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Johanna Drucker on Visual Rhetoric

Over the last week or so, we have revisited visualization as  a technique for interpretation. In our production of networks using Gephi, the process of creating data, preparing it for input into the software, manipulating it once in the software and then interpreting it once entered has been foremost.  As we move on to mapping, we will find parallel processes at work: preparing data, entering it, manipulating it, interpreting it.  And as we do so, it behooves us to think  critically about what we are doing, and what we are not doing.

Johanna Drucker’s intelligent, broad view of visualization as a form of knowledge production offers us many pointers for taking each step on our path to visualization and interpretation with deliberation. The long chapter “Interpreting Visualization–Visualization Interpretation” from her book, Graphesis: Visual Forms of Knowledge Production (Harvard, 2014) presents us with an overview of forms of visualization primarily since the Renaissance, and it also issues a plea for the development of a greater understanding of the force of visual rhetoric; a plea that is directed especially at humanists, as they enter into a realm of spatialized representation that might appear to belong to the realm of the quantitative over the qualitative.

Visualizations can be either representations or knowledge generators in which the spatialization or arrangement of elements is meaningful.  When reading a visualization, Drucker encourages us to use language carefully, employing terms such as “juxtapose”, “hierarchy”, “proximity”.  Drucker claims that visualization exploded onto the intellectual scene at the edge of the late Renaissance and beginning of the early Enlightenment, when engraving technologies were able to produce epistemologically stunning diagrams that both described and also produced knowledge.  Now with the advent of digital means to manipulate and produce data we can all produce timelines (!) without giving a thought to the revolution in the conceptualization of time and history that (our near neighbor) Joseph Priestley occasioned.  So, as we play with Timemapper or Timeglider, Drucker cautions us to become aware of the visual force of such digital generations. “The challenge is to break the literalism of representational strategies and engage with innovations in interpretive and inferential modes that augment human cognition.” (p. 71)

How do we do this?  Drucker argues for us to recognize three basic principles of visualization, both as producers and as interpreters: a) the rationalization of a surface; b) the distinction of figure and ground; c) the delimitation of the domain of visual elements so that they function as a relational system.

In her sections on the most prevalent forms of visualization, I find most pertinent to the coming module on mapping her insight that a graphical scheme through which we relate to the phenomenal world  structures our experience of it (p. 74).  In other words, the mapping of the earth, sky, sea or the measurement of time, that are in themselves complex reifications of schematic knowledge, actually become the way in which we experience that thing.  The week is seven days long and the month is 28-31 days long (because of lunar cycles) and thus astronomical tables become the way we structure time.  But time isn’t like that; it isn’t linear, especially in the humanities!  It contains flashbacks, memories, foreshadowings, relativities (it speeds up when we are nervous, and slows down when we are scared). So we are imposing structures from social and natural sciences onto human experience.  Drucker argues that the shape of temporality is a reflection of beliefs and not standard metrics, and therefore asks how do we find a graphical means to inscribe the subjective experience of temporality or the spatial?

For example, digital mapping may give us the ability to georectify a manuscript map onto a coordinate system, but what does this give us?  It might show us how accurate a mapmaker was, or was not; it might help us to locate an archaeological site with more probability, but it is ignoring the fact that the manuscript map, drawn perhaps on  buckskin, or stone, or vellum is a representation (and a thin one at that) of a traveler’s or observer’s experience that we are then translating into a system of coordinates.  What is absent is the story; way-finding depends upon narratives, travel accounts, diaries.  We must be aware that maps produce the illusion of isomorphism, but this illusion is based on an elaborate system of abstract schema and concrete reality.

I am most captivated by the section of her chapter that focuses on visualizing uncertainty and interpretive cartography, as this is an area I have thought a lot about in the last five years during which I have been working with GIS.  As a software, GIS gives us enormous power to produce knowledge as a generator; through the combinatory power of layers, and base maps, and points, and embedded data tables, GIS has often seduced me with its “deceptive naturalism of maps and bar charts” generated from spreadsheets that I and my students have spent months creating.  It strengthens the fiction of observer-independence; the objectivity of the “bird’s eye view”, and, as Drucker so aptly states, “we rush to suspend critical judgment in visualization.”  For me, however, and for the students I have worked with, the question of how to represent ambiguity has consumed us; as has also how to make ambiguity the ground of representation.  I think here of the brilliant visualizations of Steffany Meredyk, ’14 as she created her interpretive map of the main stem of the Susquehanna River.

