Archive for category Technology

Defining “Digital Humanities”

Like many others, I’m going to be participating in this year’s Day of Digital Humanities. It’s my first year doing so since last year’s Day coincided with a campus interview and it just didn’t seem kosher to write about what I was doing even though it was a digital humanities job.

The Day of DH team asks you to register to participate so that they can easily keep track of everyone who is taking part. Registration is not necessary (nor perhaps even in the spirit of some DH) and you can play along simply by using the #dayofDH hashtag on Twitter. One advantage of registering, however, was that the Day of DH team asked each participant to define “digital humanities.” I’ve read a number of people’s reflections on this subject, ranging from the brief (Dan Cohen’s) to the Venn-diagram powered (Alex Reid’s) to the provocative (Ian Bogost’s). All three of these are well worth your time, as is Chris Forster’s definition from a September 2010 HASTAC blog post.

Defining DH seems to be everyone’s favorite way to start an argument. I don’t know that anyone finds me worth arguing with, but for what it’s worth, here’s the definition that I submitted to the Day of DH planners:

When I’m asked, I like to say that digital humanities is just one method for doing humanistic inquiry.

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Code for BootCamp Southeast

Here is information that you will need to copy and paste for the THATCamp Southeast BootCamp session on “Visualizing Time and Space with Simile Widgets and Google.”

  1. <script src=”http://api.simile-widgets.org/exhibit/2.2.0/exhibit-api.js” type=”text/javascript”></script>
  2. <script src=”http://api.simile-widgets.org/exhibit/2.2.0/extensions/time/time-extension.js”></script>
  3. <link rel=”exhibit/data” type=”application/jsonp” href=”XXX?alt=json-in-script” ex:converter=”googleSpreadsheets” />
  4. <div ex:role=”facet” ex:facetClass=”TextSearch” ex:facetLabel=”Search”></div> <div ex:role=”facet” ex:expression=”.eventType” ex:facetLabel=”Event Type”></div>
  5. <div ex:role=”view” ex:viewClass=”Map” ex:label=”Map” ex:latlng=”.event_latlng” ex:center=”37.160317,-96.943359″ ex:zoom=”4″ ex:colorKey=”.eventRegion”>
  6. <script src=”http://api.simile-widgets.org/exhibit/2.2.0/extensions/map/map-extension.js?gmapkey=ABQIAAAAnk4nR53Mr_8850J3Tzt5PhTlwb9r3oG55aIhhSpyljgpJTLIjhTLALkqpLQmbYoFUPuPhZU4QMXc8w”></script>

 

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Session idea for THATCamp Southeast

I can’t believe that we’re less than a week away from the beginning of THATCamp Southeast. In what shouldn’t be an all-too-surprising discovery, I’m learning that an unconference takes a lot more organizing than one would have thought. In any case, I recently posted my session idea for the Camp, and I wanted to cross-post it here for posterity.

Last summer I was fortunate enough to attend the NEH-funded Institute for Enabling Geospatial Scholarship at the University of Virginia’s Scholars Lab. Throughout the proceedings, I found myself watching my friend Jo Guldi madly switching between a number of different applications on her MacBook Pro. I wasn’t familiar with most of the tools she was using, and her work pattern for taking notes was so different from my own that I asked her abouit. Consequently, Jo, Moacir P. de Sá Pereira, and myself sat down over lunch one day and started showing each other our personal favorite tools. (Note the absence of rimshot here, please.)

I found this exchange incredibly exciting and useful, not to mention very much in the spirit of ProfHacker, which I’ve had the great pleasure to write for since 2009. As much as you think you know about the tools of the trade, there’s always more out there. And maybe, just maybe, the things that your friends are using could help you get your writing / reading / compiling / programming done all that much more quickly.

What I’d like to propose for a session, then, is a show and tell. You get 3 minutes—at most—to show us your favorite application. You tell us what’s so great about it, how you use it in your work, and why you couldn’t live without it. We all get exposed to something new and get the chance to imagine how our own work could shift if we were to shake things up and try a new approach. If we have enough time (but how could we? people will be all over this session like butter on grits), you could get a shot to share a second favorite application with us. But seriously: don’t count on it.

