Tagged digital humanities

96

A Survey of Digital Humanities Programs

Abstract

The number of digital humanities programs has risen steadily since 2008, adding capacity to the field. But what kind of capacity, and in what areas? This paper presents a survey of DH programs in the Anglophone world (Australia, Canada, Ireland, the United Kingdom, and the United States), including degrees, certificates, and formalized minors, concentrations, and specializations. By analyzing the location, structure, and disciplinarity of these programs, we examine the larger picture of DH, at least insofar as it is represented to prospective students and cultivated through required coursework. We also explore the activities that make up these programs, which speak to the broader skills and methods at play in the field, as well as some important silences. These findings provide some empirical perspective on debates about teaching DH, particularly the attention paid to theory and critical reflection. Finally, we compare our results (where possible) to information on European programs to consider areas of similarity and difference, and sketch a broader picture of digital humanities.

Introduction

Much has been written of what lies inside (and outside) the digital humanities (DH). A fitting example might be the annual Day of DH, when hundreds of “DHers” (digital humanists) write about what they do and how they define the field (see https://twitter.com/dayofdh). Read enough of their stories and certain themes and patterns may emerge, but difference and pluralism will abound. More formal attempts to define the field are not hard to find—there is an entire anthology devoted to the subject (Terras, Nyhan, and Vanhoutte 2013)—and others have approached DH by studying its locations (Zorich 2008; Prescott 2016), its members (Grandjean 2014a, 2014b, 2015), their communication patterns (Ross et al. 2011; Quan-Haase, Martin, and McCay-Peet 2015), conference submissions (Weingart 2016), and so forth.

A small but important subset of research looks at teaching and learning as a lens through which to view the field. Existing studies have examined course syllabi (Terras 2006; Spiro 2011) and the development of specific programs and curricula (Rockwell 1999; Siemens 2001; Sinclair 2001; Unsworth 2001; Unsworth and Butler 2001; Drucker, Unsworth, and Laue 2002; Sinclair & Gouglas 2002; McCarty 2012; Smith 2014). In addition, there are pedagogical discussions about what should be taught in DH (Hockey 1986, 2001; Mahony & Pierazzo 2002; Clement 2012) and its broader relationship to technology, the humanities, and higher education (Brier 2012; Liu 2012; Waltzer 2012).

This study adds to the literature on teaching and learning by presenting a survey of existing degree and certificate programs in DH. While these programs are only part of the activities that make up the broader world of DH, they provide a formal view of training in the field and, by extension, of the field itself. Additionally, they reflect the public face of DH at their institutions, both to potential students and to faculty and administrators outside of DH. By studying the requirements of these programs (especially required coursework), we explore the activities that make up DH, at least to the extent that they are systematically taught and represented to students during admissions and recruitment, as well as where DH programs position themselves within and across the subject boundaries of their institutions. These activities speak to broader skills and methods at play in DH, as well as some important silences. They also provide an empirical perspective on pedagogical debates, particularly the attention paid to theory and critical reflection

Background

Melissa Terras (2006) was the first to point to the utility of education studies in approaching the digital humanities (or what she then called “humanities computing”). In the broadest sense, Terras distinguishes between subjects, which are usually associated with academic departments and defined by “a set of core theories and techniques to be taught” (230), and disciplines, which lack departmental status yet still have their own identities, cultural attributes, communities of practice, heroes, idols, and mythology. After analyzing four university courses in humanities computing, Terras examines other aspects of the community such as its associations, journals, discussion groups, and conference submissions. She concludes that humanities computing is a discipline, although not yet a subject: “the community exists, and functions, and has found a way to continue disseminating its knowledge and encouraging others into the community without the institutionalization of the subject” (242). Terras notes that humanities computing scholars, lacking prescribed activities, have freedom in developing their own research and career paths. She remains curious, however, about the “hidden curriculum” of the field at a time when few formal programs yet existed.

Following Terras, Lisa Spiro (2011) takes up this study of the “hidden curriculum” by collecting and analyzing 134 English-language syllabi from DH courses offered between 2006–2011. While some of these courses were offered in DH departments (16, 11.9%), most were drawn from other disciplines, including English, history, media studies, interdisciplinary studies, library and information science, computer science, rhetoric and composition, visual studies, communication, anthropology, and philosophy. Classics, linguistics, and other languages were missing. Spiro analyzes the assignments, readings, media types, key concepts, and technologies covered in these courses, finding (among other things) that DH courses often link theory to practice; involve collaborative work on projects; engage in social media such as blogging or Twitter; focus not only on text but also on video, audio, images, games, maps, simulation, and 3D modeling; and reflect contemporary issues such as data and databases, openness and copyright, networks and networking, and interaction. Finally, Spiro presents a list of terms she expected to see more often in these syllabi, including “argument,” “statistics,” “programming,” “representation,” “interpretation,” “accessibility,” “sustainability,” and “algorithmic.”

These two studies form the broad picture of DH education. More recent studies have taken up DH teaching and learning within particular contexts, such as community colleges (McGrail 2016), colleges of liberal arts and science (Alexander & Davis 2012; Buurma & Levine 2016), graduate education (Selisker 2016), libraries (Rosenblum, et al., 2016; Varner 2016; Vedantham & Porter 2016) and library and information science education (Senchyne 2016), and the public sphere (Brennan 2016; Hsu 2016). These accounts stress common structural challenges and opportunities across these contexts. In particular, many underscore assumptions made about and within DH, including access to technology, institutional resources, and background literacies. In addition, many activities in these contexts fall outside of formal degrees and programs or even classroom learning, demonstrating the variety of spaces in which DH may be taught and trained.

Other accounts have drawn the deep picture of DH education by examining the development of programs and courses at specific institutions, such as McMaster University (Rockwell 1999), University of Virginia (Unsworth 2001; Unsworth and Butler 2001; Drucker, Unsworth, and Laue 2002), University of Alberta (Sinclair & Gouglas 2002), King’s College London (McCarty 2012), and Wilfrid Laurier University (Smith 2014), among others. Abstracts from “The Humanities Computing Curriculum / The Computing Curriculum in the Arts and Humanities” Conference in 2001 contain references to various institutions (Siemens 2001), as does a subsequent report on the conference (Sinclair 2001). Not surprisingly, these accounts often focus on the histories and peculiarities of each institution, a “localization” that Knight (2011) regards as necessary in DH.

Our study takes a program-based approach to studying teaching and learning in DH. While formal programs represent only a portion of the entire DH curricula, they are important in several respects: First, they reflect intentional groupings of courses, concepts, skills, methods, techniques, and so on. As such, they purport to represent the field in its broadest strokes rather than more specialized portions of it (with the exception of programs offered in specific areas, such as book history and DH). Second, these programs, under the aegis of awarding institutions and larger accrediting bodies, are responsible for declaring explicit learning outcomes of their graduates, often including required courses. These requirements form one picture of what all DHers are expected to know upon graduation (at a certain level), and this changing spectrum of competencies presumably reflects corresponding changes in the field over time. Third, formal DH programs organize teaching, research, and professional development in the field; they are channels through which material and symbolic capital flow, making them responsible, in no small part, for shaping the field itself. Finally, these programs, their requirements, and coursework are one way—perhaps the primary way—in which prospective students encounter the field and make choices about whether to enroll in a DH program and, if so, which one. These programs are also consulted by faculty and administrators developing new programs at their own institutions, both for common competencies and for distinguishing features of particular programs.

In addition to helping define the field, a study of formal DH programs also contributes to the dialogue around pedagogy in the field. Hockey, for example, has long wondered whether programming should be taught (1986) and asks, “How far can the need for analytical and critical thinking in the humanities be reconciled with the practical orientation of much work in humanities computing?” (2001). Also skeptical of mere technological skills, Simon Mahony and Elena Pierazzo (2002) argue for teaching methodologies or “ways of thinking” in DH. Tanya Clement examines multiliteracies in DH (e.g., critical thinking, commitment, community, and play), which help to push the field beyond “training” to “a pursuit that enables all students to ask valuable and productive questions that make for ‘a life worth living’” (2012, 372).

Others have called on DH to engage more fully in critical reflection, especially in relation to technology and the role of the humanities in higher education. Alan Liu notes that much DH work has failed to consider “the relation of the whole digital juggernaut to the new world order,” eschewing even clichéd topics such as “the digital divide,” “surveillance,” “privacy,” and “copyright” (2012, 491). Steve Brier (2012) points out that teaching and learning are an afterthought to many DHers, a lacuna that misses the radical potential of DH for transforming teaching and professional development. Luke Walzer (2012) observes that DH has done little to help protect and reconceptualize the role of the humanities in higher education, long under threat from austerity measures and perceived uselessness in the neoliberal academy (Mowitt 2012).

These and other concerns point to longstanding questions about the proper balance of technological skills and critical reflection in DH. While a study of existing DH programs cannot address the value of critical reflection, it can report on the presence (or absence) of such reflection in required coursework and program outcomes. Thus, it is part of a critical reflection on the field as it stands now, how it is taught to current students, and how such training will shape the future of the field. It can also speak to common learning experiences within DH (e.g., fieldwork, capstones), as well as disciplinary connections, particularly in program electives. These findings, together with our more general findings about DH activities, give pause to consider what is represented in, emphasized by, and omitted from the field at its most explicit levels of educational training.

Methods

This study involved collection of data about DH programs, coding descriptions of programs and courses using a controlled vocabulary, and analysis and visualization.

Data Collection

We compiled a list of 37 DH programs active in 2015 (see Appendix A), drawn from listings in the field (UCLA Center for Digital Humanities 2015; Clement 2015), background literature, and web searches (e.g., “digital humanities masters”). In addition to degrees and certificates, we included minors and concentrations that have formal requirements and coursework, since these programs can be seen as co-issuing degrees with major areas of study and as inflecting those areas in significant ways. We did not include digital arts or emerging media programs in which humanities content was not the central focus of inquiry. In a few cases, the listings or literature mentioned programs that could not be found online, but we determined that these instances were not extant programs—some were initiatives or centers misdescribed, others were programs in planning or simply collections of courses with no formal requirements—and thus fell outside the scope of this study. We also asked for the names of additional programs at a conference presentation, in personal emails, and on Twitter. Because our sources and searches are all English-language, the list of programs we collected are all programs taught in Anglophone countries. This limits what we can say about global DH.

For each program, we made a PDF of the webpage on which its description appears, along with a plain text file of the description. We recorded the URL of each program and information about its title; description; institution; school, division, or department; level (graduate or undergraduate); type (degree or otherwise); year founded; curriculum (total credits, number and list of required and elective courses); and references to independent research, fieldwork, and final deliverables. After identifying any required courses for each program, we looked up descriptions of those courses in the institution’s course catalog and recorded them in a spreadsheet.

