Building Digital Studies at Davidson

I am thrilled to share the news that in August I will join the faculty of Davidson College, where I will be building a new interdisciplinary program in Digital Studies. This is a tremendous opportunity for me, and my immodest goal is to make Davidson College a model for other liberal arts colleges—and even research universities—when it comes to digital studies.

This means I am leaving George Mason University, and I am doing so with much sadness. I have been surrounded by generous colleagues, dedicated teachers, and rigorous thinkers. I cannot imagine a better place to have begun my career. At the same time, my life at GMU has always been complicated by the challenges of a long distance commute, which I have written about here and elsewhere. My new position at Davidson will eliminate this commute. After seven or so years of flying 500 miles to work each week, it will be heaven to simply bike one mile to work every day.

And a good thing too—because I have big plans for Digital Studies at Davidson and much work to do. Students are already enrolling in my Fall 2013 courses, but more than individual classes, we have an entire program to design. I am thrilled to begin working with my new colleagues in both the humanities and sciences. Together we are going to build something both unique and uniquely Davidson.

Electronic Literature after Flash (MLA14 Proposal)

I recently proposed a sequence of lightning talks for the next Modern Language Association convention in Chicago (January 2014). The participants are tackling a literary issue that is not at all theoretical: the future of electronic literature. I’ve also built in a substantial amount of time for an open discussion between the audience and my participants—who are all key figures in the world of new media studies. And I’m thrilled that two of them—Dene Grigar and Stuart Moulthrop—just received an NEH grant dedicated to a similar question, which is documenting the experience of early electronic literature.

Electronic literature can be broadly conceived as literary works created for digital media that in some way take advantage of the unique affordances of those technological forms. Hallmarks of electronic literature (e-lit) include interactivity, immersiveness, fluidly kinetic text and images, and a reliance on the procedural and algorithmic capabilities of computers. Unlike the avant garde art and experimental poetry that is its direct forebear, e-lit has been dominated for much of its existence by a single, proprietary technology: Adobe’s Flash. For fifteen years, many e-lit authors have relied on Flash—and its earlier iteration, Macromedia Shockwave—to develop their multimedia works. And for fifteen years, readers of e-lit have relied on Flash running in their web browsers to engage with these works.

Flash is dying though. Apple does not allow Flash in its wildly popular iPhones and iPads. Android no longer supports Flash on its smartphones and tablets. Even Adobe itself has stopped throwing its weight behind Flash. Flash is dying. And with it, potentially an entire generation of e-lit work that cannot be accessed without Flash. The slow death of Flash also leaves a host of authors who can no longer create in their chosen medium. It’s as if a novelist were told that she could no longer use a word processor—indeed, no longer even use words. Continue reading “Electronic Literature after Flash (MLA14 Proposal)”

From a Murmur to a Drone

Not so long ago a video of a flock of starlings swooping and swirling as one body in the sky went viral. Only two minutes long, the video shows thousands of birds over the River Shannon in Ireland, pouring themselves across the clouds, each bird following the one next to it. The birds flew not so much in formation as they flew in the biological equivalent of phase transition. This phenomenon of synchronized bird flight is called a murmuration. What makes the murmuration hypnotic is the starlings’ seemingly uncoordinated coordination, a thousand birds in flight, like fluid flowing across the skies. But there’s something else as well. Something else about the murmuration that appeals to us at this particular moment, that helps to explain this video’s virality.

The murmuration defies our modern understanding of crowds. Whether the crazed seagulls of Hitchcock’s The Birds, the shambling hordes of zombies that seem to have infected every strain of popular culture, or the thousands upon thousands of protestors of the Arab Spring, we are used to chaotic, disorganized crowds, what Elias Canetti calls the “open” crowd (Canetti 1984). Open crowds are dense and bound to grow denser, a crowd that itself attracts more crowds. Open crowds cannot be contained. They erupt. Continue reading “From a Murmur to a Drone”

CFP: Electronic Literature after Flash (MLA 2014, Chicago)

Another View of the Feeds Mode of Strange Rain

Attention artists, creators, theorists, teachers, curators, and archivists of electronic literature!

I’m putting together an e-lit roundtable for the Modern Language Association Convention in Chicago next January. The panel will be “Electronic Literature after Flash” and I’m hoping to have a wide range of voices represented. See the full CFP for more details. Abstracts due March 15, 2013.

When Does Service Become Scholarship?

When does service become scholarship?

When does anything—service, teaching, editing, mentoring, coding—become scholarship?

My answer is simply this: a creative or intellectual act becomes scholarship when it is public and circulates in a community of peers that evaluates and builds upon it.


Now for some background behind the question and the rationale for my answer.

What counts as the threshold of scholarship has been on my mind lately, spurred on by two recent events at my home institution, George Mason University. The first was a discussion in my own department (English) about the public humanities, a concept every bit as hard to pin down as its two highly contested constitutive terms. A key question in the department discussion was whether the enormous amount of outreach our faculty perform—through public readings, in area high schools, with local teachers and lifelong learners outside of Mason—counts as the public humanities. I suggested at the time that the public humanities revolves around scholarship. The question, then, is not when does outreach become the public humanities? The question is, when does outreach become an act of scholarship?

The department discussion was a low-stakes affair. It decided the fate of exactly nothing, except perhaps the establishment of a subcommittee to further explore the intersection of faculty work and the public humanities.

But the anxiety at the heart of this question—when does anything become scholarship?—plays out in much more consequential ways in the academy. This brings me to the second event at Mason, the deliberations of the College of Humanities and Social Science’s Promotion and Tenure committee. My colleague Sean Takats, whom some may know as the Director of Research Projects for the Roy Rosenzweig Center for History and New Media and the co-director of the Zotero project, has recently given a devastating account of the RPT committee’s response to his tenure case. Happily, the college committee approved Sean’s case 10-2, but what’s devastating is the attitude of some members of the committee toward Sean’s significant work in the digital humanities. Sean quotes from the committee’s official letter, with the money quote being “some [committee members] deter­mined that projects like Zotero et al., while highly valu­able, should be con­sid­ered as major ser­vice activ­ity instead.”

Sean deftly contrasts the committee’s impoverished notion of scholarship with Mason’s own faculty handbook’s definition, which is more expansive and explicitly acknowledges “artis­tic work, soft­ware and media, exhi­bi­tions, and per­for­mance.”

I absolutely appreciate Mason’s definition of scholarly achievement. But I like my definition of scholarship even more. Where does mine come from? From the scholarship of teaching—another field, like digital humanities, which has challenged the preeminence of the single-authored manuscript as the gold standard of scholarship (though, like DH, it doesn’t exclude such forms of scholarship).

More specifically, I have adapted my definition from Lee Shulman, the former president of the Carnegie Foundation for the Advancement of Teaching. In “Taking Learning Seriously,” Shulman advances a persuasive case for the scholarship of teaching and learning. Shulman argues that for an intellectual act to become scholarship, it should have at least three characteristics:

it becomes public; it becomes an object of critical review and evaluation by members of one’s community; and members of one’s community begin to use, build upon, and develop those acts of mind and creation.

In other words, scholarship is public, circulating in a community that not only evaluates it but also builds upon it. Notice that Shulman’s formulation of scholarship is abstracted from any single discipline, and even more crucially, it is platform-agnostic. Exactly how the intellectual act circulates and generates new work in response isn’t what’s important. What’s important is that the work is out there for all to see, review, and use. The work has been made public—which after all is the original meaning of “to publish.”

Let’s return to the CHSS committee’s evaluation of Sean’s work with Zotero. I don’t know enough about the way Sean framed his tenure case, but from the outside looking in, and knowing what I know about Zotero, it’s not only reasonable to acknowledge that Zotero meets these three criteria of scholarship (public, reviewed, and used), it’d take a willful misapprehension of Zotero, its impact, and implications to see it as anything but scholarship.

Sean notes that the stance of narrow-minded RPT committees will have a chilling effect on digital work, and I don’t think he exaggerates. But I see this as a crisis that extends beyond the digital humanities, encompassing faculty who approach their scholarship in any number of “unconventional” ways. The scholarship of teaching, certainly, but also faculty involved in scholarly editing, the scholarship of creativity, and a whole host of public humanities efforts.

The solution—or at least one prong of a solution—must be for faculty who have already survived the gauntlet of tenure to work ceaselessly to promote an atmosphere that pairs openness with critical review, yet which is not entrenched in any single medium—print, digital, performance, and so on. We can do this in the background by writing tenure letters, reviewing projects, and serving on committees ourselves. But we can and should also do this publicly, right here, right now.

From Fish to Print: My 2012 in Review

Like the pair of mice in Leo Lionni’s classic children’s book, I had a busy year in 2012. It was a great year, but an exhausting one.

The year began last January with a surprise: I was mentioned by Stanley Fish in an anti-digital humanities screed in the New York Times. That’s something I can check off my bucket list. (By the way, my response to Fish fit inside a tweet.) Ironically, had Fish read my chapter in Debates in the Digital Humanities, which was published the very same week, he might have seen some strange correspondences between his stance toward the digital humanities and my own. This chapter, “Unseen and Unremarked On: Don DeLillo and the Failure of the Digital Humanities,” has recently become open-access, along with the rest of the book. Hats off to Matt Gold, the Debates editor, as well as his crew at the Graduate Center at CUNY and the University of Minnesota Press for making the book possible in the first place, and open and online in the second place.

In January I also performed my first public reading of one of my creative works— Takei, George—during the off-site electronic literature reading at the 2012 MLA Convention in Seattle. There’s even grainy documentary footage of this reading, thanks to the efforts of the organizers Dene Grigar, Lori Emerson, and Kathi Inmans Berens. I also gave a well-received talk at the MLA about another work of electronic literature, Erik Loyer’s beautiful Strange Rain. And finally in January, I spent odd moments at the convention huddled in a coffee shop (this was Seattle, after all) working with my co-authors on the final revisions of a book manuscript. More about that book later in this post.

All of this happened in the first weeks of January. And the rest of the year was equally as busy. In addition to my regular commuting life, I traveled a great deal to conferences and other gatherings. As I mentioned, I presented at the MLA, but I also talked at the Society for Cinema and Media Studies convention (Boston in March), Computers and Writing (Raleigh in May), the Electronic Literature Organization (Morgantown in June), and the Society for Literature, Science, and the Arts (Milwaukee in September). In May I was a co-organizer of THATCamp Piedmont, held on the campus of Davidson College. During the summer I was a guest at the annual Microsoft Research Faculty Summit (Redmond in July). In the fall I was an invited panelist for my own institution’s Forum on the Future of Higher Education (in October) and an invited speaker for the University of Kansas’s Digital Humanities seminar (in November).

If the year began the publication of a modest—and frankly, immensely fun to write—chapter in an edited book, then I have to point out that it ended with the publication of a much larger (and challenging and unwieldy) project, a co-authored book from MIT Press: 10 PRINT CHR$(205.5+RND(1));: GOTO 10 (or 10 PRINT, as we call it). I’ve already written about the book, and I expect more posts will follow. I’ll simply say now that my co-authors and I are grateful for and astonished by its bestselling (as far as academic books go) status: within days of its release, the book was ranked #1,375 on Amazon, out of 8 million books. This figure is all the most astounding when you consider that we released a free PDF version of the book on the same day as its publication. More evidence that giving away things is the best way to also sell things.

I was busy with other scholarly projects throughout 2012 as well. I finished revisions of a critical code studies essay that will appear in the next issue of Digital Humanities Quarterly, and I wrapped up a chapter for an edited collection coming out from Routledge on mobile media narratives. I also continued to publish in unconventional but peer-reviewed venues. Most notably, Enculturation and the Journal of Digital Humanities, which has published two pieces of mine. On the flip side of peer-review, I read and wrote reader’s reports for several journals and publishers, including University of Minnesota Press, MIT Press, Routledge, and Digital Humanities Quarterly. (You see how the system works: once you publish with a press it’s not long until they ask you to review someone else’s work for them. Review it forward, I say.)

In addition to scholarly work, I’ve invested more time than ever this year in creative work. On the surface my creative work is a marginal activity—and often marginalized when it comes time to count in my annual faculty report. But I increasingly see my creativity and scholarship bound up in a virtuous circle. I’ve already mentioned my first fully-functional work of electronic literature, “Takei, George.” In June this piece appeared as a juried selection in Electrifying Literature: Affordances and Constraints, a media art exhibit held in conjunction with the 2012 Electronic Literature Organization conference. A tip to other scholars who aim to do more creative work: submit your work to juried exhibitions or other curated shows; if your work is selected, it’s the equivalent of peer-review and your creative work suddenly passes the threshold needed to appear on CVs and faculty activity reports. Another creative project of mine, Postcard for Artisanal Tweeting, appeared in Rough Cuts: Media and Design in Process, an online exhibit curated by Kari Kraus on The New Everyday, a Media Commons Project.

