Tagged pedagogy

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Using Wikipedia in the Composition Classroom and Beyond: Encyclopedic “Neutrality,” Social Inequality, and Failure as Subversion

Abstract

Instructors who use Wikipedia in the classroom typically focus on teaching students how to adopt the encyclopedia’s content practices so that they can improve their writing style and research skills, and conclude with an Edit-a-Thon that invites them to address Wikipedia’s social inequalities by writing entries about minority groups. Yet these approaches do not sufficiently highlight how Wikipedia’s social inequalities function at the level of language itself. In this article, I outline a pedagogical approach that invites students to examine the ways that language and politics shape, and are shaped by, each other on Wikipedia. In the case of my Spring 2020 class, my approach encouraged students to examine the relationship between Wikipedia’s content policies and white supremacy, and Wikipedia’s claims to neutrality. I also draw on the Edit-A-Thon that I organized at the end of the unit to show how instructors can extend a critical engagement with Wikipedia by building in moments of failure, in addition to success. In the process, my pedagogical approach reminds instructors—especially in composition and writing studies—to recognize that it is impossible to teach writing decoupled from the politics of language.

Wikipedia has become a popular educational tool over the last two decades, especially in the fields of composition and writing studies. The online encyclopedia’s “anyone-can-edit” ethos emphasizes the collective production of informative writing for public audiences, and instructors have found that they can use it to teach students about writing processes such as citation, collaboration, drafting, editing, research, and revision, in addition to stressing topics such as audience, tone, and voice (Purdy 2009, 2010; Hood 2009; Vetter, McDowell, and Stewart 2019; Xing and Vetter 2020). Composition courses that use Wikipedia have thus begun to follow a similar pattern. Students examine Wikipedia’s history, examine the way its three content policies (Neutral point-of-view [NPOV], no original research, and verifiability) govern how entries are written and what research sources are cited, and discuss the advantages and limits of Wikipedia’s open and anonymous community of volunteer contributors. Then, as a final assignment, instructors often ask students to edit an existing Wikipedia entry or write their own. By contrast, instructors in fields like cultural studies, feminism, and postcolonialism foreground Wikipedia’s social inequalities by asking students to examine how its largely white and male volunteer editors have resulted in the regrettable lack of topics about women and people of color (Edwards 2015; Pratesi, Miller, and Sutton 2019; Rotramel, Parmer, and Oliveira 2019; Montez 2017; Koh and Risam n.d.). When they ask students to edit or write Wikipedia entries, these instructors also invite students to focus on minority groups or underrepresented topics, thus transforming the typical final assignment into one that mirrors the Edit-A-Thons hosted by activist groups like Art + Feminism.

The socially conscious concerns that instructors in cultural studies, feminism, and postcolonialism have raised are compelling because they foreground Wikipedia’s power dynamics. When constructing my own first-year undergraduate writing course at the University of Virginia, then, I sought to combine these concerns with the general approach instructors in composition and writing studies are using. In the Fall 2019 iteration of my course, my students learned about topics like collaborative writing and citation, in addition to examining academic and journalistic articles about the encyclopedia’s racial and gender inequalities. The unit concluded with a two-day Edit-A-Thon focused on African American culture and history. The results seemed fabulous: my brilliant students produced almost 20,000 words on Wikipedia, and created four new entries—one about Harlem’s Frederick Douglass Book Center and three about various anti-slavery periodicals.[1] In their reflection papers, many conveyed that Edit-A-Thons could help minority groups and topics acquire greater visibility, and argued that the encyclopedia’s online format accelerates and democratizes knowledge production.

Yet, as an instructor, I felt that I had failed to sufficiently emphasize how Wikipedia’s content policies also played a role in producing the encyclopedia’s social inequalities. Although I had devoted a few classes to those policies, the approaches I adapted for my unit from the composition and the cultural studies fields meant my students only learned how to adopt those policies—not how to critically interrogate them. The articles we read also obscured how these policies relate to the encyclopedia’s social inequalities because scholars and journalists often conceptualize such inequalities in terms of proportion, describing how there is more or less information about this particular race or that particular gender (Lapowsky 2015; Cassano 2015; Ford 2011; Graham 2011; John 2011). Naturally, then, that’s how our students learn to frame the issue, too—especially when the Edit-A-Thons we organize for them focus on adding (or subtracting) content, rather than investigating how Wikipedia’s inequalities also occur due to the way the encyclopedia governs language. Similar observations have been raised by feminist instructors like Leigh Gruwell, who has found that Wikipedia’s policies “exclude and silence feminist ways of knowing and writing” and argued that current pedagogical models have not yet found ways to invoke Wikipedia critically (Gruwell 2015).[2]

What, then, might a pedagogical model that does invoke Wikipedia critically look like? I sought to respond to this question by creating a new learning goal for the Wikipedia unit in the Spring 2020 iteration of my course. This time around, I would continue to encourage my students to use Wikipedia’s content policies to deepen their understanding of the typical topics in a composition course, but I would also invite them to examine how those policies create—and then conceal—inequalities that occur at the linguistic level. In this particular unit, we concentrated on how various writers had used Wikipedia’s content policies to reinscribe white supremacy in an entry about UVa’s history. The unit concluded with an Edit-A-Thon where students conducted research on historical materials from UVa’s Albert and Shirley Small Special Collections Library to produce a Wikipedia page about the history of student activism at UVa. This approach did not yield the flashy, tweet-worthy results I saw in the Fall. But it is—to my mind—much more important, not only because it is influenced by postcolonial theorists such as Gayatri Spivak, who has demonstrated that neutrality or “objectivity” is impossible to achieve in language, but also because it prompted my students to discuss how language and politics shape, and are shaped by, each other. In the process, this approach also reminds instructors—especially in composition and writing studies—to recognize that it is impossible to teach writing decoupled from the politics of language. Indeed, Jiawei Xing and Matthew A. Vetter’s recent survey of 113 instructors who use Wikipedia in their classrooms reveals that they did so to develop their students’ digital communication, research, critical thinking, and writing skills, but only 40% of those instructors prompted their students to engage with the encyclopedia’s social inequalities as well (Xing and Vetter 2020). While the study’s participant pool is small and not all the instructors in that pool teach composition and writing courses, the results remain valuable because they suggest that current pedagogical models generally do not ask students to examine the social inequalities that Wikipedia’s content policies produce. This article therefore outlines an approach that I used to invite my students to explore the relationship between language and social inequalities on Wikipedia, with the hope that other instructors may improve upon, and then interweave, this approach into existing Wikipedia-based courses today.

Given that this introduction (and the argument that follows) stress a set of understudied issues in Wikipedia, however, my overall insistence that we should continue using Wikipedia in our classrooms may admittedly seem odd. Wouldn’t it make more sense, some might ask, to support those who have argued that we should stop using Wikipedia altogether? Perhaps—but I would have to be a fool to encourage my students to disavow an enormously popular online platform that is amassing knowledge at a faster rate than any other encyclopedia in history, averages roughly twenty billion views a month, and shows no signs of slowing down (“Wikimedia Statistics – All Wikis” n.d.). Like all large-scale projects, the encyclopedia contains problems—but, as instructors, we would do better to equip our students with the skills to address such problems when they arise. The pedagogical approach that I describe in this paper empowers our students to identify some problems directly embedded in Wikipedia’s linguistic structures, rather than studying demographic data about the encyclopedia alone. Only when these internal dynamics are grasped can the next generation then begin to truly reinvent one of the world’s most important platforms in the ways that they desire.

1. Wikipedia’s Neutrality Problem

Wikipedia’s three interdependent content policies—no original research, verifiability, and neutral point of view—are a rich opportunity for students to critically engage with the encyclopedia. Neutral point of view is the most non-negotiable policy of the three, and the Wikipedia community defines it as follows:

Neutral point of view (NPOV) … means representing fairly, proportionately, and, as far as possible, without editorial bias, all the significant views that have been published by reliable sources about the topic … [it means] carefully and critically analyzing a variety of reliable sources and then attempting to convey to the reader the information contained in them fairly, proportionally … including all verifiable points of view. (“Wikipedia: Neutral Point of View” 2020)

Brief guidelines like “avoid stating opinions as facts” and “prefer nonjudgmental language” (“Wikipedia: Neutral Point of View” 2020) follow this definition. My students in both semesters fixated on these points and the overall importance of eschewing “editorial bias” when engaging with NPOV for the first time—and for good reason. A writing style that seems to promise fact alone is particularly alluring to a generation who has grown up on fake news and photoshopped Instagram bodies. It is no surprise, then, that my students responded enthusiastically to the first writing exercise I assigned, which asks them to pick a quotidian object and describe it from what they understood to be a neutral point of view as defined by Wikipedia. The resulting pieces were well-written. When I ran my eyes over careful descriptions about lamps, pillows, and stuffed animals, I glimpsed what Purdy and the composition studies cadre have asserted: that writing for Wikipedia does, indeed, provoke students to write clearly and concisely, and pay closer attention to grammar and syntax.

Afterwards, however, I asked my students to consider the other part of NPOV’s definition: that the writer should proportionally articulate multiple perspectives about a topic (“Wikipedia: Neutral Point of View” 2020). A Wikipedia entry about our planet, for example, would include fringe theories claiming the Earth is flat—but a writer practicing NPOV would presumably ensure that these claims do not carry what Wikipedians describe as “undue weight” over the scientific sources which demonstrate that the Earth is round. Interestingly, the Wikipedia community’s weighing rhetoric associates the NPOV policy with the archetypal symbol of justice: the scales. Wikipedians do not merely summarize information. By adopting NPOV, they appear to summarize information in the fairest way. They weigh out different perspectives and, like Lady Justice, their insistence on avoiding editorial bias seems to ensure that they, too, are metaphorically “blindfolded” to maintain impartiality.

Yet, my students and I saw how NPOV’s “weighing” process, and Wikipedia’s broader claims to neutrality, quickly unraveled when we compared a Wikipedia entry to another scholarly text about the same subject. Comparing and contrasting texts is a standard pedagogical strategy, but the exercise—when raised in relation to Wikipedia—is often used to emphasize how encyclopedic language differs from fiction, news, or other writing genres, rather than provoking a critical engagement with Wikipedia’s content policies. In my Spring 2020 course, then, I shifted the purpose of this exercise. This time around, we compared and contrasted two documents—UVa’s Wikipedia page and Lisa Woolfork’s “‘This Class of Persons’: When UVa’s White Supremacist Past Meets Its Future”—to study the limits of Wikipedia’s NPOV policy.

Both documents construct two very different narratives to describe UVa’s history. My students and I discovered that their differences are most obvious when they discuss why Thomas Jefferson established UVa in Charlottesville, and the role that enslaved labor played in constructing the university:

Wikipedia Woolfork
In 1817, three Presidents (Jefferson, James Monroe, and James Madison) and Chief Justice of the United States Supreme Court John Marshall joined 24 other dignitaries at a meeting held in the Mountain Top Tavern at Rockfish Gap. After some deliberation, they selected nearby Charlottesville as the site of the new University of Virginia. [24]. (“University of Virginia” 2020) On August 1, 1818, the commissioners for the University of Virginia met at a tavern in the Rockfish Gap on the Blue Ridge. The assembled men had been charged to write a proposal … also known as the Rockfish Gap Report. … The commissioners were also committed to finding the ideal geographical location for this undertaking [the university]. Three choices were identified as the most propitious venues: Lexington in Rockbridge County, Staunton in Augusta County, and Central College (Charlottesville) in Albemarle County. … The deciding factor that led the commissioners to choose Albemarle County as the site for the university was exclusively its proximity to white people. The commissioners observed, “It was the degree of the centrality to the white population of the state which alone then constituted the important point of comparison between these places: and the board … are of the opinion that the central point of the white population of the state is nearer to the central college….” (Woolfork 2018, 99–100)
Like many of its peers, the university owned slaves who helped build the campus. They also served students and professors. The university’s first classes met on March 7, 1825. (“University of Virginia” 2020) For the first fifty years of its existence, the university relied on enslaved labor in a variety of positions. In addition, enslaved workers were tasked to serve students personally. … Jefferson believed that allowing students to bring their personal slaves to college would be a corrosive influence. … [F]aculty members, however, and the university itself owned or leased enslaved people. (Woolfork 2018, 101)

Table 1. Comparison of Wikipedia and Woolfork on why Thomas Jefferson established UVa in Charlottesville, and the role that enslaved labor played in constructing the university

Although the two Wikipedia extracts “avoid stating opinions as facts,” they expose how NPOV’s requirement that a writer weigh out different perspectives to represent all views “fairly, proportionately, and, as far as possible” is precisely where neutrality breaks down. In the first pair of extracts, the Wikipedia entry gives scant information about why Jefferson selected Charlottesville. Woolfork’s research, however, outlines that what contributors summarized as “some deliberation” was, in fact, a discussion about locating the university in a predominantly white area. The Wikipedia entry cites source number 24 to support the summary, but the link leads to a Shenandoah National Park guide that highlights Rockfish Gap’s location, instead of providing information about the meeting. Woolfork’s article, by contrast, carefully peruses the Rockfish Gap Report, which was produced in that meeting.

One could argue, as one of my students did, that perhaps Wikipedia’s contributors had not thought to investigate why Jefferson chose Charlottesville, and therefore did not know of the Rockfish Gap Report’s existence—and that is precisely the point. The Wikipedia entry’s inclusion of all three Presidents and the Chief Justice suggests that, when “weighing” different sources and pursuing a range of perspectives about the university’s history, previous contributors decided—whether knowingly or unconsciously—that describing who was at the meeting was a more important viewpoint. They fleshed out a particular strand of detail that would cement the university’s links to American nationalism, rather than inquire how and why Charlottesville was chosen. An entry that looks comprehensive, balanced, well-cited, and “neutral,” then, inevitably prioritizes certain types of information based on the information and the lines of inquiry its contributors choose to expand upon.

The second pair of extracts continue to reveal the fractures in the NPOV policy. Although Woolfork’s research reveals that the university used enslaved labor for the first 50 years, the only time the 10,000-word Wikipedia entry mentions slavery is buried within the three sentences I copied above, which undercuts NPOV’s claims to proportionality. Moreover, the first sentence carefully frames the university’s previous ownership of slaves as usual practice (“like many of its peers”). It is revealing that the sentence does not gaze, as it has done for the majority of the paragraph where this extract is located, on UVa alone—but expands outward to include all universities when conveying this specific fact about slavery. Interestingly, these facts about enslaved labor also come before the sentence about the university’s first day of classes. This means that the entry, which has so far proceeded in chronological fashion, suddenly experiences a temporal warp. It places the reader within the swing of the university’s academic life when it conveys that students and professors benefitted from enslaved labor, only to pull the reader backwards to the first day of classes in the next sentence, as though it were resetting the clock.

I want to stress that the purpose of this exercise was not to examine whether Woolfork’s article is “better” or “truer” than the Wikipedia entry, nor was it an opportunity to undercut the writers of either piece. Rather, the more complex concept my students grappled with was how the article and the entry demonstrate why the true/false—or neutral/biased—binaries that Wikipedia’s content policies rely on are themselves flawed. One could argue that both pieces about UVa are “true,” but the point is that they are slanted differently. The Wikipedia entry falls along an exclusively white axis, while Woolfork’s piece falls along multiple axes—Black and white—and demonstrates how both are actually intertwined due to the university’s reliance on enslaved labor. From a pedagogical standpoint, then, this exercise pushed my students in two areas often unexplored in Wikipedia assignments.

First, it demonstrated to my students that although phrases like “editorial bias” in Wikipedia’s NPOV guidelines presuppose an occasion where writing is impartial and unadulterated, such neutrality does not—and cannot—exist. Instructors in composition studies often ask students to practice NPOV writing for Wikipedia to improve their prose. This process, however, mistakenly conveys that neutrality is an adoptable position even though the comparative exercise I outlined above demonstrates neutrality’s impossibility.

Second, the comparative exercise also demonstrated to my students that Wikipedia’s inequalities occur at the linguistic level as much as the demographic level. Instructors in cultural studies frequently host Edit-A-Thons for their students to increase content about minority cultures and groups on Wikipedia, but this does not address the larger problem embedded in NPOV’s “weighing” of different perspectives. The guidelines state that Wikipedians must weigh perspectives proportionally—but determining what proportionality is to begin with is up to the contributors, as evinced by the two Wikipedia extracts I outlined. Every time a writer weighs different sources and perspectives to write an entry, what they are really doing is slanting their entry along certain axes of different angles, shapes, shades, and sizes. In the articles my students read, the most common axis Wikipedians use, whether knowingly or unconsciously, is one that centers white history, white involvement, and white readers. For example, as my students later discovered in Wikipedia’s “Talk” page for the entry about UVa, when two editors were discussing whether the university’s history of enslaved labor rather than its honor code should be mentioned in the entry’s lead, one editor claimed that the enslaved labor was not necessarily “the most critical information that readers need to know” (“University of Virginia” 2020).[3] Which readers? Who do Wikipedians have in mind when they use that phrase? In this instance, we see how “weighing” different perspectives not only leads one to elevate one piece of information over another, but also one type of reader over another.

As instructors, we need to raise these questions about audience, perspective, and voice in Wikipedia for our students. It is not so much that we have not covered these topics: we just haven’t sufficiently asked our students to engage with the social implications of these topics, like race (and, as Gruwell has said so cogently, gender). One way to begin doing so is by inflecting our pedagogical approaches with the discoveries in fields such as postcolonial studies and critical race studies. For example, my pedagogical emphasis on the impossibility of neutrality as I have outlined it above is partially indebted to critics like Gayatri Spivak. Her work has challenged the western critic’s tendency to appear as though they are speaking from a neutral and objective perspective, and demonstrated how these claims conceal the ways that such critics represent and re-present a subject in oppressive ways (Spivak 1995). Although her scholarship is rooted in deconstructionism and postcolonial theory, her concerns about objectivity’s relationship to white western oppression intersects with US-based critical race theory, where topics like objectivity are central. Indeed, as Michael Omi and Howard Winant have explained, racism in the United States proliferated when figures like Dr. Samuel Morton established so-called “objective” biological measures like cranial capacity to devalue the Black community while elevating the white one (Omi and Winant 1994).

I mention these critics not to argue that one must necessarily introduce a piece of advanced critical race theory or postcolonial theory to our students when using Wikipedia in the composition classroom (although this would of course be a welcome addition for whoever wishes to do so). After all, I never set Spivak’s “Can The Subaltern Speak?” as reading for my students. But what she revealed to me about the impossibility of neutrality in that famous paper prompted me to ask my students about Wikipedia’s NPOV policy in our class discussions and during our comparative exercise, rather than taking that policy for granted and inviting my students to adopt it. If instructors judiciously inflect their pedagogical practices with the viewpoints that critical race theory and postcolonial theory provide, then we can put ourselves and our students in a better position to see how digital writing on sites like Wikipedia are not exempt from the dynamics of power and oppression that exist offline. Other areas in critical race theory and postcolonial theory can also be brought to bear on Wikipedia, and I invite others to uncover those additional links. Disciplinary boundaries have inadvertently created the impression that discoveries in postcolonialism or critical race theory should concern only the scholars working within those fields, but the acute sensitivity towards power, marginalization, and oppression that these fields exhibit mean that the viewpoints their scholars develop are relevant to any instructor who desires to foster a more socially conscious classroom.

2. The Edit-a-Thon: Failure as Subversion

Composition classes that use Wikipedia usually conclude with an assignment where students are invited to write their own entry. For cultural studies courses in particular, students address the lack of content about minority cultures or groups by participating in a themed Edit-A-Thon organized by their instructor. These Edit-A-Thons mirror the Edit-A-Thons hosted by social justice organizations and activism groups outside of the university. These groups usually plan Edit-A-Thons in ways that guarantee maximum success for the participants because many are generously volunteering their time. Moreover, for many participants, these Edit-A-Thons are the first time where they will write for Wikipedia, and if the goal is to inspire them to continue writing after the event, then it is crucial that their initial encounter with this process is user-friendly, positive, and productive. This is why these events frequently offer detailed tutorials on adopting Wikipedia’s content policies, and provide pre-screened secondary source materials that adhere to Wikipedia’s guidelines about “no original research” (writing about topics for which no reliable, published sources exist) and “verifiability” (citing sources that are reliable). Indeed, these thoughtful components at the Art + Feminism Edit-A-Thon event I attended a few years ago at the Guggenheim Museum ensured that I had a smooth and intellectually stimulating experience when I approached Wikipedia as a volunteer writer for the first time. It was precisely because this early experience was so rewarding that Wikipedia leapt to the forefront of my mind when I became an instructor, and was searching for ways to expand student interest in writing.

It is because I am now approaching Wikipedia as an instructor rather than a first-time volunteer writer, however, that I believe we can amplify critical engagement with the encyclopedia if we set aside “success” as an end goal. Of course, there is no reason why one cannot have critical engagement and success as dual goals, but when I was organizing the Edit-a-Thon in my class, I noticed that building in small instances of “failure” enriched the encounters that my students had with Wikipedia’s content policies.

