2017 marks my third trip to the biggest DH conference in the game, and for this go-round I wanted to bring the work of some of my awesome collaborators (and some of the collaborators themselves!) at the John Nicholas Brown Center for Public Humanities and Cultural Heritage to the event.
The work documented in these posters is highly collaborative and it involves undergraduates, graduate students, postdocs, and faculty members in American Studies and Public Humanities. It’s been interesting to think through the relationships between these two fields and DH during my time at Brown; the ASA’s Digital Humanities Caucus has been super helpful in the former, and I wonder if there’s more people interesting in talking about the latter. I was excited to see “public DH” in Amanda Visconti’s paper title, for instance. And while “public humanities” isn’t explicitly named in the titles of any other posters and discussions, there’s clearly a lot of interest in questions of “access” based on the number of presentations here utilizing that keyword. “Access” is this year’s conference theme, but public humanities folks might find the range of uses interesting nonetheless. Additionally, “public humanities” is showing up in several tweets about presentations (like here and here, in tweets referring to a talk by my pal and partner in digital public humanities, Lauren Tilton!), suggesting that attendees invested in the term are recognizing its presence in methodologies and project emphases.
In July 2017, I presented a version of this talk on a panel on “Temporality” at the Keystone Digital Humanities Conference (#keydh on Twitter) in Philadelphia, Pennsylvania. The project I discuss here, a digital tour of the Nightingale-Brown House, will debut in September 2017. I’ll update this post with a direct link when we go live!
Uncanny X-Men #141 (1981 )
I wanted to start by outlining three of the major questions I hope to raise in this discussion of a digital house tour I’ve been working on at Brown University’s Public Humanities program. This presentation will focus on the details of our particular project, but I hope this overview is useful to people who are specifically interested in the metaphor of the tour in DH as well as anyone who might have thoughts on temporality as it relates to DH work and the interfaces we rely on (or develop) in various initiatives.
This talk takes its title from “Days of Future Past,” a 1980 storyline from Marvel Comics’ Uncanny X-Men serial in which a member of the superhero team travels back in time to stop the bleak future she calls home from existing in the first place. “Welcome to the 21st century,” reads a caption box on the opening splash page of #141. Chris Claremont, John Byrne, and their collaborators present readers with a dystopian vision of 2013 and a ragtag team of surviving heroes so desperate that they’re “toying with the basic fabric of reality” in an attempt to travel back in time to literally rewrite history.
Excerpts from Uncanny X-Men #141-142 (1981 )
I’m excited to announce my involvement in Day of Public Humanities (#DayofPH), a public humanities initiative about public humanities. So meta! When I started working at the John Nicholas Brown Center for Public Humanities and Cultural Heritage, I inevitably got questions from friends in and beyond academic contexts about what this “public humanities” thing is and what kind of work I do. Many of us here get these questions, so myself, Robyn Schroeder (Postdoctoral Fellow and Director of Graduate Studies in Public Humanities), and Inge Zwart (graduate student in Public Humanities) decided to spend the past year researching the term, its uses, its limits, its past, present, and future. While doing this work, we became particularly interested in how and why public humanities practitioners came to embrace the term “public humanities” and what forms of labor they do on a daily basis. Like the Day of Digital Humanities (#DayofDH) initiative, #DayofPH asks practitioners to make their labor visible, reflect on the field and where it’s going, and show people what cool things they’re up to. We hope you can join us on May 9th, 2017!
You can learn more about #DayofPH on our web site. Specifically, you can find suggestions for how to participate on May 9th, blog posts highlighting some of the day-to-day work we do here at the JNBC, and recommendations for further action before and after May 9th. We also talk about the project on the JNBC blog. We’re excited to see what other people are working on, what “public humanities” means to them, and how we might all learn to become better Public Humans.
I’m happy to answer any questions you might have about this project on Twitter (@JimMc_Grath) or via email (james_mcgrath[at]brown). And if you’re attending NCPH next week, I’ll be there too, so please get in touch if you’d like more info!
