Friday Interactive Schedule

HASTAC - Friday Schedule

CB1-220
CB1-121
NSC-145
TR541-107
NSC-148
NSC-183
PSY-226
PSY-228B
CB1-307
CB1-117
CB1-120
CB1-212
NSC-108
Knightros
NSC-112
CB1-105
CB1-122
CB1-320
NSC-114
CB1-107
PSY-106
NSC-116
CB1-309
CB1-122
VAB
07:00
07:30
08:00
08:30
09:00
09:30
10:00
10:30
11:00
11:30
12:00
12:30
13:00
13:30
14:00
14:30
15:00
15:30
16:00
16:30
Friday Breakfast
07:00 - 08:00
Friday Breakfast

Breakfast is included for all conference attendees and will be served in CB1-220.

Afternoon Snack
15:15 - 15:45
Afternoon Snack

An afternoon snack is included for all conference attendees and will be served in CB1-220.

Welcome and Plenary Session
08:15 - 09:45
Welcome and Plenary Session

Pudom Lindblad, Tressie McMillan Cottom, and T-Kay Sangwand, with Anastasia Salter as moderator.

FEM01
10:00 - 12:00
Possibilities and Realities of Digital Humanities Across Disciplines

RT (2h) Possibilities and Realities of Digital Humanities Across Disciplines: What can other disciplines learn from DH and what can DH learn from other disciplines? (Jessica Murray, Kalle Westerling, Joshua Neumann, Ali Rachel Pearl, Kristopher J Purzycki, Melanie J Forehand, Kefaya Diab and Joseph Meyer)

In conducting research, digital humanists find themselves in two competing worlds. We are at once citizens of a traditional academic community with established structures for conducting research, publishing results, and securing employment, and at the same time, reside in a digital community that thrives on innovation. In this overlap, emerging DH scholars might encounter those individuals or institutions who, for any number of reasons, respond ambivalently or negatively to these new practices. Meanwhile, many scholars have still been using the methods and theorizing around the topic of digital humanities and the “digital turn” in scholarship. When an institution is slow to embrace this turn, those innovative scholars can be simultaneously understood as too innovative for their specific discipline and too entrenched in their discipline compared to someone already established in the community of digital humanities.

We bring together a panel of scholars from a variety of disciplines to discuss the challenges of working in and trying to bridge these two worlds. The discussion will begin with examining the root causes of the seeming reluctance to embrace digital tools, methods, and presentation or publication formats. While it might be tempting to attribute this to generational differences, structural inertia and a reluctance or lack of support for the labor involved in keeping pace with rapidly changing technology are just as likely to be root causes. Labor issues also arise when an “online presence” is essential in today’s academic landscape, but such effort is rarely compensated. Similarly, the tools and financial and technical support required to do digital scholarship and teaching may be out of reach.

The conversation will also trace the issues that arise at the various stages of conducting digital research within the traditional parameters of academia. Even as projects break new ground in terms of form, analysis, and presentation, researchers are often limited by regulations and customs that were designed for more traditional investigations. From the difficulties in obtaining initial IRB approvals and copyright permissions, to the hesitancy to recognize new forms of data analysis and DH projects, digital scholarship encounters a number of roadblocks. Continuing the discussion of the often unrecognized labor involved in creating public facing, open-access, or other nontraditional forms of scholarship, the panel will also discuss ideas for legitimizing the intellectual labor involved in creating digital projects and making it count as part of a body of academic work.

There are clearly tensions between traditional and digital scholarship that have yet to be resolved, including how to bridge the disconnected textual forms used to analyze of digital mediums or bodies in space and time. Having reflected on past experiences and current challenges, the panel will conclude with a discussion of the future of digital humanities. We will invite our panelists to offer their perspectives on what the relationship between the worlds of academia and digital humanities will look like in the future, and what our disciplines can learn from digital humanities going forward.

FEM02
10:00 - 12:00
Changing the Dialogue **Participants should bring a laptop**

WS (2h) Changing the Dialogue: Interacting with Text Forms through Voice Input Devices (Michael Powell and Wilson To)

Participants of this workshop should bring a laptop.

This workshop will briefly discuss the technology advancements and tools surrounding chat bots and voice inputs. The focus on the workshop will cover the technical design and behind the scenes development of these types of applications. We will walk through a few applications of current technology, with opportunities for participants to use their voice to interact with narratives.

The featured application will focus on the specific use case of assisting users looking for financial assistance for unexpected medical procedures.

The source code of that project will be available for review. Workshop participants will have to chance to use a friendly user interface to modify and explore the flow chart of interactions available to designers. This will give participants a behind the scenes look of how this technology is being used to give provide access and proper documentation to individuals for financial relief through written communication.

FSM01
10:00 - 11:00
Creating Digital Scholarship; Collaboration Across Countries and Disciplines

PD (30m) Creating Digital Scholarship: A Demo of How WIDE Built a Digital Book Using Scalar and Project Management Tools (Liza Potts)

Building a digital book is a process in which the author must do the scholarly work of an extended article or monograph plus the application work of building a website, app, or other kind of interactive system to display the scholarship. Like many digital humanities projects, building a digital book can take a team effort. This project demo will illustrate the culmination of several years of research and a year of building the digital book. Working in a Digital Humanities lab with strong backgrounds in user experience and digital scholarship, the team leaders will share their reasoning behind technology choices, their methods for managing processes, and their efforts in implementing the project. Benefits and drawbacks for tools will be discussed, as well as lessons learned for their next large-scale team project.