It will work best if you can show us your application through the projector (we’ll have connections), but all platforms and applications are allowed. That means you can wax poetic about your favorite Android app. The best Chrome MAME. Or the best media player that you’ve found for Debian. Whatever you’d like. Heck, I suppose it could even be something analog! But you only get 3 minutes to share the love. Afterward, we’ll have a handful of new applications to try out (provided your pitch was good enough) and we’ll know who to talk to to find out more.

Does this sound appealing to anyone else?

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Mechanical Resolution: Benjamin, Google Art Project, and the Digital Humanities

One of the first things that I saw this morning was a tweet from Andrew Hazlett pointing to a Washington Post article by Philip Kennicott about the new Google Art Project. Art Project takes a “street view” approach to 17 art museums, allowing you to walk through some of their galleries and see the works as they are hung on the galleries’ walls. For those who are interested in how art is presented to and consumed by the public, this proves to be an invaluable resource (and shows how far we’ve come since the 2001, when Shelley Staples’s digital version of the 1913 Armory Show came online).

As I tweeted (part one and two), the line that I find most interesting in the coverage from the Post is this assertion from Julian Raby, the director of the Freer Gallery of Art in Washington: “Far from eliminating the necessity of seeing artworks in person, Art Project deepens our desire to go in search of the real thing.” This passage naturally reminded me of the claims that Walter Benjamin makes in his 1936 essay, “The Work of Art in the Age of Mechanical Reproduction.” In the essay, Benjamin considers the effect that photography, phonography, lithography, and more have on the “aura” or authenticity of an art work. In essence, a reproduction frees us from the need to go somewhere to see a particular piece of art, engaged in a pilgrimage of sorts; we no longer have to go to the Louvre to see the Mona Lisa: “…technical reproduction can put the copy of the original into situations which would be out of reach for the original itself. Above all, it enables the original to meet the beholder halfway, be it in the form of a photograph or a phonograph record. The cathedral leaves its locale to be received in the studio of a lover of art; the choral production, performed in an auditorium or in the open air, resounds in the drawing room.” (As an aside, my public library in Nebraska, where I lived from ages 8-11, allowed you to check out framed reproductions. My brother’s and my favorite was the Mona Lisa. Ironically, we had seen the original when we lived in Europe. But I don’t think we had quite understood at the ages of 5 and 6 that it was something that mattered. Accordingly, we enjoyed our reproduction much more than the original.)

But Benjamin writes, “Even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space, its unique existence at the place where it happens to be.” So while we no longer need to go to art, the reproduction’s lack of place reinscribes the aura of the original. The result?

By making many reproductions it substitutes a plurality of copies for a unique existence. And in permitting the reproduction to meet the beholder or listener in his own particular situation, it reactivates the object reproduced. These two processes lead to a tremendous shattering of tradition which is the obverse of the contemporary crisis and renewal of mankind.

So while it’s true that I no longer need to go to the MoMA to see Van Gogh’s The Starry Night, seeing it in Google Art Project may very well strengthen my desire to see the original, which is what Raby and the other museum directors must be counting on. And of course, all that Art Project appears to show at the moment are works that are no longer in copyright. So if you want to see a Warhol or a LeWitt, you’ve still got to go to the MoMA itself.

While acknowledging the complicated co-dependent relationships of original and reproduction, Benjamin is clear that reproductions are better than originals in at least one concrete way:

…process reproduction is more independent of the original than manual reproduction. For example, in photography, process reproduction can bring out those aspects of the original that are unattainable to the naked eye yet accessible to the lens, which is adjustable and chooses its angle at will. And photographic reproduction, with the aid of certain processes, such as enlargement or slow motion, can capture images which escape natural vision.

Mechanical reproductions, then, surpass the original by showing you more than your own eye could see, even if you were with the original. And it was precisely this issue of how much one can see in Art Project that our art history librarian, Kim Collins, asked me this morning when I showed her Art Project. After all, we pay a hefty subscription to ARTstor every year to get high quality images. So in the interest of seeing how much I could see, I pulled up The Starry Night (a work that I’ve never seen in person) in both ARTstor and Art Project. Using each platform, I zoomed in as far as I could on the church in the lower middle of the painting. And here is what I saw.

