Sonifying Hamlet uses data-mining techniques and algorithmic composition to read Shakespeare's Hamlet through sound. In so doing, it attends to pre-semantic, textual data that is only visible when one steps back from reading for narrative and instead focuses on formal details that, being individually small, but collectively numerous, are more visible to computational sorting than they are to human eyes that have been trained to look for broad semantic content. This use of algorithmically generated sound to reconstruct textual data continues the western trend towards ubiquitous quantification, while also challenging that trend's underlying assumption that reality is reducible to fully discrete objects of study. That is, as nonlinguistic sound interacts with the other intonations of a place, it constructs a unique acoustic moment that obscures the distinction between individual datum, and between textual objects and the physical world. In this way, Sonifying Hamlet explores the physical and temporally constrained construction of an environment as a form of reading.
By simultaneously engaging with and resisting quantification trends in the digital humanities, Sonifying Hamlet attempts to inject ambiguity into a rising digital empiricism. In this way, it answers a call for such methods posed by digital humanists themselves for whom confrontation with the enigmatic is as potent a mode of knowing as scientific inquiry. Through its imbrication of the unnamable and the enumerated, Sonifying Hamlet attempts to support scholars by facilitating digital inquiry that is commensurate with the expansiveness of what is thinkable and expressible in human discourse.
","abstract_html":"<p><em>Sonifying Hamlet </em>uses data-mining techniques and algorithmic composition to read Shakespeare's <em>Hamlet</em> through sound. In so doing, it attends to pre-semantic, textual data that is only visible when one steps back from reading for narrative and instead focuses on formal details that, being individually small, but collectively numerous, are more visible to computational sorting than they are to human eyes that have been trained to look for broad semantic content. This use of algorithmically generated sound to reconstruct textual data continues the western trend towards ubiquitous quantification, while also challenging that trend's underlying assumption that reality is reducible to fully discrete objects of study. That is, as nonlinguistic sound interacts with the other intonations of a place, it constructs a unique acoustic moment that obscures the distinction between individual datum, and between textual objects and the physical world. In this way,<em> Sonifying Hamlet</em> explores the physical and temporally constrained construction of an environment as a form of reading.</p> <p>By simultaneously engaging with and resisting quantification trends in the digital humanities, <em>Sonifying Hamlet </em>attempts to inject ambiguity into a rising digital empiricism. In this way, it answers a call for such methods posed by digital humanists themselves for whom confrontation with the enigmatic is as potent a mode of knowing as scientific inquiry. Through its imbrication of the unnamable and the enumerated, <em>Sonifying Hamlet</em> attempts to support scholars by facilitating digital inquiry that is commensurate with the expansiveness of what is thinkable and expressible in human discourse.</p>","abstract_has_math":false,"creators":["Cassemere-Stanfield, Ashleigh"],"institution":"The Graduate School and University Center of The City University of New York","degree_name":"Master of Arts","degree_level":"Master","degree_discipline":"Liberal Studies","degree_department":null,"school":null,"contributors":[],"advisors":["Jessica Yood"],"committee_chairs":[],"committee_members":[],"year":2017,"date_issued":"2017-09-01T07:00:00Z","date_published":"2017-09-01T07:00:00Z","updated_at":"2026-07-24T01:58:22Z","subjects":["Digital Humanities","English Language and Literature","Interdisciplinary Arts and Media","Algorithmic Criticism","Sonification","Deformance","Shakespeare","Hamlet"],"languages":[],"rights":[],"rights_urls":["http://creativecommons.org/licenses/by-sa/4.0/"],"identifier_entries":[]},"links":{"outbound_url":"https://academicworks.cuny.edu/gc_etds/2364","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Jessica Yood"]},{"key":"dc:creator","label":"Author","values":["Cassemere-Stanfield, Ashleigh"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2017-09-01T07:00:00Z"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Liberal Studies"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Master"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Arts"]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["The Graduate School and University Center of The City University of New York"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Digital Humanities","English Language and Literature","Interdisciplinary Arts and Media","Algorithmic Criticism","Sonification","Deformance","Shakespeare","Hamlet"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:rights","label":"Dc Rights","values":["http://creativecommons.org/licenses/by-sa/4.0/"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://academicworks.cuny.edu/gc_etds/2364"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["Sonifying Hamlet uses data-mining techniques and algorithmic composition to read Shakespeare's Hamlet through sound. In so doing, it attends to pre-semantic, textual data that is only visible when one steps back from reading for narrative and instead focuses on formal details that, being individually small, but collectively numerous, are more visible to computational sorting than they are to human eyes that have been trained to look for broad semantic content. This use of algorithmically generated sound to reconstruct textual data continues the western trend towards ubiquitous quantification, while also challenging that trend's underlying assumption that reality is reducible to fully discrete objects of study. That is, as nonlinguistic sound interacts with the other intonations of a place, it constructs a unique acoustic moment that obscures the distinction between individual datum, and between textual objects and the physical world. In this way, Sonifying Hamlet explores the physical and temporally constrained construction of an environment as a form of reading.