My own blog is another site where I blend creativity and scholarship. My recent post on Intrusive Scaffolding is as much a creative nonfiction piece as it is scholarship (more so, in fact). And my favorite post of 2012 began as an inside joke about scholarly blogs. The background is this: during a department meeting discussion about how blogging should be recognized in our annual infrequent merit salary raises, a senior colleague expressed concern that one professor’s cupcake blog would count as much as another professor’s research-oriented blog. In response to this discussion, I wrote a blog post about cupcakes that blended critical theory and creativity. And cursing. The post struck a nerve, and it was my most widely read and retweeted blog post ever. About cupcakes.

Late in 2012 my creative work took me into new territory: Twitterbots, those autonomous “agents” on Twitter that are occasionally useful and often annoying. My bot Citizen Canned is in the process of tweeting every unique word from the script of Citizen Kane, by order of frequency (as opposed to, say, by order of significance, which would have a certain two syllable word appear first). With roughly 4,400 unique words to tweet, at a rate of once per hour, I estimate that Citizen Kane will tweet the least frequently used word in the movie sometime five months from now.Another of the Twitterbots I built in 2012 is 10print_ebooks. This bot mashes up the complete text of my 10 PRINT book and generates occasionally nonsensical but often genius Markov chain tweets from it. The bot also incorporates text from other tweets that use the #10print hashtag, meaning it “learns” from the community. The Citizen Cane bot runs in PHP while the 10 PRINT bot is built in Processing.

Alongside this constant scholarly and creative work (not to mention teaching) ran a parallel timeline, mostly invisible. This was me, waiting for my tenure decision to be handed down. In the summer of 2011 I submitted my materials and by December 2011, I learned that my department had voted unanimously in my favor. Next, in January 2012 the college RPT (Rank-Promotion-Tenure) committee voted 10-2 in my favor. It’s a bit crazy that the committee report echoes what I’ve heard about my work since grade school:

Mark Sample presents an unusual case. His work is at the edge of his discipline’s interaction with digital media technology. It blurs the lines between scholarship, teaching, and service in challenging ways. It also marks the point where traditional scholarly peer review meets the public interface of the internet. This makes for some difficulty in assessing his case.

In February my dean voted in favor of my case too. Next came the provost’s support at the end of March. In a surprise move, the provost recommended me for tenure on two counts: genuine excellence in teaching and genuine excellence in research. Professors usually earn tenure on the strength of their research alone. It’s uncommon to earn tenure at Mason on excellence in teaching, and an anomaly to earn tenure for both. By this point, approval from the president and the Board of Visitors (our equivalent of a Board of Trustees) might have seemed like rubber stamps, but I wasn’t celebrating tenure as a done deal. In fact, when I finally received the official notice—and contract—in June, I still didn’t feel like celebrating. And by the time my tenure and promotion went into effect in August 2012, I was too busy gearing up for the semester (and indexing 10 PRINT) to think much about it.

In other words, I reached the end of 2012 without celebrating some of its best moments. On the other hand, I feel that most of its “best moments” were actually single instances in ongoing processes, and those processes are never truly over. 10 PRINT may be out, but I’m already looking forward to future collaborations with some of my co-authors. I wrote a great deal in 2012, but much of that occurred serially in places like ProfHacker, Play the Past, and Media Commons, where I will continue to write in 2013 and beyond.

What else with 2013 bring? I am working on two new creative projects and I have begun sketching out a new book project as well. Next fall I will begin a year-long study leave (Fall 2013/Spring 2014), and I aim to make significant progress on my book during that time. Who knows what else 2013 will bring. Maybe sleep?

[Header image: A Busy Year by Leo Lionni]

An Account of Randomness in Literary Computing

Alan Turing and the Mark I

Below is the text of my presentation at the 2013 MLA Convention in Boston. The panel was Reading the Invisible and Unwanted in Old and New Media, and it was assembled by Lori Emerson, Paul Benzon, Zach Whalen, and myself.

Seeking to have a rich discussion period—which we did indeed have—we limited our talks to about 12 minutes each. My presentation was therefore more evocative than comprehensive, more open-ended than conclusive. There are primary sources I’m still searching for and technical details I’m still sorting out. I welcome feedback, criticism, and leads.


An Account of Randomness in Literary Computing
Mark Sample
MLA 2013, Boston

There’s a very simple question I want to ask this evening:

Where does randomness come from?

Randomness has a rich history in arts and literature, which I don’t need to go into today. Suffice it to say that long before Tristan Tzara suggested writing a poem by pulling words out of a hat, artists, composers, and writers have used so-called “chance operations” to create unpredictable, provocative, and occasionally nonsensical work. John Cage famously used chance operations in his experimental compositions, relying on lists of random numbers from Bell Labs to determine elements like pitch, amplitude, and duration (Holmes 107–108). Jackson Mac Low similarly used random numbers to generate his poetry, in particular relying on a book called A Million Random Digits with 100,000 Normal Deviates to supply him with the random numbers (Zweig 85).

RAND-Million-Random-Digits-Open-Small
Million Random Digits with 100,000 Normal Deviates

 

Published by the RAND Corporation in 1955 to supply Cold War scientists with random numbers to use in statistical modeling (Bennett 135), the book is still in print—and you should check out the parody reviews on Amazon.com. “With so many terrific random digits,” one reviewer jokes, “it’s a shame they didn’t sort them, to make it easier to find the one you’re looking for.”

This joke actually speaks to a key aspect of randomness: the need to reuse random numbers, so that, say you’re running a simulation of nuclear fission, you can repeat the simulation with the same random numbers—that is, the same probability—while testing some other variable. In fact, most of the early work on random number generation in the United States was funded by either the U.S. Atomic Commission or the U.S. Military (Montfort et al. 128). The RAND Corporation itself began as a research and development arm of the U.S. Air Force.

Now the thing with going down a list of random numbers in a book, or pulling words out of hat—a composition method, by the way, Thom Yorke used for Kid A after a frustrating bout of writer’s block—is that the process is visible. Randomness in these cases produces surprises, but the source itself of randomness is not a surprise. You can see how it’s done.

What I want to ask here today is, where does randomness come from when it’s invisible? What’s the digital equivalent of pulling words out of a hat? And what are the implications of chance operations performed by a machine?

To begin to answer these questions I am going to look at two early works of electronic literature that rely on chance operations. And when I say early works of electronic literature, I mean early, from fifty and sixty years ago. One of these works has been well studied and the other has been all but forgotten.

fer

My first case study is the Strachey Love Letter Generator. Programmed by Christopher Strachey, a close friend of Alan Turing, the Love Letter Generator is likely—as Noah Wardrip-Fruin argues—the first work of electronic literature, which is to say a digital work that somehow makes us more aware of language and meaning-making. Strachey’s program “wrote” a series of purplish prose love letters on the Ferranti Mark I Computer—the first commercially available computer—at Manchester University in 1952 (Wardrip-Fruin “Digital Media” 302):

DARLING SWEETHEART
YOU ARE MY AVID FELLOW FEELING. MY AFFECTION CURIOUSLY CLINGS TO YOUR PASSIONATE WISH. MY LIKING YEARNS FOR YOUR HEART. YOU ARE MY WISTFUL SYMPATHY: MY TENDER LIKING.
YOURS BEAUTIFULLY
M. U. C.

Affectionately known as M.U.C., the Manchester University Computer could produce these love letters at a pace of one per minute, for hours on end, without producing a duplicate.

The “trick,” as Strachey put it in a 1954 essay about the program (29-30), is its two template sentences (My adjective noun adverb verb your adjective noun and You are my adjective noun) in which the nouns, adjectives, and adverbs are randomly selected from a list of words Strachey had culled from a Roget’s thesaurus. Adverbs and adjectives randomly drop out of the sentence as well, and the computer randomly alternates the two sentences.

image008The Love Letter Generator has attracted—for a work of electronic literature—a great deal of scholarly attention. Using Strachey’s original notes and source code (see figure to the left), which are archived at the Bodleian Library at the University of Oxford, David Link has built an emulator that runs Strachey’s program, and Noah Wardrip-Fruin has written a masterful study of both the generator and its historical context.

As Wardrip-Fruin calculates, given that there are 31 possible adjectives after the first sentence’s opening possessive pronoun “My” and then 20 possible nouns that could that could occupy the following slot, the first three words of this sentence alone have 899 possibilities. And the entire sentence has over 424 million combinations (424,305,525 to be precise) (“Digital Media” 311).

424millioncombos
A partial list of word combinations for a single sentence from the Strachey Love Letter Generator

On the whole, Strachey was publicly dismissive of his foray into the literary use of computers. In his 1954 essay, which appeared in the prestigious trans-Atlantic arts and culture journal Encounter (a journal, it would be revealed in the late 1960s, that was primarily funded by the CIA—see Berry, 1993), Strachey used the example of the love letters to illustrate his point that simple rules can generate diverse and unexpected results (Strachey 29-30). And indeed, the Love Letter Generator qualifies as an early example of what Wardrip-Fruin calls, referring to a different work entirely, the Tale-Spin effect: a surface illusion of simplicity which hides a much more complicated—and often more interesting—series of internal processes (Expressive Processing 122).

Wardrip-Fruin coined this term—the Tale-Spin effect—from Tale-Spin, an early story generation system designed by James Mehann at Yale University in 1976. Tale-Spin tended to produce flat, plodding narratives, though there was the occasional existential story:

Henry Ant was thirsty. He walked over to the river bank where his good friend Bill Bird was sitting. Henry slipped and fell in the river. He was unable to call for help. He drowned.

But even in these suggestive cases, the narratives give no sense of the process-intensive—to borrow from Chris Crawford—calculations and assumptions occurring behind the interface of Tale-Spin.

In a similar fashion, no single love letter reveals the combinatory procedures at work by the Mark I computer.

JEWEL MOPPET
MY AFFECTION LUSTS FOR YOUR TENDERNESS. YOU ARE MY PASSIONATE DEVOTION: MY WISTFUL TENDERNESS. MY LIKING WOOS YOUR DEVOTION. MY APPETITE ARDENTLY TREASURES YOUR FERVENT HUNGER.
YOURS WINNINGLY
M. U. C.

This Tale-Spin effect—the underlying processes obscured by the seemingly simplistic, even comical surface text—are what draw Wardrip-Fruin to the work. But I want to go deeper than the algorithmic process that can produce hundreds of millions of possible love letters. I want to know, what is the source of randomness in the algorithm? We know Strachey’s program employs randomness, but where does that randomness come from? This is something the program—the source code itself—cannot tell us, because randomness operates at a different level, not at the level of code or software, but in the machine itself, at the level of hardware.

In the case of Strachey’s Love Letter Generator, we must consider the computer it was designed for, the Mark I. One of the remarkable features of this computer was that it had a hardware-based random number generator. The random number generator pulled a string of random numbers from what Turing called “resistance noise”—that is, electrical signals produced by the physical functioning of the machine itself—and put the twenty least significant digits of this number into the Mark I’s accumulator—its primary mathematical engine (Turing). Alan Turing himself specifically requested this feature, having theorized with his earlier Turing Machine that a purely logical machine could not produce randomness (Shiner). And Turing knew—like his Cold War counterparts in the United States—that random numbers were crucial for any kind of statistical modeling of nuclear fission.

I have more to say about randomness in the Strachey Love Letter Generator, but before I do, I want to move to my second case study. This is an early, largely unheralded work called SAGA. SAGA was a script-writing program on the TX-0 computer. The TX-0 was the first computer to replace vacuum tubes with transistors and also the first to use interactive graphics—it even had a light pen.

The TX-0 was built at Lincoln Laboratory in 1956—a classified MIT facility in Bedford, Massachusetts chartered with the mission of designing the nation’s first air defense detection system. After TX-0 proved that transistors could out-perform and outlast vacuum tubes, the computer was transferred to MIT’s Research Laboratory of Electronics in 1958 (McKenzie), where it became a kind of playground for the first generation of hackers (Levy 29-30).

vlcsnap-2013-01-02-21h53m01s188In 1960, CBS broadcast an hour-long special about computers called “The Thinking Machine.” For the show MIT engineers Douglas Ross and Harrison Morse wrote a 13,000 line program in six weeks that generated a climactic shoot-out scene from a Western.

Several computer-generated variations of the script were performed on the CBS program. As Ross told the story years later, “The CBS director said, ‘Gee, Westerns are so cut and dried couldn’t you write a program for one?’ And I was talked into it.”

image

The TX-0’s large—for the time period—magnetic core memory was used “to keep track of everything down to the actors’ hands.” As Ross explained it, “The logic choreographed the movement of each object, hands, guns, glasses, doors, etc.” (“Highlights from the Computer Museum Report”).

And here, is the actual output from the TX-0, printed on the lab’s Flexowriter printer, where you can get a sense of the way SAGA generated the play:

TX-0 SAGA Output

In the CBS broadcast, Ross explained the narrative sequence as a series of forking paths.

image

Each “run” of SAGA was defined by sixteen initial state variables, with each state having several weighted branches (Ross 2). For example, one of the initial settings is who sees whom first. Does the sheriff see the robber first or is it the other way around? This variable will influence who shoots first as well.

There’s also a variable the programmers called the “inebriation factor,” which increases a bit with every shot of whiskey, and doubles for every swig straight from the bottle. The more the robber drinks, the less logical he will be. In short, every possibility has its own likely consequence, measured in terms of probability.