ARTstor (clicking on picture links to a larger version)

ARTstor

Google Art Project (clicking on picture links to a larger version)

The Starry Night  Vincent van Gogh  MoMA The Museum of Modern Art  Art Project powered by Google

That’s quite a difference in resolution and depth. Art Project is using what the Washington Post article calls a “‘gigapixel’ process, which stitches together multiple high-resolution images.” To get a sense of exactly how much more you see in Art Project, here, is the ARTstor image highlighted with the area that I’ve zoomed in on with Art Project:

Starry night artstor

Of course, the museums are the ones that provide the images to both ARTstor and Art Project, so there’s every chance in the world that the former’s images will be updated sometime in the future.

As I finish writing this, Art Project is a trending topic on Twitter. Although Google tends to have this effect on things, it’s apparent that people are interested in this project–or at least in talking about it. Towards the end of his essay, Benjamin writes, “The mass is a matrix from which all traditional behavior toward works of art issues today in a new form. Quantity has been transmuted into quality. The greatly increased mass of participants has produced a change in the mode of participation.” By throwing a tremendous quantity of pixels at Art Project, Google has produced something of quality that will shift how the masses see art.

And perhaps a key lesson to take from Art Project (if we can extract a lesson on launch day), is that it’s a clear demonstration of the opportunities that the digital humanities have to reach a larger audience, provided we can show them something new or something more in a (visual) language they understand.

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Dr. ProfHacker, or How I L3rn3d to St0p Worry1ng and <3 teh fail!!1! (MLA 2011 Version)

As you might have intuited from a previous post, I had the opportunity to attend the recent 2011 MLA Convention in Los Angeles. One of the panels that I spoke on was organized by Jason B. Jones and featured a trio of the ProfHacker team on the theme of “Hacking the Profession: Academic Self-Help in an Age of Crisis.” Here’s the description of session #48 from the official MLA program: “This roundtable discusses how we narrate our academic lives online, whether in blogs or on Twitter, Facebook, YouTube, or in any other format. In particular, we are interested in how we talk about failure or, more gently, about the common problems that plague any academic life: the class that doesn’t quite work, the committee that’s driving us crazy, or the article that can’t quite find a home.”

To insure that we had plenty of time left for discussion, we decided to practice what we preach and give our talks in the Pecha Kucha format (AKA 20 slides at 20 seconds per slide). This was my first time giving a talk in this style, and I found it a very interesting exercise. Often I write my talks and only come to the images later, but I found that I had to work on both simultaneously since the slides would determine where I would be in the moment of my argument. I also discovered that in 20 seconds I can say at most 4 lines of 12-point Times New Roman text. I liked the whole approach well enough that I’ll definitely include a Pecha Kucha presentation the next time I teach.

What follows is the text that I cribbed from when presenting at the MLA. In a few places I ad-libbed, especially on the first slide. But you’re getting the gist here. And I’ve included the images that accompanied the text (images precede the text). Make sure you don’t miss Natalie M. Houston’s talk from the same session on “Happiness Hacking.”

Dr. ProfHacker, or How I L3rn3d to St0p Worry1ng and <3 teh fail!!1!

Title Slide Title, introduce myself.

 

Admit to this being my first time doing Pecha Kucha. A Genius

The problem of the academy, especially the humanities, is that we’ve been too easily waylaid by the ideal of the romantic genius. We think we need to be like the people we study. That we as scholars must be solo geniuses. And we believe that genius scholars never have problems…or failures.

Sign with poor spelling from Failblog

It doesn’t have to be this way. Failure is a common human experience. As little as academics seem like humans at times, then, we need to plan on having failures. And we shouldn’t consider it unusual or untoward. Some academics have become better than others at this.

test tubes

In a 2007 article in Wired, Thomas Goetz considered the problem of “dark data,” information that is abandoned since it doesn’t conform to hypotheses or doesn’t yield a dramatic enough outcome for a high-profile publication. Reporting on failures is valuable, writes Goetz, because “your dead end may be another scientist’s missing link, the elusive chunk of data they needed” (Goetz).

Journal of Negative Results in BioMedicine Journal of Articles in Support of the Null Hypothesis

A possible solution to this problem is the Journal of Negative Results in Biomedicine, which, Goetz notes, “has offered a peer-reviewed home to results that go negative or against the grain” since 2002. Since that same year, the Journal of Articles in Support of the Null Hypothesis, reports on “experiments that do not reach the traditional significance levels…[t]hus, reducing the file drawer problem, and reducing the bias in psychological literature” (JASNH website).

