In 2010 Matt Kirschenbaum wrote “What is Digital Humanities and What’s it Doing in English Departments?” for the Association for Departments of English (ADE) bulletin, in which he argued that “digital humanities has accumulated a robust professional apparatus that is probably more rooted in English than any other departmental home” . While there were (and there continue to be) skeptics and vocal opponents of digital humanities methodologies in these institutional spaces, his point was that many English departments had already begun to embrace, cultivate, or otherwise contend with the impact of digital tools and contexts on literary studies. But in the case of Our Marathon, many of the questions we received about the institutional context of our project stemmed less from an aversion to digital humanities work and had more to do with the project’s self-identification as an archival initiative and its investments in the curation and preservation of particular kinds of material culture: items left at public memorials, social media activity, and first-person narratives, all of them related to a national tragedy. Why is an English major behaving like an archivist, a metadata specialist, a project manager? What more could they know about the long histories of curation, preservation, and community engagement, topics that may not be covered in English department coursework? How might English departments anticipate student and community investments in initiatives like Our Marathon and be prepared to support such work?
Thanks to editors Robin Kear and Kate Joranson for their feedback on our contribution to this project. And thanks, of course, to Alicia, for being great: it would be cool to co-write and/or collaborate on something again in the future. I look forward to reading the rest of the volume: if you’re interested, some of our co-authors have been putting links to preprint versions of their work on this Google Doc.
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.
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.