Image from Pete Birkinshaw via Flickr
This course will run through Zoom and chat in a Discord server, the latter of which is also how you’ll connect with me during student hours. I will also use Discord to send “just-in-time” announcements, so consider keeping it open, downloading the app, or setting a reminder to check it regularly. I also expect to keep Discord open when I’m working, so if you need to chat ping me there first to see if I’m around. If not, send me a message suggesting a few possible meeting times.
This class may be a bit different from most of your graduate classes. I hope you will see these differences as exciting and intellectually stimulating, but you should be aware of the following caveats as we begin (and thanks to Miriam Posner for writing the first draft of these caveats for her DH grad course). If you can face these challenges with persistence, verve, and (reasonably) good humor—and abide by the code of conduct outlined below—we should have an intellectually enlivening semester. If you have any concerns about these caveats, please come talk to me. I am confident we can find a way forward if we work together.
The concepts and structure of “Intro to DH” emerged from my experiences teaching experiential book and media history to undergraduates; my own experiences—alongside faculty, librarians, and graduate students—with hands-on archival work and instruction through organizations such as the Rare Book School and the Digital Humanities Summer Institute; and my growing conviction that theory and praxis must be intertwined in scholarly discussions of historical and contemporary textual technologies.
An experiential course such as this opens itself up to many quirks: the syllabus may shift; a given tool might not work as expected; an experiment might veer off track or fail altogether. In other words, this course will require both an inventive spirit and patience from its students.
You will produce a final, collaborative project that will ask you to learn DH experientially. Likely this project will require substantial writing, but it will not look like a 20 page seminar paper at semester’s end. Instead, your projects will require sustained work and will be multimodal, comprising text and other elements (e.g. data, images, media, graphs). These projects may well lead into more established forms of writing or publication, but we will not begin there.
Digital humanities projects often require collaboration among scholars who bring different intellectual and technical skills to expansive projects. This class will require you to work together both in class and for some of your assignments, distributing responsibilities and sharing credit.
I do not require or assume any particular technical experience as we begin this course, but I will expect you to be willing to experiment with new tools and learn new technical skills throughout the semester. “I’m not very technical” will not excuse you from the hands-on portions of the course any more than “I’m not poetic” would excuse you from reading Dickinson in a survey of American literature. Some of the tools we test you may find useful for your research program; some you will not. But I expect you to try them with enthusiasm and an open mind.
The code of conduct for this course borrows directly from the stellar model outlined by Northeastern’s Feminist Coding Collective. Their Code of Conduct and Community Guidelines are well worth consulting in full, but I have copied and lightly adapted those items most pertinent to the work we will do in our class.