
how visualisation strategies can show the evolution of the role of women and black people
in architectural discourse. A seminal text by Crenshaw, which is of great significance forthe project, is her article entitled “Mapping the Margins: Intersectionality, Identity Politics,
and Violence against Women of Color”, published in Stanford Law Review in 1991. In
this article, Crenshaw argued that “both women and people of color” are marginalized by“discourses that are shaped to respond to one [identity] or the other” (Crenshaw 1991),
rather than both.
Most recently, the theory of intersectionality was introduced into the digital
humanities in order to address issues regarding gender and race conjointly. As far as thefield of architecture is con-cerned, the question of race is becoming more present inongoing debates, as is evidenced by the recently published book Race and Modern
Architecture: A Critical History from the Enlightenment to the Present (2020), edited byIrene Cheng, Charles L. Davis II and Mabel O. Wilson, and projects such as the Black
Architects Archive (BAA) by Jay Cephas, whose aim was to collect and display the workof Black architects across history in an effort to bring to light underrepresented
1 ETH Zurich

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practitioners in architecture. The same is valid for the question of gender, as appears
through the organisation of events including the symposium “The Fielding Architecture:
Feminist Practices for a Decolonised Pedagogy”, which took place at the University of
Brighton in June 2019, and the emergence of collectives such as Feminist Art andArchitecture Collaborative, which in its manifest published in the Harvard Design
Magazine describes itself as “a transnational coalition of feminists, awake to […] [their]
positioning as “Others” within the patriarchy; awake to […] [their] exclusion fromunmarked norm(s), awake to [their] […] emergence from a history of subjugation,
subordination, and colonization” (FAAC 2018).
Starting out from the hypothesis that it is becoming increasingly necessary toaddress these issues conjointly in the ongoing architectural debates, the paper presents
certain methods of teaching architectural history that intend to bring the aforementioned
aspects together. An important benefit of tackling gender and race issues simultaneously is
the capacity to “address the structural parameters that are set up when a homogeneousgroup has been at the center and don’t automatically engen-der understanding across formsof difference”, as Moya Bailey has argued (Bailey 2020). Another noteworthy
characteristic of the intersectional perspective is the endeavour to interrogate its own positionality and the very processes of knowledge production.
Selective References
Bailey, Moya, “All the Digital Humanists Are White, All the Nerds Are Men, But Someof Us Are Brave”, in Barbara Bordalejo, Roopika Risam, eds., Intersectionality in Digital
Humanities (Amsterdam: Arc Humanities Press, 2020) 9-12.
Bilge, Sirma, “Intersectionality undone: Saving intersectionality from feminist
intersectionality studies”, Du Bois Review, 10(2) (2013): 405-424.
Carastathis, Anna, Intersectionality: Origins, Contestations, Horizons (Nebraska:
University of Nebraska Press, 2016).
Cheng, Irene, Charles L. Davis II, Mabel O. Wilson, eds., Race and Modern
Architecture: A Critical Histo-ry from the Enlightenment to the Present (Pittsburgh:
University of Pittsburgh Press 2020).
Collins, Patricia Hill, Sirma Bilge, Intersectionality (Cambridge: Polity Press: 2016).
Cooper, Brittney, “Intersectionality”, in Lisa Disch, Mary Hawkesworth, eds., The
Oxford Handbook of Feminist Theory (New York: Oxford University Press, 2016).
Crenshaw, Kimberlé, “Mapping the Margins: Intersectionality, Identity Politics, andViolence against Women of Color”, in Stanford Law Review, 43(6) (1991): 1241-1299.
Doyle, Shelby, Leslie Forehand, “Fabricating Architecture: Digital Craft as Feminist
Practice”, the Avery Review, 25 (2017): 1-10.
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FAAC, “To Manifest”, Harvard Design Maganize 46: No Sweat (2018): 182-189.
Harris, Jessica C., Lori D. Patton, “Un/Doing Intersectionality through Higher Education
Research”, The Journal of Higher Education, 90(3) (2019): 347-372.
Marie, Jakia, Donald "DJ" Mitchell Jr., Tiffany L. Steele, Intersectionality & Higher
Education: Research, Theory, & Praxis (New York: Peter Lang, 2019).
Romero, Mary, Introducing Intersectionality (Cambridge: Polity Press, 2018).

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Multilingual word embeddings and low resources: identifying
influence in Antiquity
Marianne Reboul, École Normale Supérieure de Lyon
BackgroundThe computing of semantic influence is a key part to understanding the development andmovement of knowledge throughout the world. It is now made possible by the use of
powerful computer hardware, and the correlated development of new machine learningtechniques. Semantic influence therefore becomes a relationship to be quantified,graphically represented and analyzed: it is now possible to measure how meaning wasaltered within a language and between languages.
Although new techniques allow researchers to establish semantic proximity
between languages using machine learning for aligning and predicting translations, thosetechniques are data hungry and tend to be less effective on very low resource languages
such as ancient languages. Most of the techniques used to develop translation models relyon parallel data training: this is partially due to the fact that automatic translation is built
for modern, period independent, usage, such as commercial translations. However, the lackof parallel data for rarer languages and ancient languages has led to research in using
monolingual data training for multilingual vector spaces. Recent developments canovercome the scarcity of data using neural nets to produce linear mapping between
languages. In this paper, we would like to apply techniques we tested using monolingual
training and mapping to create low resource multilingual embeddings without using
massive parallel data. We would both use semi-supervised and fully unsupervised
techniques.
Isomorphic semantic spaces
Our research relies on an instinctive, yet bold assumption that Ancient European languages
are isomorphic, that is to say that we assume that we could show most languages were built
in comparable semantic molds, and share, to a certain extent, part of the meaning of theirwords, or at least share a common semantic conception of their world. The models
obtained while training on monolingual data should therefore be comparable. We would
firstly explain how, based on the assumption that ancient languages are isomorphic,monolingual semantic spaces can be mapped in one single multilingual space. Secondly,
we would demonstrate that semantic spaces trained on different time periods can reveal
potential intertextuality and semantic influences between texts. Thirdly, we would apply
those techniques to a specific object, that is to say a corpus of Greek and Latin epic poems,
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from Homer toVergil, and see how specific terms and aspects of Latin epics tend to be
more influenced or disassociate themselves from the Greek canon.
Methods and preliminary results
For our preliminary results, we used two kinds of corpora, although both could be qualified
as microcorpora : the training corpus is a compilation of both Homer’s Iliad and Odyssey(Allen’s Greek version (Allen, 1908), Estienne’s Latin version (Estienne, 1589)), and a test
corpus of ten to fifteen texts (TEI format, already lemmatized by Perseus (Smith et al.,2000) or lemmatized in python through pie-extended (Manjavacas et al., 2019)), both inprose and verse, of canonical Greek and Latin epics, such as Vergil’s Aeneid or Lucan’s
Pharsalia (although certain texts are not, strictly speaking, epic poems). We also built avery small custom Greek to Latin dictionary, based on two French dictionaries (although
we intend to modify this step in future experiments), for the training phase.
If we consider Greek and Latin as isomorphic languages, we would expect someof the terms used in one language to find their most probable correspondance in the otheraccording to their context. That is to say, their semantical environment should beapproximately comparable. For example, “Jupiter” and “Ζεύς” should share space withcomparable semantic terms used in the same context. If we try to describe thisphenomenon with a 3-dimensional semantic space (although our spaces generally have 200
dimensions), one should then see semantic spaces in both languages as two clouds of terms
having roughly the same aspect. The method to associate both spaces (in our case trained
either with GloVe (Pennington et al., 2014) or Word2Vec (Mikolov et al., 2013)) would be
to move one target space to fit the other. Several methods exist to do so, but the one thatgave most effective results on our corpora is the VecMap (Artetxe et al., 2018) method,using linear transformation to map isomorphic spaces. Once the crosslingual semantic
space has been created, we can see what vectors one language is more likely to share withthe other. However, this is not yet an understanding of “influence”, strictly speaking, as itlacks the aspect of evolution through time. This is the third part of the training (aftermonolingual training and crosslingual training), that is to say historical linking between
crosslingual semantic spaces. Our results are not definite at this point yet, but we intend touse dynamic link prediction algorithms (eg. methods described in (Kutuzov et al., 2018))
to measure the evolution process of corsslingual vectors through time.
In the following example (Figure 1), which is a representation of randomcrosslingual vectors found on two microcorpora (Homer’s Greek Iliad and Sommer’sFrench Odyssey), one can see the accuracy of corsslingual associations on very scarcedata. Further figures will be included during the presentation (which were not included
here due to black and white publication guidelines).
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Future prospects
This paper would be a first step towards a larger project we intend to develop in the future,
which could be summed up in three points : we would identify semantic influences inAncient European written languages on one another first by building a corpus, instandardized TEI, of at least 50 million words (from 1450 B.C. to 400 A.C) first in Greek,
Latin, then extending it to oldest and rarest European written languages (such as Etruscan,
Minoan, Iberian, Linear B) ; we then would quantify semantic influences by computing a
multilingual semantic space using crosslingual sentence and word embeddings frommonolingual pre-training ; lastly, we would show these influences by analyzing andgraphically representing chronological correlations between those languages. I therefore
hypothesize that I can measure and show the interaction and influence of European
Ancient written languages on each other through time.
References[1]. ALLEN, Thomas William, et al. (ed.). Homeri Ilias. Clarendon Press, 1908.
[2]. ALLEN, Thomas William, et al. (ed.). Homeri Opera, Tomus III, Odysseae. Clarendon
Press, 1961.
[3]. ESTIENNE, Henri, Homeri Poemata duo, Ilias et Odyssea, sive Ulyssea, Genève,
Estienne, 1589.

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[4]. SMITH, David A., RYDBERG-COX, Jeffrey A., et CRANE, Gregory R. The Perseus
Project: A digital library for the humanities. Literary and Linguistic Computing, 2000, vol.
15, no 1, p. 15-25.
[5]. MANJAVACAS, Enrique, KÁDÁR, Ákos, et KESTEMONT, Mike. Improving
lemmatization of non-standard languages with joint learning. arXiv preprint
arXiv:1903.06939, 2019.
[6]. PENNINGTON, Jeffrey, SOCHER, Richard, et MANNING, Christopher D. Glove:
Global vectors for word representation. In : Proceedings of the 2014 conference on
empirical methods in natural language processing (EMNLP). 2014. p. 1532-1543.
[7]. MIKOLOV, Tomas, CHEN, Kai, CORRADO, Greg, et al. Efficient estimation ofword representations in vector space. arXiv preprint arXiv:1301.3781, 2013.
[8]. ARTETXE, Mikel, LABAKA, Gorka, et AGIRRE, Eneko. A robust self-learning
method for fully unsupervised cross-lingual mappings of word embeddings. arXiv preprint
arXiv:1805.06297, 2018.
[9]. KUTUZOV, Andrey, ØVRELID, Lilja, SZYMANSKI, Terrence, et al. Diachronic
word embeddings and semantic shifts: a survey. arXiv preprint arXiv:1806.03537, 2018.

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Skin Deep: Exploring Ideals of Japanese Beauty through SocialMedia
Amy Grace Metcalfe1, Emily Ohman1
Introduction
Instagram is one of the most widely used social media platforms in Japan, with anaudience of over 38 million [13]. Instagram’s focus on photo sharing generates a saturationof images conveying beauty. Since Naomi Wolf’s 1991 publication “The Beauty Myth”,
countless studies have shown the negative effects the beauty industry has on women,
including obsessions over weight [7], anxiety [9], and furthering inequality between thesexes [15). This study examines the linguistic features of Instagram posts by beauty
companies, both qualitatively and quantitatively, in order to discover how language
contributes to the construction of beauty standards in the Japanese context. We use
established natural language processing and topic modeling, combined with critical
discourse analysis (CDA) to understand both the quantifiable data and the social effects ofthese Instagram posts. This study contributes to a better understanding of the definition of
beauty within the Japanese context and offers additional insights into beauty ideals andhow these are fabricated.
The objectivity of qualitative analyses have been criticised for being too
subjective [3]. Whether this is entirely justified or not (see e.g. [2]), qualitative analyses
supported by quantitative methods have proven useful in investigating media discourse,
allowing researchers to identify textual [12]. Incorporating NLP and topic modelingprovides scaffolding for the CDA, leading to verifiable empirical results.
Data & Methods
The data was collected using the Instaloader package for Python. The Instagram profiles oftwenty companies were randomly chosen, with the criteria being that the company’s
product or service must be available in Japan and that they have an Instagram profile
aimed at the Japanese market. In the case where the brand has many profiles, the profile
mainly written in Japanese was selected. The companies chosen were; Beauteen(beauteen_offical), Chifure (chifure_official), Curél (curel_official_jp), DHC(dhc_official_jp), Etude House (etudejapan), Ichikami (ichikami_kracie) , Innisfree(innisfreejapan), Kanebo (kaneboofficial), Kireimo (kireimo_official), Kosé
(kose_official), Liese (liese_official_jp), Maybelline (maybellinejp), Musée1

Waseda University

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(museeplatinum_insta), Palty (paty_official), Revlon (revlonjapan), Rimmel(rimmellondon_jp), Rize Clinic (rizeclinic), Sekkisei (sekkisei.official), Shiseido(shiseido_japan), and TBC Aesthetic (tbc_aesthetic). Our data consists of 7477 individual
Instagram posts.
The json-formatted data was then converted to dataframes for exploratory data
analysis. The posts themselves were segmented, and annotated for part of speech using
Fugashi, mecab, and Spacy. This gave us access to both the simplified Universal Part-ofSpeech tagset used by SpaCy such as ADJ - adjectives, but also Japanese tags which madeit possible to include adjectives that can in context be nouns in addition to 形容詞 tags in
our keywords, and therefore not miss important keywords. As our focus is words
describing beauty, adjectives are an important part of our analysis. The raw text was thencleaned up and used for LDA-based topic modeling using dariah.
Primarily Fairclough's three-part model has been used in the theoreticalframework (see e.g. [6,8]), with the micro, meso, and macro levels of interpretation
allowing for the linguistic features of the text, the strategies used and how the message isconveyed, and social effects to be considered respectively [4].
Results, Analysis & Discussion
From a preliminary analysis of the word frequency table, there are two trends; thefrequency of the brand name, and the prevalence of words which can be grouped together
into the category of skincare, these groupings are also evident in the topics that emerge
through topic modeling the posts.
The brand name, both in roman letters and katakana, are among the mostcommon words in our corpus, making up just under 25% of the first one hundred mostfrequent words, lending support to the notion that brands have their own aesthetic value
and culture [14]. These beauty brands are attempting to participate in the mania
surrounding branded goods by accentuating their name in social media posts.
Furthermore, much emphasis is placed on the care and maintenance of the skin(see table 1). It cannot be ignored that within the Japanese context, skin care and skinwhitening practices tend to coincide [1]. Evidence from the corpus suggests that such
ideals are still popular among consumers today, with whiteness explicitly mentioned withthe words 雪肌精 and 美白.

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Overall, patterns that emerge from the corpus, reveal elements of what beautymeans in the Japanese context, namely the inclusion of brand equity, and the importance ofthe skin, as well as white skin still as the ideal (see e.g. [5]). Different companies use
adjectives differently and these groupings can be seen in both the list of adjectives andadverbs used to describe these ideals as well as in the topics that emerge from topic
modeling. Some of the more interesting topics include COVID-related issues such as
mask-specific makeup (i.e. マスクメイク、新商品、美肌作り) and how to take care ofyourself and your skin (丁寧な暮らし、暮らしを楽しむ、贅沢な時間、美容好きな人と繋がりたい) during these times. The push and pull of the internet can lead to a cycle
where companies set the narrative that consumers are more than happy to partake inregardless of their own ideals (cf. [11]). We expect this corpus to yield many moreinteresting insights into Japanese beauty ideals, COVID-related self-care, and societal
issues involving the pressure to conform to Japan-specific beauty standards.
References[1]. Ashikari, M., (2005) "Cultivating Japanese Whiteness: The 'Whitening' Cosmetics
Boom and the Japanese Identity.", Journal of Material Culture, 10(1), pp. 73-91.
[2]. Baškarada, S. and Koronios, A., (2018) ‘A philosophical discussion of qualitative,
quantitative, and mixed methods research in social science.’, Qualitative Research
Journal, 18(1),57

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[3]. Cheng, W., (2013) ‘Corpus-Based Linguistic Approaches to Critical Discourse
Analysis’, The Encyclopedia of Applied Linguistics, pp. 1-8[4]. Fairclough, N., (2001) Language and Power, New York: Longman Inc.
[5]. Grinschpun, H., (2012) ‘The City and the Chain: Conceptualizing Globalization andConsumption in Japan’, Japan Review, 24, pp. 169-195[6]. Kaur, K., Arumugam, N., and Yunus, N.M., (2013) ‘Beauty Product Advertisements: A
Critical Discourse Analysis’, Asian Social Science, 9(3), pp. 61-71.
[7]. Kayano, M., et al., (2008) ‘Eating attitudes and body dissatisfaction in adolescents:
Cross-cultural study’, Psychiatry and Clinical Neurosciences, 62, pp. 17-25.
[8]. Lestari, E.M. I., (2020) ‘A Critical Discourse Analysis of The Advertisement ofJapanese Beauty Products’, IZUMI, 9(1), pp. 2502-3535.
[9]. Miller, L., (2006), Beauty Up: Exploring contemporary Japanese body aesthetics, Los
Angeles: University of California Press.
[10].
Miller, L. (2004) ‘Youth fashion and changing beautification practices’,
Matthews, G., White, B. (eds.). Japan's Changing Generations; Are young people
creating a new society?, Abingdon: Routledge, pp. 83-97.
[11].
Nathan-Tilloy, C., Shann, G., Skea, B., (2016) The Dove Global Beauty And
Confidence Report, Dove.
[12].
O’ Halloran, K., (2010) ‘How to use corpus linguistics in the study of media
discourse’, in O’ Keefe, A., and McCarthy, M. (eds.), The Routledge Handbook of
Corpus Linguistics, London and New York: Routledge[13].
“Leading countries based on Instagram audience size as of January 2021.”
Statistica, January 2021, https://www.statista.com/statistics/578364/countrieswithmost-instagram-users/ (Accessed: 5 June 2021)[14].
Toffoletti, K., and Thorpe, H., (2018) ‘The athletic labour of femininity: The
branding and consumption of global celebrity sportswomen on Instagram’, Journal ofConsumer Culture, 18(2), pp. 298-316[15].
Walter, N., (2010) Living Dolls: The Return of Sexism, London: Virago.

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Analyzing “Mechanisms” in the British National Corpus
Yuki Sugawara1
Introduction
The words "mechanisms" are pervasive not only in academic contexts but also in daily life.
In addition, some philosophers of science argue that the concept of "mechanisms" has avital role in understanding scientific practices (Machamer et al., 2000; Glennan 2002). This
paper will analyze how the words "mechanisms" are used in the British National Corpus(BNC) that includes large-scale language practices in various genres. This paper will pickup all sentences that include the verbs with the words of "mechanisms" as the object, pickup the verbs, and describe their characteristics in the context of both genres and actual
sentences. In based on them, This paper will categorize their types of verbs as (a)descriptive-type, (b) investigative-type, (c) relative-type, and (d) discover-type, and showthat (a) descriptive-type is the most central and the others are peripheral.
Methods
This paper used the corpus search application called "Sketch Engine" to pick up data fromthe BNC. The Sketch Engine provides 487 corpus worldwide and various advanced
searches (Kilgarriff et al. 2004; Kilgarriff et al. 2014). This paper picked up all cases that
include the verbs with the words "mechanisms" as the object from the BNC, using theConcordance function. Although the words "mechanisms" are used 4921 times in the BNC,
their words are used 1270 times as the object of the verbs. This paper picked up 356 casesthat are ranked in the top 25 as frequency. In analyzing their distribution, This paper used
the behavioural profile investigated as a method in corpus linguistics (Gries and Otani
2010). The behavioural profile includes making a dataset for describing various language
practices to capture the behaviour of words. This paper did a cluster analysis on its dataset
using R Core Team 2019 and used the Canberra to calculate the distance between items
and the Ward as between clusters. After clustering, this paper did a qualitative analysis ofactual texts.
Results
The results of cluster analysis are shown in Figure 1. This paper calls the left side of thecluster "the descriptive cluster" and the right side of the cluster "the sub-descriptive
cluster". The differences between them are (i) the frequency of the verb "provide", (ii) the
frequencies of the verbs that are ranked in the top 25, (iii) the number of the verbs that the1

Keio University
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relative frequencies exceed 0.3. The similarities between them are (i) the verb of "provide"
co-occur in all genres except for the genre of Leisure, Unknown, and Imaginative (I will
characterize these behaviours as (a) descriptive-type). (ii) the verbs such as "understand"and "find" co-occur in the peripheral clusters ("Natural & pure science" and "Imaginative")that combine lately.

Figure 1: Cluster dendrogram.
The characteristics of these clusters are shown in Figure 2. The types in Figure 2
are characterized by these verbs that are used in the clusters (Table 1). For example, in thegenres of "Applied Science" and "Social Science", the verbs such as "investigate" and"require" co-occur. In the genres of "Commerce & finance" and "World affairs", the verb
"join" co-occur. In the genre of "Natural & pure science", the verbs such as "find" and"understand" co-occur. Based on these observations, this paper will characterize theclusters of "Applied Science" and "Social Science" as (b) investigative-type, the clusters of"Commerce & finance" and "World affairs" as (c) relative-type, and the cluster of "Natural& pure science" as (d) discover-type.

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Figure 2: Coded cluster dendrogram.
Table 1: The types of Verbs.

Reference[1]. Machamer, P., Darden, L., & Craver, C. F. (2000). Thinking about mechanisms.
Philosophy of science, 67(1), 1-25.
[2]. Glennan, S. (2002). Rethinking mechanistic explanation. Philosophy of science,69(S3), S342-S353.
[3]. Kilgarriff, A., Rychly, P., Smrz, P., & Tugwell, D. (2004). Itri-04-08 the sketchengine. Information Technology, 105(116).
[4]. Kilgarriff, A., Baisa, V., Bušta, J., Jakubíček, M., Kovář, V., Michelfeit, J., ... &Suchomel, V. (2014). The Sketch Engine: ten years on. Lexicography, 1(1), 7-36.
[5]. Gries, S. T., & Otani, N. (2010). Behavioral profiles: A corpus-based perspective on
synonymy and antonymy. ICAME Journal, 34, 121-150.

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One Challenge, Not Two Problems: Regular Expressions for
Researching a Single-Author Corpus
Dr. Robert W. Williams 1
My project aligns with an interpretive approach to the study of ideas: I seek to comprehend
how humans express their understandings of the world in the meaningful words they write.
I am researching the concept of the “unknowable” in the thought of W.E.B. Du Bois
(1868-1963), an African American civil rights activist and scholar. I created a 230document corpus containing over 3 million words encompassing his essays, newspaper
articles, drafts, and 19 books. This corpus is neither comprehensive nor fully
representative of his over 2000 published writings.
In the world of Du Bois scholarship his idea of “unknowable” is understudied,
yet as I have argued in my scholarly work ([12]), it is a significant theme in his own
research and activism. For Du Bois, the unknowable was not merely a lack of personal or
general knowledge about something. Rather, it involved a profound lack of knowledge
because data was (and is) epistemologically inaccessible. This inaccessibility is due, forexample, to our inability to know about events because of irretrievable information, and to
our inability to know others directly because we cannot experience what they are feeling.
My project's specific goal is to find Du Bois's concept of the “unknowable” aswell as its variant expressions amid the myriad words of the corpus. From any such
matches, the second goal is to discern how Du Bois defines and applies the concept.
This interpretive project requires two vital elements. First, I seek thesynonymous words by which Du Bois expressed the concept of the “unknowable.” I must
be able to access in the corpus the richness of Du Bois's nuanced, aesthetic, and theoreticalexpressions. Second, I need sufficient textual details in order to disambiguate the uses ofwords and phrases that any computational technique presents as output. I prefer todisambiguate by reading more closely into the word's context—the sentences, paragraphs,
and even the document itself. This accords with my vocation as a political theorist: tominutely examine the intricacies of Du Bois's multiple expressions of the “unknowable,”even the unique ones, the hapax legomena. Digital humanities techniques that reduce thelexicon to summaries or to statistically derived measures—as fruitful as they are for otherprojects—do not suffice for mine.
Accordingly, a concordancer (here AntConc) is my software tool of choice forresearching a corpus. In order to locate the words salient to interpreting the“unknowable” concept, my technique of choice involves regular expressions (regexes), a1

Formerly: Bennett College (USA); drrobtwms3@hotmail.com; www.webdubois.org

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notational system permitting us to match patterns of characters, such as a word or evenwords near each other, within larger spans of text.
Workflow
My presentation sketches the reiterative workflow of my interpretive process, which
includes these steps:
A. Search for the node word “unknowable” or “un-knowable”, and “unknown”:(?i)un-?knowab(?i)¥bunknown“Un(-)knowable” is scarce in the corpus ([5: Ch.X], [6], [7], [8], [9], [10]). “Unknown”
as unknowable is somewhat more prevalent (e.g., [1], [3]).
B. Within the co-text presented in the concordance lines and the etexts, by which words
did Du Bois define, apply, or adapt “unknowable”? For example, the following cooccurring words offer us potentially fruitful node words with which to search ([5: Ch.VI],[6], [8]):limitations
sciencelimitscientificsciencesscientificallyscientistknowledge
reasonablelogic

reasonreasoning

logicalfictionhistoryhistoricalfacts
imagination
own

only

C. Craft regexes to search for node words derived from the co-text. For example,(?i)¥bknow
We can even search for words in the co-text that are not variants of “know”, but which
relate to it, such as “science” or “scientific”, “reason”, “logic”, and so forth. For example:(?i)¥bscien
D. When reading through the concordance lines and the full-text for the node words, we
also locate multi-word phrases that potentially convey or apply the idea, including“will/can never know”“can never be known”“none will ever know”“These facts are gone forever.” ([8])“only the man himself. . .knows his own condition” ([5: Ch.VI])
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For multi-word phrases we can use proximity-oriented regexes to locate nearby words
within the documents, including a reverse order of the words. For example:(?i)(not|never)(?:.){1,30}?¥bknow(?i)¥bknow(?:.){1,30}?(not|never)(?i)know(?:.){1,30}?(only|alone|own)(?i)(only|alone|own)(?:.){1,30}?know
Discussion
First: When Du Bois used the specific term “unknowable” in the few places it did appear
it was often related to knowledge in general or to historical research in general ([6], [7], [8:“Postscript”]). Only in a relatively smaller number of cases did Du Bois use “unknown”
to refer to unknowability (e.g., [1: missing population data passim]).
Second: When Du Bois utilized specific multi-word phrases to express
unknowability, such as “will/can never know” or “none will ever know,” Du Bois was
focusing on particular instances where specific pieces of information were unrecoverable(e.g. [2: ¶27]). On the other hand, in most cases “do not know” referred to few instancesof the unknowable in principle, with a notable exceptions being “The Individual and Social
Conscience” ([4: ¶3]).
Third: When Du Bois was indicating that the unknowable involved no direct
knowledge of another's thoughts, experiences, and feelings, then words like “alone”,“only”, and “own” occurred in the near vicinity of the lemma “know” (e.g., [5: Ch.VI]).
Fourth: For Du Bois writing the past tense of “knew” as part of a phrase “knewnot” and “knew nothing” did not invoke unknowability in principle. Persons did come toknow or could have known in and through other circumstances. One exception was theadverb “never” associated with “knew”. Here “never knew” did tend to implicate
unknowability in principle ([11: p.120]). Reading the concordance lines helped todisambiguate the cases.
Ultimately, such concordancer-mediated techniques navigate between distanceand closer forms of reading. They help us to study how authors articulate their ideas inmultifarious ways within the individual texts of a corpus.
References[1] Du Bois, W.E.B. 1899. The Philadelphia Negro. Philadelphia: Ginn.
[2] -----. 1904. “The Development of a People,” International Journal of Ethics, 14:3
(April): 292-311.
[3] -----. 1904. “Heredity and the Public Schools.” Pp.45-52 in Pamphlets and Leaflets.
Herbert Aptheker (Ed.). White Plains, NY: Kraus-Thomson Organization, 1986.
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[4] -----. 1905. “The Individual and Social Conscience” [Originally Untitled]. Pp.53-55 in
Religious Education Association, The Aims of Religious Education. The Proceedings of theThird Annual Convention..., 1905. Chicago: Executive Office of the R.E.A.
[5] -----. 1920. Darkwater. NY: Harcourt, Brace and Howe.
[6] -----. 1943. “Letter from W.E.B. Du Bois to American Philosophical Association,
December 13, 1943.” W.E.B. Du Bois Papers. Special Collections & University Archives.
University of Massachusetts Library. <http://credo.library.umass.edu/view/full/mums312b099-i286>.
[7] -----. 1956. “Letter to Herbert Aptheker, January 10, 1956.” Pp.394-396 in The
Correspondence of W.E.B. Du Bois: Vol. III: Selections, 1944-1963. Herbert Aptheker(Ed.). Amherst: University of Massachusetts Press, 1978.
[8] -----. 1957. The Ordeal of Mansart. NY: Mainstream Publishers.
[9] -----. 1959. Mansart Builds a School. NY: Mainstream Publishers.
[10] -----. 1961. Worlds of Color. NY: Mainstream Publishers.
[11] -----. 1968. The Autobiography of W. E. B. Du Bois. NY: International Publishers.
[12] Williams, Robert W. 2018. “A Democracy of Differences: Knowledge and the
Unknowable in Du Bois's Theory of Democratic Governance.” Pp.181-203 in Nick
Bromell (Ed.), A Political Companion to W.E.B. Du Bois. Lexington: University Press of
Kentucky.

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Picking out Arabian Names from Fahrasa by Jaʻfar b. Idrīs alKattānī without Reading Arabic
Yuri Ishida1, Kensuke Baba1
Introduction
What we call “radical” Islam is characterized by a tendency to literally interpret the Quran.
Its direct origin could be traced back to the Islamic reformism from the eighteenth century.
Although the center of this movement was Mecca and Medina in the Arabian Peninsula,reformists from Morocco to Indonesia were united by the master–disciple relationshipcalled “intellectual family tree” or “academic community” (Voll, 1975). To analyze thisglobal network, a database of Islamic scholars is necessary. Building databases requires
human resources. However, in Japan, there are only a few people who can read Arabic
text. Besides outsourcing from Arabic nations, is there another way to build a database?
Text
As a first step in automatically detecting scholars’ personal information (name, birth year,
birthplace, etc.) from Arabic texts, we performed the machine learning on Arabian names
in Fahrasa by Jaʻfar b. Idrīs al-Kattānī (1830/1831–1905). He belonged to a celebrated
family in Fez, a city in today’s Kingdom of Morocco, and his academic chains wereconnected to the Islamic reformists. As published by his descendants who praise his
intellectual legitimacy, Fahrasa gives us his academic background, his masters, his
disciples, books from which he learned, and so on. The meaning of fahrasa in Arabic is
index, catalog, or list, and this title thus describes the book’s characteristics. The Arabic
text is not very complicated, and the names of Islamic scholars are listed in the sections by
field of study.
Approach to find Arabian Names
A well-known joke is that if you call out “Muḥammad” on the street, several men willanswer. In fact, Muḥammad was the most popular name for male newborns in the UK in2014 (Baby Center, n.d.). Muslim names do not have many varieties, and they follow
several rules. For example, some Islamic scholars indicate their hometown at the end of
their name: al + the place name + ī. Thus, a man who came from Baghdad is named alBaghdādī. However, names of places are infinite, and to find such names in the text,
Arabic literacy is necessary.