Steffany Meredyk's map of the Susquehanna River
Steffany Meredyk’s map of the Susquehanna River

Using the work of Margaret Pearce, Steffany and I talked for long hours about the importance of reinserting the positionality of the observer into the visualizations of the river.  Taking her “data” from accounts of massacres in the 1760-80s that occurred on the Susquehanna River, and using graphical means of Adobe Illustrator to represent ambiguity, uncertainty and emotion, I consider Steffany’s work to act as a model for the way in which we can use digital media and methods as humanists.  We can, as Drucker observes, “model phenomenological experience; model discourse fields; model narratives and model interpretation.”


Closer Look: Close Reading and Prosopography

The process of tagging and marking up the Travel Journal of Christian Froehlich and Jasper Payne to Maryland and Virginia was a dissection process resulting in a deeper understanding of the text. Details that previously were not explicit became plainly clear through the decisions of our editorial board.


These decisions were made as a group to establish consistency throughout the text. However, the team was unable to eliminate biases from our choices.  As  Elena Pierazzo said in her article, “A Rationale of Digital Documentary Editions,” “The process of selection is inevitably an interpretative act: what we choose to represent and what we do not depends either on the particular vision that we have of a particular manuscript or on practical constraints” (Pierazzo 465). Pierazzo emphasizes that the choices made by editors will influence the reader’s understanding of a piece. The travel journal, for example, is represented through the choices we made about what to classify in different ways.


For example, our editorial board decided to categorize “Holy Spirit” under <persName type=”deity> (as shown in the below image).

This is an excerpt of the marked-up XML file from page 7 of the Travel Journal.
This is an excerpt of the marked-up XML file from page 7 of the Travel Journal.

We discussed the option of making “Holy Spirit” and related words such as “Lamb”  objects, however decided that persName made the most sense for this text. This decision, will impact the way that the readers ultimately come to interpret the text. In this way, as written by Pierazzo, “Perhaps then we should simply say that the notion of objectivity is not very productive or helpful in the case of transcription and subsequently of diplomatic editions” (Pierazzo 466). Had we been objective, very few tags would have been made and even fewer trends would be able to be detected by readers.


After tagging the XML files in Oxygen, we were able to link our content through a CSS file to make a webpage. Through the CSS file, we could manipulate the appearance of tagged words or the entire text– color, text style, and text weight were all variables we would alter. I made my decisions based on what I thought would be important for readers to gain out of the text. As stated by Pierazzo, “From the editors’ interpretation of the text and of the author(s) intentions it is necessary now to consider the readers of the edition and ask what must be added to the edition itself to satisfy their needs and expectations” (Pierazzo 470). In my answering of the question “What do the readers want/need to know from this text?” I thought back to both the purpose of the text and what readers would likely be using it for. As the text was written as a travel journal, I decided it was important to highlight the places the men traveled. I also determined that the people the men interacted with and the various roles of these people (Justice, Priest, Brother, etc.).



Screen Shot 2015-03-23 at 9.03.08 PM
Above is an example page of the color-coded text. I also made the decision to italicize the words that were misspelled in the text.

In order to make these things explicitly clear for the readers, I had the titles appear in green, the names of people appear in blue, and the places appear in purple (as shown to the left). Color-coding the text allows readers to easily make connections between people and places. In addition, this was extremely helpful to find mistakes or untagged words; it can be difficult to find words to code in the XML format in Oxygen and this cleaner version made errors jump off the page.


Close Reading and Prosopography

In the last month, we have come a long way with our analysis of Payne’s travel journal. We have gone from looking at very distant analyses of the text online to reading the text at a much closer distance that allowed us to create our own databases of the text. We started by marking up our transcriptions on Juxta Editions with the very basic categories such as people, places, and dates. This was done with a few clicks of the mouse in Juxta.

After this we moved on to <oXygen/> XML, which we used to mark the text up with more intricate tags. We downloaded our transcriptions from Juxta and imported them into <oXygen/>. Immediately, the tags we added in Juxta showed up in <oXygen/> and we started to add tags for objects, emotions, misspellings, role names, events, and references to Jesus. As Elena Pierazzo states in her article, “we need to rethink the reasons why we make our transcriptions.” We thought very deeply about what kind of words to tag.