The encyclopedia stipulates that one should not write about organizations or institutions that they are enrolled in or employed by, so I could not invite my students to edit the entry about UVa’s history itself. Instead, I invited them to create a new entry about the history of student activism at UVa using materials at our library.[4] When I was compiling secondary sources for my students, however, I was more liberal with this list in the Spring than I was in the Fall. Wikipedians have long preferred secondary sources like articles in peer-reviewed journals, books published by university presses or other respected publishing houses, and mainstream newspapers (“Wikipedia: No Original Research” 2020) to ensure that writers typically center academic knowledge when building entries about their topic. Thus, like the many social justice and non-profit organizations who host Edit-A-Thons, for Fall 2019 I pre-screened and curated sources that adhered to Wikipedia’s policies so that my students could easily draw from them for the Edit-A-Thon.

In Spring 2020, however, I invited my students to work with a range of primary and secondary sources—meaning that some historical documents like posters, zines, and other paraphernalia, either required different reading methods than academically written secondary sources, or were impossible to cite because to write about them would constitute as “original research.” Experiencing the failure to assimilate other documents and forms of knowledge that are not articulated as published texts can help students interrogate Wikipedia’s lines of inclusion and exclusion, rather than simply taking them for granted. For example, during one particularly memorable conversation with a student who was studying hand-made posters belonging to student activist groups that protested during UVa’s May Days strikes in 1950, she said that she knew she couldn’t cite the posters or their contents, but asked: “Isn’t this history, too? Doesn’t this count?”

By the end of the Spring Edit-a-Thon, my students produced roughly the same amount of content as the Fall class, but their reflection papers suggested that they had engaged with Wikipedia from a more nuanced perspective. As one student explained, a Wikipedia entry may contain features that signal professional expertise, like clear and formal prose or a thick list of references drawn from books published by university presses and peer-reviewed journals, but still exclude or misconstrue a significant chunk of history without seeming to do so.

A small proportion of my students, however, could not entirely overcome one particular limitation. Some continued describing Wikipedia’s writing style as neutral even after asserting that neutrality in writing was impossible in previous pages of their essay. It is possible that this dissonance occurred accidentally, or because such students have not yet developed a vocabulary to describe what that style was even when they knew that it was not neutral. My sense, however, is that this dissonance may also reflect the broader (and, perhaps, predominantly white) desire for the fantasy of impartiality that Wikipedia’s policies promise. Even if it is more accurate to accept that neutrality does not exist on the encyclopedia, this knowledge may create discomfort because it highlights how one has always already taken up a position on a given topic even when one believes they have been writing “neutrally” about it, especially when that topic is related to race. Grasping this particular point is perhaps the largest challenge facing both the student—and the instructor—in the pedagogical approach I have outlined.

Notes

[1] The results for the Fall 2019 Edit-A-Thon are here. The results for the Spring 2020 Edit-A-Thon are here.

[2] Some of those in composition studies, like Paula Patch and Matthew A. Vetter, partially address Gruwell’s call. Patch, for example, has constructed a framework for critically evaluating Wikipedia that prompts students to focus on authorship credibility, reliability, interface design, and navigation (Patch 2010), often by comparing various Wikipedia entries to other scholarly texts online or in print. By contrast, Vetter’s unit on Appalachian topics on Wikipedia focused on the negative representations of the region within a larger course that sought to examine the way that Appalachia is continually marginalized in mainstream media culture (Vetter 2018).

[3] An extract from the Talk page conversation:

Natureium removed the mention of slavery from the lead as undue. I don’t see why that fact would be undue, but the dozens and dozens of other facts in the lead are not. I mean, the university is known for its student-run honor code? Seriously? (None of the sources in the section on that topic seem to prove that fact.) In addition, I see language in the lead such as “UVA’s academic strength is broad”—if there’s work to be done on the lead, it should not be in the removal of a foundation built with slave labor. If anything, it balances out what is otherwise little more than a jubilation of UvA that could have been written by the PR department. Drmies (talk) 17:40, 18 September 2018 (UTC)

I think this is an area where we run into a difficult problem that plagues projects like Wikipedia that strive to reflect and summarize extant sources without publishing original research. As a higher ed scholar I agree that an objective summary of this (and several other U.S.) university [sic] would prominently include this information. However, our core policies restrict us from inserting our own personal and professional judgments into articles when those judgments are not also matched by reliable sources. So we can’t do this until we have a significant number of other sources that also do this. (I previously worked at a research center that had a somewhat similar stance where the director explained this kind of work to some of us as “we follow the leading edge, we don’t make it.”) ElKevbo (talk) 19:36, 18 September 2018 (UTC)

But here, UvA has acknowledged it, no? Drmies (talk) 20:52, 18 September 2018 (UTC)

Yes and there are certainly enough reliable sources to include this information in the article. But to include the information in the lede is to assert that it’s the most critical information that readers need to know about this subject and that is a very high bar that a handful of self-published sources are highly unlikely to cross. Do scholars and other authors include “was built by slaves” when they first introduce this topic or summarize it? If not, we should not do so. ElKevbo (talk) 21:27, 18 September 2018 (UTC)

[4] The COVID-19 pandemic, which began toward the end of our Edit-A-Thon, meant that my students and I were unable to clean up the draft page and sufficiently converse with other editors who had raised various concerns about notability and conflict of interest, so it is not yet published on Wikipedia. We hope to complete this soon. In the meantime, I want to note that had the pandemic not occurred, I would have presented the concerns of these external editors to my students, and used their comments as another opportunity to learn more about the way that Wikipedia prioritizes certain types of knowledge. The first concern was the belief that the history of student activism at UVa was not a notable enough topic for Wikipedia because there was not enough general news coverage about it. Although another editor later refuted this claim, the impulse to rely on news coverage to determine whether a topic was notable enough is interesting within the context of student activism, and other social justice protests more broadly. Activist movements are galvanized by the very premise that a particular minority group or issue has not yet been taken seriously by those in power, or by the majority of a population. Some protests, like the Black Lives Matter movement and Hong Kong’s “Revolution of our Times,” have gained enough news coverage across the globe to count as notable topic. Does that mean, however, that protests on a smaller scale, and with less coverage, are somehow less important?

The second concern about conflict of interest also raises another question: Does the conflict of interest policy prevent us (and others) from fulfilling UVa’s institutional responsibility to personally confront our university’s close relationships to enslaved labor, white supremacy, and colonization, and foreground the activist groups and initiatives within UVa that have tried to dismantle these relationships? If so, will—or should—Wikipedia’s policy change to accommodate circumstances like this? These are questions that I wish I had the opportunity to pose to my students.

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Spivak, Gayatri Chakravorty. 1995. “Can the Subaltern Speak?” In The Post-Colonial Studies Reader, edited by Bill Ashcroft, Gareth Griffiths, and Helen Tiffin. 28–37. 2nd ed. Oxford: Routledge.

Wikipedia. 2020.“University of Virginia.” Last modified 2020. In Wikipedia. https://en.wikipedia.org/w/index.php?title=University_of_Virginia&oldid=965972109.

Vetter, Matthew A. 2018. “Teaching Wikipedia: Appalachian Rhetoric and the Encyclopedic Politics of Representation.” College English 80, no. 5: 397–422.

Vetter, Matthew A., Zachary J. McDowell, and Mahala Stewart. 2019. “From Opportunities to Outcomes: The Wikipedia-Based Writing Assignment.” Computers and Composition 59: 53–64.

Wikipedia. “Wikimedia Statistics – All Wikis.” n.d. Accessed October 13, 2020. https://stats.wikimedia.org/#/all-projects.

Wikipedia. “Wikipedia:Neutral Point of View.” 2020. https://en.wikipedia.org/w/index.php?title=Wikipedia:Neutral_point_of_view&oldid=962777774.

Wikipedia. “Wikipedia:No Original Research.” 2020. https://en.wikipedia.org/w/index.php?title=Wikipedia:No_original_research&oldid=966320689.

Woolfork, Lisa. 2018. “‘This Class of Persons’: When UVA’s White Supremacist Past Meets Its Future.” In Charlottesville 2017: The Legacy of Race and Inequity, edited by Claudrena Harold and Louis Nelson. Charlottesville: UVA Press.

Xing, Jiawei, and Matthew A. Vetter. 2020. “Editing for Equity: Understanding Instructor Motivations for Integrating Cross-Disciplinary Wikipedia Assignments.” First Monday 25, no. 6. https://doi.org/10.5210/fm.v25i6.10575.

Acknowledgments

My thanks must go first to John Modica, my wonderful friend and peer. I am so grateful for his insightful suggestions and constant support when I was planning this Wikipedia unit, for agreeing to pair up his students with mine for the ensuing Spring 2020 Edit-A-Thon and for one of our discussion sessions, and for introducing me to Lisa Woolfork’s excellent article when I was searching for a text for the compare and contrast exercise. I am also indebted to UVa’s Wikimedian-in-Residence, Lane Rasberry, and UVa Library’s librarians and staff—Krystal Appiah, Maggie Nunley, and Molly Schwartzburg—for their help when I hosted my Edit-A-Thons; Michael Mandiberg and Linda Marci for their detailed and rigorous readers’ comments; John Maynard for his smart feedback; Brandon Walsh for his encouragement from start to finish; Kelly Hammond, Elizabeth Alsop, and the editorial staff at JITP; UVa’s Writing and Rhetoric Program for their support; and all of my ENWR students in Fall 2019 and Spring 2020, and John Modica’s Spring 2020 ENWR students as well.

About the Author

Cherrie Kwok is a PhD Candidate and an Elizabeth Arendall Tilney and Schuyler Merritt Tilney Jefferson Fellow at the University of Virginia. She is also the Graduate English Students Association (GESA) representative to UVa’s Writing and Rhetoric Program for the 2020–21 academic year. Her interests include global Anglophone literatures (especially from the Victorian period onwards), digital humanities, poetry, and postcolonialism, and her dissertation examines the relationship between anti-imperialism and late-Victorian Decadence in the poetry and prose of a set of writers from Black America, the Caribbean, China, and India. Find out more about her here.

The opening header of the first episode of Ulysses in The Little Review (photograph by the author from the copy in the Special Collections and Archives of Grinnell College).
1

Numbering Ulysses: Digital Humanities, Reductivism, and Undergraduate Research

Abstract

Ashplant: Reading, Smashing, and Playing Ulysses, is a digital resource created by Grinnell College students working with Erik Simpson and staff and faculty collaborators.[1] In the process of creating Ashplant, the students encountered problems of data entry, some of which reflect the general difficulties of placing humanistic materials in tabular form, and some of which revealed problems arising specifically from James Joyce’s experimental techniques in Ulysses. By presenting concrete problems of classification, the process of creating Ashplant led the students to confront questions about the tendency of Digital Humanities methods to treat humanistic materials with regrettably “mechanistic, reductive and literal” techniques, as Johanna Drucker puts it. It also placed the students’ work in a century-long history of readers’ efforts to tame the difficulty of Ulysses by imposing numbering systems and quasi-tabular tools—analog anticipations of the tools of digital humanities. By grappling with the challenges of creating the digital project, the students grappled with the complexity of the literary material but found it difficult to convey that complexity to the readers of the site. The article closes with some concrete suggestions for a self-conscious and reflexive digital pedagogy that maintains humanistic complexity and subtlety for student creators and readers alike.

In calculating the addenda of bills she frequently had recourse to digital aid.
—James Joyce, Ulysses (17.681–82), describing Molly Bloom[2]

The growth of the Digital Humanities has been fertilized by widespread training institutes, workshops, and certifications of technical skills. As we have developed those skills and methods, we DHers have also cultivated a corresponding skepticism about their value. Katie Rawson and Trevor Muñoz, for example, write that humanists’ suspicions of data cleaning “are suspicions that researchers are not recognizing or reckoning with the framing orders to which they are subscribing as they make and manipulate their data” (Rawson and Muñoz 2019, 280–81). Similarly and more broadly, Catherine D’Ignazio and Lauren Klein describe in Data Feminism the need for high-level critique when our data does not fit predetermined categories—to move beyond questioning the categories to question “the system of classification itself” (D’Ignazio and Klein 2020, 105). When we have “recourse to digital aid,” to reappropriate Joyce’s phrase from the epigraph above, we break fluid, continuous (analog) information into discrete units. In the process, we gain computational tractability. What do we lose? What do we lose, especially, when we use digital tools in humanistic teaching, where we value the cultivation of fluidity and complexity? These recent critiques build on foundational work such as Johanna Drucker’s earlier indictment of the methods of quantitative DH:

Positivistic, strictly quantitative, mechanistic, reductive and literal, these visualization and processing techniques preclude humanistic methods from their operations because of the very assumptions on which they are designed: that objects of knowledge can be understood as self-identical, self-evident, ahistorical, and autonomous. (Drucker 2012, 86)

The problems that Drucker identifies echo the distinction that constitutes the category of the digital itself: whereas analog information exists on a continuous spectrum, digital data becomes computationally tractable by creating discrete units that are ultimately binary. Tractability can require a loss of complexity. One of Drucker’s examples involves James Joyce’s Ulysses: she evokes the history of mapping the novel’s Dublin as a signature instance of the “grotesque distortion” that can occur when we use non-humanistic methods to transform the materials of imaginative works (Drucker 2012, 94). At their worst, such methods can operate like the budget of Bloom’s day in Ulysses, which is an accounting of a complex set of interactions that obscures at least as much as it reveals, mainly by sweeping messy expenditures into a catch-all category called “balance” (17.1476). Making the numbers add up can render complexity invisible.[3]

I agree with Drucker’s point, albeit with some discomfort, as I am also the faculty lead of a digital project that involves mapping Ulysses, albeit in a different way. In this essay, I take up the pre-digital and digital history of transforming information about Joyce’s novel into structured data. Then I consider the concrete application of those methods in Ashplant: Reading, Smashing, and Playing Ulysses, a website that shares the scholarship of my Grinnell College students. Working on the site has brought us into the history of numbering Ulysses, for better and for worse, and shown us how Ulysses specifically—more than most texts—resists and undermines the very processes that give digital projects their analytical power. In creating Ashplant, we have found that undergraduate research provides an especially generative environment for breaking down the “unproductive binary relation,” in Tara McPherson’s words, between theory and practice in the digital humanities (Macpherson 2018, 22).

Numbering Ulysses from The Little Review to the Database

Although created with twenty-first–century digital technologies, Ashplant takes part in a tradition that has built over the full century since the publication of Ulysses. Readers of Joyce’s text have long sought to discipline its complexity by creating reading aids structured like tabular data. That process begins with numbering: facing a novel that sometimes runs for many pages without a paragraph break, we readers have given ourselves a unique, identifying value for each line of the text. In database architecture, such a value is called—with unintentionally Joycean overtones—a primary key.[4] The primary key for Ulysses assigns the lines a value based on episode and line numbers. In its most conventional form, the line numbering is based on the Gabler edition of the novel. The episode-line key lets us point, for instance, to “Ineluctable modality of the visible”—the first line of the third episode—as 3.1.

Ulysses is unusual in having such a reliably fixed convention for a work of prose. Prose normally resists stable line numbering because its line breaks change in response to variations of typesetting that we do not normally read as meaningful; thus arises the variation among editions of Shakespeare’s plays in the line numbering of prose passages. The difficulty of reading Ulysses, however, creates a desire for reliably numbered reference points, for stable ground upon which communities of readers can gather. Such numbering imposes orderly hierarchy upon a text that implicitly and explicitly resists the concept and practices of orderly hierarchy. The early history of numbering the chapters and pages of Ulysses reveals our modern standardization—and by extension the structured data in Ashplant—as the product of a century-old conflict between printed versions of Ulysses and efforts of readers to retrofit the text into tractable data.

The serialization of Ulysses in The Little Review gave readers their first opportunity to grasp Joyce’s text with names and numbers. In the first issue containing part of Ulysses, the numbers begin: issue V.11, for March 1918. The Table of Contents reads, “Ulysses, 1.” The heading of the piece itself, on three lines, is “ULYSSES / JAMES JOYCE / Episode 1.”

The opening header of the first episode of Ulysses in The Little Review, volume 5, number 11, March 1918.
Figure 1. The opening header of the first episode of Ulysses in The Little Review (photograph by the author from the copy in the Special Collections and Archives of Grinnell College).

The 1922 Shakespeare and Company edition removes the episode numbers of the Little Review installments and, indeed, removes most signposting numbers altogether. The volume has no table of contents. In the front matter, the sole indication of a section or chapter number is a page containing only the roman numeral I, placed a bit above and to the left of the center of the page.

Figure 2. The Shakespeare and Company page with only the roman numeral “I” (Joyce, 1922).

This page is preceded by one blank page and followed by another, after which the main text of the novel begins, with no chapter title or episode number.

The beginning of the first episode in the Shakespeare and Company edition, showing no numbering or other header above the text.
Figure 3. The beginning of the first episode in the Shakespeare and Company edition (Joyce, 1922).

The page has no number, either. The following page is numbered 4, so the reader can infer that this is page three, and that the page with the roman numeral I has also been page one of the book. Episodes two and three are also unnumbered, so the reader can infer retrospectively that the roman numeral one indicated a section rather than a chapter or episode number. At this point, that is to say, the only stable numbering from The Little Review—the episode numbers—has disappeared entirely and been replaced by section numbers (just three for the whole book) that reveal their signification only gradually.

To fill the void of stable numbering, early readers of Ulysses relied on supplemental texts that have structured the naming and numbering conventions of the text ever since: the two schemata that Joyce hand-wrote for Carlo Linati and Stuart Gilbert in 1920 and 1921, respectively. The schemata have retained their power in part because of the tantalizing (apparent) simplicity of their form: they organize information about the novel in a structure closely resembling that of a spreadsheet or relational database table. Both schemata use the novel’s eighteen episodes as their records, or tuples—the rows that act essentially as entries in the database—and both populate each record with data corresponding to a series of columns largely but not entirely shared between the two schemata. The relational structure of the Linati schema, for example, has a record for the first episode that identifies it with the number “1,” the title “Telemachus,” and the hour of “8–9” (Ellmann 1972).

Today, any number of websites re-create the schemata by making the quasi-tabular structure fully tabular, as does the Wikipedia page for the Linati schema (“Linati Schema for Ulysses”).

A screenshot of the Linati schema in Wikipedia, showing the tabular structure of the data in the web page.
Figure 4. A screenshot of the Linati schema in Wikipedia. (https://en.wikipedia.org/wiki/Linati_schema_for_Ulysses).

 

Joyce’s sketches mimic tabular data so neatly that many later versions of the schemata put them in tabular structure without comment. The episode names and numbers again prove their utility: though the two schemata contain different columns, a digital version can join them by creating a single, larger table organized by episode.[5]

Organizing information by episode number has become standard practice in analog and digital supplements to Ulysses. In the analog tradition, readers have long used supplemental materials, organized episode by episode, to assist in the reading of the novel. An offline reader might prepare to read episode three, for instance, by reading a brief summary of the episode on Wikipedia, then consulting the schemata entries for the episode in Richard Ellmann’s Ulysses on the Liffey, then reading the longer summary in Harry Blamires’s New Bloomsday Book. In each case, that reader would look for materials associated with episode number three or the associated name “Proteus.” As much as any other work of literature, Ulysses invites that kind of hand-crafted algorithm for the reading process, all organized by the supplements’ adoption of conventional episode numbers and, often, the Gabler edition’s line numbers as well.

Digital projects, including Ashplant, rely on these episode and line numbers even more fundamentally. One section of Ashplant—the most conventional section—is called “Ulysses by episode.” It organizes and links to resources created by other writers and scholars, from classic nodes of reading Ulysses such as the Linati and Gilbert schemata to contemporary digital projects such as Boston College’s “Walking Ulysses” maps and the textual reproductions of the Modernist Versions Project.[6] This part of Ashplant, like those digital supplements to Ulysses and a long list of others, relies on the standard numerical organization: it has eighteen sections, corresponding to the eighteen episodes of the novel.

The underlying structure of these pages illustrates the importance of the episode number as a primary key: at the level of HTML markup, all eighteen pages point to the same file (“episode.php”) and therefore contain the same code.[7] The only change that happens when the user moves from the page about episode one to that for episode two, for example, is that the value of a single variable, “episode_number,” changes from “01” to “02.” Based on that variable, the page changes the information it displays, mainly by altering database calls that say, essentially, “Look at this database table and give me the information in the row where episode_number equals” the value of that variable. The database call looks like this, with emphasis added:

/* Performing SQL query */
$query = “SELECT a.episode_number, a.episode_name, b.episode_number, b.ls_time, b.ls_color, b.ls_people, b.ls_scienceart, b.ls_meaning, b.ls_technic, b.ls_organ, b.ls_symbols, b.gs_scene, b.gs_hour, b.gs_organ, b.gs_color, b.gs_symbol, b.gs_art, b.gs_technic
FROM episode_names a, schemata b
WHERE (a.episode_number=’$episode_number’) and (a.episode_number=b.episode_number)”;
$result = mysql_query($query) or die(“Query failed : ” . mysql_error());
$num=mysql_numrows($result);

The user’s input provides the value of episode_number (from 01 to 18) when the page loads.[8] Then, the page with this code queries the database to gather the information—the episode’s name, the schemata entries, and much more—from two database tables joined by the column containing that two-digit number in each table. The process gains its effectiveness from the conventionality of the episode numbers. The price of that efficacy is the loss of a good deal of information—from quirks of typesetting and handwriting, to alternative approaches to numbering the episodes, to the Italianate episode names from the schemata—that have at least as much textual authority as do our later simplifications.