1

Okayama University

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In Fahrasa, al-Iḥyāʼ of al-Ghazālī (1058–1111), one of the most eminent Islamic
books, was transmitted via an intellectual chain from the author to al-Kattānī and involving
15 other scholars. The chain is connected by the word “from” (‫عن‬,ʻan): “I [al-Kattānī]
quote the book al-Iḥyāʼ written by al-Ghazālī and his other works from al-Shaykh ʻAlī b.
Ẓāhir from al-Shaykh Aḥmad Minna Allāh al-Mālikī from……al-Ḥāfiẓ Abī al-Faraj alBaghdādī from the author [al-Ghazālī] of them [al-Iḥyāʼ and other books written by alGhazālī]” (al-Kattānī, 2004). Thus, in Fahrasa, “from” signals that the name of a scholar
follows. Even if one does not read Arabic, one can recognize that “al-Shaykh ʻAlī b.
Ẓāhir” is a person’s name because it is located between instances of “from.”“From” appears approximately 1,500 times in the 46,500 words in Fahrasa, andthere are other usages besides mentioning names. To specify the context of nameenumeration, common names and honorary titles for Islamic scholars are also used. As
mentioned above, Muḥammad is a popular name for Muslims, and there are many scholars
named Muḥammad. In Fahrasa, Muḥammad, Aḥmad, ʻAlī, and Ḥasan are mentioned
approximately 900, 300, 200, and 150 times, respectively. “Son” (bun or ibn) and “father”(abī or abū) are also strong candidates for names because of naming habits among
Muslims. The former appears in Fahrasa approximately 2,000 times and the latter 800
times. Additionally, the honorific titles used for Islamic scholars are good supplementary
identification information: “master” (shaykh) appears approximately 350 times, “religion”(al-Dīn) 200 times, and “leader” (imām) 100 times.
Conclusion
In the part of al-Iḥyāʼ of al-Ghazālī, names of persons appear 18 times (the names of two
people, al-Ghazālī and al-Anṣārī, are mentioned twice). The index at the end of the book
only shows four people. If one reads Arabic characters, one might think there are 17 names
because the form of “al +…+ ī” appears 17 times. However, there are five mistakes to becommitted here: three people are missed and the same person is counted as two-person
twice. To find a personal name depending on the formula “al +…… + ī” does not work
well because the names of places are unlimited, and there are some people whose namedoes not show the hometown.
Thus, this way calls for an ability to read Arabic characters. How about finding
the word “from” (ʻan) then? One finds 16 names because “from” appears 16 times.
However, there are four mistakes: one finds neither al-Ghazālī twice nor al-Anṣārī once,and one might think “the author of them [the books]” (mu’allif-hā) is a personal name. Incase one regards the term between “from,” one finds 15 names, committing the mistake
three times.

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To improve this method, unique terms for personal names can be introduced. In
this part, “father” (abī) appears twice, “son” (bun) four times, and “master” (shaykh) twice.
If these terms are used as additional layers, one can find al-Ghazālī this time and be
confident in the names of six persons, and the same mistake happen in only two places.
This presentation shows the best combination of these words based on the analysis forother parts of Fahrasa.
References
Baby Centre. (n.d.). Top Baby Boy Names 2014.
https://www.babycentre.co.uk/a25011625/top-baby-boy-names-2014 (accessed 15 August2021).
al-Kattānī, J. b. I. (2004). Fahrasa Jaʻfar ibn Idrīs al-Kattānī. Beirut: Dār Ibn Ḥazm, p.
227.
Voll, J. (1975). Muḥammad Ḥayyā al-Sindī and Muḥammad ibn ʻAbd al-Wahhāb: An
Analysis of an Intellectual Group in Eighteenth-Century Madīna. Bulletin of the School ofOriental and African Studies, 38 (1): 32–39.

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POS tagging for Vedic Sanskrit using deep learning
Yuzuki Tsukagoshi1
Introduction
In this study, we show a new approach to add part-of-speech (POS) tags to Sanskrit words
in the Vedas. Many approaches to POS tagging for Sanskrit have been proposed up to now.
However, all of them focus on Classical Sanskrit, and Vedic Sanskrit, the older layer of the
Sanskrit language, was not considered by such studies. Therefore, to analyze Vedic
Sanskrit, we should take account of the phonological, morphological, and syntactic
differences from Classical Sanskrit. The crucial differences are the word accent and more
complex verb conjugation. Therefore, the existing POS taggers cannot always analyze thesentences of the Vedas correctly. Furthermore, a rule-based approach for Vedic Sanskrit is
not practical because studies show that neural network models perform far better than therule-based (Srivatsava et al. 2018).
MethodIn this project, we create a neural network model for a POS tagging task by making use of
HuggingFace Transformers, using the text of the Rigveda. The model is based on a pretrained model and our formatted datasets, which are used for training and testing. With thehelp of the pre-trained model and the use of the state-of-the-art Transformer model, we cancreate a new model to assign POS tags to Vedic Sanskrit words relatively easily.
The Rigveda is the oldest Vedic literature, and a few versions of its electronic text isavailable. We take a version of VedaWeb (Kölligan et al. 2020) to prepare a training text that
contains word forms, lemmata, and POS tags. In our experiment, the whole text of the Rigveda isemployed because we already have a text with POS tags. Since few Vedic texts have POS tags as
in Classical Sanskrit literature, the Rigveda is the only text on which we perform supervisedmachine learning.
We make a small change to the VedaWeb version of the Rigveda in order to add thenecessary details. The VedaWeb text can give us morphological information which tells whether
the word is noun, pronoun, verb, or indeclinable. However, the category of the word in the
VedaWeb version is too broad, that is, there are only four sorts, nominal stem (= nouns andadjectives), pronoun, root (= verbs and verbal nouns), and invariable (or indeclinable) although
there are many kinds of the information on nouns such as the case, the gender, and the number andon verbs about the tense, the mood, the voice, etc. There are three problems with this text. The firstis that demonstrative, interrogative, relative, and personal pronouns are all put into the pronoun

1

The University of Tokyo
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category. In some cases, it cannot tell us whether a pronoun is, but we need POS tags showing this
distinction. The second is that finite verbs and participles are put together in the verb category.
However, we need to categorize them separately because participles in Sanskrit are used as nouns
or adjectives, which have the case, the gender, and the number. The third is that adverbial nominal
stems, adverbs, and negatives are all put in the indeclinable category. In such a text, we cannot
even find out where the negative is placed in the sentence. In order to fill such gaps, we added
more detailed information to the word category by assigning more appropriate labels to pronouns,
verbs, and indeclinables and created a new POS tagged text of the Rigveda.

ResultWe trained the new model with HuggingFace Transformer and our arranged text, which
took several days, and evaluated the results of the POS tagging of the test text acquired byour models. As a result, the precision is about 0.9704, the recall is about 0.9705, and the F1score, which is the harmonic mean of the precision and recall, is about 0.9705.
Conclusion and future work
Our new model produced a result that is accurate enough to be applied to other Vedic
literature. Nevertheless, the language in the Rigveda is the most ancient language of(Vedic) Sanskrit and some studies distinguish it from the language of other Vedic
literature.
In Sanskrit, there is a phenomenon called sandhi, in which the sound at the endof a word and/or at the beginning changes, and it is necessary to convert the changed wordform that appears in the text into the word form before the change. Therefore, when weapply the present model to other Vedic texts, we also need to develop a procedure to undo
the sandhi.
Acknowledgement
This work was supported by JSPS KAKENHI Grant Number 20J23373.
Reference[1]. Kölligan, Daniel & Reinöhl, Uta (eds) in collaboration with Jakob Halfmann, Börge
Kiss, Natalie Korobzow, Francisco Mondaca, Claes Neuefeind & Patrick Sahle, withmaterial provided by Paul Widmer et al. 2020. "VedaWeb - Online Research Platform
for Old Indic Texts". Universität zu Köln. https://vedaweb.uni-koeln.de[2]. Srivastava, Prakhar, Kushal Chauhan, Deepanshu Aggarwal, Anupam Shukla,
Joydip Dhar, and Vrashabh Prasad Jain. 2018. Deep Learning Based Unsupervised
POS Tagging for Sanskrit. In Proceedings of the 2018 International Conference on
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Algorithms, Computing and Artificial Intelligence. Association for Computing
Machinery, New York, NY, USA, Article 56, 1–6.
DOI:https://doi.org/10.1145/3302425.3302487

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Spectral analysis for idetifying octave playing in piano works
Mai Takahashi1, Michikazu Kobayashi2, Ikki Ohmukai3
Introduction
In this paper, we study interpretive editions in which authors have added their opinions to
how to perform the work, and whether and how performers follow the “tradition”' written
in the interpretive editions by analyzing recorded data.
In conventional musicology, people had been more interested in critical editions
which were aimed to be close to the composer's original intentions than the interpretive
editions containing opinions from others [1]. However, new musicology starting around
US and UK since 1990s have clarified that musical performances are affected not only byscores but also inheritances from masters to disciples [2,3], and people have begun to pay
attention to interpretive editions which contains playing styles inherited continuously. On
the other hand, it has been hardly clarified whether such playing styles in interpretive
editions are truly practiced in performances.
In this research, we try to verify this by analyzing recorded data.
Target in analysis
We focus on BWV903 Chromatic Fantasy and Fugue by J. S. Bach. There are nineinterpretive editions published in between 1820 and 1928, the authors of which are related
to each other as masters and disciples. Furthermore, C. Czerny, F. Liszt, and F. Busoni
were ones of them: performers and educators who created playing styles being handed
down to nowadays. Related to the editions, there are many recording data after 1912 bypupils of C. Czerny, F. Liszt, and F. Busoni.
The octave playing is one of traditions which are not appeared in urtext andcritical editions of Bach but has been inherited through interpretive editions, i.e., atechnique superimposing a lower octave on the bass voice. By analyzing 30 recorded datawith pianos in between 1912 and 2015, we try to verify how the octave playing has been
inherited. Although two of them were played by not pianos but piano rolls, their spectra ofsounds are as sharp as those of pianos and we include them in our analyses. Because
harpsichords and clavichords have broader spectra of sounds making analyses moredifficult, we exclude recorded data with them from our analyses.

1 The University of Tokyo
2 Kochi University of Technology
3 The University of Tokyo

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Methods of analysis
We analyze the first beat in bar 141 (the 421st beat) of Fugue (latter half of Chromatic
Fantasy and Fugue), in which the lower octave playing in the bass voice is specified in theinterpretive editions. This beat has a C3 (130.81Hz) sound in the urtext edition, and one
octave lower C2 (65.4Hz) sound in the interpretive editions with the octave playing for theleft-hand part. In order to accurately determine the beginning and the end of the 421st beatin the recorded data, we use Sonic Visualiser which enables to count beats for recorded
data and export the beaten data as a text file [4]. Then, based on the beaten data, we extract
the 421st beat from the recorded data and transform it into spectral data as a function ofdifferent frequencies via the Fourier transformation. Confirming a peak structure at
frequencies around 123.47Hz and 65.41Hz, we attempt to determine whether the octave
playing is practiced or not.

Results
The octave playing is definitely confirmed in 12 recordings; Busoni, Gieseking, Kempff,
Oborin, Weissenberg, Brendel, Sonoda, Koyama, Woodward, Delaage, Mejoueva, andIwamoto. Figure 1 shows a characteristic spectrum for Koyama's playing. A clear peakstructure can be confirmed not only at C3 which is indicated in the urtext edition, but also
at C2, which is one octave below C3, clearly showing that this sound is also struck in theperformance. In addition to C3 and C2 sounds, the peak structure can be seen at H3 andH2. This probably come from the previous 420th beat which contains H3 (and H2), andthis sound remains due to reverberation.
On the other hand, we can definitely confirm that the octave playing has not beenpracticed in 7 recordings; Arrau, Schnabel, Lifschitz, Poblocka, Pratt, Padova, and Kolly.
Figure 2 shows a characteristic spectrum for Poblocka's playing. Different from Koyama's
one shown in Fig. 1, there are only peaks at C3 and H3 and no peaks at C2 and H2.
For remaining 11 recordings, we cannot determine whether the octave playing ispracticed or not in the current stage because peak structures at low frequencies areindistinct.

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Figure 1: Fourier spectrum of Koyama's performance from the beginning to the endof the 421st beat. Both horizontal and vertical axes are shown in logarithmic scales.
C3 (130.81Hz) and C2(65.41) sounds are indicated by dashed lines, and H3(123.47Hz) and H2 (61.74Hz) sounds are indicated by dotted lines.

Figure 2: Fourier spectrum of Poblocka's performance from the beginning to the endof the 421st beat.
It has been considered that publishing campaigns and spreading of the concept ofurtext editions by musicologists [5] drove out interpretive editions rapidly [1]. However,
our present work can reveal that the octave playing still survives toward today after 1940s.
We show all of our results in Table 1. Among 12 recordings with the octave
playing, 7 recordings (Kempff, Weissenberg, Brendel, Oborin, Sonoda, and Koyama) are
related with Czerny, Liszt and Busoni who have positively adopted the octave playing.
Among 7 recordings without the octave playing, 3 recordings (Arrau, Poblocka, andSchnabel) are related to Liszt, Busoni, and Czerny. Although 11 recordings remain not to74

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be determined whether the octave playing is practiced or not, and we cannot give the clear
conclusion at the current stage, there might be some relationship between Liszt, Busoni,and Czerny's groups and the octave playing.
Table 1: Situation of octave playing

Conclusion
By using the technique of informatics, we can objectively analyze the sound spectrum andclearly see that the performance style absent for urtext and critical editions has been
inherited. Combining the analysis of interpretive editions, we can analyse 200 years of theperformance styles, and analyses of recorded data are quite important in performanceresearch.
Reference[1]. H. Watanabe, Western Music: Preface to Performance History - Performance
History of Beethoven Piano Sonata (Japanese), Shunju (2001), p. 160-161.
[2]. N. Cook, Beyond the Score: Music as Performance, Oxford University Press,
Oxford (2014), p. 163.
[3]. H. Watanabe, Encyclopedia of Aesthetics (Japanese), Maruzen (2020), p. 396-397.
[4]. https://sonicvisualiser.org/ (2021/6/7 accessed).
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JADH 2021[5]. S. Ohsaki, Foration of Music History and Media (Japanese), Heibon (2002), p. 133.

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Token-based semantic vector space model for classic poetic
Japanese
Xudong Chen1, Hilofumi Yamamoto2, and Bor Hodošček3
1 Introduction
This paper explores the effectiveness of the token-based semantic vector space model(Heylen et al., 2012) for describing the classic poetic Japanese vocabulary.
The token-based semantic vector space model represents the semantics of eachindividual occur- rence of a word, while a type-based model aggregates over all
occurrences of a word, giving a repre- sentation of a word’s general semantics (Heylen etal., 2012, p. 17). In type-based models, context- or style-sensitive variation of semantics
within word types is averaged and generalized in one vector and thus cannot be describedin detail. In token-based models, the description of such variation is possible. Considering
the variant referents, meanings, and stylistic usage of the Japanese poetic vocabulary,models on the token level are necessary.
Token-based solutions for the problem of contextualized meanings have been
proposed from context- predicting deep learning approaches (e.g. Devlin et al., 2019).
Historical data, however, is often too sparse to use the state-of-the-art machine learning
methods (Kalouli et al., 2019, p. 109). Another method from a context-counting approachis proposed in Heylen et al. (2012), which does not use any machine learning techniques.
Compared to context-predicting deep learning methods, this method is said to have greatertransparency (De Pascale, 2019, p. 29). In the present paper, we, therefore, examine theeffectiveness of the token-based model for Japanese poetic vocabulary.
2 Methods
2.1 Materials and preprocessing
Yamamoto and Hodošček (2021a) is used as an annotated corpus of Japanese poetry.
Metacodes in Yamamoto and Hodošček (2021b) are used for annotating concept groups ofword entries.
We select only poems that are within 41 kana in length. Choka, the long poems,
for instance, are excluded. We also exclude any word annotated as a particle, auxiliary,
auxiliary verb, prefix, suﬀix, adverb, interjection, and symbol.
2.2 Token-based vectorization
1 Tokyo Institute of Technology
2 Tokyo Institute of Technology
3 Osaka University

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Suppose that in a corpus with vocabulary size d, we obtain a token vector of target token twhich occurs in the nth poem whose number of words is l. The token vector vt,n can becalculated with Equation (1),where ci is the ith context word of word t in the nth poem. w(t, ci) is the mutual information
between word t and ci. ci (Equation (2)) is a vector of context words ci, which consists ofthe mutual information between ci and all words in the corpus. For the mutual information,
we use PPMI (Bullinaria & Levy, 2007) (Equation (3)),

where p(a), p(b), and p(a, b) indicate occurrence probabilities of word a, b, and probabilityof a and b occurring simultaneously, respectively.
2.3 Classification task with token vectors
In order to confirm the applicability of the token-based vector space model on Japanesepoetic vocabulary, we perform classification tasks with token vectors generated by themethod. In the classification tasks, we classify token vectors of two-word pairs andconfirm whether 2 words in a pair can be correctly classified.
With metacodes in Yamamoto and Hodošček (2021b), we set the following four
different types of classifications:
1.
2.
3.

4.

Word pairs matching at the concept group level,
e.g., flower-flower pair sakura (cherry)-mume (plum);
Word pairs unmatched at the concept group level,
e.g., flower-bird pair mume (plum)-hototogisu (cuckoo);
Noun pairs with the same lemmas (kana strings), but written with different surface
forms,
e.g., sakura (cherry) written as さくら/桜;Verb pairs with the same lemmas, but written in different surface forms,
e.g., simu written as 標む (mark as possession)/染む (dye).
We only include items whose document frequencies are within 20 to 90. Since

there are large numbers of type 1 and 2 word pairs, we randomly sample 30 pairs of type 1
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and 2 respectively. In type 3 and 4 pairs, if both surface forms of the type appear in thesame poem, we exclude such cases. Finally, we obtained 29 pairs of type 3 and 7 pairs oftype 4.
We use logistic regression as a classifier. We randomly sample 20 vectors ofeach word in each pair and use half of them as training data and the other half as test data.
We use a generalized linear mixed effects model with a binomial distribution totest how the above- mentioned types of word pairs predict the test accuracy (correct
number out of 20 test pairs). In the analyses, we include one random effect, the individual
differences of the pairs.
3 Results
Four examples from the results are shown in Figure 1. Dimensionality reduction of thevectors is conducted using multidimensional scaling (MDS). The values of the twodimensions in the current paper span a larger range than those reported in Heylen et al.
(2012).

Figure 1: Two-dimensional visualization of token vectors: type 1, 2, and 4 pairs show
clear boundaries; the example of type 3 pairs does not show a clear boundary.
The results of the classification task with token vectors is shown in Figure 2.
Test accuracy differs among each type of pairs. Pairs whose lemmas are different (type 1
and 2) have the highest test accuracy, and type 2 does not differ from type 1. Noun pairs
with the same lemmas written in different surface forms (type 3) have the lowest accuracy.
Verb pairs with the same lemmas written in different surface forms (type 4) also havelower accuracy than those of type 1 and 2. Estimated accuracy of pairs with the samelemmas varies in a larger range than that of pairs in different lemmas.

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Figure 2: Distribution of test accuracy and estimated test accuracy in theclassification task: the left shows the distribution of the test accuracy in each type oftask; the right shows the accuracy in 95% CI predicted by generalized linear mixed
effects model.
4 Discussion
The vector space generated by the model is sparse. But the token clouds in the 2dimensional space can reflect the relations among the vocabulary. As shown in Figure 1,
token clouds of a pair show clear boundaries when the pair differs more in meanings.
Compared to type 3 and 4, classification in type 1 and 2 pairs has high accuracy.
This is because, in most of the cases, word meaning differs more in type 1 and 2 than in
type 3 and 4. The accuracy of type 1 classification is slightly higher than that of type 2.
This is because pairs in the same concept group share more similar word senses than pairs
belonging to different concept groups.
Pairs with the same lemmas cannot be correctly classified. This indicates that
information from word types can be important to the current method in a small scale
corpus. Most type 3 pairs are often pairs having different surface forms that have nodifference in meaning. Therefore the accuracy of type 3 classification is low. On the other
hand, there also exist pairs in different surface forms with different meanings in the type 4
pairs (Table 1). The variance of accuracy in type 4 classification is, therefore, greater thanthat of other types.
Table 1: Examples of token vectors of type 4 pairs: pairs’ surface forms with meaningchange are well-classified; pairs’ surface forms without meaning change are only
correctly classified with a low test accuracy; these cases indicate the importance ofcontextual information to the pairs with the same word types in classification tasks.

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5 Conclusion
We conducted the experiments applying the token-based semantic vector space model(Heylen et al., 2015; Heylen et al., 2012) to Japanese classic poem texts in order toexamine the possibilities of the model for small-scale corpora such as the Hachidaishu
dataset. We found that although a small corpus generates a sparse vector space, it ispossible to observe the differences between words at the token level with token clouds
visualization generated by the model. The current method also allows us to relatively
successfully classify senses between word pairs.
References
•

•
•

•

•

•

•
•

Bullinaria, J. A., & Levy, J. P. (2007). Extracting semantic representations from word
co-occurrence statistics: A computational study. Behavior Research Methods, 39(3),510–526. https://doi. org/10/d8pmsm
De Pascale, S. (2019). Token-based vector space models as semantic control in lexicalsociolectometry (PhD Dissertation). KU Leuven. Leuven.
Devlin, J., Chang, M.-W., Lee, K., & Toutanova, K. (2019). BERT: Pre-training of
Deep Bidirec- tional Transformers for Language Understanding. Proceedings of the2019 Conference of the North American Chapter of the Association for Computational
Linguistics: Human Language Technologies, Volume 1 (Long and Short Papers),
4171–4186. https://doi.org/10/ggbwf6
Heylen, K., Wielfaert, T., Speelman, D., & Geeraerts, D. (2015). Monitoring
polysemy: Word space models as a tool for large-scale lexical semantic analysis.
Lingua, 157, 153–172. https://doi. org/10/gh58qv
Heylen, K., Speelman, D., & Geeraerts, D. (2012). Looking at word meaning. Aninteractive visu- alization of Semantic Vector Spaces for Dutch synsets. Proceedingsof the EACL-2012 Joint Workshop of LINGVIS & UNCLH: Visualization of Language
Patterns and Uncovering Lan- guage History from Multilingual Resources, 16–24.
Kalouli, A.-L., Kehlbeck, R., Sevastjanova, R., Kaiser, K., Kaiser, G. A., & Butt, M.
(2019). ParHistVis: Visualization of Parallel Multilingual Historical Data.
Proceedings of the 1st International Workshop on Computational Approaches to
Historical Language Change, 109–114. https:// doi.org/10/gh547n
Yamamoto, H., & Hodošček, B. (2021a). Hachidaishu part of speech dataset.
https://doi.org/10.5281/ zenodo.4835806
Yamamoto, H., & Hodošček, B. (2021b). Hachidaishu vocabulary dataset.
https://doi.org/10.5281/ zenodo.4744170

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Open source datasets of the Hachidaishū for the research ofclassical Japanese poetic vocabulary1
Hilofumi Yamamoto2, Bor Hodošček3
1 Introduction
The present paper addresses the curation and publication of an open dataset on Zenodo(https://zenodo.org/) for classifying the vocabulary of the Hachidaishū (ca.905–1205).
While the dataset was mainly developed in 2009 (Yamamoto 2009), it could not be
published until now due to uncertainties in its copyright status. Even if the copyright of theclassical text itself has expired, it is still under a reprint copyright which prevents
publishing without a clear precedent. In 2016, the National Institute of Informatics (NII)
Center of Open Data for the Humanities released the Nijūichidaishū, the Japanese classics
dataset created by the National Institute of Japanese Literature (NIJL) under the Creative
Commons Attribution-ShareAlike 4.0 International (CC BY-SA 4.0) license (Kitamoto2017), which allows us to release our dataset.
Zenodo is a data repository for researchers to store their datasets, founded in2013 (https://www.openaire.eu/zenodo-is-launched) by OpenAIRE (Open Access
Infrastructure for Research in Europe) and CERN (European Organization for Nuclear
Research). Researchers can upload up to 50GB per dataset, regardless of their research
field, and can also cite code, datasets, or things relating to their research that are available
on Github.
We will report on the publishing of the Hachidaishū vocabulary dataset, explain
the ways in which the dataset will allow researchers to conduct semantic classification ofwords in the Hachidaishū, and succintly document the dataset containing part of speechtags and kanji readings.
2 Material
The Hachidaishū is a collection of eight anthologies of classical Japanese poetry compiledby the order of Emperors during the 300 years from the Kokinshū (ca.905), the firstanthology written in Japanese kana characters, to the Shinkokinshū (1205).(Table 1) The
main text is based on a collection of the Nijūichidaishū created by NIJL, and the text is
now distributed by both NIJI and NII.(National Institute of Japanese Literature 2016) NIJI
provides a poem string search service. NII provides a batch download service for all text
1 This work was supported by KAKENHI, Grant-in-Aid for Scientific Research (C:18K00528).
2 Tokyo Institute of Technology
3 Osaka University
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data along with the original images using IIIF (International Image Interoperability
Framework). The license for these texts is Creative Commons by SA 4.0 International. The
conditions for redistribution are the same.
In addition to the main texts mentioned above, we use, as reference materials, theequivalent data to the Hachidaishu ̄ texts contained in the CDROM of the Shimpen Kokka
Taikan,(Shin-pen Kokkataikan Henshū Committee 1996) and those in the Nijūichidaishū
database.(Nakamura et al. 1999). We use them as references to attach the readings of Kanjicharacters to each word.
As mentioned above, since the Hachidaishū consists of Japanese poems
published across 300 years, and each collection is published approximately 20 to 80 years
apart (42 year intervals on average), it is suitable for research into longitudinal changes inpoetic vocabulary.
Table 1: The list of anthologies in the Hachidaishū: the number of poets in eachanthlogy is based on Shimpen Kokka Taikan (Kokka Taikan Editorial Committee
1996).

3 Methods
First, we developed our own dictionary and system to divide the lines of poems of the
Kokinshu into units (Yamamoto 2007). We did not accept conjunctions or compound verbs
as valid part of speech categories, and adopted the shortest possible unit. In this way, we
completed a dictionary that describes the words and concatenation rules of the Kokinshū.
After that, the same dictionary was used to divide into units the subsequent collection, theGosenshū. We checked the words and concatenation patterns that were included in thecollection but were not included in the dictionary one by one, and added the missing words
and patterns to the dictionary. The same process was repeated, and the dictionary was
expanded from the Kokinshū to the Shinkokinshū according to the order of theirestablishment. In order to prevent the contents added to the dictionary from affecting theunit-divisions processed so far, and to maintain the consistency of the divided units, we
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checked each poem processed. If any differences were found with the previously processed
results, the differences were output, the content added to the dictionary was reviewed, andthe consistency of the dictionary was adjusted. The Hachidaishū Part-of-Speech Dataset
was created through the above process.
Because of the variety of notations in Japanese, a metacode was added toindicate the word meaning according to the form in which the word appears. The metacodeindicating the lexical system is assigned by referring to the old version of the Word List by
Semantic Principles (WLSP) by the National Institute for Japanese Language andLinguistics (NINJAL) (Nakano et al. 1994), and does not correspond to the new version(Asahara 2016, Kato et al. 2018). The classification metacodes are newly added since there
are no metacodes for non-independent words such as particles, auxiliary verbs,
conjunctions, and proper nouns such as place names (utamakura) and personal names aswell as missing words in the WLSP.
4 Construction of two datasets
We will explain the construction of two datasets, the Hachidaishū vocabulary dataset(vocabulary dataset) and the Hachidaishū part-of-speech dataset (POS dataset). Table 2
indicates the construction of the vocabulary dataset.
We will explain the data offset with the first line in Table 2: [01:000001:0007 A00 BG-021527-01-0102 47 き 来 く 来 き]. A line consists of 7 columns separated by spaces. The first column‘‘01:000001:0007’’ consists of 3 fields: 1) anthology ID as indicated in Table2, 2) number of

poem, and 3) sequential ID of the token. ID 01 indicates the Kokinshū in this case. The
second column indicates the type of token: type A is a single token; type B is a compound
token; type C is a breakdown of type B. A00 indicates a single token; A01 indicates asingle token and it has another meaning/metacode; B00 indicates a compound token; B01
indicates a compound token which has another meaning/metacode; C00 indicates the firstelement of the B00/B01.. breakdown; C01 indicates the second element of the B00/B01..
breakdown. The third column ‘‘BG-02-1527-01-0102’’: classification ID based on semantic
categories according to WLSP.(Nakano et al. 1994) The fourth column indicates a POS
number used in the morphological analysis system, Chasen.(Matsumoto et al. 2002) The
fifth column indicates surface form: a form appears in literary works. The sixth column
indicates lemma in kanji writing. The seventh column indicates lemma in kana writing.
The eighth column indicates conjugated form in kanji. The nineth column indicatesconjugated form in kana.

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Table 2: Data structure of Hachidaishu vocabulary dataset; an example from the
Kokinshu ̄ Poem #1; left aligned tiny typefaces are for reference and not included in
the dataset.

Table 3 indicates the construction of the POS dataset. We take the Kokinshū,
Poem #1 as an example. It is a line, a poem. Tokens are separated by spaces. Each token
consists of part-of-speech elements separated by slashes. The first column ”10001”
contains two elements: the first digit indicates an anthology ID and the rest is a poem ID.
The second column and the followings are the information of each token. In the case ofnouns and particles, i.e., words that are not conjugated, they are shown in the following
format: text/POS/reading. In the case of verbs and adjectives, i.e., words that are conjugated,
they are shown in the following format: text/POS:lemma-kanji:lemma-reading/reading.
Table 3: Data structure of the Hachidaishu part-of-speech dataset; the first 5 digits
are the anthlogy and poem ID; upper original; lower English translation; *its POS
cannot be deterimined.

