Category Archives: Voices of Authority

The voices of the Old Bailey: ‘Data Sprint’ workshop, University of Sussex

‘I beg for mercy; I am sorry for what I have done’

‘I was very heavy in liquor; I got this tankard and I did not know how’

‘It was extreme distress drove me to do it’

‘I declare myself righteous between God and myself’

‘I did not know my first husband was alive, as he had left me seventeen years’

‘I don’t know what to say’

Words like these are partly what makes the Old Bailey Proceedings such a unique historical resource. Through them, we hear the voices of ordinary individuals as they stood in court, describing moments of crisis and of the everyday.

Digital Panopticon has been building a dataset of the words uttered at the Old Bailey. On 10^th May, Tim Hitchcock led a workshop at the University of Sussex Humanities Lab to explore how researchers might use and interpret this rich mine of speech data. Historians, linguists and computer programmers all came together to share ideas.

Digital Panopticon’s Sharon Howard introduced what’s been done so far in the project’s ‘Voices of Authority’ theme. She set out some key questions: does a prisoner’s speech in the Old Bailey have a bearing on what happened to them later? What makes prisoners’ defences effective (or not)? Sharon also shared some of her visualisations of the data, which raised still more questions: why were silent prisoners more regularly acquitted than those who spoke? Is there a correlation between the length of a trial and the verdict?

Ben Jackson (Sussex Humanities Lab) demonstrated how he is recreating Old Bailey trials off the page, combining 3D modelling of the courtroom with text-to-speech technology.

David Weir, Julie Weeds, Jeremy Reffin and members of the Text Analysis Group (University of Sussex) explained how software can be used to compare the words and phrases of different categories of speaker. For example, what happens if we compare the language of defendants found guilty with the language of those found not guilty?

And Justyna Robinson and Charlotte Taylor (University of Sussex) and Fraser Dallachy (University of Glasgow) used corpus linguistics tagging tools to show that speech varied according to gender and legal training.

The workshop raised some intriguing questions, and it’s clear that interdisciplinary collaboration will be important in trying to answer them. The voices of the Old Bailey hold clues to how the judicial system functioned and changed during the 18^th and 19^th centuries – and they give an exciting insight into the lives of the ordinary Londoners who passed through the courtroom.

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Building Bentham’s Panopticon

This post describes a project that myself and a colleague from the Architecture department at the University of Liverpool, Dr Nick Webb, are currently working on–Building Bentham’s Panopticon– which is creating a 3D model of the Panopticon prison viewed through virtual reality software, Oculus Rift.

Bentham’s Panopticon was imagined as the ‘ideal’ prison; it was designed as a circular building with prisoners’ cells arranged around the outer wall and dominated by an inspection tower. From the tower the prison inspector would be able to gaze upon the prisoners at all times. The central inspection principle, Bentham argued, would result in ‘morals reformed, health preserved, industry invigorated, instruction diffused, public burdens lightened…all by a simple idea in architecture’ (Bentham, 1787).

Due to its escalating cost, his designs were never put in to practice. But the recent digitization of Bentham’s plans by Transcribe Bentham, alongside advances in virtual reality software, means that we now have the opportunity to digitally construct the Panopticon and venture inside.

This small element of the wider Digital Panopticon project seeks to explore how we can use digital technology to examine and recreate alternative ways of seeing and experiencing, in a particular space and place-the Panopticon prison- had it been built. Through the use of 3D modelling and virtual reality technology, we can recreate the perspective, positioning and movements- through sight lines, walking routes, and height and weight records- of the gaolers and prisoners who could have potentially been imprisoned within the walls of the Panopticon.

In doing so, this project takes its inspiration from Tim Hitchcock, who is currently modelling the Old Bailey courtroom, and contends that by, ‘building something in three dimensions, with space, physical form and performance, along with new forms of analysis of text; can change how we understand the experience of imprisonment; allow a more fully empathetic engagement with offenders; along with a better understanding of how their experience impacted on the exercise of power and authority’.[1]

Building Bentham’s Panopticon rests upon two lines of enquiry. Firstly, it seeks to rebuild and re-examine the idealized construction of prison discipline at its most ideological- to examine the beginning of the separate, silent system and the development of modern prison reform through architecture. But it also seeks to contribute to a history from below and examine how, by adding in height and weight records of offenders, we can rebuild the perspectives, movements, and thereby explore the potential for transgression that could have occurred within a prison like the Panopticon.

