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Over the last decade, at roughly the same time that digital humanities methods and tools have appeared in language and literature classrooms and research, universities have made investments in 3D printing and makerspaces. And in a similar way to digital humanities, those working in modern languages might not immediately see how they could use fabrication technologies in their teaching and research.
For its session at the 2018 MLA Convention, ACH invites proposals that highlight how 3D printing, soft circuits, or other methods of physical fabrication are used to teach languages or literature or to conduct linguistic or literary research. Speakers will give brief talks (4-6 minutes, depending on number of participants) that address the praxis of printing and the metaphysics of physicalization. While a discussion of what you made and how you made it will naturally feature in these talks, it is more important to discuss how the act of making contributed to the understanding of languages and/or literatures. In this way, this session is cousin to the ACH’s 2014 session at the MLA.
Please send abstracts of 250 words (not including references) to brian [dot] croxall [at] brown [dot] edu. Abstracts should be received by 5pm EST / GMT-5 on 15 March 2017. N.B. All accepted panelists will need to be current MLA members—or have their membership waived—by 7 April 2017.
Since the ACH is an allied organization of the MLA, this session is guaranteed to be accepted for the 2018 MLA.
Cross-posted from ach.org.
A few years ago, my good friend and colleague Rachel Bowser and I put out a call for papers for an edited collection on steampunk. Today, we are pleased to say that Like Clockwork: Steampunk Pasts, Presents, and Futures will be published this fall by University of Minnesota Press. In fact, you can order it now. And check out this cover!
In many ways, our book leaves the question of “what is steampunk?” aside as we already tackled that question in our special issue of Neo-Victorian Studies on Steampunk, Science, and (Neo)Victorian Technologies. Like Clockwork asks a different question: “why steampunk?” and, perhaps more importantly, “why steampunk now?” why did steampunk explode in popularity in the first years of the twenty-first century? What is it about the aesthetic, the themes, or the crosscutting of anachronistic technologies that speaks to so many around the globe? Why did steampunk only become a thing—and a thing that IBM’s social analytics predict will continue to grow—more than 30 years after its invention in the early 1970s?
Perhaps it’s not surprising that a genre that celebrates the similarities and disjunctures among times took a while to find its own moment, but our collection identifies specific trends and events to which steampunk as a genre, a fan culture, and art movement respond. The essays in the book address these subjects as well as disability studies, postcolonial studies, digital humanities, Victorian culture, urban studies, performance, graphic novels, film, cultural trauma, and even the question of whether steampunk is “punk enough”:
Rachel A. Bowser and Brian Croxall, “It’s about Time: Reading Steampunk’s Rise and Roots”
Steampunk Spaces and Things
David Pike, “Steampunk and the Victorian City: Time Machines, Bryan Talbot, and the Center of the Multiverse”
Roger Whitson, “How to Theorize with a Hammer; or, Making and Baking Things in Steampunk and the Digital Humanities”
Catherine Siemann, “The Steampunk City in Crisis”
Steampunk Bodies and Identities
Kathryn Crowther, “From Steam Arms to Brass Goggles: Steampunk, Prostheses, and Disability”
Stefania Forlini, “The Aesthete, the Dandy, and the Steampunk; or Things as They Are Now”
Diana M. Pho, “Punking the Other: On the Performance of Racial and National Identities in Steampunk”
Steampunk Reading and Revising
Mike Perschon, “Seminal Steampunk: Proper and True”
Lisa Hager, “The Alchemy of Aether: Steampunk as Reading Practice in Karina Cooper’s Tarnished and Gilded”
Joseph Weakland and Shaun Duke, “Out of Control: Disrupting Technological Mastery in Michael Moorcock’s The Warlord of the Air and K. W. Jeter’s Infernal Devices”
We’ve been thrilled to work with great authors throughout the project and the fine folks at Minnesota. We can’t wait to see the book in print and to be throwing out to the rest of y’all from the sides of the book-tour dirigible.
How’s that for a clickbait title?
tl;dr: You can now do open-peer review on something Quinn Warnick and I wrote, https://digitalpedagogy.commons.mla.org/keywords/failure/.
Way, way back in what feels like forever ago—and perhaps it was given my two new jobs since then—I attended the 2012 MLA Convention in Seattle. That convention was notable for a number of things for me, including a panel that I co-organized with Kathi Inman Berens on “Building Digital Humanities in the Undergraduate Classroom”; a talk that I gave on #altac and the digital humanities; and the publication of Debates in the Digital Humanities. Note that I didn’t have anything to do with the latter, but it’s a book that changed the field and Minnesota was kind enough to buy pizza for the small but growing DH contingent at the MLA.