Hierarchy and Classification

If there could be that which is contained in that which is felt there would be a chair where there are chairs and there would be no more denial about a clatter. A clatter is not a smell. All this is good.
—Gertrude Stein, Tender Buttons (Stein 2018, 53)

Line numbers, mainly those of the Gabler edition, impose further numerical discipline on Ulysses. The line numbers produce a hierarchy that allows humans and machines alike to arrive at a shared understanding of textual location:

Line (beginning at 1 and incrementing by 1 within each episode)

Episodes (1–18, or “Telemachus” to “Penelope”)

Ulysses (the whole)

This rationalization functions so powerfully, not only in digital projects but also in conventional academic citation, because it assigns to each location in the text—with some exceptions, such as images—a line, and every line belongs to an episode, and every episode belongs to Ulysses. The hierarchy of information allows shared understanding of reference points.

Though created before the age of contemporary digital humanities, the line/episode/book hierarchy produces a kind of standardization—simple, technical, and reductive—that is enormously useful for digital methods. For example, I embedded into Ashplant a script that combs parts of the site for references to Ulysses, based on a standard citation format of “(U [episode].[line(s)]),” then generates automatically a list of references to an episode, with a link to each source page.

A screenshot of an index of line references from Ashplant, showing a machine-generated list of references from Episode Five of Ulysses.
Figure 5. A screenshot of an index of line references from Ashplant.

These references point to entries in our collective lexicon of key terms in Ulysses. The students’ lexicon entries together constitute a playful, inventive exploration of the book’s language. The automated construction of the list itself, however, relies on an episode-line hierarchy that has none of that playfulness or invention.

For playful inventiveness in a hierarchy of location, we can turn instead to Stephen Dedalus in Joyce’s Portrait of the Artist as a Young Man, who reads the hierarchical self-location he has written on the flyleaf of his geography book:

Stephen Dedalus
Class of Elements
Clongowes Wood College
Sallins
County Kildare
Ireland
Europe
The World
The Universe (Joyce 2003, 12)

Stephen’s hierarchy is personal and resistant, not only containing the humorously self-centered details of his hyper-local situation but also excluding, for instance, any layer between “Ireland” and “Europe” that would acknowledge Ireland’s containment within the United Kingdom. It also confuses categories: although the list seems geographical—appropriately, given its location on a geography book—it contains some elements that would require additional information to become geographical (“Stephen Dedalus,” “Class of Elements”), and others whose mapping would be contentious (“Ireland,” “Europe”). It even contains an element, “Class of Elements,” that constitutes a self-reflexive joke about the impulse to classification that the list satirizes.

Such knowing irony does not infuse the hierarchies that drive much of our work in the digital humanities. That work requires schemes of classification that rely on one element’s containment within another. Consider what “Words API” claims to be “knowing” about words:

A screenshot from the 'About' section of Words API describing the hierarchical relations of certain terms, such as 'a hatchback is a type of car'.
Figure 6. A screenshot from the “About” section of Words API describing the hierarchical relations of certain terms (https://www.wordsapi.com).

An API, or Application Programming Interface, provides methods for different pieces of software to communicate with one another in a predictable way. Words API, “An API for the English Language,” performs this function by adding hierarchical metadata to every word. That metadata, in turn, allows other software to draw on that information by searching for all the words that refer to parts of the human body, for instance, or for singular nouns. In other kinds of DH applications, such as textual editions that are part of the XML-based Text Encoding Initiative, the hierarchical relationships are often hand-encoded: feminine rhyme is a type of rhyme, and rhyming words are sections of lines, which are elements of stanzas, and so forth.

The utility of these techniques is not surprising. Stanzas do generally consist of lines, transitive is a type of verb. The reliance on these encoded hierarchies echoes the methods of New Criticism, such as Wellek and Warren’s hierarchical sequence of image, metaphor, symbol, and myth—for them, the “central poetic structure” of a work (Wellek and Warren 1946, 190). For contemporary scholars more invested in decentering and poststructuralism, however, the echo of New Critical hierarchies in DH is unwelcome. Centrality implies exclusion; structure implies oversimplification; formal hierarchy implies social hierarchy. Or, as John Bradley writes, “XML containment often represents a certain kind of relationship between elements that, for want of a better term, can be thought of as ‘ownership’” (Bradley 2005, 145). Even for scholars working specifically to counteract the hierarchical containments of XML, the attempt can lead—as in Bradley’s work—to the linking of multiple hierarchical structures rather than the disruption of hierarchical organization itself.

Problems of “Subtle Things”

Addressing the challenges of encoding historical materials in XML, Bradley describes the limitations of hierarchical classification. “Humanities material,” he writes, “sometimes does not suit the relational model,” and he cites the Orlando Project’s opposition to placing its data in a relational database because it wanted to say more “subtle things” than the relational model could express (Bradley 2005, 141).[9] Bradley responds to that challenge with an ingenious method of integrating the capabilities of SQL databases into XML, solving the problem of expressing how a name in a historical document might refer to one of three people with discrete identifiers in the database. Even this problem, however, involves a relatively simple kind of uncertainty, representable on a line between “certain” and “unlikely.” The data being encoded is used for humanistic purposes, but the problem itself is not especially humanistic: it assumes an objective historical reality that can be mapped, with varying levels of confidence, onto stable personal identifiers.

The data of Ulysses presents additional difficulties, many of which are specifically literary, as the students working on Ashplant have repeatedly found. In one case, a group of them sought to document every appearance of every character in Ulysses. That data has clear utility for readers: when made searchable, it could assist a reader by identifying, for a given episode and line number, the active characters, perhaps adding a brief annotation to each name. Many earlier aids to reading the novel offer descriptions of the main characters, but the students set out to develop a resource that was more comprehensive and more responsive to a reader’s needs at a given place in the text. The students quickly discovered that identifying and describing a handful of major characters is easy; identifying all of them and their textual locations is not just a bigger problem but a fundamentally different one.

Take, for example, the novel’s dogs. We had established early on that non-human entities could be characters in our classification, given Joyce’s attribution of speech and intention to, say, hats and bars of soap. At least one dog seemed clearly to reach the level of “character”: Garryowen, the dog accompanying the Citizen in the “Cyclops” episode. According to one of the satirical interpolations of the episode, Garryowen has attained, “among other achievements, the recitation of verse” (12.718–19), a sample of which is included in the text. For the purposes of our data and accompanying visualization, we therefore needed basic information about the character, such as its name and when it appears in Ulysses.

The name creates the first problem. The description of the dog in “Cyclops” identifies it as “the famous old Irish red setter wolfdog formerly known by the sobriquet of Garryowen and recently rechristened by his large circle of friends and acquaintances Owen Garry” (12.715–17). In itself, the attribution of two names to one being is not a problem. For instance, Leopold Bloom can be “Bloom” or “Poldy,” but switching between them does not rename him. In Ulysses, such an entity could take the names “Garryowen” and “Owen Garry.” As long as the underlying identity is stable, this kind of multiplicity (two names at two different times) can fit easily into a relational database.

But Ulysses does not work so simply. Within the fiction, the renaming of the dog has questionable reality-status.[10] The “rechristening” has no durability within the narrative; it exists only in the context of one satirical interpolation, and subsequent references to the dog revert to “Garryowen.” Arguably, if our task is to describe the characters that are real within the world of the novel, the name “Owen Garry” has no status at all, as it attaches more to the voice of the temporary narrator than to what we could imagine as the real (fictional) dog.

However, we could just as plausibly say that, in the fiction, “Owen Garry” must not only exist but also be recorded as a separate character representing the temporary re-creation of Garryowen by this narrative voice. All of this messiness anticipates the further complications of the hallucinatory “Circe” episode, in which Bloom is followed by a dog that metamorphoses among species—spaniel, retriever, terrier, bulldog—until Bloom addresses it as “Garryowen,” and it transforms into a wolfdog. The dog might say, as Stephen does, “I am other I now” (9.205). Joyce’s method relies on the unresolvability of these ambiguities.

Emily Mester, the student who took the lead on the Ashplant character project, brought the transforming dog to our working group as a problem of data entry. We discussed how the problem stemmed from a breakdown of classification: rather than allowing the reader to rely on conventional relationships between sets and their elements (living things include humans and other animals, which include dogs, which include species, which include individual dogs), Joyce’s transforming dog implies a relation in which the individual dog contains multiple species. Our conversation led us to consider the dog as a device through which Joyce upends hierarchies of containment by attaching the name “Garryowen” to a dog, or an assortment of dogs, whose characteristics arise from the surrounding narration.

We realized together that the exercise of entering data into our spreadsheet led us to new questions about earlier scholarship on Ulysses. We found, for example, that Vivien Igoe assumed that Joyce’s Garryowen represented a historical dog of the same name, as in her statement that “Garryowen, who appears in three of the episodes in Ulysses (‘Cyclops’, ‘Nausicaa’, and ‘Circe’), was born in 1876” (Igoe 2009, 89). Although Igoe subsequently notes that Joyce distorts Garryowen for the purposes of fiction, this sentence still relies on several related presumptions for the purposes of historicist explanation: that the historical and fictional Garryowens are the same, that the Garryowen of Ulysses has the species identification of the historical dog (“famous red setter” [Igoe 2009, 89] rather than the “Irish red setter wolfdog” of “Cyclops”), and that within Ulysses, the fictional dog maintains a constant identity across episodes.[11] Reading phrasing such as Igoe’s in light of our questions about Garryowen led the Ashplant group to consider the confrontation between certain kinds of historicist methods with poststructural skepticism.

As the students continued to develop Ashplant, they discovered more and more examples of data entry problems that gave rise to probing discussions of Ulysses and, often, of how fictions work and how readers receive them. We sought, for instance, to map the global imagination of Ulysses, resisting the tendency Drucker had criticized of producing simplistic, naïve Dublin-centric visualizations of the “action” of the book. Instead, our map included only places outside of Dublin. For that subproject, guided by the student Christopher Gallo, we asked, How do we map an imaginary place? One that a character remembers by the wrong name? One that seems to refer to a historical event but puts it in the wrong place? For another part of the project, led by Magdalena Parkhurst, we created a visualization of the Blooms’ bookshelf that has been disrupted in “Ithaca,” and we needed to represent books with missing, incorrect, and imaginary information according to our research into historical sources.

Again and again, we found that the parts of Ashplant that appeared to involve the simplest kinds of data entry prompted us to have some of our deepest conversations about Ulysses, often leading us to further reading in contemporary criticism and theory. We found that, as Rachel Buurma and Anna Tione Levine and have argued,

 

Building an archive for the use of other researchers with different goals, assumptions, and expectations requires sustained attention to constant tiny yet consequential choices: “Should I choose to ignore this unusual marking in my transcription, or should I include it?” “Does this item require a new tag, or should it be categorized using an existing one?” “Is the name of the creator of this document data or metadata?” (Buurma and Levine 2016, 275–76)

 

Though our project is not archival, our experience has aligned with Buurma and Levine’s argument. Undergraduate research, which “has long emphasized process over product, methodology over skills, and multiple interpretations over single readings,” is well situated to foster the “sympathetic research imagination” necessary for creating useful digital projects. As our process became product, we felt more powerfully the constraints of using the “reductive and literal” tools that concern Drucker. No matter how nuanced and far-reaching our conversation about Garryowen had been, for instance, the needs of our spreadsheet compelled us to choose: is/are the transforming dog(s) of “Circe” appearances Garryowen or not?[12]

We found that the machinery of data entry and visualization produced what Donna Haraway calls the “god trick” of producing the illusion of objectivity, even when our conversations and methods aspired to privilege, in Haraway’s words, “contestation, deconstruction, passionate construction, webbed connections, and hope for transformation of systems of knowledge and ways of seeing” (Haraway 1988, 585).[13] Our timeline-based visualization of character appearances, for example, could not resist the binary choice of yes or no; even a tool that could represent probability would not be capable of representing non-probabilistic indeterminacy in the way that our conversation had. We needed to find other ways to make Ashplant into a site that produces a humanistic experience for its readers as well as its creators.

Ways Forward for Humanism in Undergraduate Digital Studies

This essay will not fully solve the problem it addresses: that digital methods gain some of their power by selecting from and simplifying complex information, sometimes in ways that run contrary to humanistic practices. Like Buurma and Levine, however, I find that the scale and established practices of undergraduate research create opportunities to do digital work that minimizes the problem and may, in fact, point to approaches that can inform humanistic digital work in general. With that goal in mind, I offer a few propositions based on our Ashplant team’s experience to date.

  1. Narrate the problems. Undergraduate research often operates at a scale that allows for hand-crafted digital humanities, in which the consequences of data manipulation can become the explicit subject of a project. The structure of Ashplant allows us to explain the problems of documenting character and location in Ulysses, and it also provides space for a wider range of student research: an analysis of Bloom’s scientific thinking and mis-thinking in “Ithaca,” a piece about Ulysses and the film Inside Llewyn Davis that uses hyperlinks to take a circular rather than linear form, and students’ artistic responses to the novel. The scale of undergraduate research allows it to become an arena for confrontation with and immersion in the problems created by the intersection of data science and the humanities.
  2. Connect conventional research to digital outcomes. Ashplant has at its heart an annotated bibliography, for which students read, cite, and summarize existing scholarship. Creating such a bibliography in digital form—specifically, with the bibliographical information in a database accessed through our web interface—enables searchability and linking. The bibliography thus becomes the scholarly backbone of the site, linked from and linking to every other section. Contributing to this part of the project grounds the students in the kind of reading and writing they have done for their other humanistic work, while also illustrating the affordances of the digital environment.
  3. Use the genre of the hypertext essay. Writing essays that combine traditional scholarly citation with other means of linking—bringing a project’s data to bear on a problem, connecting the project to other digital collections and resources—allows students to experience and demonstrate the impact of their digital projects on scholarly argumentation. Ashplant therefore includes a section of topical essays and theoretical explorations, addressing subjects from dismemberment to music. These essayistic materials link to and, importantly, are linked from the parts of the site that are based more explicitly on structured data. Our visualization of the global locations of Ulysses can lay the foundations for discussions of the Belgian King Leopold and the postcolonial Ulysses, for example, and a tool we developed for finding phonemic patterns in the text became the prompt for Emily Sue Tomac, a student specializing in linguistics as well as English, to undertake a project on Joyce’s use of vowel alternation in word sets such as tap/tip/top/tup. Hypertext essays can reanimate the complexities and contestations hidden by the god trick.
  4. Make creative expression a pathway to DH. My initial design Ashplant involved an unconventional division of labor. For the most part, students wrote the content of the site, while I took the roles of faculty mentor, general editor, and web developer. As the site evolved, so did those roles, and I perceived an important limitation of our model: students were rarely responsible for the visual elements of our user interface, and their interest in that part of the project was growing. The students saw the creative arts as a means of resisting the constraints of digital methods, and some of them created art projects that now counterbalance the lexical content of the site. When I designed a new course on digital methods for literary studies, therefore, I put artistic creativity first.[14] In that class, the students learned frameworks for discussing the affordances and effects of electronic literature, and we applied those frameworks to texts such as “AH,” by Young-hae Chang Heavy Industries; Illya Szilak and Cyril Tsiboulski’s Queerskins: A Novel; and Ana María Uribe’s Tipoemas y Anipoemas.[15] These works model a range of approaches to interactivity and digital interfaces. Therefore, all of our subsequent work in the semester—from the creation of the students’ own works of electronic literature, to the collection and presentation of geographical data, to writing Python scripts for textual analysis—takes place after this initial framing of digital work as a set of creative practices.

The complexity of humanistic inquiry does not involve solving well-defined problems with clear endpoints and signs of success. Our wholes have holes. As I have worked with my students on Ulysses, we have come to embrace a practice of digital humanities that puts creativity, resistance, and questioning at its heart, even (or especially) when we use the tabular and relational structures that appear at first to build walls within the imaginative works we study. Asking questions as simple as “What do we call this chapter of Ulysses?” and “When does this character appear?” has led my students to think and play and draw, representing contours of absurdity and art that help draw new maps of undergraduate study in the humanities.

In some ways, that new mapping takes part in the tradition I have described here: the translation and even reduction of textual complexity into reference materials that help students grasp Ulysses and begin the process of making meaning of and around it. In other ways, however, Ashplant has led us to a practice of digital humanities more aligned with Tara McPherson’s emphasis on “the relations between the digital, the arts, and more theoretically inflected humanities traditions” (McPherson 2018, 13). The scale of undergraduate pedagogy allows spreadsheets, essays, maps, and paintings to grow from the same intellectual soil, maintaining the value that structured data has long provided while preserving the complex energies of humanistic inquiry.

Notes

[1] “Ashplant” is the word Joyce uses to describe the walking stick of Stephen Dedalus. As the site explains, Stephen’s ashplant “is not a simple support but his ‘casque and sword’ (9.296) that he uses for everything from dancing and drumming to smashing a chandelier.” We likewise sought to take the conventional idea of a digital site supporting the reading of Ulysses and create varied and surprising possibilities for its use.

[2] I cite Ulysses (Joyce 1986) by episode and line number throughout, following the numbering convention that is about to become the subject of this essay.

[3] On the other hand, when Bloom later relates the events of his day to his wife in words, his account includes similar evasions and omissions. Joyce’s larger point seems less about the deceptions of quantification than about the many modes of deception humans can use when sufficiently motivated to hide something.

[4] More technically, in a database, a primary key is a column or combination of columns that have a unique value for every row. For example, in Ulysses, line number alone cannot be a primary key because every episode has, for instance, a line numbered 33. Therefore, the primary key requires the combination of episode and number: 1.33, 4.33, and 17.33 are all unique values. The other main characteristic of a primary key is that it cannot contain a null value in any row.

[5] As we have seen, the numbering convention of labeling the episodes from one to eighteen follows the lead of the Little Review episodes but not of the Shakespeare & Company edition, which uses only section numbers. The schemata employ yet another system, primarily restarting the episode numbering at the beginning of each section (so the fourth episode, which begins the second section, becomes a second episode “1”).

[6] These projects’ addresses are http://ulysses.bc.edu/ and http://web.uvic.ca/~mvp1922/, respectively.

[7] HTML (Hypertext Markup Language) is the standard markup language for web pages. HTML describes the structure of the data in a page, along with some information about formatting, so that it can be rendered by a browser. HTML does not contain executable scripts (or “code”). To create executable scripts and access information in databases, Ashplant embeds the scripting language PHP within its HTML code and connects to databases created with MySQL. Using this combination of PHP and MySQL is a common approach to creating dynamic web pages.

[8] This numbering involves another small translation: using two digits—01 and 02 rather than 1 and 2—allows the numbers to sort properly when interpreted computationally.

[9] The ability of XML-based schemes to contain non-hierarchical information remains a point of lively contention. The subject prompted a lengthy conversation on the HUMANIST listserv in early 2019 under the heading “the McGann-Renear debate.” That conversation is archived at https://dhhumanist.org/volume/32/.

[10] “Cyclops” implies yet another variant of the name: the Citizen familiarly calls the dog “Garry,” and the mock-formal narrator calls the poet-dog “Owen,” reversing the usual functions of first and last names and implying another identity called “Garry Owen.”

[11] Igoe’s phrasing also conflates the birth years of the historical and fictional Garryowens, although the historical dog would have had an implausible age of around twenty-eight years at the time Ulysses takes place.

[12] For whatever it’s worth, the unsatisfying decision we made was to classify the “Garryowen” (and “Owen Garry”) of “Cyclops” and “Nausicaa” as the character “Garryowen,” then create a separate character called “Circe Dog” to capture the transforming species of the dog(s) of that episode.

[13] Haraway’s skepticism echoes the sentiments of the “foundational crisis” of mathematics about a century ago, when Joyce was conceiving Ulysses and when, in 1911, Oskar Perron wrote, “This complete reliability of mathematics is an illusion, it does not exist, at least not unconditionally” (Engelhardt 2018, 14).

[14] That course, “Lighting the Page: Digital Methods for Literary Study,” was designed in partnership with my student collaborator Christina Brewer, who made especially valuable contributions to the unit on electronic literature.

[15] “AH” is online at http://www.yhchang.com/AH.html, Queerskins at http://online.queerskins.com/, and Uribe’s poetry at http://collection.eliterature.org/3/works/tipoemas-y-anipoemas/typoems.html.

Bibliography

Blamires, Harry. 1996. The New Bloomsday Book. London: Routledge.

Bradley, John. 2005. “Documents and Data: Modelling Materials for Humanities Research in XML and Relational Databases. Literary and Linguistic Computing 20, no. 1: 133–51.