By simultaneously engaging with and resisting quantification trends in the digital humanities, Sonifying Hamlet attempts to inject ambiguity into a rising digital empiricism. In this way, it answers a call for such methods posed by digital humanists themselves for whom confrontation with the enigmatic is as potent a mode of knowing as scientific inquiry. Through its imbrication of the unnamable and the enumerated, Sonifying Hamlet attempts to support scholars by facilitating digital inquiry that is commensurate with the expansiveness of what is thinkable and expressible in human discourse.
"]},{"key":"dc:title","label":"Title","values":["Sonifying Hamlet"]}]}],"canonical_facts":{"dc:contributor.advisor":["Jessica Yood"],"dc:creator":["Cassemere-Stanfield, Ashleigh"],"dc:date.available":["2017-09-01T07:00:00Z"],"dc:description.abstract":["Sonifying Hamlet uses data-mining techniques and algorithmic composition to read Shakespeare's Hamlet through sound. In so doing, it attends to pre-semantic, textual data that is only visible when one steps back from reading for narrative and instead focuses on formal details that, being individually small, but collectively numerous, are more visible to computational sorting than they are to human eyes that have been trained to look for broad semantic content. This use of algorithmically generated sound to reconstruct textual data continues the western trend towards ubiquitous quantification, while also challenging that trend's underlying assumption that reality is reducible to fully discrete objects of study. That is, as nonlinguistic sound interacts with the other intonations of a place, it constructs a unique acoustic moment that obscures the distinction between individual datum, and between textual objects and the physical world. In this way, Sonifying Hamlet explores the physical and temporally constrained construction of an environment as a form of reading.
By simultaneously engaging with and resisting quantification trends in the digital humanities, Sonifying Hamlet attempts to inject ambiguity into a rising digital empiricism. In this way, it answers a call for such methods posed by digital humanists themselves for whom confrontation with the enigmatic is as potent a mode of knowing as scientific inquiry. Through its imbrication of the unnamable and the enumerated, Sonifying Hamlet attempts to support scholars by facilitating digital inquiry that is commensurate with the expansiveness of what is thinkable and expressible in human discourse.
"],"dc:identifier":["https://academicworks.cuny.edu/gc_etds/2364"],"dc:rights":["http://creativecommons.org/licenses/by-sa/4.0/"],"dc:subject":["Digital Humanities","English Language and Literature","Interdisciplinary Arts and Media","Algorithmic Criticism","Sonification","Deformance","Shakespeare","Hamlet"],"dc:title":["Sonifying Hamlet"],"thesis:degree_discipline":["Liberal Studies"],"thesis:degree_level":["Master"],"thesis:degree_name":["Master of Arts"],"thesis:institution_name":["The Graduate School and University Center of The City University of New York"]},"updated_at":"2026-07-24T01:58:22Z"}