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5 How to use datasets and access the repository
The POS dataset allows researchers to count the number of tokens for each part of speech;
count the number of poems in which the word or part of speech appears; obtain thesequence of words that appear; collect the patterns of the sequence of words; in the case of
the vocabulary dataset, to count the number of words in each semantic category, extracting
co-occurrence patterns; and so forth. A Jupyter notebook showing examples of Python
code needed to conduct some of this is provided in the Github repository alongside thedataset.
Both the vocabulary and POS datasets can be obtained from the Zenodo
repository (Yamamoto and Hodošček 2021a,b), and from Github (URL: url
https://github.com/yamagen) as well.
There are advantages to using official repositories like Zenodo and Github: i.e., a
DOI specific to the dataset is provided immediately; various bibliographic formats such as
Mendeley, BiBTeX, etc. are available; a DOI clarifies the source of the data, ensuring thatanyone can use the same dataset and verify the results.
The whole of the dataset is downloadable without user authentication and can beused in the user’s preferred environment. Zenodo operates under a license where the data is
intended to be downloaded and used. Since it is a portal site type repository, it may be
disseminated faster than by publishing it on a personal site. As it is linked with Github,data can be updated and modified and the resulting changes inspected. Also, a DOI isgiven for each updated version.
6 Conclusion
We published two datasets for studying the Hachidaishū vocabulary on Zenodo and
Github.We explained how they were created, their structure, how to use them, andintroduced the URLs. The copyright issue has been cleared up, and the full text is now
available and can be downloaded to promote research on classical Japanese poetic
vocabulary at various user levels. For publications using these data, see Chen et al.
(submitted to JADH2021). The datasets presented in the current paper are also licensed
under the Creative Commons by SA 4.0 International.
References• Asahara, Masayuki (2016) “Word List by Semantic Principles (WLSP): a collection ofwords classified and arranged by their meanings.”, https://github.com/masayu-a/WLSP.
• Chen, Xudong, Hilofumi Yamamoto, and Bor Hodošček (submitted to JADH2021)“Token-based seman- tic vector space model for classic poetic Japanese”, in JADH2021
Proceedings of the 11th Conference of Japanese Association for Digital Humanities.
• Kato, Sachi, Masayuki Asahara, and Makoto Yamazaki (2018) “Annotation of ‘Word
List by Semantic Principles’ Labels for the Balanced Corpus of Contemporary Written
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•
•
•

•

•

•

•
•
•
•

•

Japanese”, in Proceedings of the 32nd Pacific Asia Conference on Language,
Information and Computation, Hong Kong: Association for Computational Linguistics.
Kitamoto, Asanobu (2017) “Center for Open Data in the Humanities (CODH):
Activities and Future Plans”.
Kokka Taikan Editorial Committee ed. (1996) Shimpen Kokka-taikan: CDROM
Version: Kadokawa Shoten.
Matsumoto, Yuji, Akira Kitauchi, Tatsuo Yamashita, Osamu Imaichi, and Tomoaki
Imamura (2002) Morphological Analysis System ChaSen Version 2.2.9 Manual, Nara
Institute of Science and Technology.
Nakamura, Yasuo, Yoshihiko Tachikawa, and Mayuko Sugita (1999) Kokubungaku
kenkyu ̄ shiry ̄okan d ̄etab ̄esu koten korekushon “Niju ̄ichidaishu ̄” Sh ̄ohobanbon CDROM (Database Collection by National Institute of Japanese Literature“Niju ̄ichidaishu ̄” the Sh ̄oho edition CD-ROM): Iwanami Shoten.
Nakano, Hiroshi, Ooki Hayashi, Hisao Isii, Makoto Yamazaki, Masahiko Ishii,
Yasuhiko Kato, Tatuo Miyazima, and Akio Tsuruoka (1994) Bunrui goi hy ̄o furopp ̄iban (Word List by Semantic Principles, floppy disk version), Vol. 5 of Kokuritsu
Kokugo Kenkyu ̄jo gengo shori data shu ̄ (National Language Research Institutelanguage data), Tokyo: Dainippon Tosho.
National Institute of Japanese Literature (2016) “The Niju ̄ichidaishu ̄ Japanese Classics
Dataset”,
http://codh.rois.ac.jp/pmjt/book/200007092/,
http://kotenseki.nijl.ac.jp/biblio/200007092.
Shin-pen Kokkataikan Henshu ̄ Committee ed. (1996) Shimpen Kokka-taikan: CDROM
Version : Kadokawa Shoten.
Yamamoto, Hilofumi and Bor Hodošček (2021a) “Hachidaishu part of speech dataset”,
https://doi. org/10.5281/zenodo.4835806.
Yamamoto, Hilofumi and Bor Hodošček (2021b) “Hachidaishu vocabulary dataset”,
https://doi.org/10.5281/zenodo.4744170.
Yamamoto, Hilofumi (2007) “Waka no tame no Hinshi tagu zuke shisutemu / POS
tagger for Classical Japanese Poems”, Nihongo no Kenkyu / Studies in the Japanese
Language, Vol. 3, No. 3, pp. 33–39.
Yamamoto, Hilofumi (2009) “Thesaurus for the Hachidaishu (ca.905–1205) with theclassification codes based on semantic principles”, Nihongo no Kenkyu / Studies in theJapanese Language, Vol. 5, No. 1, pp. 46–52.

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Exploring Metadata Quality Issues in Non-English Corpora:
Preliminary Assessments of HathiTrust Records of Late
Imperial Chinese Books
Wenyi Shang1, Jacob Jett2, J. Stephen Downie3
Introduction
Large online bibliographic datasets have brought about new possibilities for studies of lateimperial Chinese books, but the tension between Anglo-American cataloging practices andChinese books could cause vital problems. In this poster we conduct a preliminary
examination of this problem through a case study of HathiTrust 4 (HT) MARC metadata
records describing the Chinese books published in the 16th, 17th, and 18th century by
quantitatively analyzing them. Referencing the time scope used by Chartier (1983) in thehistory of Western written culture, a set of Chinese books published in the 16th, 17th, and18th centuries were collected from the HT.
Methods
A workset of all books published between 1500 and 1799 and which were written in
Chinese language in HT’s collection was built using the “Workset Builder 2.0 for
Extracted Features 2.0,”56 which is a tool designed by the HathiTrust Research Center(HTRC)7 that allows users to extract features from unigram queries over the HT corpus.
We used the following query for constructing the workset for our analysis:“(pubDate_t:15** OR pubDate_t:16** OR pubDate_t:17**) AND language_t:chi.” The
HT identifiers of all works satisfying the query were collected (9,437 books in total). Next,
the MARC records89 describing each book was collected using the HathiTrust
Bibliographic API via their HT identifiers. The results were then analyzed and visualizedwith the programming language Python. The MARC records (in XML format) were firstparsed with the Python library “Beautiful Soup.” Next, the parsed data were analyzed with
the Python libraries “Pandas” and “Regex” (regular expression) and were visualized with1

School of Information Sciences, University of Illinois at Urbana-Champaign
School of Information Sciences, University of Illinois at Urbana-Champaign
3School of Information Sciences, University of Illinois at Urbana-Champaign
4
https://www.hathitrust.org
5
https://solr2.htrc.illinois.edu/solr-ef
26

https://wiki.htrc.illinois.edu/display/COM/HTRC+Workset+Builder+2.0+%28Beta%29+for+Extra
cted+Features+2.0
7
https://analytics.hathitrust.org
8
https://www.loc.gov/marc/marcginf.html
9 https://www.loc.gov/marc/bibliographic

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the Python libraries “Matplotlib” and “Seaborn.” These analyses allowed us to develop abaseline of informative data describing features of the selected works.

Figure 1: Chinese Books Published in Different Year Ranges (in decades) in
HathiTrust Digital LibraryFindings
Several of the figures showcase results that were unexpected. For instance, Figure 1 does
not display an expected reduction in printing activities during the height of the Manchu
conquest in the 1640s and 1650s. Instead the metadata from the HT corpus demonstrates
an upward trending progression. Similarly, while it would be natural to attribute the valley
between the 1720s and the 1780s to the severe situation of literary inquisition 10 during thereign of the Qianlong Emperor (r. 1735–1796), when 53 cases of literary inquisition wererecorded (Wong, 2000), a similar explanation is not suitable for the unexpected valley
occurred between the 1680s and the 1700s, during the reign of the Kangxi Emperor (r.
1661–1722), when literary inquisition was relatively uncommon.

10

The literary inquisition is the official persecution of intellectuals for their writings in imperial
China, which reached its peak in the Qing dynasty (1644–1912). The imperial government freely
censored everything that was written and convicted the intellectuals for any writings that the ruler
considered offensive.

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Furthermore, as is shown in Figure 2, the change of the number of books
containing the MARC field 245-n “number of part/section of a work” across different time
periods does not follow a similar trend as numbers of books containing other fields related
to physical descriptions (e.g., from 1700–1719 to 1720–1739). The field 245-n is used as
an alternative rather than a supplement to the other fields related to physical descriptions.
Another significant problem with the MARC record of late imperial Chinese books is its
lack of genre information. As shown in Figure 3, only a very small proportion of books
contain such information (out of the total 9,430 books, only 90 contain the field 650-v).

Figure 2. Number of Chinese Books Containing Fields Related to PhysicalDescriptions in HathiTrust Digital Library90

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Figure 3. Number of Chinese Books Containing Fields Related to Genre Informationin HathiTrust Digital Library
Overall, several potential problem areas were noticed. These included:[1] Same data in multiple fields (245-n and 300-a “extent”; 100-a “personal name” and 245c “statement of responsibility, etc.”).
[2] Lack of normalization (245-n).
[3] Transcribed from source without translation and explanations (260-a “place of
publication, distribution, etc.”).
[4] Lack of essential data (650-a “topical term or geographic name entry element”; 650-v“form subdivision”; 650-x “General subdivision”; 650-y “chronological subdivision”;
650-z “geographic subdivision”).
Conclusion
These results show that, despite the existence of established guidelines for cataloguing
ancient Chinese books (Research Libraries Group, 2000), various significant problems arestill prevalent in the HathiTrust MARC metadata records of late imperial Chinese books.
Among these problems is that the guideline hasn’t been strictly followed in all cases. This
poster calls attention to the burgeoning need for retrospective cataloging. Therefore,
although there are many exciting possibilities opened up by digital methods on humanities
studies, and “find or organize works” is arguably one of “seven ways humanists are using
computers to understand text,” (Underwood, 2015) one must be very cautious with regards
to the results yielded by distant reading of large-scale metadata describing non-Westernbooks at this point.
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During the next phase of this work, we will be collecting a comparable worksetcomprising an equal number of English-language works from the same time period toanalyze whether or not the metadata quality issues observed in relation to the Chineselanguage workset are unique to it.
Reference• Chartier, R. (ed.) (1989) The Practical Impact of Writing. In Goldhammer, A. (tran.), A
History of Private Life, Volume III: Passions of the Renaissance. Cambridge, MA and
London, UK: The Belknap Press of Harvard University Press, pp. 111–159.
• Research Libraries Group (2000) Cataloging Guidelines for Creating Chinese RareBook Records in Machine-Readable Form. Mountain View, CA: Research Libraries
Group.
• Underwood, T. (2015) Seven Ways Humanists Are Using Computers to UnderstandText, The Stone and the Shell, 4 June. https://tedunderwood.com/2015/06/04/sevenways-humanists-are-using-computers-to-understand-text/ (accessed 13 December2020).
• Wong, K. C. (2000) Black’s Theory on the Behavior of Law Revisited IV: the Behaviorof Qing Law, International Journal of the Sociology of Law, 28(4): 327–374.

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Dataset Construction for Cross-genre Plot Structure Extraction
Hajime Murai1, Shuuhei Toyosawa1, Takayuki Shiratori1, Takumi Yoshida1, Shougo
Nakamura1, Yuuri Saito1, Kazuki Ishikawa1, Sakura Nemoto1, Junya Iwasaki1, Akiko
Uda1, Shoki Ohta1, Arisa Ohba1, Takaki Fukumoto1
Introduction
Several studies have long established that it is possible to extract the common plot
structure of specific genre stories when many specific genre stories are collected [1-3].
Based on these old humanistic studies, recent research focusing on several specific genre
stories has clarified that the quantitative and objective extraction of common plot
structures can be executed using computational methods [4, 5]. In these recent studies, theplot structures were described as sequences of symbolized scenes or functions. The
common plot structures of specific genres were extracted using quantitative methods for
those symbolized sequences.
However, these past studies focused only on specific genres and thus thecommon characteristics of general plot structures have not been recognized. The present
study is the first to develop a common symbol set for describing the plot structures ofseveral different genres. The identification of symbols that are common between different
story genres enables the comparison of the characteristics of each story genre. Thesesymbol sets can be utilized for extracting common patterns of general stories. Moreover,the extracted common patterns could become the foundation for automatic story generation
systems.
Target contents
To compare different story genres, several popular genres in modern Japaneseentertainment culture were selected on the basis of comic and game sales rankings. The
selected genres were “Adventure,” “Battle,” “Love,” “Detective,” and “Horror.” To extract
typical plot structures for each genre, works of combined genres (such as “love comedy”)
were eliminated, and popular short stories were picked up based on sales rankings. If there
were not enough popular short stories, popular long stories were divided into short stories
based on the changes in the purpose of the protagonists of the stories [6]. Subsequently, theselected stories were divided into plot elements (scenes), and the categories were
inductively constructed manually. Table 1 shows the final 29 categories of the plot
elements. This category table and categorized plot data were verified by several analysts.

1 Future University Hakodate

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Details of each genre, that is, number of stories analyzed, number of plot
elements found, and average length of stories, are shown in Table 2. Based on the analysis,a total of 873 stories in five genres were divided into 7695 plot elements and categorized
into 29 types.
Differences and characteristics for each genre
To extract differences between genres, a chi-square test residual analysis was performed.
The results are presented in Table 3.
Table 3 shows the differences between and characteristics of each genre. For
instance, the plot elements about “travel route” frequently appeared in “Adventure,” andthe elements related to human relationships frequently appeared in “Love.” These
characteristics correspond to a general understanding of each genre.
Conclusions and future work
In this study, a common symbol set for the categorization of the plot structure in several
different story genres was developed. Moreover, it was established that the characteristics
of each genre can be quantitatively extracted.
Using the method used in this study, future studies could extract frequently
appearing patterns in each genre. Furthermore, the findings of the study can act as thefoundation for automatic story generation algorithms for general stories.
Reference[1]. Barthes, R., (1968). Elements of Semiology. Hill and Wang, New York, USA.
[2]. Propp, V., (1968). Morphology of the Folk Tale. U of Texas P, USA.
[3]. Campbell, J., (1949). The Hero with a Thousand Faces. Pantheon Books, USA.
[4]. Murai, H., (2014). “Plot Analysis for Describing Punch Line Functions in Shinichi
Hoshi’s Microfiction”, 2014 Workshop on Computational Models of Narrative, (Eds.
Mark A. Finlayson, Jan Christoph Meister, and Emile G. Bruneau), OpenAccessSeries in Informatics, 41:121-129.
[5]. Murai, H., (2020). “Factors of the Detective Story and the Extraction of Plot Patterns
Based on Japanese Detective Comics”, Journal of the Japanese Association for
Digital Humanities, 5(1): 4-21.
[6]. Nakamura, S. and Murai, H., (2020). ‘Proposal of a method for analyzing story
structure of role-playing games focusing on quests structure”, Computer andHumanities Symposium, 2020: 149-156 (in Japanese).
Table 1: Categories of plot elements

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ArrivalEncounter with the protagonist, including events such as birth and revival

Leaving

Leaving from the story, including permanent leaving such as death

ChangeChange in a character's attributes (e.g., swap, transform, and face change by plastic surgery)

Ability improvement

Positive change in a character's ability

Ability decline

Negative change in a character's ability

Getting travel route

A character is able to move

EscapeEscaping from something (e.g., retreat, withdrawal, liberation, and prison break)Losing travel route

A character cannot move (e.g., losing transportation facilities, detention, kidnapping, arrest)

SearchEffort for obtaining information (e.g., exploration, survey, and research)

Discovery

Disclosure of some information or hidden truth

Misunderstanding

A character has a misunderstanding

Doubt

A character notices something suspicious and has doubts

Concealment

Some scenes about hiding information (e.g., concealment, disguise, scam)

External information

External information presentation for audiences through elements such as prologue and epilogue toexplain about the world of the story

Order, promise

It includes not only promise, transaction, and compliance, but also warning and prophecy.

Violation

It includes crime, negligence, ignorance of warnings, and inattention.

Intention, request

It includes scenes related to characters making decisions, that is, scenes involving wishing, request,
persuasion, and invitation.

Completion of request

A scene that mainly consists of fulfilment of a request

Failure of request

A scene that mainly consists of a failure or refusal to grant or fulfil a request

Insanity

Situation wherein the character cannot control himself/herself (e.g., madness, confusion, and possession
by evil spirits)

Positive relationship

Positive changes in human relationships (e.g., conversion, reflection, reconciliation, expression ofgratitude)

Negative relationship

Negative changes in human relationships (e.g., quarrel, betrayal, arrogance, disgust)

Positive love relationship

Positive changes in human love (e.g., falling in love, confession of feelings, date, marriage)

Negative love relationship

Negative changes in human relationships in the context of love (e.g., jealousy, broken heart, divorce)

Aid

It includes many types of “help,” such as rescue, nursing, assistance, encouragement, and sacrifice.

Interference

It includes not only explicit interferences but also acts that intentionally make the other person
uncomfortable.

Confrontation

Combat and competitions, including sports

Everyday

Scenes of ordinary everyday life

Disaster

It includes not only natural disasters, but also accidents and mental crises such as severe depression

Table 2: Data analyzed for each genre
StoriesPlot elements

Average length

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Adventure

206

1795

8.7

Battle

243

2023

8.3

Love

123

1119

9.1

Detective

134

1271

9.5

Horror

167

1487

8.9

Table 3: The prevalence of the identified plot elements in each genre

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Basic Plot Structure in the Adventure and Battle Genres
Yuuri Saito1, Takumi Yoshida1, Shougo Nakamura1, Kazuki Ishikawa1,Shoki Ohta1,
Arisa Ohba1, Takaki Fukumoto1, Hajime Murai1
Background
There have been many studies on extracting the basic structure of stories. Propp found thatthe structure of Russian magical folktales consisted of a combination of 31 different
functional structures [1]. Similarly, Shigehisa conducted a study of structural analysis andquantification methods for video works by applying analytical methods for plot patterns
related to "myths and folktales.” [2] In another study, Nakamura proposed a method foranalyzing plot patterns in role-playing games by focusing on quest structures [3]. There
have also been studies that analyzed role-playing games [4] and studies that extracted thebasic narrative structure of Shinichi Hoshi's short stories [5]. Although all these studies
focused on specific single genres, we believe that if we isolate an element of the narrative
structure, we can discover similar plot patterns in other narrative genres.
In this study, after analyzing the narrative structure of multiple narrative genres,
we created categories that represent narrative functions common to the genres and used

these categories to extract the basic narrative structure for each genre.
In this paper, we will explain the results of the analysis, discuss theirimplications, and present a comparison of plot structure from the adventure and battle
genres.
Object and method of analysis
The works to be analyzed were selected by referring to the total number of copies ofJapanese comics and the number of games sold. The genres analyzed were "Adventure,""Battle," "Romance," "Detective," and "Horror." In the "Adventure" category, the analysis
focused mainly on role-playing games such as "Pokemon" [6] "Dragon Quest" [7] and"Final Fantasy" [8] In the "Battle" category, "Dragon Ball" [9] (Vol. 1-17, comic's
episodes 1-194), "Knights of the Zodiac" [10] (Vol. 1-15, comic's episodes 1-194), and"Bleach" [11] (Vol. 1-21, comic's episodes 1-181) were analyzed. In order to extract atypical narrative structure, the full-length works were divided into quest units according to
the goals and objectives that guide the main character's actions [3].
Subsequently, the work was further divided by scenes, which were classified into
categories according to their functions in the story. In this paper, we assign tag for one
function to one scene. Table 1 shows a list of the 29 categories that were created. Table 2
1

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and Table 3 show the number of quests and scenes in each analysis of the "Adventure" and" Battle" categories, respectively, and the average quest length, which indicates how many
functions a quest could be divided into on average.
Table 1: Category for plot elements.

Table 2: Analysis results for "Adventure”.

Table 3: Analysis results for "Battle”.

Analysis Results and Discussion
For the extraction of narrative structure for each genre, we chose the method of taking 4grams for each scene and combining the most frequent ones in order from the top to thebottom to include them as typical plot patterns that frequently appear in the genre.
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frequency of occurrence in the target narrative genre. Figure 1 shows some of the typicalplot patterns and their contents that frequently appear in "Adventure" and "Battle." Thebracketed areas occupy the places where both the upper and lower patterns are possible.
In "Adventure," the early part tended to feature events that opened up the way to
explore different places. In the middle, there were frequent occurrences of events where
requests are made to the main character, the character makes a decision, and the hidden
truth is disclosed. It ended with a battle against the enemy, victory, growth of the main
character, and the acquisition of gold and silver treasures.
In "Battle," after an event in which a character appears for the first time in theearly stages, the protagonist often decides to fight after being interrupted by an enemy or isinterrupted by an opponent who decides to fight. In the middle, after an event in which theprotagonist helps an ally or is helped by an ally, or an event in which a hidden truth isdisclosed, there is often a battle with the enemy. At the end, while there is one event in the
middle of the battle where the player is in trouble, it often ended with the player's ability
improving and them winning the battle against the enemy or growing after the victory overthe enemy.
The common features of the two genres are that the main character's objective isoften declared in the early stages of the story, the hidden truth is often disclosed in the
middle of the story, battles tend to occur from the middle to the end of the story, andability improvement tends to occur near the end of the story. One difference is that in"Battle," events such as disturbances occur early in the story and objectives that force theprotagonist to fight the enemy are more likely to be shown, while in "Adventure,"
exploratory events are more likely to occur frequently. The other point is that in "Battle," there
is an emphasis on staging that places serious obstacles or challenges in the protagonist's path, suchas ”Ability decline”.

Conclusion
In this study, we created categories that can classify common narrative functions among
genres, and using these categories, we extracted typical plot patterns that frequently appear
in each genre. As a result of discussing and comparing them, we found that "Adventure"and "Battle" share the common feature wherein "ability improvement" and "battle" tend tooccur at the end of the story.
As a future task, we would like to increase the number of works to be analyzed
and collect and analyze more data, so that we can continue to improve the common
categories and plot patterns to make them more general and typical. We would also like tomake these data applicable to automatic story generation.

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Figure 1: Typical plot patterns with frequent occurrences of "Adventure" and"Battle".
Reference[1]. Propp, V., (1968) Morphology of the Folk Tale. U of Texas P, USA.

[2]. Shigehisa, R., Kida, S. and Takada, A., (2007). “A study of quantification methods foranalyzing the structure of video works”, In Proceedings of the 69th national conferenceof the Japan Society of Information and Knowledge, 2007, 499-500 (in Japanese).
[3]. Nakamura, S. and Murai, H., (2020). “Proposal of a method for analyzing story structureof role-playing games focusing on quests structure”, Computer and Humanities
symposium, 2020: 149-156 (in Japanese).
[4]. Ooki, T., Nishijima, K., Uchida, A. and Takada, A., (2006). “An application of narrative
structure analysis to RPG analysis”, In Proceedings of the 68th national conference of
the Japan Society of Information and Knowledge, 2006, 497-498 (in Japanese).
[5]. Murai, H., Matsumoto, N., Sato, C. and Tokosumi, A., (2011). “Towards the numericalanalysis of narrative structure: The characteristics of narrative structure within the shortshort stories of Shinichi Hoshi”, Journal of the Japan Society of Information and Knowledge,(2011): 6-17 (in Japanese).
[6]. Pokemon RED・BLUE, Nintendo Co., Ltd., 1996
[7]. Dragon Quest, SQUARE ENIX HOLDINGS CO., LTD., 1986.
[8]. Final Fantasy, SQUARE ENIX HOLDINGS CO., LTD., 1987.
[9]. Dragon Ball, Akira Toriyama, SHUEISHA, 2002.
[10].
Knights of the Zodiac, Masami Kurumada, SHUEISHA, 1997.
[11].
Bleach, KUBO TAITE, SHUEISHA, 2016.

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Construction of ShiJi Spatiotemporal Information Platform on
the Framework of Research-oriented Knowledge Bases
Jung-Yi Tsai1, Pi-Ling Pai1, Hsiung-Ming Liao1, You-Jun Chen2, Richard Tzong-Han
Tsai13*, I-Chun Fan2
Introduction
Developed by the Center for GIS at Academia Sinica, the ShiJi Spatio-Temporal
Information Platform is an integrated system to present historical information about
people, places, relations, and events in Records of the Grand Historian known by its
Chinese name ShiJi, in its spatial and temporal context. Given that the narrative of ShiJi
provides insightful information outlining the causality and spatio-temporal characteristics
of historical events, ShiJi has served as an essential reference for researchers and scholars
nowadays to clarify the chronological and geographical evolution of related events inancient times. Therefore, this research uses the text of ShiJi as the material for event
analysis and applies the events in ShiJi into a time-space integrated information system.
For the compilation of research-oriented knowledge bases, the platform is built upon
linked data infrastructure, committed to the availability and accessibility of historical,
geographical, and topological data and research results for the benefit of researchers,
scholars, and students.
Datasets
The platform integrated multiple related historical materials and maps that illustratehistorical events recorded in ShiJi, referred to the interpretation of historical experts, andextracted information of time and space in the texts. The platform comprises three primarydatasets: texts in ShiJi with supplementary texts from related historical materials, historicalmaps made by professor Panqing Xu (Xu, 2010), and the database Chinese Civilization inTime and Space (CCTS) (Academia Sinica, 2002).
The texts in ShiJi are reorganized from a series of biographies into 360 main
sections and around 1200 events in chronological order, spanning over 2500 years from theancient Yellow Emperor to the Han Dynasty. The source of an event text may come frommultiple chapters in ShiJi, composed in a contextual chronological narrative, and can also

Center for GIS, Research Center for Humanities and Social Sciences, Academia Sinica,
Taiwan2 Institute of History and Philology, Academia Sinica, Taiwan
3 Department of Computer Science and Information Engineering, National Central University,
Taiwan* corresponding author
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be cross-compared with other historical documents such as Hanshu, Zizhi Tongjian, andthen integrated into respective event texts. The event texts are accompanied bycorresponding maps created by digitizing and georeferencing and then overlaying oraligning them on shaded relief and street maps provided by public web map tile service. A
total of 224 event maps have linked to the event texts on the Shiji platform.
For the 6872 place names identified in the event texts on the GIS-based map
interface, we further carried out named entity linking corresponding to CCTS for
coordinate positioning. By referring to the historical place name database of CCTS, it is
helpful for subsequent integration with the infrastructure of CCTS as a basis for
dynamically marking the locations in the event texts on the multi-period historical map
layers and conducting related research applications.
System Design and Examples of Usage
To introduce the characteristics of the data used by the platform, we first created an
instruction page (Figure 1), presented before users enter the core system.

Figure 1: Home Page of the ShiJi Spatio-Temporal Information Platform
The datasets mentioned above are interrelated, so we design a data interface(DATA API) to access the relevant data of the historical events and integrate the maps andtext data on the platform interface (Figure 2). First, the platform will access thechronological event database to form a historical event timeline with event titles on the
webpage. When users click the box on the historical event timeline to access an event, therelated event text will display in the middle of the page. Secondly, as shown by arrow 2 inFigure 2, the map data access is mainly responsible for listing the event maps currently
integrated with the event. The historical coordinates are responsible for displaying the
spatial information of the place names in the text. When the user clicks on the place names

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(highlighted in yellow) in the text, the system will query the historical coordinates database(arrow 3 in Figure 2), return the coordinates, and then display points on the GIS-based map
interface as shown in the red box in Figure 2.

Figure 2: System Architecture
The platform mainly provides two aspects of the information: (1) the continuous
development of events, (2) the combination of events and geographical information. Users
can follow a given history timeline and observe event developments. For example, as
shown in Figure 3, the event "吳起死 (Wu Qi died)" is followed by subsequent
occurrences such as "齊因韓與秦、魏戰而襲燕取國之桑丘 (Because of Han's war with
Qin and Wei, Qi took advantage of the situation to seize the land of Yan, Sanqiu)" and "田氏併齊與威王因齊立 (The Tian family annexed and inherited the country of Qi and had
Tian Yinqi as the king of Qi)". Users can further analyze the subsequent impact on the
powers and figures of various countries after an incident has occurred.
In addition, users can take geographical information into account while
analyzing events. As shown in Figure 4, in the event "齊因韓與秦、魏戰而襲燕取國之桑丘", users can observe from the historical map and analyze whether the army's
movement was affected by the topography.