Buurma, Rachel Sagner and Anna Tione Levine. 2016. “The Sympathetic Research Imagination: Digital Humanities and the Liberal Arts.” In Debates in the Digital Humanities, edited by Matthew K. Gold and Lauren F. Klein, 274–279 Minneapolis: University of Minnesota Press.

D’Ignazio, Catherine and Lauren F. Klein. 2020. Data Feminism. Cambridge: MIT Press.

Drucker, Johanna. 2012. “Humanistic Theory and Digital Scholarship.” In Debates in the Digital Humanities, edited by Matthew K. Gold, 85–95. Minneapolis: University of Minnesota Press.

Ellmann, Richard. 1972. Ulysses on the Liffey. Oxford: Oxford University Press.

Engelhardt, Nina. 2018. Modernism, Fiction, and Mathematics. Edinburgh: Edinburgh University Press.

Haraway, Donna. 1988. “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective.” Feminist Studies 13, no. 3: 575–599.

Igoe, Vivien. 2009. “Garryowen and the Giltraps.” Dublin James Joyce Journal 2, no. 2: 89–94.

Joyce, James. 1922. Ulysses. Paris: Shakespeare and Company. http://web.uvic.ca/~mvp1922/ulysses1922/

Joyce, James. 1986. Ulysses, edited by Hans Walter Gabler with Wolfhard Steppe and Claus Melchior. New York: Vintage.

Joyce, James. 2003. A Portrait of the Artist as a Young Man, edited by Seamus Deane. New York: Penguin.

Macpherson, Tara. 2018. Feminist in a Software Lab: Difference + Design. Cambridge: Harvard University Press.

Rawson, Katie and Trevor Muñoz. 2019. “Against Cleaning.” In Debates in the Digital Humanities, edited by Matthew K. Gold and Lauren F. Klein, 279–92. Minneapolis: University of Minnesota Press.

Stein, Gertrude. 2018. Tender Buttons: Objects, Food, Rooms, edited by Leonard Diepeveen. Peterborough: Broadview.

Wellek, René and Austin Warren. 1946. Theory of Literature. New York: Harcourt.

Acknowledgments

This essay names some of the contributors to Ashplant, but dozens of student, faculty, and staff collaborators have made important contributions to the project, and the full accounting of gratitude for their work is on the site’s “About” page at http://www.math.grinnell.edu/~simpsone/Ulysses/About/index.php. I also thank Amanda Golden, Elyse Graham, and Brandon Walsh for their insightful comments on earlier versions of this piece.

About the Author

Erik Simpson is Professor of English and Samuel R. and Marie-Louise Rosenthal Professor of Humanities at Grinnell College. He is the author of two books: Literary Minstrelsy, 1770–1830 and Mercenaries in British and American Literature, 1790–1830: Writing, Fighting, and Marrying for Money. His current research concerns digital pedagogy and, in collaboration with Carolyn Jacobson, the representation of spoken dialects in nineteenth-century literature.

Group of twenty-one symposium attendees sitting in a circle actively engaged in a workshop discussion session.
3

Immersive Pedagogy: Developing a Decolonial and Collaborative Framework for Teaching and Learning in 3D/VR/AR

Abstract

In June 2019, a cohort of CLIR postdoctoral fellows convened Immersive Pedagogy: A Symposium on Teaching and Learning with 3D, Augmented and Virtual Reality at Carnegie Mellon University. The symposium sought to bring together a multidisciplinary group of collaborators to think through pedagogical issues related to using 3D/VR/AR technologies, as well as to produce and disseminate materials for teaching and learning. This essay presents the Immersive Pedagogy symposium as a model for interrogating and developing pedagogical practices and standards for 3D/VR/AR; we offer a decolonial, anti-ableist, and feminist pedagogical framework for collaboratively developing and curating humanities content for this emerging technology by summarizing the symposium’s keynotes, workshops, as well as its goals and outcomes. Workshops, keynotes, and participant conversations engaged with decolonial and feminist methodologies, practiced accessible design for universal learning, offered templates for humanistic teaching, and illustrated the possibilities of using 3D/VR/AR to extend critical thinking. While 3D/VR/AR technologies demonstrate real possibilities for collaborative, multidisciplinary learning, they are also fraught with broader concerns prevalent today about digital technologies, as well as complex issues specific to 3D/VR/AR. There is a clear need to assemble academic practitioners on a regular basis in order to facilitate an ongoing discussion about 3D/VR/AR technology and its responsible, meaningful use in teaching and learning.

Introduction

As access to three-dimensional (3D) technologies has become increasingly available in academic venues, the desire to teach with these emerging technologies, particularly augmented reality (AR) and virtual reality (VR), has outpaced digital humanists’ abilities to provide meaningful support for immersive projects. There is a growing and ongoing need to produce shared and open pedagogical materials adaptable to the needs of teachers in various professions and disciplines and are accessible to students without significant coding experience. This need is partially driven by the contingencies of relatively new and rapidly updating technologies, as well as the fact that support for commercially-available immersive tools are tailored for industry purposes. Game-driven tutorials, for example, do not always take into consideration the needs of humanities practitioners seeking to integrate critical thinking with technical mastery. Contemporary contexts for emerging technologies can structure our interactions with 3D/VR/AR. Though not always visible to users, these can have the effect of naturalizing problematic historical and political narratives through selective access to resources and functionality.

Nonetheless, game engines that offer free educational licenses have been repurposed for academic inquiry and teaching over the past decade. For example, Unity Technologies’ Unity 3D game engine is utilized by over 4.5 million users and has been at the forefront of historical and archaeological 3D visualizations in scholarly research. First available in 2005, the Unity 3D game engine has been used to make approximately 60% of all AR/VR applications and is used by 90% of AR/VR companies (“Public Relations” 2019, np). Educational licenses are available for students and educators seeking to use the engine for scholarly or creative use. Its main competitor, the Unreal Engine, while initially inaccessible beyond professional and academic institutions with licenses, dropped its paywall for educational use in September 2014. VR headsets, once a hypothetical fantasy or niche short-lived technology, are now commercially viable and relatively inexpensive for institutions to purchase. In a few years, the financial barrier for individuals may diminish; in the meantime, Google Cardboards and other stereoscopic viewers with fewer interactive features currently provide alternatives for students with access to smartphones. However, students are also increasingly able to make use of interactive 3D/VR/AR technology within dedicated spaces in academic libraries, maker spaces, media studios, and community outreach centers. Yet, we would be remiss not to point out that access is still mediated by other social hierarchies; 3D/VR/AR technology is still not accessible in much of the Global South, or in marginalized communities across the world. These aforementioned developments still privilege students at institutions that dedicated staff or faculty to maintain and encourage use of 3D/VR/AR technologies and facilities.

This is all to say that in our current 3D/VR/AR moment, digital humanists have a lot to navigate. Current 3D/VR/AR pedagogy and projects can pose problems related to accessibility and long-term preservation of projects and assets, and often run afoul of minimal computing recommendations. Yet the technology offers rich possibilities for multidisciplinary research and collaboration; many virtual reality projects combine art production, computing, archival research, network theory, and data visualization, among other practices. Given its potential for scholarship and teaching, understanding how to use the technology responsibly necessitates engaging with active practitioners to identify what is now possible and what still needs to be done to facilitate productive use of 3D/VR/AR. As many key problems are likely to persist through subsequent permutations of the technology and its use in educational settings, this conversation needs to be ongoing and open. What humanists within and beyond the academy have to say about 3D/VR/AR will probably not be unique to humanistic inquiry. This dialogue will provide crucial critical approaches to the emerging technologies’ advantages and limitations that will be of use to industry professionals as well as the casual creative user. A vocal contingent of humanists seeking to think and learn with 3D/VR/AR may, in fact, fill a wider sociocultural need by addressing these issues.

This is the context in which a small cohort of 2017–2019 Council on Library and Information Resources (CLIR) Postdoctoral Fellows organized Immersive Pedagogy: A Symposium on Teaching and Learning with 3D, Augmented and Virtual Reality at Carnegie Mellon University on June 26 and 27, 2019. The CLIR cohort included Lorena Gauthereau (University of Houston), Jessica Linker (Bryn Mawr College), Eric Kaltman (Carnegie Mellon University), Emma Slayton (Carnegie Mellon University), Neil Weijer (Johns Hopkins University), Alex Wermer-Colan (Temple University), and Chris Young (University of Toronto). The goal of this symposium was to assemble a wide range of stakeholders to develop teaching materials and strategies that considered problems inherent and specific to immersive technologies, as well as to address problems that affect but are not unique to 3D/VR/AR. It is for this reason the symposium was so attentive to decolonial and feminist methodologies in thinking about appropriate pedagogical applications. Building on the previous work of scholars such as María Cotera, Elizabeth Losh, Tara McPherson, Angel Nieves, Roopika Risam, and Jacqueline Wernimont, we have advocated for an intersectional digital humanities that interrogates a wide range of technologies through the critical methods developed by the fields of ethnic and feminist studies. Such methods, we argue, can highlight the ways that technologies often leave out marginalized people by replicating colonial hierarchical structures including race, ethnicity, class, gender, and disability.

The Immersive Pedagogy symposium offered an early—if not first-of-its-kind—opportunity to have productive conversations about what critical approaches to 3D/VR/AR could look like from a multidisciplinary and multi-professional perspective. Additionally, the symposium sought to seed collaborations within and beyond academic institutions and stand as a model for future conversations on these topics. In recounting our experiences with different applications of 3D/VR/AR technology in pedagogical spaces, the group tackled a number of thorny issues, such as accessibility in hardware and bias in asset stores, while acknowledging that we would need to continue the dialogue by reconvening. We sought to develop teaching materials collaboratively with the long-term plan of sharing these resources through a variety of means, including via open-access publications. In the remainder of this essay, the Immersive Pedagogy organizers describe the symposium’s theoretical foundation and methodological approaches as a model for structuring communities around 3D/VR/AR, summarize some of our group’s findings, and invite digital humanities practitioners to help us to continue this work.

Structuring a Symposium on Decolonial Models of Immersive Pedagogy

Because the initiative was organized by CLIR postdoctoral fellows, the symposium emphasized diverse ways that libraries participate in creating, curating, and preserving 3D/VR/AR pedagogical materials. We considered faculty, staff, and students as equal partners in 3D/VR/AR projects, and aimed to include early career researchers at the table. Overarching goals for the symposium included teaching faculty and librarians how to support and enable learning for students using 3D technologies, and to help students to disseminate skills within their own communities. By bringing together scholars from a wide range of disciplines and professions, we addressed problems while identifying new ones. Participants had the opportunity to share links and descriptions to their projects (current and in progress) with each other prior to the symposium via a Slack channel and Google Docs. They also shared information on their work during a lightning talk round as examples of the kinds of humanistic projects 3D/VR/AR could cultivate. The symposium began and ended with keynotes from experienced practitioners whose work modeled creative and responsible uses of the technologies.

Our opening keynote speaker, Angel Nieves (Associate Professor of History and Digital Humanities at San Diego State University), presented “Developing a Social Justice Framework for Immersive Technologies in Digital Humanities.” Nieves’s talk outlined strategies for achieving social justice through digital-supported inquiry, highlighting his own work on Mapping Soweto, a 3D reconstruction of apartheid South Africa. Nieves emphasized the need to ground digital work in women of color theory and argued that fields such as ethnic studies have developed a foundational structure that would benefit the field of digital humanities as a whole:

If we brought the sorts of methodological and practice-based questions about power, privilege, and access from ethnic studies to our work in immersive technologies, we might begin to see new ways of harnessing these tools–that originated as part of the military industrial complex–to serve our social justice needs. (Nieves 2019)

Mapping Soweto draws from Belinda Robtnett’s (1997) work on social movement theory, revealing the often messy, multilayered narratives of social movements by visualizing a map of spatial liberation. This 3D representation shows what Nieves terms an “intersectional cartography,” or a network of social activists—especially networks of women and young girls—across townships “and how those activist networks were embedded into the physical geography and vernacular architecture of individual houses, streets, and neighborhoods” (Nieves 2019). Attention to intersectionality further reveals the ways multiple identities—township, gender, sexual orientation, class, and race—came together to form a cohesive activist movement, whose complexities are often lost in the official retelling of history. In particular, Nieves identified immersive technologies as one way to “re-establish coalition-building potential” (2019) with local communities and reminded us that the important work of recovering marginalized histories for social justice is often messy.

Two image composite. Top image is of Angel Nieves standing behind a podium delivering his keynote speech. Bottom is a slide showing a Unity 3D model of Winnie and Nelson Mandela House, in Soweto South Africa (generated September 2018).
Figure 1. Angel Nieves presents “Developing a Social Justice Framework for Immersive Technologies in Digital Humanities” at the Immersive Pedagogy symposium.

Our closing keynote speaker, Juliette Levy (Associate Professor of History at the University of California, Riverside), presented “How Not to be a Replicant: Working Towards a Useful VR.” Working with a team of women programmers, Levy has developed VR simulations for teaching abstract concepts related to historical thinking, interpretation, and writing. Levy’s keynote presentation focused on the question of gaming and interactivity; and she traced the origin of her experimentations in VR from teaching large lecture classes numbering in the hundreds in hybrid and online courses. Rather than approach VR in the mode of cultural heritage projects, reproducing a historical location, to deal with pedagogical problems commonly experienced in online learning, Levy’s team built Digital Zombies (see Levy 2017), an abstract simulation meant to introduce students to the hierarchy of library information and assessment of primary and secondary resources through game-based learning. Levy envisioned a VR environment for her historical research methods class that not only encouraged students to follow a written outline of research steps, but to extend their library experience in a more immersive, playful way by completing a series of game-like missions related to research that students would be more likely to remember. Levy argued that the cognitive effect of a VR experience has a lasting impact on users: “What matters about doing something in VR isn’t about what happens in VR, but what happens outside of VR, after the VR experience” (Levy 2019). Yet, despite the advantages of VR, Levy warned that a lack of critical conversation and pedagogy around digital literacy can have dire consequences, as increasingly ubiquitous immersive technologies become exploited to misrepresent historical events. The stakes for fomenting critical conversations between technology creators, consumers, and scholars, therefore, are quite high, as they could have lasting effects on how people choose to build and interpret virtual representations of historical events and people.

Juliette Levy stands at the podium while presenting a slide reading “fake news, fake history, alternative facts, virtual reality or fake reality” in front of an image of John Lennon and Che Guevara playing the guitar.
Figure 2. Juliette Levy presents “How Not to be a Replicant: Working Towards a Useful VR” at the Immersive Pedagogy symposium.

The symposium included five workshops that centered on theory, methods, and practices significant to and capable of incubating pedagogy related to US Latinx, Latin American, and Caribbean studies, which we prioritized when considering applicants. The workshop topics were: (a) Decolonial Methodology and Theory; (b) Accessible Immersive Pedagogy; (c) Integrating Immersive Technology in the Classroom; (d) Critical Writing for Immersive Tech; and (e) Collaboratively Designing 3D/VR Experiences. The Immersive Pedagogy organizers, joined by Jasmine Clark (Temple University) and Juliette Levy, led the participants through these interactive workshops (“Program” 2019). Pedagogical content crafted by participants before, during, and after the symposium included a bibliography of 3D/VR/AR-related readings, an archive of workshop slides, video recordings of keynote presentations, adaptable templates for pedagogical activities, and working models of 3D/VR/AR pedagogical applications. For example, Kat Hayes and Samantha Porter submitted a video walkthrough of their IOS app Virtual MISLS that explores historic buildings at Fort Snelling, while Meaghan Moody and Coral Salomón submitted a description of their work with students using a virtual map of historic Paris to better understand life under German occupation during World War II.

Carnegie Mellon University (CMU) Libraries hosts the symposium’s materials on its institutional repository, KiltHub. KiltHub provides stable, long-term global open access storage for 3D/VR/AR assets, and functional applications, as well as pedagogical and technical documentation. Materials in this repository are held for a minimum of ten years, ensuring that what is submitted will remain available past typical terms of software updates. The teaching materials produced during and following the symposium will also be published in the Digital Library Federation’s Pedagogy Working Groups open-access series, the DLF Teach Toolkit. The materials will be revised and tested, including during a pre-conference workshop at DLF’s Annual Forum 2020, pending acceptance.

Group of twenty-one symposium attendees sitting in a circle actively engaged in a workshop discussion session.
Figure 3. Immersive Pedagogy symposium participants in discussion.

The following essay sections explore the key components of the symposium, which outlined the theoretical foundations to decolonizing development and curation of 3D/VR/AR tech, before guiding participants through workshops on decolonial critique and accessible design, on integrating immersive technology into the classroom and beyond, and on collaboratively designing 3D/VR projects.

Decolonial Foundations: Critical Approaches to the Development and Curation of 3D/VR/AR Technologies

To practically introduce the decolonial methodologies and theories crucial to our workshops on developing and curating 3D/VR/AR materials, the Immersive Pedagogy symposium opened with a workshop, led by Gauthereau and Young on the “walkthrough method” (Light, et. al. 2018, 881–900), a critical analysis of technology using the Unity Asset Store as an example. This exercise was contextualized through a theory of decolonial pedagogy and a discussion on the critical analysis of the game platforms that curate content for 3D modeling and representation.

The application of decolonial theory and methods to digital pedagogy allows students to interrogate and resist colonial, hierarchical epistemologies, especially the privileging of Western European and Anglocentric knowledge structures. Such an approach is increasingly necessary as 3D/VR/AR technologies become integral to Western education systems and overwhelmingly applied to cultural heritage projects by and for Western consumers. While colonialism refers to the “political and economic relation in which the sovereignty of a nation or people rests on the power of another nation,” making that nation an “empire,” coloniality “refers to long-standing patterns of power that emerged as a result of colonialism, but that define culture, labor, intersubjective relations, and knowledge production well beyond the strict limits of colonial administration” (Maldonado-Torres 2007, 243). Thus, coloniality denotes the ways in which colonial hierarchies of power continue to structure our everyday lives (i.e. racialized class hierarchies, labor hierarchies, gender hierarchies, the gender binary, racism, etc.). Decolonialism urges us to actively de-link from colonial epistemologies and ontologies in order to avoid re-creating colonial worldviews and hierarchies.

Considering the ways that 3D/VR/AR technologies allow users to create immersive worlds and environments, the symposium sought to stress the need to avoid replicating the colonial gaze. Representing marginalized people through this gaze continues to enforce racialized and gendered hierarchies of power. Colonial epistemologies continue to control knowledge production, not only through institutional archives, but also through academic research, digital projects, and 3D/VR/AR environments. Jacqui Alexander and Chandra Talpede Mohanty argue that decoloniality has a “pedagogical dimension” as it obligates us “to understand, to reflect on, and to transform relations of objectification and dehumanization, and to pass this knowledge along to future generations” (1997, xxviii-xxix). For this reason, the symposium’s first workshop exercise involved guiding participants through a decolonial walkthrough of the Unity Assets Store. The walkthrough method requires researchers to directly engage with “an app’s interface to examine its technological mechanisms and embedded cultural references to understand how it guides users and shapes their experiences” (Light, et. al. 2018, 882). We asked participants to browse and search the Unity Assets Store for 2D, 3D, audio, and animation assets and interrogate them using a decolonial approach, as well as to document their walkthrough by taking notes, taking screenshots, and recording audio-visual content.

To guide the decolonial inquiry, we asked participants to consider a set of questions adapted from Roopika Risam’s discussion of the stakes of postcolonial and decolonial digital humanities (2019, 35–46):

  • What are compulsory activities within the Unity Asset Store?
  • What are the social hierarchies within the menu system?
  • To whom and which types of users is this knowledge accessible?
  • What is considered a “legitimate” asset within the Asset Store?
  • Whose epistemologies, such as histories, languages and memories, are considered important enough to archive in the Asset Store?
  • What knowledge or assets are privileged within the Asset Store?
  • Does the asset avoid the exoticization or fetishization of a people/cultures?

This inquiry resulted in participants recognizing the disproportionate representation of a Eurocentric worldview. For example, they noticed that the search term “Viking” yielded twice as many results as “Native American,” whereas the term “Indigenous” yielded zero. Among results for the search term “Mexican,” participants discovered a Mexican Restaurant Pack that reflected generalized stereotypes of Mexican aesthetics and cuisine, reduced to bottled hot sauce, chips and salsa, and a decorative green parrot. Assets also reduced the multiple and varied cultures, nations, flora, and fauna of the entire African continent to the myopic colonial imaginary of only the Serengeti, populated by wild animals. During group break-out sessions exploring the Asset Store, participants discovered a potential intervention through editing crowdsourced user tags. Like during Wikipedia Edit-a-Thons, users could challenge the authenticity of colonial representations of people, cultures, and nations by tagging or reviewing assets as not authentic, representing stereotypes, reproducing colonial views, etc. Since the symposium, unfortunately, Unity has removed the user tagging option and currently limits metadata generation to the individual uploading the asset.

This workshop stressed that engaging in decolonial work requires a constant questioning of how knowledge (3D/VR/AR environments, research, stories, syllabi, etc.) is being produced, who is producing it, whose stories are being told, and how these stories are being told. Not only should we consider what histories are told in the digital world, but we must also attend to the ways in which they are produced. As a result, the participants learned that generating and interacting with 3D/VR/AR environments they must use decolonial methods to acknowledge their role as world-creators and reflect on the ways that these technologies often replicate colonialism.