The decision to research, design, make, and build a digital book should not be taken lightly. Without a doubt, doing this kind of scholarship takes far more time, energy, resources, and people than traditional academic scholarship. Being able to do this kind of work requires several decisions to be made upfront, including how to present the research and how to select appropriate tools. And, of course, the work of researching and writing itself.

While the team has experience building websites using HTML, they wanted to explore what different content management systems might do to support digital scholarship.We decided to use Scalar, a content management system built with the support of Mellon Foundation grant funding. Scalar was chosen for this project because it was built for use by academics, is open source, and especially because it could push our team to think creatively for ways to disrupt the organization and experience of the digital book, especially since this project wanted to foreground multimedia content for a non-academic audience.

PD (30m) Collaboration Across Countries and Disciplines: The Possible Worlds of Hybrid Dissertations (Anne von Petersdorff)

https://youtu.be/Bm0CuC7FW2M

Today's humanities PhDs pursue careers in many different fields - both inside and outside academia. In an effort to transform the culture of graduate education, an increasing number of humanities departments seek to design doctoral education, which can both transform the understanding of what it means to be a humanities scholar, and advance the integration of the humanities in the public sphere. This development finds its ultimate expression in calls for expanding and reimagining the form of the dissertation and how this final work can prepare humanities PhDs for a broad range of careers beyond traditional academic positions.

Drawing on the process of proposing, developing and (almost) defending my own hybrid dissertation, this talk/project demo seeks to highlight the most exiting possibilities and most unexpected challenges, while also suggesting ways through which faculty and departments can best support PhD students in these endeavors. My dissertation project titled "Body, Voice and Collaboration: Re-Framing the Woman Traveler in Autobiographical Film and Filmmaking" deals with female bodies in transit and aims to undermine and complicate the current economies of representation of women travelers. It consists of two equally weighted parts: Wanderlust, a critically acclaimed feature documentary, and a theoretical-historical exploration of film aesthetics.

Since I was working with an Argentinian filmmaker to produce the film, I will pay particular attention to the potential of interdisciplinary collaboration in enriching our scholarship (not only with people outside my discipline, but also from non-academic contexts). Moreover, I will address some of the obstacles I have encountered working across different cultures and languages. I will also explore the specific challenges of integrating creative works of art into humanities dissertations and suggest ways in which these can be productively framed as integral parts of one's scholarship. Finally, I will address the logistics of embarking on the path of a hybrid dissertation and the way it challenges us to revisit traditional ideas of academic labor and ideas of ownership/authorship.

FSM09
11:15 - 12:15
From Global Contexts to Local Stories: Dismantling Ethnocentric Monoculturalism

RT (60m) From Global Contexts to Local Stories: Dismantling Ethnocentric Monoculturalism through the Digital Lens (Sarah Koellner, Vivian Finch, Kylie Korsnack, Lilla Balint, and Kaleigh Bangor)

This proposed roundtable session of 5 speakers tackles the question of how digital humanities can pave the way toward a more inclusive and interdisciplinary future of research, learning, and teaching. By challenging ethnocentric monoculturalism – understood as the unconscious or conscious “valuing of one’s ethnic/cultural group over others” and the “belief in one ‘right’ culture,” this panel explores various entry points to support and develop intercultural competence.[1] Each speaker proposes specific strategies to dismantle ethnocentric monoculturalism in respective disciplines, classroom settings, and curricula.

Digital humanities plays a crucial role in overcoming monoculturalism through the promise of access to communities, archives, software or apps that represent and collect historically marginalized voices, materials, and information. In particular, we pose and seek to answer the question: how can digital humanities and their tools shape the ways we create, narrate, and understand inclusivity, diversity, or multiculturalism? This panel unpacks this question from different angles by drawing attention to challenges, promises, and the future of dismantling monoculturalism in global but also local contexts.

What does it mean to teach not only inclusively, but to also to teach students in such a way that develops their intercultural competence and broadens their habits of mind, heart, and hands in multiple disciplinary contexts? Finch establishes a pedagogical framework for how to consider challenging monoculturalism in the classroom on both global and local levels.

Given that students from all over the US (and often the world) meet in various institutions of Higher Education, Bangor challenges the ethnocentric boundaries of what it means to be “German”. By collectively creating imaginary cities in the digital realm, fluency and monolingualism are deconstructed as these practices help to replace the native-speaker model and produce student centered knowledge in the foreign language classroom. Yet, can the limits of Imagined Community Simulation be pushed to also deconstruct ethnocentric monoculturalism?

Koellner explores ways in which digital mapping can support cross-cultural competencies in the intermediate German language classroom. By analyzing selected texts presented at the Ingeborg-Bachmann-Prize in Austria, she demonstrates how cultural exchange, diversity, and growth of the “European Idea“ unravel through the visualization of loose European borders, travel narratives, and depictions of individual life stories, which ultimately challenge the idea of monoculturalism on literature presented at the Festival of German-Language Literature.

In her presentation, Balint focuses on recent narratives of migration and the ways in which these often challenging texts can be visually represented in Story Maps by ArcGIS. Using collaborative student projects as examples, she demonstrates how Story Maps as a digital tool helps create links between diverse fields of knowledge such as history, geography, and aesthetics.

Finally, Korsnack explores how digital archives, such as “Who Speaks for the Negro,” might be incorporated into course design and classroom pedagogy. Such a course would use primary documents to bring alternative voices and diverse perspectives into the classroom through collaborative projects, while also challenging students to think critically about the preservation process itself.

