Heritage Kingston: A Blight on a Historically-Minded Town

Well, here it is. The oldest European remains in Ontario: Fort Frontenac - built in 1673 as a fur trade post and hamlet for a military garrison, habitation, Indian camp, and a Récollets church - or what's left. Notice the large building to the left in the background: the K-Rock Centre.
If you look closely, you may notice the orange city spray-paint markers on the remains.

Kingston is a town known for effervescent heritage. It's the Limestone City for a reason. Every turn reveals a period home - Loyalist vernacular architecture dating back to the late 18th century, cathedrals, churches, and redoubts. Yet, in such a heritage-minded city, it is appalling to see such neglect and obvious mal-planning that surrounds Ontario's oldest European historical site. For a quick and dirty history of Fort Frontenac, see CARF. The Cataraqui Archaeological Research Foundation began excavation of Fort Frontenac in 1982 with the intent on unearthing and eventually restoring this significant historical site. Sadly, the end goal was never achieved. Three quarters of the remains lay buried under the new Fort Frontenac, built as the Tete-de-Pont barracks in the late 18th century by the British. However, the northwest bastion and curtain were excavated. They still remain (see above photos), but neglected and overshadowed by the recently constructed K-Rock Centre (opened February 2008) - a monstrous arena that attracts off the shelf bands and houses the OHL Kingston Frontenacs. The plan for its construction was approved by Mayor Harvey Rosen, who has a background in commercial development, and Council. Controversy flared with the decision to place the arena in the downtown core, and the remains of Fort Frontenac have duly suffered.

As an outsider in Kingston, I don't profess to know the extent of the controversy and reasoning, but, because I'm an outsider, I see this site with a tourist's eye. Those who come to Kingston and know their Canadian history, would immediately flock to the remains of the oldest structure in Ontario. How and why nothing has been done to make something more of the remains is boggling. If Fort Frontenac is to contend with the K-Rock Centre, it will lose. But now that they are side by side, why not embrace the coincidence that the Kingston Frontenacs play next to the remains of Fort Frontenac. At least make it look like the site is protected and give it some interpretation that isn't just dilapidated text panels, water-marked and spray-painted, and a leaning Kingston Historical Society plaque, erected in the 1950s. Have some respect, Kingston.

The Mathematical Historian

As it commonly goes, the relationship between history and math is comparable to, well, any non-existent relationship. Expectedly, the average history student, having left the world of mathematics long, long ago, struggles to recall the process involved in a simple long division equation, let alone making that pesky remainder disappear. We tend to scoff at math, shrug our shoulders and chuckle, unaffected by the fact that one of the most logic-driven sciences is all but lost on us.

Now, for most, this is of little concern, but maybe it should be. Sure, in our future careers as academics, curators, administrators, professionals, etc., basic math will sometimes be needed, but the calculator will see us through those little roadblocks. This is fine, even mathematicians use calculators, but what about math as a discipline that stokes the brain in a way that reading and writing does not.

As stated in a previous blog, my sub-group for the Digital 513 project is using Google Earth for our presentation on comets. As I worked with the KML interface Google Earth provides in order to create information balloons, I decided that I wasn’t satisfied with the set-up of the offered template. Through a series of trial and error, I worked through the KML code, rearranging the positions of photos and text to make a cleaner, more compact balloon. After a spate of epiphanies – even code can have such an impact – I quickly learned to recognize what certain tags and attributes represented and the necessity to arrange cells in a distinct and logical order – a similar revelation I’ve had while teaching myself basic html.

Here's a screenshot of the Google Earth balloon I created:


Although I was not working through equations or perfecting a trigonometric solution, I was performing what math is in essence: a series of logical processes. More specifically, it reminded me of my days as a student of algebra. In an algebraic equation, logic plays an immensely important role, similar to working with code. If something is added or taken away, it must have uniform correspondents throughout the equation. As in KML, there must be such tags as <> at the beginning of a cell and be closed with < / tr > at the end.