Also at that convention, I ended up in a conversation about digital pedagogy and the lack of books on the subject, which was thrown into sharp contrast by the appearance of Debates. The happy result is that in the months that followed I found myself engaged on the advisory board of what eventually became titled, Digital Pedagogy in the Humanities: Concepts, Models, and Experiments. The editors who steered the project—Rebecca Frost Davis, Matthew K. Gold, Katherine D. Harris, and Jentery Sayers—felt that a publication on digital pedagogy probably shouldn’t be limited to print as it simply didn’t respect the medium of the discussion. And fortunately, they were able to place the project with a press that agreed: the Modern Language Association using its tremendous MLA Commons platform. The result will be a book-like publication that is open access and allows for the presentation of original assignments and student work in relation to those assignments.
Even early on in the process, the editors knew that they wanted to organize the volume by keywords that were central to digital pedagogy. Those who contributed keywords would curate pedagogical artifacts and materials in relation to their term. I was both amused and flattered when I was asked by the editorial team to tackle “failure.” It was only a couple of years since I had flailed and failed very publicly in the pursuit of a job and I had since given talks and written articles about failure of one sort or another. It seemed like the FAIL meme had come home to roost and that I should embrace it.
I might have embraced it a little bit too hard at first, and I failed to make much progress in pulling together my thoughts on “failure.” But last November, I had the pleasure of being invited to speak at Virginia Tech by wonderful Quinn Warnick, whom I had met at the DH Conference in 2013. (Kids, never let people tell you that networking won’t pay off.) Our conversations over my time in Blacksburg led me to think that Quinn could be an ideal person to fail with, and we began to discuss what failure meant in the context of our own teaching and that of people we admired. Eventually, we decided that there were four types of failure in digital pedagogy:
- the technical glitches we have all experienced in our teaching, when something just doesn’t work
- the difficulties students have in implementing tools that are functioning just fine
- when students are directed to find failure in others’ work as an opportunity to do better in one’s own, like peer review
- failure as an epistemology, where students are asked to fail on purpose
Along with articulating how we saw failure working in the classroom, we found assignments or experiences that responded to each of these tiers of failure. We wrote them up and sent it off to our editors.
I’m now proud to say that Quinn’s and my keyword has appeared as part of the open review process for Digital Pedagogy in the Humanities. From now until 18 January 2016, you will be able to tell us exactly how well—or how badly—we failed at describing “failure.” (Consider it a Tier 3 exercise!) Please join in the conversation and let us know what you think: https://digitalpedagogy.commons.mla.org/keywords/failure/.
It’s Open Access Week, in this, the sixth year of my blog (AKA 2015). Like many younger scholars and people who have grown up with the most recent incarnations of digital humanities, I’ve been an open access enthusiast for a long time. But since I haven’t had a lot of my own publications, my version of openly sharing knowledge has normally been to post talks that I’ve given here in this space.
Earlier this year, however, I had an article come out in American Imago. It was exciting for a number of reasons. First, PUBLICATION! 🎉 Second, it was an essay that I’d been working on getting published since 2009 but that had been interrupted for years at a time because of family health problems and the challenges of working as a low-wage adjunct and then the changing nature of my work. Third, it was the first publication to come directly out of my dissertation research. I remain proud of the work that I did on that project, but also don’t really expect to see much more of it come to light given the different sorts of research I do these days. Fourth, I was excited to be working with The Johns Hopkins University Press because their author agreement was really very generous with what I could do with my own work. Past publications have seen me trying to use the SPARC Author Addendum to try to argue for expanded access to my own research. JHUP was going to give me those rights without me having to convince them.
And so, at the beginning of this week, I thought: I should make this essay open access, since I have the right to do so. I decided that I would share it via the MLA’s Commons Open Repository Exchange, or CORE. Part of the innovative community structure that the MLA has built for its members to share and discuss their work, CORE is a disciplinary-focused, “permanent, open access storage facility for [members’] scholarly output.” Not only does CORE allow researchers to share their work with the world, but it makes it easy to let others in the MLA who have interests in common with you know about the article. And did I mention that CORE handles a lot more types of research output than just PDFs? My good friend and steampunk collaborator, Rachel Bowser, and I submitted a talk we gave earlier this year to CORE, and it was a good experience. So with all of that and some institutional loyalty to the MLA as a member of the Executive Council, CORE was a perfect fit for my article.