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Figure 3: Browsing of subsequent events

Figure 4: Analyze events with geographic information
Conclusion
The platform designs a systematic multi-source data linkage architecture basedon the practice of a research-oriented knowledge base. The framework will help users
effectively retrieve historical and spatial information from the micro-level of a place,
document, event, or period to the macro level of patterns in large, linked datasets that
expose broader topological and cultural processes. With time and space as connecting
factors, the platform offers an unprecedented opportunity to explore the relationshipbetween physical and social space and how this connection was experienced and104

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transformed over time. The platform also indicates the research potential of linking textual
data with map data, facilitating a grander scale of digital humanities research. In the future,
we will use NLP technology to identify relationships between people and event categories.
By integrating more diverse data into this platform, events can be analyzed from a morewell-rounded perspective.
Reference[1]. Xu, P. -Q. (2010). Atlas of ShiJi. Beijing: Seismological Press.
[2]. Academia Sinica. (2002). Chinese Civilization in Time and Space (CCTS), First
Edition, Taipei. Website: https://ccts.sinica.edu.tw/

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Cross-genre Plot Analysis of Detective and Horror Genres
Junya Iwasaki1, Shuuhei Toyosawa1, Kazuki Ishikawa1, Shoki Ohta1, Hajime Murai1
Introduction
Propp has demonstrated that the plots of stories in a specific genre are combinations offinite patterns [1]. Accordingly, there have been studies that have analyzed story plots [2,3]. These studies show the plot structure to be unique to a specific genre. However, acomparison of similar genres has not been sufficiently performed. In this research, in orderto analyze the patterns that found in typical horror and detective stories, both include
mystery in the story structure, we have compared the structure patterns of “Case closed”[4] and “Thriller restaurant” [5] via the use of 4-gram.
Target Contents and Method Used
The target content was collected based on sales. As a sample of a detective story, volumes
1 to 45 of “Case Closed” were chosen. As a sample of a horror story, 15 books of “Thriller
Restaurant” series was chosen.
For both the genres, the story structure was extracted via the reading of target
contents. First, the story was divided into quests based on the protagonist’s goal or purpose[6]. A total of 134 quests of detective stories and 167 quests of horror stories werecollected. Each quest was divided into a scene, and each scene was tagged based on themain function of the scene in question. None of the scenes had two or more tags. Eachfunction of a scene was tagged as a plot element. The number of tags used was 29. Table 1
presents the major plot elements along with the description of their functions. Table 2
represents the number of quests, scenes, and scenes per quest for both the detective andhorror genres. A 4-gram analysis of the plot sequences was conducted.
Results
Table 3 presents the five patterns most frequently used in the detective genre. Table 4
presents the eight patterns most frequently used in the horror genre.
These results have been taken into consideration. Figure 1 presents a typical
pattern of a detective story. Figure 2 presents a typical pattern of a horror story.
The tag specific to the detective genre is “Search.” The reason for this could be
the intention of characters. In detective stories, the detective is motivated to close the case.
However, in horror stories, the characters are not necessarily motivated to discover thetruth behind the horrific experiences. The tags specific to the horror genre are “Doubt” and1 Future University Hakodate

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“Leaving.” “Doubt” is specific because “Doubt” in a detective story could be included in“Search” or “Discovery” contexts. “Leaving” is specific to a horror story because a horror
story directly presents the scenes wherein the characters are “Leaving,” such as die ordisappear. On the contrary, a detective story does not present the scene in which thevictims are killed because the murder is revealed afterwards. These characteristics showthat both detective as well as horror genres include mystery in the story structure. Whilethe detective genre aims to reveal the truth, the horror presents the reactions of charactersto mysterious experiences.
Table 1. Categories of plot elements

Table 2. Quests and scenes of each of the genres

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Table 3. Frequently used patterns in the detective genre

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Table 4. Frequently used patterns in horror genre

Figure 1. Typical pattern of a detective

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Figure 2. Typical pattern of a horror story
Conclusion
In order to compare the story structures of genres include mystery in the story structure,“Case Closed” and “Thriller Restaurant” have been analyzed and symbolized. A 4-gramanalysis was applied to the symbolized story structures. Then the patterns that are
frequently used in both the genres were extracted based on 4-gram result. In addition, thestructural differences between the two genres were considered. As a result, it is suggested
that detective genre aims to solve mystery while horror genre focuses to character’s
reaction.
References[1]. Propp, V., Morphology of the Folk Tale. U of Texas P, USA, 1968.
[2]. Murai, H., "Plot analysis for describing punch line functions in Shinichi Hoshi's
microfiction." 2014 Workshop on Computational Models of Narrative. Schloss
Dagstuhl-Leibniz-Zentrum fuer Informatik, 2014.
[3]. Toyosawa, S., & Murai, H., “Narrative structure analysis punchlines of SF genre within
the flash fiction of Shinichi Hoshi.” The 33rd Annual Conference of the JapaneseSociety for Artificial Intelligence, p.3L3-OS-22a-03, 2019. (In Japanese).
[4]. Aoyama, G., Case Closed. Shogakukan, Japan, 1994.
[5]. Matsutani, M., Thriller Restaurant. Doshinsha, Japan, 1996.
[6]. Nakamura, S., & Murai, H., “Proposal of a method for analyzing story structure of roleplaying games focusing on quests structure.” Computer and Humanities Symposium,
vol.2020, pp.149-156, 2020. (In Japanese).

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Using Moodle as a Multi-Modal Tool for Ainu Language
Education
Matthew Cotter1, Takayuki Okazaki2, Jennifer Teeter3
Introduction“It takes only one generation to lose a language and at least three generations to restore
that language." — Tariana Turia, 2011
Launched in March 2021, the online Te Ataarangi Ainu Language class is the first of it’skind. The class attracts 20-30 participants a week from locations inside and outside ofJapan and was developed to bring Ainu language learners and teachers interested instrengthening the Ainu language in the face of its status as a highly critically endangered
language by UNESCO (2009). Through weekly Zoom lessons broadcast live from
Nibutani, Hokkaido, classes utilized a tried and proven method, the ‘silent way’ language
learning pedagogy and take advantage of an online open-access learning management
system (LMS), Moodle, with the goal of enhancing the language learning experience. The
multi-modal functionality of Moodle serves as both an opportunity for self-access learningand revision of the Zoom classes and also data storage for future availability.
Approach
The silent way, first proposed by Caleb Gattegno (1963) focuses on utilizing silence,gestures and props to elicit attention and active participation from language learners. The
method has also been used by several indigenous groups notably Maori in New Zealand,
who adapted it to their cultural and historical contexts. Developed by a Māori author andeducator, Kāterina Te Heikōkō Mataira and a community leader, Ngoingoi Pewhairangi in
1970s, practitioners have been active in providing training in this highly
successful technique to people working in endangered language revitalization (Okazaki,2015), including Ainu teachers and participants in the aforementioned Ainu language class.
The online Ainu language class itself involves one 90-minute class per week via
the online video conferencing tool, Zoom. Self-access revision and study materials areprovided through employment of Moodle, a Learning Management System(LMS). Participants include Ainu and non-Ainu of multiple nationalities, and range from
Ainu enrolled in a three-year apprentice program in Biratori, especially in Nibutani, where
grassroot Ainu language revitalization efforts are made, shopkeepers, primary school
1

Hokusei Gakuen University Junior College
Kinki University
3
Kyoto Seika University
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teachers, university professors, university students, museum staff at Upopoy: the Symbolic
Space for Ethnic Harmony (Shiraoi, Hokkaido) and people dedicated to Ainu language
revitalization.
Figure 1 shows how the central teacher uses the Cuisenaire rods and props to
first teach the class content on Zoom for each session. Up to five more co-teachers guidepractice and revision of that content in Zoom breakout rooms. The main tools used in the
online classes are Cuisenaire rods, commonly used for the silent way, and various props tosignify who is talking to who during the scripted conversations, something that needs to beestablished when within the live video Zoom context.
Figure 2 shows the Moodle course page developed for the project. Moodle waschosen as the preferred LMS by Ainu language teachers and researchers due to the rangeof functions, or multi-modal features, that were required to suit both the teacher andstudent needs and also user level. A course was created and after registering both teachersand students, a quick explanation of how to use the course was performed during one of
the Zoom sessions. Main functions used on Moodle are 1) the video upload activity fordata storage and to enable students to access and review the online classes, 2)
downloadable pdfs of class content such as new words and phrases learned during theclasses 3) forum and video assessment module for submitting desired content, and 4)
quizzes to test and assess learned content.

Figure 1: Central teacher uses Cuisenaire rods and props to teach the class content
via Zoom

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Figure 2: Moodle course page developed for revision of content and data storage

Conclusion
In this presentation, the background and history into the need for the course will besummarized. The method and style of the online classes will also be described and how
Moodle was used to facilitate self-access and revision of content. This project is part of
the Grants-in-Aid for Scientific Research (KAKENHI) project ‘Improving Awareness
Understanding of Ainu via Online Resources’ number 20K01208.
Reference• Gattegno, C. (1963). Teaching Foreign Languages in Schools: The Silent Way (1st ed.).
Reading,
UK:
Educational
Explorers.
Retrievedfromhttps://issuu.com/eswi/docs/gattegno_-_teaching_foreign_languages_in_schools_t• Okazaki, T. (2015). Te Ataaragi to Maorigofukko [Te Ataarangi and Maori language
Revitalization]. Konton 12. pp.48-65• Turia, T. (2011). Maori Development Organisation, Speech at 13th Annual Provider
Awards 2011 Pohutu Cultural Theatre, Whakarewarewa, Rotorua•

UNESCO (2009). UNESCO Interactive Atlas of the World’s Languages in Danger, Retrieved
from http://www.unesco.org/culture/ich/index.php?pg=00206 1

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An Attempt at Creating Integrated Retrieval for Chinese
Excavated Materials: An Implementation of a Search Function
across Interpretations of Ancient Characters
Shumpei Katakura1
Background
This paper describes a research on development of an integrated search function forcomprehensively finding a phrase from ancient Chinese text data in which each ancientcharacter has multilayered interpretation data.
Many excavated materials from the Warring States period (5th to 3rd centuries
B.C.) have been rediscovered in mainland China since the 1950s. These materials are
essential to studies on ancient China. For research purposes, we attempt to digitalize
information about them as early as possible. However, it is difficult to interpret theseancient characters because many usages of them differ from those of Hanzi(漢字), which
we use now. Excavated materials are found and reported frequently, so arguments on
interpreting many difficult ancient characters have been accumulated without defining
correct answers.
When information about newly excavated materials is released, first, we begin
by interpreting the characters and sentences on them. Then, we refer to other excavatedmaterials since we cannot interpret correctly until we examine enormous interpretations onother materials, such as finding characters that have similar shape and sentences, whichhave similar construction. To improve the efficiency of interpreting through digitalizing,we create a system that contains many interpretations on the excavated materials and caneasily find them.
MethodIn this search function, each character on the excavated materials has multilayered
interpretation data called "Liding"(隷定) and "Shidu"(釈読). "Liding" is the interpretations
pertaining the shape of characters: here, components of ancient characters are modified tothose of Hanzi. "Shidu" is the interpretations on the meaning of characters: the use of anancient character is examined as corresponds to that of Hanzi (Figure 1). It is helpful tocreate this system because we can find characters and sentences on excavated materials interms of both shape and meaning.

1 The University of Tokyo

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Figure 1: An example of “Liding” and “Shidu”.
For example, suppose that there is a Liding sentence on an excavated material as"... 又隈𨑺...", and there are various Shidu interpretations about 「隈」 and 「𨑺」. (Infact, this sentence does not exist. We created this character string for explanatory
convenience.) Table 1 shows the interpretations on each character with Liding and Shidu
by three researchers (A, B, and C).
Table 1: The interpretation data of "...又隈𨑺...".

Here, our system finds this sentence using any search query as below.
(1): To input "又隈" ... Liding of ① and Liding of ② come up.
(2): To input "威苗" ... Shidu C of ② and Shidu B of ③ come up.
(3): To input "又魏" ... Liding of ① and Shidu A of ② come up.
(4): To input "有*逆" ... Shidu A, B, and C of ① and Shidu A of ③ come up.
The function "*" is the wildcard.
Table 2: The diagram of search example.

Depending on our system, we can access various interpretations for search, which include
searching only from Liding data like (1), only from Shidu data like (2), across Liding and
Shidu data like (3), across arbitrary characters like (4) (Table 2). To search for any phrase,using the functions (1), (2), and (3) are effective. To search for any co-occurrence115

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character, the function (4) is effective. By registering as many data as possible, we canshow more information about the characters and sentences.
Here is a case where this system works effectively. In one of the excavatedmaterials, "Baoshang Chu Bamboo-slips(包山楚簡)", there are two Liding phrases as "魯昜 "(slip number 1) and "[⿺辵旅]昜"(slip number 4). The shapes of these ancientcharacters are critically different, however, many interpretations suggest they are both thesame person, "魯 陽", who appears in some Chinese classics, such as "Guoyu(国語)",
therefore we can examine " 魯陽" as Shidu of both "魯昜" and "[⿺辵旅]昜"[2]. To adopt
our system, which enables to search from Shidu data, you can simultaneously find "魯昜"in slip number 1 and "[⿺辵旅]昜" in slip number 4 by inputting "魯陽".
Further, we create original text dataset with metadata (e.g., split number, IDS
information) for search convenience (Table 3).
Table 3: An example of original text dataset of excavated materials.

Conclusion
Many text data of excavated materials on some websites are now described only as Liding
data; even if Shidu data are written together, only one Shidu interpretation judged by the
publisher as most suitable is encompassed. Upon operation, our system puts together many
Shidu interpretations comprehensively, which will lead to digitalizing text data of
excavated materials. We plan to correlate both text and image data and incorporate thissearch system into our digital archive on development.
Reference[1]. 李学勤, 清華大学出土文献研究与保護中心. 清華大学蔵戦国竹簡 8, 中西書局,
2018.
[2]. 劉信芳. 包山楚簡解詁, 藝文印書館, 2003.

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Collecting Canons: Comparing Guodian and Mawangdui Laozi
Texts with the Dead Sea Scrolls
Janelle Peters
Project Description
This project allows students to interact with the manuscripts of the Laozi and the Dead Sea
Scrolls. It uses extant scholarly collections of the Guodian Bamboo Texts, the Mawangdui
Silk Texts, and the Dead Sea Scrolls. It gives students a set of maps, timelines, themes, andnetworks of authority. This allows students to compare the contemporary Laozi and Dead
Sea Scrolls through the lens of their respective (and largely unconnected) contexts, the lensof receiving communities, and the lens of digital humanists.
Corpora
The Laozi texts were composed in roughly the same period (4th c. – 2nd c. BCE) as the
Dead Sea Scrolls (3rd c. BCE – 1st c. CE). Both sets of texts exhibit group blending andchange. For the Laozi texts, one finds Confucianism and Daoism. For Qumran, scholars
still debate the exact nature of the insular and yet widespread nature of the Judaism of thegroup(s) that collected the scrolls. All of these texts have the advantage of having
intentionally collected and placed manuscripts; they were not sifted out of the trash,leaving scholars to puzzle about their continued significance and the reasons for discarding
them. They stretch over a small number of centuries, allowing scholars to find subtle
changes such as the addition of ideals of emulating water or feminine ways between the
Guodian and Mawangdui manuscripts despite an overall trend toward textual
conservatism. [1]Pedagogical History
This project comes out of several semesters teaching core classes to non-majors at thelower-division and upper-division undergraduate levels at Loyola Marymount University
in Los Angeles, California. Students often encounter texts for the first time, and they do
not have a consistent training in digital humanities methodology. They need classes thatwill allow them to engage in the details of the text in a meaningful way while also notpresupposing any previous knowledge on their part. These core classes have twochallenges: 1) familiarizing students with voluminous textual traditions, 2) furthering
students in knowledge of scholarly techniques.
For the first challenge, there is the fact that the early Laozi manuscripts and theDead Sea Scrolls have a large set of manuscripts. While hardly “Big Data,” the117

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manuscripts nonetheless have a scale that is too large for undergraduate students to read in
their entirety in a non-major semester course. Moreover, there is evidence that the Laozi
and the sacred texts found at Qumran were reordered in ways that are not found in latercanonical traditions. Allowing students to manipulate the manuscript content allows themto interact with the texts in a process more aligned to what transpired in antiquity andaccelerates their exposure to textual themes through their own analyses.
For the second challenge, there is a classroom context in which many of theundergraduate students apply advanced scholarly techniques for the first time. The
compendious site http://www.bamboosilk.org/ is in the Chinese language, which is not alanguage most of the students know. There are some sites that allow students to see themultiple translations of later traditions(https://pages.ucsd.edu/~dkjordan/chin/LaoJuang/DDJTenTranslations.html), but
undergraduate, non-major students need guided projects to reorder texts and compare
themes. Such work generates helpful insight into the imagination and enduring humanistic
value of the texts and also the issues involved in historiography, translation, and the digital
humanities.
MethodStudents will use R and Palladio to create word clouds, timelines, networks (e.g., Teacherof Righteousness), and maps. Digital humanities problems the students will have toconsider will range from data cleaning (including grammatical number) to lemmatization(including continuous script concerns) to named-entry recognition. A specific contribution
the students can make is to include Dead Sea Scrolls texts with community beliefs andDead Sea Scrolls texts now considered part of the Catholic or Orthodox canon fully in theanalysis, such as the book of Tobit. [2] Scholarly analyses customarily bracket out thesetexts due to their lack of inclusion in the rabbinic Jewish canon and also the Protestantcanon, though they quite helpfully have been taking the form of Palladio-ready lists andExcel spreadsheets for decades. [3] Nonetheless, like scholarly discourse on thedevelopment of the Laozi, scholars do not wholly agree upon which texts were considered
to have canonical form at Qumran, but they are certain that these texts were considered
important enough to be preserved among scriptural texts and community documents in asetting oriented toward a belief in divine interaction. [4] None of these sites are like that ofNag Hammadi, and their assemblages therefore all have more intrinsic coherence as they
were intended to be collected and preserved at their locations. Moreover, it is possible thatthe texts many Jews during the Second Temple Period considered canonical were notexactly identical to the later Hebrew Bible. [5]118

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Desired Outcome
Learning outcomes should yield an appreciation for diverse “canonization” orstandardization processes and textual fluidity, a consideration of the work of scholars in
preparing editions and translations, and familiarity with exploring aspects of lists throughuse of R and Palladio. Students do not have to make a major breakthrough with thisproject. They are learning about the situated texts by concentrating on the details of thesites and the texts and asking their own questions within the framework of R and Palladio.
Reference[1]. Edward L. Shaughnessy, “A First Reading of the Shanghai Museum Bamboo-Strip
Manuscript of the Zhou Yi,” Early China 30 (2005): 1-24; Edward L. Shaughnessy,
Rewriting Early Chinese Texts (SUNY 2006).
[2]. Joseph Fitzmyer, “The Aramaic and Hebrew Fragments of Tobit from Qumran Cave
4,” Catholic Biblical Quarterly 57 (1995): 655-675.
[3]. Emanuel Tov, Revised Lists of the Texts from the Judaean Desert (Brill 2009), chapter
3.
[4]. Guolong Lai, Excavating the Afterlife: The Archeology of Early Chinese Religion(Washington 2015), chapter 5.
[5]. Hindy Najman, “The Vitality of Scripture Within and Beyond the ‘Canon,’” Journal
for the Study of Judaism 43 (2012): 497-518; Tim Whitmarsh, Dirty Love: The
Genealogy of the Ancient Greek Novel (Oxford 2018), 103.

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Development of Database for Japanese Conversation Patterns:
an observation from noun phrases ending with focus particle"mo (also)"
Mika Ebara1, Hilofumi Yamamoto1
Introduction
The purpose of the present study is to propose the development of a database for Japaneseconversational patterns and rules using a recorded reconstruction discourse dataset. To
explain the necessity of the development, we will show an example of the analysis of nounphrases with a focus particle (mo: also). Research studies have been very actively studying
Japanese focus particles or binding particles (Aoyagi, 2008; Numata, 2009). Althoughmany studies have been conducted on the functions of particles in sentences, focus
particles are difficult to deal with in the original formats of recorded linguistic texts since
the particles indicate the focus element in a sentence. Since not only particles but also
content words are often omitted in Japanese conversation, we will reconstruct full sentence
to start the analyses.
Application Example
The present paper will analyze the particle “mo” occurring after a noun phrase in the final
position of an utterance in a casual conversation. We will show an example from thecorpus data of the Gen-Nichi-Ken Corpus of Workplace Conversation (CWPC). The
search conditions were as follows: a string consisting of noun phrase + binding particle and
one word immediately before the end of the utterance unit. Eighteen cases were matched in
total. Table 1 indicates three extracted cases where the utterances ended with mo, which
are #3, #4, and #11.
Since each utterance ends before the appearance of a noun phrase with mo, theresults allow us to estimate two possibilities of sentence construction, that is, a one-word
sentence and a right dislocational sentence. The one-word sentence in the context indicates
an answer, confirmation, or question for the question, topic presentation, or time/placesetting (Onoe, 1998). However, the previous context for each of #3, #4, and #11 does notcontain question equivalent sentences, nor does “English”, “23”, or “the first time”
represent any question, topic, time or place, respectively. None of these elements can be
regarded as features of a one-word sentence.

1 Tokyo Institute of Technology

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Table 1: The ending fragment of each utterance unit is accompanied with nounphrase + mo; texts taken from Gen-Nichi-Ken Corpus of Workplace Conversation(CWPC)ID

Japanese

English3.

PN, Eigo mada dekinai, osietekure tte

PN (said) I cannot do English yet, teach me

HontoreallyKotti de osieta no mo aru

there is a case that I taught

Eigo mo<KEY> English too

Un

yeah

23 desyo, de, 25 desyo

23(rd), and 25(th)25 wa ne, kekkoo minna deteru yo

25(th), everyone is out

23 mo<KEY> 23(rd), too

PN san mo ne

PN, too

Kore doo datta kke<Q> how was this?

Konna datta ke<Q> like this?

A, sonna desita

oh, like that

Saisyo mo<KEY> the first time too

Saisyo no yatu desuka

the first one

4.

11.

We will examine another possibility: the right dislocational sentence. The rightdislocation can be analyzed as follows: there are two sentences where any predictable partis omitted; and any element in a sentence is dislocated to the right or left of the original
position (Watanuki, 2006). If some parts in a sentence are omitted phonologically, all cases
can be recovered. In addition, if the omitted part is presumed, it can be recovered in thesame way according to what they uttered previously. We will reconstruct sentences withword-for-word glosses, such as in (1), which is the extracted utterances from #3. The
missing particles and words need to be complemented, as in (1b).
(1) a. PN(personal name), Eigo mada deki-nai, osiete-kure

tte

PN

English yet can-NEG teach (for me) thatSUBJ

OBJ ADVb. PN wa

Eigo ga

AUX

VERB

QUOT

mada deki-nai, osiete-kure tte

PN-TOP English-OBJ ADV AUX

VERB

itta

QUOT VERB

We reconstructed the sentences in three cases and marked if they were
acceptable after the reconstruction as shown in Table 2. As a result, the sentences in #3 and121

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#4 were not acceptable. A sentence that includes a noun phrase with mo may not always be
a dislocation phenomenon. The noun phrase with mo in #11 can be regarded as naturally
embedded in the previous sentence. We can analyze them using a syntactic approach. #11
has a syntactic property which is a right dislocation but #3 and #4 cannot be explained
within the syntactic analysis. Hence, the sentence reconstruction we attempted is one of theindispensable processes for describing underlying grammatical rules.
Table 2: Data reconstructed to full sentences and their acceptances. * indicatesunacceptable data; ✔ indicates acceptable data; texts taken from Gen-Nichi-Ken
Corpus of Workplace Conversation (CWPC)
ID

Japanese

Full sentence and acceptance3.

PN, Eigo mada dekinai, osietekure tte

PN wa Eigo ga mada dekinai, osietekure tte itta

Honto

Honto ni

Kotti de osieta no mo aru

Kare ni kotti de osieta no mo aru

Eigo mo*Kare ni Eigo mo osieta

UnUn

23 desyo, de, 25 desyo

23 desyo, de, 25 desyo

25 wa ne, kekkoo minna deteru yo

25 wa ne, minna wa kekkoo soto ni deteru yo

23 mo*Minna wa 23 mo soto ni deteru

PN san mo ne

PN san mo soto ni deteru ne

Kore doo datta kke

Kore wa doo datta kke

Konna datta ke

Kore wa konna no datta kke

A, sonna desita

A, kore wa sonna no desita

Saisyo mo✔Saisyo mo sonna no desita

Saisyo no yatu desuka

Saisyo no yatu desuka

4.

11.

Conclusion
One of the three data extracted from CWPC can be analyzed as a right dislocation, whereas
two data show counterexamples to previous sentence-based studies. To obtain thesefindings, we manually transformed the original format of the conversation corpus into one
consistent searchable string and attached marks to indicate if the reconstructed sentenceswere acceptable in the context. We conclude that the conventional elements need to bereconstructed into a searchable unit and compiled as a database. In the future, we will use
other corpora together and develop a research database that includes the description of
search conditions and research questions.

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References[1]. Aoyagi, H. (2008). On the Morphological, Syntactic and Semantic Behavior of Toritate
Particles: With an Emphasis on the Distinction between Kakari-Joshi and Fuku-Joshi.
Journal of Japanese Grammar, 8(2): 37-53.
[2]. Gen-Nichi-Ken
CorpusofWorkplace
Conversation(CWPC)
https://chunagon.ninjal.ac.jp/shokuba/search (Accessed on 2021-06-07). National
Institute for Japanese Language and Linguistics. (Database from Gendai Nihongo
Kenkyu Kai Ed. (2011). Gappon Josei no Kotoba Dansei no Kotoba (Shokuba Hen)
[Combined Book: Expressions of Women Expressions of Men (Workplace)]. Tokyo:
Hituzi Syobo.)[3]. Numata, Y. (2009). Gendai Nihongo Toritate-shi no Kenkyu [Studies on Modern
Japanese Focus Word]. Tokyo: Hituzi Syobo.
[4]. Onoe, K. (1998). Ichigo-Bun no Yoho: “Ima / Koko” o Hanarenai Bun no Kento notame ni [Usage of One-Word-Sentence: Consideration of Sentence Depending on“Now / Here”]. Tokyo Daigaku Kokugo Kenkyushitsu Sosetsu Hyaku Shunen Kinen
Kokugo Kenkyu Ronshu [100th Anniversary of Tokyo University Laboratory ofJapanese Language: Collections of Japanese Language Study], 888-908. Tokyo:
Kyuko Shoin.
[5]. Watanuki, K. (2006). Nihongo no Kochibun: Sahoidobun to no Soi [Japanese Right
Dislocation: Difference from Left Dislocation]. Scientific Approaches to Language,
5: 251-268.

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Drug-focused text summarization of coronavirus-related
articles for the discovery of COVID-19 therapies
Setsuro Matsuda1
Abstract
Since December in 2019, we humans have been exposed to the threat of COVID-19. As of
May 17, 2021, about 163 million people have been infected with the novel coronavirus.
Although the vaccination against this virus has already started in various countries, noeffective drugs for treatment have been developed to date. What is worse, mutant variants
that have a higher infection rate than the original virus emerged and are rapidly spreading
all over the world. Under such circumstances, a data repository project entitled “CORD19” has been launched to boost researches related to COVID-19. CORD-19 stands for
COVID-19 Open Research Dataset and provides more than 280,000 scholarly articles
about the novel coronavirus. The author downloaded the CORD-19 file released on March
8, 2021 and attempted to discover promising treatment drugs by using text mining
techniques. Namely, the present work aims to repurpose or reposition existing drugs for
COVID-19 therapies. The first step of this study was to extract the abstracts of the CORD19 articles saved in the JSON format. This was done because the repository contains too
many text data to be analyzed by a personal computer. After that, abstracts with “drug” or“medicine” in their texts were selected to focus on drug-related articles.
As the second step, the part-of-speech tags were added to each word of theselected abstracts with the “Tree Tagger.” The tags for proper noun: NP and NPS, which
are defined in the Penn Treebank Project, enable us to identify the names of drugs or
chemicals. In general, drug names tend to be lengthy and their suffix is characteristic. For
example, antiviral drugs such as favipiravir and remdesivir have the suffix, -vir at the endof the name in common. Therefore, the author tried to extract proper nouns that consist of
more than eight letters and end with frequently occurred three-letter suffixes such as -virand -ine. For the purpose of double-checking, the extracted drug-like names were searched
in a drug information database, “KEGG MEDICUS.” As a result, 42 proper nouns havebeen found to be drug names.
The third step was to identify which verbs frequently co-occur with the 42 drugs.
The frequency analysis of co-occurred verbs revealed that verbs such as convert, treat,
inhibit, bind, and dock seem to be used specifically in the context of medicine. Among the
top ten verbs with a frequency higher than 60, treat and inhibit were focused since the1 Department of Humanities, National Institute of Technology, Matsue College, Japan

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other verbs except for convert often appear in general contexts. The verb, convert was also
excluded in the following analysis. This is because the verb must be part of the phrase,“angiotensin converting enzyme 2 (ACE2),” which is a primary receptor for the spike
protein of the novel coronavirus (i.e. SARS-CoV-2).
In the final stage, the abstracts that include both the 42 drug names and the 2collocational verbs were analyzed. In order to discover promising treatment drugs andobtain informative research findings, the LexRank algorithm was applied to summarizing
the texts in the targeted abstracts. This algorithm is a graph-based extractive
summarization and the similarity between two sentences is estimated by the cosine
similarity based on bag-of-words model. Then, sentences to be included in the summary
are highly ranked by the PageRank score employed in Google’s search engine. The
resultant summary has demonstrated that a stereoisomer of nelfinavir, which is an antiviraldrug against HIV, is an effective structure for the treatment of COVID-19 and the tyrosine
kinase inhibitor, imatinib is a possible therapeutic drug for the disease. It also suggests thatthe compound of remdesivir and chloroquine seems to have no beneficial effect for
COVID-19 patients. These results show that the methodology proposed in this study ishelpful to efficiently retrieve drug information for the treatment of COVID-19 from alarge-scale dataset.

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Reconstruction and Utilization of Text Data Using TEI:
Case study of the Shibusawa Eiichi Denki Shiryo
Boyoung Kim1, Satoru Nakamura2, Yuta Hashimoto3,Naoki Kokaze4, Sayaka Inoue5, Toru
Shigehara6, Kiyonori Nagasaki7

Introduction
The Shibusawa Eiichi denki shiryo, biographical materials on Shibusawa Eiichi (18401931), who was a leading figure in the development of Japan’s modern society, waspublished in 68 volumes between 1955 and 1971 and contains more than 38,000 primarysources. Since this material is a basic source for research on modern Japanese history,
there are great expectations for its potential use when digitized. Work on digitization began
in 2004 and volumes 1 to 57 of the main volume (volume 58 is excluded because of theindex) can be viewed online from 2016[1]. On the other hand, the remaining 10
supplementary volumes that contain diaries (include schedule), letters, discourse, lectures,and photographs are not released yet.
Purpose of the Study
The purpose of this study is to reconstruct the text data of the diary and schedule listed in
the first and second volumes of the 10 supplementary volumes based on the Text Encoding
Initiative (TEI) guidelines to provide an open access and increase usability. It was
conducted for 11 months as an incentive study for Integrated Studies of Cultural andResearch Resources at the National Museum of Japanese History in 2020[2]. The goals of
the research are (1) to propose a versatile TEI markup method for Japanese materials, (2)to present a multifaceted research approach through various visualizations and analyses,and (3) to consider a possibility of application to archival materials. In this presentation,
we will describe the research contents and results of these goals.
Contents and results
First, for the goal of (1), we examined the markup method for data structuring andJapanese-specific expressions. Since the text data exceeds 18,000 characters, we decided

1
2
3
4
5
6
7

Shibusawa Eiichi Memorial Foundation
The University of Tokyo
National Museum of Japanese History
Chiba University
Shibusawa Eiichi Memorial Foundation
Shibusawa Eiichi Memorial Foundation
International Institute for Digital Humanities

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on the overall structure first and marked it up automatically using Python, and finally,
fixed the TEI tag manually. Regarding data structuring, we marked up both the content
structure of materials such as volumes, parts, and chapters and the physical structure of abook. In particular, it can be said that the feature of this research is that the structure wasdesigned based on the group of primary sources. Moreover, we automatically tagged some
types of entities such as person names and place names via a function of a morphologicalanalysis tool, Mecab. With regard to Japanese-specific expressions with TEI markup,
however, although some problems that arise, such as problems when writing Warigaki andvertical writing horizontally, have been extracted, the research didn't reach the stage ofshowing the concrete answer. It should be studied further.
Next, for the goal of (2), we worked on (a) full-text display and (b) visualization
with tags for unique expressions, by using not only TEI but also the International Image
Interoperability Framework (IIIF) and the Resource Description Framework (RDF). For (a)full-text display, we developed a viewer that displays the contents (table of contents) using
the hierarchical structure of TEI-structured text data. In addition, an environment in which
images and text can be viewed simultaneously has been developed by associating IIIF
images with the text using TEI facsimile tags. (b)As for the visualization with tags forunique expressions, we used "date and time" and "person and place name" information forvisualization. In the visualization using "date and time" information, we visualized the total
number and distribution of data by year, and visualized them in calendar format, as shownin Figure 1.