We are about halfway through our research, and are yet to add in biometric data of prisoners taken from the Digital Panopticon project. Yet, in building the model using SketchUp, we have already begun to discover important findings.

The use of 3D modelling has been essential to visualising Bentham’s process and building the interior of the Panopticon. Bentham’s plans, letters and writings about the Panopticon represent a conversation- between himself, architects, managers, and politicians- that include a series of changes to the design of the building and its regime. We are very early on in our findings, but constructing the Panopticon using 3D software, SketchUp, has demonstrated the significance of using this technology to investigate different lines of historical enquiry. Bentham’s never completed the design for the Panopticon, and the debate continued from the 1780s to 1820s. However, plans exist from 1787 and 1791 and these designs are the source from which we have built the 3D models. However, the interior was never fully decided upon due to conflicts between, amongst others, Bentham, John Howard, and William Pitt the Younger.[2]As Nick Webb has argued previously, ‘This is important, as inferences have to be made due to representational source data such as architectural drawings almost always being incomplete’.[3] Therefore, it is necessary to delve in to primary and secondary resources to explore the context, and fill in the gaps in an informed way. For example, Bentham initially wanted the Panopticon to be made out of glass and cast iron. ‘Architecturally’, according to Janet Semple, ‘the Panopticon foreshadows Paxton’s Crystal Palace rather than Pentonville’.[4] However, despite technological innovation in glass manufacture in the late eighteenth century, the building materials were never decided upon, so Nick and I decided to use London stock brick as this was the most commonly used material in London at the close of the eighteenth century.

The models take the form of an idealised, architectural plan, and our current focus is to examine how a series of changes and compromises in the design, seen through the application of 3D modelling, demonstrate the political ideas behind the introduction of the separate, silent system and solitary confinement, but also the relative positions and viewpoints of the different historical actors, in this case, the gaoler, chaplain, and inmates.

What currently interests us at the moment is lines of vision and mobilities as, for Bentham and Foucault, panopticism as a principle is about the power of the gaze- of observation, regulation and power. But I would argue that Foucault and Bentham both had simplistic arguments when it comes to this aspect. In terms of sight lines, or what people can see when stood or walking through a particular point in space, this study builds upon the work of Philip Steadman (UCL). Steadman sketched out two dimensional axonometric drawings of the Panopticon, but with the use of 3D, we are able to build the interior of the Panopticon and therefore provide a space in which the viewer can walk around the prison and inhabit the potential routes of the gaolers, chaplain, and offenders. Steadman draws upon architectural research to plot the totality of what can be seen from a fixed position- also known as an ‘isovist’. (Steadman, 2012: 16).

In Steadman’s image here, you’ll see that the shaded area shows the warder’s isovist. The warder must circulate continuously to watch all the prisoners on his floor. But Steadman’s method, while highlighting the problems in Bentham’s design, is set from a fixed point. Our study builds on this in two crucial ways: firstly, we are able, through the use of Oculus Rift and Virtual Reality Software, to recreate the viewpoints and sight perspective of the gaoler, chaplain, visitors, and offenders, and secondly, we are able to move beyond fixed isovist points to follow the potential mobilities of both gaoler and offender had they been incarcerated in the Panopticon.

So Bentham designed the process of observation to be one way; that is, that the governor, gaolers, other prison staff, and prison visitors to be able to observe the convicts, but that the convicts could only look upon the inspectors gallery. This was, in essence, the central inspection principle. The idea was that every prisoner should be under constant apprehension that he might be observed, night and day, even if no-one was actually looking in his direction at that very moment. He would thus be constantly fearful of being discovered in any misdemeanour.