In the following workshop, Clark foregrounded the ableism endemic to technological innovation in the West, introducing participants to accessible user design for virtual reality. This involved a tutorial on developing alternate access plans for disabled students in classrooms. Clark’s work with Temple Libraries’ colleagues Jordan Hample and Wermer-Colan has prioritized research into and creation of accessible features for VR during their development of the Virtual Blockson: A Primary Source Teaching Tool for Secondary Education (Clark 2018, np). Clark’s workshop overviewed the standards of the World Wide Web Consortium’s Web Content Accessibility Guidelines in order to showcase the problems with applying standards created for web-based screens to virtual reality environments and experiences. She related an overview of key advancements that can be made to enable universal design for this emerging technology ranging from innovations in haptic feedback to caption legibility. Clark’s talk focused on guiding participants through strategies for accessing resources for disabled students at their universities. She led participants through an exercise with a template she created for developing “alternate access plans” that enable teachers to offer comparable options for students who cannot use the available VR and/or AR hardware and software. This approach to accommodating students with different learning styles provides a realistic way for teachers to work with emerging technologies in academic institutions, most of which still lack sufficient resources to support disabled students in the use of analog technologies.

Virtual Lessons: Integrating Immersive Technology in the Traditional Classroom and Beyond

After the symposium’s opening workshops on decoloniality and anti-ableism in immersive pedagogy, Levy’s workshop put to practice the principles she laid out in her closing keynote address on the idiosyncratic game mechanics for simulating virtually interactive dialogue and exam questions involving classification. VR offers, Levy argued, a unique pedagogical opportunity, functioning as a distraction-free zone where her students were able to recollect experiences at a much higher rate compared to other learning activities. During the workshop, Levy asked symposium participants to select several library books from various library collections and work in groups to think about how to put the texts in conversation with each other based on titles, subject headings, table of contents listing, and a quick skim of their contents. Levy demonstrated how and why she constructed a VR environment that simulated this activity, as her students had to physically place boxes with various titles onto empty shelves in an order that reflected connections. The application of VR to this type of historiographical exercise, Levy maintained, left a lasting impression on the students that they were able to put into practice for essay assignments. Levy’s emphasis throughout her workshop on the pedagogical significance of “what happens before and after” the virtual experience, furthermore, offered a valuable foundation for the subsequent workshop on integrating writing exercises to guide student learning during virtual and augmented reality experiences.

Wermer-Colan’s workshop modeled how to guide undergraduate students across the disciplines through a structured composition exercise for reflection, in particular, by guiding the participants through a reflection on what they hoped to learn and do in the coming school year as they sought to develop their immersive pedagogy projects. To provide a context and model for students before their writing reflections, Wermer-Colan summarized his current projects employing 3D technologies for Temple University Libraries’ Digital Scholarship Center (now the Loretta C. Duckworth Scholars Studio). Temple Libraries has experimented with transforming the purposes of library collections, development, and reference work to enhance its learning and technology outreach, including through its Innovative Teaching with Makerspace Technology Grant and its newly constructed VR Lab in the new Charles Library. Wermer-Colan’s past experiences working in the Medgar Evers College Writing Center in the City University of New York (CUNY) system helped him to think about ways the Digital Scholarship Center can use 3D/AR/VR technology to enhance learning across the disciplines.

As an example of Temple Libraries’ supporting the use of immersive technologies in class-room projects, Wermer-Colan detailed a collaborative project with Ajima Olaghere, Assistant Professor of Criminology working with her ethnography students to do “systematic social observation” of Philadelphia neighborhoods. This project used 360 cameras to record neighborhoods affected by Temple’s gentrification of North Philadelphia. The recordings were later viewed on twenty-dollar Desktek smartphone headsets that allowed students to remotely examine environments to understand what contributes to disorder and crime, while the instructor facilitated ways to maintain a critical understanding of what they were viewing. The accompanying writing exercises guided students to reflect on their mediated experiences of urban space and call into question the “broken windows theory,” common assumptions that visible signs of public disorder exacerbate criminal behaviors. The use of phone-based headsets also invited an opportunity for students to consider the physical processes that enable virtual technology. Instructors were faced with the problem of scaling pedagogical uses of VR; as this project used relatively inexpensive headsets, workshop participants considered how to create immersive experiences similar in quality to those offered by state-of-the-art VR headsets like the HTC VIVE or the Oculus Rift that, as of 2020, cost hundreds of dollars.

To illustrate the role libraries and digital scholarship centers can play in the curation of 3D content for teaching and learning, Wermer-Colan overviewed a complementary use of immersive technologies. His collaboration on the Virtual Blockson project with Digital Scholarship Librarian Jasmine Clark, Academic Technician and Developer, Jordan Hample, and Blockson Archivist Leslie Willis-Lowry aims to recreate Temple’s Charles L. Blockson Afro-American Collection as a virtual reality game for innovating the teaching of primary source literacy in high schools across Philadelphia. The project at its heart allows a small, fixed collection and its reading room to be available to students remotely, lowering the intimidation factor and physical limitations of these spaces, while enabling interactive explorations of historical artefacts. The Virtual Blockson offered an opportunity to discuss how libraries can help curate interactive gaming environments for remediating archival collections and cultural heritage sites to foreground previously marginalized histories. In these contexts, virtual reality offers affordances for lowering the barrier for students to use archival sources and spaces, facilitating access and accessibility, and offering students a novel medium through which to conceptualize analog and digital literacies necessary to navigate the changing new media world today.

3D-rendering of the Charles L. Blockson Afro-American Collection, a few sculptures and a painting on display in the reading room.
Figure 4. Screenshot of the Virtual Blockson designed by Jordan Hample using Unity 3D. For more, see Jasmine Clark’s “Progressing Towards an Accessible VR Experience”: https://sites.temple.edu/tudsc/2018/11/07/progressing-towards-an-accessible-vr-experience/.

Wermer-Colan foregrounded in both these projects the use of writing exercises to help students reflect on their virtual experiences in meaningful ways. The 360 SSO writing exercise encouraged humanistic thinking about the technology by asking students to compare their field work exercises with the virtual experience, as well as writing reflections that asked the students to identify various ways the 360/VR technology mediated said experience. Similarly, humanistic writing exercises were designed to guide students before and after their experience of the Virtual Blockson’s introduction to archival spaces, etiquette, and practices through game-based, interactive experiences. Drawing upon the Society of American Archivists’ Standards for Primary Source Literacy and the Common Core Standards for historical understanding, digital literacy, and critical thinking, these critical writing questions ensure students reflect upon the virtual experience of library collections’ historical artifacts from the African diaspora. After offering these models to the Immersive Pedagogy participants, Wermer-Colan guided the group through a critical writing exercise to reflect on their own plans to implement the 3D/VR/AR technology for various pedagogical purposes. Wermer-Colan encouraged participants to think of resources at their local institutions, pedagogical standards in their disciplines, and affordances in the spatialized medium of VR for enhancing their approaches to teaching. The writing exercise simulated the kind of exercise participants could implement in their own pedagogy, while offering an opportunity for the symposium participants to reflect on what they had learned during the workshops.

Feminist Reconstructions: Collaboratively Designing 3D/VR Experiences

The concluding workshop, run by Linker and Young, offered a sustainable model for including students as partners in the creation of 3D/VR pedagogical materials, through an overview of Linker’s time creating the Bryn Mawr Women in Science project with her various undergraduate partners: Elia Anagnostou, Courtney Dalton, Jocelyn Dunkley, Tanjuma Haque, Arianna Li, and Linda Zhu. From 2017 to 2019, Linker taught undergraduate students how to integrate historical inquiry with 3D technology in order to think about women’s invisible scientific labor, the spaces they occupied, the tools they used, and their everyday lived experiences. The project considers Margaret Rossiter’s “The Matthew Matilda Effect in Science,” which articulates a systematic disparity in affording women scientists credit for sophisticated and important discoveries, which in turn necessitates that historians find ways to tell stories in order to make their labor visible. It likewise adapts aspects of Pamela Smith’s Making and Knowing Project by taking seriously the need to consider scientific processes. However, rather than engaging in physical reenactment, students offered up women’s processes in a modern, digital format, contextualized by a recreation of spaces that were no longer intact or available for historical analysis.

3D rendering of a biology lab created for the Bryn Mawr Women in Science Project. Rendering contains depictions of glassware, scientific artifacts, equipment, and laboratory furniture.
Figure 5. Screenshot of the 3D-rendered Advanced Biology Lab c. 1900, from Bryn Mawr Women in Science.

Linker and her students recreated two laboratory spaces that had once existed at Bryn Mawr College in the late nineteenth and early twentieth centuries, the Major Chemistry Lab and the Advanced Biology Lab.[1] Students learned a variety of 3D skills, including 3D modeling, photogrammetry, various mechanics of the Unity 3D game engine, and the Oculus Rift. Interactive WebGL versions of the project are available online, and a VR demo of Bryn Mawr’s Advanced Biology Lab was available at the conference. The Advanced Biology Lab was the site of early genetic research and a place once utilized by Nettie M. Stevens, the subject of Stephen Brush’s Nettie M. Stevens and the Discovery of Sex Determination by Chromosomes. Years before Margaret Rossiter coined the phrase “the Matilda Effect,” Brush identified that Stevens’ discoveries had been overshadowed by male collaborators or individuals working concurrently on the same subject. Her contributions had likely been diminished because she was a woman. Students researched each space by spending time in Bryn Mawr’s Special Collections. Through building each laboratory, the students became aware of how to put historical materials in conversation, as no resource could tell them everything they needed to know to build and contextualize the 3D models. Pedagogically, the two-year process of building was designed to seed humanistic deployment of 3D technologies by undergraduate collaborators. Afterward these students participated in professional presentations of the digital and historical work, and served as ambassadors to various communities in order to disseminate the skills the project cultivated to a wider audience.

Linker enabled her students to accomplish a lot in a short period of time; no student was an expert in the technology or in historical research prior to their tenure on the project. This was intentional, as she sought to teach rather than to employ experts. Students represented a diverse range of interests and majors, and all students participated in each phase of production (rather than assigning humanities majors to research and STEM majors to coding) so that afterwards, they could create projects similar to this on their own. Part of what facilitated their success is that she treated them as equal partners in the project, making decisions with them throughout the two years they worked together.

To prepare her students to participate as equals, she devised a plan that would serve as an introduction to using 3D technology to address social and pedagogical problems, and would also serve as a diagnostic tool for assessing student strengths and interests. Essentially, students were asked to propose and implement a 35-hour project (which could be run over the course of days or weeks, depending on individual need) that used an aspect of the Unity 3D game engine’s functionality to teach users about something the students cared about. Students drafted plans that identified what they knew, what they needed to learn, and were prompted to think about modularity, such that students could scale the project if they were running out of time. Students who were not familiar with coding at first could use Unity’s GUI interfaces to produce fully functional scenes, allowing for students with varying levels of proficiency with computer science to produce something useful by the end of the exercise. By the end of the 35-hour period, students not only had a small project they could put in professional portfolios, but had become proficient in a particular aspect of Unity, thought about the technology as a means to serve others, and in implementing their projects, had a better sense of what they would need to do going forward. It also convinced them that they were capable of using the technology in a way the Unity tutorials did not engender. Linker and Young guided the participants in thinking through how symposium participants might adapt this exercise for their own project teams.

Conclusion

Through the symposium and the workshops described above, participants engaged in conversations around designing socially-conscious pedagogy for 3D/VR/AR. Building a framework for teaching and learning with 3D/VR/AR technologies founded in decolonial theory and practices resonated with our participants. This enabled the group to evaluate how projects and assignments fit into an ethical model for cultural heritage pedagogies. The symposium closed with a productive discussion about what the participants learned, with a focus on planning for future steps.[2] Several participants suggested the importance of backward design, which would specifically place the learning outcomes as the first step in creating 3D/VR/AR and related assignments.

Conversations among group members brought up multiple questions, such as: how do we anticipate student use? How do we adjust our use of 3D/VR/AR in response to unexpected circumstances? How do we introduce emerging technologies in the classroom while accommodating individuals unable to take advantage of the intended purposes of ready-made hardware and software? How can these technologies enhance hybrid and online learning? Are students (or faculty) distracted by the freedom of immersive environments? Can we create bilingual metadata in a VR environment? If one could, where would you display subtitles or transcriptions in a virtual or augmented environment?

These conversations confirmed that digital humanists would benefit from future cross-institution discussions of 3D/VR/AR, as well as from shared access to teaching materials, which are often siloed within institutions and departments. Students engage differently with course concepts and each other, depending on the application of the technology within that course. Student learning is dependent on the skills and interests of individual instructors; collaboration is necessary for producing robust materials and responsible projects. Perhaps the most challenging task is creating accessible and sustainable materials applicable to multiple modes of disciplinary learning outcomes at a time of rapid technological and institutional transformation.

In an effort to increase the reach of the conversations that arose out of Immersive Pedagogy, the symposium organizers are working to produce an open-access, peer-reviewed publication containing lesson plans and educational material to facilitate disciplinary and interdisciplinary work that engages 3D/VR/AR technologies. This project aims to extend the work of the Digital Library Federation (DLF) Pedagogy Working Group’s Teach Toolkit that provides lesson plans for digital library instruction.[3] To guide educators to adapt immersive technologies to the needs of diverse disciplines, the Immersive Pedagogy teaching materials will introduce a range of 3D hardware and software, including asset or game repositories. The teaching materials will include diverse lesson plans with tailored learning outcomes, introducing a representative sample of available immersive technologies and resources while addressing humanistic pedagogical goals. Because this project was born out of the CLIR postdoctoral fellowship program, it aims to contribute to the growing field of scholarship on the crucial role that academic libraries or research and teaching centers can play in the integration of immersive technologies across the curriculum.

The Immersive Pedagogy symposium’s prioritization of decolonialism, feminism, and accessibility speak to a radical and critical perspective that can apply to a range of 3D/VR/AR applications and instruction methods. Indeed, in starting conversations on how to promote making immersive experiences accessible and inclusive, there is an opportunity to move beyond operational concerns to lasting pedagogical practices. For decades, contingencies have transformed education and cultural heritage, requiring us to rethink the potential of emerging communication technologies through a critical lens. More evident in the midst of the COVID-19 global pandemic, which has spurred the need for digital ways of teaching and learning, is the critical pedagogical use of virtual surrogates. These include 360° museum spaces and objects, 3D virtual meeting spaces, photogrammetry models, and interactive exhibits. By addressing upfront, rather than through remediation, the issues of social justice, accessibility, and decolonial pedagogies in immersive technology, educators can leverage these tools to respond to a transformative period in the education system.

Notes

[1] For a discussion of problems and considerations specifically related to the construction of historical 3D spaces, see Sullivan, Nieves, and Snyder 2017.

[2] For more detail, see the Immersive Pedagogy collaborative notes: “Shared Notes Wrap Up Session.” 2019. https://drive.google.com/drive/folders/1TSv8jrQlOlbPwi-TyvyOfV1_ZvA9I4y8.

[3] See the #DLFteach Toolkit 1.0: Lesson Plans for Digital Library Instruction.

Bibliography

Alexander, Jacqui M. and Chandra Talpede Mohanty, eds. 1997. “Introduction.” In Feminist Geneologies, Colonial Legacies, Democratic Futures: xxvii-xxiv. New York and London: Routledge.

Brush, Stephen G. 1978. “Nettie M. Stevens and the Discovery of Sex Determination by Chromosomes.” Isis 69, no. 2: 163–172. https://www.jstor.org/stable/230427.

Cotera, María. 2018. “Nuestra Autohistoria: Toward a Chicana Digital Praxis.” American Quarterly 70, no. 3: 483–504. https://muse.jhu.edu/article/704334.

Clark, Jasmine. 2018. “Progressing Towards an Accessible VR Experience.” Loretta C. Duckworth Scholars Studio. https://sites.temple.edu/tudsc/2018/11/07/progressing-towards-an-accessible-vr-experience/.

Digital Zombies. n.d. http://digitalzombies.ucr.edu.

“Guidelines for Primary Source Literacy.” 2018. Society of American Archivists. https://www2.archivists.org/standards/guidelines-for-primary-source-literacy.

Grayburn, Jennifer, Zach Lischer-Katz, Kristina Golubiewski-Davis, and Veronica Ikeshoji-Orlati, eds. 2019. 3D/VR in the Academic Library: Emerging Practices and Trends. Arlington, VA: Council on Library and Information Resources.

KiltHub Repository. n.d. Carnegie Mellon University. https://www.library.cmu.edu/kilthub/about.

Levy, Juliette. 2017. “‘Digital Zombies’– A Learner-Centered Game: Social Knowledge Creation at the Intersection of Digital Humanites and Digital Pedagogy.” In Social Knowledge Creation in the Humanities: An Open Anthology, edited by Alyssa Arbuckle, Aaron Mauro, and Daniel Powell. ITER Press. https://ntmrs-skc.itercommunity.org/.

———. 2019. “How Not to be a Replicant: Working Towards a Useful VR.” Keynote address, Carnegie Mellon University Symposium, Pittsburgh, PA, June 28.

Light, Ben, Jean Burgess, and Stefanie Duguay. 2018. “The walkthrough method: An approach to the study of apps.” New Media & Society 20, no. 3: 881–900.

Linker, Jessica, Elia Anagnostou, Courtney Dalton, Jocelyn Dunkley, Stella Fritzell, Tanjuma Haque, Arianna Li, Rachel Starry, and Linda Zhu. 2019. Bryn Mawr Women in Science. https://digitalscholarship.brynmawr.edu/howis/.

Losh, Elizabeth and Jacqueline Wernimont, eds. 2019. Bodies of Information: Intersectional Feminism and Digital Humanities. Minneapolis, MN: University of Minnesota Press.

Maldonado-Torres, Nelson. 2007. “On the Coloniality of Being.” Cultural Studies 21, no. 2: 240–270.

McPherson, Tara. 2012. “Why Are the Digital Humanities So White? or Thinking the Histories of Race and Computation.” In Debates in Digital Humanities, edited by Matthew K. Gold. Minneapolis: University of Minnesota Press.

Nieves, Angel David. 2019. “Developing a Social Justice Framework for Immersive Technologies in Digital Humanities.” Keynote address, Carnegie Mellon University Symposium, Pittsburgh, PA, June 27.

“Program.” 2019. Immersive Pedagogy: A Symposium on Teaching and Learning with 3D, Augmented and Virtual Reality. https://events.library.cmu.edu/immersive-pedagogy/program/.

“Public Relations.” 2019. Unity. https://unity3d.com/public-relations.

Risam, Roopika. 2019. New Digital Worlds: Postcolonial Digital Humanities in Theory, Praxis, and Pedagogy. Evanston, IL: Northwestern University Press.

Robnett, Belinda. 1997. How Long? How Long?: African American Women in the Struggle for Civil Rights. Oxford: Oxford University Press.

Rossiter, Margaret. 1993. “The Matthew Matilda Effect in Science.” Social Studies of Science, 23, no. 2: 325–341. http://www.jstor.org/stable/285482.

Sayers, Jentery, ed. 2017. Making Things and Drawing Boundaries: Experiments in the Digital Humanities. Minneapolis: University of Minnesota Press.

Smith, Pamela. n.d. The Making and Knowing Project: Intersections of Craft Making and Scientific Knowing. https://www.makingandknowing.org/. Accessed Dec. 13, 2019.

Sullivan, Elaine, Angel David Nieves, and Lisa M. Snyder. 2017. “Making the Model: Scholarship and Rhetoric in 3D Historical Reconstructions.” In Making Things and Drawing Boundaries: Experiments in the Digital Humanities, edited by Jentery Sayers, 301–316. Minneapolis: University of Minnesota Press.

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Acknowledgments

We would like to acknowledge The Andrew W. Mellon Foundation and the Council on Library and Information Resources (CLIR) for the microgrant that funded the Immersive Pedagogy symposium, as well as Carnegie Mellon University Libraries for hosting the event. Thank you to the entire Immersive Pedagogy team, including Eric Kaltman, Neil Weijer, and Chris Young for making the symposium possible. Last, but certainly not least, thank you to all the Immersive Pedagogy participants and keynote speakers, who created a positive, productive community of practice: Andy Anderson, DB Bauer, Katie Chapman, Elena Foulis, Kat Hayes, Juliette Levy, Juan Llamas-Rodriguez, Meaghan Moody, Angel Nieves, Samantha Porter, Coral Salomón, Julia Troche, Jordan Tynes, and Christa Williford.

About the Authors

Lorena Gauthereau is the Digital Programs Manager for the US Latino Digital Humanities program at the University of Houston’s Recovering the US Hispanic Literary Heritage. She received her Ph.D. in English and her M.A. in Hispanic Studies, both from Rice University. Her research interests include US Latinx studies, digital humanities, and decolonial theory. Orcid ID: orcid.org/0000-0002-7185-8982.