Coding and Intercoder Agreement

To analyze the topics covered by programs and required courses, we applied the Taxonomy of Digital Research Activities in the Humanities (TaDiRAH 2014a), which attempts to capture the “scholarly primitives” of the field (Perkins et al. 2014). Unsworth (2000) describes these primitives as “basic functions common to scholarly activities across disciplines, over time, and independent of theoretical orientation,” obvious enough to be “self-understood,” and his preliminary list includes ‘Discovering’, ‘Annotating’, ‘Comparing’, ‘Referring’, ‘Sampling’, ‘Illustrating’, and ‘Representing’.

We doubt that any word—or classification system—works in this way. Language is always a reflection of culture and society, and with that comes questions of power, discipline/ing, and field background. Moreover, term meaning shifts over time and across locations. Nevertheless, we believe classification schema can be useful in organizing and analyzing information, and that is the spirit in which we employ TaDiRAH here.

TaDiRAH is one of several classification schema in DH and is itself based on three prior sources: the arts-humanities.net taxonomy of DH projects, tools, centers, and other resources; the categories and tags originally used by the DiRT (Digital Research Tools) Directory (2014); and headings from “Doing Digital Humanities,” a Zotero bibliography of DH literature (2014) created by the Digital Research Infrastructure for Arts and Humanities (DARIAH). The TaDiRAH version used in this study (v. 0.5.1) also included two rounds of community feedback and subsequent revisions (Dombrowski and Perkins 2014). TaDiRAH’s controlled vocabulary terms are arranged into three broad categories: activities, objects, and techniques. Only activities terms were used in this study because the other terms lack definitions, making them subject to greater variance in interpretation. TaDiRAH contains forty activities terms organized into eight parent terms (‘Capture’, ‘Creation’, ‘Enrichment’, ‘Analysis’, ‘Interpretation’, ‘Storage’, ‘Dissemination’, and ‘Meta-Activities’).

TaDiRAH was built in conversation with a similar project at DARIAH called the Network for Digital Methods in the Arts and Humanities (NeDiMAH) and later incorporated into that project (2015). NeDiMAH’s Methods Ontology (NeMO) contains 160 activities terms organized into five broad categories (‘Acquiring’, ‘Communicating’, ‘Conceiving’, ‘Processing’, ‘Seeking’) and is often more granular than TaDiRAH (e.g., ‘Curating’, ‘Emulating’, ‘Migrating’, ‘Storing’, and ‘Versioning’ rather than simply ‘Preservation’). While NeMO may have other applications, we believe it is too large to be used in this study. There are many cases in which programs or even course descriptions are not as detailed as NeMO in their language, and even the forty-eight TaDiRAH terms proved difficult to apply because of their number and complexity. In addition, TaDiRAH has been applied in DARIAH’s DH Course Registry of European programs, permitting some comparisons between those programs and the ones studied here.

In this study, a term was applied to a program/course description whenever explicit evidence was found that students completing the program or course would be guaranteed to undertake the activities explicitly described in that term’s definition. In other words, we coded for minimum competencies that someone would have after completing a program or course. The narrowest term was applied whenever possible, and multiple terms could be applied to the same description (and, in most cases, were). For example, a reference to book digitization would be coded as ‘Imaging’:

Imaging refers to the capture of texts, images, artefacts or spatial formations using optical means of capture. Imaging can be made in 2D or 3D, using various means (light, laser, infrared, ultrasound). Imaging usually does not lead to the identification of discrete semantic or structural units in the data, such as words or musical notes, which is something DataRecognition accomplishes. Imaging also includes scanning and digital photography.

If there was further mention of OCR (optical character recognition), that would be coded as ‘DataRecognition’ and so on. To take another example, a reference to visualization and other forms of analysis would be coded both as ‘Visualization’ and as its parent term, ‘Analysis’, if no more specific child terms could be identified.

In some cases, descriptions would provide a broad list of activities happening somewhere across a program or course but not guaranteed for all students completing that program or course (e.g., “Through our practicum component, students can acquire hands-on experience with innovative tools for the computational analysis of cultural texts, and gain exposure to new methods for analyzing social movements and communities enabled by new media networks.”). In these cases, we looked for further evidence before applying a term to that description.

Students may also acquire specialty in a variety of areas, but this study is focused on what is learned in common by any student who completes a specific DH program or course; as such, we coded only cases of requirements and common experiences. For the same reason, we coded only required courses, not electives. Finally, we coded programs and required courses separately to analyze whether there was any difference in stated activities at these two levels.

To test intercoder agreement, we selected three program descriptions at random and applied TaDiRAH terms to each. In only a handful of cases did all three of us agree on our term assignments. We attribute this low level of agreement to the large number of activities terms in TaDiRAH, the complexity of program/course descriptions, questions of scope (whether to use a broader or narrower term), and general vagueness. For example, a program description might allude to work with texts at some point, yet not explicitly state text analysis until later, only once, when it is embedded in a list of other examples (e.g., GIS, text mining, network analysis), with a reference to sentiment analysis elsewhere. Since texts could involve digitization, publishing, or other activities, we would not code ‘Text analysis’ immediately, and we would only code it if students would were be guaranteed exposure to this such methods in the program. To complicate matters further, there is no single term for text analysis in TaDiRAH—it spans across four (‘Content analysis’, ‘Relational analysis’, ‘Structural analysis’, and ‘Stylistic analysis’)—and one coder might apply all four terms, another only some, and the third might use the parent term ‘Analysis’, which also includes spatial analysis, network analysis, and visualization.

Even after reviewing these examples and the definitions of specific TaDiRAH terms, we could not reach a high level of intercoder agreement. However, we did find comparing our term assignments to be useful, and we were able to reach consensus in discussion. Based on this experience, we decided that each of us would code every program/course description and then discuss our codings together until we reached a final agreement. Before starting our preliminary codings, we discussed our understanding of each TaDiRAH term (in case it had not come up already in the exercise). We reviewed our preliminary codings using a visualization showing whether one, two, or three coders applied a term to a program/course description. In an effort to reduce bias, especially framing effects (cognitive biases that result from the order in which information is presented), the visualization did not display who had coded which terms. If two coders agreed on a term, they explained their codings to the third and all three came to an agreement. If only one coder applied a term, the other two explained why they did not code for that term and all three came to an agreement. Put another way, we considered every term that anyone applied, and we considered it under the presumption that it would be applied until proven otherwise. Frequently, our discussions involved pointing to specific locations in the program/course descriptions and referencing TaDiRAH definitions or notes from previous meetings when interpretations were discussed.

In analyzing our final codings, we used absolute term frequencies (the number of times a term was applied in general) and weighted frequencies (a proxy for relative frequency and here a measure of individual programs and courses). To compute weighted frequencies, each of the eight parent terms were given a weight of 1, which was divided equally among their subterms. For example, the parent term ‘Dissemination’ has six subterms, so each of those were assigned an equal weight of one-sixth, whereas ‘Enrichment’ has three subterms, each assigned a weight of one-third. These weights were summed by area to show how much of an area (relatively speaking) is represented in program/course descriptions, regardless of area size. If all the subterms in an area are present, that entire area is present—just as it would be if we had applied only the broader term in the first place. These weighted frequencies are used only where programs are displayed individually.

Initially, we had thought about comparing differences in stated activities between programs and required courses. While we found some variations (e.g., a program would be coded for one area of activities but not its courses and vice versa), we also noticed cases in which the language used to describe programs was too vague to code for activities that were borne out in required course descriptions. For this reason and to be as inclusive as possible with our relatively conservative codings, we compared program and course data simultaneously in our final analysis. Future studies may address the way in which program descriptions connect to particular coursework, and articulating such connections may help reveal the ways in which DH is taught (in terms of pedagogy) rather than only its formal structure (as presented here).

Analysis and Visualization

In analyzing program data, we examined the overall character of each program (its title), its structure (whether it grants degrees and, if so, at what level), special requirements (independent study, final deliverables, fieldwork), and its location, both in terms of institutional structure (e.g., departments, labs, centers) and discipline(s). We intended to analyze more thoroughly the number of required courses as compared to electives, the variety of choice students have in electives, and the range of departments in which electives are offered. These comparisons proved difficult: even within an American context, institutions vary in their credit hours and the formality of their requirements (e.g., choosing from a menu of specific electives, as opposed to any course from a department or “with permission”). These inconsistencies multiply greatly in an international context, and so we did not undertake a quantitative study of the number or range of required and elective courses.

Program data and codings were visualized using the free software Tableau Public. All images included in this article are available in a public workbook at https://public.tableau.com/views/DigitalHumanitiesProgramsSurvey/Combined. As we discuss in the final section, we are also building a public-facing version of the data and visualizations, which may be updated by members of the DH community. Thus, the data presented here can and should change over time, making these results only a snapshot of DH in some locations at the present.

Anglophone Programs

The number of DH programs in Anglophone countries has risen sharply over time, beginning in 1991 and growing steadily by several programs each year since 2008 (see Figure 1). This growth speaks to increased capacity in the field, not just by means of centers, journals, conferences, and other professional infrastructure, but also through formal education. Since 2008, there has been a steady addition of several programs each year, and based on informal observation since our data collection ended, we believe this trend continues.

A bar chart showing the number of new Anglophone DH programs each year from 1991 to 2015. A line showing the cumulative total of programs increases sharply at 2008.
Figure 1. Digital humanities programs in our collected data by year established

Program Titles

Most of the programs in our collected data (22, 59%) are titled simply “Digital Humanities,” along with a few variations, such as “Book History and Digital Humanities” and “Digital Humanities Research” (see Figure 2). A handful of programs are named for particular areas of DH or related topics (e.g., “Digital Culture,” “Public Scholarship”), and only a fraction (3 programs, 8%) are called “Humanities Computing.” We did not investigate changes in program names over time, although this might be worthwhile in the future.

A stacked bar chart comparing the titles of Anglophone DH programs. The segments that make up each bar are color coded by degree type (e.g., doctoral, master’s, bachelor’s, certificate, other).
Figure 2. Titles of digital humanities programs in our collected data

Structure

Less than half of DH programs in our collected data grant degrees: some at the level of bachelor’s (8%), most at the level of master’s (22%), and some at the doctoral (8%) level (Figure 3). The majority of DH programs are certificates, minors, specializations, and concentrations—certificates being much more common at the graduate level and nearly one-third of all programs in our collected data. The handful of doctoral programs are all located in the UK and Ireland.

A stacked bar chart showing the number of Anglophone DH programs at the undergraduate and graduate levels. The segments that make up each bar are color coded by degree type (e.g., doctoral, master’s, bachelor’s, certificate, other).
Figure 3. Digital humanities programs in our collected data (by degree and level)

 

In addition to degree-granting status, we also examined special requirements for the 37 DH programs in our study. Half of those programs require some form of independent research (see Figure 4). All doctoral programs require such research; most master’s programs do as well. Again, we only looked for cases of explicit requirements; it seems likely that research of some variety is conducted within all the programs analyzed here. However, we focus this study on explicit statements of academic activity in order to separate the assumptions of practitioners of DH about its activities from what appears in public-facing descriptions of the field.
Half of DH programs in our collected data require a final deliverable, referred to variously as a capstone, dissertation, portfolio, or thesis (see Figure 5). Again, discrepancies between written and unwritten expectations in degree programs abound—and are certainly not limited to DH—and some programs may have not explicitly stated this requirement, so deliverables may be undercounted. That said, most graduate programs require some kind of final deliverable, and most undergraduate and non-degree-granting programs (e.g., minors, specializations) do not.