The Panopticon was a disciplinary technique for making a new social individual; a social laboratory where new subjects were made. Under Bentham’s design, the inmate doesn’t know when they are being watched, and assumes that they are under surveillance at any time. Therefore the prisoner is the subject of observation and power – and this is power through observation. By learning to internalize system of discipline, to watch himself or herself, the Panopticon, theoretically at least, aimed to produce reform through the regulation of the self. The aim of this kind of discipline was, according to Foucault, to turn inmates into quiet, orderly, tractable, malleable subjects or what he provocatively calls ‘Docile Bodies’. As Foucault stated, ‘solitude is the primary condition of total submission’ (Foucault, 1975: 237). Each individual, in his place, is securely confined to a cell from which he is seen from the front by the supervisor; but the side walls prevent him from coming into contact with his companions.

He is seen, but he does not see; he is the object of information, never a subject in communication (Foucault, 1975: 201).The prisoner is therefore, the object of power rather than an agent of power – ‘the object of information’ – never a ‘subject in communication’.

And it is this very notion- the power of the gaze and the power relations that manifest through looking- that Building Bentham’s Panopticon seeks to investigate. The use of 3D and Virtual Reality technology, allows us to put Foucault’s theory, and Bentham’s designs, to the test.

NB Please note that the models are incomplete at present, so may contain errors and inconsistencies.

[1] T. Hitchcock, ‘Voices of Authority: Towards a history from below in patchwork’, https://blog.digitalpanopticon.org/?cat=25 [Accessed 22 April 2016].

[2] J. Semple (1993), Bentham’s Prison: A Study of the Panopticon Penitentiary (Oxford University Press: Oxford).

[3] N. Webb & A. Brown (2016). Digital re-analysis of lost architecture and the particular case of Lutyens׳ Liverpool Metropolitan Cathedral. Frontiers of Architectural Research.

[4] J. Semple (1993), Bentham’s Prison: A Study of the Panopticon Penitentiary (Oxford University Press: Oxford), pp. 116-117.

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Elizabeth Morley, a humble petitioner

Elizabeth Morley’s petition for mercy, 1795

In the spring of 1795, Elizabeth Morley (or Morlay) was convicted at the Middlesex Sessions of the Peace and sentenced to 7 years transportation. Because this was not at the Old Bailey, we have very little information about her trial. Her entry in the Home Office Criminal Registers doesn’t include a physical description or even a description of her offence. But Elizabeth petitioned the magistrates for clemency, and from that we’re able to learn quite a bit more about her offence and Elizabeth herself – or at least the version she presented to the magistrates.

Throughout the 18th century and well into the 19th, many convicted criminals petitioned authorities begging for mercy; a few were granted a full pardon and released but a reduction in the severity of the sentence passed in court was more common, whether that had been for death, transportation or imprisonment. Petitioners were successful in changing the punishment initially prescribed in court so often that tracing actual outcomes is a major challenge for historians of criminal justice in the period and, of course, for our project.

The main series of criminal petitions relating to the more serious crimes that incurred the death penalty or transportation is at The National Archives (TNA HO17-18). There is currently an important volunteer project underway at TNA to catalogue HO17, and a large group of the petitions and related records has been digitised by FindMyPast. It’s more unusual to find a petition concerning a sentence of transportation in local archives, though this one is earlier than TNA’s petitions. However, Elizabeth’s petition is very similar in form and style to many of TNA’s criminal petitions.

They’re documents intended to persuade authorities that the petitioner is a worthy object of mercy. This includes extreme deference to authority – they’re always ‘humble’ petitions. It’s hard for historians to know to what extent petitions really represented the ‘authentic’ voices of ordinary people. The flowery language similarly may not be Elizabeth’s own – the handwriting is that of a highly educated person, and the mention of ‘social passions’ wouldn’t have been out of place in literary genres from philosophical tracts to Jane Austen novels. It’s common for petitioners to stress their age, as Elizabeth does, and perhaps with good reason, since it seems that older prisoners were slightly less likely to be transported. It’s also not uncommon for them to blame someone else for leading them astray!