[1] Taylor, Jennifer. ""Ethnocentric Monoculturalism."" In. Encyclopedia of Multicultural Psychology. Sage Publications, 2006: 203."

FSM02
10:00 - 11:00
Visualizing the Mappable and Unmappable; Mapping the Movida

PD (30m) Visualizing the Mappable and Unmappable in Spenser's Fairie Queene (Lynette Kuliyeva, Harley Campbell and Elizabeth Ricketts)

Spenser's Faerie Queene is a British epic of paramount significance to the history of Britain. The knights and ladies that inhabit its pages experience perilous difficulties and arduous tasks as they traverse the broad territory of Fairyland and beyond. Considering its importance to history and to literature, we embarked on an arduous journey ourselves to attempt to map the multifarious locations wherein the events of the book take place. We discovered actual locations that could be pinpointed on a map, but we also had to work to uncover the locations that were not so explicit and which we could only speculate upon based on other literary works or on Spenser's own writings. We also encountered purely allegorical locations within Fairyland which could not be accurately identified with an actual location, thus posing questions that would arise from trying to identify these supposedly unmappable locations. Our project would be a demonstration of what we are doing with digital mapping tools, along with our plans for the future of the project as we continue to add locations: actual, speculative, and allegorical. Other future considerations are to map characters and relationships, perhaps through a program like Twine; we also are looking into tagging key terminology to match with locations and characters. All of these plans are designed to be used as a tool for scholars interested in studying the epic via digital tools created specifically for this book, but it will also be useful for any Early Modern scholar of literature, history, religion, etc.

PD (30m) Mapping the Movida: Visualizing Counterculture in Late 20th-Century Spain (Vanessa Ceia)

"Mapping the Movida is an open web archive and geo-spatial project that visualizes the cultural and creative hubs and networks of the Movida madrileña, a sociological phenomenon and cultural renaissance that emerged in the first decade of Spanish democracy (roughly 1976-1986), most notably in central Madrid. This project is a response to the limited scope of artists—mostly male and professionally active in the Spanish capital—historically associated with the Movida in mainstream press and scholarship. In its mission to bring to light uncharted human geographies—or, to borrow the title of HASTAC 2018’s theme, the “Possible Worlds”—of the period, Mapping the Movida aims to: (1) re-create the Madrid of the Movida using a range of multimedia, data and thick mapping technologies that not only catalyze the present but also go back in time to document the Madrid of the past; (2) visualize creative networks and cultural hubs of the Movida through various cultural lenses—including national Spanish media outlets (El País, ABC, El Mundo), scholarly articles, and subcultural publications from the period (La Luna de Madrid, El Víbora, Ozono, Madrid Me Mata, and zines)—to reveal how each lens represents the Movida in different and/or similar ways; (3) create a public archive and searchable database of Movida events and artists’ documented movements in Madrid during the Movida (1976-1986); and (4) de-colonize the geographies of the Movida by revealing new spaces, artists, and socio-economic classes that problematize the cultural and spatial canon of the Movida.

This talk will cover the technical, archival, and theoretical concerns that have arisen during the various stages of project development, and focus, in particular, on how Mapping the Movida has changed the scope of what has been historicized and canonized as the ‘culture of the Movida’ over the last approximately 40 years. At stake in the findings of this project are both the scope of received wisdom about the cultural geographies of Madrid during this period and the revelation of many minority artists who have yet to be studied and imagined within the corpus of so-called Movida artists and texts."

FSM13
11:15 - 12:15
Pattern and Randomness in Code and Poetry

RT (60m) Pattern and Randomness in Code and Poetry (Amanda Hill and Laura Moeller)

https://youtu.be/O3aLbMhIAGE

For this panel discussion we will discuss two e-poetry projects that piece together moments of pattern and randomness to create new digital poetic works. In addition to presenting these projects for discussion, we hope to engage the audience in an embodied understanding of how pattern and randomness operate in projects such as these. To do this, we will spend a portion of the session conducting an interactive experiment in human computation where the audience members engage in the building of a new poem. Audience members will write multiple lines of poetry and will use these to create a new poetic work using processes of code randomization. The embodied experience will mirror the process through which the poems in the presented projects are generated. We hope this will give the audience an understanding of how poetry and code can work together to create new works and inspire them to consider more deeply the intersection of pattern and randomness. To help exemplify the process of coding randomization into new poetic works, we will showcase the poem “Wayfarer’s Song” and the Dada Poetry Generator.

“Wayfarer’s Song” is a poem-program which generates a Villanelle poem from a set of randomly chosen, pre-written verses. The poem exemplifies the interplay of pattern and randomness by juxtaposing arbitrary arrangement with the poetic pattern of Villanelle, which is characterized by repetition and even flow. Katherine Hayles states that “through the development of information technologies [...] the interplay of pattern and randomness became a feature of everyday life,” and has shaped human as well as textual bodies. Melding literary form (pattern) and coded algorithms (randomness), “Wayfarer’s Song” exemplifies Hayles’ argument and shows how pattern and randomness complement one another in a complex dialectic.