Finally, about one-quarter of programs require fieldwork, often in the form of an internship (see Figure 6). This fieldwork requirement is spread across degree types and levels.

A stacked bar chart showing whether Anglophone DH programs require independent research as a part of their degree requirements. The segments that make up each bar are color coded by degree type (e.g., doctoral, master’s, bachelor’s, certificate, other).
Figure 4. Independent research requirements of digital humanities programs in our collected data

 

A stacked bar chart showing the final deliverable requirement (dissertation, portfolio, etc.) of Anglophone DH programs. The segments that make up each bar are color coded by degree type (e.g., doctoral, master’s, bachelor’s, certificate, other).
Figure 5. Final deliverable required by digital humanities programs in our collected data

 

A stacked bar chart showing whether Anglophone DH programs require fieldwork as a part of their degree requirements. The segments that make up each bar are color coded by degree type (e.g., doctoral, master’s, bachelor’s, certificate, other).
Figure 6. Fieldwork requirements of digital humanities programs in our collected data

 

Location and Disciplinarity

About one-third of the DH programs in our dataset are offered outside of academic schools/departments (in centers, initiatives, and, in one case, jointly with the library), and most issue from colleges/schools of arts and humanities (see Figure 7). Although much DH work occurs outside of traditional departments (Zorich 2008), formal training in Anglophone countries remains tied to them. Most DH concentrations and specializations are located within English departments, evidence for Kirschenbaum’s claim that DH’s “professional apparatus…is probably more rooted in English than any other departmental home” (2010, 55).

A bar chart showing location of Anglophone DH programs within an institution (college/school, center, department. etc.)
Figure 7. Institutional location of digital humanities programs in our collected data

The elective courses of DH programs span myriad departments and disciplines. The familiar humanities departments are well represented (art history, classics, history, philosophy, religion, and various languages), along with computer science, design, media, and technology. Several programs include electives drawn from education departments and information and library science. More surprising departments (and courses) include anthropology (“Anthropological Knowledge in the Museum”), geography (“Urban GIS”), political science (“New Media and Politics”), psychology (“Affective Interaction”), sociology (“Social and Historical Study of Information, Software, and Networks”), even criminology (“Cyber Crime”).

The number of electives required by each program and the pool from which they may be drawn varies greatly among programs, and in some cases it is so open-ended that it is nearly impossible to document thoroughly. Some programs have no elective courses and focus only on shared, required coursework. Others list dozens of potential elective courses as suggestions, rather than an exhaustive list. Because course offerings, especially in cross-disciplinary areas, change from term to term and different courses may be offered under a single, general course listing such as “Special Topics,” the list of elective course we have collected is only a sample of the type of courses students in DH programs may take, and we do not analyze them quantitatively here.

Theory and Critical Reflection

To analyze the role of theory and critical reflection in DH programs, we focused our analysis on two TaDiRAH terms: ‘Theorizing’,

a method which aims to relate a number of elements or ideas into a coherent system based on some general principles and capable of explaining relevant phenomena or observations. Theorizing relies on techniques such as reasoning, abstract thinking, conceptualizing and defining. A theory may be implemented in the form of a model, or a model may give rise to formulating a theory.

and ‘Meta: GiveOverview’, which

refers to the activity of providing information which is relatively general or provides a historical or systematic overview of a given topic. Nevertheless, it can be aimed at experts or beginners in a field, subfield or specialty.

In most cases, we used ‘Meta: GiveOverview’ to code theoretical or historical introductions to DH itself, though any explicit mention of theory was coded (or also coded) as ‘Theorizing’. We found that all DH programs, whether in program descriptions or required courses, included some mention of theory or historical/systematic overview (see Figure 8).

A table of Anglophone institutions and DH programs showing whether researchers coded ‘Theory’ or ‘GiveOverview’ for the program or required course descriptions.
Figure 8. Theory and critical reflection in digital humanities programs in our collected data

Accordingly, we might say that each program, according to its local interpretation, engages in some type of theoretical or critical reflection. We cannot, of course, say much more about the character of this reflection, whether it is the type of critical reflection called for in the pedagogical literature, or how this reflection interfaces with the teaching of skills and techniques in these programs. We hope someone studies this aspect of programs, but it is also worth noting that only 6 of the 37 programs here were coded for ‘Teaching/Learning’ (see Figure 12). Presumably, most programs do not engage theoretically with issues of pedagogy or the relationship between DH and higher education, commensurate with Brier’s claim that these areas are often overlooked (2012). Such engagement may occur in elective courses or perhaps nowhere in these programs.

European Programs

All of the 37 programs discussed above are located in Anglophone countries, most of them in the United States (22 programs, 60%). We note that TaDiRAH, too, originates in this context, as does our English-language web searches for DH programs. While this data is certainly in dialogue with the many discussions of DH education cited above, it limits what we can say about DH from a global perspective. It is important to understand the various ways DH manifests around the globe, both to raise awareness of these approaches and to compare the ways in which DH education converges and diverges across these contexts. To that end, we gathered existing data on European programs by scraping DARIAH’s Digital Humanities Course Registry (DARIAH-EU 2014a) and consulting the European Association for Digital Humanities’ (EADH) education resources webpage (2016). This DARIAH/EADH data is not intended to stand in for the entirety of global DH, as it looks exclusively at European programs (and even then it is limited in interpretation by our own language barriers). DH is happening outside of this scope (e.g., Gil 2017), and we hope that future initiatives can expand the conversation about DH programs worldwide—possibly as part of our plans for data publication, which we address at the end of this article.

DARIAH’s database lists 102 degree programs, 77 of which were flagged in page markup as “outdated” with the note, “This record has not been revised for a year or longer.” While inspecting DARIAH data, we found 43 programs tagged with TaDiRAH terms, and we eliminated 17 entries that were duplicates, had broken URLs and could not be located through a web search, or appeared to be single courses or events rather than formal programs. We also updated information on a few programs (e.g., specializations classified as degrees). We then added 5 programs listed by EADH but not by DARIAH, for a grand total of 93 European DH programs (only 16 of which were listed jointly by both organizations). We refer to this dataset as “DARIAH/EADH data” in the remainder of this paper. A map of these locations is provided in Figure 9, and the full list of programs considered in this paper is given in Appendices.

A map of Europe showing the number of DH programs in each country, based on DARIAH/EADH listings.
Figure 9. Geographic location of programs in DARIAH/EADH data

 

The DARIAH/EADH data lists 93 programs spread across parts of Europe, with the highest concentration (33%) in Germany (see Table 1). We caution here and in subsequent discussions that DARIAH and EADH may not have applied the same criteria for including programs as we did in our data collection, so results are not directly comparable. Some programs in informatics or data asset management might have been ruled out using our data collection methods, which were focused on humanities content.

Table 1. Summary of programs included in our collected data and DARIAH/EADH data
Country Programs in our collected data
N (%)
Programs in DARIAH/EADH data
N (%)
Australia 1 (3%)
Austria 1 (1%)
Belgium 2 (2%)
Canada 6 (16%)
Croatia 3 (3%)
Finland 1 (1%)
France 8 (9%)
Germany 31 (33%)
Ireland 3 (8%) 4 (4%)
Italy 4 94%)
Netherlands 16 (17%)
Norway 1 (1%)
Portugal 1 (1%)
Spain 2 (2%)
Sweden 1 (1%)
Switzerland 6 (7%)
United Kingdom 5 (14%) 12 (13%)
United States 22 (60%)

Program Titles

A cursory examination of the DARIAH/EADH program title reveals more variety, including many programs in computer linguistics and informatics (see Appendix B). We did not analyze these titles further because of language barriers. And again, we caution that some of these programs might not have been included according to the criteria for our study, though the vast majority appear relevant.

Structure

Most programs in the DARIAH/EADH data are degree-granting at the level of master’s (61%) or bachelor’s (25%) (see Figure 10). While we are reasonably confident in these broad trends, we are skeptical of the exact totals for two reasons. In DARIAH’s Registry, we noticed several cases of specializations being labeled as degrees. Though we rectified these cases where possible, language barriers prevented us from more thoroughly researching each program—another challenge that a global study of DH would encounter. On the other hand, it’s also possible that non-degree programs were undercounted in general, given that the Registry was meant to list degrees and courses. Based on our inspection of each program, we do not believe these errors are widespread enough to change the general distribution of the data: more European programs issue degrees, mostly at the master’s level.

A stacked bar chart showing the number of European DH programs at the undergraduate and graduate levels, as listed by DARIAH/EADH. The segments that make up each bar are color coded by degree type (e.g., doctoral, master’s, bachelor’s, certificate, other).
Figure 10. Digital humanities programs (by degree and level, DARIAH/EADH data)

Location and Disciplinarity

Most European programs are also located in academic divisions called colleges, departments, faculties, or schools (see Figure 11), depending on country. Only a handful of programs are located in institutes, centres, or labs, even less frequently than in our collected data.

A bar chart showing location of European DH programs within an institution (college/department/faculty/school, centre, institute. etc.), as listed by DARIAH/EADH.
Figure 11. Institutional location of digital humanities programs (DARIAH/EADH data)

We did not analyze disciplinarity in the DARIAH/EADH data because the programs span various countries, education systems, and languages—things we could not feasibly study here. However, 43 programs in the DARIAH/EADH data were tagged with TaDiRAH terms, allowing for comparison with programs in our collected data. These speak to what happens in DH programs in Europe, even if their disciplinary boundaries vary.

DH Activities

To analyze the skills and methods at play in DH programs, we examined our TaDiRAH codings in terms of overall term frequency (see Figure 12) and weighted frequency across individual programs (see Figures 13 and 14). Several trends were apparent in our codings, as well as DARIAH-listed programs that were also tagged with TaDiRAH terms.

In our data on Anglophone programs of DH programs, analysis and meta-activities (e.g., ‘Community building’, ‘Project management’, ‘Teaching/Learning’) make up the largest share of activities, along with creation (e.g., ‘Designing’, ‘Programming’, ‘Writing’). This is apparent in absolute term frequencies (see Figure 12, excepting ‘Theorizing’ and ‘Meta: GiveOverview’) and in a heatmap comparison of programs (see Figure 13). Again, the heatmap used weighted frequencies to adjust for the fact that some areas have few terms, while others have more than double the smallest. It is worth noting that ‘Writing’ is one of the most frequent terms (11 programs), but this activity certainly occurs elsewhere and is probably undercounted because it was not explicitly mentioned in program descriptions. The same may be true for other activities.