Elizabeth’s petition seems to have been successful, in that she doesn’t appear in the Transportation Registers or convict indents data, but we don’t (yet) know what did happen to her. However, I think we have a little bit of her previous history. In October 1793, an Elizabeth Morley was tried at the Old Bailey for stealing a variety of items including shirts, napkins, women’s clothes and pockets. She was acquitted; much of the evidence against her was quite circumstantial. In the course of the trial we learn that she was a married woman, with two sons. This is corroborated by her entry in the Criminal Registers, which describes her as

48. 5/2 Hazel Eyes Brown hair fresh Complexion Brentford Married woman

Now, this would of course make this Elizabeth only 50 in 1795, five years younger than the age stated in the petition. But ages in our data, before the age of universal civil registration, are often approximations and it isn’t at all unlikely that the 1795 Elizabeth would be exaggerating her age slightly for sympathy. (It’s striking that she claims to be 55 – Richard Ward has shown how ages in the Old Bailey data tended to be rounded up or down to numbers ending in 0 or 5.)

The context of the 1793 offence is also a good fit. Women were often charged with receiving in circumstances very similar to those of the 1793 trial; thieving and receiving domestic items like these were closely related criminal activities in women’s ‘economies of makeshifts‘.

It isn’t an absolutely certainty that the two sets of records belong to the same woman, but the balance of probabilities is looking good. What do you think?

[This post is one of a series of Convict Tales, in which we post about individual convicts whose lives the project has begun to link together. It may be updated as we learn more.]

Crime and the Courts in Three Dimensions: Workshop Presentations

The workshop was immensely enjoyable and stimulating and we’d like to thank all the speakers and attendants for making it so. We hope to bring a fuller workshop report in the near future, but in the meantime the workshop presenters have made the slides of their presentations available for those interested to download. (The Mulcahy/Rowden slides are not yet available but will be added if we get them.)

Valeria Vitale, An Ontology for 3D Visualization in Cultural Heritage

The use of 3D computer graphics and modelling techniques in the study of the ancient world has been mainly limited to the display of traditional research. Often, their value has been assessed merely on aesthetic quality. Behind every scholarly 3D visualisation is a thorough study of excavation records, iconographic documentation, literary sources, artistic canons. However, this research is not always detectable in the final outcome, and 3D visualisations do not seem able to meet the standards of scientific method (reproducibility) and academic publishing (references and peer-review)…

Tim Hitchcock, Re-imagining the Voice of the Defendant at the Old Bailey

When the sessions house at the Old Bailey was rebuilt in the 1770s, a traditional open courtroom was transformed in to a fully enclosed space, with a new and complex internal layout. The relative positions of the judge, jury, defendants and witnesses where substantially reconfigured. This presentation represents a preliminary attempt to capture the significance of that transition in sound: to explore how the different actors in the legal drama of a trial heard, both their own voice, and that of other participants…

Nick Webb, Analysing historic works of architecture using digital techniques

This presentation will discuss the use of digital techniques to analyse significant works of architecture, whether they exist, are destroyed or are not built at all. A methodology is introduced for future research employing digital tools in this context. Examples will show how the process augments research already undertaken by architectural historians, who provide traditional critique and analysis, by testing such studies further using a range of contemporary digital techniques…

Programme for Workshop on 3D and the History of Crime

The History of Crime and the Courts in Three Dimensions

Tuesday 20th October, Sussex Humanities Lab, Silverstone Building, University of Sussex, Brighton, BN1 9SH. Campus Map

Registration: Please register via the Eventbrite page

Timetable

9:00: Coffee
9:30: Linda Mulcahy (LSE), and Emma Rowden (Sydney), Unicorns and Urinals: Why do modern courts look the way they do?
10:15: Valeria Vitale (King’s London), An Ontology for 3D Visualization in Cultural Heritage
11:00: – Coffee
11:20: Tim Hitchcock, Re-imagining the Voice of the Defendant at the Old Bailey.
11:50: Nick Webb (Liverpool), Analysing historic works of architecture using digital techniques.
12:30-1:20: Lunch.

Synopses

Professor Linda Mulcahy (LSE), and Dr Emma Rowden (UTS Sydney): Unicorns and Urinals: Why do modern courts look the way they do?

In this paper we will explore the history of ideas about court design and why it is that contemporary English courts look the way they do. Drawing on the findings of a Leverhulme grant we will explore the principles and claims underpinning debate about how the different actors in the trial are positioned in the courtroom. In particular we are keen to identify the conditions of possibility that have made the form and content of the various centralised design guides produced since 1970 legitimate. We argue that in addition to concerns about how design facilitates due process the history of court design has been progressively fuelled by fears about lay users of the justice system.

