Revision history for DigitalHumanitiesStatement2012
Additions:
Approximate prices from Amazon. Get them used or new. Some are available as Kindle e-books.
Other readings and links to reading provided by the professor and others in the class.
Other readings and links to reading provided by the professor and others in the class.
Deletions:
Other readings and links to reading provided by the professor.
Additions:
Q: Enough hedging. What **is** this course?
A: Read stuff, look at stuff on the web and elsewhere, talk about the ideas the stuff brings up, then see what happens when we apply those ideas to the world, using a mixture of digital and analogue tools and media. This is what I take to be the array of **convergent practices** that DH addresses.
A: That's not a question, but, yes, it does. Each of these little analytical and interpretive projects is designed to reveal something about the ideas and media it entails - to both the creators of the artifact and the users. Using Google forms to frame a manifesto, or exploring what it means to categorize knowledge by trying it with tweets. These are the kinds of **convergent practices** that the humanities take on, bent slightly so we can see how they work. It looks a little like analysis gone mad, but that's the nature of the DH beast.
A: We'll be making stuff, but it isn't art, really. That is, the focus is not on creating an aesthetic artifact. In studying traditional humanities, you might be asked to write a paper or give a presentation. But DH makes possible - probably demands - alternative practices of articulation. Engaging a project is our alternative. One week, we'll read stuff and look at stuff, and then meet to discuss it. For the next week, we'll come up with a project that will let us explore or illustrate or interrogate the ideas. It might include writing, or other means of articulation. That project will be due the following week, and we'll look at what we've done. Then on to the next set of readings. Rinse and repeat.
Q: Why did you choose these books and readings?
A: Some survey the field. Others enact digital humanities projects - they are examples of those convergent practices I keep banging on about. The books I selected focus on print - digital writing and poetics - rather than art, history, social science, philosophy, library science, et al. Print is my field. I'm not an expert in et al. But print includes visual argument and visual rhetoric - that's one of the changes that DH has already brought into the university. So many of the readings move into the visual.
A: I will evaluate what you are coming to understand by your work in those artifacts, along with your participation in discussions. There seems to be no normative understanding set for DH yet, so I can't give you a scale. I'll use the instruction manual section from [[http://www.humanitiesblast.com/manifesto/Manifesto_V2.pdf the Manifesto]]:
A: Read stuff, look at stuff on the web and elsewhere, talk about the ideas the stuff brings up, then see what happens when we apply those ideas to the world, using a mixture of digital and analogue tools and media. This is what I take to be the array of **convergent practices** that DH addresses.
A: That's not a question, but, yes, it does. Each of these little analytical and interpretive projects is designed to reveal something about the ideas and media it entails - to both the creators of the artifact and the users. Using Google forms to frame a manifesto, or exploring what it means to categorize knowledge by trying it with tweets. These are the kinds of **convergent practices** that the humanities take on, bent slightly so we can see how they work. It looks a little like analysis gone mad, but that's the nature of the DH beast.
A: We'll be making stuff, but it isn't art, really. That is, the focus is not on creating an aesthetic artifact. In studying traditional humanities, you might be asked to write a paper or give a presentation. But DH makes possible - probably demands - alternative practices of articulation. Engaging a project is our alternative. One week, we'll read stuff and look at stuff, and then meet to discuss it. For the next week, we'll come up with a project that will let us explore or illustrate or interrogate the ideas. It might include writing, or other means of articulation. That project will be due the following week, and we'll look at what we've done. Then on to the next set of readings. Rinse and repeat.
Q: Why did you choose these books and readings?
A: Some survey the field. Others enact digital humanities projects - they are examples of those convergent practices I keep banging on about. The books I selected focus on print - digital writing and poetics - rather than art, history, social science, philosophy, library science, et al. Print is my field. I'm not an expert in et al. But print includes visual argument and visual rhetoric - that's one of the changes that DH has already brought into the university. So many of the readings move into the visual.
