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!
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.