A series of bar charts showing the number of times each TaDiRAH term appeared in the datasets. Terms are listed under their parent terms, and subtotals are given for each parent term. Data collected by researchers (Anglophone programs) are displayed in blue, and DARIAH data are displayed in orange.
Figure 12. TaDiRAH term coding frequency (grouped)

 

A heatmap of Anglophone DH programs and TaDiRAH parent terms. The saturation of each cell shows the number of times that terms within that parent term were coded for that particular program, whether in program descriptions or course descriptions.
Figure 13. Digital humanities programs in our collected data and their required courses (by area)

Many program specializations seem to follow from the flavor of DH at particular institutions (e.g. the graduate certificate at Stanford’s Center for Spatial and Textual Analysis, University of Iowa’s emphasis on public engagement), commensurate with Knight’s (2011) call for “localization” in DH.

In contrast with the most frequent terms, some terms were never applied to program/course descriptions in our data, including ‘Translation’, ‘Cleanup’, ‘Editing’, and ‘Identifying’. Enrichment and storage activities (e.g., ‘Archiving’, ‘Organizing’, ‘Preservation’) were generally sparse (only 1.9% of all codings), even after compensating for the fact that these areas have fewer terms. We suspect that these activities do occur in DH programs and courses—in fact, they are assumed in broader activities such as thematic research collections, content management systems, and even dissemination. Their lack of inclusion in program/course descriptions seems constituent with claims made by librarians that their expertise in technology, information organization, and scholarly communication is undervalued in the field, whether instrumentalized as part a service model that excludes them from the academic rewards of and critical decision-making in DH work (Muñoz 2013; Posner 2013) or devalued as a form of feminized labor (Shirazi 2014). Ironically, these abilities are regarded as qualifications for academic librarian positions and as marketable job skills for humanities students and, at the same time, as a lesser form of academic work, often referred to as faculty “service” (Nowviskie 2012; Sample 2013; Takats 2013). We suspect that many program descriptions replicate this disconnect by de-emphasizing some activities (e.g., storage, enrichment) over others (e.g., analysis, project management).

Generally, there seems to be less emphasis on content (‘Capture’, ‘Enrichment’, and ‘Storage’ terms) and more focus on platforms and tools (‘Analysis’ and ‘Meta-Activities’ terms) within programs in our collected data. In interpreting this disparity, we think it’s important to attend to the larger contexts surrounding education in various locations. The Anglophone programs we studied are mostly located in the United States, where “big data” drives many decisions, including those surrounding higher education. As boyd and Crawford note, this phenomenon rests on the interplay of technology, analysis, and “[m]ythology: the widespread belief that large data sets offer a higher form of intelligence and knowledge that can generate insights that were previously impossible, with the aura of truth, objectivity, and accuracy” (2013: 663). Within this context, programs advertising analysis, visualization, and project management may appear as more attractive to prospective students and supporting institutions, two important audiences of program webpages. This influence does not mean that such activities do not occur or are not important to DH, but it again turns attention to questions about the way in which these skills are developed and deployed and whether that occurs against a backdrop of critical reflection on methods and tools. How these broad program-level descriptions play out in the context of particular courses and instruction is beyond the scope of this program-level study, but we think that surfacing the way programs are described is an important first step to a deeper analysis of these questions.

When comparing our 37 programs to the 43 TaDiRAH-tagged European ones, several differences emerge—though we caution that these findings, in particular, may be less reliable than others presented here. In our study, we coded for guaranteed activities, explicit either in program descriptions or required course description. In DARIAH’s Registry, entries are submitted by users, who are given a link to another version of TaDiRAH (2014b) and instructed to code at least one activities keyword (DARIAH-EU 2014b). We do not know the criteria each submitter uses for applying terms, and it’s likely that intercoder agreement would be low in absence of pre-coordination. For example, programs in the Netherlands are noticeably sparser in their codings than programs elsewhere—perhaps submitted by the same coder, or coders with a shared understanding and different from the others (see Figure 14).

A heatmap of DH programs and TaDiRAH parent terms, as listed by DARIAH. The saturation of each cell shows the number of times that terms within that parent term were coded for that particular program.
Figure 14. Digital humanities programs (by area, TaDiRAH-tagged subset of DARIAH data)

We tried to compare directly our codings with DARIAH data by looking at five programs listed in common. Only one of these programs had TaDiRAH terms in DARIAH data: specifically, all eight top-level terms. When examining other programs, we found several tagged with more than half of the top-level terms and one tagged with 40 of 48 activities terms. These examples alone suggest that DARIAH data may be maximally inclusive in its TaDiRAH codings. Nevertheless, we can treat this crowdsourced data as reflective of broad trends in the area and compare them, generally, to those found in our study. Moreover, there does not appear to be any geographic or degree-based bias in the DARIAH data: the 43 tagged programs span ten different countries and both graduate and undergraduate offerings, degree and non-degree programs.

Comparing term frequencies in our collected data and DARIAH/EADH data (see Figure 12), it appears that enrichment, capture, and storage activities are more prevalent in European programs, while analysis and meta-activities are relatively less common (see Table 2). While both datasets have roughly the same number of programs (37 and 43, respectively), the DARIAH data has over twice as many terms as our study. For this reason, we computed a relative expression of difference by dividing the total percent of a TaDiRAH area in DARIAH data by the total percent in our study. Viewed this way, ‘Enrichment’ has over five times as many weighted codings in DARIAH as our study, followed by ‘Capture’ with over twice as many; ‘Analysis’, ‘Interpretation’, and ‘Meta-activities’ are less common. Thus, Anglophone and European programs appear to focus on different areas, within the limitations mentioned above and while still overlapping in most areas. This difference might be caused by the inclusion of more programs related to informatics, digital asset management, and communication in the DARIAH data than in our collected data, or the presence of more extensive cultural heritage materials, support for them, and integration into European programs. At a deeper level, this difference may reflect a different way of thinking or talking about DH or the histories of European programs, many of which were established before programs in our collected data.

Table 2. Summary of TaDiRAH term coding frequencies (grouped)
TaDiRAH parent term (includes subterms) In our collected data
N (%)
In DARIAH
N (%)
Factor of difference overall (weighted)
Capture 13 (6.1%) 73 (15.7%) 5.6 (2.55)
Creation 35 (16.5%) 74 (15.9%) 2.1 (0.96%)
Enrichment 4 (1.9%) 48 (10.3%) 12.0 (5.46)
Analysis 47 (22.2%) 77 (16.5%) 1.6 (0.75)
Interpretation 27 (12.7%) 40 (8.6%) 1.5 (0.67)
Storage 11 (5.2%) 43 (9.2%) 3.9 (1.78)
Dissemination 24 (11.3%) 63 (13.5%) 2.6 (1.19)
Meta-Activities 51 (24.1%) 48 (10.3%) 0.9 (0.43)

Reflections on TaDiRAH

Since TaDiRAH aims to be comprehensive of the field—even machine readable—we believe our challenges applying it may prove instructive to revising the taxonomy for wider application and for considering how DH is described more generally.
Most examples of hard-to-code language were technical (e.g., databases, content management systems, CSS, and XML) and blurred the lines between capture, creation, and storage and, at a narrower level, web development and programming. Given the rate at which technologies change, it may be difficult to come up with stable terms for DH. At the same time, we may need to recognize that some of the most ubiquitous technologies and platforms in the field (e.g., Omeka, WordPress) actually subsume over various activities and require myriad skills. This, in turn, might give attention to skills such as knowledge organization, which seem rarely taught or mentioned on an explicit basis.

A separate set of hard-to-code activities included gaming and user experience (UX). We suspect the list might grow as tangential fields intersect with DH. Arguably, UX falls under ‘Meta: Assessing’, but there are design and web development aspects of UX that distinguish it from other forms of assessment, aspects that probably belong better with ‘Creation’. Similarly, gaming might be encompassed by ‘Meta: Teaching/Learning’, which

involves one group of people interactively helping another group of people acquire and/or develop skills, competencies, and knowledge that lets them solve problems in a specific area of research,

but this broad definition omits distinctive aspects of gaming, such as play and enjoyment, that are central to the concept. Gaming and UX, much like the technical cases discussed earlier, draw on a range of different disciplines and methods, making them difficult to classify. Nevertheless, they appear in fieldwork and are even taught in certain programs/courses, making it important to represent them in the taxonomy of DH.

With these examples in mind and considering the constantly evolving nature of DH and the language that surrounds it, it is difficult and perhaps counterproductive to suggest any concrete changes to TaDiRAH that would better represent the activities involved in “doing DH.” We present these findings as an empirical representation of what DH in certain parts of the world looks like now, with the hope that it will garner critical reflection from DH practitioners and teachers about how the next generation of students perceives our field and the skills that are taught and valued within it.

Conclusion and Further Directions

Our survey of DH programs in the Anglophone world may be summarized by the following points.

  • The majority of Anglophone programs are not degree-granting; they are certificates, minors, specializations, and concentrations. By comparison, most European programs are degree-granting, often at the master’s level.
  • About half of Anglophone programs require some form of independent research, and half require a final deliverable, referred to variously as a capstone, dissertation, portfolio, or thesis. About one-quarter of programs require fieldwork, often in the form of an internship.
  • About one-third of Anglophone DH programs are offered outside of academic schools/departments (in centers, initiatives, and, in one case, jointly with the library). By comparison, most European programs are located in academic divisions; only a handful are offered in institutes, centres, or labs.
  • Analysis and meta-activities (e.g., community building, project management) make up the largest share of activities in Anglophone programs, along with creation (e.g., designing, programming, writing). By contrast, activities such as enrichment, capture, and storage seem more prevalent in European programs. Some of these areas may be over- or under-represented for various cultural reasons we’ve discussed above.

As with any survey, there may be things uncounted, undercounted, or miscounted, and we have tried to note these limitations throughout this article.

One immediate application of this data is a resource for prospective students and those planning and revising formal programs. At minimum, this data provides general information about these 37 programs, along with some indication of special areas of emphasis—a compliment to DARIAH/EADH data. As we discussed earlier, this list should be more inclusive of DH throughout the globe, and that probably requires an international team fluent in the various languages of the programs. Following our inspection of DARIAH’s Registry, we believe it’s difficult to control the accuracy of such data in a centralized way. To address both of these challenges, we believe that updates to this data are best managed by the DH community, and to that end, we have created a GitHub repository at https://github.com/dhprograms/data where updates can be forked and pulled into a master branch. This branch will be connected to Tableau Public for live versions of visualizations similar to the ones included here. Beyond this technical infrastructure, our next steps include outreach to the community to ensure that listings are updated and inclusive in ways that go beyond our resources in this study.

Second, there are possibilities for studying program change over time using the archive of program webpages and course descriptions generated by this study. Capture of program and course information in the future might allow exploration of the growth of the field as well as changes in its activities. We believe that a different taxonomy or classification system might prove useful here, as well as a different method of coding. These are active considerations as we build the GitHub repository. We also note that this study may induce some effect (hopefully positive) in the way that programs and courses are described, perhaps pushing them to be more explicit about the nature and extent of DH activities.