LolLacan

These two journals play an important role for their particular fields by making “failure” public. Perhaps the idea of publishing unsuccessful research is not applicable to every field. But while we do not yet have a Failed Lacanian Interventions Quarterly, many academics are talking about failures in their professional lives as a whole. These discussions about research, teaching, and service take place on blogs, on wikis, and on social networks such as Facebook and Twitter.

Banner for my class

The advantage of discussing our failures in public is that we can get help from other people. As an example, in Spring 2010 I taught a senior-level seminar. I’d taught the class once before and it had been really successful. Last January, I found myself in a classroom setting where I couldn’t get the students to talk to me. In a discussion-based class, it was obvious that I was failing.

Tweets about my class

My frustration with the situation resulted in my trying several different in-class activities. But at the same time, I wrote online about the difficulty of the experience that I was having. (You’ll notice from the tenor of these tweets that I was more caught up in the notion of my own genius rather than noticing that I was failing my class.)

a help sign

Meeting with the director of undergraduate studies and asking him for help was useful, but so too was the response I received from my network of colleagues who had had similar experiences in the past. In particular, Erin Templeton saw my plaint and wrote a ProfHacker post about how silence is golden…until it isn’t.

ProfHacker post

Erin’s post begins by recounting her own “failure” in getting a class to talk and what steps she took to both get her students talking and in coming to terms with what she could not change. Among other things, she suggested methods that she had learned from other academics public narratives. (You’ll notice a virtuous circle happening where one person narrates publicly and others get the benefit.)

 

ivory tower

I never did get that class talking as much as I had hoped to, but narrating my experiences and asking for help online—rather than staying locked in my ivory tower—improved not only the class’s interactions, but also my own abilities as a teacher. ProfHacker became, in a sense, a Journal of Negative Results.

Slide12.jpg

At the risk of patting ourselves too much on the backs, however, I’d like to suggest that ProfHacker and the work of others like Tenured Radical, Dean Dad, Sisyphus, and many more expose a different sort of failure: the general failure of the academy to make plain many of its most regular practices, from mentoring to writing letters of recommendation.

Old compass on a map

Narrating our lives need not only be about personal failures, then, but a desire to correct the failures of the academy to make its customs navigable to those who are new. By discussing how the academy works—even when it isn’t working so well in its present circumstances of “hard times”—we provide opportunities to diversify who can be successful in the profession.

Three academic self-help books

There are increasing numbers of academic self-help books. Many of these are really useful, from Donald E. Hall to Kathryn Hume to The Chicago Guide to Your Academic Career. But these books are limited in being from only one point of view. The advantage of narrating your academic life publicly is that you can hear from a wide range of interlocutors.

Steven Johnson book cover; crossed picture of A Genius

It’s this wide range of interlocutors that makes a university interesting. Large groups of creative and interesting people working together are also what author Steven Johnson suggests is responsible for innovation. In other words, Johnson’s book argues against the model of the solitary genius, against the idea that one person can repeatedly create something ex nihilo.

DH Now.jpg

The advantage of narrating your life online, failures included, is that whether you are at a large research institution or not, you can participate in large group conversations that not only inform but also create, such as the real-time, crowdsourced publication Digital Humanities Now or the comment threads at ProfHacker.

 

An ivy covered college

Now, it might seem problematic to be narrating our personal and institutional failures when the academy is facing such hard times. After all, how can we expect state legislatures or individuals to continue funding our campuses if they are aware that we fail at times?

man with camera over his face

Contrary to expectations, however, I think that showing our failings might make us more sympathetic to those outside of academia. Instead of being the romantic geniuses in our ivory tower, we start to look a little bit human. And humans and human experience is what lies at the heart of the university.

Google Wave logo

In 2009, Google made a splash when it announced Wave. In 2010, Google made a splash when it announced that it was going to kill Wave. If you’d ever used Wave, this probably came as no surprise. I believe there’s a lesson that we can learn from Google, however. Admit our failures—including the academy’s—and do so quickly. Then talk about them.

Slide20.jpg

Thanks.

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