A: I will evaluate what you are coming to understand by your work in those artifacts, along with your participation in discussions. There seems to be no normative understanding set for DH yet, so I can't give you a scale. I'll use the instruction manual section from [[http://www.humanitiesblast.com/manifesto/Manifesto_V2.pdf the Manifesto]]:
Deletions:
A: Read stuff, look at stuff on the web and elsewhere, talk about the ideas the stuff bring up, then see what happens when we apply those ideas to the world, using a mixture of digital and analogue tools and media. This is what I take to be the array of **convergent practices** that DH addresses.
A: That's not a question, but, yes, it does. Each of these little projects is designed to reveal something about the ideas and media it entails - to both the creators of the artifact and the users. Using Google forms to frame a manifesto, or exploring what it means to categorize knowledge by trying it with tweets. These are the kinds of **convergent practices** that the humanities take on, bent slightly so we can see how they work. It looks a little like analysis gone mad, but that's the nature of the DH beast.
A: We'll be making stuff, but it isn't art, really. That is, the focus is not on creating an aesthetic artifact. In studying traditional humanities, you might be asked to write a paper or a set of notes, or give a presentation. But DH makes possible - probably demands - alternative practices. Engaging a project is our alternative. One week, we'll read stuff and look at stuff, and then meet to discuss it. For the next week, we'll come up with a project that will let us explore or illustrate or interrogate the ideas. It might include writing, or other means of articulation. That project will be due the next week, and we'll look at what we've done. Then on to the next set of readings. Rinse and repeat.
Q: Why these books and readings?
A: Some survey the field. Others enact digital humanities projects - they are examples of those convergent practices mentioned. The books I selected focus on print - digital writing and poetics - rather than art, history, social science, philosophy, library science, et al. Print is my field. I'm not an expert in et al. But print includes visual argument and visual rhetoric - that's one of the changes that DH has already brought into the university. So many of the readings move into the visual.
A: I will evaluate what you are coming to understand by your work in those artifacts, along with your participation in discussions. There seems to be no normative understanding set for DH - yet - so I can't give you a scale. I'll use the instruction manual section from [[http://www.humanitiesblast.com/manifesto/Manifesto_V2.pdf the Manifesto]]:
Additions:
A: I will evaluate what you are coming to understand by your work in those artifacts, along with your participation in discussions. There seems to be no normative understanding set for DH - yet - so I can't give you a scale. I'll use the instruction manual section from [[http://www.humanitiesblast.com/manifesto/Manifesto_V2.pdf the Manifesto]]:
Deletions:
Additions:
//This document can be made available in alternate formats. Contact the Office for Students with Disabilities at 755-3883.//
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=====Course Statement: ENGL 4709/5709: Digital Humanities=====
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[Insert MnSCU mandated boilerplate here]
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T 4:00 - 6:40
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DigitalHumanitiesFall2012
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DigitalHumanities2012
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A: I refer my patient reader to [[http://www.humanitiesblast.com/manifesto/Manifesto_V2.pdf the Manifesto]]. In a conceptual world in which print is not the normative medium, these measures and artifacts become problematic. You will be asked to produce artifacts, yes, because more than ever DH depends on producing artifacts that tell us something about the digital humanities we're investigating. See those examples above, if you're still reading linearly.
Deletions:
Additions:
A: I refer my patient reader to [[http://www.humanitiesblast.com/manifesto/Manifesto_V2.pdf the Manifesto]] mentioned above, if you're reading this linearly. In a conceptual world in which print is not the normative medium, these measures and artifacts become problematic. You will be asked to produce artifacts, yes, because more than ever DH depends on producing artifacts that tell us something about the digital humanities we're investigating. See those examples above, if you're still reading linearly.
Deletions:
Additions:
- Fitzpatrick, K, and J Henning. //Planned Obsolescence: Publishing, Technology, and the Future of the Academy//. New York Univ Press, 2011. ISBN-10: 0814727883. $23.00.
- Hayles, N K. //Writing Machines//. The MIT Press, 2002. $15.00.
- O'Gorman, M. //E-Crit: Digital Media, Critical Theory and the Humanities//. Univ of Toronto Press, 2006. $28.00.
- Alternately available as an iPhone app for $4.99, I think.