The MIT engineers had a mathematical formula for this probability (Ross 2):

image

But more revealing to us is the procedure itself of writing one of these Western playlets.

First, a random number was set; this number determined the probability of the various weighted branches. The programmers did this simply by typing a number following the RUN command when they launched SAGA; you can see this in the second slide above, where the random number is 51455. Next a timing number established how long the robber is alone before the sheriff arrives (the longer the robber is alone, the more likely he’ll drink). Finally each state variable is read, and the outcome—or branch—of each step is determined.

What I want to call your attention to is how the random number is not generated by the machine. It is entered in “by hand” when one “runs” the program. In fact, launching SAGA with the same random number and the same switch settings will reproduce a play exactly (Ross 2).

In a foundational work in 1996 called The Virtual Muse Charles Hartman observed that randomness “has always been the main contribution that computers have made to the writing of poetry”—and one might be tempted to add, to electronic literature in general (Hartman 30). Yet the two case studies I have presented today complicate this notion. The Strachey Love Letter Generator would appear to exemplify the use of randomness in electronic literature. But—and I didn’t say this earlier—the random numbers generated by the Mark I’s method tended not to be reliably random enough; remember, random numbers often need to be reused, so that the programs that run them can be repeated. This is called pseudo-randomness. This is why books like the RAND Corporation’s A Million Random Digits is so valuable.

But the Mark I’s random numbers were so unreliable that they made debugging programs difficult, because errors never occurred the same way twice. The random number instruction eventually fell out of use on the machine (Campbell-Kelly 136). Skip ahead 8 years to the TX-0 and we find a computer that doesn’t even have a random number generator. The random numbers must be entered manually.

The examples of the Love Letters and SAGA suggest at least two things about the source of randomness in literary computing. One, there is a social-historical source; wherever you look at randomness in early computing, the Cold War is there. The impact of the Cold War upon computing and videogames has been well-documented (see, for example Edwards, 1996 and Crogan, 2011), but few have studied how deeply embedded the Cold War is in the software algorithms and hardware processes themselves of modern computing.

Second, randomness does not have a progressive timeline. The story of randomness in computing—and especially in literary computing—is neither straightforward nor self-evident. Its history is uneven, contested, and mostly invisible. So that even when we understand the concept of randomness in electronic literature—and new media in general—we often misapprehend its source.

WORKS CITED

Bennett, Deborah. Randomness. Cambridge, MA: Harvard University Press, 1998. Print.

Berry, Neil. “Encounter.” Antioch Review 51.2 (1993): 194. Print.

Crogan, Patrick. Gameplay Mode: War, Simulation, and Technoculture. Minneapolis: University of Minnesota Press, 2011. Print.

Edwards, Paul N. The Closed World: Computers and the Politics of Discourse in Cold War America. Cambridge, MA: MIT Press, 1996. Print.

Hartman, Charles O. Virtual Muse: Experiments in Computer Poetry. Hanover, NH: Wesleyan University Press, 1996. Print.

“Highlights from the Computer Museum Report.” Spring 1984. Web. 23 Dec. 2012.

Holmes, Thomas B. Electronic and Experimental Music: A History of a New Sound. Psychology Press, 2002. Print.

Levy, Steven. Hackers: Heroes of the Computer Revolution. Sebastopol, CA: O’Reilly Media, 2010. Print.

McKenzie, John A. “TX-0 Computer History.” 1 Oct. 1974. Web. 20 Dec. 2012.

Montfort, Nick et al. 10 PRINT CHR$(205.5+RND(1)); : GOTO 10. Cambridge, MA: MIT Press, 2013. Print.

Ross, D.T. “Memorandum 8436-M-29: Preliminary Operating Notes for SAGA II.” 19 Oct. 1960. 20 Dec. 2012. <http://bitsavers.trailing-edge.com/pdf/mit/tx-0/memos/Morse_SAGAII_Oct60.pdf>.

Shiner, Jeff. “Alan Turing’s Contribution Can’t Be Computed.” Agile Blog. 29 Dec. 2012. <http://blog.agilebits.com/2012/12/08/alan-turings-contribution-cant-be-computed/>.

Strachey, Christopher. “The ‘Thinking’ Machine.” Encounter III.4 (1954) : 25–31. Print.

Turing, A.M. “Programmers’ Handbook for the Manchester Electronic Computer Mark II.” Oct. 1952. Web. 23 Dec. 2012.

Wardrip-Fruin, Noah. “Digital Media Archaeology: Interpreting Computational Processes.” Media Archaeology: Approaches, Applications, and Implications. Ed by. Erkki Huhtamo & Jussi Parikka. Berkeley, California: University of California Press, 2011. Print.

—. Expressive Processing: Digital Fictions, Computer Games, and Software Sudies. MIT Press, 2009. Print.

Zweig, Ellen. “Jackson Mac Low: The Limits of Formalism.” Poetics Today 3.3 (1982): 79–86. Web. 1 Jan. 2013.

IMAGE CREDITS (in order of appearance)

Being, On. Alan Turing and the Mark 1. 2010. 24 Dec. 2012. <http://www.flickr.com/photos/speakingoffaith/4422523721/>.

A Million Random Digits with 100,000 Normal Deviates. Courtesy of Casey Reas and10 PRINT CHR$(205.5+RND(1));: GOTO 10. Cambridge, Mass.: MIT Press, 2013. 129.

“Ferranti Mark 1 Sales Literature.” 24 Dec. 2012. <http://www.computer50.org/kgill/mark1/sale.html>.

Image of Love Letter Source code courtesy of Link, David. “There Must Be an Angel: On the Beginnings of the Arithmetics of Rays.” 2006. 23 Dec. 2012. <http://alpha60.de/research/muc/DavidLink_RadarAngels_EN.htm>.

Still Image from “The Thinking Machine.” CBS, October 26, 1960. <http://techtv.mit.edu/videos/10268-the-thinking-machine-1961—mit-centennial-film>.

Western Drama Written by TX-0. 1960. Computer History Museum. Web. 20 Dec. 2012. <http://www.computerhistory.org/collections/accession/102631242>.

SAGA Printout from Pfeiffer, John E. The Thinking Machine. Philadelphia: Lippincott, 1962. 132. Print.

Doug Ross Explaining TX-0 Program in the Film “The Thinking Machine.” 1960. Computer History Museum. Web. 20 Dec. 2012. <http://www.computerhistory.org/collections/accession/102631241>.

Intrusive Scaffolding, Obstructed Learning (and MOOCs)

Sacred Heart Mission

My five-year-old son recently learned how to ride a bike. He mastered the essential components of cycling—balance, peddling, and steering—in roughly ten minutes. Without using training wheels, ever. That idyllic scene of a bent-over parent pushing an unsteady child on a bike, working up enough speed to let go? It never happened. At least not with him.

I’m not sentimental for that Norman Rockwell moment, because I had it several years earlier with my older son. I spent hours running behind him, steadying him, catching him. What made it so difficult for my older son to learn how to ride a bike? Precisely the thing that was supposed to teach him: training wheels.

The difference between the way my sons learned how to ride a bike was training wheels. My older son used them, and consequently learned how to ride only with difficulty. His younger brother used a balance bike (the Skuut in his case), a small light (often wooden) bike with two wheels and no pedals. As the child glides along, thrust forward by pushing off from the ground, he or she learns how to balance in a gradated way. A slight imbalance might be corrected by simply tipping a toe to the ground, or the child can put both feet on the ground to fully balance the bike. Or anything in between.

With a pedal-less bike you continually self-correct your balance, based on immediate feedback. I’m leaning too much to one side? Oooh, drag my foot a little there. Contrast this with training wheels. There’s no immediate feedback. In fact, there’s no need to balance at all. The training wheels do your balancing for you. Training wheels externalize the hardest part of riding a bike. If you’re a little kid and want to start riding a bike, training wheels are great. If you’re a little kid and want to start to learn how to ride a bike, training wheels will be your greatest obstacle.

If you think of riding a bike in terms of pedagogy, training wheels are what learning experts call scaffolding. Way back in 1991, Allan Collins, John Seely Brown, and Ann Holum wrote about a type of teaching called cognitive apprenticeship, and they used the term scaffolding to describe “the support the master gives apprentices in carrying out a task. This can range from doing almost the entire task for them to giving occasional hints as to what to do next.” As the student—the apprentice—becomes more competent, the teacher—the master—gradually backs away, in effect removing the scaffolding. It’s a process Collins, Brown, and Holum call “fading.” The problem with training wheels, then, is that fading is all but impossible. You either have training wheels, or you don’t.

Training wheels are a kind of scaffolding. But they are intrusive scaffolding, obstructive scaffolding. These bulky metal add-ons get in the way quite literally, but they also interfere pedagogically. Riding a bike with training wheels prepares a child for nothing more than riding a bike—with training wheels.

My oldest child, I said, learned how to ride a bike with training wheels. But that’s not exactly what happened. After weeks of struggle—and mounting frustration—he learned. But only because I removed the all-or-nothing training wheels and replaced them with his own body. I not only removed the training wheels from his bike, but I removed the pedals themselves. In essence, I made a balance bike out of a conventional bike. Only then did he learn to balance, the most fundamental aspect of bike-riding. I learned something too: when my younger son was ready to ride a bike we would skip the training wheels entirely.

scaffoldingMy kids’ differing experiences lead me to believe that we place too much value on scaffolding, or at least, on the wrong kind of scaffolding. And now I’m not talking simply about riding bikes. I’m thinking of my own university classroom—and beyond, to online learning. We insist upon intrusive scaffolding. We are so concerned about students not learning that we surround the learning problem with scaffolding. In the process we obscure what we had hoped to reveal. Like relying on training wheels, we create complicated interfaces to experiences rather than simplifying the experiences themselves. Just as the balance bike simplifies the experience of bike riding, stripping it down to its core processes, we need to winnow down overly complex learning activities.

We could call this removal of intrusive scaffolding something like “unscaffolding” or “descaffolding.” In either case, the idea is that we take away structure instead of adding to it. And perhaps more importantly, the descaffolding reinstates the body itself as the site—and means of—learning. Scaffolding not only obstructs learning, it turns learning into an abstraction, something that happens externally. The more scaffolding there is, the less embodied the learning will be. Take away the intrusive scaffolding, and like my son on his balance bike, the learner begins to use what he or she had all along, a physical body.

I’ve been thinking about embodied pedagogy lately in relation to MOOCs—massive open online courses. In the worse cases, MOOCs are essentially nothing but scaffolding. A typical Coursera course will include video lectures for each lesson, an online quiz, and a discussion board. All scaffolding. In a MOOC, where are the bodies? And what is the MOOC equivalent of a balance bike? I want to suggest that unless online teaching—and classroom teaching as well—begins to first, unscaffold learning problems and second, rediscover embodied pedagogy, we will obstruct learning rather than foster it. We will push students away from authentic learning experiences rather than draw them toward such experiences.

After all, remember the etymological root of pedagogy: paedo, as in child, and agogic, as in leading or guiding. Teachers guide learners. Scaffolding—the wrong kind—obstructs learning.

Sacred Heart Mission photograph courtesy of Fernando de Sousa / Creative Commons Licensed. Scaffolding photograph courtesy of Kevin Dooley / Creative Commons Licensed.

Ready: 10 PRINT CHR$(205.5+RND(1)); : GOTO 10

10 PRINT Cover

I’m delighted to announce the publication of10 PRINT CHR$(205.5+RND(1)); : GOTO 10 (MIT Press, 2013). My co-authors are Nick Montfort (who conceived the project), Patsy Baudoin, John Bell, Ian Bogost, Jeremy Douglass, Mark Marino, Michael Mateas, Casey Reas, and Noah Vawter. Published in MIT Press’s Software Studies series, 10 PRINT is about a single line of code that generates a continuously scrolling random maze on the Commodore 64. 10 PRINT is aimed at people who want to better understand the cultural resonance of code. But it’s also about aesthetics, hardware, typography, randomness, and the birth of home computing. 10 PRINT has already attracted attention from Bruce Sterling (who jokes that the title “really rolls off the tongue”), Slate, and Boing Boing. And we want humanists (digital and otherwise) to pay attention to the book as well (after all, five of the co-authors hold Ph.D.’s in literature, not computer science).