Figure 1: Visualization of diaries in calendar format
In addition, for visualization using "person and place name" information, we
described information about people and places using RDF and associated it with an127

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external knowledge base such as DBpedia Japanese to obtain thumbnail images,
descriptions, and location information. By utilizing this extended information, thefunctions to visualize a network of people and to present items that provide evidence of therelations were developed as shown in Figure 2. Furthermore, we also provide a searchfunction based on place names on a map using location information.

Figure 2: People network and items that provide evidence of the relations
Conclusion
Here are three outcomes of this research. The first is the release of the full-text data whichhave not been published online until now. The TEI file can be obtained from the"Shibusawa Eiichi Diary"[3] built for public use. The second is to show a method thattakes into account the characteristics of the text data in the TEI markup. This approach canprovide a reference to archival institutions to improve the utilization of their holdings. The
third is the construction and release of "Shibusawa Eiichi Diary" as a research support tool.
Visualization on this site using calendars, graphs, network diagrams, and maps made iteasy to analyze the text data from various points of view such as the yearly distribution ofmaterials, the lifestyle patterns of Shibusawa Eiichi, and the connections between related
people.
Reference[1]. デジタル版『渋沢栄一伝記資料』,
https://eiichi.shibusawa.or.jp/denkishiryo/digital/main/, Accessed on 2021-07-07[2]. 2020 年度国立歴史民俗博物館総合資料学奨励研究 「TEI を用いた『渋沢栄一伝記資料』テキストデータの再構築と活用」

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[3]. Shibusawa Eiichi Diary, https://shibusawa-dlab.github.io/app1/, Accessed on 202107-07

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Development of a support system for extracting mentioned
bibliographical data from the Encyclopédie entries
Satoru Nakamura1, Ayano Kokaze2, Yoshiho Iida3, Naoki Kokaze4, Tatsuo Hemmi5
Introduction
This paper presents the system, with its significance, we have developed to support theSociety for the Study of the Encyclopédie and the Enlightenment which is working on a
project (1) to identify the works mentioned in the text of each entry of the Encyclopédie,(2) to list them up, and finally (3) to complete their bibliographical data. The Encyclopédie
is a large-scale encyclopedia edited by the French Enlightenment philosophers, i.e. Denis
Diderot and Jean Le Rond d’Alembert and other Encyclopédistes, for more than 20 years
from 1751 to 1772. It consists of 28 volumes, of which 17 contained the text and 11
illustrations, followed by a supplementary volume and an index. The total number of
entries is more than 70,000. The text of the Encyclopédie is written by, while referring toand often quoting from, a variety of prior texts, e.g. Bibles, dictionaries, books, and journal
articles.
Our contributions and further implications consist in the following points. (1)From the viewpoint of the Encyclopédie studies, ours will provide a complete list of works
that the Encyclopédistes referred to in writing the entries and that the Encyclopédie as awhole is based on, which the previous research and critical editions of the Encyclopédie
did not mainly focus on [Schwab 1971–1972; ARTFL; ENCCRE]. (2) The results of thisstudy, when completed, will have the following historical and DH implications. This study
contributes to creating citation networks for the philosophers of the Age of Enlightenmentby aggregating data on the bibliographical information referred to in the Encyclopédie
entries. Identifying the formation of knowledge through citation networks has been thesubject of DH, as in contributions dealing with intertextuality in the field of classics [Murai
et al. 2007; Romanello 2016]. As for historiography, there is argument from the gender
perspective, e.g. [Kawashima 2005], that academia remained male-dominated in the 18th
century, despite many women in the salons: this gender bias is a common problem withcitation networks of the Encyclopédie. Although this issue is a historical discussion ofideas in the 18th century, it is also an issue with the actuality that connects tocontemporary academia: in recent years, through citation analysis, some DH scholars have
1 The University of Tokyo Historiographical Institute
2 Ochanomizu University
3 Aoyama Gakuin University
4 Chiba University
5 Niigata University

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criticized the fact that most of the highly regarded central research in DH research andeducation has been conducted by a few scholars from the viewpoints of language, race,
geography, and gender [Fiormonte, 2015; Earhart et al. 2020]. Finally, (3) in a technicalcontext, this project is one practice of citizen-participatory research in the humanities.
Examples include the citizen-participatory transcription project “Minna de Honkoku”[Hashimoto 2019] and the “SAT Daizōkyō Text Database” [Nagasaki 2017]. In addition,
there are researches for data enrichment with Named Entity Recognition [Yoshiga 2021]
and tools such as Recogito [Recogito] to support markup. While referring to their
methodologies, this paper presents the system to support this project.
Process to extract authority information
Figure 1 shows an example of an entry of L’Encyclopédie. Nomenclature (Entry name),
Auteur mentionné (Mentioned author(s)), Titre mentionné (Name of the work mentioned),and so on, are extracted from the text. In addition, normalized data of spellinginconsistencies in the text is created to aggregate authority information. For example,
Tournefort’s Inst. rei herb. mentioned in the text is normalized to Joseph Pitton deTournefort’s Institutiones rei herbariae (1700). Previously, the project has managed theinformation described above with MS Excel. As a result, there were difficulties incollaborative work, increased input errors (typos and omissions due to manual input), anddifficulty getting new entrants due to knowledge and language issues.

Figure 1: Example of an entry: BAAL ou BEL

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Developed system
Figure 2 shows the overall picture of the developed system. We develop a web application
with Google’s Firebase, which will solve one of the challenges mentioned earlier, thedifficulty of collaboration. To create the data in the left part of the figure, we used the text
available on Wikisource. Some of the authority information is mechanically extracted inadvance, using the rules for extracting authority information obtained in Volume 1. As ofthe end of May, 4374 entries for Volume 2 are registered. The developed system, shown inthe center of the figure, provides functions such as input form for authority information,user management, and review function. The text is displayed on the left side of the input
screen, and the input form is displayed on the right side. The user enters the necessary
information in the form on the right side, copying the text displayed on the left side asnecessary. This input assistance function contributes to reducing input errors, which was
one of the issues mentioned above. It also provides functions to highlight the relevant partof the text based on the authority information entered and assists the normalization ofnotational errors in text based on the achievement of Volume 1. The registered data will be
used for the visualization of the number of registered entries. In addition, it can beexported in CSV format, which increases the independence of data from the system, andleads to the long-term preservation of data.

Figure 2: Overview of the developed system
Conclusion
This research describes the developed system to support the extraction of bibliographicaldata from the Encyclopédie. Three months after the system launched, the number ofregistered users is 16, and they entered 484 bibliographical data out of 4374 entries, whichfalls short of our expectations. Therefore, we should encourage the participation of abroader range of people, not just members of the Society, by improving the system
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functionality as follows: (1) to provide functions for users who are not good at French,with which they can read the 18th-century French text while referring to online dictionaries
and machine translation; and (2) to adopt gamification and visualization techniques that
automatically display and update the network of entries and authors based on the inputtedbibliographical data. Such techniques would contribute to upkeep the participants’motivation and share the results beyond entering bibliographical data.
Bibliography
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•
•

•
•

•

•

•

•
•

•

•

Académie des Sciences (2017). Édition Numérique Collaborative et CRitique del’Encyclopédie. http://enccre.academie-sciences.fr/encyclopedie/.
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Romanello, M. (2016). Exploring Citation Networks to Study Intertextuality inClassics. Digital Humanities Quarterly, 010(2).
http://www.digitalhumanities.org/dhq/vol/10/2/000255/000255.html.
Schwab, Richard N. with the collaboration of Walter E. Rex. (1971-72). Inventory ofDiderot’s Encyclopédie, 6 vols, SVEC, 80, 83, 85, 91-93. Oxford: The VoltaireFoundation.
Yoshiga, N. (2021). Conversion of Historical Ogihan Business Records into Linked
Open Data via Human-Machine Cooperation. In The National Museum of Japanese
History (ed), Japanese and Asian Historical Resources in the Digital Age. Golden,
CO: Fulcrum, pp. 121–45. https://hdl.handle.net/2027/fulcrum.5d86p217p.

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Platformed reflections on the Pandemic: Covid-19 andElectronic Literature
Anna Nacher1, Søren Bro Pold 2, Scott Rettberg3
Introduction
The paper reflects on the experience of collaboratively curating the online exhibition ofdigital art and electronic literature, [1] “COVID e-lit”, which opened in May 2021 as partof Electronic Literature Organization 2021 Conference & Festival. The project, supported
by a small DARIAH-eu grant, incorporated a series of 13 interviews with artists featured at
the exhibition carried out in February and March of 2021, which were consecutively usedas material for the documentary to have its premiere in June 2021.
Approach
The sheer fact that born-digital creative output is prone to ephemerality and technicalobsolescence informs a specific auto-reflexivity of digital media, manifesting among otherways as a meaningful, sustained, and consistent effort at archiving potentially fluid andunstable content. This requires a significant amount of infrastructure and several
communities of practice that have emerged as a way to archive rich, technologically, andaesthetically robust e-literary content. Through our project, located at the crossroads of
documentation, research, and archiving, we tap into a vigorous archiving activity of eliterature scholars, practitioners, and audiences. One of the major outlets is ELMCIP
Knowledge Base, where we are setting up a research collection [2] “Pandemic E-literature”
in order to establish a basis for comparing different approaches to documenting andprocessing the pandemic through digital art.

1 Jagiellonian University
2 Aarhus University
3 University of Bergen

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Figure 1: Research Collection at ELMCIP Knowledge Base
The impulse to archive is all the more meaningful in the age of the pandemic
when in the course of barely a couple of months in 2020 we witnessed almost every aspectof our everyday life transferred online. This quickly resulted in both an explosion of newforms of creativity and the acute syndrome of new forms of platform overload such as the
much-touted “Zoom fatigue”. The former were often mediated through popular platforms
and brought new digital genres in addition to already recognized but still under-researched
ones. During the COVID-19 crisis, digital networked platforms took center stage andcorporations like Facebook, Google, Apple, and Zoom became our main interfaces topublic space and cultural life. The affordances of popular digital services not only shaped
our responses and reactions to the crisis but the algorithms they are based on also reveal
their [3] “residual power” (Parisi, 2013: 13), increasingly [4] posing significant challenges
to human perception and cognition (Clough, 2018). One of the results from such a shift isrelated to what Naomi Klein has named “Screen New Deal”, where commercial
technology platforms are introduced to a much larger extent and integrated into our private
spaces and homes. Digital artists are developing new forms of critical reflection on thisnew arrangement of our relationship to technology, e.g. about how platforms invade
privacy, intimacy, individual spaces and simultaneously impact collaboration,communities, cultural and political life. Such reflection often takes the form of digital
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artwork, viewable online, available for download, or functioning as a browser plug-in, thatcan serve as critical digital media.
When we started discussing the Covid-19 pandemic and electronic literature, wereflected on the fact that, while there are many public memorials related to wars, there arevery few related to epidemics and diseases. Apart from the horrible scenes we have seenfrom hospitals around the world, the everyday experience of the pandemic has for many ofus mostly been visible through its lack of normality, as reflected for example in closed
down, deserted cities. The Covid E-lit exhibition portrays all this through art and electronic
literature as, we hope, an already historical document of life under the pandemic. We
believe the exhibition demonstrates that the pandemic, besides all its horrors andcancellations, has also been a genuine moment for art and electronic literature. In thepaper, we analyze how such a strategy of digital artwork functions both as a publicmemorial - developed both as fluid and unstable digital artwork and as plethora of
documenting and archiving activities emerging around it - and as a performative critique ofdigital culture through self-reflective networked media amplified by the pandemic. Boththese facets have emerged across diverse sites of creative interrogation and production,
exemplifying what Luciana Parisi calls [3] “aesthetic function of algorithms” resulting in“outbreak of randomness within logic” (Parisi 2013: xv). The latter can be also ascribed tothe instances of creative use of platforms and datastreams contrasted with their normative,
prescriptive and habituated popular deployment. The process has accelerated with themassive COVID-19-induced shift online, thus signalling the possible prospect of asignificant change of paradigm.
Based on the insights gained through various aspects of this practice-based andethnographic approach, our analysis explores the cultural moment of the COVID-19
pandemic through the lens of digital culture as reflected in electronic literature and digitalart produced in sites that differ geographically, socially, and culturally. The method
allowed us a glimpse into various aspects of the early stage of the pandemic in diverse
locations. From a net art visual essay on cultural experience of pandemic life in Brazil,
where President Bolsonaro obfuscated its very existence (Giselle Beiguelman’s Coronario/ Coronary), to a Muslim-Oromo artist’s attempt at journalling elusive yet visceral sense ofisolation resulting in deepened relationship with himself and the world at large (Bilal
Mohammed’s Lost Inside: A Digital Inquiry), to documentation of overwhelming scopeand scale of COVID-19-related humanitarian crisis happening in spaces rarely explored oreven brought to attention of wider public: the American infamous criminal punishment
system, overcrowded and unsanitary even well before the pandemic (Sharon Daniel’s andErik Loyer’s Exposed). Some of the artworks explicitly emphasize the troubling
relationship between affective response to the overwhelming news on virus transforming
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all the social sphere within barely a few days and the profit- and data-mining oriented
commercial platforms, such as Twitter or Facebook (Ben Grosser’s Doomscrolling, and tosome extent Mark Sample’s Content Moderator Sim).

Figure 2: Giselle Beiguelman, Coronario / Coronary (Covid E-lit Online Exhibition)

Figure 3: Bilal Mohammed, Lost Inside: A Digital Inquiry (Covid E-lit Online
Exhibition)
Conclusion
In sum, the exhibition demonstrates how digital art, embedded and operating within
platforms, can provide a unique take both on platform culture and the experience of living
within platforms during a time of global crisis.

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Reference
Rettberg, S., Pold S. B., Nacher A. (2021). Pandemic E-lit. Research Collection. ELMCIP
Knowledge Base, https://elmcip.net/research-collection/pandemic-e-lit , Accessed
15.08.2021.
Rettberg, S., Pold S. B., Nacher A. (2021). Covid E-lit online exhibition.
https://www.eliterature.org/elo2021/covid/ , Accessed 15.08.2021.
Parisi, L. (2013) Contagious Architecture. Computation, Aesthetics, and Space.
Cambridge, Mass: MIT Press.
Clough, P. T. (2018). The User Unconscious. On Affect, Media, and Pleasure. London:
University of Minnesota Press.

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Digital Humanities and the way forward for ethnographic
research: What we learned from Covid-19?
Deepika Kashyap1
Abstract
The ongoing Covid-19 pandemic has put many academic disciplines and research
institutions at risk and has created an uncertain future as many of the ongoing research, or
the proposed research are disrupted or stopped indefinitely. Many scholars, academicians,
and researchers grapple with the thoughts and techniques to overcome this unprecedented
event and resume their work safely. Now, the safety of the researchers and the subjects are
ethical and moral questions for many institutions and disciplines. Although all academic
disciplines are affected by this pandemic, the degree of intensity varies from discipline todiscipline. There are disciplines like anthropology, sociology, ethnology, and folklore
whose laboratories are located outside the four walls of their research institute, which areadversely affected by the pandemic. Researchers from the mentioned disciplines closely
deal with the everyday lives of people where intimacy and closeness are used as part of theresearch methodologies, and field notes are considered the holy text. The researchers try to
become an active part of their research subject to provide a “thick description” of the field;
in other words, a detailed description of social practices and behaviors of the people isnecessary. So, what happens when we remove the “field” and the “people” from thedisciplines like anthropology, sociology, ethnology, and folklore. How do they carryforward their research without going to the field? As we can see, many scholars from thefield of anthropology, sociology, ethnology and folklore are ready to think beyond thephysical ethnography ever before. Now, the researchers are more conscious of thevulnerabilities of ethnographic research (Corey M Abramson, 2020), and the current
pandemic has forced them to think about an alternative method. As many anthropology
and ethnology departments suggest their scholars and researchers to blend their research
and adopt the online research methodologies or digital ethnography (DE) to resume theirresearch during the pandemic, they really don’t address the methodological issues lies inthe digital ethnography. How do we make notes from digital ethnography? How do westudy and analyze the data collected through digital ethnography? Do we have any specifictool/tools to analyze the notes collected from digital ethnography?
As a scholar of ethnology and folklore, I will elucidate my experience withdigital ethnography during the Covid-19 and how it changed my perspectives towards

1 Department of Communication, University of Hyderabad, India

17snpc06@uohyd.ac.in
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physical ethnography. While doing the digital ethnography, the foremost question thatcomes to mind is how to approach the digital data and analyze them because manually
analyzing the digital data is a lengthy process; also, it is not the same as our field notes. So,
how do we negotiate with digital ethnography? Do we have any digital tool/tools to study
digital ethnography? Of course, we can smoothly study digital ethnography using digital
humanities (DH), and I will illustrate it through my own engagement with DH and how it
helped me study folklore on the online platform.
In the internet and social media age, it is impossible to ignore the viral videos,memes, stories, and fake news on our newsfeed. This digital transformation of material
culture has opened new directions in folklore research by transcending its physicalboundary. Now one can equally rely on the data available in the virtual world without
really bothering about the field notes. The only matter of concern is the tools andtechniques involved in studying online data/information. Also, we cannot ignore theconcept of “thick description” as we are dealing with people and their everyday lives andbehaviors. Since the internet is a vast source of information, the folkloric material available
on the internet is astounding. So, instead of focusing on big data or a large amount of data,
it is important to have “thick data” (Wang 2013) and descriptive analysis of the data. We
can have the thick data by implementing DH in our DE as I used Voyant Tools for text
mining in my research on folkloric material on the Facebook page. Voyant Tools is one of
the important tools to extract the meaning of the text and find a pattern on the texts postedon the Facebook page. Since hundreds of people posting countless posts on the Facebook
page and there are thousands of comments on each post, it is difficult for the researcher toanalyze data manually. So text mining method is time-saving and efficient to analyze thebig data; at the same time, it keeps the concept of “thick description” intact. Besides thedata collection and analysis process, DH is more transparent since there is no humanfeeling or perspectives involved in it. We can better understand this debate of transparency
in ethnographic research through a comparative study between physical ethnography anddigital ethnography.
This paper will shed some light on both physical and digital ethnography since
my digital journey is an extension of my physical encounter with people, folklore, andtheir culture. Before the Covid-19 pandemic, my research was based on my field notes andactive participation in the field, so it is important to understand the influence of pandemic
and natural calamities on ethnographic research and how DH can build a way forward forthe ethnographic research.

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Virtual Communities and Post-Pandemic Possibilities: Animal
Crossing New Digital Humanities
Quinn Dombrowski1, Elizabeth Grumbach2, Merve Tekgürler3
Introduction
The absence of sustained opportunities to network, collaborate, and communicate in thephysical world due to the onset of the coronavirus pandemic has necessitated virtual
conferences and events in our profession, but platforms like Zoom and Twitter don’t fully
capture the embodied experience of community. Inspired by the affordances of video gameplatforms to simulate real worlds, the Animal Crossing New Digital Humanities(ACNDigHum) lecture series 4 is an experiment in designing a more embodied andinclusive platform for virtual networking, research communication, and community
building during the pandemic. Reflecting on both the lecture series and the special half-day
livestream during the 2020 U.S. Presidential Election, the authors will present on the
successes and challenges of these events, how the virtual Animal Crossing world caninspire real-world change in the ways we conduct professional events, andrecommendations for approaching community-building in a post-pandemic world that will
demand hybridity and accessibility.
ApproachAnimal Crossing New Horizons (ACNH, released March 2020) is a life simulation gamethat allows players to create an avatar that reflects their real-world physical attributes andgender expression. While many of the personal customization options were present inprevious versions of Animal Crossing (AC), ACNH is the first game in the series to allow
the player to change their skin and hair color. In addition to building a house that can becustomized with elaborate flooring, wallpaper, and items, users are allowed to terraform anentire island and create themed spaces using representations of real-world objects. The
game has few big-picture goals and objectives, and so ongoing engagement with the gameis spurred by personal goals and possibilities enabled by the passage of time (and tied to
the real-world calendar). Compared to the previous AC games, where charactercustomization was limited to a few ready-made options, ACNH allows for almost

1

Stanford University
Arizona State University
3 Stanford University
4 Animal Crossing: New Digital Humanities, https://digitalhumanities.stanford.edu/acndh,
Accessed on Aug. 8, 2021.
2

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unlimited self-expression, allowing players to feel “present” in the virtual world that they
have a direct hand in developing.
The ACNDigHum lecture series drew inspiration from DH academics sharing
their ACNH experiences on Twitter as lockdowns began across the globe. When the
ADHO DH 2020 conference shifted to online, one of the ACNDigHum creators worked
with Shawn Moore to host a series of lightning talks. An in-game social event took place,as well, recreating familiar conference spaces (e.g. conference rooms with sponsor
paraphernalia). The success of this pilot event inspired the ACNDigHum creators toundertake an ongoing talk series beginning in October 2020.
The talk series is publicly viewable using the Twitch platform, which is widelyused to broadcast live-streamed content. Anyone can visit the ACNDigHum Twitch URL 5
from a web browser and ask questions using Twitch’s chat functionality. There is a higher
technical barrier to entry for presenters and “in-person” attendees, who must have
Nintendo Switch, a copy of ACNH, and a Nintendo Online subscription. They use theirown console to fly their avatar to the presentation location using a one-time-use “DodoCode”. Voice audio for “in-person” participants is captured using a separate app, Discord,
which is commonly used for voice and text chat, particularly among gaming communities.
One of the ACNDigHum hosts uses their laptop to capture video from ACNH, combine itwith audio from Discord, and broadcast it to Twitch with minimal lag.
Over the past year, DH groups and organizations have quickly adapted events toonline formats. Without the constraints of physically co-existing in the same real-worldspace, scholars have faced an overabundance of events they could attend on Zoom.
However, there has been a limited amount of experimentation with alternate platforms,
such as CSDH-SCHN adopting Gather.Town, but even this relies on video camera andmicrophone audio, with their concomitant complications around privacy.
The ACNDigHum space is also reflective of the unavoidable porousness of
personal and professional boundaries during the pandemic. The “DH hangout space” exists
on an island with four human players, two of them younger than 8. Even in the absence ofchildren, ACNH itself is not designed to be a passive, invisible space. Insects run acrossthe ground, the weather can change hourly, and non-player characters may decide to stroll
directly in front of a human player giving a presentation. While video conferencing
environments seem like spaces independent from usual distractions of everyday life, where
only the faces of the speakers are visible and the use of a virtual background is common to
avoid outside distractions, AC is designed with these distractions in mind. The game
“ACNDigHum” on Twitch, https://www.twitch.tv/acndighum, Accessed on Aug. 8,
2021.
5

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interacts with the players, breaking with the fiction of digital spaces that assume personal
life can be separated from the professional while working from home.
The use of a game platform like Animal Crossing has invited scholars from avariety of fields to take up more creative means of presenting their work than the simple
slide deck. While scholars have argued that indie game development should be considered
a form of digital humanities, ACNDigHum demonstrates the viability of using games totalk about a wide variety of scholarship, hosting talks from fields including English, East
Asian literature, Ottoman Turkish history, book studies, Black Studies, and medieval
studies (Ruberg, 2018; Coltrain and Ramsay, 2019). Only one presentation involved any
use of slides; others have used in-game designs, items, and avatar clothing changes(sometimes into custom designed clothing items that depict visualizations) to illustrate
points.
Conclusion
Scholars in game studies have argued that video games can lead to “potentially significant
long-term social change” and be harnessed to solve real-world problems (Bogost, 2007;
McGonigal, 2011). In this paper, we argue that video games and other interactive, virtual
platforms can and should inspire digital humanities to find new methods of communitybuilding, especially as we move into a new phase of globally uneven pandemic recovery
that will require us to adapt beyond the challenges of the past year. Using ACNH as a lens,and the ACNDigHum lecture series as a case study, this paper will present possible
methods for creating more hybrid, accessible, and inclusive environments for scholarly
knowledge communication in the digital humanities.
Reference
Bogost, Ian (2007). Persuasive Games: The Expressive Power of Video Games. Cambridge, MA:
MIT Press.
Coltrain, James and Stephen Ramsay (2019). “Can Video Games Be Humanities Scholarship?”
In Gold, M. and Klein, L. (eds), Debates in the Digital Humanities 2019. U of Minnesota
Press, Accesses on August 20, 2021. https://dhdebates.gc.cuny.edu/read/untitled-f2acf72ca469-49d8-be35-67f9ac1e3a60/section/10c2899a-d78c-40d2-b293-f828d3a1b3e9.
McGonigal, Jane (2011). Reality is Broken: Why Games Make Us Better and How They Can
Change the World. New York: Penguin Press.
Ruberg, B. (2018). “Queer Indie Game Making as an Alternative Digital Humanities.” American
Quarterly 70(3): 417-438.

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Building Web Corpus of Old Nubian with Interlinear Glossing
as Digital Cultural Heritage for Modern-Day Nubians1
So Miyagawa2, Vincent W.J. van Gerven Oei3
1. Old Nubian
Old Nubian is a Nubian language recorded in the kingdoms of Nobadia and Makuria in the
Middle Nile Valley, modern-day southern Egypt and northern Sudan, between the 8th and15th centuries CE4. Besides Meroitic, the Old Nubian language is the oldest written
language from the Nilo-Saharan language phylum5. It was written using the Coptic-derived
Nubian alphabet, and includes three characters from the Meroitic alphasyllabary. The Old
Nubian corpus consists of both literary material, such as Bible translations and sermons,and burial texts, and documentary materials, such as contracts, land sales, as well as
numerous wall inscriptions of various kinds.
2. Goal of the project
Despite recent advances in the description of Old Nubian language and the publication ofnumerous new texts, there is no central digital corpus of Old Nubian texts. A teamconsisting of So Miyagawa, a digital humanist and Coptologist, and Vincent van Gerven
Oei, the current expert in the Old Nubian language, have started to compile a digital corpus
of Old Nubian. The underlying goal is to make Old Nubian texts available via alinguistically and philologically tagged corpus of Old Nubian that can be accessed via auser-friendly, highly visual online digital platform. Data sustainability and interoperability
will be realized using de facto digital humanities standards; for instance, TEI XML for the
linguistic and philological tag mark-up of Old Nubian texts. A visualization will also becreated that is helpful for both linguistic experts and Nubian heritage holders. Specifically,
the team has opted to show interlinear glosses following Leipzig Glossing Rules 6 (LGR;
1 This work was supported by JSPS KAKENHI Grant Numbers JP20K21975,

JP21K00537.
2 Center for Studies of Cultural Heritage and Inter Humanities (CESCHI), Kyoto
University
3 Punctum Books and Community-led Open Publication Infrastructures for Monographs(COPIM), Coventry University.
4 For more information on the genealogy and history of Old Nubian and Nubian
languages, see Chapter 1 of van Gerven Oei 2021 [1].
5 Though it is doubtful whether Nilo-Saharan forms a coherent genetic unity, thegenealogical relations among Eastern Sudanic languages within Nilo-Saharan language
phylum, which include Old Nubian and Meroitic, are well-established. See Rilly 2010 [2].
6 The de facto standard for interlinear glossing in linguistics papers, created by the
Department of Linguistics at the Max Planck Institute for Evolutionary Anthropology,
Leipzig [3].
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modified to suit Old Nubian) under each word and morpheme on the web corpus for
professional linguists. In addition, the corpus will in the future also incorporate Arabic andplain English grammatical annotations for Nubians, heritage holders of Old Nubian,especially those without a linguistic educational background.
3. Corpus-building methodology
The Old Nubian corpus data were primarily provided by Vincent van Gerven Oei. The data
were originally composed in XeLaTeX, and the interlinear glossing were realized in a
gb4e.sty format that consists of four lines: the first line is the Old Nubian text in the Old
Nubian alphabet, the second line is the Romanized version of the same Old Nubian text
with the morphemes parsed by hyphens, the third line provides interlinear glossing, and thefourth line is the English translation of the Old Nubian texts.
The entire Old Nubian corpus is not as big as that of Coptic and far smaller thanthat of Ancient Greek; however, it contains large amounts of epigraphic materials. The
most sizable text is Pseudo-Chrysostomus’s In venerabilem crucem sermo, a ~3,200-word
Old Nubian translation of a Greek homily. The second most sizable text is the Miracle ofSaint Mina, a Nubian miracle story of ~950 words. As the project is currently in thecommencement phase, we are creating a pipeline to automatically convert the interlinear
glossed corpus of Old Nubian from LaTeX or CSV into an adaptation of the TEI XML
format developed for the Coptic SCRIPTORIUM7 and subsequently web pages with theinterlinear glossing remaining under the text.
4. Pilot projectFirst, we chose the Stauros Text as the prototype. At ~800 words, the Stauros Text is arelatively long text in comparison to the other Old Nubian texts. Vincent van Gerven Oei
developed the interlinear glossed text file in XeLaTeX which he is currently rendering intoa CSV spreadsheet. To convert this into a simple interlinearly glossed text with an English
translation in this LaTeX file, So Miyagawa created an XSLT program that converted the
LaTeX file into TEI XML format,which was shared on GitHub to support datainteroperability. An example of the TEI XML file that resulted from the conversion
between LaTeX and gb4e.sty is below (Fig. 1).

7 The first multi-layered corpus project of Coptic texts [4]. For the project, see Schroeder

and Zeldes 2016 [5].
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Figure 1: Tiers tagged by 
 
 are the original text, parsed text, Romanizedparsed text, interlinear glossing and English translation in TEI XML.
He then created a further XSLT program to transform the TEI XML into an
HTML file that was combined with a JavaScript file to enable visualization of ourinterlinear glosses in the form of LGR on any Internet browsers (Fig. 2). This pipeline
produced the first online Old Nubian corpus.
A large part of the documentary material is yet to be digitized and is unavailable
in the XeLaTeX format described above. We will work on a pipeline that will allow
efficient data entry for the remaining materials.

Figure 2: Interlinear corpus rendition of Fig. 1 as a web page transformed by XSLT
and leipzig.js [6].
5. Future perspectives for digital cultural heritage

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Using the pipeline described above, we will produce more Old Nubian literary texts with
LGR-styled interlinear glossing. To facilitate an online search, we will create a searchfunction of each lemmata and glosses on the homepage using XQuery and also provide
photos of Old Nubian manuscripts in IIIF if their affiliations permit us. Moreover, as aside-product from the interlinear glosses, we intend to create the first digitized lexicon dataof Old Nubian for further NLP development for Old Nubian.
Our work is primarily aimed at Old Nubian philology experts or linguistics, or
historians in Medieval Nubia. However, we are also planning to embed plain English andArabic translations, easy-to-read explanations for each gloss, a basic grammar of Old
Nubian, and lecture videos on our corpus homepage. Through doing so, we hope tocontribute to the cultural preservationand heritage education of Nubians and spreadknowledge of the Nubian culture to a wider global audience.