- Vandendorpe, C. //From Papyrus to Hypertext: Toward the Universal Digital Library//. U of Illinois Pr, 2009. $26.00.
- Hayles, N K. //Writing Machines//. The MIT Press, 2002. $15.00.
- O'Gorman, M. //E-Crit: Digital Media, Critical Theory and the Humanities//. Univ of Toronto Press, 2006. $28.00.
- Alternately available as an iPhone app for $4.99, I think.
- Vandendorpe, C. //From Papyrus to Hypertext: Toward the Universal Digital Library//. U of Illinois Pr, 2009. $26.00.
Deletions:
- Hayles, N K. //Writing Machines//. The MIT Press, 2002. ISBN-10: 0262582155 $15.00
- O'Gorman, M. //E-Crit: Digital Media, Critical Theory and the Humanities//. Univ of Toronto Press, 2006. ISBN-10: 0802095445. $28.00
- Alternately available as an iPhone app for $4.99, I think
- Vandendorpe, C. //From Papyrus to Hypertext: Toward the Universal Digital Library//. U of Illinois Pr, 2009. ISBN-10: 0252076257 $26.00
Additions:
A: Read stuff, look at stuff on the web and elsewhere, talk about the ideas the stuff bring up, then see what happens when we apply those ideas to the world, using a mixture of digital and analogue tools and media. This is what I take to be the array of **convergent practices** that DH addresses.
Deletions:
Additions:
A: Our project as a course is to explore a little piece of that world, where universities are no longer the sole producers of knowledge, where print is no longer the normative medium of knowledge, and to look at what shapes practices in humanities take on.
Deletions:
Additions:
Approximate prices from Amazon. Some are available as e-book versions.
Deletions:
Additions:
- Fitzpatrick, K, and J Henning. //Planned Obsolescence: Publishing, Technology, and the Future of the Academy//. New York Univ Press, 2011. ISBN-10: 0814727883. $23.00
Deletions:
Additions:
[Insert boilerplate here]
Additions:
Approximate prices from Amazon.
- Fitzpatrick, K, and J Henning. //Planned Obsolescence: Publishing, Technology, and the Future of the Academy//. New York Univ Pr, 2011. ISBN-10: 0814727883. $23.00
- Hayles, N K. //Writing Machines//. The MIT Press, 2002. ISBN-10: 0262582155 $15.00
- O'Gorman, M. //E-Crit: Digital Media, Critical Theory and the Humanities//. Univ of Toronto Press, 2006. ISBN-10: 0802095445. $28.00
- Sagolla, Dom. //140 Characters: A Style Guide for the Short Form//. Wiley, 2009. $14.00.
- Alternately available as an iPhone app for $4.99, I think
- Shirky, C. //Cognitive Surplus: Creativity and Generosity in a Connected Age.// Penguin, 2010. $11.00.
- Vandendorpe, C. //From Papyrus to Hypertext: Toward the Universal Digital Library//. U of Illinois Pr, 2009. ISBN-10: 0252076257 $26.00
- Fitzpatrick, K, and J Henning. //Planned Obsolescence: Publishing, Technology, and the Future of the Academy//. New York Univ Pr, 2011. ISBN-10: 0814727883. $23.00
- Hayles, N K. //Writing Machines//. The MIT Press, 2002. ISBN-10: 0262582155 $15.00
- O'Gorman, M. //E-Crit: Digital Media, Critical Theory and the Humanities//. Univ of Toronto Press, 2006. ISBN-10: 0802095445. $28.00
- Sagolla, Dom. //140 Characters: A Style Guide for the Short Form//. Wiley, 2009. $14.00.
- Alternately available as an iPhone app for $4.99, I think
- Shirky, C. //Cognitive Surplus: Creativity and Generosity in a Connected Age.// Penguin, 2010. $11.00.