Valeria Vitale (King’s College, London): An Ontology for 3D Visualization in Cultural Heritage

The use of 3D computer graphics and modelling techniques in the study of the ancient world has been mainly limited to the display of traditional research. Often, their value has been assessed merely on aesthetic quality. Behind every scholarly 3D visualisation is a thorough study of excavation records, iconographic documentation, literary sources, artistic canons. However, this research is not always detectable in the final outcome, and 3D visualisations do not seem able to meet the standards of scientific method (reproducibility) and academic publishing (references and peer-review)… More specifically, an ontology for 3D visualisation in cultural heritage could, in the first place, define and describe the components of the 3D model and their relationships. This would help rebuilding data and metadata if the visual component was not readable anymore, enhancing accessibility, sustainability and longevity of the information. Through a dedicated ontology, a researcher could also assess the degree of speculation involved in the creation of each 3D element and its relationship with sources and referents, thus presenting 3D visualisation as a scientific hypothesis and not an «exact reconstruction».

Tim Hitchcock (University of Sussex): Re-imagining the Voice of the Defendant at the Old Bailey

When the sessions house at the Old Bailey was rebuilt in the 1770s, a traditional open courtroom was transformed in to a fully enclosed space, with a new and complex internal layout. The relative positions of the judge, jury, defendants and witnesses where substantially reconfigured. This presentation represents a preliminary attempt to capture the significance of that transition in sound: to explore how the different actors in the legal drama of a trial heard, both their own voice, and that of other participants. By modelling the location of different speakers in the courtroom both before and after the rebuilding, and acknowledging the very different sense of space encountered in a room open to the elements, to one enclosed by four walls, this paper seeks to help recapture the eighteenth century experience of being tried and sentenced at the Old Bailey.

Nick Webb (University of Liverpool, School of Architecture): Analysing historic works of architecture using digital techniques

This presentation will discuss the use of digital techniques to analyse significant works of architecture, whether they exist, are destroyed or are not built at all. A methodology is introduced for future research employing digital tools in this context. Examples will show how the process augments research already undertaken by architectural historians, who provide traditional critique and analysis, by testing such studies further using a range of contemporary digital techniques. The findings demonstrate the significance of the process of constructing digital representations of architectural artefacts. This is important, as inferences have to be made due to representational source data such as architectural drawings almost always being incomplete. Therefore parallel study into the architect, their architecture and the contemporary context they worked within has to be investigated in order to fill in gaps in an informed way. The study of such primary and secondary source data may also reveal lines of enquiry that can be investigated using digital techniques. The key here is the advanced knowledge that digital tools bring compared to the critique of a work of architecture that was carried out in a pre-digital context.

Download programme (pdf)

Workshop: The History of Crime and the Courts in Three Dimensions

We are very pleased to be able to announce details of the project’s third workshop, which will focus on historical 3D reconstruction and visualization and on the importance of the physical space of the courtroom in influencing and mediating experiences of justice. This is closely related to key strands in the project’s Voices of Authority research theme.

Event Details

This half-day workshop addresses the ways in which historians can use 3D modelling to better understand and communicate the experience of standing trial in the past. Part of the Digital Panopticon research programme, speakers from history, digital humanities, architecture and the law will consider how the exploration of physical space is changing historical understandings of crime and the courts.

Tuesday 20 October, 9:00-13:00, Sussex Humanities Lab, University of Sussex, Falmer, Brighton.

It is free of charge and anyone with an interest in the topic is welcome, but space may be limited, so please register in advance.

Provisional Timetable

9:00 – Coffee
9:30 – Linda Mulcahy (LSE), and Emma Rowden (Sydney), Title to be confirmed.
10:15 – Valeria Vitale (King’s London), An Ontology for 3D Visualization in Cultural Heritage
11:00 – Coffee
11:20 – Tim Hitchcock, Re-imagining the Defendant’s Experience at the Old Bailey in 3D.
11:50 – Nick Webb (Liverpool), Title to be confirmed (sound and cathedrals).

