I am deeply honored to have been invited to give a plenary lecture at this year’s Digital Humanities conference, planned for Lausanne, Switzerland in early July. My fellow keynoters are Bruno Latour, Sukanta Chaudhuri, and Ray Siemens, who will receive ADHO‘s Zampolli Prize. This is quite a line-up! I’m not nervous at all. Why do you ask?
Now that I’ve provided an abstract for the talk, I thought I’d share it here. My subject is Digital Humanities in the Anthropocene:
This will be a practitioner’s talk, and—though the abstract belies it—an optimistic one. I take as given the evidence that human beings are irrevocably altering the conditions for life on Earth and that, despite certain unpredictabilities, we live at the cusp of a mass extinction. What is the place of digital humanities practice in the new social and geological era of the Anthropocene? What are the DH community’s most significant responsibilities, and to whom? This talk will position itself in deep time, but strive for a foothold in the vital here-and-now of service to broad publics. From the presentist, emotional aesthetics of Dark Mountain to the arms-length futurism of the Long Now, I’ll dwell on concepts of graceful degradation, preservation, memorialization, apocalypse, ephemerality, and minimal computing. I’ll discuss digital recovery and close reading of texts and artifacts—like the Herculaneum papyri—once thought lost forever, and the ways that prosopography, graphesis, and distant reading open new vistas on the longue durée. Can DH develop a practical ethics of resilience and repair? Can it become more humane while working at inhuman scales? Can we resist narratives of progress, and still progress? I wish to open community discussion about the practice of DH, and what to give, in the face of a great hiatus or the end of it all.
The talk will likely be recorded at the event and later published in one of the ADHO journals, but I will also (as usual) post the text here after I deliver it. You’ll see hints at my reading on the subject in the abstract above—from Jo Guldi and David Armitage to Steven J. Jackson, Rebecca Solnit, Shiv Visvanathan, Bruno Latour, Dipesh Chakrabarty, Timothy Morton, Susie O’Brien, Brian Lennon, Eileen Crist, and more, including a number of institutional and collective projects—but I welcome messages pointing me at things you suspect I’ll miss.
This week marks the release of a new version of Prism, a web-based tool for “crowdsourcing interpretation,” constructed over the course of two academic years by two separate cohorts of graduate fellows in our Praxis Program at the Scholars’ Lab.
Praxis fellows are humanities and social science grad students across a variety of departments at UVa, who come to our library-based lab for an intensive, team-based, hands-on experience in digital humanities project-work, covering as many aspects of DH practice as our practiced Scholars’ Lab staff can convey. Continue reading “prism, for play”
(Cross-posted from the Scholars’ Lab blog. I introduce our new Praxis Program here.)
Our goal in the Scholars’ Lab Praxis Program is to address methodological training in the humanities not just through workshops and courses, but by involving graduate students in digital projects from the ground up. This means learning by creating something — together — with all that entails: paying attention both to vision and detail; building facility with new techniques and languages not just as an academic exercise, but of necessity, and in the most pragmatic framework imaginable; acquiring the softer skills of collaboration (sadly, an undiscovered country in humanities graduate education) and of leadership (that is, of credible expertise, self-governance, and effective project management). All this also involves learning to iterate and to compromise — and when to stop and ship.
To do this, our Praxis team needed a project. We wanted it to be a fresh one, something they could own. It was important to us that the project only be in service to the program — that its intellectual agenda was one our students could shape, that they set the tone for the collaboration, and that — as much as possible — it be brand-spanking-new, free from practices and assumptions (technical or social) that might have grown organically in a pre-existing project and which we might no longer recommend.
In this inaugural year of the Praxis Program, the Scholars’ Lab, in consultation with some colleagues from UVa’s College of Arts and Sciences, is providing the central idea for the project. It’s just too much to ask that students new to digital humanities work invent a meaningful project from whole cloth on Day 1 of the program — especially one that, we hope, will make a meaningful intervention in the current scene of DH research and practice. That said, by the end of this year, our current Praxis team plans to have conceptualized a second project (or perhaps an extension of this one) to pass on to next year’s group.
Here endeth the preamble. What are we up to now? Continue reading “praxis and prism”
The publication of Johanna Drucker’s new book, SpecLab: Digital Aesthetics and Projects in Speculative Computing, has sent me back to my notebook of drawings from our SpecLab and ARP days, the period from roughly 2000 – 2006 when, first as a grad student and then as a post-doc, I worked closely with Johanna and Jerry McGann on the lunatic fringe of digital humanities. (Jerry and I had gone down the rabbit hole some years earlier with the Rossetti Archive as well.)
These are a few of my sketches for the last iteration of the Ivanhoe Game, the one that’s still available for play. I must confess — as much as I loved the design process in all its stages — that I haven’t played a really good game of Ivanhoe since we moved away from the more prosy and simple interfaces of the Turn of the Screw game (undertaken when Geoffrey Rockwell was a visiting scholar at UVA and I wrote moves like this) and the Haruki Murakami / D. G. Rossetti games I played in the wee hours of the night with my first baby sleeping in my arms. (The Rossetti one, on Jenny, in which I imagined a company specializing in flesh-bot reproductions of Victoriana, was re-printed by Laura Mandell at Romantic Circles and in Jerome McGann’s Like Leaving the Nile.)
Continue reading “sketching ivanhoe”