Although my ability to articulate how one works through algebra or code is quickly exhausted, it is apparent – or at least I hope it is – that they follow a similar series of input and output that require a uniform treatment of the equation or cell. If you alter a, then b and c must be adjusted or else the equation will wind up looking something like this.

On the same vein, working with code created experiences similar to those had when working with mathematical equations. After a series of errors and wrong numbers, or in the case of code, a header somehow floating between the margin and the nexus of the Internet, getting it right gives you a feeling of self-satisfaction and accomplishment. Furthermore, once you realize the mistake you were making, it becomes so obvious that you’ll never forget the logic behind the organization of the equation; a testament to the positive reinforcement of trial and error.

Well, amidst assured cries of blasphemy, I’m wondering if the historian’s apostasy and retreat from the world of mathematics - a discipline so ingrained in our little heads but soon forgotten as we entered the ivory tower of “higher learning” – should be so eagerly embraced.

We need to recognize the transferable skills that history alone cannot teach us, especially as digital humanities become increasingly important and necessary for all disciplines, including history. I’m not saying we force undergraduate or graduate students to pursue math as a secondary discipline, but a knowledge of some math, if even basic algebra, can go a long way in keeping our logic-driven left brain performing and aid us when working with the tools that will help make history more exciting, accessible, and digital.

So close that monograph on the Chilcotin Plateau, forget that lucid interpretation of Foucault, and try re-activating your left brain; don’t worry, you’re right brain could use the much needed repose.

Making History In Canada

As I am apt to do each and every Tuesday evening, I watch the CBC. In particular, I enjoy the comedic punditry of Rick Mercer. In last night’s episode Mercer had a compelling rant that sent me in a mad-dash of passion and frustration to my computer. As I sat there poised, preparing to applaud Mercer’s poignant wit and deplore Canada’s current political farce, I slowed my breath to come to terms with the fact that my blog is neither an outlet for my personal ravings – none of which I’m sure anyone really needs to read – nor a forum for current events outside of history. So, I cursed my historical occupation and then began to pick my brain in order to find some way to link what I had learned with some form of public history. Here goes.

But first, a little background. Each week Mercer reserves a portion of his half-hour time slot for a rant. These quick and biting monologues are most frequently aimed at the Federal Government of Canada and its routinely embarrassing acts; this week was no exception. Recently, the UN Intergovernmental Panel on Climate Change (IPCC) and Al Gore were awarded the Nobel Peace Prize in Science for their work in climate change. Apart of the IPCC were Canadian scientists who were thusly awarded this prestigious prize for their work on this study and their commitment to raising awareness of the global predicament. And how did the current Canadian government respond to the recipients of this worldly award? Well, Mercer has a wonderful, exploratory rant here.
In short, a reception for these recipients was held on parliament hill last week, but neither Stephen Harper, nor his cabinet, specifically Environment Minister, John Baird, were present to honour this achievement. The Conservatives snubbed the commemoration.

Most are familiar with the regressive environmental policies of the current Conservative government, but this is not a rant about Harper and Baird and their war on environmental science which has seen the Cabinet's science adviser relieved of his position and Environment Canada's scientists' lips sealed. This is about the history we make today and the history we celebrate.

In a recent post, a peer of mine, Helen Button, discussed the sometimes controversial art of historical commemoration. As Helen discusses, there are many lesser known figures and peoples who often go unnoticed but are nonetheless deserving of commemoration. In Canada, we often struggle with, and tip-toe around, historical idolatry for fear of alienating a specific group in an ever-growing multicultural country. Our holidays often walk the line of political correctness with days such as 'Civic Holiday' and it's new counterpart 'Family Day'. But it's not all like this. Kudos to Manitoba and the realization of its first 'Louis Riel Day'. Of course, there's Québec which has long recognized such days as 'Saint-Jean-Baptiste' and 'Dollard des Ormeaux'. Commemoration can often be controversial and Riel and Ormeaux are not without their critics and differing interpretations, but the commemoration in itself creates awareness of the impact and influence these individuals and groups have had on our history and concomitantly heritage. Yet, we still strain to create national and provincial holidays that recognize our past. And so we "observed" our first 'Family Day' in Ontario this past Monday.

