I’m excited to kick off 2018 teaching my digital history course for American University again.
I’ve been increasingly interested in the methodological aspects of digital history (the how not the what of history). Given that this course is on the books as a tool of research course for AMU history grad students it seemed to make sense to go ahead and slightly reframe it to focus explicitly on methods.
Like my previous courses, this course will run largely through a student written publication on the dighist blog. I’m always excited to have folks outside the class join in on our learning community. So please consider following along on the course blog and commenting if/when things pique your interest.
For some context, I’ve provided a rundown of the topics students will be blogging about below. I’ve also provided a full copy of the syllabus. Most of the readings are open access and the books are relatively inexpensive, so feel free to directly join in and follow along as we go.
Weekly Course Topics
- Becoming digital public historians (Jan 17th): This is our first class; we will introduce ourselves to each other and spend a lot of time reviewing the syllabus. I will make sure everyone leaves with an understanding of how to register, post and work with the course blog. By the end of class everyone will have signed up for the weeks they are blogging/presenting on. We will then take a bit of time to quickly read short posts about blogging as an academic practice.
- Defining digital history (Jan 24th): This week is largely about developing a perspective on what people mean when they say “digital history” and more broadly “digital humanities.” It’s also about what the stakes in all this are. Across all of the readings consider both the arguments and the genre of writing they are being presented in. Format and genre are critical components of our work this semester and the differences between blogging, books and articles are as much on the table for discussion as the points in these pieces. PhillaPlace is an example of the kind of projects folks are creating in digital history and Wordle is here as a kind of toy for starting to think about visualizing texts and the possibility of visualization as a mode of history communication.
- The Web: Participatory? Collaborative? Exploitive? (Jan 31): In history we work to connect audiences and publics with the past. In this vein, the participatory and collaborative rhetoric that surrounds the web fits many of the values of public historians like a glove. This weeks readings explore issues around crowdsourcing and public participation in history on the web. This includes both the potential to connect with the missions and values of cultural heritage institutions and opens questions about what constitutes participation and what becomes exploitive.
- Digital analysis: Distant reading, text analysis, visualization (Feb 7th); One of the most active strands of digital history and the digital humanities more broadly focuses on computational analysis of texts and the interpretations of abstractions of those texts. For the most part, “texts” has meant words, but we starting to get into computational modes of engaging with images and audio too. This week is about all of that, in particular, under the heading of distant reading. Throughout this week’s readings think both about the subject (visualization) and about the formats of the readings (blog posts, books, open review publications, etc.)
- “Project” as scholarly genre: Designing digital projects: (Feb 14th): It’s likely that many of you don’t have experience with planning and developing projects, in particular digital projects. So, this week is about planning projects and drafting the documents involved in making a digital project, in particular a web project, happen. Brown’s book is our main text, providing a roadmap for what decisions get made when. The NEH guidelines contextualize the format for a project proposal in a humanities context. The section from Digital_Humanities offers consideration of “project” as a unit of scholarship. Kirshenbaum’s piece get’s at the vexing issue of sustainability. Scheinfeldt’s explores differences between common digital collection platforms.
- Proposal pitch week (Feb 21st): Everyone in class is going to give the elevator pitch for the project that they intend to finish. No slides or anything. Just stand up, and in three minutes present the elevator pitch. Answer what you are going to do? Why it’s worth doing? You’ll explain how it is like things before, but also how it’s different. It’s important to be able to give the “MTV Cops” level explanation of your work. So work on that. After discussing the proposals, we will use remaining time in this session to check in on how the course is going. Think of it as a formative evaluation of the content and process of the course. It is great to get this kind of information in the middle so that it is still possible to tweak parts of the course going forward.
- Digital archives: What are & aren’t they? (Feb 28th ): Public historians and other humanists have been exuberant about the possibility of providing broad public access to primary source documents and the contents of archives. In this context, the use of the term “digital archive” has become a bit fraught. With that said, there is some valuable productive friction in that fraughtness. Something useful is emerging in the blending of sources, analysis, and intrepretations. This week we figure out what different folks mean by the term in different situations and explore some exemplars of different notions of digital archives and their potential as modes of scholarly output.
- Understanding Digital Content: Media, materiality & format (March 7); To really do digital history, we need a very solid understanding of what exactly digital stuff is. This week we try to figure out more about what digital things are. We likely all have a sense of what things like documents, spreadsheets and digital photos and videos are, but it is essential that we go beyond their appearance on the screen to understand a bit about what bits, bytes, files, and file formats are.
- Digital exhibition, hypermedia narrative & bots (March 21): What does it mean to collect and exhibit/present/interpret digital objects? This week we explore this issue across new media art, source code and digitized materials. Along with thinking through issues of presenting digital objects we also explore the potential of turning our interpretations and exhibitions over to the machines themselves.
- Digital audio: Oral history and sound studies (March 28): A huge area of work in history is oral history and at this point that is basically entirely a digital affair. This week we explore what it means to do oral history in the digital age. Aside from the great work tied up in that particular program, we need to think about how computational approaches to working with audio can change what it is that we do in this space (bring in some pop-up archive links). Similarly, it’s critical to remember that all formats and media have histories and politics, hence why we are using this as an opportunity to better understand that through the introduction to Sterne’s MP3: The Meaning of a Format.
- Mobile media, place & mapping (April 4th): Increasingly, the screens people are turning their attention to are in their hands and their pockets. In this vein, there is tremendous potential for mobile media and mobile media has a direct and clear connection to place and location. There are projects like the Museum from Mainstreet app and the Will to Adorn app that try to enable participatory collecting, projects like Histories of the National Mall that work to situate events in historic sites. This week we look at these, and related projects, and read Mobile Interface Theory: Embodied Space and Locative Media to add a theoretical layer/framework for thinking about this work. We haven’t talked much about maps and place in general yet either, so we will also consider the “spatial turn” as one of the ongoing developments and areas of interest in digital history scholarship.
- Playing the Past: Videogames, interactivity & action (April 11): Videogames have rapidly become potent media for communicating ideas about the past. Historians, librarians and archivists have begun creating games and a range of interactive transmedia modes of communicating about the past. At the same time, many very successful commercial games, like Sid Mier’s Civilization, SimCity or Assassin’s Creed have invited a generation of players to enact or replay models of the past. In this session we will spend half of the class discussing Gee’s book, which will help us unpack a range of ways to think about games and learning and how to read games and the other half discussing how ideas are represented and enacted in games that are specifically about the past.
- Opening & Expanding Forms of Scholarly Communication (April 18): Digital technology has changed the possibilities for scholarly communication in the history profession. Historians have long produced scholarly works in a range of media. However, monographs and to a lesser extent journal articles and conference papers have largely persisted as the primary forms of scholarship that “count.” This week we will learn a bit about the development and history of scholarly presses and explore a range of novel approaches and technologies for scholarly communications.
- Class Conference Poster Presentations (April 25): Bring a poster reporting on the results of either your research project or your digital project. We are going to run the classroom as a conference and I will see if I can get folks from around the
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