The Dada Poetry Generator is an online machine that engages users in creating a poem from several ""found"" texts - a news article, a passage from a book, and an excerpt from a website. It invites readers to make new inferences about the texts which are currently in front of them. Because each iteration of the machine will generate a different arrangement of the texts, the context and meaning of the poem can change each time the code runs. In deforming and decontextualizing these texts, the users will encounter symbolic randomness. This seeming nonsense is an opportunity for further exploration and meaning-making. The three texts​ a user chooses will relate to each other in different ways. If the texts the reader chooses cover different topics or come from different realms of the reader's life, the Dada Poetry Generator additionally provides a way to make a connection to various branches of daily life (eg. home, work, school) which create the user's ""world of experience."" O'Gorman suggests nonsense ""can take us across cultural and cognitive fields.” By connecting texts from different areas of our lives, we make leaps from one subject to another and are afforded the opportunity to find common themes and patterns that are emerging in our daily lives and our society.

FSM03
10:00 - 11:00
The Half-Real Humanities: Hard Problems in Humanities Games

RT (60m) The Half-Real Humanities: Hard Problems in Humanities Games (Jennifer Dewinter, Matthew Dombrowski, Joseph Fanfarelli, and Rudy McDaniel)

This panel showcases four perspectives on hard problems in the humanities that can be found in Juul’s (2011) “half-real” domain of video games, a medium that blends real rules with fantasy settings. Speakers will describe how they identified such problems dealing with assessment, art, ethics, and culture and will discuss projects that highlight unique issues in humanities gaming and provide ideas about how to identify challenges and solve problems in future work.

Games and ASSESSMENT

Speaker one will discuss assessment for evaluating a game’s pedagogical effectiveness and providing appropriate feedback to the learner (Bellotti et al., 2013). The unpredictable nature of games built for the humanities makes it challenging to be consistent in assessment. Discussion will focus on assessment challenges, strategies for mitigation, and how assessment evolves based on the specific type of learning content and the specific type of game.

Games and ETHICS

Speaker two will discuss ethics in relation to games, from the role of the player, the designer, and the game (Sicart, 2011) and discussing how moral values operate within virtual worlds (Schrier, 2010). Domain-specific considerations, such as ethics in commercial and serious games, will also be reviewed. Examples from interface design, such as the moral buffer problem identified in autonomous weapon systems (the aversion to killing is inversely proportional to the proximity of the user to the target) will be used to discuss how thought exercises such as this are useful for considering ethical issues in games.

Games and ART

Speaker three will discuss the role of visual arts in the development of video games. In the development of a video game the visual artist invites the player to become a co-creator in their artistic creation (Pierce, 2006). This act defies the personal process of artistic creation often observed in the fine arts. Though all arts are a study in human interaction, visual art and interaction in video games pose an interesting twist on this concept by allowing the viewer to become actively involved in the artist's role. This active role blurs the lines between the player/spectator and the creator. The speaker will discuss future challenges and the responsibilities of the artist concerning visual development for games.

Games and CULTURE

Speaker four’s research attends to the global circulation of games, with a particular emphasis on Japan and the US. Every year, she takes a group of students to Japan to build VR, AR, and learning games in Japanese research labs. She will discuss the challenges of attending to culture in global contexts and when working in intercultural teams. Like all media, culture permeates games, affecting what is encoded into the game message as well as the process of creation, affecting the politics of distribution, and affecting consumption practices, such as semiotically marking certain texts as different, exotic, and therefore desirable. She will share examples of student work in AR and VR completed in Japan and talk through the challenges of production and cultural encoding in student games."

FSM11
11:15 - 12:15
Building an Interdisciplinary DH Community at UNF

RT (60m) Building an Interdisciplinary DH Community at the University of North Florida (Clayton McCarl, Kathlina Brady, Aislinn Kelly, Anne Pfister, Julia Rivera-Whalen and Dave Wilson)

At this session, we will address the conference theme of “interdisciplinary goals and conversations in digital humanities” by reviewing the efforts underway since 2015 to build a campus-wide Digital Humanities community at the University of North Florida. Clayton McCarl, interim chair of the UNF Digital Humanities Initiative, will explain how the group was formed, describe our current structure, and briefly describe our plans for the future. Laura Heffernan, chair of the DHI’s curriculum committee, will describe the creation and implementation of our new minor in Digital Humanities (effective Fall 2017). Deb Miller, director, Center for Instruction & Research Technology (CIRT), will report on our other major achievement to date, our annual Digital Projects Showcase, and will discuss the role that CIRT plays in supporting the DHI and its projects. Anne Pfister will consider the emphasis that the DHI places on involving undergraduate students in hands-on research, both within and beyond the classroom. Students Kathlina Brady, Aislinn Kelly, and Julia Rivera-Whalen will then discuss their work on DHI affiliate projects.

FSA04
13:45 - 15:15
Computational Craft

RT (90m) Computational Craft (Gillian Smith, Anne Sullivan and Josh Tanenbaum)

Games have much to learn from craft, and vice versa. Craft is collaborative, open-ended, creative, meditative, and often focus on visual aesthetic goals. Games can be competitive, strategic or luck-based, and focus on player engagement. This workshop aims to bring these communities closer together by looking at the similarities and differences between craft-play and game-play. We will focus on the lessons that can be learned from each community with a view towards being able to create new kinds of game and/or craft experiences.

This workshop aims to build a community of scholars and practitioners interested in the intersection of games and crafts, and to identify research questions, project ideas, and collaboration opportunities. It builds upon a previous, successful workshop in {Craft, Game} Play at the Foundations of Digital Games conference in 2015, in which participants created new game experiences by adopting craft practices such as scrapbooking, puppet making, and embroidery.