Aside from its nearly unpronounceable title, 10 PRINT is an unconventional academic book in a number of ways:

  • 10 PRINT was written by ten authors in one voice. That is, it’s not a collection with each chapter written by a different individual. Every page of every chapter was collaboratively produced, a mind-boggling fact to humanists mired in the model of the single-authored manuscript. A few months before I knew I was going to work on 10 PRINT, I speculated that the future of scholarly publishing was going to be loud, crowded, and out of control. My experience with 10 PRINT bore out that theory—though the end product does not reflect the messiness of the writing process itself, which I’ll address in an upcoming post.
  • 10 PRINT is nominally about a single line of code—the eponymous BASIC program for the Commodore 64 that goes 10 PRINT CHR$(205.5+RND(1)); : GOTO 10. But we use that one line of code as both a lens and a mirror to explore so much more. In his generous blurb for10 PRINT, Matt Kirschenbaum quotes William Blake’s line about seeing the world in a grain of sand. This short BASIC program is our grain of sand, and in it we see vast cultural, technological, social, and economic forces at work.
  • 10 PRINT emerges at the same time that the digital humanities appear to be sweeping across colleges and universities, yet it stands in direct opposition to the primacy of “big data” and “distant reading”—two of the dominant features of the digital humanities. 10 PRINT is nothing if not a return to close reading, to small data. Instead of speaking in terms of terabytes and petabytes, we dwell in the realm of single bits. Instead of studying datasets of unimaginable size we circle iteratively around a single line of code, reading it again and again from different perspectives. Even single characters in that line of code—say, the semicolon—become subject to intense scrutiny and yield surprising finds.
  • 10 PRINT practices making in order to theorize being. My co-author Ian Bogost calls it carpentry. I’ve called it deformative humanities. It’s the idea that we make new things in order to understand old things. In the case of 10 PRINT, my co-authors and I have written a number of ports of the original program that run on contemporaries of the C64, like the Atari VCS, the Apple IIe, and the TRS-80 Color Computer. One of the methodological premises of 10 PRINT is that porting—like the act of translation—reveals new facets of the original source. Porting—again, like translation—also makes visible the broader social context of the original.

In the upcoming days I’ll be posting more about 10 PRINT, discussing the writing process, the challenges of collaborative authorship, our methodological approaches, and of some of the rich history we uncovered by looking at a single line of code.

In the meantime, a gorgeous hardcover edition is available (beautifully designed by my co-author, Casey Reas). Or download a free PDF released under a Creative Commons BY-NC-SA license.

Remarks on Social Pedagogy at Mason’s Future of Higher Education Forum

Photograph of a CrowdOn November 2 and 3, George Mason University convened a forum on the Future of Higher Education. Alternating between plenary panels and keynote presentations, the forum brought together observers of higher education as well as faculty and administrators from Mason and beyond. I was invited to appear on a panel about student learning and technology. The majority of the session was dedicated to Q&A moderated by Steve Pearlstein, but I did speak briefly about social pedagogy. Below are my remarks.


This morning I’d to share a few of my experiences with what you could call social pedagogy—a term I’ve borrowed from Randy Bass at the Center for New Designs in Learning and Scholarship at Georgetown University. Think of social pedagogy as outward facing pedagogy, in which learners connect to each other and to the world, and not just the professor. Social Pedagogy is also a lean-forward pedagogy. At its best a lean-forward pedagogy generates engagement, attention, and anticipation. Students literally lean forward. The opposite of a lean-forward pedagogy is of course a lean-back pedagogy. Just picture a student leaning back in the chair, passive, slack, and even bored.

A lean-forward social pedagogy doesn’t have to involve technology at all, but this morning I want to describe two examples from my own teaching that use Twitter. Last fall I was teaching a science fiction class and we were preparing to watch Ridley Scott’s Blade Runner. Since I wasn’t screening the film in class, students would be watching it in all sorts of contexts: on Netflix in the residence hall, on a reserve DVD upstairs in the JC, rented from iTunes, a BluRay collector’s set at home, and so on. However, I still wanted to create a collective experience out of these disparate viewings. To this end, I asked students to “live tweet” their own viewing, posting to Twitter whatever came to mind as they watched the film.

In this way I turned movie watching—a lean-back activity—into a lean-forward practice. And because the students often directed their tweets as replies to each other, it was social, much more social than viewing the film in class together. Over a 5-day period I had hundreds of tweets coming in, and I used a tool called Storify to track rhetorical and interpretative moves students made during this assignment. In particular, I categorized the incoming tweets, bringing to the surface some underlying themes in my students’ tweets. And then we began the next class period by examining the tweets and the themes they pointed to.

My next example of a social pedagogy assignment comes from later in the semester in the same science fiction class. I had students write a “Twitter essay.” This is an idea I borrowed from Jesse Stommel at Georgia Tech. For this activity, students wrote an “essay” of exactly 140 characters defining the word “alien.” The 140-character constraint makes this essay into a kind of puzzle, one that requires lean-forward style of engagement. And of course, I posed the essay question in a 140-character tweet:

twitteressay

Again I used Storify to capture my students’ essays and cluster them around themes. I was also able to highlight a Twitter debate that broke out among my students about the differences between the words alien and foreign. This was a productive debate that I’m not sure would have occurred if I hadn’t forced the students into being so precise—because they were on Twitter—about their use of language.

And finally, I copied and pasted the text from all the Twitter essays into Wordle, which generated a word cloud—in which every word is sized according to its frequency.

alien_defn_word_cloud

The word cloud gave me an admittedly reductivist snapshot of all the definitions of alien my students came up with. But the image ended up driving our next class discussion, as we debated what made it onto the word cloud and why.

These are two fairly simple, low-stakes activities I did in class. But they highlight this blend of technology and a lean-forward social pedagogy that I have increasingly tried to integrate into my teaching—and to think critically about as a way of fostering inquiry and discovery with my students.

[Crowd photograph courtesy of Flickr user Michael Dornbierer / Creative Commons Licensed]

Digital Humanities at MLA 2013

Boys Picking Over Garbage, Boston 1909What follows is a comprehensive list of digital humanities sessions at the 2013 Modern Language Association Conference in Boston.

These are sessions that in some way address the influence and impact of digital materials and tools upon language, literary, textual, and media studies, as well as upon online pedagogy and scholarly communication. The 2013 list stands at 66 sessions, a slight increase from 58 sessions in 2012 (and 44 in 2011, and only 27 the year before). Perhaps the incremental increase this year means that the digital humanities presence at the convention is topping out, leveling out at 8% of the 795 total sessions. Or maybe it’s an indicator of growing resistance to what some see as the hegemony of digital humanities. Or it could be that I simply missed some sessions—if so, please correct me in the comments and I’ll add the session to the list.

In addition to events on the official program, there’s also a pre-convention workshop, Getting Started in the Digital Humanities with DHCommons (registration is now closed for this, alas) and a Technology and Humanities “unconference” (registration still open). And I’ll also highly recommend the Electronic Literature Exhibit, in the Exhibit Hall.

One final note: the title of each panel links back to its official description in the convention program, which occasionally includes supplemental material uploaded by panel participants.

[Photo credit: Lewis Hine, Boys picking over garbage on "the Dumps," Boston, 1909 / Courtesy of the Library of Congress]


2. Digital Pedagogy: An Unconference Workshop

Thursday, 3 January, 8:30–11:30 a.m., Republic B, Sheraton  

Presiding: Brian Croxall, Emory Univ.; Adeline Koh, Richard Stockton Coll. of New Jersey

This workshop is an "unconference" on digital pedagogy. Unconferences are participant-driven gatherings where attendees spontaneously generate the itinerary. Participants will propose discussion topics in advance on our Web site, voting on final sessions at the workshop’s start. Attendees will consider what they would like to learn and instruct others about teaching with technology. Preregistration required.

3. Evaluating Digital Work for Tenure and Promotion: A Workshop for Evaluators and Candidates

Thursday, 3 January, 8:30–11:30 a.m., Republic A, Sheraton

Presiding: Alison Byerly, Middlebury Coll.; Kathleen Fitzpatrick, MLA; Katherine A. Rowe, Bryn Mawr Coll.

Facilitated discussion about evaluating work in digital media (e.g., scholarly editions, databases, digital mapping projects, born-digital creative or scholarly work). Designed for both creators of digital materials and administrators or colleagues who evaluate those materials, the workshop will propose strategies for documenting, presenting, and evaluating such work. Preregistration required.

18. Old Wine in New Wineskins: The Collected Works Project in the Digital Age

Thursday, 3 January, 12:00 noon–1:15 p.m., Jefferson, Sheraton

Presiding: Jude V. Nixon, Salem State Univ.

  1. "The Collected Works of Elizabeth Barrett Browning: Print Editions, Digital Surrounds, and Preservation," Sandra M. Donaldson, Univ. of North Dakota; Marjorie I. Stone, Dalhousie Univ.
  2. "A Virtual Edition of William Morris’s Collected Works," Florence S. Boos, Univ. of Iowa
  3. "The Novels of Sutton E. Griggs: A Critical Edition," Tess Chakkalakal, Bowdoin Coll.
  4. "Editing Henry James in the Digital Age," Pierre A. Walker, Salem State Univ.

22. Expanding Access: Building Bridges within Digital Humanities

Thursday, 3 January, 12:00 noon–1:15 p.m., 205, Hynes

Presiding: Trent M. Kays, Univ. of Minnesota, Twin Cities; Lee Skallerup Bessette, Morehead State Univ.

Speakers: Marc Fortin, Queen’s Univ.; Alexander Gil, Univ. of Virginia; Brian Larson, Univ. of Minnesota, Twin Cities; Sophie Marcotte, Concordia Univ.; Ernesto Priego, London, England

Digital humanities are often seen to be a monolith, as shown in recent publications that focus almost exclusively on the United States and English-language projects. This roundtable will bring together digital humanities scholars from seemingly disparate disciplines to show how bridges can be built among languages, cultures, and geographic regions in and through digital humanities.

39. Contemporary Novels and the Twenty-First-Century Media Ecology

Thursday, 3 January, 12:00 noon–1:15 p.m., The Fens, Sheraton

  1. "From Text to Work: Douglas Coupland’s Digital Interruptions and the Labor of Form," Paul Benzon, Temple Univ., Philadelphia
  2. "The Mediated Geographies of Miéville’s The City and the City," Richard Menke, Univ. of Georgia
  3. "Tom McCarthy’s Prehistory of Media," Aaron S. Worth, Boston Univ.

59. Francophonies numérisées / Digital Francophonies

Thursday, 3 January, 1:45–3:00 p.m., 301, Hynes

Presiding: Eileen Lohka, Univ. of Calgary; Catherine Perry, Univ. of Notre Dame

  1. "The Internet Poetics of Patrick Chamoiseau and Édouard Glissant," Roxanna Curto, Univ. of Iowa
  2. "Toussaint en Amérique: Collaborations, dialogues et créations multi-disciplinaires," Alain-Philippe Durand, Univ. of Arizona
  3. "Bandes dessinées téléchargeables: Un nouveau moyen de mesurer la diffusion de la langue française au 21ème siècle," Henri-Simon Blanc-Hoang, Defense Lang. Inst.

60. Learning Outcomes in Online Second-Language Environments

Thursday, 3 January, 1:45–3:00 p.m., 206, Hynes

Presiding: Sébastien Dubreil, Univ. of Tennessee, Knoxville

  1. "Teaching Language and Culture through Social Media and Networks," Edward M. Dixon, Univ. of Pennsylvania
  2. "Developing Pronunciation Skills at the Introductory Level: Motivating Students through Interpersonal Audio Discussions," Cindy Lepore, Univ. of Alabama, Tuscaloosa
  3. "Español Two Hundred: Bridging Medium, Collaboration, and Communities of Practice," Adolfo Carrillo Cabello, Iowa State Univ.; Cristina Pardo Ballester, Iowa State Univ.

71. A More Capacious Conception: Digital Scholarship and Tenure

Thursday, 3 January, 1:45–3:00 p.m., Public Garden, Sheraton

Presiding: Nate Kreuter, Western Carolina Univ.

  1. "Metathesiophobia and the Impossible Math of the Scholarly Monograph," Patricia Roberts-Miller, Univ. of Texas, Austin
  2. "Hope and Habit(u)s?" Victor J. Vitanza, Clemson Univ.
  3. "Publishing Long-Form Multimedia Scholarship: Thinking about Bookness," Gail E. Hawisher, Univ. of Illinois, Urbana; Cynthia L. Selfe, Ohio State Univ., Columbus

88. Age, Obsolescence, and New Media

Thursday, 3 January, 3:30–4:45 p.m., Hampton, Sheraton

Presiding: Cynthia R. Port, Coastal Carolina Univ.

  1. "Aging as Obsolescence: Remediating Old Narratives in a New Age," Erin Lamb, Hiram Coll.
  2. "Typewriters to Tweeters: Women, Aging, and Technological Literacy," Lauren Marshall Bowen, Michigan Technological Univ.
  3. "The New Obsolescence of New Media: Political Affect and Retrotechnologies," Jen Boyle, Coastal Carolina Univ.

102. Digital Diasporas

Thursday, 3 January, 3:30–4:45 p.m., Public Garden, Sheraton

Presiding: Shelley Fisher Fishkin, Stanford Univ.

  1. "Living Word," Corrie Claiborne, Morehouse Coll.
  2. "Digital Griots," Adam Banks, Univ. of Kentucky
  3. "Hip-Hop Archives," Marcyliena Morgan, Harvard Univ.

129. Teaching in the Shallows: Reading, Writing, and Teaching in the Digital Age

Thursday, 3 January, 5:15–6:30 p.m., Berkeley, Sheraton

Presiding: Robert R. Bleil, Coll. of Coastal Georgia; Jennifer Gray, Coll. of Coastal Georgia

Speakers: Susan Cook, Southern New Hampshire Univ.; Christopher Dickman, Saint Louis Univ.; T. Geiger, Syracuse Univ.; Jennifer Gray; Matthew Parfitt, Boston Univ.; James Sanchez, Texas Christian Univ.