Event booking page

Voices of Authority: Towards a history from below in patchwork

This post is intended to very briefly describe a project I am about halfway through – that seeks to experiment with the new permeability that digital technologies seem to make possible – to create a more usable ‘history from below’, made up of lives knowable only through small fragments of information.

This particular project is called ‘Voices of Authority’, and is a small part of a larger AHRC funded project – The Digital Panopticon – that is seeking to digitise and link up the records reflecting everyone tried in London between around 1780 and 1875, and either sent to prison, or else transported to Australia. This small element of the wider project is bringing together a series of different ways of knowing about a particular place, time and experience – the Old Bailey courtroom from around 1750-1850, and the experience of being tried for your life and for your liberty. The conceit behind this project, is really a suggestion that building something in three dimensions, with space, physical form and performance, along with new forms of analysis of text; can change how we understand the experience of the trial process; and to allow a more fully empathetic engagement with defendants; along with a better understanding of how their experience impacted on the exercise of power and authority.

This is only half completed project – so this is very muchy a report of ‘work in progress’. But, in essence, what seeks to do is bring together three distinct different forms of ‘data’ and to re-organise those data around indivudual defendants.

First, it takes the text of the Old Bailey Proceedings – the trial accounts of some 197,745 trials held between 1674 and 1913, and recognises them as comprising two different and distinct things – a bureaucratic record of the trials themselves (names, verdicts, punishments); and at the same time, one of the largest corpora of recorded spoken language created prior to the twentieth century – some 40 million words of direct, recorded testimony for the period under analysis.

These understandings of the Proceedings are, of course, built on projects of much longer duration; including the OldBailey Online, and more particularly, on Magnus Huber’s additional linguistic mark-up of the Proceedings, which allows ‘speech’ to be pulled from the trial text, and to identify the speaker along the way. This is available via the Old Bailey Corpus.

The project also builds on text and data mining methodologies – including direct counting of word and phrase distributions, and the application of a form of explicit semantic analysis, that allows us to look at the changing character of language used in witness statements over the course of the eighteenth and nineteenth centuries.

In other words, the first element of the project is the text and speech, crimes, punishments and dates provided by the Old Bailey Proceedings.

The second element is the body of the criminal – the physical body of the individual men and women involved. The broader project is creating a dataset of some 66,000 men and women – with substantial and detailed information about their lives, both before and after transportation or imprisonment – reflecting the inter-relationship between the people who became defendants and criminals with the systems of a global empire. And this material provides a huge amount of data about bodies – to add to the words individuals spoke to power. Height, weight, eye colour, tattoos among a range of other aspects of a physical self. Suddenly, we know if a collection of words was spoken by a ten stone, 5 foot two inch woman with brown hair and black eyes, and a withered left arm; or by a six foot man with an anchor tattoo on his left arm, and a scar above squinting blue eyes.

To think about it another way, this bit of the ‘project’, allows us to worry about the ragged boundary between the ‘physical’ as recorded in a set of numerical and standardised descriptions, and the ‘textual’ – the slippery and ambiguous content of each witness statement.

In relation to ‘history from below’, this allows us to put together the lives of people like William Curtis, who as a 16 year old, in the summer of 1843, had a perfectly healthy tooth pulled, before stealing the dentists’ coat.

And Sarah Durrant, who was convicted for receiving two banks notes worth 2000 pounds. It all allows us to know their words (their textualities), and at the same time to see them as part of a different kind of truth – of place and body.

The aspiration is to essentially code for the variabililties of body type at scale, to add a further dimension to both the records of the bureaucracy of trials (charge, verdict punishment), and the measurable content of the textualities of those same trials.

And finally, we are adding one additional dimension – space – a ‘scene of trial’.

For this we are first of all building on a project called Locating London’s Past, which among other things, maps crime locations on to the historic landscape of London. And to this we are adding a reconstruction of the courtroom, where all these trials took place.

Simply using Sketch-up, we have made most progress on the George Dance’s building, finished in the late 1770s and providing the main venue for the relevant trials for the next hundred years – basing the models on the architectural plans from which it was built.

In the process of creating this model, huge amounts of imformation about trial procedure has been revealed, including the changing layout of the court, and the relative position of the different speakers. The design itself reflects a hitherto unacknowledged transition in the character of how witnesses and defendants were divided in this evolving space, evidencing a new story of the evolution of the criminal trial.