For us it was important to tag dates, events, and places because it is a journal that we transcribing and we want to keep track of a journey. Sometimes we had to face even tougher decisions than just whether or not to tag a word. For example, it required some more thinking to determine whether a word was a  place vs an object.  We had to just all agree on the same tag so we could be as consistent as possible. It was important to tag people and role names, because we want to keep track of all of the characters in our text. Tagging emotions and references to Jesus was very important since the journal was written with an exceptional amount of emotion and most of it because of the writer’s strong religious beliefs. We also tagged misspellings since there are a lot of them, because this edition was written during a time period when people phonetically spelled out words when they wrote them down.

Marking up our transcriptions helped us understand some of the deeper meanings of some words according to the Moravians, especially when religious references were made. It also helped us realize that most of what tagging is is making informed decisions  almost every time a new kind of word comes up. Most of our decisions followed Pierazzo’s five parameters of decision making, including (1) the purpose of the edition, (2) the needs of the readers, (3) the nature of the edition, (4) the capabilities of the publishing technology, and (5) the amount of time available for the job. Parameters (1)-(3) required more thinking every time we came across a word. Whereas, parameters (4) and (5) were more automatic and required little to no thinking. The first three parameters helped us to know “where to stop,” as Pierazzo writes. In other words, it helped us not only to know which words to tag, but, just as importantly, it helped us to know which words NOT to tag.

After tagging the transcription, we made a prosopography of our people and places. We could organize that data any way we wanted. Then we added a CSS file that was linked to our transcribed pages. With this file we could edit the way the files would be displayed online. We could format the fonts by tag, for example we could make all names of people appear in a green, italicized font if we wanted to. This required more thinking and decision-making. At first, I changed the colors of every different kind of tag and changed the fonts until the text actually became to distracting to read. So, I took a step back and thought more deeply about what the reader should get out of reading my edited transcription. I chose to enlarge and bold the dates, underline place names, and bold person names, because this is important information for the journey. I also chose to italicize misspelled words so the reader will not be confused or to show how the language has changed over time. Here is a before and after of my edited file:

Before thinking more deeply.
Before thinking more deeply.
After thinking more deeply.
After thinking more deeply.

Doing this helped me understand how edited texts were produced and how distant reading can be done on texts using this. this made me realize that we could start by closely reading a text and collecting and organizing all of its data, which will then help others to distantly read our text.

Close reading and Prosopography

Recently, we learned how to use different kinds of digital humanities methods to transcribe and study diaries produced hundreds of years ago. By doing distant reading, we had a rough understanding of author’s purpose and destination. In order to have a better and more precise understanding of the diary, we did close reading by tagging words with Juxta edition and Oxygen. Close reading helps us learn more details, such as the route, the people they met and the events on their way to their destination. We even learned about the relationship between places and people, places and time and events and places.xml

Compared to Juxta edition, by which we could only roughly tag people, place and time, Oxygen enabled us to tag more, such as emotions and objects. It even had a more detailed classification, for example, it separate tag “name” into two parts—“persName” and “roleName”. It also distinguishes “time” from date, which would be more convenient when readers want to find specific date from tremendous database. When I was tagging the words in Oxygen, I was confused since there are too much information to decide which word to tag and which word not to. This recalled me of Elena Pierazzo’s idea of diplomatic edition—there are infinite facts in the work we are going to edit so that we need to have a selection among these facts. The selection should, as Elena said, “aspires to equal the object to be studied.” But, “be simpler than the object it models”. Therefore, I prefer to tag information about where, when, who, what, what happen how it looks like and how people feel about it.

I did lose something from the original pages during the transcription procedure. But as Elena said that transcription was “not a mechanically complete record of what is on the page.” –making tags to emphasize some parts from the diary and correcting the misspelling the author made from the original pages. What I did in my transcription procedure made information from the diary clearer and easier to read.

pageWhen I was designing the web, I did not change the color of background and most words, since it fit to most people’s reading habit. But I chose to made “placeName” bold, italic and red, and “persName” bold and blue. Different colors made them eye-appeal and I think place and people are two main parts in the diary. I also change the color of “characteristic” into green so that we can easily figure out people’s feeling about the events or the objects.