Maybe part of the problem is our national government's inability to embrace our best and brightest. Governments of the past, Liberal and Conservative, have notoriously shrunk before opportunities of national recognition and unity, never committing without realizing the populist feelings of the day or presently, ignoring a commemoration of our finest minds for a static environmental platform. How are we expected to honour the achievements of the past when our current government will not honour the achievements of today? Even George W. Bush embraced Al Gore's decoration.

Whether you are a Tory or a Liberal, climate change is a reality and the Nobel Committee has recognized these Canadians' work on this study. Dealing with the reality of the environmental impact we have on Earth should not be a part of a political ideology; it should be something any government works progressively for to ensure a bright future for generations to come - this isn't Liberal environmentalism, this is foresight. And sure, the Conservative reply is that too harsh of sanctions on such things as industry and consumerism would sharply alter our way of life. But, the changes we must confront now will pale in comparison to those our children will have to face if we don't attempt to make history in a positive direction now.

Commemoration has its critics and some would argue that it does little in educating the public on history, but I argue that it is in the act of commemoration that we grow our historical awareness. Little is learned from a plaque or a statue in the park, but the presence of these historical landmarks cultivates a sense of history and heritage in communities that may lead to historical inquiry, if only amongst the few. Furthermore, these commemorations help to foster a sense of Canadian history that is so important to maintaining a strong and unified country. The Conservative response to climate change is not only damaging to Canada's reputation globally, but it cuts at the social fabric that ties Canada together through acts of commemorating our brightest. Commemorations of the past and of today do not have to place a figure or group on a pedestal, but should act as a forum for understanding. Snubbing the winners of the Nobel Peace Prize not only fails to honour that which a global committee honours, but it also hides from the discussion generated by these people and their commemoration. In my opinion, this is just plain bad for history.

Welcome to the Sky: It's Big, Don't Worry if You Find Yourself Lost

Sometimes we should just not care so much.

In a previous post I discussed one of the informal mottoes for my digital history course - it's better to fail in order to learn. The class has divided into 4 smaller groups and in April we plan on putting forth an "exhibit" under the ambiguous title, the Sky.

In my sub-group, we'll be assembling a presentation on comets in history. We've broken it down into four place-specific events: the Jesuits' portents in New France, 1618 and James I, the theorized impact in the age of the dinosaurs, and past interpretations of Halley's Comet. For our presentation, we've decided to create an interface with a globe. Each place-specific comet sighting etc. will have a corresponding touch-point on the globe which will activate a Google Earth display on an accompanying monitor. The display will contain images and text to describe the event specific to the location chosen by the viewer. Professor Turkel has done the leg-work for assembling the hardware that will connect the interactive globe to the computer and explains it here.

For myself, this exhibit is an opportunity to play around with, and develop something that is both new and challenging. Trying to understand what Professor Turkel has done may be out of my league, but learning to develop material for presentation in the xml-Keyhole Markup Format that Google Earth uses will be both new and challenging. But that's the point. This is a chance to work with something new, possibly fail at it, and still pass the course. Traditional forms of presentation in public history still hold merit, but we're familiar with them. This is a chance to experiment with new media to present history. Sure, there will be sound historical content, maybe even a thesis or historical question, but more importantly, not only our audience, but us the creators, will see and work with something new that holds a wealth of potential in our future as public historians. If it ends up looking like a science fair, so be it, that's kind of what it is. If someone asks what we're doing, unable to see a coherent link between the various histories being presented, we'll simply tell them what it is we're doing - learning/experimenting/presenting new ways of interactive history. It's not really about the sky - that just happens to be the historical element that was agreed upon in class - it's about the digital.

Why the quotations around exhibit in the opening paragraph? Well, in my opinion, this isn't an exhibit; calling it such is problematic. We are presenting disjointed histories. By calling it an exhibit, we succumb to a desire to create cohesion, maybe a statement, but this is too narrow for our purposes. We are experimenting. For all intents and purposes, this is a presentation on digital history, not a thesis about the sky and history.