The architecture itself, suggests that there was a clear transition from a situation in which witnesses and victims stood in a similar relation to the judge and jury (both facing the judge, relatively close to one another); to one – like a modern anglo-american courtroom – where the judge and witnesses are on one side, and the defendant on the opposite side of the courtroom. In other words, the character of the adversarial relationship at the core of the adversarial trial was re-defined, with the witnesses and victim re-located on the either side of the argument, and the judges role, redefined as arbiter between them. At some level, in the process community resolution was replaced by court judgement.

If you want to explain why conviction rates at the Old Bailey rose from under 50% in the mid eighteenth century, to over eighty percent at the end of the nineteenth century, starting from precisely the moment when the courtroom was rebuilt, this ‘fact on the ground’ needs to be part of the story.

What has also been revealed is the importance of levels – with lawyers speaking upwards to the judge, jury, witnesses and defendant, from a cock-pit several feet below their eye level. Like a theatre audience, the judge, jury and defendant looked down on the stage below. In other words, what was created, at least for a short time (70 years), was the real feel of a ‘theatre’ in which, as a barrister, you were forced to perform to the gods.

Looking forwarding to the next stage, this particular sub-project is seeking to move from the ‘art’ of making and performance, through a humanist and historical appreciation of ‘experience’, towards the tools of social science and informatics – seeking to combine the close reading of a single desperate plea, with the empathy that can only come with physical knowledge, with that macroscopic image of all the similar words spoken over a hundred years – how that one plea fits in a universe of words and bodies. And all of this, is in turn, being undertaken in pursuit of a more nuanced and empathetic engagement with the lives of working people – both for its own sake, and as part of a new analysis of the workings of power ‘from below’.

With luck, this will allow us to move beyond a simple analysis of the courtroom, and the ‘adversarial trial’ – to an analysis through which we can see the whole system from the defendants’ perspectiv.

In other words, the next step is about creating a history of the British criminal justice system, and of transportation from an experiential perspective on a large scale – contributing to a history of common human experience, evidenced from the distributed leavings of the dead, analysed with all the approaches available to hand, from all the perspectives available.

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Six PhD Studentships: Liverpool, Sheffield and Tasmania

The Digital Panopticon Project is delighted to announce the availability of six PhD studentships, funded by both the AHRC and the participating Universities. These are exciting opportunities to exploit the rich resources collected by the Project while working within a large team of interdisciplinary experts in both the UK and Australia.

In each case, applications must be made to the institution at which the studentship will be held. Deadlines are as follows (please note update to Liverpool and Sheffield deadlines):

Sheffield: 28 July
Liverpool: 28 July
Tasmania: 31 July.

Sheffield/Liverpool interviews will be held 11-12 August. The AHRC-funded studentship (Impact of digital history resources) is open to UK/EU students only. The other LIverpool and Sheffield studentships are also open to international students, but please note that only UK/EU-level tuition fees can be covered, and you would need to make up the fees shortfall. The studentships will also include a maintenance grant (currently around £13000 p.a.). Please contact UTAS for more details about eligibility/funding levels for the Tasmania studentship.

University of Liverpool

Longitudinal studies of the health of the poor

Using prison data (from both local prisons and national penitentiaries) this studentship will examine the height/weight and the health histories of working class men and women over the course of their lives. We have access to a huge and detailed database on the chronic and acute illnesses of thousands of prisoners in the British convict system, and they will allow the PhD researcher to examine what illnesses were prevalent, how they were treated, what impact they had over the lifetime of the prisoner, the longevity of life of the prisoner, and a range of other possible issues. This studentship will appeal to students of the history of medicine; social historians, and crime historians; and the student will be supported by an experienced team of interdisciplinary researchers and experts in convict/health history.

see also jobs.ac.uk

The lives and criminal careers of convicts in the 19th century

This studentship will follow, chart, and analyse the lives of offenders tried at the Old bailey both before their appearance at court, during their sentence, and afterwards when they were released. The PhD will examine the reasons why offenders began their criminal career, the impact that punishment in the British convict prison system had on them, and how that legacy carried over into their lives after they re-entered society. This is an exciting opportunity to study criminal careers using historical data, working with experts in the field. The studentship will appeal to researchers in nineteenth-century social history, history of crime, criminal careers, and/or desistence studies.

see also jobs.ac.uk

For more information on either of the Liverpool studentships:

Academic queries about the project and studentships should be addressed to Prof. Barry Godfrey, Barry.Godfrey@liverpool.ac.uk.
For information about applications contact Rebekah Hughes, slsjpgr@liv.ac.uk.