Responding: Robert R. Bleil

Nicholas Carr’s 2008 article "Is Google Making Us Stupid?" and his 2010 book The Shallows: What the Internet Is Doing to Our Brains argue that the paradigms of our digital lives have shifted significantly in two decades of living life online. This roundtable unites teachers of composition and literature to explore cultural, psychological, and developmental changes for students and teachers.

130. Archive Fever: New Methodologies and New Questions for United States Literary and Cultural Studies

Thursday, 3 January, 5:15–6:30 p.m., Fairfax B, Sheraton

Presiding: Tim Cassedy, Southern Methodist Univ.

Speakers: Robin Bernstein, Harvard Univ.; Lindsay DiCuirci, Univ. of Maryland Baltimore County; Laura Fisher, New York Univ.; Laurie Lambert, New York Univ.; Janice A. Radway, Northwestern Univ.; Joseph Rezek, Boston Univ.

Archivally driven research is changing the methodologies with which we approach the past, the types of questions that we can ask and answer, and the historical voices that are heard and suppressed. The session will address the role of archives, both digital and material, in literary and cultural studies. What risks and rewards do we need to be aware of when we use them?

133. Reading the Invisible and Unwanted in Old and New Media

Thursday, 3 January, 5:15–6:30 p.m., The Fens, Sheraton

Presiding: Lori A. Emerson, Univ. of Colorado, Boulder

  1. "Apple Macintosh and the Ideology of the User-Friendly," Lori A. Emerson
  2. "OCR (Optical Character Recognition) and the Vestigial Aesthetics of Machine Vision," Zach Whalen, Univ. of Mary Washington
  3. "Lost in Plain Sight: Microdot Technology and the Compression of Reading," Paul Benzon, Temple Univ., Philadelphia
  4. "An Account of Randomness in Literary Computing," Mark Sample, George Mason Univ.

137. Printing Science

Thursday, 3 January, 5:15–6:30 p.m., Beacon F, Sheraton

Presiding: Greg Barnhisel, Duquesne Univ.

  1. "Printing the Third Dimension in the Renaissance," Travis D. Williams, Univ. of Rhode Island
  2. "Mediating Power in American Editions of Verne’s Twenty Thousand Leagues under the Sea," Matthew Lavin, Univ. of Iowa
  3. "Printed Books, Digital Poetics, and the Aesthetic of Bookishness," Jessica Pressman, Yale Univ.

Responding: Stephanie Ann Smith, Univ. of Florida

147. Theories and Practices of the Literary Lab

Thursday, 3 January, 5:15–6:30 p.m., Liberty C, Sheraton

Presiding: Andrew Piper, McGill Univ.

Speakers: Mark Algee-Hewitt, Stanford Univ.; Lindsey Eckert, Univ. of Toronto; Neil Fraistat, Univ. of Maryland, College Park; Matthew Jockers, Univ. of Nebraska, Lincoln; Laura C. Mandell, Texas A&M Univ., College Station; Jeffrey Thompson Schnapp, Harvard Univ.

As part of the ongoing debate about the impact and efficacy of the digital humanities, this roundtable will explore the theoretical, practical, and political implications of the rise of the literary lab. How will changes in the materiality and spatiality of our research and writing change the nature of that research? How will the literary lab impact the way we work?

163. Tweeting the Revolution: Networked Media, the Rhetorics of Activism, and Practices of the Everyday

Thursday, 3 January, 7:00–8:15 p.m., Gardner, Sheraton

  1. "Occupy Theory: Tahrir and Global Occupy Two Years After," Nicholas Mirzoeff, New York Univ.
  2. "Tweeting the Revolution: Activism, Risk, and Mediated Copresence," Beth M. Coleman, Univ. of Waterloo

165. Beyond the PDF: Experiments in Open-Access Scholarly Publishing

Thursday, 3 January, 7:00–8:15 p.m., Hampton, Sheraton

Speakers: Douglas M. Armato, Univ. of Minnesota Press; Jamie Skye Bianco, Univ. of Pittsburgh; Matthew K. Gold, New York City Coll. of Tech., City Univ. of New York; Jennifer Laherty, Indiana Univ., Bloomington; Monica McCormick, New York Univ.; Katie Rawson, Emory Univ.

As open-access scholarly publishing matures and movements such as the Elsevier boycott continue to grow, open-access publications have begun to move beyond the simple (but crucial) principle of openness toward an ideal of interactivity. This session will explore innovative examples of open-access scholarly publishing that showcase new types of social, interactive, mixed-media texts.

167. Digital Humanities and Theory

Thursday, 3 January, 7:00–8:15 p.m., Riverway, Sheraton

Presiding: Stefano Franchi, Texas A&M Univ., College Station

  1. "Theoretical Things for the Humanities," Geoffrey Rockwell, Univ. of Alberta
  2. "From Artificial Intelligence to Artistic Practices: A New Theoretical Model for the Digital Humanities," Stefano Franchi
  3. "Object-Oriented Ontology: Escaping the Title of the Book," David Washington, Loyola Univ., New Orleans

198. Convergent Histories of the Book: From Manuscript to Digital

Friday, 4 January, 8:30–9:45 a.m., Hampton, Sheraton

Presiding: Alex Mueller, Univ. of Massachusetts, Boston

Speakers: Kathleen Fitzpatrick, MLA; Martin Foys, Drew Univ.; Matthew Kirschenbaum, Univ. of Maryland, College Park; Stephen G. Nichols, Johns Hopkins Univ., MD; Kathleen A. Tonry, Univ. of Connecticut, Storrs; Sarah Werner, Folger Shakespeare Library

In this roundtable, scholars of manuscripts, print, and digital media will discuss how contemporary forms of textuality intersect with, duplicate, extend, or draw on manuscript technologies. Panelists seek to push the discussion beyond traditional notions of supersession or remediation to consider the relevance of past textual practices in our analyses of emergent ones.

209. Humanities in the Twenty-First Century: Innovation in Research and Practice

Friday, 4 January, 8:30–9:45 a.m., Commonwealth, Sheraton

Presiding: Christine Henseler, Union Coll., NY

  1. "The Promise of Humanities Practice," Lynn Pasquerella, Mount Holyoke Coll.
  2. "Making the Humanities ‘Count,’" David Theo Goldberg, Univ. of California, Irvine
  3. "The National Endowment for the Humanities," Jane Aikin, National Endowment for the Humanities
  4. "The Humanities in the Digital Age," Christine Henseler

220. Image, Voice, Text: Canadian Literature

Friday, 4 January, 8:30–9:45 a.m., Beacon D, Sheraton

Presiding: Sophie McCall, Simon Fraser Univ., Burnaby

  1. "AvantGarde.ca: Toward a Canadian Alienethnic Poetics of the Internet," Sunny Chan, Univ. of British Columbia
  2. "Intermedial Witnessing in Karen Connelly’s Burmese Lessons," Hannah McGregor, Univ. of Guelph
  3. "Aboriginal New Media: Alternative Forms of Storytelling," Sarah Henzi, Univ. of Montreal

239. Representing Race: Silence in the Digital Humanities

Friday, 4 January, 10:15–11:30 a.m., Gardner, Sheraton

Presiding: Adeline Koh, Richard Stockton Coll. of New Jersey

Speakers: Moya Bailey, Emory Univ.; Anne Cong-Huyen, Univ. of California, Santa Barbara; Hussein Keshani, Univ. of British Columbia; Maria Velazquez, Univ. of Maryland, College Park

Responding: Alondra Nelson, Columbia Univ.

This panel examines the politics of race, ethnicity, and silence in the digital humanities. How has the digital humanities remained silent on issues of race and ethnicity? How does this silence reinforce unspoken assumptions and doxa? What is the function of racialized silences in digital archival projects?

260. Open Sesame: Interoperability in Digital Literary Studies

Friday, 4 January, 12:00 noon–1:15 p.m., Berkeley, Sheraton

Presiding: Susan Brown, Univ. of Guelph

Speakers: Travis Brown, Univ. of Maryland, College Park; Johanna Drucker, Univ. of California, Los Angeles; Eric Rochester, Univ. of Virginia; Geoffrey Rockwell, Univ. of Alberta; Jentery Sayers, Univ. of Victoria; Susan Schreibman, Trinity Coll. Dublin

Working only with set texts limits the use of many digital tools. What most advances literary research: aiming applications at scholarly primitives or at more culturally embedded activities that may resist generalization? Panelists’ reflections on the challenges of interoperability in a methodologically diverse field will include project snapshots evaluating the potential or perils of such aims.

295. Getting Funded in the Humanities: An NEH Workshop

Friday, 4 January, 1:30–3:30 p.m., 210, Hynes

Presiding: Jason C. Rhody, National Endowment for the Humanities

 

This workshop will highlight recent awards and outline current funding opportunities. In addition to emphasizing grant programs that support individual and collaborative research and education, the workshop will include information on the NEH’s Office of Digital Humanities. A question-and-answer period will follow.

307. The Dark Side of Digital Humanities

Friday, 4 January, 1:45–3:00 p.m., Back Bay D, Sheraton

Presiding: Richard A. Grusin, Univ. of Wisconsin, Milwaukee

Speakers: Wendy H. Chun, Brown Univ.; Richard A. Grusin; Patrick Jagoda, Univ. of Chicago; Tara McPherson, Univ. of Southern California; Rita Raley, Univ. of California, Santa Barbara

This roundtable explores the impact of digital humanities on research and teaching in higher education and the question of how digital humanities will affect the future of the humanities in general. Speakers will offer models of digital humanities that are not rooted in technocratic rationality or neoliberal economic calculus but that emerge from and inform traditional practices of humanist inquiry.

321. Digital and Analogue Critical Editions of Continental Literature? Pros, Cons, Discussion

Friday, 4 January, 1:45–3:00 p.m., Fairfax A, Sheraton

Presiding: Stephen G. Nichols, Johns Hopkins Univ., MD

Speakers: Karen L. Fresco, Univ. of Illinois, Urbana; Albert Lloret, Univ. of Massachusetts, Amherst; Jacques Neefs, Johns Hopkins Univ., MD

Responding: Timothy L. Stinson, North Carolina State Univ.

This panel explores the resistance of editors to explore digital editions. Questions posed: Do scholarly protocols deliberately resist computational methodologies? Or are we still in a liminal period where print predominates for lack of training in the new technology? Does the problem lie with a failure to encourage digital research by younger scholars?

326. Digital Approaches to Renaissance Texts

Friday, 4 January, 1:45–3:00 p.m., Jefferson, Sheraton

Presiding: Michael Witmore, Folger Shakespeare Library

  1. "Touching Apocalypse: Influence and Influenza in the Digital Age," Daniel Allen Shore, Georgetown Univ.
  2. "The Social Network: Protestant Letter Networks in the Reign of Mary I," Ruth Ahnert, Queen Mary, Univ. of London
  3. "Credit and Temporal Consciousness in Early Modern English Drama," Mattie Burkert, Univ. of Wisconsin, Madison

339. Sovereignty and the Archive

Friday, 4 January, 3:30–4:45 p.m., Berkeley, Sheraton

Presiding: James H. Cox, Univ. of Texas, Austin

  1. "Occom, Archives, and the Digital Humanities," Ivy Schweitzer, Dartmouth Coll.
  2. "To Look through Red-Colored Glasses: Native Studies and a Revisioning of the Early American Archive," Caroline Wigginton, Rutgers Univ., New Brunswick
  3. "The Early Native Archive and United States National Identity," Angela Calcaterra, Univ. of North Carolina, Chapel Hill

353. Avenues of Access: Digital Humanities and the Future of Scholarly Communication

Friday, 4 January, 3:30–4:45 p.m., Republic Ballroom, Sheraton

Presiding: Michael Bérubé, Penn State Univ., University Park

  1. "The Mirror and the LAMP," Matthew Kirschenbaum, Univ. of Maryland, College Park
  2. "Access Demands a Paradigm Shift," Cathy N. Davidson, Duke Univ.
  3. "Resistance in the Materials," Bethany Nowviskie, Univ. of Virginia

The news that digital humanities are the next big thing must come as a pleasant surprise to people who have been working in the field for decades. Yet only recently has the scholarly community at large realized that developments in new media have implications not only for the form but also for the content of scholarly communication. This session will explore some of those implications—for scholars, for libraries, for journals, and for the idea of intellectual property.

361. Video Games

Friday, 4 January, 3:30–4:45 p.m., Hampton, Sheraton

Presiding: Hillary L. Chute, Univ. of Chicago

  1. "Playful Aesthetics," Mary Flanagan, Dartmouth Coll.
  2. "Losing the Game: Gamification and the Procedural Aesthetics of Systemic Failure," Patrick Jagoda, Univ. of Chicago
  3. "Acoustemologies of the Closet: The Wizard, the Troll, and the Fortress," William Cheng, Harvard Univ.