- Vandendorpe, C. //From Papyrus to Hypertext: Toward the Universal Digital Library//. U of Illinois Pr, 2009. ISBN-10: 0252076257 $26.00
Deletions:
Hayles, N K. Writing Machines. The MIT Press, 2002. ISBN-10: 0262582155 $15.00
O'Gorman, M. E-Crit: Digital Media, Critical Theory and the Humanities. Univ of Toronto Press, 2006. ISBN-10: 0802095445. $28.00
Sagolla, Dom. 140 Characters: A Style Guide for the Short Form. Wiley, 2009. $14.00.
Shirky, C. Cognitive Surplus: Creativity and Generosity in a Connected Age. Penguin, 2010. $11.00.
Vandendorpe, C. From Papyrus to Hypertext: Toward the Universal Digital Library. U of Illinois Pr, 2009. ISBN-10: 0252076257 $26.00
Additions:
=== Required texts ===
Fitzpatrick, K, and J Henning. Planned Obsolescence: Publishing, Technology, and the Future of the Academy. New York Univ Pr, 2011. ISBN-10: 0814727883. $23.00
Hayles, N K. Writing Machines. The MIT Press, 2002. ISBN-10: 0262582155 $15.00
O'Gorman, M. E-Crit: Digital Media, Critical Theory and the Humanities. Univ of Toronto Press, 2006. ISBN-10: 0802095445. $28.00
Sagolla, Dom. 140 Characters: A Style Guide for the Short Form. Wiley, 2009. $14.00.
Shirky, C. Cognitive Surplus: Creativity and Generosity in a Connected Age. Penguin, 2010. $11.00.
Vandendorpe, C. From Papyrus to Hypertext: Toward the Universal Digital Library. U of Illinois Pr, 2009. ISBN-10: 0252076257 $26.00
Other readings and links to reading provided by the professor.
Fitzpatrick, K, and J Henning. Planned Obsolescence: Publishing, Technology, and the Future of the Academy. New York Univ Pr, 2011. ISBN-10: 0814727883. $23.00
Hayles, N K. Writing Machines. The MIT Press, 2002. ISBN-10: 0262582155 $15.00
O'Gorman, M. E-Crit: Digital Media, Critical Theory and the Humanities. Univ of Toronto Press, 2006. ISBN-10: 0802095445. $28.00
Sagolla, Dom. 140 Characters: A Style Guide for the Short Form. Wiley, 2009. $14.00.
Shirky, C. Cognitive Surplus: Creativity and Generosity in a Connected Age. Penguin, 2010. $11.00.
Vandendorpe, C. From Papyrus to Hypertext: Toward the Universal Digital Library. U of Illinois Pr, 2009. ISBN-10: 0252076257 $26.00
Other readings and links to reading provided by the professor.
Additions:
M C Morgan | [[HomePage Morgan's Wiki]]
Deletions:
Additions:
M C Morgan | [[Morgan's Wiki]]
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Additions:
T, 4:00 - 6:40
M C Morgan | [[wikka.php?wakka Morgan's Wiki]]
M C Morgan | [[wikka.php?wakka Morgan's Wiki]]
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A: Consider it a survey course, a flyover of new territory, with a GIS, digital camera, and smart phone.
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4)
move on
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Additions:
A: Read stuff, look at stuff on the web and elsewhere, talk about the ideas the stuff bring up in class, then see what happens when we apply those ideas to the world, using a mixture of digital and analogue tools and devices. This is what I take to be the array of **convergent practices** that DH addresses.
Deletions:
Additions:
Additions:
A: I'll turn to the [[http://www.humanitiesblast.com/manifesto/Manifesto_V2.pdf Digital Humanities Manifesto 2.0]] for a provisional answer. For this course, DH are/is
an array of **convergent practices** that explore a universe in which:
A: I'll let [[http://www.humanitiesblast.com/manifesto/Manifesto_V2.pdf the Manifesto]] address that.
- to shape natively digital models of scholarly discourse for the newly emergent public spheres of the present era (the www, the blogosphere, digital libraries, etc.),
- to model excellence and innovation in these domains, and
- to facilitate the formation of networks of knowledge production, exchange, and dissemination that are, at once, global and local.
Q: So, what **is** this course?