Finally, we hope this study gives the community pause to consider how DH is described and represented, and how it is taught. If there are common expectations not reflected here, perhaps DHers could be more explicit about how we, as a community, describe the activities that make up DH work, at least in building our taxonomies and describing our formal programs and required courses. Conversely, if there are activities that seem overrepresented here, we might consider why those activities are prized in the field (and which are not) and whether this is the picture we wish to present publicly. We might further consider this picture in relationship to the cultural and political-economic contexts in which DH actually exists. Are we engaging with these larger structures? Do the activities of the field reflect this? Is it found in our teaching and learning, and in the ways that we describe those?

Acknowledgements

We are grateful to Allison Piazza for collecting initial data about some programs, as well as Craig MacDonald for advice on statistical analysis and coding methods. Attendees at the inaugural Keystone Digital Humanities Conference at the University of Pennsylvania Libraries provided helpful feedback on the ideas presented here. JITP reviewers Stewart Varner and Kathi Berens were helpful interlocutors for this draft, as were anonymous reviewers of a DH2017 conference proposal based on this work.

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Appendix A

List of Digital Humanities Programs in our Collected Data

  • Minor (undergraduate) in Digital Humanities, Australian National University
  • Minor (undergraduate) in Digital Humanities & Technology, Brigham Young University
  • Minor (undergraduate) in Interactive Arts and Science, Brock University
  • BA in Interactive Arts and Science, Brock University
  • MA in Digital Humanities (Collaborative Master’s), Carleton University
  • MA (program track) in Digital Humanities, CUNY Graduate Center
  • Minor (undergraduate) in Digital Humanities, Farleigh Dickinson University
  • BS in Digital Humanities, Illinois Institute of Technology
  • MPhil/PhD in Digital Humanities Research, King’s College London
  • MA in Digital Humanities, King’s College London
  • BA in Digital Culture, King’s College London
  • MA in Digital Humanities, Loyola University Chicago
  • Certificate (graduate) in Digital Humanities, Michigan State University
  • Specialization (undergraduate) in Digital Humanities, Michigan State University
  • MA in Digital Humanities, National University of Ireland Maynooth
  • PhD in Digital Arts and Humanities, National University of Ireland Maynooth
  • Certificate (graduate) in Digital Humanities, North Carolina State University
  • Certificate (graduate) in Digital Humanities, Pratt Institute
  • Certificate in Digital Humanities, Rutgers University
  • Certificate (graduate) in Digital Humanities, Stanford University
  • Certificate (graduate) in Digital Humanities, Texas A&M University
  • Certificate (graduate) in Book History and Digital Humanities, Texas Tech University
  • MPhil in Digital Humanities and Culture, Trinity College Dublin
  • Certificate (graduate) in Digital Humanities, UCLA
  • Minor (undergraduate) in Digital Humanities, UCLA
  • MA/MSc in Digital Humanities, University College London
  • PhD in Digital Humanities, University College London
  • MA in Humanities Computing, University of Alberta
  • Specialization (undergraduate) in Literature & the Culture of Information, University of California, Santa Barbara
  • Concentration (graduate) in Humanities Computing, University of Georgia
  • Concentration (undergraduate) in Humanities Computing, University of Georgia
  • Certificate (graduate) in Public Digital Humanities, University of Iowa
  • Certificate (graduate) in Digital Humanities, University of Nebraska-Lincoln
  • Certificate (graduate) in Digital Humanities, University of North Carolina at Chapel Hill
  • Certificate (graduate) in Digital Humanities, University of Victoria
  • Certificate (graduate) in Certificate in Public Scholarship, University of Washington
  • Minor (undergraduate) in Digital Humanities, Western University Canada

Appendix B

List of Programs in DARIAH/EADH Data

A table of European institutions and DH programs. For each program, the type (e.g., Bachelor’s, Master’s) is listed, as well as whether the program was listed by DARIAH, EADH, or both.
Figure 15: European institutions and DH programs

Appendix C

Data

In addition to creating a GitHub repository at https://github.com/dhprograms/data, we include the program data we collected and our term codings below. Since the GitHub data may be updated over time, these files serve as the version of record for the data and analysis presented in this article.

Data for “A Survey of Digital Humanities Programs”

About the Authors

Chris Alen Sula is Associate Professor and Coordinator of Digital Humanities and the MS in Data Analytics & Visualization at Pratt Institute School of Information. His research applies visualization to humanities datasets, as well as exploring the ethics of data and visualization. He received his PhD in Philosophy from the City University of New York with a doctoral certificate in Interactive Technology and Pedagogy.

S.E. Hackney is a PhD student in Library and Information Science at the University of Pittsburgh. Their research looks at the documentation practices of online communities, and how identity, ideology, and the body get represented through the governance of digital spaces. They received their MSLIS with an Advanced Certificate in Digital Humanities from Pratt Institute School of Information in 2016.

Phillip Cunningham has been a reference assistant and cataloger with the Amistad Research Center since 2015. He received a BA in History from Kansas State University and MSLIS from Pratt Institute. He has interned at the Schomburg Center’s Jean Blackwell Hutson Research and Reference Division, the Gilder-Lehrman Institute for American History, and the Riley County (KS) Genealogical Society. His research has focused on local history, Kansas African-American history, and the use of digital humanities in public history.

133

Teaching Literature Through Technology: Sherlock Holmes and Digital Humanities

Abstract

How do we incorporate technology into the contemporary classroom? How do we balance the needs of teaching literature with teaching students to use that technology? This article takes up “Digital Tools for the 21st Century: Sherlock Holmes’s London,” an introductory digital humanities class, as a case study to address these questions. The course uses the Holmes stories as a corpus on which to practice basic digital humanities methodologies and tools, including visualizations, digital archives and editions, mapping (GIS), and distant reading, in order to better understand the texts themselves. This approach lets students find new patterns in well-known texts, explore the function of space in literature, and historicize their own technological moment.

 

 

As Digital Humanities materializes in undergraduate classrooms, faculty face the problem of how to teach introductory methods courses: the umbrella term digital humanities covers such a wide array of practices—from building digital editions and archives to big data projects—that even defining the term is no easy task. For anyone trying to create an interdisciplinary digital humanities class, the challenges multiply: the course needs to be applicable to students in such diverse fields as History, English, Anthropology, Music, Graphic Design, or Education, all of which examine different corpora; yet it still needs a unifying concept and corpus so the students can see how applying concepts such as digital mapping or distant reading can spark new insights.

To address these issues, I created “Digital Tools for the 21st Century: Sherlock Holmes’s London,” which uses Sir Arthur Conan Doyle’s Sherlock Holmes stories as a corpus on which to practice basic digital humanities methodologies and tools. The Holmes stories provide the perfect set of texts for a DH class, as they are flexible enough for us to use them in every unit: we use visualization tools (such as Voyant and word trees) to look for patterns in words and in sentence structure within a story, build a digital archive of Holmes artifacts, make TEI-encoded digital editions of Holmes stories, create maps of where characters travel, and topic model all 56 short stories to find thematic patterns. With this structure, students learn some of the most important digital humanities methodologies, analyze the Holmes stories from multiple perspectives, and use the character of Holmes as a model for both humanistic and scientific inquiry.

The stories also facilitate an interdisciplinary approach: they touch on issues of gender, class, race, the arts, politics, empire, and law. This ensures that students from almost any field can find something relevant to their major. Perhaps most helpfully for this class, Holmes solves his cases not just through his quasi-supernatural cognitive abilities, but also through his mastery of Victorian technology, including the photograph, railroad, and daily periodicals. This focus on technology enables students to address the similarities between the industrial and digital revolutions: the anxieties that accompany the rise of blogs and Twitter echo Victorian concerns about the proliferation of print and periodicals, as both audiences were wary about the increased public voice such technologies could invite. These connections help students historicize their own technological moment and better understand both the Victorian period and the discourses around modern technology. The course begins with close-reading and discussion of four Holmes stories to introduce students to the central themes of the class and of Victorian studies, and we use these stories as our core texts with which we practice digital humanities methodologies, so students can see first-hand how visualizations, maps, archives, and distant reading can lead us to new interpretations.

Teaching these methodologies, from digital archives to mapping, requires a tripartite structure that I have dubbed “Read, Play, Build.” First, students read articles from books and blog posts about the pros and cons of each methodological approach. They then examine current projects to discuss the ways each approach enhances scholarly fields and poses new research questions. Each unit concludes with an in-class lab component, in which students build small projects on the Holmes stories using a well-known tool and analyze the result. This structure ensures that students receive both theoretical and practical experience with each methodology and can see first-hand its strengths and weaknesses.

This structure is particularly successful in the digital archives unit, in part because the Holmes stories themselves show the benefit of compiling archives: Holmes maintains an archive, or “index,” which he consults regularly. Watson explains its significance in the story “A Scandal in Bohemia,” which we read in class: “For many years he had adopted a system of docketing all paragraphs concerning men and things, so that it was difficult to name a subject or a person on which he could not at once furnish information” (Conan Doyle [1891] 2006, 5). Holmes’s compulsion to categorize and preserve is a central humanist task—we use and compile archives of our own (whether digital or physical) in the course of our research all the time—and in this story, we see Holmes using the archive to solve cases. After seeing the archive in action, used and compiled by one of the great fictional geniuses of Western literature, the students are more ready to build their own archives.

Before building, however, we begin by examining a seminal work of archive theory: Jerome McGann’s 1996 essay, “Radiant Textuality.” From it, students learn how digital archives preserve works in danger of disintegrating, grant access to works from all over the world to make scholarship more equitable, and enable interdisciplinary and multimodal scholarship by including audio and video in ways that conventional print scholarship cannot. Students then examine McGann’s famous digital project mentioned in the article, The Rossetti Archive, which includes scans of every known painting, sketch, poem, manuscript, and translation produced by Pre-Raphaelite artist Dante Gabriel Rossetti, as well as essays on the importance and critical history of each item. Once the students have learned how to evaluate archives from their study of The Rossetti Archive, they apply this knowledge themselves by adding to a class archive of Holmes artifacts at holmesiana.net. This archive is powered by the content management system Omeka: a tool that lets people easily create websites without needing web design or development experience. Omeka is particularly useful for this project because, unlike other content management systems, it is specifically designed for curating digital collections of objects that resemble online museum exhibits. For this assignment, students choose three items related to Holmes (e.g. images, video or audio clips, or websites), upload them to the archive, group them into a collection, and then create an “exhibit,” or an essay that uses the items as illustrations. These exhibits range from analyses of portrayals of Irene Adler across multiple adaptations to discussions of the soundtrack in the Robert Downey Jr. Sherlock Holmes movie. This assignment does more than just teach students how to use a tool: it helps them see the broad appeal of Holmes stories, their role in contemporary popular culture, and, most importantly, the potential for digital tools to change the medium in which we make our scholarly arguments.