391. Networked Chicanas/os

Friday, 4 January, 5:15–6:30 p.m., Fairfax A, Sheraton

Presiding: Domino Renee Perez, Univ. of Texas, Austin

  1. "’Machete Don’t Text’: Robert Rodriguez’s Media Ecologies," William Orchard, Colby Coll.
  2. "Convergence Cultura? Reevaluating New Media Scholarship through a Latina/o Literary Blog, La Bloga," Jennifer Lozano, Univ. of Illinois, Urbana
  3. "César Chávez’s Video Library; or, Farm Workers and the Secret History of New Media," Curtis Frank Márez, Univ. of California, San Diego

394. Reforming Doctoral Study

Friday, 4 January, 5:15–6:30 p.m., Back Bay D, Sheraton

Presiding: Russell A. Berman, Stanford Univ.

Speakers: Carlos J. Alonso, Columbia Univ.; Lanisa Kitchiner, Howard Univ.; David Laurence, MLA; Bethany Nowviskie, Univ. of Virginia; Elizabeth M. Schwartz, San Joaquin Delta Coll., CA; Sidonie Ann Smith, Univ. of Michigan, Ann Arbor; Kathleen Woodward, Univ. of Washington, Seattle

Doctoral study faces multiple pressures, including profound transformations in higher education and the academic job market, changing conditions for new faculty members, the new media of scholarly communication, and placements in nonfaculty positions. These and other factors question the viability of conventional assumptions regarding doctoral education.

401. Digital Archives and Their Margins

Friday, 4 January, 5:15–6:30 p.m., Berkeley, Sheraton

Presiding: Alan Galey, Univ. of Toronto; Katherine D. Harris, San José State Univ.

  1. "Echoes at Our Peril: Small Feminist Archives in Big Digital Humanities," Katherine D. Harris
  2. "The Archipelagic Archive: Caribbean Studies on a Diff Key," Alexander Gil, Univ. of Virginia
  3. "Universal Design and Disability in the Digital Archive," Karen Bourrier, Univ. of Western Ontario
  4. "Digital Humanities and the Separation of Access, Ownership, and Reading," Zachary Zimmer, Virginia Polytechnic Inst. and State Univ.

419. Global Shakespeares Open House

Friday, 4 January, 7:00–8:15 p.m., Back Bay D, Sheraton

 

Presiding: Peter S. Donaldson, Massachusetts Inst. of Tech.

Global Shakespeares (globalshakespeares.org/) is a participatory multicentric project providing free online access to performances of Shakespeare from many parts of the world. The session features presentations and free lab tours of the MIT HyperStudio.

425. Numbers and Letters: Empirical Method in Literary Studies

Saturday, 5 January, 8:30–9:45 a.m., Jefferson, Sheraton

Presiding: James F. English, Univ. of Pennsylvania

  1. "Enumerating and Visualizing Early English Print," Robin Valenza, Univ. of Wisconsin, Madison
  2. "The Imaginative Use of Numbers," Ted Underwood, Univ. of Illinois, Urbana
  3. "Being and Time Management," Mark McGurl, Stanford Univ.

432. Aural Literature and Close Listening

Saturday, 5 January, 8:30–9:45 a.m., Beacon H, Sheraton

Presiding: Michelle Nancy Levy, Simon Fraser Univ., Burnaby

  1. "The Case against Audiobooks," Matthew Rubery, Univ. of London, Queen Mary Coll.
  2. "Aural Literacy in a Visual Era: Is Anyone Listening?" Cornelius Collins, Fordham Univ., Bronx
  3. "Novel Sound Tracks and the Future of Hybridized Reading," Justin St. Clair, Univ. of South Alabama
  4. "Poetry as MP3: PennSound, Poetry Recording, and the New Digital Archive," Lisa A. Hollenbach, Univ. of Wisconsin, Madison

440. How I Got Started in Digital Humanities: New Digital Projects from DHCommons

Saturday, 5 January, 8:30–9:45 a.m., Commonwealth, Sheraton

Presiding: Ryan Cordell, Northeastern Univ.; Katherine Singer, Mount Holyoke Coll.

Speakers: Gert Buelens, Ghent Univ.; Sheila T. Cavanagh, Emory Univ.; Malcolm Alan Compitello, Univ. of Arizona; Gabriel Hankins, Univ. of Virginia; Alexander C. Y. Huang, George Washington Univ.; Kevin Quarmby, Emory Univ.; Lynn Ramey, Vanderbilt Univ.; Matthew Schultz, Vassar Coll.

This digital roundtable aims to give insight into challenges and opportunities for new digital humanists. Instead of presenting polished projects, panelists will share their experiences as developing DH practitioners working through research and pedagogical obstacles. Each participant will present lightning talks and then discuss the projects in more detail at individual tables.

449. Curated and Curating Lives

Saturday, 5 January, 8:30–9:45 a.m., Berkeley, Sheraton

Presiding: Julie Rak, Univ. of Alberta

  1. "Curating Lives: Museums, Archives, Online Sites," Alison Booth, Univ. of Virginia
  2. "Curating Confession: The Intersection of Communicative Capitalism and Autobiography Online," Anna Poletti, Monash Univ.
  3. "Digital Dioramas: Curating Life Narratives on the World Wide Web," Laurie McNeill, Univ. of British Columbia
  4. "Archive of Addiction: Augusten Burroughs’s Dry: In Pictures," Nicole M. Stamant, Agnes Scott Coll.

450. Archaic Returns: Alchemies of Old and New Media

Saturday, 5 January, 8:30–9:45 a.m., Fairfax A, Sheraton

Presiding: Elissa Marder, Emory Univ.

  1. "A Sub-sublibrarian for the Digital Archive," Jamie Jones, Univ. of Michigan, Ann Arbor
  2. "Gangs of New York: Fetishizing the Archive, from Benjamin to Scorsese," Melissa Tuckman, Princeton Univ.
  3. "Pocket Wireless and the Shape of Media to Come, 1899–1920," Grant Wythoff, Princeton Univ.

451. Scholarly Journals: New Challenges and Opportunities

Saturday, 5 January, 8:30–9:45 a.m., Public Garden, Sheraton

Presiding: Ana-Maria Medina, Metropolitan State Coll. of Denver

Speakers: Lois Bacon, EBSCO; Marshall J. Brown, Univ. of Washington, Seattle; Stuart Alexander Day, Univ. of Kansas; Judy Luther, Informed Strategies; Dana D. Nelson, Vanderbilt Univ.; Joseph Paul Tabbi, Univ. of Illinois, Chicago; Bonnie Wheeler, Southern Methodist Univ.

Changes are happening to the scholarly journal, a fundamental institution of our professional life. New modes of communication open promising possibilities, even as financial challenges to print media and education make this time difficult. A panel of editors, publishers, and librarians will address these topics, carrying forward a discussion begun at the 2012 Delegate Assembly meeting.

486. Games for Teaching Language, Literature, and Writing

Saturday, 5 January, 10:15–11:30 a.m., Commonwealth, Sheraton

Presiding: Brian Croxall, Emory Univ.

Speakers: Evelyn Baldwin, Univ. of Arkansas, Fayetteville; Mikhail Gershovich, Baruch Coll., City Univ. of New York; Janice McCoy, Univ. of Virginia; Ilknur Oded, Defense Lang. Inst.; Amanda Phillips, Univ. of California, Santa Barbara; Anastasia Salter, Univ. of Baltimore; Elizabeth Swanstrom, Florida Atlantic Univ.

This electronic roundtable presents games not only as objects of study but also as methods for innovative pedagogy. Scholars will present on their use of board games, video games, authoring tools, and more for language acquisition, peer-to-peer relationship building, and exploring social justice. This hands-on, show-and-tell session highlights assignments attendees can implement.

488. Answering the Challenge: The New Variorum Shakespeare in the Digital Age

Saturday, 5 January, 10:15–11:30 a.m., Beacon F, Sheraton

Presiding: Paul Werstine, Univ. of Western Ontario

  1. "Having Your Semantics and Formatting It Too: XML and the NVS," Julia H. Flanders, Brown Univ.
  2. "Variant Stories: Digital Visualization and the Secret Lives of Shakespeare’s Texts," Alan Galey, Univ. of Toronto
  3. "Digital Alchemy: Transmuting the Electronic Comedy of Errors," Jon Bath, Univ. of Saskatchewan

507. New Archives, Renewed Access: Research Methodologies in Latin American Collections

Saturday, 5 January, 12:00 noon–1:15 p.m., 301, Hynes

Presiding: Claudia Cabello-Hutt, Univ. of North Carolina, Greensboro; Marcy Ellen Schwartz, Rutgers Univ., New Brunswick

Speakers: Daniel Balderston, Univ. of Pittsburgh; Maria Laura Bocaz, Univ. of Mary Washington; Claudia Cabello-Hutt; Alejandro Herrero-Olaizola, Univ. of Michigan, Ann Arbor; Veronica A. Salles-Reese, Georgetown Univ.; Marcy Ellen Schwartz; Vicky Unruh, Univ. of Kansas

 

This roundtable will explore renewed interest in Latin American archives—both traditional and digital—and the intellectual, political, and social implications for our research and teaching. Presenters will address how new technologies (digitalized collections, hypertext manuscripts, etc.) facilitate access to research and offer strategies for introducing students to a variety of materials.

522. Crossed Codes: Print’s Dream of the Digital Age, Digital’s Memory of the Age of Print

Saturday, 5 January, 12:00 noon–1:15 p.m., Liberty C, Sheraton

Presiding: Marta L. Werner, D’Youville Coll.

  1. "’Every Man His Own Publisher’: Extraillustration and the Dream of the Universal Library," Gabrielle Dean, Johns Hopkins Univ., MD
  2. "Interactivity and Randomization Processes in Printed and Electronic Experimental Poetry," Jonathan Baillehache, Rutgers Univ., New Brunswick
  3. "Mirror World, Minus World: Glitching Nabokov’s Pale Fire," Andrew Ferguson, Univ. of Virginia
  4. "Designed Futures of the Book," Kari M. Kraus, Univ. of Maryland, College Park

527. MLArcade

Saturday, 5 January, 12:00 noon–1:15 p.m., Commonwealth, Sheraton

Speakers: Sarah J. Arroyo, California State Univ., Long Beach; R. Scot Barnett, Clemson Univ.; Ron C. Brooks, Oklahoma State Univ., Stillwater; Geoffrey V. Carter, Saginaw Valley State Univ.; Anthony Collamati, Clemson Univ.; Jason Helms, Univ. of Kentucky; Alexandra Hidalgo, Purdue Univ., West Lafayette; Robert Leston, New York City Coll. of Tech., City Univ. of New York

 

This roundtable will present separate, yet unified, digital writings on laptops. Instead of making a diachronic set of presentations, we will make available a synchronic set, in an art e-gallery format, arranged separately on tables as conceptual art installations. The purpose is to demonstrate how digital technologies can reshape our views of presentations and of what is now called writings.

540. The Third Degree: Joint Programs in Languages, Literature, and Libraries

Saturday, 5 January, 1:45–3:00 p.m., Back Bay D, Sheraton

Presiding: Paul Fyfe, Florida State Univ.; Robert H. Kieft, Occidental Coll.

Speakers: Tanya E. Clement, Univ. of Texas, Austin; Rachel Donahue, Univ. of Maryland, College Park; Kari M. Kraus, Univ. of Maryland, College Park; John Merritt Unsworth, Brandeis Univ.; John A. Walsh, Indiana Univ., Bloomington

 

This roundtable extends current conversations about reforming graduate training to a burgeoning field of disciplinary crossover and professionalization. Participants will introduce innovative training programs and collaborative projects at the intersections of modern language departments, digital humanities, and library schools or iSchools.

550. The Classroom as Interface

Saturday, 5 January, 1:45–3:00 p.m., Hampton, Sheraton

Presiding: Kathi Inman Berens, Univ. of Southern California

  1. "The Campus as Interface: Screening the University," Elizabeth Mathews Losh, Univ. of California, San Diego
  2. "Being Distracted in the Digital Age," Jason Farman, Univ. of Maryland, College Park
  3. "Virtual Classroom Software: A Medium-Specific Analysis," Kathi Inman Berens
  4. "The Multisensory Classroom," Leeann Hunter, Georgia Inst. of Tech.

562. Digital Dictionaries

Saturday, 5 January, 1:45–3:00 p.m., Public Garden, Sheraton

Presiding: Michael Hancher, Univ. of Minnesota, Twin Cities

  1. "Dictionaries in Electronic Form: The Houghton Mifflin Harcourt Experience," David Jost, Houghton Mifflin Harcourt
  2. "What We’ve Learned about Dictionary Use Online," Peter Sokolowski, Merriam-Webster
  3. "Lexicography 2.0: Reimagining Dictionaries and Thesauri for the Digital Age," Ben Zimmer, Visual Thesaurus

Responding: Lisa Berglund, State Univ. of New York, Buffalo State Coll.