The result of this workshop was a set of innovative games and playable experiences that incorporate craft practices into play. As an example, one group created a game using scrapbook paper and bakers’ twine that replicates the interface to the interactive storytelling tool “Twine”, in which players are invited to collaboratively build a story by creating fragments themed around the paper’s design and then stringing it into the larger communal artifact. An unintended side effect to the workshop was peer learning between participants of different backgrounds. One memorable example of peer learning involved a group of women participants teaching a male computer scientist how to create a friendship bracelet, so that he could realize his game idea.

At HASTAC 2017, we would be aiming to further push the boundaries of Craft Games by drawing participants from the diverse, interdisciplinary backgrounds of the conference attendees. Game design and crafting experience is not necessary! The workshop will be a half-day ""studio"", where participants are actively engaged in brainstorming project concepts and building prototypes for those concepts. We envision running a short brainstorming and group formation session, where we will discuss the overlap between crafts and games and participants’ interest in these areas. We will then facilitate group formation, balancing skills and interests of the participants. Using materials we provide, participants will prototype games in their smaller groups, then present them to the workshop participants at the end of the session.

As part of our effort to build a network of scholars working at the intersection of crafts and games, we envision also using the workshop as an opportunity to identify collaboration opportunities between participants. We plan to create a workshop website documenting the games participants create, and invite interested participants to collaborate on an article defining the space of “craft games.”

FSA10
15:30 - 16:30
Illuminating Serious Games; Online Video Instruction

RT (30m) Illuminating Serious Games through Procedural Rhetoric: Re-Mission (Emily Johnson and Rudy McDaniel)

https://youtu.be/DtCh-ab9YUw

The PC videogame Re-Mission was created by HopeLab (2004), the health-focused R&D organization of The Omidyar Group (HopeLab, 2017). This game was designed specifically to help children being treated for cancer better understand their conditions, to simulate common cancer treatments (and the effects of forgoing certain treatments), and to persuade them to adhere to their prescriptions.

HopeLab conducted an extensive controlled study including 375 male and female patients 13-29 years old in 34 medical centers in 3 countries between 2004 and 2005 (Kato et al., 2008). Players in the control group were encouraged to play a similarly-styled commercial game, Indiana Jones and the Emperor’s Tomb. The results suggest that Re-Mission greatly influenced patient behavior. Specifically, the 54 patients who played the game and were also prescribed a specific oral medication had a significantly higher level of that medicine in their blood samples than the control group, suggesting that the patients who played Re-Mission took their medicine more regularly. These results even applied to patients who played for a total of less than 6 hours over the course of the three-month study.

These results are impressive, but we contend that such a game designed with the explicit purpose of modifying behavior, especially if the game is intended to be played by a vulnerable population, warrants a closer look from a humanities perspective. Using Ian Bogost’s (2007) method of procedural rhetoric, a method that inspects the structure (mechanics) of a game as tools meant to persuade the player. Some game mechanics reward certain player behavior, some punish specific actions, and some are neutral; however, Bogost argues that the collective of the game’s mechanics acts as a persuasive argument.

Using this method, we mapped out the mechanics of key interactions in Re-Mission’s 20 levels. This allows for transparent analysis of the game’s procedural rhetoric, the argument the game makes, and the values it reinforces. Our analysis suggests that Re-Mission player actions can be categorized into three types: encouraged medical actions, encouraged nonmedical actions, discouraged actions (medical and nonmedical).

In our roundtable discussion, we will give a brief overview of this process along with a description of the game, and we will invite the audience to participate in a discussion of our recommendation that future designers of serious games for patient education and other persuasive endeavors analyze their mechanics for procedural rhetoric in a similar manner before finalizing the game design.

References

Bogost, I. (2007). Persuasive games: The expressive power of videogames. Cambridge, MA: MIT Press. HopeLab, TRI, Realtime Associates. (2004). Re-Mission (videogame). Palo Alto, CA: HopeLab. http://www.re-mission.net HopeLab. (2017). About. Retrieved from http://www.hopelab.org/about/ Kato, Pamela M., et al. (2008). A video game improves behavioral outcomes in adolescents and young adults with cancer: A randomized trial. Pediatrics, 122(2) pp. e305-e317. http://www.hopelab.org/wp-content/uploads/2016/04/Pediatrics_ReMission.pdf

RT (30m) Making the Case for Online Video Instruction: Innovating the Educational Future (Kenneth Hanson and Emily Johnson)

https://youtu.be/SgS8wshv1mU

Digital media is arguably the most underused arrow in the pedagogical quiver, since, if approached creatively, it has the potential of slaying the twin giants of student disinterest and disengagement. This roundtable presentation will focus on the fact that much more can be done to enhance student learning, given the technology readily available to academic institutions. Specifically, streaming video productions can now be locally produced and embedded in online course modules, bringing course material to life as never before. My own reluctant “conversion” to online teaching came about only through the realization of the potential to “condense” traditional in-class lectures into engaging, documentary-style presentations, accessible on-demand, in the same way a student might watch a Netflix episode. The ultimate objective of these efforts is the creation of a new model of instruction, largely congruent with the concept of the “flipped classroom.” In traditional classrooms, all of the students listen to the same lecture simultaneously, with some enjoying relatively high levels of comprehension and retention while others struggle. By contrast, in the “flipped classroom,” students access the lecture material at home, via video presentations on their own personal computers, and have the ability to pause, rewind, and view the material repeatedly, according to individual needs. I suggest the development of innovative video presentations along the lines of professional media (reusable in future iterations of the same online course), such as students are accustomed to accessing for entertainment. These can be coupled with short but regular online quizzes, to provide obvious motivation to learn actively the contents of the material covered. My ultimate goal is to create a new model for online learning, fully congruent with the needs and expectations of a new generation of twenty-first-century students.