We conclude our archive unit by using Book Traces, a tool invented by Andrew Stauffer at the University of Virginia. Book Traces collects examples of nineteenth-century marginalia, or traces of previous readers—including dedications, inscriptions, pressed flowers, newspaper clippings—from nineteenth-century books found in the stacks (not Special Collections) of college and university libraries. When users find these traces, they upload images of the traces (and transcriptions if possible) to booktraces.org, thus contributing to a crowdsourced archive of how nineteenth-century readers interacted with books. We work with Stephan Macaluso, a librarian at SUNY New Paltz, who teaches the students how to recognize Spencerian handwriting (as opposed to Copperplate or the Palmer Method) so students can figure out if the notes in the books were written before or after 1923. Students also learn how to identify notes written in steel-point pen or fountain pen compared with ballpoint to further aid them in dating the traces, before they are let loose in the stacks to find their examples. Even though only 2000 books in our library are from before 1923, my students have had great success finding items for Book Traces. For instance, one student found the book Shakespeare: The Man and his Stage with the inscription “To Barry Lupino . . . .a souvenir, Theatre Royal Huddersfield, July 16, 1923 from Alfred Wareing”: with some research, she was able to determine that Lupino was a British actor, and Wareing, a theatrical producer with a reputation for producing demanding productions and creating the Theatre Royal. From this, my student concluded that this book had been a gift from the producer to an actor in the production, and that the people involved in the production had used this book to influence their Shakespeare productions. During the course of this project in Fall 2015, my students uploaded the 400th unique volume into Book Traces, and were thanked by Andrew Stauffer himself over Twitter.

This project has multiple benefits. First, it introduces students to the library. Many of my students are in their first semester of college and have never done research, been in the stacks, or looked for a book by call number, and Book Traces turns a library day into a fun and educational scavenger hunt. Book Traces also teaches students about the importance of libraries, even in a digital world: since so many books are digital and since shelf space is expensive, many libraries are forced to sell or destroy books that have free copies online. This project demonstrates why each book is important, and why it is not sufficient to have an online edition only. The assignment also encourages students to rethink their definition of a book: it is not merely the words of a story or poem, but the physical object itself, with all the marks that tell its history and highlight the differences in how nineteenth-century and modern readers used books and understood works of literature. Finally, the project lets students participate in a high-profile digital humanities project: they apply their learning outside the confines of the classroom by crowdsourcing, collaborating with each other and with a librarian, communicating directly with a well-known scholar, and creating new knowledge that will further scholarship on the nineteenth century.

The class also uses simple visualization tools to learn more about Sherlock Holmes stories. For example, as an introduction to visualizations, students read articles about the pros and cons of word clouds. For any readers new to this phenomenon, word clouds are visualizations of word frequency in texts, in which words are larger the more times they appear. Students make word clouds of Holmes stories, write blog posts on their findings, and then discuss the results with their classmates. They have made several interesting observations, particularly with “A Scandal in Bohemia.” “Scandal” is the only work in the Holmes corpus involving Irene Adler, the only woman who outwits Holmes. Adler’s ingenuity causes Holmes to reevaluate his opinion of women: as Watson writes at the story’s end, Holmes “used to make merry over the cleverness of women, but I have not heard him do it of late” (Conan Doyle [1891] 2006, 15). One might imagine that a story that revolves around a woman and the worth of women would mention words related to women (such as “woman,” “women,” or “Miss”) at least as frequently, if not more so, than words relating to men, especially since the story begins and ends by foregrounding Adler’s gender.[1] However, the word cloud actually shows that, although much of the narrative revolves around finding Adler and her photograph, the story contains far more references to men than to women: “men,” “man,” “Mr.,” and “gentleman” occur 45 times, whereas “woman,” “women,” “lady,” and “miss” occur 27 times. This difference suggests that, while the text focuses on one woman’s femininity, its sentences themselves focus more on the actions of men.

A word cloud of “A Scandal in Bohemia” in which “Holmes” is the largest word, closely followed by “man” and “photograph.”

Figure 1: Word Cloud of “A Scandal in Bohemia”

 

Students wanted to investigate gender in “A Scandal in Bohemia” at a more sophisticated level than a word cloud allows, so they switched to “word trees,” which, as Wattenberg and Viégas (2008) have explained, are “graphical version[s] of the traditional ‘keyword-in-context’ method [that] enable[…] rapid querying and exploration of bodies of text.” Word trees provide a more granular display of sentence construction and patterns by showing how particular words appear in context: users upload a text, search for a word, and are shown a visualization of the words that appear immediately before or immediately after that word in the text. My students uploaded the text of “A Scandal in Bohemia” into Jason Davies’s word tree tool to compare how Conan Doyle used the words “Holmes” and “Adler.” For example, a search for “Holmes” demonstrates that his name is often followed by verbs of action: Holmes “whistled,” “caught,” “laughed,” “scribbled,” “dashed,” “rushed,” “staggered,” etc. Essentially, then, Holmes is characterized by his movements and actions in the story, even though his actions end up being fruitless, as Adler evades him.

2. A screenshot of Jason Davies’s Word Tree tool showing the word “Holmes” and all words that come immediately after it in the story “A Scandal in Bohemia”: “Holmes” is sometimes followed by punctuation (e.g. a period or comma), but usually by verbs (“whistled,” “caught,” “laughed,” etc.)

Figure 2: Word Tree with “Holmes” from “A Scandal in Bohemia”

 

The word “Holmes” is often preceded by “said,” “remarked,” “asked,” or by the rest of his name and title (e.g. “Mr. Sherlock Holmes”). Syntactically, then, throughout the story, Holmes is associated with his actions and speech, and has a high degree of agency.

3. A screenshot of Jason Davies’s Word Tree tool showing the word “Holmes” and all words that come immediately before it in the story “A Scandal in Bohemia”: “Holmes” is most often preceded by “Mr. Sherlock” or “said.”

Figure 3: Word Tree with “Holmes” from “A Scandal in Bohemia”

 

A search for “Adler,” however, shows that her name is only followed by a verb once: the word “is” (in the phrase “is married”). Even though she, like Holmes, takes action repeatedly in the story, those actions are not syntactically associated with her name, and in fact, her action is technically associated with losing her name (as she becomes Norton rather than Adler). “Adler” is most frequently followed immediately by punctuation: a question mark, commas, and periods. Unlike Holmes, then, her name is syntactically associated with pausing and stopping, and thereby with silence and passivity.

4. A screenshot of Jason Davies’s Word Tree tool showing the word “Adler” and all words that come immediately after it in the story “A Scandal in Bohemia”: “Adler” is usually followed by punctuation (comma, period, or question mark), and only once by a verb (“is”).

Figure 4: Word Tree with “Adler” from “A Scandal in Bohemia”

 

When we reverse the tree and see what comes before “Adler,” we see that every instance is about her name: “Adler” is always preceded by “of Irene,” “Irene,” “Miss,” or “née” (as in “Irene Norton, née Adler). Again, unlike Holmes, whose name was prefaced by words associated with speech (and only sometimes with his full name), Adler is linked to her name only, and not her words, which again decreases her agency and actions.

5. A screenshot of Jason Davies’s Word Tree tool showing the word “Adler” and all words that come immediately before it in the story “A Scandal in Bohemia”: “Adler” is usually preceded by “of Irene,” “Irene,” “Miss,” or “nee.”

Figure 5: Word Tree with “Adler” from “A Scandal in Bohemia”

 

From these visualizations, we can see that, while the story does feature a proto-feminist plot, in which an intelligent, remarkable woman defeats Holmes, its sentence structure does not endorse that standpoint. Instead, the sentence construction renders Adler as a passive figure whose agency is only exercised in marriage. Word trees help us complicate the conventional feminist interpretation of the text.

Visualization technologies can illuminate more than patterns in sentences: they can also provoke new insights about geography in texts. Holmes stories lend themselves to spatial analysis, as they are very invested in locations: Holmes, Watson, and the criminals they track down often travel across London and beyond, and the stories painstakingly describe the paths they traverse. “The Blue Carbuncle,” for example, mentions the exact streets Holmes and Watson walk through en route to Covent Garden. However, many students have never been to London, and they know even less about areas of London in the nineteenth century. To address this, students read articles about GIS (Geospatial Information Systems) to understand how digital mapping projects require plotting data on maps and looking for patterns, rather than just digitizing historical maps. Then, they learn how to use a number of nineteenth-century mapping projects: “The Charles Booth Online Archive” is a digitized, searchable version of Booth’s poverty maps that let users see the income level of each area of London; “Locating London’s Past” lets users map crime data from the Old Bailey archive in addition to data on coroners’ records, poor relief, and population data; “London Buildings and Monuments illustrated in the Victorian Web” includes images and descriptions of various London landmarks; and “Mapping Emotions in Victorian London” maps positive and negative emotions associated with streets and landmarks in London from passages in nineteenth-century novels.

Students then choose a location from one of the Holmes stories we discussed in class, research it using previously mentioned websites to compare Conan Doyle’s fictionalized account of the area with the historical spot, and then map the locations with either Mapbox or Google Maps and look for patterns. They analyze the connections and often come up with interesting results. For example, one student considered the significance of Leadenhall Street in “A Case of Identity.” In that story, a wine importer (Mr. Windibank) disguises himself in order to court and then abandon his stepdaughter at the altar so she would be heartbroken and never marry, and he could live off of the interest of her inheritance. The fake fiancé claimed to work in Leadenhall Street and had the stepdaughter address her letters to him to the post office there. One student’s research showed that Leadenhall Street was the headquarters of the East India Company until it was disbanded in 1861, and this prompted her to observe parallels between the former East India Company and Mr. Windibank: both were importers of foreign goods, both were very invested in profits, and both acted cruelly to obtain those profits and to control others.[2] Consequently, what initially seemed to be a small, insignificant geographic reference turned into a detail that illuminated a character’s moral failings and also a larger political argument.

These small-scale research projects are equally illuminating for fictional locations: students also realized that, in “A Scandal in Bohemia,” all streets or locations most associated with Irene Adler are fictional, whereas all other landmarks in the story existed. This discovery prompted a passionate discussion about geography and feminism in the text: students debated whether Conan Doyle was trying to avoid being sued for libel, to claim that an intelligent women like Adler could never really exist, or to dramatize Adler’s ability to slip through Holmes’s fingers by having her slip through our own (since she can never be mapped). Without these mapping technologies, students wouldn’t realize the ways in which questions of geography are inextricably related to class, gender, and other political issues.