565. What Is the Next Thing? Postmodern Pedagogies in the Composition Classroom

Saturday, 5 January, 1:45–3:00 p.m., Liberty A, Sheraton

Presiding: Elizabeth M. Schwartz, San Joaquin Delta Coll., CA

  1. "Peer Review 2.0: Using Digital Technologies to Transform Student Critiques," Elizabeth Harris McCormick, LaGuardia Community Coll., City Univ. of New York; Lykourgos Vasileiou, LaGuardia Community Coll., City Univ. of New York
  2. "How I Met Your Argument: Teaching through Television," Lanta Davis, Baylor Univ.
  3. "Writing Wikipedia as Postmodern Research Assignment," Matthew Parfitt, Boston Univ.
  4. "Weaning Isn’t Everything: Beyond Postformalism in Composition," Miles McCrimmon, J. Sargeant Reynolds Community Coll., VA

584. Accessing Race in the Digital Humanities: An E-roundtable

Saturday, 5 January, 3:30–4:45 p.m., Commonwealth, Sheraton

Presiding: Roger Whitson, Emory Univ.

Speakers: David Kim, Univ. of California, Los Angeles; Jennifer Sano-Franchini, Michigan State Univ.; Lee Skallerup Bessette, Morehead State Univ.

Responding: Tara McPherson, Univ. of Southern California

This roundtable addresses how applications and interfaces encode specific cultural assumptions about race and preclude certain groups of people from participating in the digital humanities. Participants present specific digital humanities projects that illustrate the impact of race on access to the programming, cultural, and funding structures in the digital humanities.

586. Scaling and Sharing: Data Management in the Humanities

Saturday, 5 January, 3:30–4:45 p.m., The Fens, Sheraton

Presiding: Korey Jackson, Univ. of Michigan, Ann Arbor

Speakers: Matt Burton, Univ. of Michigan, Ann Arbor; Korey Jackson; Spencer Keralis, Univ. of North Texas; Jason C. Rhody, National Endowment for the Humanities; Lisa Marie Rhody, Univ. of Maryland, College Park; Michael Ullyot, Univ. of Calgary

This roundtable seeks to query precisely what data can be and do in a humanities context. Charting the migration from individual project to scalable data set, we explore “big data” not simply as a matter of size or number but as a process of granting researchers and educators access to shared information resources.

621. Reading, Reading Machines, and Machine Reading

Saturday, 5 January, 5:15–6:30 p.m., Gardner, Sheraton

Presiding: Jessica Pressman, American Council of Learned Socs.

  1. "Phonographic Reading Machines," Matthew Rubery, Univ. of London, Queen Mary Coll.
  2. "Mechanical Mediations of Miniature Text: Reading Microform," Katherine Wilson, Adelphi Univ.
  3. "Between Human and Machine, a Printed Sheet: The Early History of OCR (Optical Character Recognition)," Mara Mills, New York Univ.

637. Open Access? ECCO, EEBO, and Digital Resources

Saturday, 5 January, 5:15–6:30 p.m., Commonwealth, Sheraton

Presiding: Catherine Elizabeth Ingrassia, Virginia Commonwealth Univ.

Speakers: Joshua Eckhardt, Virginia Commonwealth Univ.; Molly Hardy, Saint Bonaventure Univ.; Laura C. Mandell, Texas A&M Univ., College Station; James Raven, Univ. of Essex

Consistent with the theme of open access, this roundtable explores limitations of proprietary digital archives and emergent alternatives. It will provide an interactive, engaged demonstration of 18thConnect; a historian’s perspective; discussion of British Virginia; and scholarly digital editions of seventeenth-century documents.

639. Two Tools for Student-Generated Digital Projects: WordPress and Omeka in the Classroom

Saturday, 5 January, 5:15–6:30 p.m., Back Bay B, Sheraton

Presiding: Gabrielle Dean, Johns Hopkins Univ., MD

Speakers: Amanda L. French, George Mason Univ.; George Williams, Univ. of South Carolina, Spartanburg

This "master class" will focus on integrating two digital tools into the classroom to facilitate student-generated projects: Omeka, for the creation of archives and exhibits, and WordPress, for the creation of blogs and Web sites. We will discuss what kinds of assignments work with each tool, how to get started, and how to evaluate assignments. Bring a laptop (not a tablet) for hands-on work.

669. Social Media and Scholarship: The State of Middle-State Publishing

Sunday, 6 January, 8:30–9:45 a.m., Beacon A, Sheraton

Presiding: Alexander Reid, Univ. at Buffalo, State Univ. of New York

Speakers: Heather Duncan, Univ. at Buffalo, State Univ. of New York; Matthew K. Gold, New York City Coll. of Tech., City Univ. of New York; Eileen Joy, Southern Illinois Univ., Edwardsville; Richard E. Miller, Rutgers Univ., New Brunswick; Daniel Schweitzer, Univ. at Buffalo, State Univ. of New York

Responding: Alexander Reid

As our profession seeks to understand electronic publishing, the emergence of middle-state publishing (e.g., blogs, Twitter) adds another layer of complexity to the issue. The roundtable participants will discuss their use of social media for scholarship and how middle-state publishing alters scholarly work and the ethical and professional concerns that arise.

670. Romantic Media Studies: Means of Reading and Reading for Means

Sunday, 6 January, 8:30–9:45 a.m., 203, Hynes

Presiding: Yohei Igarashi, Colgate Univ.; Lauren A. Neefe, Stony Brook Univ., State Univ. of New York

Speakers: Miranda Jane Burgess, Univ. of British Columbia; Mary Helen Dupree, Georgetown Univ.; Kevis Goodman, Univ. of California, Berkeley; Yohei Igarashi; Celeste G. Langan, Univ. of California, Berkeley; Maureen Noelle McLane, New York Univ.; Tom Mole, McGill Univ.

A roundtable of scholars discusses and defines “Romantic media studies,” one of the most vibrant approaches to Romantic literature today. Spanning British, German, and transatlantic Romanticisms, the exchange considers Romantic-era media while reflecting on methods of reading for media, mediations, and networks as well as on the relation between Romantic criticism and the digital humanities.

693. Theorizing Digital Practice, Practicing Digital Theory

Sunday, 6 January, 8:30–9:45 a.m., Liberty A, Sheraton

Presiding: Victoria E. Szabo, Duke Univ.

  1. "What Text Mining and Visualizations Have to Do with Feminist Scholarly Inquiries," Tanya E. Clement, Univ. of Texas, Austin
  2. "Building the Infrastructural Layer: Reading Data Visualization in the Digital Humanities," Dana Solomon, Univ. of California, Santa Barbara
  3. "What Should We Do with Our Games?" Stephanie Boluk, Vassar Coll.

Responding: Victoria E. Szabo

702. South Asian-izing the Digital Humanities

Sunday, 6 January, 10:15–11:30 a.m., 209, Hynes

Presiding: Rahul Gairola, Univ. of Washington, Seattle

  1. "Creating Alternate Voices: Exploring South Asian Cyberfeminism," Suchismita Banerjee, Univ. of Wisconsin, Milwaukee
  2. "Digitizing Pakistani Literary Forms; or, E/Merging the Transcultural," Waseem Anwar, Forman Christian Coll.
  3. "Reimagining Aesthetic Education: Digital Humanities in the Global South," Rashmi Bhatnagar, Univ. of Pittsburgh

Responding: Amritjit Singh, Ohio Univ., Athens

720. Henry James and New Media

Sunday, 6 January, 10:15–11:30 a.m., Jefferson, Sheraton

Presiding: John Carlos Rowe, Univ. of Southern California

  1. "Henry James, Propagandist," Harilaos Stecopoulos, Univ. of Iowa
  2. "The Art of Associating: Henry James, Network Theorist," Brad Evans, Rutgers Univ., New Brunswick
  3. "What Would Strether Tweet? James’s Late Style as a New Media Ecology in The Ambassadors," Shawna Ross, Penn State Univ., University Park
  4. "Henry James and New Media," Ashley Barnes, Univ. of California, Berkeley

749. Rebooting Graduate Training: Collaboration, Computing, and the New Thesis

Sunday, 6 January, 12:00 noon–1:15 p.m., Hampton, Sheraton

Presiding: Paul Fyfe, Florida State Univ.

Speakers: Katherine E. Gossett, Iowa State Univ.; Erik Hanson, Loyola Univ., Chicago; Matthew Jockers, Univ. of Nebraska, Lincoln; Steven E. Jones, Loyola Univ., Chicago; Bethany Nowviskie, Univ. of Virginia; Sarah Storti, Univ. of Virginia

 

This roundtable explores the urgent necessity of reforming graduate training in the humanities, particularly in the light of the opportunities afforded by digital platforms, collaborative work, and an expanded mission for graduates. Presenters include graduate students and faculty mentors who are creating the institutional and disciplinary conditions for renovated graduate curricula to succeed.

760. Bibliography in the Digital Age

Sunday, 6 January, 12:00 noon–1:15 p.m., Public Garden, Sheraton

Presiding: Maura Carey Ives, Texas A&M Univ., College Station

  1. "Analyzing Large Bibliographical Data Sets: A Case Study," David Lee Gants, Florida State Univ.
  2. "Descriptive Bibliography’s ‘Ideal Copy’ and the Encoding of a Born-Digital Scholarly Edition," Wesley Raabe, Kent State Univ., Kent
  3. "From the Archive to the Browser: Best Practices and Google Books," Sydney Bufkin, Univ. of Texas, Austin

763. Digital Technology, Environmental Aesthetics, Ecocritical Discourse

Sunday, 6 January, 1:45–3:00 p.m., Public Garden, Sheraton

Presiding: Elizabeth Swanstrom, Florida Atlantic Univ.

  1. "Decoding the Desert: Reading the Landscape through the Transborder Immigrant Tool," Mark C. Marino, Univ. of Southern California
  2. "Thoreau in Process: Reanimating Thoreau’s Environmental Practice in Digital Space," Kristen Case, Univ. of Maine, Farmington
  3. "Networks, Narratives, and Nature: Teaching Globally, Thinking Nodally," Melanie J. Doherty, Wesleyan Coll.

767. Rewards and Challenges of Serial Scholarship

Sunday, 6 January, 1:45–3:00 p.m., Liberty A, Sheraton

Presiding: Mark Sample, George Mason Univ.

Speakers: Douglas M. Armato, Univ. of Minnesota Press; Kathleen Fitzpatrick, MLA; Frank Kelleter, Univ. of Göttingen; Kirstyn Leuner, Univ. of Colorado, Boulder; Jason Mittell, Middlebury Coll.; Ted Underwood, Univ. of Illinois, Urbana

This roundtable considers the value and challenges of serial scholarship, that is, research published in serialized form online through a blog, forum, or other public venue. Each of the participants will give a lightning talk about his or her stance toward serial scholarship, while the bulk of the session time will be reserved for open discussion.

794. Professional Practices in Online Education

Sunday, 6 January, 1:45–3:00 p.m., Back Bay B, Sheraton

Presiding: Sandra K. Baringer, Univ. of California, Riverside

  1. "A Description of a Situation on the Nontenure Track: Teaching from the Insecure Trenches of a Contingent Online Instructor," Batya Susan Weinbaum, Empire State Coll., State Univ. of New York
  2. "Hybrid Composition Instruction," Joshua P. Fenton, Univ. of California, Riverside
  3. "Contract and Policy Language for Adjuncts Teaching Online in the SUNY Community Colleges: A State of the State Report," Cynthia Eaton, Suffolk Community Coll., State Univ. of New York
  4. "A Strategem for Using Online Courses to Deny Contingent Faculty Members Academic Freedom," Aaron Plasek, Colorado State Univ.

Responding: Maria Shine Stewart, John Carroll Univ.

795. Literature and Digital Pedagogies

Sunday, 6 January, 1:45–3:00 p.m., Fairfax A, Sheraton

Presiding: Anaïs Saint-Jude, Stanford Univ.

  1. "Teaching Modernism Traditionally and Digitally: What We May Learn from New Digital Tutoring Models by Khan Academy and Udacity," Petra Dierkes-Thrun, Stanford Univ.
  2. "Digital Resources and the Medieval-Literature Classroom," Robin Wharton, Georgia Inst. of Tech.
  3. "Toward a New Hybrid Pedagogy: Embodiment and Learning in the Classroom 2.0," Pete Rorabaugh, Georgia State Univ.; Jesse Stommel, Marylhurst Univ.

On the Predominance of Cupcakes as a Cultural Form

Crimson Velveteen Cupcake

One cannot help but observe the predominance of cupcakes in modern America. Why the cupcake, and why now, at this particular historical moment?

What the fuck is up with all the cupcakes?

Within five minutes of my home there are two bakeries specializing in cupcakes. Two bakeries two hundred yards from each other. They sell cupcakes, and that’s about it. Cupcakes.

Go to a kid’s birthday party and if you survive the bowling or the bouncy castle or the laser tag with the mewling mess of Other People’s Children shouting and screaming, you and your kid will be rewarded with a cupcake. No cake, maybe not even any candles. Cupcakes, that’s it.

Theoretically they come frosted or plain, but plain is such an outright disappointment to everyone, it’s almost embarrassing, so frosted it is. Topped with swirling piles of sugar and fat, the cupcakes come bearing equally saccharine names like Red Velvet Elvis and Cloud 9 and, no shitting you, Blueberry Bikini Buster.