So I say, lose the inhibitions, try something new and be less concerned with the history and more with the medium. Besides, if all else fails, we can slap up some text panels and photos of our wonderful attempt at trying to present history off the beaten path.

The Future Frontier: Forgery and it's Historical Implications

The amount of images that are created on a daily basis is expanding exponentially with each passing technological development. For future historians using these images as sources for research, they may offer some interesting insights into society at the time. Historians may be able to make a myriad of inferences, cross-referenced with traditional sources, regarding such things as social values, mainstream political thought and social behaviour. However, one disparaging thought that may emerge from such future research is the historical question of motive and subsequently, cause and effect. Doctored photos reveal many malign characteristics of society, for many of these photos are devious and produce negative results.

Doctored photos will most likely be a serious issue for future historians. The work of computer scientist and digital forensic sleuth, Hany Farid, is caught in a perpetual tug-of-war with forgers. Farid is optimistic that the algorithms his team are producing and the detectors, which future computer scientists will produce, will make it so difficult to doctor photos without being detected that it will deter many from doing so. This is all well in good, but what does it mean for future historians? What implications will it have on the historical process?

The relationship between the human eye and brain is wired to recognize inconsistencies and pattern. In the past, it has been relatively simple to identify doctored photos. Yet, to the degree at which forgeries are being created today, quite often, the human eye isn’t enough. Although the tools exist to identify a forgery, does this imply that historians using photos, as source-material in research, will have to go to new lengths to determine the authenticity of every photo they use?

This, however, is really not all that new. Even prior to the advent of photography, images were being created. Just as historians read written documents with a critical eye, we must view images through this same analytical and skeptical lens. Paintings and sketches are commonly used as evidence, offering a tangible representation of appearances of people and places of the distant past. As critical researchers, historians have had to look at these images warily in expectation that motives may have skewed the subject. For example, early European pencil drawings of Indians they encountered in North America came in a variety of ways. Quite often, those who were commissioned to document the terra incognita worked for a government that was attempting to promote colonization. Therefore, images depicted Indian life as benign and gentle, primitive beings that needed only but a helping hand. However, depictions of Indians could also take on a malevolent, godless form in order to promote warfare and subjugation.

Forgery will always be an issue for historians. Whether it’s the direct doctoring of images, or the manipulation of a subject in order to present an underlying message, historians will, as they always have, continue to treat these materials critically. The process will undoubtedly be more difficult as the wealth of sources seems infinite and daunting as we progress through an information revolution. It has and will continue to be, however, an intricate part of the historian’s craft to question the sources with available tools. Forgeries of the past misled contemporary societies as forgeries of today may deceive our own. With a little optimism, however, and faith in the work of such professionals as Farid, historians of the future will have the tools of the future to assess the works of the past.

There are, nonetheless, still many unanswered questions, notably the effects that forgeries have on society today. Furthermore, historians use and interpret images of the past that deluded their contemporary societies. Yet, what is happening to the originals that are used to create a forgery? To have both the original and the forgery will allow the historian to investigate into the nature and motive for the manipulation. This then, may be a more pertinent implication for the historical process. Even if the technology exists to detect a forgery, without an available original, the historian may be left guessing as to why the image was doctored. Of course, this again, is not new. Part of the historian's craft is to use a plethora of sources to come to an interpretation.

It's difficult to infer the implications of forgery on the historian's craft. However, using the historian's past, we may make educated guesses to attempt to assess how the future of history will play out on a new and digital frontier.