Jessica Linker is an Assistant Professor of History at Northeastern University. She was previously a Postdoctoral Fellow and Program Coordinator at the Consortium for History of Science, Technology and Medicine, a Visiting Assistant Professor at Bryn Mawr College, and the Director of Bryn Mawr Women in Science. She researches women’s scientific practices in early America.

Emma Slayton is the Data Curation, Visualization, and GIS specialist at Carnegie Mellon University Libraries. She obtained an MPhil from the University of Oxford in 2013 and completed her Ph.D. at the Faculty of Archaeology, Leiden University in 2018. Her current work centers around improving and supporting digital literacy efforts. Orcid ID: https://orcid.org/0000-0003-2230-3101.

Alex Wermer-Colan is a postdoctoral fellow in Temple University Libraries’ Loretta C. Duckworth Scholars Studio, where he coordinates research and pedagogical projects in cultural analytics and digital media arts. His editorial and scholarly criticism have appeared in PAJ: A Journal of Performance and Art, Twentieth Century Literature, The Yearbook of Comparative Literature, Lost & Found, Indiana University Press, and The Los Angeles Review of Books. Orcid ID: https://orcid.org/0000-0001-7030-6070.

360° photograph of Junipero Serra statue and campus lawn, displayed in Google Tour Creator interface with digital annotation icons.
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Representing Indigenous Histories Using XR Technologies in the Classroom

Abstract

In this article, we describe the major assignments from our team-taught course, Virtual Santa Clara, which drew on the affordances of extended reality (XR) technologies and public memory scholarship from the fields of rhetoric and anthropology to represent Native Ohlone history and culture on our campus. Based on our experience, we argue for the affordances of producing small-scale XR projects—using technologies such as 360° images and 3D models—to complement and contribute to larger-scale XR digital projects that are founded on deep community collaboration. In a landscape where exciting technological work so often tends to entail thoroughly developed, large-scale projects, we argue for the value of more modest contributions, both as scaffolded pathways into technology work for teachers and students and as a means of slowing down the process of technology adoption in order to better respond to ethical, humanistic, and decolonial considerations. Our own incremental process enabled us to proceed with more care, more caution, and, ultimately, a more collaborative framework going forward.

New technologies offer exciting possibilities for the intersections of public memory and pedagogy in post-secondary education. Heritage professionals in many parts of the world have used new media, including extended reality (XR), to create alternative ways of viewing, interacting with, and ultimately experiencing the heritage of particular places (e.g., Green and Jones 2019; Malpas 2008; Michon and Antably 2013). The appeal of these approaches, which in many instances can challenge what Smith (2006) refers to as the “authorized heritage discourse,” translates easily to the classroom, where students and professionals alike are eager to move beyond traditional coursework and make meaningful contributions through their research and composition (Watrall 2019). Yet the realm of digital cultural heritage opens new ethical considerations and in many cases requires deep collaboration with affected communities (Csoba DeHass and Taiit 2018; Haas 2005; Haukaas and Hodgetts 2016; Townsend et al. 2020). Accordingly, a slower pace of development may better serve our students and our community collaborators. In this article, we examine these issues as they relate to our attempts to engage students in collaborative digital projects at Santa Clara University in California.[1]

Hailed as the state’s oldest institution of higher education and the only university established at one of California’s 21 colonial-era missions, Santa Clara University (SCU) celebrates its history as central to its identity. Images of Mission Santa Clara are featured on the school’s official logo and the reconstructed mission church serves as the visual centerpoint of the institution’s built environment. The palm-lined entrance to campus and the ubiquity of mission revival architecture serves to extend the central imagery of the mission seamlessly into the surrounding neighborhoods. The effect is a beautiful and unified campus space, suggesting a unitary and uncomplicated sense of history. That is, the structures of “authorized heritage discourse” (Smith 2006) or “official memory” (Bodnar 1993) are firmly, if not exclusively, dedicated to celebrating the Mission, and the Western perspectives and values it represents.

The historicity of the contemporary campus, however, masks a more complicated colonial history (Trouillot 1995). Particularly absent is any meaningful public acknowledgment of the thousands of Native Americans who lived at Mission Santa Clara during the colonial period (ca. 1777–1840s) or the Indigenous groups, today known collectively as the Ohlone, who lived in the region for millennia prior to the arrival of Europeans. Indeed, this Native history has been erased by the construction of the SCU campus, and what Native recognition exists is confined to the margins: modest plaques at the edges of campus and small exhibits tucked away into basements. In these ways, Native experiences and histories are contained, rhetorically and materially isolated from the broader history and living memory at SCU. The unified aesthetic of the campus memoryscape is accomplished at the expense of both historical and ethical opportunities for learning and reflection among students, faculty, staff, and visitors alike.

Our recent team-taught course, Virtual Santa Clara, sought to use immersive technologies to address this omission of Native history and memory at SCU. Applying rhetorical and anthropological research methods and digital technologies, we sought ways of using undergraduate coursework to contribute to the work of reframing campus as a polysemous site of Indigenous history and culture. In this article, we describe our course design and implementation process to these ends, exploring the affordances and limitations of using immersive technologies in a public history course such as our own. Specifically, we recognize the ways the small-scale immersive projects we implemented complement and contribute to larger-scale XR digital projects founded on community collaboration.

We use terms like immersive projects or XR projects to designate those projects that utilize VR or AR functionality (like 3D imaging and manipulability), while not being fully fleshed out VR or AR experiences. In a landscape where exciting technological work so often tends to entail thoroughly developed, large-scale projects, we argue for the value of more modest contributions, both as scaffolded pathways into technology work for teachers and students and as a means of slowing down the process of technology adoption in order to better respond to ethical, humanistic, and decolonial considerations. Our own incremental process enabled us to proceed with more care, more caution, and, ultimately, a more collaborative framework going forward.

We begin by theorizing digital and immersive technologies as a means of engaging Native history and public memory in our course. We then discuss the three major projects students produced to experiment with this work: 360° immersive tours analyzing the campus as commemorative space, annotated 3D models of Ohlone artifacts, and proposals for large-scale projects using immersive technologies to represent Native history and culture on our campus. We close by sharing our reflections on how to use digital technologies to engage campus public memory work collaboratively and responsibly. While arguing for the affordances of immersive technologies for supplementing and speaking back to more formal, top-down commemorative features of the campus space as a “place of public memory” (Blair, Dickinson, and Ott 2010, 2), we explore the challenges of implementing technology projects in courses and share our initial insights and strategies for others interested in engaging this kind of work.

Course Background and the Role of Immersive Technologies

Virtual Santa Clara was collaboratively designed and taught by faculty in English and Anthropology in Spring 2019. The faculty members came together to teach this course after each having taught similar courses in their own departments. Amy had taught archival research and writing courses exploring the gendered and racialized histories of Santa Clara University, but was increasingly dissatisfied by the limited conception of campus stakeholders and histories communicated by that course design, and vexed by her inability to effectively account for Native histories and experiences in teaching it. Meanwhile, Lee had taught a course called Virtual Santa Clara from solely within Anthropology, but was interested in putting rhetorical perspectives and a more explicit attention to student writing development in service of historical content knowledge. Drawing on work by public memory scholars in both writing studies and heritage studies, the instructors hoped this new course would push students to consider the ways their own writing could contribute to the public memory work of the campus and enhance recognition of Native history and culture of that space.

As described in the syllabus, this new course explored what we called the “difficult history” of Mission Santa Clara, with a particular emphasis on archival and archaeological materials associated with the Indigenous people, particularly the Ohlone, whose lands and livelihoods were upended by Euro-American colonialism. Despite an ongoing lack of federal tribal recognition, the Ohlone trace their connection to this land, which they call Thamien, across millennia. During the colonial period, Franciscan missionaries working for the Spanish Crown sought to convert local Ohlone people not just to Catholicism but also to European lifeways. Labor was a cornerstone of the missionary project, and it was Ohlone people who built the original structures that comprised Mission Santa Clara on what is today our campus. The mission’s baptismal records hold the names of more than 11,000 individuals, the vast majority of whom were from Ohlone communities or other neighboring tribes. Despite the severe constraints of colonialism, these people outlasted the mission system and today comprise several interrelated tribal communities in the San Francisco Bay area (Leventhal et al. 1994; Panich 2020).

Students learned about this history through consideration of the primary documentary and archaeological record, its associated secondary literature, and through conversations with Andrew Galvan, a representative of one Ohlone group that traces its ancestry through Mission Santa Clara (and a person with decades of professional experience in the public interpretation of the California Missions [Galvan and Medina 2018]). By researching existing histories and representations of our university, students critically reflected on how we tell “our history”—who is included or excluded? What kinds of evidence is marshaled (or disregarded), and what social and material forces are accounted for in the production and preservation of that evidence? What social/political/material conditions in the present shape our conceptions of our past? As a result of these considerations, the question that this course ultimately raised was, what technologies and genres are available to us for re-writing these histories toward more just and equitable ends? Our assumption here was that, with the increased potential for access and circulation of student-authored work afforded by the internet and mobile technologies, we could leverage the labor and resources of the classroom to contribute to public education, helping to reshape the landscape of public commemoration (and thus public memory) on our campus. Aligned with similar efforts like the Georgetown Memory Project, we see this course as examining and redressing silences and violence in our historical narratives through engaged student research and writing.

The new version of the Virtual Santa Clara course was designed specifically with the “virtual” possibilities of public memory and historical representation at its core. While the class had always involved online composing for the public (specifically, the composition of websites), the new course emphasized specific rhetorical considerations of writing in online spaces and for public audiences (including considerations of style and arrangement), and sought to expand the effectiveness and interactive potential of student projects and, hence, their potential to shape public knowledge through immersive experiences.

Recognizing the inflexible and conservative nature of the campus built environment, we also chose to use immersive digital technologies for this course as a direct challenge to the limits of official, material installations, extending the “commemorative landscape” of the campus (Aden 2018) and empowering students to compose public remembrance, to “author the built environment” (Tinnell 2017, xii). As John Tinnell observes, “The discourse conventions that have regulated print texts and sculptural interventions in public space…hold little sway in contemporary digital cultures” (xviii).

Originally, this plan entailed the creation of a full AR walking tour using a platform such as BlippAR or LayAR. We were interested in AR technology in particular because, as Jacob Greene and Madison Jones argue, “By integrating digital counter-discourses within spaces where information is often tightly controlled and highly regulated (such [as] iconic city streets or busy urban intersections), location-based AR projects work to re-articulate dominant narratives about a given space” (Greene and Jones 2019, np). Working in collaboration with Andrew Galvan to guide our interpretations, we sought to enlist students in the production of such counter-discourses that would disrupt the unified Eurocentric memoryscape of our campus. However, we faced two limitations in this assignment design.

The primary limitation was simply time. Confined to a ten-week academic term, we were unable to design a course outline that did justice to both our historical and rhetorical learning outcomes in addition to the technical skills for creation and curation of digital assets for such a project (cf. Allred 2017).  The second concern we had was what technologists refer to as extensibility, or what public memory scholars might call durability (Blair 1999). Having taught courses in the past in which students produced digital projects that were either technologically unsupported over time or simply languished in isolation on the web, we were committed to creating projects that would have both real audiences and a future. We understood that existing proprietary platforms available for AR did not yet have a very long shelf life (see, for example, Greene and Jones’s use of Aurasma, which was purchased by HP, rebranded as HP Reveal, and then discontinued—an incident that they argue is “emblematic of the ongoing corporatization of augmented space” [np]). This is significant because, as Blair rightly observes, the durability and longevity of commemorative installations contributes to an audience’s sense of its importance (1999, 37)—a point that Hess expands to include digital commemorations as well (2007, 821). Unable to identify a reliable open-source platform for our AR project creation at the time, we altered the assignment scope to engage students in smaller-scale digital projects that would both function independently and also constitute a body of digital assets on which we could draw for large-scale immersive projects in the future. As we will argue, this incremental process served a valuable role in enabling a less colonizing approach to the production of digital public memory work in our class.[2]

Further, the assignments that students ultimately produced represented valuable Extended Reality (XR) projects in their own right, as they allowed students to immerse themselves and their users in digital locations and interact with digital objects as a means of engaging Native history. The three separate but interrelated immersive projects we developed—360° video tours analyzing the campus as commemorative space, annotated 3D models of Native artifacts from Mission Santa Clara, and large-scale project proposals for using immersive technologies to represent Native history and culture at SCU—allowed us to experiment with and analyze the potential of immersive technology for Native public memory work, engaging students in critical/analytical, productive, and imaginative postures, respectively, all while building a repository of digital assets to be leveraged in a more ambitious and comprehensive Ohlone-designed digital project in the future (to be discussed in more detail below). Of course, these projects were not without their own limitations as well. In what follows, we discuss these three projects and share samples of the resulting student work in order to consider the affordances and limitations of these nascent XR assignments for digital public memory work. By outlining these assignments, we hope to provide insights into the potentials of more modest XR projects for those in the early stages of adopting these technologies in the classroom.

360° tours

The first major project students undertook were 360° tours. Based on their knowledge of Native history and archaeology at SCU, students selected a site (that was either publicly marked or not), captured 360° images of it, and conducted a critical analysis of the history it represented, including attention to spatial arrangement and what evidence, figures, and experiences were emphasized and which were excluded. The learning outcomes of this assignment included evaluating the rhetorical effect of specific features of a commemorative site, applying course terms and concepts to the analysis of a local site of public memory, and using 360° technology to thoughtfully represent a physical site. Students were also tasked with composing with a consideration of the audience and the student’s own role in contributing to public memory (see Figure 1).

A vista of the university quad is visible, with the statue of Junipero Serra visible on the left.
Figure 1. Screenshot from 360° Virtual Tour composed by Raymond Hartjen and Aiden Rupert, 2019.

To do so, students first captured images of their selected site using Insta360 cameras.[4] These cameras captured 360° images that are then viewable in Google Cardboard viewers or head mounted displays (HMDs), as well as interactively viewable on a PC or mobile device. Students uploaded the image files to Google Tour Creator, where they annotated them to point out specific features of the site they were analyzing that contributed to or complicated their interpretation of the site. Using these digital annotations, students composed an evidence-based argument interpreting the location as a site of public memory. Some guiding questions they considered in their analyses included:

  • What is the explicit and implicit argument this site makes, and what specific features lend themselves to (or complicate) that argument?
  • Who is the audience or “public” imagined by the site?
  • How does this site represent or engage a sense of history, the present, and/or the future?
  • What are the roles of the body, movement, and space in the experience of this site?

While students were tasked with presenting their critical interpretations for a public reader, the main thrust of this assignment was critical/analytical—focused on understanding the rhetorical work of the campus rather than producing their own historical representations. Conversations with Andrew Galvan, the Ohlone representative, pushed the students to consider the relevance of historical monuments (or their absence) to descendant communities, for whom the colonial period remains vital to their ongoing struggle for autonomy and recognition.

Usually, this kind of spatial analysis assignment would entail students producing an extended description of the place to preface the analysis, translating material and spatial features of the environment into academic prose. While this process of translation has other features and benefits, one effect of it is that the rhetorical-spatial features and their functions are dislodged from their physical and material context. In this process, an immediacy and relevance is often lost, as the resulting academic arguments are similarly dislodged and dissociated from the real and semiotically abundant physical site itself. But using immersive technology allowed students to digitally mark-up their physical surroundings in (what they experienced as) a more immediate way. While still working with a representation, the ability to comment directly on features of their environment via digital annotation provided students (and their readers) with a less mediated experience of the environment than an alphabetic representation allowed. The texts they produced sought to capture the feeling of “being through there” (Dickinson and Aiello 2016) that they experienced, and encouraged them to attend to the rhetorical effect of embodied presence at the site. At the same time, the ability to consider the campus space while not present enabled a particular kind of critical-analytical work by defamiliarizing the place and, thus, generating critical distance and space for reflection among students.

Further, the technology provided an additional representational layer allowing students not only to analyze what is present in the commemorative landscape but also to reveal the histories that have been effectively erased from our campus, such as unmarked mission cemeteries. While this analysis and historical augmentation could be accomplished discursively, students and their readers benefited from the ability to map other commemorative possibilities directly onto the existing physical landscape. Just as mobile technologies allow users to access the “embodied knowledge of [a] city” by extending the affordances of digital mapping software into physical spaces of the everyday, so can immersive representations capture the physical spaces of daily life and subject them to the critical gaze of digital markup and manipulation (Kalin and Frith 2016). While it is true, as Jason Kalin and Jordan Frith argue, that these platforms privilege “engagement with a spatial representation over engagement with physical space,” losing out on the “optical knowledge” gathered from traversing a real, material environment (224), we also argue that capturing that unfolding experience of being in place and freezing it in time is a powerful tool for deepening students’ analysis as well as sharing their findings with those not present on site.

Annotated 3D models

Moving from a more analytical posture to a productive one, the next major assignment was the creation of interactive 3D models. For this assignment, students used a mid-tier 3D scanner (HP Pro S3) to produce 3D models of archaeological artifacts and annotate them with interpretive information for a public audience. The annotations described and contextualized the artifact, and provided an interpretive frame for what they thought the audience should notice or understand about the meaning of this object. Thus, students were asked to consider not only what the “factual history” of the object is, but also what narratives the object helps contribute to the public memory of our campus. Here, too, students were asked to compose with a consideration of audience and the student’s own role in contributing to public memory. A critical difference between this project and the 360° scans was the shift from a focus on SCU’s physical environs to the more intimate domain of objects that were made and/or used by Native people who lived at Mission Santa Clara, a difference that brings to the fore a host of practical and ethical concerns (e.g., Csoba DeHass and Taiit 2018; Haukaas and Hodgetts 2016), many of which we discussed with Andrew Galvan in a class visit prior to the beginning of the assignment (see Figure 2).

Figure 2. 3D Scan by Raymond Hartjen and Aiden Rupert 2019, housed on Sketchfab. Used with permission.

This assignment began with an exercise on writing descriptions that attend to the rhetorical work of detail selection and emphasis, helping students to disrupt the assumption of an objective scientific stance and recognize the rhetorical nature of all writing. Students then explored their ideas of the significance of the artifact, tracing their attributions of significance to their own personal experiences and biases, or what Burke calls their “terministic screens” (1966, 44). By comparing their descriptions to others and examining the effects of those decisions, students came to understand even this “simple” act of composing as highly rhetorical memory work. This issue was further illustrated by their conversations with Andrew Galvan, who pushed them to consider still other ideas about the significance of the objects they had chosen.

With this in mind, students selected features of their artifacts to highlight through digital annotation and composed a brief interpretive description of their chosen artifact. This task required the students to grapple with the materiality of the objects they had chosen, building competency in the visual analysis of objects (Macaulay-Lewis 2015). This was manifested both in terms of the technology (the software we used had trouble creating models of flat objects such as buttons or coins) and in questions about which of the object’s attributes would benefit from textual annotations. The annotated models were uploaded to the campus’s public-facing account on Sketchfab, a popular site for sharing 3D objects and models. Here, too, the students made rhetorical choices about how the objects are displayed, including lighting and initial orientation. By using Sketchfab, as opposed to non-public storage solutions, the 3D models contribute to a growing repository of digital assets that can be accessed by researchers and public users today, and also be leveraged for future digital projects, once a critical mass of cultural materials has been successfully created—a goal of our ongoing work with the Ohlone community.

Final proposals

Following these two initial assignments, students pushed the question of public memory by further researching and revising their 360° and/or 3D projects into digital exhibits. Using one of the previously used platforms or Google Sites to incorporate archival, historical, critical/theoretical, and/or archaeological research materials, they produced thoroughly researched and polished compositions that were to be suitable for a public audience (either on a traditional web browser or mobile VR).

However, recognizing the limits of the academic term, we wanted an opportunity to harness some of the students’ creative insights and technological ideas to inform future project possibilities as well. So, for their final assignment, students created project proposals (addressed either to the university or an outside granting agency) that would extend the work and thinking we had done in class beyond what we were able to accomplish in ten weeks. The resultant document proposed to change the way Native history is presented on campus through changes to the physical landscape and/or through virtual representations in order to demonstrate students’ overall understanding of Ohlone history and historical representation on our campus, articulate the significance of this kind of memory work, and apply our thinking about historical memory production beyond the limited projects and technologies with which we were able to work during the quarter.

To prepare for this project, students analyzed sample digital projects from other campuses and visited the Imaginarium VR lab on our campus to experiment with immersive games and experiences related to public history and Native culture, including Boulevard, Native American App, and Ward & Cartouches. These experiences were meant to inspire them to consider ways technology could be further utilized to engage commemorative work. We imagined that we could thus sidestep the challenges posed by technological expertise and harness the creative energies of students to seed future digital memory projects. In these projects, students showcased a wide range of creative approaches that far exceeded those we had imagined ourselves, from relatively modest suggestions relating to relocating existing statuary to ambitious interdisciplinary projects utilizing VR headsets. In all cases, the traces of previous analytical and compositional experiences were evident in these proposals, which almost uniformly attended to the significance of spatial rhetorics, presence, and interaction in thinking about the ways the public interacts with the history and memory of a place. We believe it was through both their own presence on campus and their use of immersive technologies to analyze the experience of presence as such that led to the most exciting insights in those projects, as students drew on their own deep knowledge of the campus space to inform their plans for digitally altering it (see Figure 3).

Map of Santa Clara University campus marked with red tour route.
Figure 3. Image from Raymond Hartjen’s proposal, 2019. Used with permission.

To take just one example, student Raymond Hartjen proposed an Augmented Reality tour, which he called the Augmented Native Santa Clara Experience (ANSCE). He explains the proposal:

Using AI/GPS tracking, AR digital reconstructions, and historical annotations, visitors will be able to experience aspects of the Native American past that are not easily accessible or understood today. Digital representations of historic Native settlements or Mission-era structures of Native occupation will be layered over the existing campus structures through smartphone camera functionalities, therefore immersing visitors in a world that has influenced as well as been impacted by the corresponding modern space. Ultimately, this will benefit both local and distant communities alike by creating a more inclusive representation of the Mission past that will be crucial in constructing future notions of public memory (Hartjen 2).

Hartjen’s discussion throughout the proposal merged his own deep knowledge of the campus space, his growing knowledge of Native histories and experiences, and his understanding of public commemoration as an unfolding and ever-shifting process. And, perhaps most importantly, Harjten and other students explicitly acknowledged the importance of ongoing Ohlone consultation in any project development efforts. In these ways, students developed critical technological literacies alongside attention to ongoing colonial violence and the need for decolonial methodologies in approaching this work

Cautions and Future Directions

“[B]y what measures shall we gauge the value or harm of various digital initiatives to author the built environment?” (Tinnell 2017, xviii)

The projects students produced and imagined in Virtual Santa Clara have begun to fill a gap in public commemoration on our campus, building a repository of immersive and interactive digital assets that will be drawn on in future courses and public memory efforts, as well as a pool of ideas to inspire our Native and non-Native collaborators in their designs. Students engaged XR critically, attentive to the political work they were engaging in representing stories that were not their own and the affordances and limitations of the technologies they used to do so.

Particularly given the legacy of colonialism that shaped both the history of the SCU campus and our own positions as teachers, students, and researchers, we were mindful to cultivate a “critical digital literacy”—one that went beyond the goal of inclusion to attend to colonizing, essentializing, fetishizing, or otherwise limiting potentials of the digital work we analyzed and produced.[5] Immersive technology contributes to the development of such critical literacies because it “encourages citizens to see their everyday environment as a networked phenomenon emerging from a series of rhetorically contingent relationships between material and immaterial (and human and non-human) entities” (Greene and Jones). That is, XR positions students as analysts as well as creators of commemorative landscapes, alert to the relations of power and influence that shape these constructions, both virtual and physical.

At the same time, engaging these digital projects has its own risks as well. As Tinnell cautions, “We are racing to adopt new information spaces, new archives, without giving much thought to the (unique) forms of expression they might enable and constrain. The lauded technical feats of digital-physical convergence do not come preinstalled with literary, artistic, or rhetorical innovations” (2017, 11). The risk of this headlong rush may be particularly pronounced in relation to cultural heritage projects such as ours, with the potential to re-colonize Native stories and experiences. A challenge in this regard has been facilitating student research and writing that could support what Angela Haas (building on the work of Scott Lyons) has termed “digital rhetorical sovereignty, where American Indians can share their own stories in their own words” (Haas 2005, np). We are still seeking more ethical and effective ways to work on digital public memory pedagogies that are guided by Native stakeholders and their priorities.

Using this course as a first step towards a more decolonial approach, we have continued to build relationships with Ohlone stakeholders in order to engage (and also study) this commemorative process. Based on the success of this initial effort, we have secured new grants to continue this conversation, including one grant to work with Ohlone tribal members to develop college-level curricular materials that are directly shaped by Ohlone priorities, values, and perspectives. Another grant will allow us to work in deep consultation with Ohlone members to design a large-scale digital public memory project that uses VR or AR technologies to engage the public with Ohlone history and culture related to this landbase.

A key part of this process is slowing down and making the challenges and opportunities of digital rhetorical sovereignty part of the process. As Jacob Greene and Madison Jones caution, “It is important that scholars of computers and writing continue to interrogate the rhetorical potential of this emerging computing paradigm by detailing the design choices made throughout the creation of a mobile media project” (Greene and Jones 2019, np). Our project serves as a reminder that, because a significant aspect of the design process in Native public memory projects must be consultation with the affected tribe(s), the pedagogical plans must allow sufficiently for that consultation in an iterative process of design and feedback—which may make larger and more formalized projects more challenging within the confines of an academic quarter or semester. Because navigating new technologies is a significant task, on top of the necessary work of building relationships with Native stakeholders, our experience underscores the risk of what Katrine Barber calls “soft technologies of violence,” such as the creation of deadlines that don’t permit sufficient reflection or thorough consultation within tribes (2013, 31). Thus, we argue that small-scale immersive projects can move the needle on more inclusive historical representation of our campuses while allowing the time for broader consultation and collaboration that is necessary for more fully decolonial practice. Sharing our process is our attempt to support such public memory work within XR and other digital media projects and pedagogies in the future.

As our work takes place on the campus of Santa Clara University, students are an integral component of the public memory projects we create. At the practical level, we hope to provide ethical, collaborative frameworks to our students, who may become part of the next generation of digital heritage practitioners. This means paying careful attention to community concerns and also, as we learned ourselves, choosing projects that are both scalable and, perhaps more importantly, achievable within the constraints of a particular academic term. But we also see students’ digital composition, in collaboration with local communities, as a way to realize the promise suggested by Malpas (2008) to use new media as a way to instill a deeper sense of place, and to actively use their rhetorical skills to shape public memory in response. Though left out of the official memoryscape dominated by physical monuments and markers, students at SCU are deeply concerned about the (lack of) representation of Native history related to Mission Santa Clara and the deeper Indigenous heritage of our campus. By offering digital projects that engage those histories, we hope to include our students in bringing about the changes that they and the local Native community collectively wish to see.

Notes

[1] Both authors are non-Natives who have come to the study of Indigenous history and representation through their respective disciplines, English and Anthropology, and their relation to the site of acute colonial activity that is Mission Santa Clara.

[2] At the same time, we take caution from la paperson that “only the bad guys build things that last forever” (2017, 70). In aspiring towards a more decolonial university, we want to remain alert to the ways colonial relations are continually (re)produced within institutions, and continue to critically reflect on the form and function of our pedagogical, technological, and commemorative goals.

[3] Following the model of Pamela VanHaitsma, who herself draws on Stacey Waite’s work on queer pedagogy, we approached students as fellow critics making meaning of our shared space together with us. Thus, this essay quotes and cites their work, but only with written permission, and identifies them or maintains anonymity based on their preferences (VanHaitsma 2019, 277; Waite 2017).

[4] Insta360 are affordable and compact cameras that many schools would be able to acquire for a class. However, students can also use the cameras on their cell phones to even more easily capture 360° images, which can be uploaded to a free platform like Google Tour Creator or ThingLink to annotate, augment, or link multiple sites together, or students could simply upload images to Google Earth, depending on the goals of the course and assignment.

[5] Following Karma Chavez (2006) and Barbara Biesecker (1992), we were suspicious of “inclusion” as a goal, given its ability to perpetuate rather than dismantle existing, oppressive structures of power and privilege. That is, we were cautious of absorbing Ohlone history seamlessly into a narrative of university-building—of “including” Ohlone in the existing story, which is, after all, one of ongoing colonial domination.

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About the Authors

Amy J. Lueck is Assistant Professor of English at Santa Clara University, where she researches and teaches histories of rhetorical instruction and practice, women’s rhetorics, feminist historiography, and public memory. Her book, A Shared History: Writing in the High School, College, and University, 1856–1886 (SIU Press, 2020), brings together several of these research threads, interrogating the ostensible high school-college divide and the role it has played in shaping writing instruction in the U.S. Her work has previously appeared in journals such as College English, Rhetoric Review, Composition Studies, and Kairos.

Lee M. Panich is Associate Professor of Anthropology at Santa Clara University. His research employs a combination of archaeological, ethnographic, and archival data to examine the long-term entanglements between California’s Indigenous societies and colonial institutions, particularly the Spanish mission system. His scholarship has appeared in American Antiquity, Ethnohistory, and Historical Archaeology, among other venues. He is the author of Narratives of Persistence: Indigenous Negotiations of Colonialism in Alta and Baja California (University of Arizona Press, 2020).

A workshop filled with the tools of a silversmith. In the left half of the frame, a man in colonial attire sits with his back to the viewer. In the center-right of the frame, the player’s pointer rests on a colorful print and declares “Landing Print.”
2

Mission US TimeSnap: Developing Historical Thinking Skills through Virtual Reality

Abstract

Mission US: TimeSnap is a blended learning experience, marrying the capacity of a virtual reality mission with consolidation, support, and deeper exploration in the classroom. This article investigates the affordances of virtual reality as a teaching tool and the challenges of designing for today’s classroom. The game developers of Electric Funstuff were drawn to virtual reality by research that suggests it has great potential to support the kind of inquiry-based learning that many high school history classrooms struggle to provide. The result is Mission 1: King Street, 1770, the first in a series of history-based virtual reality missions that model and scaffold the use of critical historical thinking skills. After several rounds of testing and iteration, Mission 1 is poised for a final classroom evaluation, and this paper shares the developers’ insights and best practices for other classroom-VR creators.

Introduction

There’s an argument brewing in the Royal Exchange Tavern on King Street. Two men cluster at the end of a sturdy wooden table, deep in conversation and visibly agitated. The tavern keeper ignores their quarrel, distracted by an advertisement in the Gazette. Across the room, a man slouches over his tankard and re-reads, astonished, a letter the author never meant to share with the people of Boston. Hundreds of miles away, hundreds of years into the future, yet, impossibly, also present in this moment, in Boston, in April, in 1770, a high school student considers her options: “Hm, do I really want to do that? No, don’t go there…”

This student is playing Mission US: TimeSnap, a game-based virtual reality experience designed to critically engage high school learners in US History. Before her mission is through, this student will explore three richly detailed and interactive locations in 1770 Boston, on the way gathering evidence that will help her explain why, only weeks earlier, five civilians were gunned down in the middle of the street by British soldiers. And, because TimeSnap is a blended learning experience, the journey won’t end when she removes her headset. Outside of the virtual world, this student will collaborate with her classmates and receive support from her teacher in order to understand and articulate not only the causes of the Boston Massacre but also the different ways this event was interpreted and why this matters to America’s Revolutionary history. In short, she will be “doing history” by grappling with contextualization, causation, and other essential historical thinking skills.

This paper describes the design and implementation of TimeSnap from the perspective of both its developers and researchers and offers lessons learned for would-be practitioners.[1] These lessons include (a) how to allow for the time and technological constraints of today’s classroom, (b) how to manage cognitive load in virtual learning environments, and (c) how to use design to support active learning.

Educational Affordances of Virtual Reality

Since the computer arrived in the classroom, history educators have sought to harness digital technologies to innovate instruction. Advocates saw exciting opportunities to digitize primary sources, scaffold learning with hypermedia, and build two- and three-dimensional virtual spaces for exploration and engagement (Dede 1992; Evans and Brown 1998; Cornell and Dagefoerde 1996). The use of technology in the classroom arose side-by-side with a shift in pedagogical practice in the social sciences. Over the past few decades, professional organizations like the Stanford History Education Group, National Center for History in Schools, American Social History Project, and Roy Rosenzweig Center for History News and Media have developed strategies and resources to help each learner to “read like a historian,” or practice disciplinary literacy, by grappling with historical evidence. Inquiry-based learning, where teachers guide students through the process of evidence-gathering, source evaluation, and argumentation, has emerged as the most promising instructional mode for building these historical thinking skills (Voet and De Wever 2017). Assessment tools have also evolved: the document-based question (DBQ)––in which students analyze primary and secondary sources to explain past events and make arguments––has been widely adopted as the most reliable measure of student learning. Technology, particularly digital media, has been singled out for its significant potential for scaffolding learning (Dede 1992; Saye and Brush 2006). Hypermedia and other digital supports foster inquiry into the “ill-structured” problems of history by providing hard scaffolds and promoting independent exploration and problem-solving (Saye and Brush 2006). However, despite calls for an inquiry-based classroom and even after the wide adoption of digital tools in many classrooms, according to one survey, half of high school history teachers still regularly lecture for three-quarters of the class period––and some for the entire period (Wiggins 2015). Implementing these methods poses a challenge for teachers trained in conventional practices as well as for students who struggle to analyze complex texts.

Reflecting on the need for both effectively modeled historical thinking skills and more compelling practice environments, we saw an opportunity for innovation. After ten years’ experience using the affordances of games and interactives to deepen middle school social studies through Mission US, our game developers wanted to harness the unique capacities of virtual reality (VR) to build historical literacy. We drew on the insights of the Stanford History Education Group (SHEG) and the National Center for History in the Schools (NCHS), selecting essential historical thinking skills like contextualization, causation, and sourcing to model and develop in high school history classrooms through a blended VR experience.

Virtual reality has strong potential for teaching history. Like living history museums, VR assembles a three-dimensional historical world to explore––putting students “inside” the past and, through embodied learning, making historical investigations more memorable and motivational. Theorists of embodied learning assert that learning is a product of sensorimotor interaction with the world rather than the result solely of mental activities that occur within the brain’s physical confines (Lakoff and Johnson 1999; Osgood-Campbell 2015). Proponents of experiential learning argue that the most powerful learning experiences are those that allow people to experiment (or “take action”) physically as well as mentally through hands-on activities, reflect on the outcomes, and make changes as required to advance toward goals (Kolb 2014; Kontra, Goldin-Meadow, and Beilock 2012). In this frame, learning activities should be designed to allow students to interact in meaningful ways with their environments to facilitate deeper encoding of knowledge.

Researchers speculate that VR can promote embodied and experiential learning by facilitating presence, or the illusory perception of physically “being there” in a non-physical space (Schubert, Friedmann, and Regenbrecht 2001). Accordingly, students can interact with content in ways not possible with books, video, or even games. They can, for example, pick up and rotate objects, and, in in-room VR, move toward and away from sounds, giving them an intimate sense for the distinctive material culture of a historical era. Students may also be more likely to practice the skills of historical thinking after having them modeled by characters in the VR space and then trying themselves. Similarly, VR may promote embodied learning by enhancing episodic memory (memory of autobiographical events) and visuospatial processing (the ability to identify objects and the spatial relationships among them) (Parsons et al. 2013; Repetto, Serino, Macedonia, and Riva 2016). Some researchers have proposed that the formation of memories is closely tied to the ability to take action on the information being encoded by the brain. According to Glenberg (1997), “conceptualization is the encoding of patterns of possible physical interaction with a three-dimensional world. These patterns are constrained by the structure of the environment, the structure of our bodies, and memory” (see Osgood-Campbell 2015). If this is the case, a learner in a VR setting, who must perform actions (albeit limited gestures, not fine motor movement) to navigate their virtual environment and unlock knowledge, would form more meaningful memories than a student reading the same information.

VR has educational potential beyond the affordances of embodied learning. Research suggests, for example, that the novelty and interactive possibility of VR improves student motivation and increases student recall (Chiang, Yang, and Hwang 2014; Ijaz, Bogdonovych, and Trescak 2017). Furthermore, learning in a realistic virtual space aligns with the methodologies of anchored instruction. Anchored instruction theory posits that more meaningful learning takes place when students are placed in a realistic context, for example by solving a problem presented in a case study (Yilmaz 2011). Often, anchored instruction is supported by technology like video or VR, which supplies the realism of an otherwise unfamiliar situation. In a virtual scenario, students activate “inert” knowledge when they encounter situations to which that knowledge can be applied (Love 2005).

TimeSnap is designed to bring these advantages to the US History classroom. With its immersive and interactive historical spaces, TimeSnap aims to model the work of history as it builds knowledge of historical people, places, events, and ideas. Working under the assumption that inquiry-based learning experiences are the most powerful, our theory of change posits that a brief (fifteen-to-thirty minute) VR experience that models historical thinking skills, followed by a lesson plan that helps students to apply their new knowledge and skills, will be demonstrably more effective at helping students retain and apply historical knowledge and skills than a traditional, paper-based lesson.

Virtual Tour of TimeSnap Mission 1: King Street, 1770

Mission US: TimeSnap is a blended learning experience that marries the capacity of the virtual reality mission with consolidation, support, and deeper exploration in the classroom. It was developed in Unity and optimized for the Oculus Go. The production and research process has been funded by a Small Business Innovation Research grant through the US Department of Education. In each TimeSnap mission, students “travel” back in time to investigate a pivotal period in American history. The core of each lesson is a VR mission in which students explore historical locations, encounter local people, collect and analyze artifacts, and bring back evidence to construct an interpretation of what happened and why. The following case study is focused on the development and testing of Mission 1: King Street, 1770, an investigation of the Boston Massacre. Later missions will build upon this research to explore the Fugitive Slave Law, westward expansion, and turn-of-the-century immigrant communities.

To encourage the critical inquiry and problem-solving skills at the heart of inquiry-based learning, TimeSnap is animated by “missions,” questions that form the basis for the VR task and the lesson to follow. A simplified in-game mission (Find the causes of the Boston Massacre) keeps students focused on a single task during their time in the VR. The classroom lesson poses a more complex question (How did the Patriots and the British each explain the causes of the Boston Massacre?), to be answered using evidence collected in the VR in collaboration with classmates and with teacher support and guidance. For more advanced students, an optional DBQ challenges them to apply what they have learned to a new set of documents and interpret the larger significance of the Boston Massacre in American history.

Entering a three-dimensional virtual space allows players to feel physically immersed in a new world, but TimeSnap extends this opportunity for immersion by including worldbuilding. Students do not simply put on the VR headset and immediately see 1770: they enter a future society with its own fractured history before embarking on their mission. Students are deputized as agents of the Chronological Advanced Research Projects Agency (C.A.R.P.A.), a future government department. C.A.R.P.A. was founded to rebuild the world’s archives using the agency’s signature technology, a virtual form of time travel that replicates historic environments, artifacts, and organisms. C.A.R.P.A. created this technology to repopulate their digital collections and expand their understanding of the past. Agents search for objects and information to fill gaps in the historical record that have puzzled the agency’s scholars. In the King Street Mission, for example, C.A.R.P.A. is aware of the Boston Massacre but does not have the evidence necessary to explain why five civilians were shot by soldiers of their own government. Room by room, students uncover the clues necessary to explain the many factors contributing to the Massacre.

Overview of User Experience

In a three-minute tutorial, agents meet C.A.R.P.A.’s Director Wells, who will be their guide and model for historical thinking. Director Wells outfits agents with a TimeSnap device (the handheld VR controller) that enables time travel and other helpful powers. Wells gives agents a mission: to go back in time and verify or collect historical accounts in order to respond to the mission question (e.g., What caused the Boston Massacre?). Their mission begins with a key piece of evidence––a challenging text or visual primary source. Wells poses focus questions about the evidence and prompts the players to learn all they can by investigating historical figures, locations, and other documents and artifacts. In King Street, 1770, Wells leads agents through three rooms, which are carefully researched recreations of colonial historical settings. Players explore rooms to gather sources and contextual information and to collect and study additional primary documents.

VR Features

Teleport

Players use the Oculus pointer (or an equivalent) to navigate to, and through, rooms in the VR environment.

Audio Guide

Voiceover (VO) support, in the form of C.A.R.P.A.’s Director Wells, guides players through the space, assigns tasks connected to the lesson question, and models historical thinking skills, including sourcing and contextualization.

Scan, Mind Meld, and Analyze

Players use the pointer to click on people and objects in the VR environment, view hot spots providing background information, “hear” thoughts (Mind Melds), and zoom in for a closer look. This feature is the primary way that players interact with the VR rooms and items.

Close-up of Paul Revere’s “Landing of the Troops” print. In the center of the frame is a transcription of the cursive letters from a corner of the print. Text supports are highlighted in aqua. At the bottom of the frame, the text supports explain that His Majesty’s Secretary of State for America was “the official responsible for overseeing the American colonies.”
Figure 1. Transcription and text supports for Paul Revere’s “Landing of the Troops.”
In the center of the frame, a textbox contains the transcription of a Mind Meld with the tavern keeper. Below the text are two prompts labeled with an ear, inviting the student to listen further to one of the options.
Figure 2. Transcription of the tavern keeper’s branching Mind Meld.

Tableaux

Each room is divided into discrete scenes, known as tableaux. Each is a collection of objects and Mind Melds, typically providing interrelated information. Players must complete a minimum number of interactions with the items in a single tableau before they move on.

Field Notes

Players automatically collect field notes during their interactions with certain objects and people. Notes are sorted into pre-set categories as they are found. Players can track their progress unlocking categories and collecting notes when they return to the C.A.R.P.A. Lab. At the end of their mission, players are emailed copies of their notes.

In the left half of the frame, a text box indicates how many Field Notes the player has collected. The Field Notes are grouped by category (ex. “The Aftermath”, “Taxation”, etc).
Figure 3. Collected field notes displayed in the C.A.R.P.A. Lab.

Evidence Locker, Room, and Exit Questions

After they complete each room, players are asked to select one of three objects to return with them to the C.A.R.P.A. Lab. These objects are held in the Lab’s evidence locker for the duration of the mission. When they return to the C.A.R.P.A. Lab, players answer questions about the items they have selected from each room and about the conclusions they are drawing about the mission question.

In figure 4, holograms of three objects are projected on top of the final Revere Workshop tableau. The closed caption prompts players to choose the object that “best helps you understand the causes of the massacre.”
Figure 4. A room question in Revere’s Workshop.
In figure 5, a follow-up question about the Revere Workshop artifact is projected over the C.A.R.P.A. Lab scene.
Figure 5. The follow-up question from Revere’s Workshop in the C.A.R.P.A. Lab.

Virtual rooms

C.A.R.P.A. Lab

A large space with irregular grey and white walls. In the center of the field of view, a fragment of Paul Revere’s “Bloody Massacre” spins on a small holographic pedestal. The closed caption reads, “It’s a primary source from 1770 that another agent retrieved.”
Figure 6. A fragmentary source is analyzed in the C.A.R.P.A. Lab.

Players begin and end their mission in the C.A.R.P.A. Lab, a cavernous industrial space with an evidence locker for the artifacts students collect from the historic spaces.

  • Room Objective: Acclimate players to the VR environment, introduce them to the mission and Director Wells, and help students reflect on and consolidate information between VR rooms.
  • Number of Objects: 1
  • Number of Mind Melds: 0

Paul Revere’s Workshop

A workshop filled with the tools of a silversmith. In the left half of the frame, a man in colonial attire sits with his back to the viewer. In the center-right of the frame, the player’s pointer rests on a colorful print and declares “Landing Print.”
Figure 7. Paul Revere in his Workshop.
  • Room Objective: Discover the complete “Bloody Massacre” print and explore Paul Revere’s perspective on the Boston Massacre.
  • Tableaux: Revere’s Workbench, Revere in 1770, Revere in 1768
  • Number of Objects: 5
  • Number of Mind Melds: 2

Royal Exchange Tavern

A dim tavern interior with wooden tables and a large fireplace. Two men stand in the center-right foreground. A third sits in the left background. There is a wooden stick on the table behind one of the standing men.
Figure 8. Customers at the Royal Exchange Tavern.
  • Room Objective: Encounter conflicting perspectives and evidence on the Boston Massacre.
  • Tableaux: An Argument, The Tavernkeeper, An Editorial
  • Number of Objects: 4
  • Number of Mind Melds: 4

Boston Gaol

A narrow jail cell. In the center of the frame, a man sits in his shirtsleeves with his back to the viewer. To his left, the iconic red coat of a British soldier lies on a cramped metal bed. To his right, a player’s pointer lands on a piece of paper with the question “What is he writing?”
Figure 9. Captain Preston in Boston Gaol.
  • Room Objective: Hear Captain Preston’s account of the Massacre.
  • Tableaux: Preston Asleep, Preston Awake
  • Number of Objects: 4
  • Number of Mind Melds: 1

TimeSnap Lesson

The King Street, 1770 VR mission is followed by a classroom lesson that helps students apply the knowledge and skills presented in the VR mission. Teachers are asked to lead their students in a mission debrief discussion that helps students review and consolidate the information they were exposed to in the VR. Students are provided a copy of their field notes, pre-sorted into relevant categories to support their inquiry into the causes of the Boston Massacre. Classroom activities and teacher-led discussions lead students to expand their inquiry into the Massacre, from naming and explaining the causes of the Boston Massacre to a critical evaluation of the sources of their evidence. Ultimately, students are expected to use the historical thinking skills modeled by Wells and practiced in the lesson to analyze a new set of documents pertaining to the Boston Massacre and the American Revolution.

Testing and Evaluation

Over the course of its ongoing development, the usability, feasibility, and promise of efficacy of TimeSnap have been evaluated in numerous settings. The final version of TimeSnap, described above, has been substantially revised based on recommendations from two pilot studies (conducted in December 2017 and January 2019), but final testing is still in progress. The results of this summative study, including the extent to which learning was positively impacted by the VR experience, will be shared via the project website.

Initial Phase I pilot study

In December of 2017, a pilot study of the initial Mission 1 VR and lesson activities was conducted with two US history teachers and fifty-nine students in two public high school classrooms (a ninth grade class in Queens, New York, and an eleventh grade class in suburban New Jersey) to determine the project’s feasibility. Students in each class were randomly assigned to a treatment group or control group by their teachers. Prior to the beginning of the pilot, participating teachers and students in the treatment group were asked to complete a Student Immersive Tendencies Questionnaire. During the two-day classroom pilot, all students had the opportunity to engage in the TimeSnap VR experience and were also asked to read, annotate, and respond to questions about four primary source documents related to the Boston Massacre, though students in the control group were asked to complete their analysis of documents before engaging in the VR experience. Many students in the treatment group reported that the immersive nature of the VR experience heightened their engagement and focus during the lesson in addition to aiding their ability to visualize and recall important information about the historical context. Students also reported that they enjoyed having a personal, distraction-free learning space in which to explore and progress at their own pace. Both teachers were able to successfully incorporate TimeSnap into their regular instructional approaches and noted an interest in using VR with their students in the future. To ensure that this novel instructional experience was not going to adversely affect learning, the pilot study also included preliminary measures for efficacy. The treatment group actually showed slight, but not statistically significant, improvements in retention of historical facts. More importantly for the goals of the study, students and educators affirmed the potential for the game to impact students’ sourcing and contextualization skills.

Phase II formative research

In January 2019, a newer iteration of the TimeSnap: Mission 1 VR prototype and accompanying curriculum materials were tested with a group of five eleventh-grade students and one facilitating teacher at a public high school in lower Manhattan in New York City. The instructional session took place in an after school setting over ninety minutes (designed to simulate a condensed version of two individual instructional periods) and was immediately followed by a thirty-minute group interview with all participating students and a forty-minute interview with the facilitating teacher later that week (see Appendix for additional information.) The small sample of student participants (n=5) allowed for in-depth analysis of students’ written responses to open-ended questions, which provided some insight into the nuances of their misconceptions and gaps in understanding.

Key Findings and Implications

All participating students exhibited a high degree of engagement in the VR and subsequent class discussions and collaborative writing activities. The two features of the VR experience students found most compelling were picking up and manipulating objects and Mind Melding with different historical figures. Ironically, though students were able to vividly recall objects they had “touched” in VR, they ultimately struggled to articulate how these interactions informed their understanding of the relevant 2D primary source documents. This suggested that future iterations of the prototype might benefit from attaching deeper, more meaningful content to these popular mechanics, in an effort to better engage and support students in making sense of difficult language and more relevant contextual details. At the same time, it remained important to consider what could get lost through such enhancements to the Mind Meld mechanic, insofar as this feature was intended to function as a support—not a replacement—for the heavy lifting work of document analysis.

All students demonstrated an appropriate degree of intuition about how to interact with key VR features, though most expressed a desire for more opportunities to “click around to figure it out yourself.” Nevertheless, and in spite of the degree to which they chose to engage with in-game scaffolds, all students exhibited difficulty recalling and articulating specific mission goals 
following the experience and there were only minor differences in their performance on a six-question multiple choice pre-/post- VR assessment. When asked to recall important information associated within each VR room, student responses primarily focused on people and objects, with a tendency to describe these elements broadly rather than explicitly referencing their significance to the mission question or historical context (e.g. “three men,” “tools,” “a bowl with writing on it,” etc.). Though students were able to work together to answer sourcing and contextualization questions about “The Case of Capt. Preston of the 29th Regiment,” they were less successful in building and supporting independent arguments related to the “Bloody Massacre” print, where they either interpreted the print as a photographic representation of historical events or failed to acknowledge the broader historical events which informed the creation of the document. Students’ failure to fully meet the lesson’s learning objective, coupled with their professed desire for additional agency and freedom to choose their own level of scaffolding, suggested a need for the incorporation of additional prompts and moments aimed at inspiring students to pause, reflect, and revise their initial impressions as the VR experience unfolds, rather than postponing such activities until students’ return to the “real world.”

Phase II Full Study

TimeSnap is currently undergoing final testing. In December and January 2019–20, the revised build of Mission 1 and accompanying instructional material were piloted in three “treatment” classrooms, while three “business-as-usual” classrooms completed a paper-based lesson on the same content and skills. The first build of Mission 2 will be tested at the same three sites at a date to be determined. Our research partners are evaluating TimeSnap on the following criteria:

  • Usability: Are students able to navigate the VR setting successfully and accomplish the goals of the lesson?
  • Feasibility: Is the teacher able to integrate the students’ experiences in VR with the associated classroom activities to achieve the learning objectives?
  • Fidelity of Implementation: What modifications does the teacher make to the lesson activities or curriculum materials and why?
  • Student Impact: As compared to peers in business-as-usual classes, do high school students who participate in TimeSnap lessons demonstrate greater gains in history content knowledge about topics in American history and in historical thinking skills? How do students relate to and experience history content in a VR-supplemented lesson?

Lessons, Revisions, and Conclusions

Testing has repeatedly shown that students find TimeSnap to be appealing and immersive, a welcome change in the way they approach course material. However, measurable change in students’ approach to historical thinking remains elusive. Since January 2019, our team has drawn on research findings and other insights from our partners at the Education Development Center, the American Social History Project, and other expert advisors in history pedagogy to revise and strengthen TimeSnap: Mission 1. We have taken steps to clarify the mission goal, expand the role of the in-game audio guide, and create space for reflection and synthesis. The Virtual Tour of Mission 1 included earlier in this article reflects those revisions to the design of the game. We believe that the simplified mission, enhanced support from Wells, and deliberately reflective room questions will produce meaningful learning opportunities. We launched Phase II testing in December 2019 in three New Jersey high schools. As of the submission of this article, those tests were ongoing. While we wait for the data and results, we have reflected on our process and identified three critical best practices for would-be developers. As you embark on your own VR production process, here are lessons to keep in mind.

Lesson #1: Plan for Classroom Realities

Bringing interactive technology into the classroom means designing for conditions of scarcity. Even in school districts that value technology in the classroom or experimental instructional design, there are limits on the amount of time and money departments can dedicate to VR. We knew it was essential to design a teaching tool that teachers would actually have the resources to implement. To keep TimeSnap teacher friendly, we have adhered to three core principles:

  • Short: Here, VR best practices align with classroom needs. Industry guidelines suggest that users should not exceed 30 minutes of continuous play, as they then become more likely to report symptoms of simulator sickness, such as nausea, disorientation, and eyestrain (Smith and Burd 2019). In our experience, most students reported little to no discomfort when adhering to these limits. Classroom time available for novel learning experiences is also limited, making the time constraints on VR a compatible limitation. The VR portion of the TimeSnap mission takes twenty to thirty minutes to complete, less than a standard class period.
  • Mobile: Mobile headsets, like the Oculus Go, are less expensive than room-scale VR systems and require far less set up. While mobile VR headsets do not offer the ability to walk or grasp objects in virtual space, they still provide an immersive experience without breaking a district’s technology budget. While new mobile headsets like the Oculus Quest provide six-degrees of freedom, consider that it is not very practical to have twenty-five students trying to walk around the actual classroom!
  • Flexible: Some teachers may have a week to explore the nuances of a single historical event, but most must move speedily through their curriculum. We have created lesson materials that teachers may select from or adapt to their own purposes, from a simple worksheet to guide students through field note analysis to a full DBQ. We also believe that our focus on teaching historical thinking skills (beyond the specific historical context) helps justify additional time spent.

Lesson #2: Less is Still More

Educators have looked to digital technologies to support student learning, including to help shoulder a student’s cognitive load while they wrestle with new or complex information. However, in a VR experience like TimeSnap, there is a risk that the very supports meant to be helpful will inundate students with new information and without any time or mechanism to process that information. Earlier iterations of TimeSnap provided more detail and allowed students more freedom to explore each room at the cost of their comprehension. This is why, despite the fact that some players have requested more interactions and greater freedom of movement, we embarked on a program of simplification ahead of our Phase II testing.

  • Clear Mission: It is critical for students to understand their primary purpose while in VR. We found that having a secondary mission sapped students’ cognitive load without adding to their interest or learning. We pared down the in-game mission question, saving the subtleties of sourcing for the classroom exercise.
  • Audio Guidance: Use a narrator or guide to support students as they navigate virtual space. A guide can do more than just give orders or answer basic questions: she can shape the way students think about the information they encounter. We expanded the role of our in-game audio guide, Director Wells; in addition to her existing function answering hotspot questions, Wells will prime students for a focus task within a room (“I wonder if these people would agree with Revere’s version of events…”) and act as an external memory (“This must be the same print we saw…”).
  • Structured Discovery: Be wary of calls for free exploration of the VR landscape. Some creators understandably believe that more unstructured experiences that allow students to move and explore at will must generate high user engagement. More freedom, however, often creates instructional and logistical problems. Students who are free to explore are also free to miss essential information, and the ability to transition back and forth between rooms makes the VR experience longer and increasingly uncomfortable. We introduced the tableaux system, curtailing player ability to move between sections of a room and complete in their preferred order. This allows us to control the flow of information to students; we feed them information in an order that makes sense. This has the added benefit of reducing the need to script complex conditional answers based on what a student has or has not encountered yet.
  • Repetition: The primary affordance of VR—immersion in a new and exciting virtual space—can be distracting. With so much to look at and absorb, students can easily miss key details unless they are exposed to them multiple times. We threw off our fear of repetition and began recycling key phrases and ideas. The language of the mission question and the various potential causes resurface again and again in the script. Repeated exposure to these ideas, some of them quite unfamiliar, gives students a chance to recognize that this information might be worth hanging on to.

Lesson #3: Cultivating Curiosity

Historical VR experiences are often framed as time travel, where learners can visit the past in the same way they might visit Paris. But what kind of tourists will they be? Sometimes, exploring a nominally “interactive” virtual environment is downright passive. To ensure that students are pursuing and synthesizing information, not just hitting “next,” our production team deliberately constructed a mission that students could get excited to complete. Our developer team designed game mechanics that motivate students to explore widely and make meaningful choices, even within the constraints set by cognitive load. These Phase II revisions reflect recommendations from Phase I and interim testing to encourage more student reflection and synthesis within the VR.

  • Tools for Problem-Solving: Make gameplay captivating by presenting a problem and equipping students with the tools to solve it. By setting a mission goal and creating opportunities for interaction and meaningful choice, TimeSnap presents a compelling problem space for students to navigate. In the C.A.R.P.A. Lab, Director Wells assigns the student a task and models the “hotspot” method they will use to extract information from the objects they encounter on their mission.
  • Meaningful Choice: Prevent students from passively clicking through interactives by prompting them to make decisions. Mind Melds and Room Questions provide TimeSnap’s primary opportunity for meaningful choice. Unlike documents, Mind Melds offer branching choices. When a student selects a follow up option in a Mind Meld, they cannot return to listen to the other option later. This encourages students to select the most interesting or relevant information and can lead to variation in student experience and field note collection. At the end of each room, students are prompted to select a significant artifact to return to C.A.R.P.A. While this ultimately does not affect the outcome of the mission or the information in their field notes, students must use their judgment in choosing what artifact they believe is most relevant to the mission.
  • Rewards: Use in-game reward systems to encourage learning behaviors and help students monitor their improvement or progress. We developed specific game mechanics meant to motivate users to actively explore their environment. For example, students can see how many field notes they have collected on return to the C.A.R.P.A. Lab. This in-game feedback informs students that they are making progress towards their goal. However, equally as motivating is the thrill and wonder of “hands”-on discovery. Phase I research and interim testing indicated that students were most excited to “touch” virtual objects (rather than to read virtual documents) and enjoy discovering “hidden” items. These encounters drive them to keep interacting with the virtual environment in search of new secrets to uncover.

Mission 1: King Street, 1770 received a final round of classroom testing in December and January 2019–2020; Mission 2 is currently in production and will begin testing, conditions permitting, in Fall 2020. We are eager to see how this current iteration of Mission 1 can produce measurable improvements in student knowledge-acquisition[2] and historical thinking, and we will carry forward any new insights we glean from these tests into Mission 2 and beyond. Grappling with the technical and cognitive challenges of VR in the classroom has been a productive process; each frustration forced us to adapt and innovate and ultimately create a better product.

Though it is hardly still “early days” for VR, this technology remains underutilized in education because of significant logistical impediments, and our work to mitigate these obstacles is one part in a long process to make VR a practical and effective pedagogical tool. Including educator voices is an essential component of that long-term mission and one that developers would do well to prioritize. Our developer team is perhaps uniquely well-positioned to partner with educators: after a decade of interdisciplinary collaboration on the Mission US game series, Electric Funstuff has built a robust network of educational researchers, curriculum specialists, and classroom instructors. Even with our considerable experience designing and developing educational games, we actively solicited insight and guidance from these partners. Developers best understand the technical possibilities afforded by new and evolving technologies, but only educators can point us to the areas of greatest need in their classrooms. Seeking balance between freedom and structure, depth of content and cognitive load limits, we will continue to iterate a compelling educational instrument where even the laws of physics are no barrier to historical learning.

Notes

[1] Mission US: Timesnap was developed by Electric Funstuff in partnership with the Educational Development Center and the American Social History Project/Center for Media and Learning at the CUNY Graduate Center. The authors would like to further acknowledge Dr. William Tally, who kindly reviewed drafts of this article and provided invaluable feedback, along with Dr. James Diamond, James Hung, Valentine Burr, Pennee Bender, Donna Thompson, Joshua Brown, Michelle Chen, Jill Peters, Dale Gordon, Benjamin Galynker, Robert Duncan, Caitlin Burns and Peter Wood, each of whom has contributed their talents and expertise to this project.

[2] While pandemic control measures have indefinitely delayed our test of the second TimeSnap mission, we are excited to share preliminary data from the Mission 1 tests from December through January. Independent sample t-tests were conducted to compare treatment and comparison students’ change from pre- to post-assessment on a historical thinking subscale (possible range 1 to 6) and a historical knowledge subscale (possible range 0 to 1). Treatment students showed statistically significant greater pre-post change (M=.19) on the Historical Knowledge sub-scale than the comparison students (M=.04) (t=-2.7, p=.007, Cohen’s d=.54 indicating a medium effect size). Further analysis is ongoing. A full report will be made available on the project website when it is complete.

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Appendix: January 2019 Testing Session Overview

Approximate Duration Research Activities
2 min. The research team shared a brief introduction to study activities and objectives.
5 min. Students completed an online 10-question pre-assessment, which included six multiple choice and four open-ended questions.
5 min. The teacher introduced the lesson with a provided script and by sharing a player onboarding video.
15–22 min. Students engaged with the VR experience.
10 min. Students completed an online Simulator Sickness Questionnaire, Self-Assessment Manikin survey, and a post-assessment that was identical to the pre-assessment taken earlier.
3 min. Students filled in a “memory map” graphic organizer in which they were asked to record all the relevant information they remembered from each VR room visited.
5–10 min. The teacher then facilitated a class discussion in response to the following three prompts:

  • Whose account of the massacre was more believable to you?
  • Did witnesses agree that Preston gave the order to fire? Can this fact be corroborated? Or is it contested?
  • Do you think Preston should have been found guilty?
15 min. Students were grouped according to whether or not they thought Preston was guilty, with two students in the “guilty” group, and three students in the “not guilty” group. In these groups they:

  • Discussed and responded to two sourcing questions in reference to Captain Preston.
  • Read and discussed an excerpt from “The Case of Capt. Preston of the 29th Regiment.”
  • Discussed and responded to two contextualization questions and
    two close reading questions.
5 min. Individually, students assessed the trustworthiness of Paul Revere’s Bloody Massacre print by circling details in the document and briefly describing their significance.
5 min. The teacher led a discussion by sharing John Adams’ role in the trial and connecting the case to the concept of “presumption of innocence.”
25 min. An Education Development Center (EDC) researcher led a debrief interview with students with support from other members of the project team.
40 min. An EDC researcher and the EFS PI interviewed the facilitating teacher at a later date.

About the Authors

Alison Burke is an instructional designer and writer at Electric Funstuff. She leads the research and writing for Mission US: TimeSnap. An educator and public historian, she creates meaningful and accessible encounters with the past for audiences of all ages. She holds an MA in Public History from New York University.

Elana Blinder is the curriculum director at The League of Young Inventors, an interdisciplinary STEAM + Social Studies program for students in grades K–5. In her previous role as a design researcher at The Center for Children and Technology | EDC, she conducted formative and summative research to support the ongoing development of Mission US: TimeSnap and a variety of other educational media products.

Leah Potter is a senior instructional designer and writer at Electric Funstuff. She is also co-founder and president of Hats & Ladders Inc., a social impact organization dedicated to helping all youth become more confident and better-informed career thinkers.

David Langendoen is the President and lead game designer of Electric Funstuff, an NYC educational game studio, makers of Mission US––the critically acclaimed history learning games, produced by WNET, with over 2 million users.

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