University of Sheffield

The Social and Spatial Worlds of Old Bailey Convicts, 1785-1875

The studentship will investigate the social and geographical origins and destinations of men and women convicted at the Old Bailey between 1785 and 1875, in order to shed light on patterns of mobility, the causes of crime, and understandings of identity in early industrial Britain. Using evidence of origins from judicial records, the project will trace convicts from their places of origin, through residence and work in London before their arrests, to (if imprisoned) places of imprisonment and subsequent life histories. Analysis of the language used in trial testimonies can provide an indication of how identities were shaped by complex backgrounds, and evidence of criminal and convict mobility has the potential to contribute to our understanding of geographical mobility and social integration before and after the introduction of the railroads. This is an exciting opportunity to use newly assembled data to study the lives of non-elite people. The studentship will appeal to researchers interested in eighteenth- and nineteenth-century social history, the history of crime, and geographical and social mobility.

For more information, and to apply, go to http://www.sheffield.ac.uk/postgraduate/research/scholarships/projects/oldbaileyconvicts

The Impact of Digital Resources in the History of Crime

This project will examine the impact of the widespread availability of digital resources on attitudes towards crime and its history. Core case studies will include the Old Bailey Proceedings Online, Founders and Survivors (records of the 73,000 men women and children who were transported to Tasmania), and, following its launch, the Digital Panopticon website. This project will investigate both academic and non-academic uses of internet information provided in the UK and Australia, using a combination of quantitative and qualitative methodologies. A wide range of sources can be used to measure the extent to which these sites have shaped how the history of crime has been written, and to assess their impact on users’ perceptions of the crimes and punishments, including individual criminal lives, documented on these websites. It will also be possible to investigate how using these resources has shaped wider attitudes towards crime and punishment in contemporary society. The studentship will appeal to researchers interested in the history of crime, public history, and the digital humanities. AHRC-funded.

For more information, and to apply, go to http://www.sheffield.ac.uk/postgraduate/research/scholarships/projects/digitalresources

Criminal Recidivism in 18th and 19th-Century London

The eighteenth and nineteenth centuries witnessed the development of the concepts of habitual offending and the criminal class. Taking advantage of the extensive records of both petty and serious crime digitised and linked together by the Digital Panopticon project, this studentship will investigate these phenomena from the perspective of the judicial records, by tracing the incidence and character of repeat offending. The project will seek to understand the extent to which multiple arrests were a product of policing and/or underlying criminal activity, to identify the social and cultural factors which made some Londoners prone to reoffending and rearrest, and to examine the relationship between the chronology of recidivism and the evolution of contemporary thought about reoffending. This research will allow the student to draw some conclusions about both the causes of crime and the background to nineteenth-century thought about crime. It will appeal to researchers interested in the history of crime and policing, and the social history of eighteenth- and nineteenth-century England more generally.

For more information, and to apply, go to http://www.sheffield.ac.uk/postgraduate/research/scholarships/projects/criminalrecidivism

University of Tasmania

Labour Markets and Convict Offending

Who amongst the convicts sent to Britain’s nineteenth-century penal colony in Van Diemen’s Land were put to hard labour or ordered to work in irons? Did these patterns change over time, and if so, were they driven by convict behaviour, changes in penal administration, or the performance of the wider colonial economy? This project will provide an outstanding opportunity for a student with a background in history, economics or sociology to explore these questions while working as part of an international team of researchers. As well as conducting their own archival research the successful applicant will be given access to an extensive existing database of convicts and associated records.

Applications for the Tasmania studentship close on 31 July.

For more information contact Trevor Scaife, Trevor.Scaife@utas.edu.au