FSM04
10:00 - 11:00
Closing the Loops: Using Iteration to Document a Structure's Life

RT (60m) Closing the Loops: Using Iteration to Document a Structure's Life History and Create Realistic Virtual Recreations (Lori Walters, Robert Michlowitz, and Michelle Adams)

https://youtu.be/hCTPRZCgy2o

One constant exists with humanity is wherever people have extended their domains, they have built structures. From the early humans leaving wood structures, to Egyptian pyramids, to the palace at Versailles, to the Tokyo Tower, and to Eero Saarinen’s TWA Terminal at New York’s John F. Kennedy International Airport, humans have erected structures as a mark of civilization at a particular moment. While each of these structures conveys information about the society that constructed them, only the most recent have living representatives to testify to the thoughts of the community when they were erected.

The ChronoPoints initiative documents Post World War II structures which afford the opportunity to speak with those who were involved with a building’s development and can provide unique stories that record the structure’s “life history.” This is akin to Deep Mapping which is principally used to create archives of disparate information about a particular location. ChronoPoints aims to deploy these assets to create more realistic entities for virtual recreations. The life history informs beyond the capture of a structure’s physical evolution but also addresses its communal evolution. This assists in demonstrating how a community saw itself and how that vision changed over time.

To capture accurate representations of a selected structure, we utilize a laser scanner and conduct extensive photography. This data is then combined with traditional materials, such as historic photographs and blueprints, to digitally recreate a place (as many no longer exist or have been extensively modified) to use in virtual environments and augmented applications. This allows us today to see a building at what might have been the zenith of its glory. Oral histories, personal photographs, artifacts, and ephemera enable researchers to gain a sense of place in the community and human history for such structures.

The digital reconstruction process is multi-phased and iterative and uses collected materials to elicit additional memories and refine models. This allows the capture of a continually improving understanding of the structure’s history and where a community was and its evolution. Using this process, we start with laser scanning a structure with terrestrial and/or aerial equipment. This provides a point cloud to base a model from, using either the precise measurements collected or meshing the point cloud into a model comprised of polygons.

After building a basic model, iterative use of available photos, blueprints and most importantly reflections of people who provided life to the structure allow for increasing levels of detail, as the model closes in on the tangential reality of the past. Through the loops of iterative development, contributors who are elicited to supply their memories can slowly be drawn into the recreated structure by viewing it on a monitor and later experiencing it using head mounted devices like the HTC Vive or Microsoft HoloLens. Using this process, the virtual recreations benefit by being higher quality, while gathering a wealth of information about their significance."

FSM12
11:15 - 12:15
Possible Digital Worlds, One Material World

RT (60m) Possible Digital Worlds, One Material World: EcoDH (Ted Dawson, Amanda Starling Gould, Craig Dietrich, Libi Striegl and Max Symuleski)

We in digital humanities and media studies like to use environmental metaphors. We talk of “media ecologies” and hold conferences about “possible worlds.” Maxwell, Raundalen, and Vestberg have suggested that such metaphors of the environment obscure the relationship of digital media to the material world, enabling utopian discussions about virtual environments at the precise moment in which the real environment is in crisis. The emerging field of Ecocritical DH (EcoDH) seeks to maintain a focus on the material world within the digital humanities. Located at the nexus of environmental humanities and digital humanities, EcoDH mobilizes a range of tools and critical constructs, using digital methods to investigate environmental issues while reflecting on the ecological implications of those same digital methods. EcoDH thus offers new horizons for digital work while challenging digital humanities to investigate its own practices and metaphors.

This roundtable will feature scholars and practitioners from various institutions and backgrounds discussing the existing place of, and future possibilities for, EcoDH at their respective institutions as well as transinstitutionally. Ted Dawson will present the InfraVU project at Vanderbilt University, which creates immersive experiences of campus infrastructure normally hidden from view. Amanda Starling Gould will touch upon the “dirty digital humanities,” sustainable digital practice through permaculture, and the urgency of cross-disciplinary EcoDH. Craig Dietrich will discuss his work combining permaculture with network culture by creating software that drives non-hierarchical systems such as Scalar and ThoughtMesh. Max Symuleski will explore the political ecology of maintenance as it relates to digital objects, digital infrastructures, and life-cycles of computational hardware. libi will address media archaeological and techno-revitalization practices in relation to obsolescence and convenience culture.

To demonstrate EcoDH at its best, our presentation will be a hybrid intervention that puts into practice our theoretical intentions. Max, libi, and Amanda will be presenting live from the PhD Lab in Digital Knowledge at Duke University while Ted and Craig will present in person in Orlando.

FEA03
13:45 - 16:45
Critically Remaking the Quantified Self

WS (3h) Critically Remaking the Quantified Self (Gabi Schaffzin and Zachary Kaiser)

We will run a three hour workshop in which we teach 10 students how to “break open” a quantified-self device. You will learn how QS devices work, how they communicate with your computer or mobile device, what tools we can use to try to intercept these communications, and—most importantly—how an exercise such as this can be valuable in the classroom.