For more information on the work of Hany Farid, visit: http://www.cs.dartmouth.edu/farid/home.html

See also Steve Casimiro, Can Photos Be Trusted, Popular Science (2005): http://www.cs.dartmouth.edu/farid/press/popularscience05/popsci05.html

Playing History: Historical Accuracy and the Video Game Frontier

There’s no way around the fact that history can be extremely boring. For some, if history is not served with flash and entertainment, it will remain a dusty book in the hands of a crotchety, pretentious teacher. Even more discouraging to aspiring historians are those who balk at the idea of a history lesson. It’s the classic scenario where a child is partaking in an engaging and entertaining activity and the parental figure has the brass to destroy the fantasy with reminding them that what they’re doing is educational, too. The child doesn’t care and would most likely rebel at the concept of having fun and learning at the same time. Thus, history remains a hidden gem in the world of entertainment. But, it’s not just child’s play.

Just as films have timelessly utilized history as the base to many plots, so to is the gaming world tapping this resource. Whether they are consciously aware of it or not, those who play such gaming consoles as Xbox 360 or PS3 are often playing a game that has some historical background. A popular first-person-shooter, Call of Duty has commonly been based on the events of the Second World War. As a member of a fictional platoon, the user partakes in historical battles, using the same weapons and gear and wearing the same fatigues as those donned by the men who fought in the war.

A more pertinent example, however, is the stunning composition of the recently released Assassin’s Creed by Ubisoft. With historical accuracy as a prerogative, this game has used history as the foundation and source to recreate a world that existed over 800 years ago. As most historical films go, the term historical-fiction must apply. Yet, the world around you in this captivating game is so striking, it’s shocking that the game hasn’t lost popularity for being labeled as an educational experience.

As the player, you are, for the most part, Altair, a member of the short-lived Assassin (Hashshashin) sect of the Shiite Muslims. The Assassin’s formed in c.1090 with the intent of eliminating political-religious figures of the Sunni sect who, as the Assassin’s felt, had usurped power. As a member of this sect you are charged with the task of eliminating nine historical figures, one of which includes Robert de Sablé, Grand Master of the Templar Knights. The nine targets are based on prominent figures of the Holy Land during the Third Crusade (c. 1191). Richard the Lionheart has just recaptured Acre and is fighting the forces of Saladin to gain entry into the heart of the Holy Land and to Jerusalem. Your task is to restore peace to the Muslim world and assassinate those who have seized power and are exploiting the people and land.

Now, literary license has been exercised to link these men’s deaths to the Assassins within the plot. However, player’s of the game will not be focused, for the most part, on these kinds of details and, giving the users of the game a little credit, will most likely be able to deduce for themselves the fiction in the plot. This is fine. Odds are those playing the game will forget the plot and the historical suggestions it made very soon after they have finished the game. However, it’s the vivid backdrop and the constant bombardment of scenery and fantastic images that will leave their mark on the users memory.

For this reason, Ubisoft is to be commended. All too often, games, movies and the like claim historical accuracy, but stop there. However, with Assassin’s Creed, the creators went that extra mile to bring to the game a complete recreation of the historical setting of the Holy Land in the twelfth century. Using historical documents, the creators of the game designed the cities of Acre, Damascus and Jerusalem as near to how they may have looked at the time. The main character moves about the city, interacting with thousands of individuals and the powerful scenery that includes both countryside and intricate urban architecture. The end product is a complete game that has three spot-on recreated cities within which the user may explore for hours.

Whether the user is cognitive of the historical accuracy or not is irrelevant. In most instances, a game or movie like this leaves the participant with a sense of knowledge of the past. After using a game that has a historical element, the user often bases their understanding of a particular aspect of history on the experience they had with it. Therefore, with Assassin’s Creed the user has unwittingly digested a piece of accurate historical information through merely acting within the game. After playing Assassin's Creed, the user will most likely think that what they just experienced is quite possibly how, for example, Jerusalem looked 800 years ago. With Assassin’s Creed, the experience will be fairly accurate.

This is the world of the public historian. Sometimes we must bring the history to the audience rather than have them seek out the history. Through mediums in digital history, we can bring history to an audience that demands the transference through entertaining means. In the case of Assassin’s Creed and other historically based video games, the audience is indirect, but there nonetheless. If the audience is going to assume that they’re experience is with legitimate history then let’s strive to make sure it is.