The Sherlock Holmes focus is useful beyond its application to visualization and spatial analysis: the character of Holmes himself provides a valuable introduction to the history of technology and close-reading. In “A Case of Identity,” for instance, Holmes proves that the stepfather is the criminal and that the stepfather and the missing fiancé are the same person by examining typewritten letters sent by both, in which certain print characters had the same idiosyncrasies due to wear and tear on the keys: as Holmes says, “a typewriter has really quite as much individuality as a man’s handwriting. Unless they are quite new, no two of them write exactly alike. Some letters get more worn than others, and some wear only on one side. . . [I]n this note . . . in every case there is some little slurring over of the ‘e,’ and a slight defect in the tail of the ‘r’” (Conan Doyle 1891, 14). This quotation not only shows how technology solves the case, but also how, even within the mechanical, the human (and humanist) shines through. Other Holmes stories likewise unite Victorian technology and writing: in “The Blue Carbuncle,” Holmes tracks down the owner of a Christmas goose (and missing bowler hat) by advertising in widely-circulated Victorian newspapers, specifically the “Globe, Star, Pall Mall, St. James’s, Evening News Standard, [and the] Echo” (Conan Doyle 1892, 8), papers whose distribution was only made possible by advances in paper and printing technology. Throughout the Holmes canon, then, cases revolve around Victorian technological advances because of how dramatically these innovations changed forms and methods of communication. To modern readers, and especially to students, these inventions hardly seem to count as technology, because “the technological” today is so often synonymous with “the digital.” The Holmes stories function as a corrective to that attitude: they encourage students to rethink their definition of “technology” to better understand the Victorian period as well as their own time.

Holmes’s facility with technology also furthers our image of Holmes as an expert thinker: his observational skills and “deductive reasoning” are already famous in popular consciousness. He repeatedly insists on the scientific method and the importance of unbiased data gathering, famously saying in “A Scandal in Bohemia,” “It is a capital mistake to theorize before one has data. Insensibly one begins to twist facts to suit theories, instead of theories to suit facts” (Conan Doyle [1891] 2006, 3). Consequently, Holmes becomes a useful model for a digital humanist, especially when students may be unused to thinking about data in a humanities context.

In spite of his emphasis on scientific reasoning, Holmes is, at heart, quite the humanist. In addition to his love of the violin, opera, theater, French literature and archiving, Holmes also provides students with a metaphorical model of a close reader; this can be especially useful when teaching an interdisciplinary class full of students for whom close reading is a confounding, magical process. One particular passage, from “The Blue Carbuncle,” helpfully dramatizes Holmes’s analytical abilities. When examining a bowler hat, he first makes pronouncements about it, and then breaks down the close-reading process, explaining each step: “This hat is three years old. These flat brims curled at the edge came in then. It is a hat of the very best quality. Look at the band of ribbed silk and the excellent lining. If this man could afford to buy so expensive a hat three years ago, and has had no hat since, then he has assuredly gone down in the world” (Conan Doyle 1892, 4). To Watson (in this metaphor, the non-English major), it seems almost magical that someone could get so much meaning from such a small object (in this metaphor, the paragraph). And yet, by observing the style, the band, and later the hair and the size, and comparing those observations to his mental repository of expected characteristics and actions for people, Holmes figures out who must have owned the hat, much as we observe imagery patterns, sentence construction, and other narrative devices and compare them to our repository of genre or stylistic expectations to come up with a reading of a paragraph (or work as a whole).

Sherlock Holmes, then, brings together the humanities, the sciences, and the technological; the local and the global; and, in the classroom, the past and the present. Although we only read a small subset of the Holmes stories, they provide the perfect corpus for working across disciplinary boundaries, including History, Literature, Gender and Sexuality Studies, Sociology, Law, and Anthropology. As they are short stories, they are the perfect length for courses that contain students from majors beyond English, and their comparative brevity enables us to devote more time to the theoretical and practical import of digital humanities methodologies. Teaching Holmes stories with digital tools lets students build on the traditional humanities skills of close-reading, noting patterns, and using archives. It augments that scholarly toolkit by guiding students to a better understanding of rhetorical patterns and spatial significance, while also introducing them to techniques that have broad applications in their own fields beyond the nineteenth-century focus of this class. The stories’ own investment in technology lays the groundwork for the course’s own technological focus, and this enables us to thematically tie together the digital humanities methodologies with the Victorian works we study.

Naturally, this project has its challenges: for instance, students from the so-called “digital native” generation are often anything but. While some have specialized computer skills, including video editing or programming, most have only minimal experience, such as word processing or social media. Few have built their own projects, experimented with currently existing digital tools, or thought about how digital technologies can challenge conventional traditions of scholarship. Most students find digital technology intimidating, as they are aware of the limits of their knowledge and are afraid to experiment enough to figure out how programs work—an aspect of trial and error necessary to excel in digital humanities. To overcome these hurdles, I provide my students with detailed instructions, both written and verbal, for every lab day, and I meet outside of class with any students who need additional support. I also model trial and error throughout the semester: if a tool or project produces errors the first time, I explain the reasons I think it might be glitching and then walk them through the troubleshooting process (which often involves Google searches) so they can have the skills and confidence to try to address any stumbling blocks that might arise. I also update the syllabus each time I teach the course: for instance, I cut a unit on topic modeling the Holmes stories and graphing the results when I realized that students needed a comfort level with history and complex visualizations that was greater than I could provide in two weeks. I look forward to making additional alterations to the course as the field of digital humanities changes and new tools and methodologies become available.

The most recent incarnation of “Digital Tools for the 21st Century: Sherlock Holmes’s London,” from Fall 2015, has a course website that includes the syllabus, assignments, grading rubric, and student blogs; I hope they inspire others to borrow or build on my ideas. The approach can easily be adapted to a wide range of literary periods and authors, and is especially suited to works that reference real places and historical events, and works that have become part of pop culture. This structure teaches students history, literature, and technology in greater depth and with a greater degree of interaction and intellectual curiosity than often occurs in traditional classroom.

Appendix: Sample Assignments for “Digital Tools in the 21st Century: Sherlock Holmes’s London”

Online Assignment #2: Omeka Archive

Instructions:

As a class, we’re building an archive of items related to Sherlock Holmes stories (http://holmesiana.net/). Each student will contribute three related items, one collection (with your 3 items), and one exhibit (with a 300-word essay on the items) to the archive.

Due:

  1. Due 9/21 by 9:30am: Accept the Omeka invitation, create an account, and bring three related digital items for inclusion in a Holmes archive.
  2. Due9/25 by 8pm: Add three items, 1 collection, and 1 exhibit that contains a 300-word essay using the objects you added as images. Post links to the items, collection, and exhibit to the class blog.

Items:

These items can be anything at all: illustrations from the original Holmes stories, photographs of locations mentioned in the stories or of props in the movies, images of movie or TV show posters of adaptations, pictures of games based on Holmes, audio clips of theme songs of different Holmes adaptations, video clips of the credit sequences of different adaptations, etc. The only requirements are that the items involve Holmes and that you have the permission to put them online.

Copyright:

You CAN’T: upload a clip/poster from a TV show/movie/CD that you or a random YouTube user made

You CAN: use material from an official account (BBC, MGM) as long as you include a link (the image/clip URL) to the source.

Item Metadata:

For each item, you must write down the Title, Subject, Description, Creator, Publisher, a URL, and Item Type.

Getting Started:

  1. Check your email and look for an email from “A Study in Holmesiana Administrator vs hotrods.reclaimhosting.com <swafforj@newpaltz.edu>” with the subject heading is “Activate your account with the A Study in Holmesiana repository.” NOTE: Check your spam folder. It will probably be there.
  2. Open the email and click the link inside. You will be asked to create a password.
  3. Type your username (written in the email) and password to log in.

How to Add an Item:

(Modified from http://omeka.org/codex/Managing_Items_2.0)

  1. From your items page (net/admin/itemsclick the “Add an Item” button.
  2. This takes you to the admin/items/add page where you see a navigation bar across the top pointing you to different stages of adding an item.
  3. The first tab shows the Dublin Core metafields. Enter the Title, Subject, Description, Creator, and Publisher information.
  4. The Item Type Metadata tab lets you choose a specific item type for the object you are adding. Once you choose the type by using the drop-down menu, relevant metadata fields appear for you to complete.
    • If you have an image, select “Still Image” and put the URL of your image in the “External Image URL” field.
    • If you have a video, choose “Moving Image” and paste the embed code for the player in the “Player” field. Don’t know how to get the embed code? Follow these instructions.
  5. The Files tab lets you upload files to an item.
    • If you have an image, upload your image by clicking “Choose File” and selecting the file.
    • If you have a video from YouTube, you’ll need to make an image. Copy and paste the YouTube URL from the top of the webpage into this website, right-click on the image labeled “Normal Quality,” save it to the Desktop, and then upload it to Holmesiana.net through the Files menu.
  6. The Tags tab allows you add keyword tags to your item.
  7. IMPORTANT: Click the “Public” checkbox under “Add Item.”
  8. Click “Add Item” to add your item to Holmesiana.net

How to Build a Collection:

(Modified from http://omeka.org/codex/Managing_Collections)

  1. Next, you’ll group your items into a collection based on a similar theme.
  2. Come up with a name for your collection (e.g. “Irene Adler in Adaptations.”)
  3. Click on the “Collections” tab in the /admin interface top navigation bar. Any collections you create will be listed on the /admin/collections page.
  4. Click “Add a Collection.”
  5. Name and describe your collection.
  6. Click the “Public” checkbox to make this collection visible to the public.
  7. Be sure to click “Save Collection” to save your newly created collection.
  8. Next, assign items to a collection:
    1. Open an item you want to add to the collection.
    2. To the right of the page, under the “Add Item” button is a drop-down menu where you can assign your item to a collection. Remember, items can only belong to one collection.
  9. Be sure to click the “Add Item” button to save your data.

How to Build an Exhibit:

(Modified from http://omeka.org/codex/Plugins/ExhibitBuilder)

  1. Click on the Exhibits tab in the top nav bar of the Admin interface, and click the “Add Exhibits” button on the right side. You will arrive at an Exhibit Metadata page. Fill in the empty fields.
    • Exhibit Title: This is the title of the entire exhibit (e.g. “Irene Adler in Adaptations”).
    • Exhibit Slug (no spaces or special characters): This is the exhibit name as it appears in the website URL. “For example, “music” is the slug in http://holmesiana.net/exhibits/show/music
    • Exhibit Credits: These will appear with description on the public site. Put your name here.
    • Exhibit Description: Write a brief introduction to the entire exhibit that appears on the public site.
    • Exhibit Tags: Tags help associate exhibits with other items in your archive.
    • Exhibit is featured: Leave this blank.
    • Exhibit is public/not public: Check “Public.”
    • Exhibit Theme: By default, “Current Public Theme” is selected. DO NOT CHANGE THE THEME.
    • Use Summary Page: Uncheck the box. This will get rid of a title page for your exhibit.
  1. To proceed with your exhibit, you must create a page, so click“Add Page.”
  2. Give your page a title and a slug (e.g. “Adler Adaptations” for the title and “adler” for the slug).
  3. Next, you choose the layout for your exhibit. Since you’ll be writing 300 words about the objects in your archive, you’ll want to select “File with Text.” This lets you include images and a description about them.
  4. Select “Add New Content Block.”
  5. Now, you’re ready to add your text and items.
  6. Click the “Add Item” button, select your first item, click “Select Item,” give it a short caption (under a sentence), and click “Apply.”
  7. Type your text about the first item in the box labeled “Text” below.
  8. Click on the arrow next to the words “Layout Options.” Adjust the drop-down menus to change the position and size of your image.
  9. Repeat steps 5-9 for each item in your exhibit. Remember to click “Save Changes” frequently.
  10. Congrats! You made an exhibit! Click “Save Changes” one last time, then go to http://holmesiana.net, click “Browse Exhibits,” and find yours. Click on it and make sure you’re happy with how it looks.