While quantifying the self is a practice that many trace back centuries, contemporary popular culture’s recent foray into the movement is often credited to an informal meeting of 28 individuals at the home of Wired Magazine editor, Kevin Kelly, in 2007. Nearly a decade later, the group’s vision of using a multitude of small, connected devices to track predetermined bodily metrics is a reality manifesting itself throughout both hobbyist and professional markets. Borrowing from techno-cultural theorist Paul Virilio, it is important to remember that with new types of technologies come new types of dangers, and so we have seen a proliferation of discourse surrounding questions of quantified-self devices’ privacy, accuracy, efficacy, and overall impact on our culture.

This exercise is part of a larger project enacted by the leaders of this workshop, a project not only in which the nature of computable subjectivity is questioned, but in which we seek to empower fellow educators, artists, and consumers to reclaim the self from the quantified-self. Once our QS data is gathered from the devices we trust to count our steps, calories, muscle movements, or otherwise, we might have the opportunity to repurpose that data to our liking.

This project seeks to combine the benefits of multiple modes of interrogation: built upon critical theory, based on the use of QS devices, and presented in a manner accessible to a general audience. We hope that the result of this workshop will be a series of artworks incorporating data taken from quantified-self devices, but will reinterpret said data into forms that highlight a critical property of that data (e.g., its proprietary, obfuscated, or private nature, etc.). The communications philosopher James Carey (1989) notes that “Things can become so familiar that we no longer perceive them at all. Art, however, can take the texture of a fabric...the design of a face...and wrench these ordinary phenomena out of the backdrop existence and force them into the foreground of consideration.” Carey’s position here drives the work of this project, as the artists seek to reframe the otherwise mundane data being collected about a quantified-self into a means to raise questions about power, meaning, and identity not found in other QS-related discourse.

The workshop will incorporate an overview of the critical theory driving the project, but will primarily be instructional. While participants need not have any programming experience, they should not be afraid to make mistakes. We promise to not break their computers, but we will teach them how said computers work.

FSM05
11:15 - 12:15
Friday Soapbox Session A

SB (8m) Bernie Sanders' Dank Memes: Digital Humanities and Political Activism (Rachel Winter)

Memes have played an increasing role in political rhetoric, providing an opportunity for digital humanities analysis. In 2016, Bernie Sanders campaigned for the Democratic nomination for President of the United States. His campaign was notable for many reasons, not least among them his reliance on grassroots support and funding. While most candidates’ super PACs fund advertisements, travel, and events, Bernie Sanders received his funding from his supporters at an average of $27 per donation. Sanders’ call for grassroots support also manifested in unexpected ways, such as the production and dissemination of pro-Bernie Sanders memes, particularly those posted by members of the Facebook group Bernie Sanders’ Dank Meme Stash (BSDMS).

Some criticize social media-based activism as ineffective and, specifically, argue that the memes produced and shared by BSDMS have no message other than that Bernie is “cool” (Dewey, 2016). However, the large number of group members (460,000 members as of March 3, 2017) of BSDMS, its coverage by The Washington Post, Motherboard, and Slate and the widespread sharing of BSDMS memes indicates that the group has significance beyond mere amusement. Noam Gal, Limor Shifman, and Zohar Kampf (2016) argue that memes can provide means for negotiating cultural norms (1700); although memes often reflect social norms and attitudes, they can also convey the creator’s/sharer’s response.

Stephanie Vie (2014) argues that memes “can have significant impacts in off-line behaviors.” The use of memes in recent political campaigns and movements attests to the power of these cultural artifacts in uniting individuals around a common cause. For instance, the American Occupy Wall Street movement was coordinated by the digital participation of “millions of ordinary people” (Shifman, 2014, p. 128), which then resulted in a massive demonstration. Notably, Barack Obama’s 2008 campaign also made use of memes. His campaign is considered the first “Web 2.0 campaign” in which users generated a massive number of politically-oriented memes and other digital content (Shifman, 2014, p. 120). The use of digital media helped motivate his supporters to contribute in myriad unexpected ways (Shifman, 2014, p. 122). Xavier Martinez-Rolan and Teresa Pineiro-Otero (2016) label Obama the “memecrat par excellence” (p. 147, their emphasis) due to his use of digital content for political communication. Thus, memes have already demonstrated their relevance in influencing political realities.

The potential of Web 2.0 technologies to facilitate grassroots participation and influence political and social realities represents an important field of inquiry for digital humanities. My research focuses on three specific BSDMS memes, each notable for receiving coverage in publications beyond the Facebook platform on which they were shared. My analysis of the “I’m Not Kidding, Maddie,” “Bernie or Hillary,” and “Bernie Would Have Won” memes revealed that each meme levies a specific argument about then-Presidential candidate Hillary Clinton, the Democratic Party, or Senator Bernie Sanders. The creators’ manipulation and dissemination of memes intended to support Sanders’ campaign constitute grassroots activism and reveal the potential for digital media to influence events in offline culture.

SB (8m) SNCC Digital Gateway: Learn from the Past, Organize for the Future, Make Democracy Work (Kaley Deal)

How do you use collaborative, digital storytelling to challenge the mainstream historical narrative? What are strategies for making an often-untold history of the Civil Rights Movement accessible to the greater public? How can you encourage people to recognize their potential to be change-makers today? A group of SNCC (Student Nonviolent Coordinating Committee) veterans, archivists, and Movement scholars have joined together to create a digital documentary publication that tells the story of how young activists united with local people to build a movement for change. The SNCC Digital Gateway carries SNCC’s framework for grassroots organizing into the digital world, emphasizing reasons behind their thinking, strategies they used, and how their goals shifted over time.