One of the last lines of the CORE deposit asked me how I wanted to license the article for use by others in the future. I tend to prefer the CC-BY license, as that gives the most possible avenues for my work to be used again by others, and it’s what applies to everything I share on this site. I decided to check the author agreement one more time to see if that had any specific instructions about what I should do in this case. Here’s what I found:
Rights of the Author: You have the following nonexclusive rights: (1) to use the Article in your own teaching activities; (2) to publish the Article, or permit its publication, as a part of any book you may write or edit; (3) to include the Article in your own personal or departmental institutional database or on-line site; (4) to include the Article in your institutional repository provided the repository is institution specific and not a discipline-based database that accepts contributions from outside the institution; (5) to include your Article, if required by law, in an open access archive such as PubMedCentral.
When I had first reviewed the author agreement in February, I paid particular attention to point 3, which meant that I could put the essay on my website and share it that way. I had also noticed that point 4 meant that I could put it in an institutional repository. But this week, it was the second half of the point 4 that caught my attention: I can’t share the article in a “discipline-based database that accepts contributions from outside the institution.” When I signed this, MLA CORE wasn’t yet live and I just didn’t notice the prohibition.
While I don’t like this particular clause in the agreement, it is nevertheless an agreement and one to which I was a willing party. As much as I would like to support the MLA and to share the article in what I think would be the most useful means for my disciplinary peers, that’s not an option. In the future, I will certainly negotiate my author agreements to try to get permissions to submit to CORE. I might not always get it, but at least I will know to ask.
The other thing worth mentioning is that I’m currently serving the second year of a four-year term on the MLA’s Executive Council. It’s been a tremendous learning experience to this point, and I’m proud to be working with an organization that I care about. (You may consequently call my above comments about CORE “boosterism,” but please note that I speak only for myself and not for the MLA.) But from this vantage point, I have the opportunity (as do all MLA members) to bring items to the attention of the organization. You can be sure I’ll be talking to MLA staff and fellow Council members at our meeting next week about how the MLA might advocate to publishers—even ones with liberal and good starting places like JHUP—to re-consider clauses like point 4 in their author agreements.
Was this a bait and switch? “Where’s the article?” you clamor. Nope, not at all. Please help yourself to your very own copy of “‘Becoming Another Thing’: Traumatic and Technological Transformation in The Red Badge of Courage.” What? You can’t tell what it’s about given that title? Of course not! This is academia!
Here’s how I described the argument in the abstract:
This essay examines the traumatic transformation of Stephen Crane’s young protagonist in battle. It argues that this metamorphosis is brought on by the technologies on the battlefield and the youth’s outdated expectations about their speed. Further, it explores how Crane deploys tropes of mechanical and media technologies—especially the phonograph and the camera—to describe the protagonist’s psychically dissociated state and to account for the processing of traumatic memories. It closes by demonstrating that The Red Badge of Courage deploys metaphors of technology as a way to demonstrate the continuing relevance of the novel as genre in the face of rapidly evolving media ecologies.
That captures it pretty well. But it’s probably more accurate to say that this is what you get when you take someone who has been reading a lot of Virilio, Kittler, and Bolter and Grusin and then let them loose on Freud and Crane. Whether that’s something anyone actually wants is something else altogether.
Yesterday I had the chance to speak on a panel about “The MLA and Its Data: Remix, Reuse, and Research,” which I organized on behalf of the MLA’s Committee on Information Technology. The panel was very successful, due largely to fabulous co-panelists: David Laurence, Ernesto Priego, Chris Zarate, and Lisa Rhody. Ernesto has shared his slides for his presentation on his and Chris’s analysis of tweets from last year’s convention. Unfortunately we missed Jonathan Goodwin, who became ill. Lucky for us, he shared his talk as well.
What follows is the text of my talk, “Constellations at the Convention.” The metaphor of the title suggested itself immediately as I began looking at the network within Gephi, but I couldn’t help but think of Matt Kirschenbaum’s post following the 2011 MLA Convention, “The (DH) Stars Come Out in LA.” I think that the methods I’ve been able to begin deploying here might help us track the star system—if not within the profession, but within the convention.
I appreciated the interest from the crowd and the thoughtful questions about “algorithmic cruelty” and where such work might lead in the future. If you want to play with the data yourself, you can download the Gephi file of the 2014 and 2015 Mark Sample data. I will see what I can do about sharing the MLA data set. But for the moment, you can explore the four different networks that I showed.
As always, my work is Creative Commons-licensed. Let me know what you think!