Reference[1]. Vincent W.J. van Gerven Oei, A Reference Grammar of Old Nubian, Leuven: Peeters,
2021.
[2]. Claude Rilly, Le méroïtique et sa famille linguistique, Leuven: Peeters, 2010.
[3]. Max Planck Institute for Evolutionary Anthropology - Department of Linguistics,
Leipzig Glossing Rules: Conventions for Interlinear Morpheme-by-Morpheme
Glosses, https://www.eva.mpg.de/lingua/resources/glossing-rules.php, accessed on
2021-05-05.
[4]. Caroline T. Schroeder, Amir Zeldes, et al., Coptic SCRIPTORIUM: Digital Researchin Coptic Language and Literature, https://copticscriptorium.org/, accessed on 202105-05.
[5]. Caroline T. Schroeder and Amir Zeldes, Raiders of the Lost Corpus, Digital
Humanities Quarterly 10 (2), 2016,
http://www.digitalhumanities.org/dhq/vol/10/2/000247/000247.html, accessed on
2021-06-21.
[6]. Benjamin Chauvette, Leipzig.js: Interlinear Glossing for the Browser,
https://bdchauvette.net/leipzig.js/, accessed on 2021-06-21.

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Development of data-driven historical information research
infrastructure at the Historiographical Institute in the
University of Tokyo
Satoru Nakamura1, Taizo Yamada1
Introduction
The Historiographical Institute in the University of Tokyo has developed a digital archive
called “SHIPS” with about 40 different databases (total of 5.6 million data) and about 20
million images of historical materials from ancient times to the Meiji Restoration,
including a database of historical catalogs, the full-text data of historical materials, imagesof historical materials, and tools such as kuzushiji dictionary for historical materials andhistorical information on Japanese history. By inheriting and developing the past efforts ofthe Historiographical Institute, we start to develop an information environment
infrastructure that can sustain the accumulation of 150 years of data over the next 100
years. Specifically, we will build (1) a data repository that enables long-term data
accumulation and access, (2) a data-driven search system that maximizes the use of theaccumulated data, finally (3) building a foundation for historical informatics research tostrengthen our international dissemination capabilities. In this research, we will describe
our efforts to build a data-driven search system.
Approach
The construction of a data-driven infrastructure for historical information research is atheme that has been actively pursued both in Japan and abroad. In Japan, ROIS-DS Center
for Open Data in the Humanities (CODH) is conducting historical big data research [2],and In Europe, the Time Machine Project [1] is conducted. The "Time Machine Project"aims to build a large-scale simulator for European history and to convert the vast
collections of cultural institutions into a digital information system. In addition to theresults of research in the humanities and history, the following technological elements are
required to realize this project [3]; (1) Digitization, (2) Automation of markup, (3)Connection, (4) Simulation engines, and (5) Experience.
While referring to the technological elements of the "Time Machine Project,"
this study defines the following five technological elements as necessary for theconstruction of a "data-driven historical information research infrastructure," positioning
step 4 and step 5 as processes for utilizing accumulated data; (1) Digitization, (2)Automation of markup, (3) Connection, (4) Analysis, and (5) Visualization.
1 The University of Tokyo

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Figure 1 shows the overview of the system we are developing based on thismethodology. Regarding the first point, the development of low-cost and high-quality
digitization technology and the creation of solutions for the long-term preservation ofdigital data are required. The Historiographical Institute has already been actively
digitizing its archives and will continue its efforts to digitize and preserve them for thelong term in cooperation with other projects, such as the Program for Constructing Data
Infrastructure for the Humanities and Social Sciences [4]. As for step 2, by combining theresults of research in the humanities and history with AI/machine learning, we develop the
methodology and system to generate structured text by such as extracting the names ofpeople and places with named entity recognition. For step 3, we structure data using
international standards such as IIIF and TEI, and furthermore, Linked Data/RDF, which isa technology for relating structured data, can be used to improve their interoperability. Step
4 is the process of creating new knowledge by utilizing the accumulated data with various
technologies, such as text mining technology by Yamada et al [5]. Step 5 is thevisualization of the results obtained in 4, which may include the use of maps and network
diagrams.

Figure 1: Overview of approach for the construction of data-driven historicalinformation research infrastructure.
Application examples
Figure 2 shows an example of the application we are currently developing. In the upper leftof the figure, we are working on creating an interactive map of Kuniezu, using ICP (IIIF
Curation Platform) and the Edo map [6] as a reference. The upper right figure shows an
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application that uses IIIF Presentation API 3.0 and Canvas Panel [7] to realize storytelling
about the contents of a picture scroll, such as Wako-zukan. In the lower-left of the figure,text data is structured using TEI and enables to display text and images in parallel, andunique expressions in the text are associated with the knowledge base. The lower right of
the figure shows an application that visualizes the relationship between historical
documents used in past exhibitions and the names of people and places that appeared intheir captions. Structuring this kind of information leads to extract and accumulate theknowledge needed for future data association.

Figure 2: Example of applications we are currently developing.
Conclusion
In this research, we report on our activities to build a data-driven infrastructure forhistorical information research. At present, we are in the process of preparing data for thedevelopment of data-driven functions (structuring data using IIIF, TEI, and RDF). In the
future, we will collaborate with experts inside and outside of the HistoriographicalInstitute, and work on data association and knowledge base construction to support theefficiency of historical research and various outputs.
Reference[1]. Time Machine Europe., https://www.timemachine.eu/, Accessed on 2021-06-05.
[2]. Asanobu KITAMOTO and Mika ICHINO and Chikahiko SUZUKI and Tarin
CLANUWAT, Historical Big Data: Reconstructing the Past through the Integrated
Analysis of Historical Data, Eighth Conference of Japanese Association for Digital
Humanities (JADH2018), pp.67-69, 2018.
[3]. Harry Verwayen, The European Context, IIIF Conference 2019,https://youtu.be/8KWM36wY-QM, Accessed on 2021-06-05.
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[4]. Japan Society for the Promotion of Science, Program for Constructing Data
Infrastructure for the Humanities and Social Sciences,https://www.jsps.go.jp/english/e-di/index.html, Accessed on 2021-06-05.
[5]. Taizo Yamada, Satoshi Inoue, Collecting Name of Historical Person from Historical
Material Related to Japan, Digital Humanities 2017, 2017.
[6]. Asanobu KITAMOTO and Shoko TERAO and Misato HORII and Hiroshi HORII
and Chikahiko SUZUKI, Integrating Historical Maps and Documents throughGeocoding - Historical Big Data for the Japanese City of Edo, Digital Humanities
2020, 2020.
[7]. Digirati - Cultural Heritage | Canvas Panel, https://culturalheritage.digirati.com/building-blocks/canvas-panel/, Accessed on 2021-06-05.

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Compilation of Semantic Data Archive: A New Method of
Learning “Local Culture”
Kwangwoo Kim1, Soohyeon Kim2
1. Introduction
In October 2020, Mokpo-si3 of South Korea and the Center for Digital Humanities at the
Academy of Korean Studies 4 launched a database compilation project called Constructionof Mokpo Modern History Archive5 to accumulate data and information on Mokpo
City's modern history with various forms of digital data such as text, image, geographic
information, and 3D models. The large-scale research project, which is conducted by Kim
Hyeon, professor at the Academy of Korean Studies, includes a variety of detailed research
projects such as a survey and 3D modeling of modern architectural heritage, and collection
and archiving of related historical records.
This paper examines the structure and content of the Mokpo Modern History
Archive implemented as one of the project's detailed tasks, and examines how
implementing such a semantic database can contribute to local cultural research andeducation, and what challenges need to be improved.

KEY WORDS: Mokpo City of South Korea, Modern Architectural Heritage,
Semantic Database, Local Culture and History

2. Resources for Archive Data Compilation
In 1894, a treaty was signed between Korea and Japanese to open Mokpo City as a trade
port. Under this treaty, Mokpo was opened on October 1, 1897,6 The fact that the U.S.,
France, Russia, Germany, Britain and Japan were involved in the provisions of the treaty
signed at the time of the opening of Mokpo shows that Mokpo was a city where people

1 1st Author, Center for Digital Humanities, The Academy of Korean Studies,exfinder@naver.com
2 Corresponding Author, Center for Digital Humanities, The Academy of Korean Studies,clayart141@naver.com
3 Mokpo-si is a city with a population of 220,000 located on the southern coast of South
Jeolla Province, Korea.
4 Center for Digital Humanities at the Academy of Korean Studies http://dh.aks.ac.kr
5 Construction of Mokpo Modern History Archive
http://dh.aks.ac.kr/~mokpo/wiki/index.php
6 德間一芽, 2010, Construction of a town by Japanese immigrants and their urban lives in
Mokpo during the open-port period in Korea, Chonnam National University, 13p
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from various countries could live. However, since the annexation of Japan and Korea in
1910, most foreigners in Mokpo have been Japanese, and many of the modern architectural
heritages related to those Japanese people have remained in Mokpo.
The research team collected data on the modern history of Mokpo City from 85
local or central institutions such as Mokpo City Hall, Mokpo City Cultural Center,
Regional Newspaper and Broadcasting companies in Mokpo, National Library, Korea
Newspaper Archive, and National Institute of Korean History.
3. Archive Design and Data Compilation
The Archive was designed to make all the information elements be linked to each other, toimplement a semantic data archive that can visually show the relationship.
The ontology for implementing data archive used the ekc Data Model 7 (Data
Model for the Encyclopedic Archives of Korean Culture) developed by the Center for
Digital Humanities at the AKS.
6 humanities researchers (majored in history, literature, and philosophy) who canunderstand and analyze the content of the historical records participated in the creation ofsemantic data in accordance with the ontology design. Kim Kwang-woo and Kim Soohyeon, the authors of this paper, are humanities majors and digital humanities researchers
who acquired data processing technology, so they were able to play a central role inbuilding the semantic database.
The design of the data archive and the numbers of the data nodes collected andorganized under this design are as follows:
3-1. Data Classes and Amount of Data
The schema of the Archive was designed with 9 classes including Actor, Event, Place,
Architecture, Object, Record, Concept, Digital Asset, and Web Resource 8. The amount ofdata currently implemented for each class (until 10 August 2021) is shown in the tablebelow.

Class

Sub ClassActorpersondescription

Nodes (2021. 8. 10.)people who were involved in historical events of Mokpo
201
City.

7 EKC: http://dh.aks.ac.kr/Encyves/wiki/index.php/EKC_Data_Model-Draft_1.1
8 Ontology Class: http://dh.aks.ac.kr/~mokpo/wiki/index.php/Ontology:Class

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group
Event

organizations, institutions, administrative agencies

187

historical events, commemorative events.

2,129

places in the geographic and administrative system
Place

192
related to historic buildings or historical events

Architecture

historic buildings chosen for 3D modeling76

Objectartworks, artifacts, tools, monuments, museum objects

30

literaturebooks, magazine, newspaper, documents

86

text

article, text in historical records

3,210

multimedia conent

old photographs, sound record

4,040

architectural drawing drawing, floorplan of buildings

480

RecordConcept
3D Modelconcepts, terms to explain historical facts

100

3D modeling data of historic buildings

73

aerial and landscape views of the historic places of
360° surround VR

192
Mokpo city

Digital Assetphotographs of the present details of historical buildings
still image

1,100
and places

video clips

Interview records, visual documentary

175

explanatory text from the Encyclopedia of Korean
Web Resource

400
Culture, Korean Cultural Heritage Portal, etc.

total

12,671

3.2 Relation Design and RDF Data Implementation
Approximately 12,000 nodes compiled in the data archive are being described as
RDF(Resource Description Framework) data that explicitly expresses the relationshipbetween data nodes using the object property vocabulary defined by the ekc Data Model.
As the work to create RDF data is currently underway, about 6,000 links werecreated by August 2021, and a total of 1,800 RDF statements will be created by October
2021, including 12,000 semantic relations, 6,000 relations between semantic data nodes
and multimedia assets or web resources. Object property vocabulary terms for RDF data
creation are as follows.

NameSpace

Relation

Inverse Relation

dcterms:

A creator B

B isCreatorOf A

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ekc:[s] A writer B

B isWriterOf A

ekc:[s] A calligrapher B

B isCalligrapherOf A

ekc:[s] A inscriber B

B isIncriberOf A

ekc:

A translator B

B isTranslatorOf A

ekc:

A annotator B

B isAnnotatorOf Aekc:

A founder B

B isFounderOf A

ekc:

A constructor B

B isConstructorOf A

ekc:

A reconstructor B

B isReconstructorOf A

ekc:

A renovator B

B isRenovatorOf A

dcterms:

A contributor B

B isContributorOf A

dcterms:

A publisher B

B isPublisherOf A

dcterms:

A rightsHolder B

B isRightsHolderOf A

edm:

A isDerivativeOf B

edm:

A isSuccessorOf B

ekc:

A hasOldName B

B isOldNameOf A

ekc:

A isNamesakeOf B

B isEponymOf A

ekc:

A administrates B

B isAdministratedBy A

ekc:

A participatesIn B

B hasParticipant Aekc:

A documents B

B isDocumentedIn A

ekc:

A goesWith B

ekc:

A isUsedIn B

edm:

A isNextInSequence B

B isPreviousInSequence A

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ekc:

A performed B

ekc:

A isPerformedAt B

ekc:

A hasExhibitionAt B

edm:

A happenedAt B

ekc:

A depicts B

B isDepictedIn A

ekc:

A mentions B

B isMentionedIn A

dcterms:

A references B

B isReferencedBy A

ekc:

A isSteleOf B

B hasStele A

ekc:

A isStupaOf B

B hasStupa Aekc:

A isEnshrinedIn B

B enshrines Aedm:

A currentLocation B

B isCurrentLocationOf A

edm:

A formerLocation B

B isFormerlocationOf A

dcterms:

A provenance B

B isProvenanceOf A

ekc:

A hasWife B (=isHusbandOf)

B isWifeOf A (=hasHusband)ekc:

A hasConcubine B (=isHusbandOf)

B isConcubineOf A (=hasHusband)ekc:

A hasSon B (=isFatherOf)

B isSonOf A (=hasFather)ekc:

A hasSon B (=isMotherOf)

B isSonOf A (=hasMother)ekc:

A hasDaughter B (=isFatherOf)

B isDaughterOf A (=hasFather)ekc:

A hasDaughter B (=isMotherOf)

B isDaughterOf A (=hasMother)ekc:

A hasAdoptedHeir B

B isAdoptedHeirOf A

ekc:

A hasBrother Bekc:

A hasSister B

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B isPerformedBy A

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ekc:

A hasSonInLaw B (=isFatherInLawOf)

B isSonInLawOf A (=hasFatherInLaw)

ekc:

A hasSonInLaw B (=isMotherInLawOf)

B isSonInLawOf A (=hasMotherInLaw)

ekc:

A hasDaughterInLaw B (=isFatherInLawOf)

B isDaughterInLawOf A (=hasFatherInLaw)

ekc:

A hasDaughterInLaw B (=isMotherInLawOf)

B isDaughterInLawOf A (=hasMotherInLaw)

ekc:

A hasDescendant B

B isDescendantOf A

ekc:

A isLineageKinOf B

ekc:

A isAffinalKinOf B

ekc:

A hasDisciple B (=isMasterOf)

B isDiscipleOf A (=hasMaster)ekc:

A hasOwner B

B isOwnerOf A

ekc:

A hasSubject B

B isSubjectOf A

ekc:

A servesAs B

ekc:

A wasOrdainedBy B

foaf:

A knows B

ekc:

A isFellowOf B

dcterms:

A hasPart B

B isPartOf A

foaf:

A member B

B isMemberOf A

owl:

A sameAs B

ekc:

A isNear B

ekc:

A wears B

dcterms:

A type B

edm:

A isRelatedTo B

edm:

A isShownAt B

B wasPreceptorOf A

B isWornBy A

B isRelatedTo A

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edm:

A isShownBy B

4. Semantic Network and Data Visualization
Since all the data in the Archive is implemented as semantic data based on RDF, therelationship between the data nodes can be represented as a network graph as shown
below, and a new network graph can be created centered on another node on the network.
In this way, it is a meaningful feature of this data archive that allows us to know what
historical, social, and cultural context all the elements of knowledge in the database are in.
The example below illustrates this utility of semantic data archive. Honam Bank
Mokpo Branch of, the central node of this graph 9 , was established in Mokpo City in 1929.
The graph below not only shows who the bank's founders are, but also provides
information on each of the founders' human relations, activities, and what traces they had
left in the history of this city.

Figure 1: Network graph centered on the node of Honam Bank, Mokpo branch10.
Mokpo Modern Cultural Resources Archive data includes not only textual
information but also photographs, VR, and 3D data, allowing users to obtain specificinformation and explore data interestingly.

9 http://dh.aks.ac.kr/cgi-

bin/encyves/Story02.py?db=s_okehkim&project=mokpo&key=호남은행
10 Explain about Honam Bank Network graph: https://youtu.be/alKoqdbszm4
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Figure 2: Examples of 3D Model Data: Honam Bank Mokpo Branch and Japanese
Consulate Mokpo11.
5. Conclusion
Semantic databases create multi-directional links between fragmented information
elements and allow users to explore broader, deeper knowledge. In addition to providing
digitized research resources, this archive of the modern history of Mokpo is expected toserve as a local cultural education content that allows students and citizens of Mokpo City
to understand the history and culture of their hometown in more depth. Citizens may beable to develop new cultural activities based on their understanding of culture in thehistory of their hometown obtained through this archive.
This semantic data archive is a database with various advantages and values ofutilization compared to conventional bibliographic data archives. However, from theperspective of researchers who participated in this database compilation project, there are anumber of challenges that need to be improved to increase the potential values of thisarchive.
The most deficient aspect of the current archive is that many of the data nodes
provide only basic information and the related details do not exist. For example, a Japanese
resident who first built or owned a building that remained a modern cultural heritage ofMokpo City is known only for his name and occupation, but no more information isavailable. Such information may be more likely to be found in the remaining records inJapan than in Mokpo or Korea.
In order to make the knowledge information in this archive richer and morevaluable, I think that Japanese researchers interested in the history of modern cities in East
Asia should take their data and participate in this research project together. The archivealso expects to provide a digital research environment to Korean and Japanese scholars
where they can discover common interests and conduct collaborative research activities.

11 3D Model Data: http://dh.aks.ac.kr/~mokpo/wiki/index.php/3D_Model_Home

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6. Reference[1]. Center for Digital Humanities at the Academy of Korean Studies http://dh.aks.ac.kr[2]. 德間一芽, 2010, Construction of a town by Japanese immigrants and their urban
lives in Mokpo during the open-port period in Korea, Chonnam National University,
13p.
[3]. EKC: http://dh.aks.ac.kr/Encyves/wiki/index.php/EKC_Data_Model-Draft[4]. Ontology Class: http://dh.aks.ac.kr/~mokpo/wiki/index.php/Ontology:Class[5]. Honam Bank Network graph. http://dh.aks.ac.kr/cgibin/encyves/Story02.py?db=s_okehkim&project=mokpo&key=호남은행
[6]. Explain about Honam Bank Network graph: https://youtu.be/alKoqdbszm4[7]. 3D Model Data: http://dh.aks.ac.kr/~mokpo/wiki/index.php/3D_Model_Home

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Towards a Structured Description of the Contents of the Taisho
Tripitaka
Yoichiro Watanabe1, Kiyonori Nagasaki2, Hyunjin Park3, Yifán Wáng4, Tomohiro
Murase5, Masayoshi Watanabe6, Norimichi Yajima7, Yoshihiro Sato3, Yūi Sakuma3,
Xinxing Yu3, Masahiro Shimoda1, Ikki Ohmukai1
1.

Introduction

We, the SAT Daizōkyō Text Database Committee, maintain a database of the e-texts of the
Buddhist scriptures contained in the Taisho Tripitaka, which contains 2920 Buddhist
scriptures and over 100 million kanji characters, and have made them available to the
public in searchable form. However, these text data are based on tagged e-texts produced
in 1994, and are not yet fully structured. For this reason, we are in the process of
converting e-texts of the Taisho Tripitaka into the TEI format. In this presentation, we
would like to introduce a part of our markup strategy in accordance with the TEI guideline.
2.

Problems with the existing text

First of all, I will describe the problems of the existing e-texts. Conventional tagged etexts, which we maintain, do not have tags to indicate detailed content divisions such as"chapters", but only tags to indicate volume divisions, which are easier to identify from theoutside. The current SAT system, which is based on traditional tagged e-texts, reflects only
the volume classification but does not go into the content classification. The current SAT
system is also based on traditional tagged e-texts, which reflects only volume classification
but does not go into content classification. Therefore, the current SAT system makes it
difficult for the general public to search for, for example, only the chapter 方便品（Chapter of Skillful Means）in the Lotus Sutra. Therefore, there is a need for e-texts thatcan express semantic hierarchy for researchers. In addition, although CBETA（中華電子
仏典協会）has published its own extended TEI format that allows mark-up of content
classifications, and e-texts based on this format, it was necessary to find a TEI format
without its own extensions for further versatility.
3. Strategy on content markup
1 University of Tokyo
2

International Institute for Digital Humanities

3 Graduate school of University of Tokyo
4 Graduate school of University of Tokyo, International Institute for Digital Humanities
5 Council for the Promotion of Tripitaka Research
6 Jodo Shu Research Institute
7 Waseda University

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The Taisho Tripitaka is divided into three sections: the Indo-Chinese section, the Chinese
section, and the Japanese section. The Japanese section contains many texts that differ
slightly in style from the two sections, but our research group is attempting to create ahierarchical description of the e-texts in order to formulate a unified markup strategy forthe entire collection. In particular, we would like to focus on how to describe thehierarchical nature of the text, such as the distinction between the broad sense of the text,
which is not the part written by the editor of the Taisho Tripitaka, and the narrow sense of
the text, which is the part excluding the preface, foreword, colophon, etc.
First of all, the broad text of the entire Taisho Tripitaka is indicated by <div1
type="taisho_body>. What is not included in this is the header given by the editor of
Taisho Tripitaka. Within <div1 type="taisho_body">, elements corresponding to the main
text in the narrow sense are marked with <div2 type="body">. On the other hand, a preface
is defined as <div2 type="preface">, a foreword as <div2 type="foreword">, and acolophon as <div2 type="colophon">.
<div2 type="body"> is used as a tag to describe a semantic division
corresponding to a "chapter", etc. If <div2> meant a chapter, and there was a subdivision
corresponding to a subchapter, then <div3 type="body"> is used for it. In turn, <div4>,<div5> etc. can be used to indicate the hierarchical structure.
The @type given to these tags is intended to identify whether the element is abody or not. The further meaning of the unit is described by the @subtype. For example,<div2 type="body" subtype="品"> ("品" means chapter), in order to make it easier tounderstand the meaning of this unit for people. In addition, <div2 type="body"> does notalways represent a "chapter". For example, in the larger text Mahāratnakūṭa Sūtra (seeFigure1), there is a superordinate category of 會（"union"）which unites the 品（"chapter"）. For this reason, <div2 type="body" subtype="會"> <div3 type="body"subtype ="品"> is used in the Mahāratnakūṭa Sūtra.

Figure 1: The beginning of Union Six of the Mahāratnakūṭa Sūtra.
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Finally, we would like to explain how the above strategy relates to the "volume"classification used in e-texts. As mentioned earlier, "volume" is not primarily related tosemantic categories. In other words, a chapter often crosses several volumes. In our study
group, we use the empty tag <milestone unit="fascicle_beginning"/> to indicate the point
at which a "volume" begins. As this is an empty tag, it has no text to be enclosed within it,
and is used in the same way as the <pb/> tag for the start of a page, and the <lb/> tag forthe start of a line. This is because the volume separator is only a physical division, and isconsidered to be an extension of the line and page separators. See Figure 2.

Figure 2: 『起世経』（Qishi-jing）「地獄品」(chapter of hells) crosses threefascicles.
4.

Conclusion

The creation of e-texts complete with these markup policies will be a meaningful
contribution to the further internationalization and generalization of the TEI, not only inthe narrow sense of Buddhist studies, but also as an example of the markup of classicalChinese materials. In the future, we aim not only to publish the TEI-formatted Taisho
Tripitaka texts, but also to publish our mark-up strategy, so that the results of our research
will be more universal and far-reaching. There are a number of issues that need to beaddressed regarding the Japanese section, which we are currently working to resolve, butwill report on soon.

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Classification of face images in the frontispiece paintings of
Sutra copies in gold ink on indigo paper by deep convolutional
neural networks
Toshiaki Aida1, Tomomi Kobayashi2, Aiko Aida3
The purpose of our research is to analyze the transition of the characteristics of the painting
styles of Japanese manuscripts of Buddhist Sutra written in gold ink on indigo paper fromthe Heian period to the Muromachi period. In the Heian period, worship of the lotus Sutra
flourished among court noblemen, and decoration of the sutra was very popular. Writing
sutras with gold ink on indigo paper is one of the popular ways to decorate these sutras.
Today many versions of this type remain extant. For example, the number of works
designated as Japanese important cultural properties is around fifty sets [1]. A large part ofthem is the Lotus Sutra which made up of eight or ten scrolls, another large part is the Issai
Kyo (the Tripitaka) which made up of about five thousand. Although many examples arepreserved, they hardly have inscriptions on them, so their production backgrounds are still
unclear. For this purpose, we utilize an excellent feature extraction ability of deep
convolutional neural networks.
First, we have cut out about 200 face images of persons such as Buddha or
Bodhisattva from among the images of the Frontispiece paintings in the old Japanese
Buddhist Sutra copies that our research group has ever collected (Figure 1, 2). Then, we
have put labels to them according to their production ages (Table 1). Although there areseveral works having inscriptions that indicates specific dates, many of them have neither
inscription or record.

1 Okayama University
2 Chikushi Jogakuen University
3 Japan Society for the Promotion of Science

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Figure 1: Frontispiece to fascicle eight of the Lotus Sutra, Fujii Eikan Bunko.

Figure 2: Cover to fascicle eight of the Lotus Sutra, Fujii Eikan Bunko.
Table 1: List of the works for dataset.
No.

Name

Held by

1

Xiao zi jing (Chyuson-ji issai Kyo, in 1126)
Fascicle 87, Mahāprajñāpāramitāśāstra (Jingo-ji
issai kyo, in 1155)
Vimalakīrtinirdeśa (Jingo-ji issai kyo, in 1155)
Chyoju-o-kyo (Jingo-ji issai kyo, in 1155)
Second fascicle of the Lotus Sutra
Sutra of Meditation on Samantabhadra
Bodhisattva
Fascicle 169, Large Sutra on Perfect Wisdom
Lotus Sutra, Sutra of Innumerable Meaning and
Sutra of Meditation on Samantabhadra
Bodhisattva
Fascicle 4 and 8, Lotus Sutra
Fascicle 577, Large Sutra on Perfect Wisdom
Fascicle 579, Large Sutra on Perfect Wisdom
Fascicle 4, Lotus Sutra
Fascicle 1, 5, 6, 7 and 8, Lotus Sutra
Lotus Sutra, Sutra of Innumerable Meaning and
Sutra of Meditation on Samantabhadra
Bodhisattva

National Museum of Japan History

2

Number of
Width of Second Training/Test Number
Hight (cm)
Scrolls
Paper (cm)Dataof Faces
1
25.4
44.6
Training Data
3

PeriodDate of Surbey

the Late Heian period

2018/04/19

National Museum of Japan History

1

25.8

54.4

Training Data3

the Late Heian period

2018/04/19

National Museum of Japan History
Iwase Bunko Library
Fujii Eikan Bunko

2
1
1

25.9
25.8
25.6

55.7
52.6
50.1

Training Data
Training Data
Test Data E

63
3

the Late Heian period
the Late Heian period
the Late Heian period

2018/04/20
2011/02/20
2017/07/14

Fujii Eikan Bunko

1

25.8

54.7

Test Data G

1

the Late Heian period

2017/07/28

Fujii Eikan Bunko

1

25.5

55.8

Test Data E

3

the Late Heian period

2017/10/27

Hyakusai-ji temple

10

26.3

55.5

Training Data

29

the Late Heian period

2007/01/23

Kakurin-ji temple
Fujii Eikan Bunko
Fujii Eikan Bunko
National Museum of Japan History
Henmei-in temple

2
1
1
1
5

25.5
25.4
25.3
24.7
25.4

49.1
53.8
53.8
45.1
53.9

Test Data F
Test Data G
Test Data G
Test Data E
Training Data

6
3
3
2
15

the Late Heian period
the end of the Heian period
the end of the Heian period
the end of the Heian period
the end of the Heian period

2010/03/27
2017/10/11
2017/10/27
2018/05/07
2009/06/14

Kamigamo-jinja shrine

10

26.1

54.5

Training Data29

the end of the Heian period

2019/03/29

Training Data2

the end of the Heian period

2011/03/01

1

26.7

51.1

Test Data F

2the end of the Heian period

2009/06/29

Chyofuku-ji temple

10

26.8

47

Training Data25

the Kamakura period

2010/03/16

18 Fragment of the eighth fascicle of the Lotus Sutra

Fujii Eikan Bunko

1

26

47.1

Test Data F

3

the Kamakura period

2017/11/02

19

Fujii Eikan Bunko

1

26.1

44.9

Test Data E

3

the Kamakura period

2017/10/27

7

25.7

44.5

Training Data

19

the Kamakura period

2018/05/08

1

27

48

Test Data G

3

the Kamakura period

2011/03/01

1
8
3
72

25.3
26.3
25.2
scrolls

50.5
≒56
53.6

Training Data
Training Data
Training Data
Total:

324
9202

the Muromachi period
the Muromachi period
the Muromachi periodfaces2017/10/12
2010/03/18
2010/03/18

3
4
5
6
7
8
9
10
11
12
13
14
15

Fascicle 355, Large Sutra on Perfect Wisdom

16

The Life Span of the Buddha
Lotus Sutra, Sutra of Innumerable Meaning and
17
Sutra of Meditation on Samantabhadra
Bodhisattva

Sutra of Innumerable Meaning

Kanagawa Prifectural Museum ofHistory
Kosetsu Museum

20 Fascicle 1, 2, 3, 5, 6, 7 and 8, Lotus Sutra (in 1304) National Museum of Japan History
21

Fascicle 6, Lotus Sutra

22
23
24

Heart Sutra (in 1389)
Lotus Sutra
Fascicle 2, 3 and 4, Lotus Sutra

Kanagawa Prifectural Museum ofHistory
Fujii Eikan Bunko
Enzo-ji temple
Henme-in temple
Total:

1

Among the face images, focusing on the ones of the Late Heian, the End of
Heian, the Kamakura and the Muromachi periods, we have made their feature extraction,
applying a pre-trained deep convolutional neural network, ResNet101, pre-trained on the
ImageNet dataset. Based on the features of the images, we have learned their classification,
adopting support vector machine and principal component analysis as machine learning
methods. As a result of 10-fold cross validation of the classification performance, thesuccess rate more than 95% was found.