Online Assignment #3: Book Traces

Instructions:

  1. Search the library catalogue for books published between 1820-1923 from the library stacks (not special collections) based on a certain topic (see list of topics below). Look through these books to find one with marginalia (annotations or marks) or inserts from the 19thcentury. Take pictures of up to five instances of marginalia or inserts in the book, fill out the information about your book and its marginalia, including the “description” field, on http://www.booktraces.org/, upload your photos, and submit your entry.

NOTE: If you have looked through 20 books from the 19th century without finding marginalia, you may stop searching, but you must still write a blog post.

  1. Write a 300-word blog post about the traces you found; provide information about the book it occurs in (title, author, publisher, etc.), describe the traces, include pictures of them, and include the link to your book on Book Traces. Explain what the traces have to do with the topic of the book and the pages on which they appear. If a trace includes a name or date, look up the person or date and provide any relevant info you can find (use Google). Here are sample blog posts about Book Traces written by undergraduates at Davidson College: http://sites.davidson.edu/dig350/category/prompts/prompt-3

If you can’t find any traces of previous readers, explain what search terms you used to find 19th century books, give some sample titles of books you looked at, and give some guesses about why books with your selected topic do not include any evidence of earlier readers.

The blog post and Book Traces submission are due by 9/30 by 8pm (6% of final grade).

USEFUL TIP: Book Traces states that participants have had the most luck finding markings in books from the PR or PS call numbers (British and American Literature), but it also recommends French and Spanish literature, history, religious texts, and philosophy.

Sample Traces:

Marginal notes, inscriptions, owner’s names, any other type of writing, drawing, bookmarks, inserts, clippings pasted into the book, photos, original manuscripts, letters.

Search Terms (grouped by category) in STL catalogue (http://library.newpaltz.edu):

  1. Literature, Poetry (or “Poetical Works”), Shakespeare, Impressions
  2. Women
  3. Antiquities
  4. Music (or Songs), Theater (and Theatre),
  5. Art, Fashion
  6. Travel, Empire, England,
  7. Science, Mathematics
  8. Law
  9. Religion
  10. History

Online Assignment #8: Victorian London Locations

Instructions:

In class, you’ll be split into three groups that correspond to the four Holmes stories we’ve read this semester. Choose a location from the Holmes story you’ve selected, research it using online scholarly sources on Victorian London, and write a blog post about how and why that background information about the location affects our understanding of the story.

Due:

11/8 by 8pm

Details:

  1. Choose one spot (not Baker Street) mentioned in the Holmes story you signed up for.
  2. Do a search for your street this digital map of Victorian London (http://maps.nls.uk/geo/explore/ – zoom=12&lat=51.5021&lon=-0.1032&layers=163) and then zoom in and take a screenshot.
  3. Use a combination of the following sites to learn about the area you have chosen:
  1. Write a blog post about what you’ve learned about the area and how it relates to the Holmes stories
  2. Include 3-4 specific details about the location
    b. Explain the location’s importance to the Holmes story, in terms of plot and theme
    c. Include screenshots and any other pictures you’ve found that you think will be helpful.

[1] The story begins with the sentence “To Sherlock Holmes she is always the woman” (1) and concludes with a restatement of that opening idea: “And when he speaks of Irene Adler, or when he refers to her photograph, it is always under the honorable title of the woman” (15)

[2] Conan Doyle again critiqued the East India Company’s unethical imperial project in a later work, The Mystery of Cloomber, set during the First Afghan War. In it, a Major-General in the East India Company massacres a group of Afridis on holy ground, and is punished for his crime years later.

Bibliography

Conan Doyle, Arthur. 1892. “The Adventure of the Blue Carbuncle.” The Strand Magazine 3 (13): 73-85. Internet Archive. Accessed October 15, 2015. https://archive.org/details/StrandMagazine13.

Conan Doyle, Arthur. 1891. “A Case of Identity.” The Strand Magazine 2 (9): 248-259. Internet Archive. Accessed October 15, 2015. https://archive.org/details/StrandMagazine9.

Conan Doyle, Arthur. (1891) 2006. “A Scandal in Bohemia.” Facsimile reproduction of The Strand Magazine 1: January 27, 2006. Stanford: Stanford Continuing Studies. Accessed October 15, 2015. http://sherlockholmes.stanford.edu/pdf/holmes_01.pdf.

McGann, Jerome. 1996. “Radiant textuality.” Victorian Studies: An Interdisciplinary Journal of Social, Political, and Cultural Studies 39 (3): 379.

Wattenberg, M., and F. B. Viégas. 2008. “The Word Tree, an Interactive Visual Concordance.” IEEE Transactions on Visualization and Computer Graphics 14 (6): 1221–28. doi:10.1109/TVCG.2008.172. Accessed October 15, 2015. http://hint.fm/papers/wordtree_final2.pdf.

Joanna Swafford is the Assistant Professor for Interdisciplinary and Digital Teaching and Scholarship at SUNY New Paltz, specializing in Digital Humanities, Victorian Literature and Culture, Sound, and Gender Studies. Her articles have appeared or are forthcoming in Debates in Digital Humanities, Provoke!: Digital Sound Studies,Victorian Poetry, and Victorian Review. She is the project director for Songs of the Victorians (http://www.songsofthevictorians.com/), Augmented Notes (http://www.augmentednotes.com/), and Sounding Poetry, and is the co-founder and coordinator of DASH (Digital Arts, Sciences, and Humanities) Lab at SUNY New Paltz. She is also Head of Pedagogical Initiatives for NINES.org (Networked Infrastructure for Nineteenth-Century Electronic Scholarship).

Featured Image "Nucleus cochlear implant Graeme Clark" courtesy of Flickr user adrigu.
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This Week: Issue 9 Submissions: Calling All Cyborgs!

Each week, a member of the JITP Editorial Collective assembles and shares the news items, ongoing discussions, and upcoming events of interest to us (and hopefully you). This week’s installment is edited by Carlos Hernandez and Tyler Fox.

 

Michael Chorost’s memoir Rebuilt: How Becoming Part Computer Made Me More Human is no cyborg valentine to technology. Chorost describes how, after he lost his hearing completely in 2001, he decided to undergo a radical surgery that would install a computer interface in his head that would interact with a computer he clipped onto his belt. With these, he would be able to hear again.

Well, “hear.” The interface between hardware and wetware took a long period of learning and adjustment. At the beginning of the process, the world Chorost heard made different sounds altogether: “In my experience,” writes Chorost, “paper made sounds like blap, snip,and vrrrrr, and if rudely treated, szzzzz. It didn’t go bingggg” (73). Different software for his computer-alternative hearing offered varying affordances; in a way, he was able to choose how he heard, which on the surface might sound like a cyber-blessing. But when every sound is a simulacrum, an ersatz version of the Platonic ideal of what you think sounds should sound like, you too might say, as Chorost does, “the implant [was] a tool that would enable me to do something which resembled hearing. It would not be hearing…. How bizarre” (79).

Chorost’s hearing never returned to what it had been prior to its loss. But his computer-assisted audition gave him a kind sound detection, one that proved useful, emotionally satisfying, and in the words of the book’s subtitle, humanizing. His vision for what humanity’s future could be–it’s a hard-one dream, arrived at only after a long katabasis–imagines a Haraway-esque incorporation (quite literally) of technology into our lives:

“When I think of the future of human potential in a hypertechnological age, I imagine a generation of people who have been educated to focus intensely on the world of matter and spirit, while also using powerful tools for mediating their perception of reality. They will bond with machines, but they will not be addicted to them. They will analyze while looking at art, and laugh while reading computer code. They will make exquisite use of floods of information, while not allowing themselves to be stunned into passivity” (181).

But such a thoughtful, critical, considered and salubrious relationship to technology will not happen by itself. Quite the contrary: we can expect Facebook to continue experimenting on its users (and issuing apologies after the fact); governments to continue tracking us through backdoors they pay corporations to create for them; and untold numbers of companies to continue collecting, in ways ranging from ignorant to willfully irresponsible, massive amounts of information from its users, only to have it stolen by hackers–to draw only three examples from the inexorable flood of news reports emerging about how increasingly, and how thoughtlessly, we lead our cyber lives.

As educators, our greatest ethical mandate is to create an informed and thinking citizenry. JITP exists to help us meet that obligation. We focus specifically on the interaction between technology and education, drawing from the educational traditions of critical pedagogy, constructivism, and the digital humanities. We are devoted leveraging both theory (writ large) and experimentation to serve as the twin foundations for best practices in the class. You can read more about our mission here.

We invite you to join us. We have a number of different formats to which you may submit your work to JITP, ranging in length and levels of formality. Full-length articles are peer-reviewed, but we don’t stop there; putting our own theories into practice, we work closely with authors in a pre-publication conversation about their work that our authors have found enriching and beneficial to their intellectual work (and you can see here and here [for the latter, jump to around 22:20 for soundbite!]).

Issue 9 has no theme; we welcome papers from all disciplines and all theoretical/experimental approaches. We promise you a thorough review process, and we seek not only to produce the best possible scholarship but to benefit you personally as a writer and researcher.

At one point in Rebuilt, Chorost reminds us that even chalk is technology. If we don’t believe him, he challenges us to try making our own. To my mind, that moment serves as not only a piece of wit, but a call to action: we are always already awash in technology. As educators, our job is to think critically about the technologies we employ, and to help our students understand our technology-inundated world. That’s why JITP exists, and why you should write with us.

P.S. Here’s an interview Michael Chorost conducted with NPR about Rebuilt.

 

Stark & Subtle Divisions
Graduate students from UMass Boston curate an Omeka site on desegregation in Boston.
http://bosdesca.omeka.net

Gender Equality in Science
A recent study indicates that poor nations are leading the way in gender equality in science.
http://www.scidev.net/global/gender/news/poor-nations-gender-equality-research.html

ECDS: 2016 Digital Scholarship Residency
ECDS is now accepting proposals for a 3-day digital scholarship residency at Emory University during the Spring semester 2016. Scholars from any discipline who use and promote digital scholarship methods in research and teaching are encouraged to apply.
https://scholarblogs.emory.edu/ecds/2015/09/09/ecds-2016-digital-scholarship-residency/

Editorial Violence…
http://www.theonion.com/article/4-copy-editors-killed-in-ongoing-ap-style-chicago–30806

Lastly, HASTAC/Futures Initiative is offering an online forum and live-streamed workshop on “Peer Mentoring and Student-Centered Learning,” part of The University Worth Fighting For #fight4edu series. http://bit.ly/peer-mentoring The forum will be open all month, and our live-streamed workshop will be this Thursday @ 1 pm EST.

 

Featured Image “Nucleus cochlear implant Graeme Clark” courtesy of Flickr user adrigu.

 

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