My friends, my very smart friends in academia who study the latest trends in culture and technology, I have a question. You can talk about the spatial turn and the computational turn all you want, but can someone fucking explain the cupcake turn to me?

I have my own theory, and it goes like this: cupcakes match—and attempt to assuage—our cultural anxieties of the moment.

Cupcakes are models of…

AUSTERITY

It’s not a whole cake. It’s a miniature cake. A cake in a fucking cup. A cupcake is a model of modesty. And it’s the best kind of modesty, because it paradoxically suggests extravagance. Cupcakes are rich. And expensive. You could buy two dozen Twinkies for the price of a single caramel apple spice gourmet cupcake.

SERIALITY

By the very nature of their production, cupcakes are made in multiples. A 3×3 tray of 9 cupcakes or 4×4 tray of 16 cupcakes, it doesn’t matter. Cupcakes are serial cakes. Mass produced but conveying a sense of homestyle goodness. Cupcakes are the perfect homeopathic antidote for the industrially-produced food we mostly consume. Fordism never tasted so sickly sweet.

ARTISTRY

On the surface, gourmet cupcakes are artisanal desserts. For all their seriality, cupcakes still contain minute variations in flavor and toppings. Yet underneath, the base model remains the same. Cupcakes embody the postmodern ideal of the manufactured good that has been injected with artificial difference, in order to conjure a sense of individuality. Cupcakes are indie desserts. And like hipsters, cupcakes are pretty much all the same. Cupcake sprinkles and hipster scarves serve the same purpose, turning the plainly ordinary into the veiled ordinary.

HYBRIDITY

Ontologically speaking, just what the hell are cupcakes anyway? A cupcake’s not really a cake. A distant cousin to the muffin, maybe. Is it a pastry for the 21st century United States, a kind of American croissant, full of gooey American exceptionalism? The cupcake itself doesn’t even know what it is. It’s a hybrid form, a Frankencaken. But in a culture frightened by change, blurred borders, and boundary crossings, the cupcake makes all those scary things palatable. As long as it comes in little accordion-pleated paper cup.

Austerity, seriality, artistry, hybridity, that’s what cupcakes are all about. The perfect food for our post-industrial, indie vibe Great Recession. Enjoy them while they last.

Crimson Velveteen photograph courtesy of Flickr user Gina Guillotine / Creative Commons Licensed

Reading List for 21st Century Literature (Fall 2012)

BookCoversThis fall at George Mason I’m teaching a special topics course called ENGLISH 442: 21st Century Literature. My department reserves the 442 course number for “American Literary Periods” and this usually means some recognizable—not to mention canonized—era of American literature, comprised of works that share certain stylistic and thematic characteristics. Nineteenth century naturalism. Twentieth century modernism. Post-war postmodernism. But what is 21st Century literature? What are its defining narrative modes and concerns?

The hell if I know.

I’m not going to answer these questions in ENGH 442. Beyond looking at publishing dates, it’s futile, I believe, to make any claims about the distinguishing features of 21st century literature. The simple fact is this: 21st century literature is whatever people are writing in the 21st century.

Yes, the first 12 years of the new millennium have been marked by September 11, wars in Iraq and Afghanistan, Hurricanes Katrina and Rita, and a crippling, never-ending recession. But the new millennium has also been marked by the rise of YouTube, Justin Bieber, and Minecraft. What 20 novels best reflect the spirit of the 21st century so far? What 10 novels? And, given that my goal is to teach for uncoverage rather than coverage, what 5 novels?

It’s an almost insurmountable challenge to come up with a representative reading list of 21st century literature.

So I didn’t.

Instead, to assemble my reading list I came up with a rather arbitrary criterion, which is no more arbitrary than any other criterion would have been. I’ve decided to focus my 21st century literature class on works that are somehow reworking or engaging with earlier works of literature and film. I’m not talking adaptations. I’m also not interested in classic works of literature, rewritten with vampires. And I don’t mean retellings from an existing minor character’s point of view.

I mean deep entanglements in a web of intertextuality.

I’m delighted with the list I came up with. It spans genres and formats, and ranges from the comedic to the elegiac. The reading list includes some of my favorite texts to teach as well as some I’ve long wanted to teach. And here it is:

In addition to these six works (which are not all works of fiction, though they certainly are all works of literature), I will have some short stories, as well as historical and theoretical pieces scattered throughout the semester. Plus, a few tricks it is not yet time to reveal.

All in all, ENGH 442 should be an excellent class, and I’m looking forward to kicking off the fall semester.

5 BASIC Statements on Computational Literacy

(This is the text of my five minute position statement on the role of computational literacy in computers and writing. I delivered this statement during a “town hall” meeting at the annual Computers and Writing Conference, hosted at North Carolina State University on May 19, 2012.)

I want to briefly run through five basic statements about computational literacy. These are literally 5 statements in BASIC, a programming language developed at Dartmouth in the 1960s. As some of you might know, BASIC is an acronym for Beginner’s All-Purpose Symbolic Instruction Code, and the language was designed in order to help all undergraduate students at Dartmouth—not just science and engineering students—use the college’s time-sharing computer system.

Each BASIC statement I present here is a fully functioning 1-line program. I want to use each as a kind of thesis—or a provocation of a thesis—about the role of computational literacy in computers and writing, and in the humanities more generally.

10 PRINT 2+3

I’m beginning with this statement because it’s a highly legible program that nonetheless highlights the mathematical, procedural nature of code. But this program is also a piece of history: it’s the first line of code in the user manual of the first commercially available version of BASIC, developed for the first commercially available home computer, the Altair 8800. The year was 1975 and this BASIC was developed by a young Bill Gates and Paul Allen. And of course, their BASIC would go on to be the foundation of Microsoft. It’s worth noting that although Microsoft BASIC was the official BASIC of the Altair 8800 (and many home computers to follow), an alternative version, called Tiny BASIC, was developed by a group of programmers in San Francisco. The 1976 release of Tiny BASIC included a “copyleft” software license, a kind of predecessor to contemporary open source software licenses. Copyleft emphasized sharing, an idea at the heart of the original Dartmouth BASIC.

10 PRINT “HELLO WORLD”

If BASIC itself was a program that invited collaboration, then this—customarily one of the first programs a beginner learns to write—highlights the way software looks outward. Hello, world. Computer code is writing in public, a social text. Or, what Jerry McGann calls a “social private text.” As McGann explains, “Texts are produced and reproduced under specific social and institutional conditions, and hence…every text, including those that may appear to be purely private, is a social text.”[1. McGann, Jerome. The Textual Condition. Princeton, NJ: Princeton University Press, 1991, p. 21.]

10 PRINT “GO TO STATEMENT CONSIDERED HARMFUL”: GOTO 10

My next program is a bit of an insider’s joke. It’s a reference to a famous 1968 diatribe by Edsger Dijkstra called “Go To Statement Considered Harmful.” Dijkstra argues against using the goto command, which leads to what critics call spaghetti code. I’m not interested in that specific debate, so much as I like how this famous injunction implies an evaluative audience, a set of norms, and even an aesthetic priority. Programming is a set of practices, with its own history and tensions. Any serious consideration of code—any serious consideration of computers—in the humanities must reckon with these social elements of code.

10 REM PRINT “GOODBYE CRUEL WORLD”

The late German media theorist Frederich Kittler has argued that, as Alexander Galloway put it, “code is the only language that does what it says.”[2. Galloway, Alexander R. Gaming: Essays on Algorithmic Culture. Minneapolis: University of Minnesota Press, 2006, p. 6] Yes, code does what it says. But it also says things it does not do. Like this one-line program which begins with REM, short for remark, meaning this is a comment left by a programmer, which the computer will not execute. Comments in code exemplify what Mark Marino has called the “extra-functional significance” of code, meaning-making that goes beyond the purely utilitarian commands in the code.[3. Marino, Mark C. “Critical Code Studies.” Electronic Book Review (2006). <http://www.electronicbookreview.com/thread/electropoetics/codology>.]

Without a doubt, there is much even non-programmers can learn not by studying what code does, but by studying what it says, and what it evokes.

10 PRINT CHR$(205.5+RND(1));:GOTO 10

Finally, here’s a program that highlights exactly how illegible code can be. Very few people could look at this program for the Commodore 64 and figure out what it does. This example suggests there’s a limit to the usefulness of the concept of literacy when talking about code. And yet, when we run the program, it’s revealed to be quite simple, though endlessly changing, as it creates a random maze across the screen.

So I’ll end with a caution about relying on the word literacy. It’s a word I’m deeply troubled by, loaded with historical and social baggage and it’s often misused as a gatekeeping concept, an either/or state; one is either literate or illiterate.

In my own teaching and research I’ve replaced my use of literacy with the idea of competency. I’m influenced here by the way teachers of a foreign language want their students to use language when they study abroad. They don’t use terms like literacy or fluency, they talk about competency. Because the thing with competency is, it’s highly contextualized, situated, and fluid. Competency means knowing the things that are required in order to do the other things you need to do. It’s not the same for everyone, and it varies by place, time, and circumstance.

Translating this experience to computers and writing, competency means reckoning with computation at the level appropriate for what you want to get out of it—or put into it.

Scholarly Lies and the Deformative Humanities

imageI recently described a new mode of scholarship that I called the deformed humanities. The idea is simple: take apart the world, deform it, and make something new. Or, as Donna Lanclos summarized the deformed humanities in a tweet: “Break things, leave them broken, learn stuff.”

As an example of the deformed humanities I offered up my work Hacking the Accident. But what would the deformed humanities look like in other fields? It’s one thing to imagine a scholar who already studies fiction creatively destroying existing texts. But it’s quite another to imagine a scholar who owes a certain debt to facts working in the deformed humanities.

A course taught by my George Mason colleague Mills Kelly provides an illustrative case of the deformed humanities in the field of history. Mills’ class “Lying about the Past” explores the social role of hoaxes throughout history—the Piltdown man, Hitler’s diary, and so on. For the class’s final project, students design their own hoaxes and then unleash them upon an unsuspecting public. In 2008 students created a hoax about Edward Owens, the so-called last American pirate. Students created a Wikipedia page with false sources, a blog detailing a fictional student’s discovery of the last American pirate—which the class backdated to make it look like the blog had been written over a four-month period, and other faked primary and secondary sources. When Mills revealed the hoax at the end of the semester (and students copped to it on Wikipedia), his IP address was banned from Wikipedia and the page was marked for deletion.

Mills faced a barrage of criticism in 2008 for having his student “lie” about the past. With the most recent version of the class just finishing up, Mills has come under fire once again. As Mills notes, he’s been receiving a flood of hate email. He’s being called everything from irresponsible to “sociopathic pond scum.”

There’s no need for me to defend the ethics of creating a hoax as a class project—Mills himself has persuasively made that case. All I want to say is that this is an example of the deformed humanities. And with a purpose too. Mills has described his pedagogical intent using a riddle[note]Quoted with permission from Kelly, T. Mills. “True Facts or False Facts—Which Are More Authentic?” Playing with Technology in History. Niagara-on-the-Lake, Canada, 2010.[/note]:

Q: What happens when you teach students how to lie? A: They learn how to be historians.

Call him a cynic, but Mills is dead on. History is comprised of lies. And if not outright falsehoods, then half-truths, exaggerations, and omissions.

The Deformative is Political

When I first began to think of creative and critical work in terms of the deformed humanities I hadn’t focused on the political dimensions of the concept—aside from self-consciously reclaiming a potentially troubled term, deformity. But I’ve quickly come to believe that the deformed humanities is a political humanities, a politicized humanities.

As a number of scholars and public intellectuals have noted, the humanities are under attack. One particularly cogent response to the attacks comes from then-American Historical Association president Anthony Grafton. Writing in the January 2011 issue of Perspectives on History, Grafton argued that perhaps the most vital argument one can make in favor of the humanities is “the argument that scholarship matters.” Historians and other humanists model “honest, first-hand inquiry” and an “austere, principled quest for knowledge.” Such clear-headed and rational scholarship, Grafton believes, is especially needed to combat the misrepresentations of the past and present that pervade our mediated world.

Mills’ example—and the deformed humanities—suggests that while Grafton goal’s is noble, it is the wrong approach. Or at least not the only approach. Why fight lies with the truth when you can fight them with other lies? Lies that reveal the truth. Scholarship ought to be rooted in knowledge, not necessarily facts.

Looking beyond a few undergraduate hoaxes, such a strategy—outlying the liars—is a particularly potent response to attacks on the humanities. It’s one, however, that Progressives are likely to avoid.

One of the unfortunate lasting legacies of the Bush era is that Progressives automatically discount anyone who strays too far from objective perspectives or evidentiary reasoning. In the face of Bush’s dismissal of the “reality-based community,” Progressives have enshrouded themselves in facts and statistics and studies. This is what Grafton argues for as well. And it’s exactly the wrong way to fight narrow-minded, unjust, subjective and self-serving beliefs. Fight truthiness with truthiness, something Jon Stewart and Stephen Colbert long ago figured out, but which the humanities have forgotten.

Truth is not relative, but it is overrated.

[“Lies image courtesy of Flickr user Simon Law. Creative Commons Licensed.]