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Figure 3: 1st and 2nd principal

Figure 4: The confusion matrix for thecomponents of the features of thedataset F. The diagonal and non-images of the dataset F. Dots anddiagonal elements mean the numbers

crosses mean training and test data,of successfully classified andrespectively. A black curve is the

misclassified test data, respectively.

boundary between the features of
Heian(red) and KamakuraMuromachi(blue) periods, which wasinferred by support vector machinewith its box constraint 0.1.
However, we have to note that the images of paintings by the same painter oratelier should not be included to both training and test data. Even if a painter depicts facesof different persons, excellent feature extraction ability of deep convolutional neuralnetworks can detect that the faces were painted by the same painter. Therefore, if we
included the images of paintings by the same painter to the both data, we incorrectly
obtained a higher level of classification performance than their actual one, as if the deepneural networks had correctly learned the characteristics of the painting styles of theperiods. Paying attention to the fact, we have prepared the training and test data, and tried afairer performance evaluation of the classification of the images. As a result, we havefound 82% of accurate rate of classification performance (Figure 3,4).
A similar study has been successfully attempted in order to detect a painterschool for the paintings of the scenes from the Tale of Genji [2]. They made fine-tuning ofa pre-trained deep convolutional neural network, and found which part of the paintings thefine-tuned network was focusing on to detect their painter school, using the Grad-CAM.
Furthermore, we have criticized and corrected, from the point of view of art
history, the result of the inference of the production ages for test data, which we have madefor performance evaluation of the classification by machine learning. The production agesof the Sutra in gold ink on indigo paper is evaluated comprehensively based on the166

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calligraphy of the paper, the design of the cover, and the materials and techniques used, as
well as the paintings on the frontispieces. Therefore, the criteria do not necessarily focus
on the painting style of the small faces. For example, in a previous study that included 44
plates of the Sutra Sutra in gold ink on indigo paper only four of them referred to facial
expressions. In these works, the facial expressions of the late Heian period are briefly
mentioned as "slightly full-cheeked face," "eyes and nose like hikime-kagihana; drawn-line
eyes and a hook-shaped nose," and "gentle face" [3]. When the images of facial
expressions misclassified by machine learning are reviewed by the human eye, theroundness of the cheeks is an important criterion, as has been pointed out (Figure 5, 6). On
the other hand, for example, the length and slope of the line drawing indicating the eyes
and eyebrows were also used as criteria in machine learning, even though the eyes andnose in the hooked-eye nose style looked the same at first glance.

Figure 3: Misclassified Images for test

Figure 4: Misclassified Images for test

data E (Fascicle four of the Lotus

data F (The Life Span of the Buddha,

Sutra, National Museum of Japan

Kosetsu Museum, Fascicle 8 of theHistory and Sutra of Meditation on

Lotus Sutra, Kakurin-ji temple andSamantabhadra Bodhisattva, Fujii

Fascicle 8 of the Lotus Sutra, Kakurin-

Eikan Bunko)

ji temple, Fujii Eikan Bunko)

As the usefulness of information technology has recently been shown in the fieldof art history [4], it is expected that expressions that have not been paid attention to in
traditional study will be clarified as criteria for determining the period.
Acknowledgement
This work was supported by a Joint Research Project of the Art Research Center,
Ritsumeikan University and JSPS.KAKENHI (19J40241).

Reference[1]. Agency for Cultural Affairs, “National Database of Designated Cultural Properties”,
https://kunishitei.bunka.go.jp/bsys/index (access data 2021/08/20)
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JADH 2021[2]. Takuya Kato, Mariko Inamoto and Akihiko Konagaya (2018), “Detection of a
Painter School with Deep Learning Method: A Case Study of Scenes from the Taleof Genji,” The 32nd Annual Conference of the Japanese Society for Artificial
Intelligence, 2D1-05.
[3]. Nara National Museum (1987). “Lotus Sutra – Calligraphy and Decoration”, Tokyo
Bijyutsu, Tokyo, pp.440-471.
[4]. Chikahiko Suzuki, Akira Takagishi, Alexis Mermet, Asanobu Kitamoto and Jun
Homma (2020), “Analysis of difference between male and female facial
expressions in Japanese picture scrolls using GM Method with IIIF Curation
Platform (a Poster Session),” The 10th Conference of Japanese Association for
Digital Humanities (JADH2020, Proceedings), Osaka University (Online), Osaka,
pp.90-95.

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The difference in transitional process between Western
instrumental and vocal music
Daisuke Miki1, Akihiro Kawase2, Kenji Hatano2
Introduction
The history of Western music is often discussed in the framework of a certain
periodization. The terms Baroque, Classical, and Romantic are believed to represent thetrait of music in a specific period. However, categories in a periodization cannot be
explicitly contrasted because of the continuity and similarity among each period (Groutand Palisca, 1996).
Western art music is a complex consisting of instrumental music and vocal
music. The development of vocal music has had a close relationship to the history ofliterature. One such example is the affinity of the poems by P. Verlaine (1844–1896) andthe music by C. Debussy (1862–1918). Multiple studies were surveyed by Wright (2018),
showing that the rhythm of a sung verse is closely related to the original text and that therichness of harmony reflects the emotional subtlety of the poem. Although music andliterature share some of the historical divisions, such as the Baroque period and Romantic
period, the period with an identical name in two areas of art did not necessarily emerge
simultaneously nor in the same order. For this reason, the transitional process of vocal
music such as opera, Lied, and mélodie should be considered different from how music
without lyrics has developed.
Several studies have analyzed the stylistic evolution of music by focusing only
on specificgenres. Amino (1988) compared the structures of piano sonatas by W.A. Mozart(1756–1791) and L.v. Beethoven (1770–1827) investigating how many measuresconstitute each of the first and the second subject, exposition, development, andrecapitulation. Daniele and Patel (2013) quantified the trend of historical change ofGerman and Italian art song by computing the rhythmic feature called nPVI (normalized
Pairwise Value Index). Shea (2017) focused on French and Italian opera and revealed themetric difference of opera across a timeline. However, those past studies are not consistent
with the features with which they model stylistic evolution. Therefore, the achievements ofthese studies have remained unsynthesized into a comprehensive and objective analysis ofmusic history.
Aim of this study

1 Graduate School of Culture and Information Science, Doshisha University
2 Faculty of Culture and Information Science, Doshisha University

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This study reveals the difference between Western instrumental and vocal music as to howeach genre has altered its style across history. We analyzed instrumental and vocal music
by 56 composers from J. Despres (1450–1521) to M. Ravel (1875–1937). According to Le
Goff (2014), a periodization can only be applied to the civilization of a limited region.
Therefore, we adopted the German, French, and Italian art music as the corpus to exclude
an effect of what Le Goff (2014) called the globalism— a cultural delay due to the lag inexporting the culture of a specific region into a new world, which in the field of music,
corresponds to America, Japan, or Slavic countries
Methods
We acquired two sets of MIDI corpus, one of which consists of 281 instrumental music
and the other of 853 vocal music. MIDI files were then converted into MusicXML,
allowing us to extract musical features with which we carry out the quantitative analysis
later on. We partitioned the samples of musical pieces with a k-means algorithm for eachdataset using the variables that are interpretable from melodic, rhythmic, and harmonic
point of view. The musical features adopted in the k-means clustering had been selected by
Lasso (Least Absolute Shrinkage and Selection Operator) predicting the years ofcomposition.
Results and discussion
Lasso modeling zeroized the coefficients of the musical features that are not relevant to thetime-shift, suggesting the musical features shown in Table 1 to be adopted for k-meansclustering:
Table 1: The musical features relevant to the time-shift (excerpt).

The optimized number of cluster was computed in several ways (Elbow method,
Gap Statistic, Silhouette Coefficient, and Canopy) and turned out to be k = 2 for both vocal
and instrumental music. We visualized the clustering result with violin plots with respect
to the years of composition, and compared how the styles of the instrumental music and170

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the vocal music emerge, last, and eventually get replaced with their successive styles(Figure 1).

Vocal music (N = 853)

Instrumental music (N = 281)

Figure 1: Violin plots showing the stylistic shift in instrumental music and vocal
music.
This result indicates that the style of instrumental music changed dramaticallyaround 1750 whereas the vocal music did not change its style throughout the last couple ofcenturies. However, we cannot ignore the bias in the range of the years of composition
between each dataset. In order to enable more comprehensive and long-term stylistic
evolution, we need to carry out further studies involving the vocal pieces in earlier
centuries.
Reference[1]. Amino, K. (1988). “Classicism and romanticism in art music: Analysis on the piano
sonatas by Mozart and Beethoven” (in Japanese). Gakushuin-Shigaku, 26, pp.38–50.
[2]. Daniele, J.R. and Patel, A.D. (2013) “An empirical study of historical patterns inmusical rhythm: analysis of German & Italian classical music using the nPVI
equation.” Music Perception, 31(1), pp.10–18.
[3]. Grout, D.J. and Palisca, C.V. (1996). A History of Western Music (5th ed.). New
York: W.W. Norton & Co.
[4]. Le Goff, J. (2014). Faut-il vraiment découper l'histoire en tranches. Paris: Editions
du Seuil.
[5]. Shea, N. (2107). “Meter in French and Italian opera.” Masters Theses, 536,
pp.1809–1859.
[6]. Wright, A. (2018). “Research on the Compositions of Claude Debussy, Gabriel Fauré,and Reynaldo Hahn Set to the Poetry of Paul Verlaine.” MusRef.

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e-Sukhāvatī: An Innovative Digital Platform for Studying the
Smaller Sukhāvatīvyūha
SIU Sai-yau1
Introduction
Under the influence of the COVID-19 pandemic, university students have been studying at
home through online platforms. In the past year, such a learning mode was adopted for mycourse on elementary Buddhist Sanskrit. To enable students to learn the ancient Indian
language effectively, I have created a digital platform called “e-Sukhāvatī”. Focusing on
the Smaller Sukhāvatīvyūha, a popular Mahāyāna scripture in Chinese Buddhism, theplatform combines a sūtra reader with dictionaries, text analysis tools, and multimedia
databases. It allows students to learn about essential concepts, cultural knowledge, andgrammatical features of Mahāyāna Buddhist scriptures through a comparative study of the
Smaller Sukhāvatīvyūha in Sanskrit and its Chinese translation by Kumārajīva (344-413), a
renowned Buddhist translator in early medieval China. The web application aims to serveas an interactive learning tool helping students supplement what they learnt in online
lectures and keeping them on track during remote teaching and learning.
FunctionsEntering the landing page of e-Sukhāvatī, users can access Kumārajīva's Chinesetranslation of the Smaller Sukhāvatīvyūha from the CBETA Online [1]. In addition, thesystem has been designed to be user-friendly, and all additional tools can be reachedthrough a purpose-built search engine. The engine enables users to select a word or phrase
in the text with a mouse, and a toolbar will appear on screen. They can then click on thetools to look for further explanations. Such a design minimises the time spent typing insearch bars, speeds up the search for corresponding information, and makes the reading
experience more enjoyable.

1 Assistant Professor (School of Translation and Foreign Languages, The Hang Seng

University of Hong Kong)
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Figure 1: A built-in search engine on e-Sukhāvatī.
e-Sukhāvatī not only provides the plain text of the Smaller Sukhāvatīvyūha, butalso contains a number of functions as follows:(1) A digital corpus of the Smaller Sukhāvatīvyūha. The corpus contains two
existing Chinese translations of the Smaller Sukhāvatīvyūha, one by Kumārajīva and theother by Xuanzang (602-664). The translations are arranged in sections with the original
Sanskrit text of the scripture [2]. Searching for a word or phrase in the scripture, users canlook up both the original Sanskrit text and the Chinese translations simultaneously. This
tool is useful in two ways: Firstly, it helps users to study the Sanskrit expressions of thescripture. Secondly, through a comparative study of the Sanskrit text and the translations
by the monk translators, students investigating the history of translation can explore theparadigm shift in Chinese translation of Buddhist concepts in medieval China and examine
the similarities and differences in their translation strategies. In addition, my new Chinesetranslation based on the original Sanskrit scripture is included in the corpus, helping
readers deepen their understanding of the teachings of the sūtra.

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Figure 2: A digital corpus of the Smaller Sukhāvatīvyūha in Sanskrit and Chinese.
(2) Multilingual Buddhist dictionaries. In addition to NTI Buddhist Text Reader
by Fo Guang Shan [3], e-Sukhāvatī can be connected to DILA Glossaries for Buddhist
Studies by the Library and Information Center at Dharma Drum institute of Liberal Arts[4]. It is a collection of authoritative Buddhist dictionaries in Pāli, Sanskrit, Chinese,
Tibetan, English, and many other languages, providing free access to the public. Users caninstantly gain access to the database by selecting a term from the sūtra with the built-in
search engine. The platform will send the term to DILA Glossaries for further analysis andgive a list of explanations from various Buddhist dictionaries.

Figure 3: Explanations of a Buddhist term from NTI Buddhist Text Reader.

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(3) A Sanskrit reader. The platform contains a recording of a recitation of the
Smaller Sukhāvatīvyūha in Sanskrit. By clicking on the marker next to a section of thescripture, users can activate the audio file and listen to the Sanskrit recitation of thesection. This is one of the unique functions equipped in e-Sukhāvatī.
(4) An AR-enabled multimedia database. To enhance the interactivity of eSukhāvatī and provide users with a comprehensive understanding of Amitābha's Western
Pureland, by scanning the QR code on the platform with portable devices, users can view
an animation of the Pureland and compare it with the descriptions in the scripture. In
addition, the system is equipped with a variety of multimedia resources, such as 3D modelsof Amitābha and mural paintings of the Western Pureland in Dunhuang, by which users
can familiarise themselves with the visualisation of the sacred realm in traditional art
forms. Therefore, e-Sukhāvatī is intended for not only Sanskrit learners, but also students
studying Buddhist art.

Figure 4: A 3D model of Amitābha on Sketchfab [5].
(5) An analytical tool for Chinese Buddhist terms. The toolkit contains a large
collection of ancient Chinese texts from the Kanseki Repository [6]. When users enter aselected Buddhist term into the application, it will analyse the number of occurrences of
the term in the ancient texts from the pre-Qin to Ming and Qing dynasties and display thestatistics in an interactive line chart. The computer-aided analysis of textual data allows
users to examine the spread of a Buddhist concept in ancient China by using theoreticalframeworks from Reception Studies and Intellectual History. The analysis also helps
explore the popularity of the concept and its underlying forces, facilitating the study of
Buddhist scripture translation.
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Figure 5: An analytical tool for Chinese Buddhist terms with data visualization.
Future Development
There are three noteworthy points regarding the future development of e-Sukhāvatī: (1)Expanding the content. Currently, the platform contains only one Buddhist sūtra. In the
future, I plan to develop the web-based application into “e-Tripiṭaka”, which will include
more popular Mahāyāna Buddhist texts in Sanskrit and Classical Chinese, including
Prajñāpāramitāhṛdaya, Vajracchedikā Prajñāpāramitā, Vimalakīrtinirdeśa, andSaddharmapuṇḍarīka. Subject to the availability of additional resources, digitised
Buddhist scriptures in Pāli, Tangut, Mongolian, and Tibetan languages will also be
incorporated into the new system; (2) Supporting the use of portable devices. At present, eSukhāvatī mainly works on desktop and laptop computers. The tool will be developed intoa native app, enabling the public to use it on their tablets or smartphones and study the
scriptures more easily; and (3) Incorporating AI-powered components into the platform.
The system will be enhanced with a couple of additional toolkits developed by deeplearning technology. The first one is an online multilingual translator, specifically designed
to translate the sūtras into different languages. It will allow users to study the Buddhist
scriptures in their native language. The second is a chatbot built with natural language
processing and deep learning techniques, such as GPT-3. It will function as a virtual tutor,
responding to users’ questions about the scriptures at all hours [7] [8].
Reference[1]. Digital Archive Section of the Library and Information Center, DILA. (2016). CBETA
online [Computer software]. https://cbetaonline.dila.edu.tw/zh/
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JADH 2021[2]. Niedersächsische Staats- und Universitätsbibliothek Göttingen. (2008). The Göttingenregister of electronic texts in Indian languages [Computer software].
http://gretil.sub.uni-goettingen.de/gretil.html[3]. Fo Guang Shan. (2013). NTI reader [Computer software]. https://ntireader.org/[4]. Digital Archive Section of the Library and Information Center, DILA. (2016). CBETA
online [Computer software]. https://cbetaonline.dila.edu.tw/zh/[5]. Marchal, G. (2016). Wooden sculpture of Amitābha [3D model on Sketchfab].
https://skfb.ly/NGMP[6]. Kanseki Repository. (2014). 漢リポ Kanseki repository [Computer software].
https://www.kanripo.org/[7]. Siu, S. C. (2013). Translation technology for the rendition of Buddhist texts: New
directions in Buddhist translation. Saddharma Publishing House.
[8]. Siu, S. Y. (2019). Buddhist scriptures: Contemporary translation and researchmethods. Saddharma Publishing House.

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New Possibilities of Digital Publishing and Online Exhibition—
A Case Study of the Website “Reflections on COVID-19”
Lin, Wen Jiun1
Abstract
This research, inspired by the Social Science Research Council's "Rapid-Response Grants
on Covid-19 and the Social Sciences" program, represents Academia Sinica's contribution
to addressing these issues.
Based on the digital publishing and exhibition result of the above program, the“Reflections on COVID-19” website represents the first stage of this enterprise,
exemplifying the goals described above by publishing both academically and digitally.
This website gathers the research of 19 Academia Sinica humanities and social sciencescholars, compiling their reflections on historical experiences and explorations ofcontemporary topics, as well as integrating a kaleidoscope of images, charts, andrecordings to accompany their popular science lectures and scientific discoveries. It reveals
Academia Sinica's real-time response to topics of concern in Taiwanese society andthroughout the world.
Besides, this research is more dedicated to trying to reveal the establishment of
websites and online curation. Because the expected readers are of a wide range of ages, it
overcomes the “digital gap” and connects news and current affairs photos to create arefreshing design for the combination of science and humanities research. Designing
simple and easy-to- understand click icons for a wider readership to create a novel andsimple webpage operation mode is a point of this digital publishing project. In addition, in
response to the needs of the public and with the increase in mobile viewing users, how to
use RWD technology to provide mobile users with a new interface that is convenient forviewing in addition to the desktop browsing interface, making scientific research easier topopularize among people of all ages.
Therefore, how to use online curation in today's society where COVID-19 israging, combining humanities and scientific research, combined with digital publishingand paper book publishing, to turn difficult knowledge into simple and easy-to-understandscientific text, and popularize it to the public through digital communication. The feedback
from the public to observe the current social development under the epidemic is a new
possibility of digital display that this research and this website are committed to trying.
1 The Japan Foundation Research Fellowship, Visiting Researcher of Keio University

Faculty of Letters, Academic Publishing Editor, Digital Museum Curator, and Research
Fellow PhD of Academia Sinica Center for Digital Cultures. E-mail:wenjiunlinsera@gmail.com or as0200605@gate.sinica.edu.tw
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Introduction
The website “Reflections on COVID-19” is mainly based on the main policy of"Humanities Research and Digital Display" of Academia Sinica. It also responds to theestablishment of the Academia Sinica Publishing Center and the implementation of thecross-disciplinary research project "Reflections on COVID-19". The main purpose andfocus on the establishment of this research website are as follows:
1) International perspective and local observation: In response to important researchoriented topics in Taiwan and around the world, Academia Sinica gathers researchscholars in related fields to join the project, and refer to the experience of international
entity research and digital display to develop display interfaces and functional modules
that adapt to the local area.
2) Cross-field cooperation and linkage: A relatively free communication platform isestablished with a topic-oriented approach. Scholars in various fields can speak
independently from a professional perspective, or they can focus on discussions throughcollaboration, and accommodate a spectrum-like cooperation model. Interaction toorganic integration.
3) Academia publishing and Online exhibition: Breaking through the traditional static andflat research publication form, fully recording the researcher's exploration history andarchive materials, providing reader feedback and a mechanism for collaboration with themasses, and building a research exchange platform with the global academic community.
Approach1) Academia Sinica Publishing Center Preparation Plan and "Reflections on COVID19" Digital Publishing Website Construction Plan
The development of information technology is constantly changing the methods ofhumanistic research. Since the Institute of History and Philology, Academia Sinica, started
the digitization of Chinese ancient books in 1984 [1], for 37 years, "digital humanities" hascontinuously progressed and transformed from the collection, analysis and presentation ofresearcher data. The application of digital literature and computer networks has been an
indispensable part [2].
Under this trend, in 2013, Academia Sinica Center for Digital Cultures (ASCDC)
was officially established in the Institute of History and Philology, Academia Sinica [3].
On the one hand, it integrates the digital research talents and resources of our institutescattered in various research institutes. On the other hand, it continues to promote the"Digital Collection" and build a "Linked Knowledge Bases for Digital Humanities" that issuitable for humanities scholars. At the same time, ASCDC builds "digital humanities
research tools" according to the needs of "humanities research", and establishes a open andtransparent mechanism to recruit and manage the Academia Sinica's "Academic Researchin the Digital Humanities" every year (Figure 1-1).
In May 2020, due to the global pandemic of COVID-19, our center (ASCDC) is
committed to creating a platform that is more suitable for scholars to research and display
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research results. As Academia Sinica considers digital publishing has been the trend of
today’s booming publishing industry, and we will prepare for the academic publishingcenter. The plan was entrusted to ASCDC to implement it. Since then, ASCDC plannedand published the organization charter and business functions of the publishing center
under the three ideal demands of "Digitalization", "Documentation" and "Demonstration"(Figure 1- 2), and even built the academic writing and digital publishing workflow (Figure
1-3).
From many perspectives, the major historical event in 2020 is the global disaster
caused by COVID-19. This major event has not yet ended, and it still seriously affects the
lives of human beings around the world. In the course of the development of the incident,
how to use one's own knowledge to face the various changes brought about by the
epidemic is the common concern of scholars regardless of discipline. The goal of naturalscience scholars is obviously relatively clear, which is to develop vaccines and seek waysthat can alleviate or treat the condition.
"Reflections on COVID-19"[4] is a project of a group of humanities andsociologists at the Academia Sinica in the face of the 2020 epidemic. The researchers
participating in the project use their own knowledge to try to understand the developmentof the epidemic and Related phenomena should be investigated, observed and understood,
and the impact of the epidemic on knowledge and the relationship between different fields
of knowledge should be explored. As the first important business of the Academia Sinica
Publishing Center, the center is responsible for the two tasks of physical book and digitalpublishing, as well as the cultural promotion and marketing of the 2021 Taipei
International Book Exhibition. The following is the "Reflections on COVID-19" website
takes the construction as an example to discuss how "digital humanities" can use website
construction more systematically and efficiently under the COVID-19 epidemic, build abridge between scholars and the public, promote academics, and take care of intellectual
responsibility to give back to the society (Figure 1-4).

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Figure 1: Academia Sinica Publishing Center Preparation Plan and "Reflections on
COVID-19" Digital Publishing Website Construction Plan
2) "Reflections on COVID-19" Website Basic Function Construction Plan andExpected Goals
The use of digital technology to enrich research materials, break through the limits of theresearch environment, and promote the disclosure and display of the results of humanities
research is the consistent purpose of ASCDC. Since July 2020, ASCDC has been
intensively discussing with researchers participating in "Reflections on COVID-19",
summarizing and integrating the website functions desired by each researcher. There are
four functions expected on the “Reflections on COVID-19” website (Figure 2-1).
A) "Flexible planning": The website can save the complete research history without being
limited by the number of words and the size of the image file. It allows scholars to record
the initial research conception, planning, mid-term implementation to the presentationof the final results, while retaining, archiving, and presenting complete researchmaterials.
B) "Diversified Demonstration": Multiple configurations of different media, including text,
list, image, audio and video...etc., with corresponding display modules, such as timeline
sequence, geographic layer distribution, providing different viewing paths.
C) "Immediate Feedback": To build an academic community exchange mechanism. It also
provides a special area for readers' feedback, through crowdsourcing, so that humanists
can observe whether their research is close to society or not.
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D) "Continuous updating": It is hoped that research and website display can keep pace withthe times. The display (online exhibition) of research results is not an end point, but astarting point for conceiving new research. Moreover, through a feedback mechanism,
researchers can reflect, revise, deepen, and expand new topics and methods.
Based on the requirements of the above-mentioned researchers, on the first-level
homepage of the website structure, this website follows the basic website construction
structure, planning project concept introduction, project introduction, and contact area. In
order to make the page presentation more concise, the site map is changed to a
"Hamburger Menu".
On the second level, we build and design six theme areas. "Feature Articles"
contains all research articles of researchers. "News from the Academia Sinica" presents theresearch results related to COVID-19 in various institutes of the Academia Sinica withlinked ways. "Extended Reading" is conducted through interviews with various scholars,
and the researchers recommend reading chapters related to COVID-19. "Wugong(武功)Fights Diseases" combines ancient Chinese medical health exercises and digital minigames. "Reader Stories" provides a channel for website viewers' feedback and personal
opinions. "Science Lectures" make it easier for website viewers to read audio-visual
information related to COVID-19 lectures and programs of the Academia Sinica throughaudio-visual links (Figure 2-2).

Figure 2: "Reflections on COVID-19" Website Basic Function Construction Plan andExpected Goals
3) "Reflections on COVID-19" Website Art Editing and Design Features

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Regarding the art editing and design of the website of "Reflections on COVID-19", due tothe limited funding at the beginning of the publishing center's establishment, the website
design adopts an intuitive and concise method. In terms of text, it is selected andrecommended by each researcher, and they select the "key sentences" and "summary
content" that are suitable to represent the research purpose of the researcher (Figure 3-1).
On the other hand, all web design adopts news and current affairs photos, or scholars
research material images, because using bright photos or the picture reminds viewers ofcontemporary historical events, and visually brings the viewer the impression that history
and society are closely related (Figure 3-2). At the same time, the use of this design caneliminate external manufacturer's web design costs, effectively saving costs, and in termsof legal authorization of website pictures, it can simplify the authorization signing process
and ensure that all pictures comply with laws and regulations and can be legally disclosed.

Figure 3: "Reflections on COVID-19" Website Art Editing and Design Features
4) "Reflections on COVID-19" Website is Publicly Launched and Web Page
Introduction
Starting from the "Reflections on COVID-19" website construction plan in July 2020, thewebsite has been launched in April 2021. The planning and design of the website functions
are subject to changes and adjustments in response to various requests from researchers.
The following are explanations on the published webpage of "Reflections on COVID-19."
First of all, the main color of the website design is "black". Take Figure 4-1 as an
example. The black design is to remind the readers of the severity of the COVID-19
pandemic and bring about the feeling of caution and fear during the pandemic. At the sametime, it can also improve the color contrast between the pictures, set off the photo or
research picture selected by the researcher, and the visual design of the main screen, each
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page is presented with photos related to the research, as shown in the background of Figure4-1. The picture is a photo of " the Burning of the King Boat(燒王船)" traditional
ceremony used by the people in the Donggang (東港) area of southern Taiwan to eradicate
the disease in a study conducted by our researcher Paul R. Katz. Figure 4-2 is the extended
reading material recommended by the researcher. As COVID-19 affects not only the healthand psychology of the public, but also includes the National Taiwan University Entrance
Examination, subject examinations are also adjusted in line with current events. Scientifictest questions appeared about COVID-19-related virus medical knowledge, and Mandarin
and English reading tests appeared about COVID-19-related internal and external reports.
Therefore, the provision of extended reading materials can satisfy the viewer’s desire forknowledge, and at the same time, it can also achieve the function of assisting high school
and middle school education.
Figure 4-3 presents the eight important parts of this website in the form of easyto- understand picture icons, namely "Feature Articles", "Information of Academia Sinica","Extension Reading", "Science Lectures", "Readers' Stories", and "Wu Gong(武功) Fight
Diseases", "Conception of Plan", "Contact Us". After clicking on each picture icon, you
can simply and intuitively use the link to obtain more relevant information. Figure 4-4 isthe " Science Lectures" link to COVID-19 related speeches lecture activity.

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Figure 4: "Reflections on COVID-19" Website is Publicly Launched and Web Page
Introduction5) Responsive Web Design (RWD) to Meet the Needs of Mobile and Tablet Users
In response to the rapid development of technology and the changes of the times, nearly
80% of modern people are accustomed to using mobile phones to search, browse websites,and shop. Coupled with the popularization of tablets, more and more screens of different
sizes have appeared, resulting in the original the problem that the webpage cannot be
displayed normally. In the previous situation of the old version of the website, you may
have encountered a different layout ratio on the computer and the mobile phone whenbrowsing some corporate websites or shopping websites. It may be that the entire layout is
cropped and the picture cannot be seen. Or the pictures and fonts are very small, making
the operation very uncomfortable, resulting in the direct exit of the page at the end.
Therefore, this research website adopts responsive web design (RWD), that is, the page
will be automatically adjusted to the most suitable page depending on the mobile device
you use.
Responsive Web Design is abbreviated as RWD, which is a concept proposed by
Ethan Marcotte, a top foreign designer, started in 2011. After 2012, it is recognized as thetrend of web design and development technology in the future, and its principle is to give
instructions through grammar, use HTML5, CSS3 and other programming languages. The
actual operation mode will set interrupts for different sizes of web pages, and divide thesize of the web page into many sections from large to small, and each section will set a
suitable layout. As the size of the browser changes, the web page will apply different CSS
settings, so that the layout will be adjusted accordingly, and that the website can selfadaptation with perfectly match the size of the device and provide users the best visualexperience. It is as if water is packed in a different container, it will become a concept of adifferent shape.
In particular, in November 2014, the global search engine leader Google's searchalgorithm experienced a major change. The new search results will allow those sites withgood experience on mobile devices to have the advantage of prioritization, and the
responsive website design is the site with a good experience in Google's review. RWD
websites are suitable for viewing on different device platforms, such as mobile phones,
tablets, laptops, desktops...etc., they are all suitable, and can automatically present suitable
sizes and web page styles. Easily improve website ranking and increase the number ofvisitors. On the whole, making all pages of the website have a responsive design, that is,allowing users to clearly see all web content on devices of any screen size, which is one of
the important factors in attracting Google's natural search traffic more effectively.
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In the process of the research website development and construction, theadvantages and disadvantages of the RWD website were sorted and summarized asfollows.
A. The advantages of RWD responsive web pages
A-1. The development cost is low, and it solves the problem of browsing on multiple
devices. Only the cost of making a website is required. At the same time, theproduction period is relatively short, which meets the requirements of website designthat needs to be completed in a short time.
A-2. It is convenient to maintain the content of the website, only one website needs tobe managed, and the cost of manpower management is also saved simultaneously.
A-3. To improve the effectiveness of website marketing, duplicate content is a big
problem for search engines, which easily affects the ranking of web pages on searchengines. The use of RWD web design can completely avoid duplicate content due toversion differences.
A-4. Supports cross-platform devices, which can be used on any device, and it ismuch more convenient to share webpages. When users share a website, sometimes
they may not get good browsing results because other users open the website on
different devices. Because of RWD is only for a website, there is only one sharing
URL, so these problems will not occur.
A-5. The visual image is consistent, which enhances the viewer’s impression of thewebsite. You don’t have to be busy zooming in. The convenience of the user’s
browsing will increase the user’s stay time and increase the impact of the webpage on
the viewer and the impression in the brain.
B. Disadvantages of RWD responsive web pages
B-1. The data capacity of the website may be large, which affects the slower andlonger loading speed of the website.
B-2. Compared with the simple mobile website, the content loaded by RWD is thefull computer version of the website. The extra content information is hidden whenbrowsing on the mobile phone. Therefore, the website takes a long time to load andthe mobile user feels it is even more obvious. But this problem has been slowly
solved with the efforts of developers to optimize and the speed of mobile devices andwebsites. Because multiple devices share web pages, it is not suitable for more
complex functional interfaces. This is a common disadvantage of all small screens.
Due to the limited screen space and the inherent limitations of mobile devices with186

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only touch functions, it is not easy to use RWD to develop some applications on the"desktop or laptop" web page function.
B-3. Older browsers are not supported-because RWD uses the latest HTML5 with
CSS3 web technology to process, some older browsers may not be compatible. If you
use an outdated browser to watch, the layout may be broken. However, this problem
has been liberated with Microsoft's abandonment of versions below IE10. Mostbrowsers now support HTML5. If there are incompatibility issues, users can beadvised to upgrade and update their browsers.
B-4. The current production method of RWD webpages still cooperates with webpage
manufacturers to cut the browsing screen. Therefore, when designing the userinterface, it is necessary to redraw the wireframe draft suitable for mobile phones.
Moreover, if the visual presentation of each page of the screen were large, which must
be revised and adjusted repeatedly in the user’s demand design planning and website
interface confirmation.