Last week, the John Nicholas Brown Center for Public Humanities and Cultural Heritage joined a number of other universities in a Frederick Douglass birthday party transcribe-a-thon to support the (awesome) Colored Conventions Project. I wrote about how our day went over at the JNBC blog:
Transcription may seem like a mundane or even dated way to contribute to a digital project in the twenty-first century: can’t scholars and archivists use optical character recognition (OCR) software to extract text from scanned documents? As someone who has worked on a number of digitization projects, I can tell you that the technology we imagine to be freely available doesn’t always match the realities of doing digital humanities scholarship, and the available resources can vary from project to project. While we are right to be suspicious of third-party platforms, apps, and social networks that ask for our personal data in exchange for use of their services, we are often not required to think as much about the labor that goes into the creation and support of our shiny digital interfaces. Do you know how Google Docs handle collaborative writing across a range of devices and issues related to version control when they arise as you’re drafting something? Have you ever wondered what makes Clippy so useful (or annoying)? Exposure to the nuts and bolts of a digital project like CCP can often help us gain new perspectives on the materiality of the web, the technical dimensions of systems and actions we take for granted, and the challenges of doing public-facing digital work that circulates alongside well-funded and well-oiled machines made by Google and other heavyweights on the web at-large
It was fun and easy to collaborate with the CCP: I was particularly impressed by how much work they put into ensuring that their remote collaborators had everything they needed to make their events run smoothly. They’re a fantastic model for how to do public-facing digital humanities work within and across institutions, and I hope to work more with them in the future! It was also great to get some of our students, faculty, and community affiliates working on and thinking about the labor involved in digitization projects.
I wrote about my experiences doing digital humanities work as a graduate student over at Common-place. Here’s a snippet:
While I’ve heard that the phrase “public humanities” makes some people want to set their hair on fire, I’ve found that the investments many digital humanities practitioners place in public-facing work have been particularly important, and I try to explore the various implications and challenges of doing public humanities work in my courses and in my own projects. My work in Brown’s Public Humanities program at times might begin (and sometimes end) with digital initiatives aimed entirely at non-academic audiences (i.e. audiences who might not be looking to use materials or data for their own academic projects or publications). Or it might entail working with a range of collaborators—librarians, community organizations, undergraduates, archivists—with various ideas about the kinds of intellectual labor they’re invested in, interests that don’t always privilege scholarly monographs or the critical lenses privileged by my graduate training in, say, an English department. These digital projects require skill in project management and development, attention to design choices and interfaces and their impact on user experiences, knowledge of long-term preservation issues, and discussions about various forms of public engagement, among other factors.
Common-place is primarily intended for early American Studies scholars, but I think this piece may be of interest to DH folks doing work outside that particular field as well. The roundtable discussion is made up entirely of recent graduates and current grad students from Northeastern University (all of whom were former NULab fellows as well!), and it documents graduate student experiences at at a moment in the school’s institutional history when its community of digital humanities scholars and researchers (including, of course, Northeastern’s awesome librarians and archivists!) was just starting to materialize. Anyway, it was fun to write: thanks to Liz, Ben, and Abby, as well as Ed Whitley, Kathy Foley, and the good people of Common-place.
I recently wrapped up teaching duties on a course in Digital Public Humanities, a class offered via Brown University’s Public Humanities M.A. program. You can view the course site, which includes our syllabus, major readings, and a blog, here. This class was both my first digital humanities course and the first class I ever taught as part of a graduate program. I wanted to debrief (and maybe also decompress) here, in the hopes that thinking out loud about the shape and outcomes of the course might help me as well as other people interested in digital humanities, public humanities, public history, and/or graduate-level teaching (among other topics).
Before diving into the debrief, I’d like to thank the students who took this course, because they were all great. Thanks again to Dylan Cole-Kink, Bárbara Elmudesi, Nico Larrondo, Eddie Robles, Caroline Stevens, Sandra Strauch, and Liza Yeager. Thanks also to Alyssa Anderson, Andrea Ledesma, Reya Sehgal, and Marley-Vincent Lindsey for stopping by at various points in the semester and for contributing to class discussions. I’d also like to thank Susan Smulyan for her comments on my syllabus and for our (continuing!) conversations on how the Public Humanities program and the John Nicholas Brown Center for Public Humanities and Cultural Heritage (JNBC) might support students interested in digital humanities tools and topics. Jim Egan and Steve Lubar patiently helped me think through ideas related to the course. The Brown University Library Center for Digital Scholarship supported our class with access to the library’s new Digital Studio, and Bruce Boucek, Brian Croxall, Elli Mylonas, and Patrick Rashleigh graciously took time to meet with students and provide recommendations for digital tools and resources.