A: That's not a question, but, yes, it does. Each of these little projects is designed to reveal something about the ideas and media it entails - to both the creators of the artifact and the users. Using Google forms to frame a manifesto, or exploring what it means to categorize knowledge by trying it with tweets. These are the kinds of **convergent practices** that the humanities take on, bent slightly so we can see how they work. It looks a little like analysis gone mad, but that's the nature of the DH beast.
A: I refer my distinguished reader to [[http://www.humanitiesblast.com/manifesto/Manifesto_V2.pdf the Manifesto]] mentioned above, if you're reading this linearly. In a conceptual world in which print is not the normative medium, these measures and artifacts become problematic. You will be asked to produce artifacts, yes, because more than ever DH depends on producing artifacts that tell us something about the digital humanities we're investigating. See those examples above, if you're still reading linearly.
A: I will evaluate what you are coming to understand by your work in those artifacts, along with your participation in discussions. There seems to be no normative understanding set for DH - yet - so I can't give you a scale - so I'll use the instruction manual section from [[http://www.humanitiesblast.com/manifesto/Manifesto_V2.pdf the Manifesto]]:
**‐‐instruction manual:**
an array of **convergent practices** that explore a universe in which:
A: I'll let [[http://www.humanitiesblast.com/manifesto/Manifesto_V2.pdf the Manifesto]] address that.
- to shape natively digital models of scholarly discourse for the newly emergent public spheres of the present era (the www, the blogosphere, digital libraries, etc.),
- to model excellence and innovation in these domains, and
- to facilitate the formation of networks of knowledge production, exchange, and dissemination that are, at once, global and local.
Q: So, what **is** this course?
A: That's not a question, but, yes, it does. Each of these little projects is designed to reveal something about the ideas and media it entails - to both the creators of the artifact and the users. Using Google forms to frame a manifesto, or exploring what it means to categorize knowledge by trying it with tweets. These are the kinds of **convergent practices** that the humanities take on, bent slightly so we can see how they work. It looks a little like analysis gone mad, but that's the nature of the DH beast.
A: I refer my distinguished reader to [[http://www.humanitiesblast.com/manifesto/Manifesto_V2.pdf the Manifesto]] mentioned above, if you're reading this linearly. In a conceptual world in which print is not the normative medium, these measures and artifacts become problematic. You will be asked to produce artifacts, yes, because more than ever DH depends on producing artifacts that tell us something about the digital humanities we're investigating. See those examples above, if you're still reading linearly.
A: I will evaluate what you are coming to understand by your work in those artifacts, along with your participation in discussions. There seems to be no normative understanding set for DH - yet - so I can't give you a scale - so I'll use the instruction manual section from [[http://www.humanitiesblast.com/manifesto/Manifesto_V2.pdf the Manifesto]]:
**‐‐instruction manual:**
Deletions:
an array of convergent practices that explore a universe in which:
A: I'll let the Manifesto answer that.
to shape natively digital models of scholarly discourse for the newly emergent public spheres of the present era (the www, the blogosphere, digital libraries, etc.),
to model excellence and innovation in these domains, and
to facilitate the formation of networks of knowledge production, exchange, and dissemination that are, at once, global and local.
Q: So, what is this course?
A: That's not a question, but, yes, it does. Each of these little projects is designed to reveal something about the ideas and media it entails - to both the creators of the artifact and the users. Using Google forms to frame a manifesto, or exploring what it means to categorize knowledge by trying it with tweets. These are the kinds of convergent practices that the humanities take on, bent slightly so we can see how they work. It looks a little like analysis gone mad, but that's the nature of the DH beast.
A: I refer my distinguished reader to the Manifesto mentioned above, if you're reading this linearly. In a conceptual world in which print is not the normative medium, these measures and artifacts become problematic. You will be asked to produce artifacts, yes, because more than ever DH depends on producing artifacts that tell us something about the digital humanities we're investigating. See those examples above, if you're still reading linearly.
A: I will evaluate what you are coming to understand by your work in those artifacts, along with your participation in discussions. There seems to be no normative understanding set for DH - yet - so I can't give you a scale - so I'll use the instruction manual from the Manifesto
‐‐instruction manual:
