The Baker-Nord Center for the Humanities, as part of its effort to support scholarship in the digital humanities, is seeking projects in scholarship and pedagogy that incorporate new and emerging technologies and platforms. In place of offering formal grants, the Center would like to work in partnership with scholars and teachers from across the University who would like to launch a project, course assignment, or other scholarly endeavor in the digital humanities. We are offering funding on a case by case basis. If you have an ongoing or proposed project and are seeking financial support, training in digital tools, or pedagogical strategy, please contact Lee Zickel (firstname.lastname@example.org), BNC Digital Humanities Manager, as soon as possible.
In its ongoing effort to foster creative, collaborative humanist scholarship and work in the digital humanities at Case Western Reserve University, the Baker-Nord Center, along with partners at the Kelvin Smith Library and Information and Technology Services, is pleased to offer the following workshops in emerging humanist methodologies and digital tools.
Registration for workshops held in KSL (HERE).
Registration for workshops held in Clark Hall (HERE).
Managing the Digital: How to Manage Humanities Research Data 29 January (KSL) –10:00am-11:00am — From file naming to data curation, this class covers all matters of humanities research data management, including demonstrating few tools for tracking workflow and writing data management plans for grant applications. Open to faculty, staff. and students.
Creating Clickable Collections 1.0: How to Build Digital Exhibits and Archives 29 January 2015 (KSL) — 11:00am-12:30pm — This introductory class discusses the procedures involved in digitizing text and images, using Omeka to build collections/exhibits/archives, and writing Dublin Core metadata for the items contained therein. Open to faculty, staff, and students.
Midwest TEI Workshop 4–6 March 2015 (A three-day workshop) — The Baker-Nord Center will be hosting an “Introduction to Text Encoding with TEI” workshop. This workshop is designed for individuals who are contemplating embarking on a text-encoding project, or for those who would like to better understand the philosophy, theory, and practicalities of encoding in XML (Extensible Markup Language) using the Text Encoding Initiative (TEI) Guidelines. No prior experience with XML is assumed, but the course will move quickly through the basics.
For the registration page (click).
For the Workshop schedule (click).
This is a three day workshop; participants should plan to attend all three days!
Beginning in 2013-14 The Baker-Nord Center has significantly revised and expanded its offerings in the digital humanities. We hope that the restructured support will continue to inspire new and creative exploration of humanistic endeavors.
Wednesday, April 8 – Friday, April 10
Kelvin Smith Library, First Floor
11055 Euclid Ave., Cleveland OH 44106
Kristine Kelly and Allison Schifani
Electronic literature presents and generates literary performances that display, question, and critique ways of reading and modes of literary production in the digital age. This exhibition of electronic literature will display and discuss works of electronic and print literature and bring to attention the technologies central to their production. The accompanying colloquium will include public presentations on the history of the book, theories of electronic literature, and lectures by producers of electronic texts. Further information and a detailed schedule will be forthcoming.
Jessica Slentz is a 2nd-year Ph.D. student interested in rhetoric and digital literacies, new media, multimodal composition and visual rhetoric. Her primary area of focus is locative/mobile media and the rhetoric of display, with additional studies in composition pedagogy, digital writing and rhetoric and internet research ethics. She holds a B.A. in Professional Communication and Information Design from Nazareth College of Rochester, an M.A. in Creative Writing from Kingston University, London, UK, and an M.A. in English Literature from the University of Rochester.
Museums have long used technology to facilitate visitor engagement, interpretation and education. Museums today, however, are expanding upon linear and top-down media experiences — such as wall placards, audio tours, brochures and docent-led tours that position visitors as “empty vessels” to be educated by the more culturally literate, and adopting more participatory and immersive exhibition practices. Haptic and locative interfaces in these hybrid spaces of virtual and physical activity, by delineating what the user/visitor can do and how they may do it, invite “lay” visitors to participate in the cultural work of the institution in distinctive ways. As these interfaces become more pervasive in everyday life and accepted tools for the creation and preservation of culture, it is crucial that we understand how they operate rhetorically within cultural institutions. Taking a Burkean approach to “experience” as rhetorical and having the power to affect public change, I aim to show how such haptic and locative interfaces can shift the interpretive position of the viewer and open up new modes of interaction with cultural texts and artifacts.
This project will explore the use of haptic and locative interfaces within the technologically integrated exhibition spaces and new media experiences at the Cleveland Museum of Art and the Library of Congress in Washington, DC. I will explore how these interfaces and the experiences they afford position the viewer rhetorically in relation to the art object and to the cultural work of the institution itself, showing how haptic and locative technology in spaces of display has the potential to complicate the traditionally private roles of curator and collector.
Robert Spadon is an associate professor at Case Western Reserve University, where he teaches film courses on a variety of topics. He holds a doctorate in English from the University of Chicago and a master of arts in cinema studies from New York University. His research focuses on the horror genre and the historical reception of cinema.
In every course I teach, I constantly show clips from a wide variety of films. This is for reasons ranging from illustrating a concrete technique, such as a low-angle camera shot, to showing longer sequences that launch discussions pertinent to the particular course focus. I have been steadily gathering these clips in the eleven years since I began teaching at Case Western Reserve University. I have been building this collection of visual media materials for eleven years. I plan to use the Baker-Nord Preservation & Curation Grant to build an archive of these materials.
For an excerpt from Spadoni’s “A Pocket Guide to Analyzing Films,” click HERE.
Chris Haufe works on problems in the history and philosophy of science, particularly biology. His current research focuses on conceptions of natural law in biological science from the late 18th century up to the present, the epistemology of subjunctive propositions, and the way in which philosophical presuppositions about science affect scientific funding.
The discipline of paleontology has undergone three major transitions in its history. The first occurred at the end of the 18th century, when Cuvier convinced the scientific world that some fossils were the petrified bones of species that no longer existed. The second occurred in 1859, when the Origin of Species convinced the scientific world that the geological column was a vertical chronology of the history of organismic descent. These transitions would appropriately be called conceptual, in that they marked a fundamental shift in the way paleontologists though about features of the world with which they had always been familiar. The third occurred in the early 1960s, and it was not conceptual — at least, nor initially. This was the point in the discipline’s history when paleontologists began using computers to assist them in organizing and analyzing data. This was the moment in which paleontology became a science.
Paleontology was quite late in incorporating digital technology into its methodology. Had it not been for a small number of evolutionary biologists who had been trained as physicists, the delay might have persisted even longer. Part of the explanation for the delay was that the culture of paleontology was still very much imbued with a sense of classical naturalism, museum collection, and exhibit curating that had characterized much of its history since the 18th century. But as biology became more theory-driven and quantitative in the late 1920s and early 1930s, paleontologists saw clearly that paleontology’s survival as an academic discipline was facing a real threat. In the wake of the synthesis of genetics and Darwinian evolutionary theory, the narrow and now mostly sentimental focus on collecting and describing fossils that characterized most of the discipline’s history was shown to be an outmoded and superfluous add-on to what had become the new standard for scientific knowledge.
Rather than resort to special pleading or sentimental and unconvincing appeals to the intrinsic importance of ancient life, paleontologists made a very well-thought out effort to pose and answer questions of general significance. The initial stages of this effort were articulated in 1944 through a brilliant book by George Gaylord Simpson called Tempo and Mode in Evolution, which argued that patterns in the fossil record reflected over tens of millions of years the short-timescale evolutionary dynamics described by the neo-Darwinian theory.
The chief importance of this argument, however, lies nor in what it tells us about nee-Darwinian theory, but rather what it tells us about paleontology. For, if fossil patterns are able to confirm neo-Darwinian theory, then that means that fossil patterns are generally significant evolutionary phenomena. Most importantly, those patterns are generally significant evolutionary phenomena, whether or not we can use Darwinian theory to explain them. If we can’t, that suggests that the theory is not the complete story about how evolution works, in which case we’ll have to come up with other ways of explaining those patterns, ways which may or may not be consistent with Darwinian theory. In the space of a few pages, Simpson have provided the failsafe strategy for paleontology’s salvation.
What Simpson and other paleontologists lacked was the requisite large-scale, broadbased perspective on the fossil record that would allow them to detect widespread trends in the fossil record of the sort that could give rise to questions of general significance. Not that it would have helped them all that much, because they also lacked the means with which to analyze those trends and relate them to scientific theory (which they also lacked). That all changed in the early 1960s, when computers made it possible to organize fossil data and formulate hypotheses which those data could be used to test. Because of this transition, paleontology is a core evolutionary discipline which has entirely changed the way we think about evolution. Had it not been for the conscious and initially discomfiting effort to join the digital age, paleontology would probably no longer cease to exist as an independent discipline (Sepkoski 2012).
One of the more interesting and entertaining things about working with digital technologies across physical and cloud-based systems is that at some point, while poking around in some code that generates a long disused link in the far corner of a derelict page, one inevitably stumbles upon some dusty artifact(s). From the ancient days of the organization’s technological past (you know, from one thousand to occasionally even several thousand
years days ago) some forgotten footage rises again…
Melvyn Goldstein and David Germano
31 October 2008
21 November 2008
6 November 2009
Mark Tebeau, Bill Deal, Tom Scheinfeldt, and Sharon Leon
6 May 2011
“Within the decade it will no longer make sense to compile [a list of digital humanities sessions]; it’ll be easier to list the sessions that don’t in some way relate in to the influence and impact of digital materials and tools upon language, literary, textual, and media studies.”
Mark Sample, assistant professor of literature and new media at George Mason University