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Figure 5: RWD Responsive Web Design to Meet the Needs of Mobile and Tablet
Users6) Ideal and Reality: Cultural Dissemination and Digital Marketing Promotion under
COVID-19
This research website was originally expected to be set up at the Taipei International Book
Fair in 2021 in the exhibition area of the Taipei International World Trade Center. It willuse digital devices, AR, and VR to conduct "immersive experience" digital reading
activities, allowing visitors to see through the large-scale exhibition screens, to experience
the sensory stimulation brought by the digital display.
However, due to the spread of COVID-19, the 2021 Taipei International Book
Fair had to stop the exhibition. ASCDC chose to host and transform the originally planned
exhibition into an online exhibition [5]. On January 26, 2021, we launched "Advancing
Knowledge! Academia Sinica Special Exhibition Event Website", linked our precious
collections and publications, digital platform and database, so that the public could still be
online to have a further understanding of the creation and evolution of knowledge in thedigital age, and cooperate with this research website to provide different visual experiences
and knowledge dissemination.
In addition, during the exhibition, ASCDC hosted “Digital Publishing andAcademic Publishing of the COVID-19 Humanities and Social Reflection Project” speech,
and conducted an online live broadcast event on Facebook [6], allowing readers to directly
communicate with the speaker and host of the live speech through the live broadcast.
People interact to learn more about the popular science function played by the "Reflections
on COVID-19" website. Besides, ASCDC continues to update the "Reflections on
COVID-19" related information link on the official Facebook website to continuously
respond to the public's need for knowledge about current affairs issues and COVID-19
related research. At the same time, humanities research is combined with digitaltechnology to provide various new experiences of "discussing old learning" and"cultivating new knowledge" online.

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Figure 6: Ideal and Reality: Cultural Dissemination and Digital Marketing
Promotion under COVID-19
7) Combination of ancient Chinese medical history and digital humanistic interest
Life is a path of cultivation. The concept of cultivation does not detract from its value due
to technological civilization. On the contrary, it can give renewal meaning and guide thedirection of human development.
Due to the limitations of the human perception system, there are many people
who can detect outwards and fewer can detect them inwardly. Most people understand that
their body is only limited to the concept of anatomical or molecular biological parts. Whenit comes to health preservation, only balanced nutrition and moderate exercise are known.
The rest is nothing. Never listened to the sound of the body and communicated with it.
"Vipassana" is what Chinese medicine emphasizes. For more than a hundred years, we do
not cherish our own cultural characteristics. Although Han people do not necessarily wear
Tang suits, cheongsams, or sit on Chinese-style seats, they must face up to and appreciate
the value and significance of traditional culture. The next choice is to go to the gym to do
gravity, aerobic training, or play Ba Duan Jin (八段錦), practice calligraphy, or learn
Chinese painting, which is more beneficial to the body and mind.
Recently, the COVID-19 pneumonia epidemic has been serious and tightened,
and "how to improve resistance" has become a topic of concern to everyone. From theperspective of Chinese medicine, if you can practice the "Ba Duan Jin (八段錦)" of
Chinese medicine, it will help relieve muscles and bones, relieve muscle aches, andenhance your own immune system. It is a good home exercise choice for those who cannot
go out for exercising.
This website uses digital technology combined with traditional Chinese health
Knowledge. The Ba Duan Jin (八段錦) atlas, which has been collected in the National
Palace Museum( in Taipei now) since the Qing Dynasty, is designed as a graphic card and189

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made into an online game, which can be viewed in a way of "education and fun". Throughsimple and interesting online games, people learn about the theories of Traditional Chinese
medicine health-preserving viscera, meridians, acupuncture points, muscles, meridians, qi,
blood and body fluid knowledge, which are close to traditional culture. Coincidentally,
during the epidemic of COVID-19, people can use online games to release their pressureand enhance the pleasure of daily life.

Figure 7: Combination of Ancient Chinese Medical History and Digital Humanistic
Interest
Conclusion
This research attempts to explore new possibilities for digital display with the website"Reflections on COVID-19". Due to the COVID-19 epidemic, the website has been
postponed to be publicized. Therefore, this website is currently being continuously
updated. In the future, in addition to the function of timeline, digital history maps on thewebsite, we will also try to collect readers’ online feedback content, to extract keywords
from it, perform text analysis and add text mining and other functions. We hope to use
digital tools and the digital display platform, to record the major events of the times,
analyze the impact of disease on the world, and try to expand the new horizons ofcontemporary history and digital humanities research.
Reference[1]. Scripta Sinica database, https:// http://hanchi.ihp.sinica.edu.tw/ihp/hanji.htm, Accessedon 2021-08-18.
[2]. Taiwan Digitalarchives, https:// https://culture.teldap.tw/culture/index.php, Accessedon 2021-08-18.
[3]. Academia Sinica Center for Digital Cultures, https:// https://ascdc.sinica.edu.tw/en/,
Accessed on 2021-08-18.
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[4]. Reflections on COVID-19, https:// https://covid19.ascdc.tw/en, Accessed on 2021-0818.( https://covid19.ascdc.tw/)[5]. Advancing Knowledge! Academia Sinica Special Exhibition Event Website, https://
https://evoread.ascdc.sinica.edu.tw/, Accessed on 2021-08-18.
[6]. Digital Publishing and Academic Publishing of the COVID-19 Humanities and Social
Reflection Project, https:// https://zhtw.facebook.com/ASCDCNEWS/videos/2806614029589412/, Accessed on 2021-0818.

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Sonifying the pandemic – innovative approaches towards datainteraction and engagement formats for scientific, educational
and artistic purposes
Michael Stark 1, Amelie Dorn 2, Renato Rocha Souza3
Introduction
This paper introduces an innovative digital sonification prototype based on openly
available COVID-19 data for Austria, Europe. Different sinusoidal waves, correspond to
the nine counties of Austria (Vienna, Burgenland, Upper Austria, Lower Austria, Salzburg,
Carinthia, Tyrol, Styria, Vorarlberg) were set up; the amplitude of the sound generators
was modulated by the daily cases of COVID-19-infections, and changes in pitch wereachieved by mapping the 7-day-incidence according to the traffic-light warning systemestablished by the Austrian government. Besides scientific, artistic and informational
purposes, the prototype can serve as a valuable, innovative and interactive educational tool.
Approach
The arrival of the Coronavirus pandemic in 2020 has brought unprecedented effects to all
countries and populations worldwide. As COVID-19 developments continue, countries are
evolving their strategies, realizing that the pandemic’s risk is multidimensional with longterm consequences. Apart from its apparent threat to human health, the World HealthOrganisation (WHO) has also attested that the COVID-19 outbreak is accompanied by an“infodemic” [1]. Although this is not a novelty tied to COVID-19, the sheer amount ofmis- and disinformation presents a threat to public health and public action [2]. One
possible explanation is the lack of clarity, described as epistemic uncertainty [3]. While
experts are learning in real-time about the phenomenon, it is clear that knowledge about it
will change over time [4]. Another factor to be taken into consideration is related to thevarious quantitative measurements of COVID related dimensions. Many measured
parameters, like the case-fatality-rate, the total number of infected people, or accuracy intesting, can be distorted, making it hard to consistently convey coherent facts [5].
A methodology that has proven to be useful at providing support forunderstanding great amounts of heterogeneous data — especially when several dimensionsof data need to be monitored simultaneously — is data sonification [6]. Interdisciplinary
by nature, data sonification aims at making sounds auto-explanatory, extrapolating its pure1

University of Vienna
Austrian Centre for Digital Humanities and Cultural Heritage, Austrian Academy of Sciences(ACDH-CH OeAW)
3
Centre for Image Science, Danube University Krems
2

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musical context and conveying more information than traditional data formats [7]. As
historic examples such as the Geiger-Counter, the Pulse-Oximeter or several data analysis
and exploration tasks related to the Voyager 2 mission have shown, sonification systems
have always been helpful in displaying structural and temporal aspects of complex signalsthat would not have been as efficient with visual tools alone [6]. This synergetic support
for understanding data derives not only from its accessibility through interactivity, but also
from some of the basic features of the human auditory system such as its ability to handle
multiple channels of sound at the same time, being sensitive to rhythmic patterns or its
capacity of perceiving variations in sound with high temporal resolution [8].
Application Design
Based on these observations, the aim of this work was to create an interactive data
sonification prototype which was coded using the Python programming language. The
current prototype aims at functioning as a springboard for the development of aninteractive digital data sonification museum, aiming to serve as a valuable, innovative andinteractive educational device, besides scientific, artistic and informational purposes. We
hold the assumption that sonification of data sets can evoke more learner engagement
especially in younger students. Historically it has been demonstrated, from a didactics
perspective, that the use of rhythm and melodies can positively influence learning
processes, e.g. in teaching the alphabet, or the number of days in each month [6].
For the design of the prototype [9] that sonifies the current open source data on
COVID-19 for Austria [10], the use of traditional instruments, sounds or musical motifs
was avoided. This was done for several reasons: musical motifs and sounds are culturally
shaped and, therefore, lack universal meaning [11]. For these reasons, sine-tones werechosen as the main building blocks. Due to the same considerations, musical motifs were
substituted by multiplication factors of base frequencies according to a mapping systemdescribing pandemic risk levels. This also avoids stepping into the more complex territoryof using Musical Instrument Digital Interfaces (MIDI), since MIDI-information also
corresponds to formal musical notes [12].
As a first step in the data-to-sound mapping, nine sinusoids corresponding to thenine counties of Austria (Vienna, Burgenland, Upper Austria, Lower Austria, Salzburg,
Carinthia, Tyrol, Styria, Vorarlberg) were set up. The base frequency of each sine-tonecorrelates with the latitude-value of the county in a way that the latitude values are sorted
and then assigned to 9 different frequencies. These were derived from the multiplication ofa base frequency with one of three sets of multiplication-factors [neutral4, light5, dark6].
4 [*1, *1.5, *2, *3, *(4 * (9/8)), *5, *(4 * (15/8)), *8, *9]
5 [*1, *1.5, *2.5, *3, *3.75, *4.5, *5.625, *6, *7.5]
6 [*1, *2, *2.4, *3, *3.5, *4.5, *4.75, *6, *7]

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Both aspects provide a point of interaction for recipients allowing to shape the narrative of
the sonification drastically. For the prototype a frequency of 110 Hz and the “neutral” setwere chosen. The placement of the nine sine-tones in the stereo field corresponds to thelongitude-values of the nine counties. The amplitude of the sound generators is modulatedby the daily cases of COVID-19-infections, where the numbers were scaled to represent avalue between 0 and 1, to suit the needs of being a relevant amplitude value. Pitch changes
were achieved by mapping the 7-day-incidence according to the aforementioned warning
system, established by the Austrian government. The warning system that corresponds to a
traffic light was used to make government actions tangible, relying heavily on the 7-dayincidence-values [13]. The mapping was handled in a way that each step further towards
the red light, the base frequencies get multiplied by a given number 7, increasing in pitch.
This resulted in a dense, loud and high-pitched cluster at the peak times of the pandemic,
and lower pitches otherwise (Figure 1).

Figure 1: Visualisation of the animated sonification scatter-plot with the nine
Austrian counties (x-axis) and time (y-axis).
As a next step, further parameters will be introduced via frequency modulation,
which allow for enhanced complexity in sound without losing its commitment to sine
waves as the main building blocks.
References[1]. World Health Organisation (WHO). (2020). Novel Coronavirus (2019-nCoV)
Situation Report-13. Online article. https://www.who.int/docs/default-

7 [*1, *1.5, *2, *2.5, *3]

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source/coronaviruse/situation-reports/20200202-sitrep-13-ncov-v3.pdf [last access:17.08.2021][2]. Brennen, S., Simon, F., Howard, P. N. & Kleis Nielsen, R. (2020). Types, sources, andclaims of COVID-19 misinformation. Online article.
https://reutersinstitute.politics.ox.ac.uk/types-sources-and-claims-covid-19misinformation [last access: 17.08.2021][3]. Rocha Souza, R.; Dorn, A.; Piringer, B.; Wandl-Vogt, E. (2019). Towards a
Taxonomy of Uncertainties: Analysing Sources of Spatio-Temporal Uncertainty on
the Example of Non-Standard German Corpora. Informatics, 6, 34.
https://doi.org/10.3390/informatics6030034[4]. Caplan, Robyn (2020). COVID-19 misinformation is a crisis of content mediation.
Brookings. Online article. https://www.brookings.edu/techstream/covid-19misinformation-is-a-crisis-of-content-mediation/ [last access: 17.08.2021][5]. Lachmann, A. (2020). Correcting under-reported COVID-19 case numbers. MedRxiv.
[6]. Kramer, G., Walker, B., Bonebright, T., Cook, P., Flowers, J. H., Miner, N., &Neuhoff, J. (2010). Sonification report: Status of the field and research agenda.
[7]. Grond, F., & Hermann, T. (2012). Aesthetic strategies in sonification. AI & Soc 27,
213–222.
[8]. Hermann T., & Ritter, H. (2004). Sound and Meaning in Auditory Data Display.
Proceedings of the IEEE (Special Issue on Engineering and Music - Supervisory
Control and Auditory Communication) 92(4), 730-741.
[9]. [Sonification Prototype https://michaelxstark.github.io/Data_Son_COV19_AUT_2021/ [last access: 17.08.2021][10]. Open Data Österreich ://www.data.gv.at/ [last access: 18.08.2021][11]. Vickers, P., & Hogg, B. (2006). Sonification Abstraite/Sonification Concrète: An'Aesthetic Perspective Space' for Classifying Auditory Displays in the Ars Musica
Domain. Paper presented at ICAD 2006 - the 12th Meeting of the International
Conference on Auditory Display, UK June 20 - 23.
[12]. Smith III, Julius O. (2005). Viewpoints on the History of Digital Synthesis.
Portability and the Limits of MIDI. Proceedings of the International Computer Music
Conference (ICMC-91, Montreal), pp. 1-10.
https://ccrma.stanford.edu/~jos/kna/Portability_Limits_MIDI.html [last access:17.08.2021][13]. Corona Ampel Österreich. Website. https://corona-ampel.gv.at/coronakommission/bewertungskriterien/ [last access: 17.08.2021]

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Thailand Towards Digitization– the past, the present, the futureand gray digital gap
Saiyud Moolphate1, Nadila Mulati2, Thin Nyein Nyein Aung2, Motoyuki Yuasa2,3,
Myo Nyein Aung3,4
The past
The digitalization of Thailand started in February 1996, the first National IT policy(IT2000) was launched (1996-2000) that was aimed to integrate ICT into government
administrations, increase ICT capacity and invest in national information infrastructures.
This is the first information and technology policy that had been launched. After the
successful framework was provided to policies and projects, Thailand launched ICT Policy
Framework (IT2010) to further develop ICT. IT2010 is a ten-year plan, from 2001 to 2010,
focused the development of long-term “5-Es Strategy”, which were e-Government, eIndustry, e-Commerce, e-Education and finally e-Society[1]. Under this framework, thefirst National ICT Master Plan (2002-2006) and the second National ICT Master Plan
(2009-2013) were launched to further execute and realize the IT2010. Thailand 4.0
initiative and the Digital Thailand plan were launched in 2016[1]. The ASEAN ICT
Masterplan 2020 (AIM 2020) was endorsed by ASEAN ICT Ministers at the ASEAN
Telecommunications and Information Technology Ministers Meeting (ASEAN TELMIN)
in November 2015[1]. 20-Year National Strategy (2018-2037) was the first national longterm strategy developed according to the Constitution of the Kingdom of Thailand 2017[3][4].
The Present
A rural-urban ‘digital divide’ persists and a 2016 national survey finds that while morethan 70 percent of the Bangkok urban population uses smartphones, only 39 percent do in
the more rural and less developed Northeastern region[5]. The number of households
connecting to the internet classified by regions in 2017 was 4.6 million in the central
region, whereas 2.1 million households in the northern region. Internet usage of people
who are not in the labor force (kids and elderly;158,264 people (3.36 percent) and that ofpatients, and disabled Persons was 128,163 people (9.21 percent) by the National
1

Department of Public Health, Faculty of Science and Technology, Chiang Mai Rajabhat University,
Chiangmai 50300, Thailand
2
Department of Public Health, Graduate School of Medicine, Juntendo University, Tokyo 113-8421,
Japan
3 Faculty of International Liberal Arts, Juntendo University, Tokyo 113-8421, Japan
4 Advanced Research Institute for Health Sciences, Juntendo University, Tokyo 113-8421,

Japan
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Statistical Office Thailand in 2017. Thai people’s digital literacy was at a basic level with ascore of 64.5 (out of100) in 2018[6].
The following factors determined the usage of the internet by the elder people;1)
Education status of bachelor degree and above, 2) Residences in the urban, compared torural area, 3) Male, 4) Retired, 5) Having experience of usage of computer/smart phone,tablet, 6) Staying in the area having internet access, 7) Co residence with people using
internet[7] [7] [7].
The Future
The COVID-19 global pandemic accelerated the digitalization of the countries and also
highlighted the importance of ICT to achieve Sustainable Development Goals (SDGs) [6]Therefore, seniors must be able to use digital technology effectively. Governments andpublic-private sectors should all work together to establish policies and strategies toempower the Thai senior population, realize “leave no one behind”.
Reference[1]. Heeks, R. and Bukht, R. (2018). Digital Economy Policy: The Case Example ofThailand. SSRN Electronic Journal doi:10.2139/ssrn.3540030.
https://www.ssrn.com/abstract=3540030 (accessed 9 August 2021).
[2]. Bolliger & Company (Thailand) Ltd. (2016). Roadmap for Thailand’s Implementation
under the ASEAN ICT Masterplan 2020; Office of the Permanent Secretary Ministry of
Digital Economy and Society: 2016; p 120
https://www.onde.go.th/assets/portals//files/AIM_2020%20_Thai_Eng.pdf.
[3]. Ministry of Information and Communication Technology Digital Thailand: Thailand
digital economy and society development plan
https://www.onde.go.th/assets/portals/files/Digital_Thailand_pocket_book_EN.pdf.
[4]. National Strategy Secretariat Office Office of the National Economic and Social
Development Board (2018). NATIONAL STRATEGY 2018 – 2037.
https://sto.go.th/sites/default/files/2019-12/National-Strategy-Eng-Final-25-OCT2019.pdf.
[5]. National Statistical Office and Ministry of Digital Economy and Society (2016). The
2016 Household Survey on the Use of Information and Communication Technology.
Annual Survey.
[6]. Office of the National Digital Economy and Society Commission (2019). The state ofThailand’s digital economy and society development 2019; Office of the National
Digital Economy and Society Commission
https://www.onde.go.th/assets/portals//files/Booklet_1.pdf.
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[7]. National Statistics Office and Ministry of Information and Communication
Technology (2015). Analytical Report: Factors Affecting Internet Use of Elderly in
Thailand.
[8]. Loipha, S. (2014). Thai Elderly Behavior of Internet Use. Procedia - Social and
Behavioral Sciences, 147 doi:10.1016/j.sbspro.2014.07.125.
[9]. Electronic Transactions Development Agency, Ministry of Information andCommunication, and Technology (2016). Thailand Internet User Profile 2015.
https://unctad.org/meetings/en/Contribution/dtl_eweek2016_ETDA_IUP_en.pdf.
[10]. Johnson, M. (2021). Technology and older persons: Ageing in the digital era.
International Telecommunication Union
https://www.itu.int/en/myitu/News/2021/02/08/17/18/Technology-older-personsageing-digital-era-Malcolm-Johnson.

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Wikidata as a Low-tech Solution to Leverage Semantic
Technologies and A Case Study of CBDB ID’s Reconciliation
with Wikidata
Fudie Zhao1
While the importance of the Semantic Web technologies has been widely acknowledged
among the DH community, the difficulties in acquiring relevant technical skills may
hamper many DH practitioners. Wikidata may be one of the low-tech solutions to leverage
semantic technologies. This short paper will present a case study of evaluating the benefits
and problems in the reconciliation of CBDB ID with Wikidata to demonstrate this point.
By doing so, it intends to invite discussion from participants at JADH regarding Wikidata
as a Linked Data approach to integrate data and as an entry to disseminate data to the Web
in East Asia’s context and the challenges it may face.
What is Wikidata
The Wikidata repository consists mainly of items. As a sister project of Wikipedia, it
maintains a simple, user-friendly, collaboration-oriented interface for editing items.2 On its
user interface, an item is displayed in 4 parts: 1) basic information includes label, item
identifier, description, aliases, and their multilingual displays. 2) statements, which
describe features of an item, consists of property and value. 3) external identifiers link an
item to external databases. 4) sitelinks connect an item to other Wikimedia projects, like
Wikipedia.
Behind its simple user interface are interlinked item and their data supported bysemantic technologies. Featuring a user-generated ontology,3 a live SPARQL endpoint fordata query,4 regular RDF dumps,5 and interlinks to other open datasets,6 it is Wikimedia’s
response to semantic technologies. It claims that following its tutorials, even novice users
can create and publish semantically-rich structured data conforming to Wikidata's
ontology.7 Its strong community has developed various applications and tools to support
data publication and integration which further lower the technical barrier.8

1

The University of Oxford (fudie.zhao@sant.ox.ac.uk)

2 See the English page about Confucius on Wikidata as an example:

https://www.wikidata.org/wiki/Q4604
3
https://www.wikidata.org/wiki/Wikidata:WikiProject_Ontology
4 https://query.wikidata.org
5 https://www.wikidata.org/wiki/Wikidata:Database_download
6 https://tools.wmflabs.org/mix-n-match/#/7 https://www.wikidata.org/wiki/Wikidata:Tours
8 https://www.wikidata.org/wiki/Wikidata:Tools
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Figure 1: Linked data behind the user-friendly interface of Wikidata (the English
page about Confucius as an example).

What benefits has the integration brought to CBDB?
Although Wikidata is not mentioned on CBDB’s official sites, 421,006 items on Wikidata
had a CBDB ID by 16 August 2021.9 One way to measure the effectiveness of Wikidatafacilitated data integration and dissemination for CBDB is to examine the number ofexternal identifiers and sidelinks that items with CBDB ID have on Wikidata, as theseexternal identifiers and sidelinks are pointing to data in other systems. Information about
external identifiers can be queried via the SPARQL portal on Wikidata. For an overview,
these items are linked with 361 external identifiers other than CBDB person ID.10 The
query results show that linking to Wikidata has:1) enhanced integration in the historical Chinese domain by collaboration between
DH projects and GLAM. For example, the Wikidata item of Confucius has 127
external identifiers; most are from GLAM domains.11 By linking to Wikidata,

9

Data on Wikidata is constantly changing. Wikidata data provided here are query results on 16

August 2021. URLs will be provided in this paper for readers to access the SPARQL live query
results. Check how many Wikidata items have a CBDB ID when you are reading this paper via thefollowing link: https://w.wiki/3NYY
10

https://w.wiki/3NZ311

https://w.wiki/3NZc

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datasets from these institutions and CBDB can be mutually contextualised for the
information concerning Confucius.
2) increased the CBDB data’s visibility to the general public. Wikidata is interlinked
with Wikipedia which is more widely known by the public. Sitelinks between
Wikimedia’s projects can measure interlinks between an item in Wikidata and its
corresponding Wikipedia page. 12 So far, 12,903 items with a CBDB ID in
Wikidata have been linked with corresponding pages in Wikipedia in the Chinese
language.13 Displaying the CBDB ID in Wikipedia, however, still requires extra
effort.14 The publication of CBDB ID on Wikidata can be taken as the first step
to disseminate its data to Wikipedia.
What are the problems and potential solutions?
The reconciliation has been conducted by the Wikidata community without any
collaboration with CBDB. This independent development of CBDB and Wikidata so far
has brought at least two problems to be solved: 1) How to locate and correct identifier
mismatches caused by the lack of inspection during the data export? 2) Both CBDB and
Wikidata have evolved after the reconciliation occurred. How to take this ambivalent andchanging nature into account for sustainable integration in the future? It is beyond thispaper’s scope for these problems to be thoroughly addressed. Instead, here we will focus
on some possible solutions that Wikidata may offer.
For problem one, automated inspection is customisable by setting up property
constraints for an external identifier on Wikidata. For example, single value constraint,
which specifies that a property generally has only a single value, can detect Wikidata items
that have more than 1 CBDB ID. Items that violate this constraint are displayed on theconstraint violation report for CBDB ID.15 Wikidata provides many types of property
constraint, and with some knowledge of SPARQL, users can customise complex
constraints for a property. 16
For problem two, Wikidata does not take the responsibility to keep the data up to
date. Instead, it encourages data providers to maintain the data either by themselves or by
preparing documentation for the Wikidata community to help with it.17 Wikidata hasfeatures that keep data changes trackable. Changes to items related to CBDB ID have been
12 https://www.wikidata.org/wiki/Help:Sitelinks
13

https://w.wiki/3TnK

See the section “Inserting Wikidata values into Wikipedia articles” in
https://en.wikipedia.org/wiki/Wikipedia:Wikidata#Inserting_Wikidata_values_into_Wikip
edia_articles
15 https://www.wikidata.org/wiki/Wikidata:Database_reports/Constraint_violations/P497
16 https://www.wikidata.org/wiki/Help:Property_constraints_portal#Usage_instructions
17 https://www.wikidata.org/wiki/Wikidata:Data_donation#4._Keep_the_data_up_to_date
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recorded on the related changes page on Wikidata.18 Users can check the revision historyof a certain item and reverse it to the previous version if the change made by others is
wrong. The recent changes can also be tracked by Wikidata’s API service. 19 Besides,
individual users can track changes by using the watchlist function and can set up an RSS
or Atom feed to receive updates about items on a watchlist. 20

18https://www.wikidata.org/w/index.php?hidebots=1&hidecategorization=1&target=Proper

ty%3AP497&showlinkedto=1&namespace=0&limit=500&days=30&title=Special:Recent
ChangesLinked&urlversion=2
19 https://www.mediawiki.org/wiki/API:RecentChanges
20 https://www.wikidata.org/wiki/Help:Watchlist
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[Workshop – 1]
歴史学におけるデータ共有，統合化，多角的協働
Data Sharing, integration, and multi-proxy collaboration in historical studies
人文学や社会科学におけるオープンアクセスとオープンデータの実現は，歴史資料の多角的・総合的なアプローチの促進につながります。日本の歴史研究は，多様なデータセットに対する大規模で長期的・学際的な種々の研究プロジェクトにより，過去 100 年にわたって発展し続けています。しかしながら，研究手法の標準化，メタデータの資源化や長期保存，災害時における資料データの活用など
は，十分に実施できているとは言えません。研究資源として歴史資料や研究デー
タを積極的に共有するための基盤についても，具体的にどのような整備が必要となるのか，社会的な課題に対応して整備する必要があります。本ワークショップ
では，各種研究データへの十分なアクセスと長期保存・活用を実施するためにはどうすればよいのか，また，研究データリポジトリとしてどのような活用が見込
まれ，利用を促進するためにはどうすればよいのかについて，各研究機関で実践されている事例をもとに検討します。ご関心がおありの方はぜひご参加ください。

A multi-faceted and integrated approach to historical resources leads to a synthetic
discipline benefitting from open access and data in the humanities and social sciences.
Japanese historical studies have advanced over the past century through large-scale, longterm, and multidisciplinary projects that integrate diverse datasets with sophisticatedapproaches. However, dispersed and heterogeneous data lead to technological challenges.
Standardisation of methods, development of robust metadata, and long-term preservation
and utilisation in case of disasters are insufficient. Sociological challenges, including
inadequate rewards for sharing research and resource data, must also be resolved. This
workshop examines how superior data access and preservation can be achieved to promote
the attribution and acknowledgement of well-curated and federated data repositories. If
you have any interests, please join in this workshop.

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日程
ワークショップは JADH の第 1 日目の 2021 年 9 月 6 日（月）10:30 - 14:00 に開催
します。

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[Workshop – 2]
海外 DH 教育動向調査
Workshop on the state of Digital Humanities Pedagogy abroad
昨今、人文学分野の学部・大学院教育における情報リテラシー涵養の必要性が叫
ばれ、コースやカリキュラムの設置・導入が進んできています。このような事情に鑑み、2020 年 11 月に発足した日本デジタル・ヒューマニティーズ学会「人文学のための情報リテラシー」研究会では、人文学およびデジタル・ヒューマニテ
ィーズ教育・研究に有用な情報リテラシー習得のためのカリキュラム編成を考案したいと考えています。 本ワークショップでは、2000 年代からこのような教育体制の整備を進めてきた欧米の事例を紹介いただき、国内の人文学教育・研究における情報リテラシーのあり方を展望する機会としたいと思います。ご関心がおありの方は、ぜひご参加ください。
日程
ワークショップは JADH の第 1 日目の 2021 年 9 月 6 日（月）15:00 - 17:00 に開催します。

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