Close Reading and Prosopography

On the WebDuring the past 2 weeks, we learned how to use close reading for the deeper understanding of the Payne journal and how to use editorial tools, not only Juxta Editions, but also a new and magical tool, Oxygen to work on the transcription in XML files and also in a more detailed way. During this process, apart from how to use digital tools and how to collaborate with others, I learned how important self reflection is for an editor.
When I was working on my own pages, the 2 main challenges I met were how to decide whether I should mark up this word, not that one, and where to stop. The first challenge of how to decide directly led me ignore some particular word I should mark up. In this case, on my first time reading through my own pages, I finished quickly and let slip many words unconsciously. Gradually I realized this problem in my editorial process. Just as Elena Pierazzo mentioned in her article: “Scholarly choices constitute the base of any transcription and subsequent diplomatic edition”, what I did on my own pages now would finally appear in front of readers. Therefore, making scholarly choices seems to be extraordinarily important. For the second time reading, I put more emphasis on the trait description, the emotional changes of characters, the role names and the changes of the place location. My personal experience in making a choice explains why I feel quite interesting about Elena Pierazzo’s point: “the alterations which lead from the former to the latter are interpretative and irreversible.” As she explains, two scholars, given the same transcriptional criteria, are most likely not to produce the same transcription of the same exemplar, it’s crucial to treat any resource with the same respect and carefulness.

Then I met the second challenge: where to stop. What Elena Pierazzo pointed out this time is very helpful to me on deciding where to stop. She said that if there is an infinite set of facts to be observed within the physical object, ‘no limits’ might lead us to create a model which aspires to equal the object to be studied. But a model must be simpler than the object it models, otherwise it will be unusable for any practical purpose. As we learned that the diplomatic edition is more similar to a model, everything we put in this model should be concise and meaningful enough to make the context accessible to every reader. In this case, I learned that the work I mark up in the XML file should be related to the journal itself. It does matter how the word is related to the Moravian, the historical background or a particular place name.  My job, as the editior, is to find out the relationship between the words I mark up.


Page 5
Page 5
Page 10
Page 10

Last but not least, I want to mention my design for my web page. As we can see, I chose the white background since it’s easy for reading. Since readers are more likely to be scholars and students who are working on their papers on Moravian, I highlight the place and the role names by changing their color to red and blue.

Close reading and Prosopography

Opposite to distant reading, close reading places great emphasis on the single particular over the general, makes us paying close attention to individual words. In the past few weeks, we did close reading from transcribing the Payne Journal in the Juxta Editions, learn TEL-compliant XML markup and use the Oxygen editor to markup the transcriptions. Also, we used these tools to publish the edition of Payne Journal on the web instead of in print. Juxta Editions allows us to compare the original documents and our transcription words by words. However, it only can do the subscription, simple tags of person, place and time on the transcription. In contrast, Oxygen helps us tag more parameters such as the event, object and trait. By marking up the parameters, I gained a different aspect understanding of the journal. The name of the place, the emotion of the role, and other contents in detail, which might be ignored by distance reading, was impressed in my head when I did the markup. I started to think about the relationship between the places, the emotion of the role and the event happened deeply. Now, let me talk more about my experience of using these tools to edit documents that published on the web with Elena Pierazzao’s article “ A Rationale of Digital Documentary Editions”.

As Pierazzao stated that scholarly choices constitute the base of any transcription and subsequent diplomatic edition, when I was doing the markup, I have to make a choice on the source. There are potentially infinite sets of facts to be recorded and my goal is to edit as many of the characteristics of the journal as I can. Therefore, it is a challenge for me on how to choose, which features of the primary source I should reproduce, and where shall I stop? Pierazzao said that we must have limits on the selection based on the scholarly purpose. So, I decided to markup documents by choosing one category of parameters at one time. For example, based on the nature of the journal, I did markup for place name that I read through the entire page and only highlight all the place names.Screen Shot 2015-03-20 at 9.35.45 PM In that way, I can ensure all the parameters I need are reproduced while I will not mark mass useless words. Also, in order to ensure the uniform of our decision as an entire Journal, we created a Google document in class to share the editorial decision to we made.

Another decisive challenge for editing is the design and style of the web. I chose white background with black text at the beginning, but after I thought about the comfortableness of the reader to read and search online for the best matched background, I changed the web to a black background with white text.Screen Shot 2015-03-20 at 9.34.48 PM Since this document is a travel journal, the places they traveled and the emotion of the role in the journal is important, I mark the color of the place names to yellow and emotion to red. I also changed the font style of the misspelling in case od readers’ misunderstanding.


Since memories become blurred as time goes by, the existing documents, journals and images are extraordinarily important records for people to understand history. Nowadays, historians tend to use both the chronology and geography to interpret history in a more digital way. “While history dealt in stories, chronology dealt in facts”.[Grafton] Chronology is widely used among historians. However, as what Hayden White described it as a “rudimentary form of histrography”[Grafton], chronology doesn’t give us all specific events which happened in a particular year. Its function lies in giving reader a line of the historical structure of that period of time. In this case, I inevitably related his words to the image which we were talking about this following image during the class.

“Conspectus of the History of Political Parties” (1880). Created just after the nation’s centennial, it translates a century of political history into a single visual picture.
“Conspectus of the History of Political Parties” (1880). Created just after the nation’s centennial, it translates a century of
political history into a single visual picture.

The shortage of this image lies in the missing history in the eighteenth century. It is easily recognized that the part which close to present time is much more twisted and complicated than the part in eighteenth century. It doesn’t mean that more events happened in the present time, but mean that most part of eighteenth century history were not written down.
As Grafton mentioned in the text, scholars in Europe used tables to record events which traced back as early as fourth century. Different from the typical chronologically tables during the fourth century, people have more convenient tools. During this week, we learned how to use TimeMapper and Timeglider. For me, TimeMapper is really interesting. Below is a screen shot of my slide— Great Wagon Road.

Great Road
Great Road

As Great Wagon Road is a very long road from Philadelphia to South Georgia, it’s really hard to make a specific location spot on the map on the right hand. Eventually, I choose the location where Payne mentioned Great Road in his Journal. When we are doing some readings, it’s hard to relate one event to another according to its location and time. However, TimeMapper did it for us. We can compare these events and search for whether they have any relationship. Another advantage of TimeMapper is that one can quickly find the slide they are looking for by zooming in and out the timeline at the bottom.
While TimeMapper give us a broader overview of historical events which has some relationship with the journals, the Timeglider timeline aimed to analyze the chronology of Payne’s journal itself. By inputting important event during their travel, such as what they did, where were they, when did that happen. We can also add images on the top to help interpret the whole case. Below is what I did for my part of the journal.pdf3

Timelines: History and Chronology in Spacial Terms

The somewhat young medium of displaying history, the timeline, reinvented not only how people chronologically present history, but also the way in which they think about history. According to Grafton, “The timeline offered a new way of visualizing history, And it fundamentally changed the way that history was spoken of as well”  (20). The chronological, linear representation of events is a fairly new tool as it was popularized in the eighteenth century. However, its use is so widespread now that many do not think of other ways to represent history.

In an attempt to make even more sense of the Payne and Froehlich Travel Journals, we used several timelines to both give context and display the details of their journey. As a class, we used TimeMapper to create a timeline of events from the 1740s, when Payne and Froehlich were writing. Our goal was to provide context for the journal entries. Below is an image from this timeline, we aimed t1740s TimeMapper Battle of Lauffeido focus our events to the US colonies at the time. This would allow us to reach a greater understanding of the journal entries by discerning their cultural context. The TimeMapper allows users to understand the story of the US colonies and the world during the 1740s. The chronology of events is important, as early events impact later ones. This timeline could have also been somewhat misleading, however, as there is a chance that we included events that were not relevant to the Moravians we were studying. If irrelevant occasions are included and emphasized as heavily as highly influential events, it is possible that we would gain false understandings about the material.

While TimeMapper allowed us to see the broader context for the journals, the TimeGlider timeline allowed us to show the chronology of Payne and Froehlich’s travels. We aimed to note the important events mentioned in their journals; showing where they went, who they met, where they stayed, and other details.  Being able to decipher what events helped to move their journey along and putting them on a timeline gave us the opportunity to view their story in a different way. As Grafton referenced W.J.T. Mitchell, “The fact is that spatial form is the perceptual basis of our notion of time, we literally cannot ‘tell time’ without the mediation of space” (13). This emphasizes the importance of spacial relations to telling time and ultimately understanding stories. TimeGlider allowed us to see the spacial reTimeGlider Payne:Froehlich Travel Diarylations between specific events that occurred day-to-day for these men. To the right, is an example of my contribution to the timelines. From this TimeGlider timelines, we are able to see the interactions that the men had with different justices on different days. After combining all of the events onto one timeline, we will be able to see the travelers’ complete story.

In both TimeMapper and TimeGlider, the timeline creator is able to insert images, graphics, and texts that further elaborate on each point. This enables even more details to be provided for events. These digital additions to timelines allow users to gain deeper knowledge about the events.

Grafton points out that timelines as they are not entirely helpful as, “historical narrative is not linear” (20). He mentions the complex ways in which events interact and influence one another. This is an extremely valid point to make when speaking about the traditional timeline. However, the use of digital humanities and tools such as TimeMapper and TimeGlider, somewhat addresses this issue. As previously mentioned, these tools allow for more detail and therefore creates a more coherent and accurate narrative. The tools also allow the timelines to be concise and neat, while still containing copious amounts of information.

Creating timelines for both the travel journals themselves and the historical context of the journals helped to make sense of Payne and Froehlich’s journey. Their story can now more clearly be interpreted not only by its chronology, but also by the details of the events and the spacial representation of time.


As Grafton said “graphic representation is among our most important tools for organizing information.” (Grafton, p. 10), time maps and timelines are quite helpful for the study of history. These tools for organizing historical events match “our mental furniture” (Grafton, p. 10) which shows our favor on visual forms. Chronology organizes information in a pattern. It is always with time and events in order or images with time on it.

we can explore the relationship among different events by divide them by time or by space with the help of timeline or the map.

As technology developed, we now have computers with more advanced chronological tools. Timemapper, for example, turns time and location in the information into visual images. Instead of using chart, we put events on a straight line in time order, which can better show more specific time sequence and time distance between each other. We can also trace the event to the map, by which we can find the space distance between different events. By comparing events happened in different time and space, we can find out more things that have not mentioned in the texts—the hidden relationship of different events. By finding similarities of time and space and events, which can be easily seen on Timemapper, we can connect different events and tell a story—an event can be the cause of the next event or the effect of an earlier event.

“The timeline offered a new way of visualizing history” (Grafton , p. 20), Timeglider gives a good example for this. Timeglider compacts pages of gliderinformation into short titles in order which would be more clear and easier to understand. It is interesting that it organizes titles into “stairs” in order. In Payne’s Travel Journal, for example, we can figure out the route Payne and his partners traveled. We can also figure out the time they spend on different place simplely by seeing different distance between different titles. Titles that are close to the same vertical line show that Payne and his partners arrived in one place and quickly moved to another. Knowing this can help us find out the place where they spent more time staying in and that place would probably be an important place in which important events happened.


Without chronology, history is just a million different little stories thrown together. According to Grafton, “While history dealt in stories, chronology dealt in facts.” (Grafton, 10) Chronology adds order and reliability to history. The chronology of events has shown Christians, for example, “when to celebrate Easter” or when other important events may occur (Grafton, 11). It is also useful for combining and comparing more than one “line” of events. For example, we can compare the history of a certain place in the world to another place and see which events happened at the same time and create an even broader history of events.

Modern timelines can show more than just the chronology of events. We can represent history not only via the chronology, but also via the importance and the geography of the events. Grafton observes that “Teachers and theorists claimed, over and over again, that chronology and geography were the two eyes of history: sources of precise, unquestionable information, which introduced order to the apparent chaos of events.” (Grafton, 17)

1740's timeline in TimeMapper.
1740’s timeline in TimeMapper.

TimeMapper “clarified” historical events by adding a geographic aspect to each event. Along with ordering the events in chronological order, it also adds a pin onto the map for each event. Timeglider on the other hand, adds the importance aspect to each event. Along with ordering the events, you can adjust the size of the text of each event to signify the importance or relevance of each event depending on the subject of the timeline and ultimately the judgment of the creator.

Timeline of Jasper Payne's travels, 1747.
Timeline of Jasper Payne’s travels, 1747. In Timeglider.

Although each mode of representation offers a different “clarification” of the historical events, each one may also obscure parts of it. Sometimes it may look like two events occurred in the same location on the map in TimeMapper when in fact they occur in two different places just very close together. In Timeglider, events may be deemed unimportant when they should have been more important. These tools rely on the creator’s judgment and willingness to do deeper research before creating the timeline.

The point is, a line does not just represent the chronology of events. It is indeed a visualization of events over time. Therefore, it does not even just tell us a story; it shows us a story.