Using digitized primary source documents, oral history interviews, and new creative works, the SNCC Digital Gateway website brings SNCC’s history to life for a new generation. Through this process, we’ve had to deal with challenges of communication, sustainability, and computer literacy as we work to build a site that is intended for a wide audience and will last for years to come. This soapbox presentation will explain how the vision for the site came to be and what the work has looked like on the ground over the last two years. It will explore the digital tools that we have used to document and preserve SNCC’s history, as well as how this history-telling model could be applied to other projects.

Ultimately, the SNCC Digital Gateway seeks to inform people engaged in social justice work, students, teachers, and the broader public and help them apply the lessons learned by SNCC to the ongoing struggle for a move civil and inclusive democracy.

To view the website, please visit: https://snccdigital.org/

SB (8m) News Literacy: Applications for the Classroom and Beyond (Kendra Auberry)

https://youtu.be/Jp0TLp8uWmI

Applying the Association of College and Research Libraries (ACRL) Framework for Information Literacy for Higher Education to the ‘fake news’ phenomenon provides instructors and librarians opportunities to increase students’ understanding of information sources, provides all students a voice in the current debate on authority, and increases students’ ability to evaluate and ethically use information for academic and personal success.

The Framework consists of six concepts which were adopted by ACRL in 2016:

Authority is Constructed and Contextual Information Creation as a Process Information Has Value Research as Inquiry Scholarship as Conversation Searching as Strategic Exploration

Since the creation of the Framework, librarians and educators have been increasing their efforts to apply active learning strategies across multiple disciplines to increase the information and digital literacy skills of college students. Three personal examples which focus on news literacy which will be shared include:

• Allowing students in English Composition (ENC1101) to evaluate the authority of a source by providing guided practice using Guide-on-the-Side tutorial software to create a customized student experience requiring students to apply the Rationale-Authority-Date-Accuracy-Relevance (RADAR) technique for evaluation of a news source.

• The exploration of how information is generated and for what purpose utilizing portions (slides, videos, and discussion questions) of the open source curriculum created at the Center for News Literacy at Stony Brook University to encourage American Government (POS1041) students to visualize the different “information neighborhoods” that they may find themselves in and when to be cautious.

• Utilizing the ECHO Active Learning Platform (ALP) to walk Biology Junior Seminar (BSC3931) students through the information cycle and use the live polling features of the ALP to reinforce application of how scholarship is generated in the biological sciences. Examples of how Zika is reported in the news versus the scholarly literature provides the news literacy tie-in.

Information literacy skill building is a component of the General Education Learning Outcomes at my institution, as well as at many others. While the Association of American Colleges & Universities provides detailed rubrics for what being information literate looks like, the knowledge practices from the Framework hints at what the learning process looks like with enough flexibility to build content that is institution and course-specific. It is impossible to cover all frames in a single lesson, course, or semester, but by allowing students an opportunity to explore these concepts across their course load, they can apply the ideas and engage with them in meaningful ways.

References

Association of American Colleges & Universities. (2013). Information literacy value rubric. Retrieved from https://www.aacu.org/value/rubrics/information-literacy

Association of College and Research Libraries. (2016). Framework for information literacy for higher education. Retrieved from http://www.ala.org/acrl/standards/ilframework

SB (8m) Tagging for Justice: Challenging Hegemonic Object Description through Participatory Metadata Creation (Pamella Lack and Annie Chen)

Open digital collections have provided expanded access to special collections material for decades. While more content is available digitally than ever, many digital collections are shared with minimal metadata due to limited institutional time, staffing, and financial resources. These limitations, along with the technical constraints of the underlying content management system, potentially hinder users' ability to find and access digital content. Moreover, metadata—whether created carefully or in haste—will reflect technical standards and conceptual understandings that are biased products of today's society. Metadata therefore run the risk of amplifying the structural racism, sexism, and classism that have produced other expert-driven classification schemata. But when multiple people tag the same digital object, a wider range of perspectives may emerge, whether those perspectives reinforce or challenge dominant social narratives. Opening up metadata creation to the crowd thus offers the possibility of developing a more inclusive, albeit perhaps noisier, production of knowledge that potentially challenges biases and gives voice to alternative and non-dominant narratives.

The ""Tagging for Justice"" project explores the possibilities and limitations of employing crowdsourced folksonomic tagging to enhance digital archival collections of social movement histories. Using digital objects from San Diego State University's Lambda Archives Digital Collection, our experiment will study the extent to which user tagging democratizes knowledge organization, reflects individual biases, and challenges or reifies expert/hegemonic frameworks and perspectives. Started in 1987, the Lambda Archives of San Diego is ""one of the best-maintained collections of LGBT history in the country"" (http://www.lambdaarchives.us/about.htm). SDSU's Special Collections and University Archives has been partnering with Lambda to digitize many of their holdings, including photos related to annual Pride activities, Gay Liberation Front protests of the 1970s, and various ephemera from over the years. Currently housed in iBase, the digital objects contain minimal metadata, including title, description, and keywords. The keywords tend to mirror the concepts reflected in the title and description. What would happen if we could develop a different set of keywords that might reflect something else in these images? Could we capture more fluid aspects of these historical events, such as shifting gender identities? What stories might emerge in between the gaps of the photographs and their metadata?

To explore possible answers to these questions, we will be recruiting students at SDSU, as well as local communities, to participate in our tagging experiment. Analyzing the tags will enable us to study whether this approach is a productive one for adding and diversifying metadata to challenge hegemonic description of digital cultural heritage objects. Through this work, we are contemplating whether folksonomic approaches suggest possibilities as a peer learning mechanism in an open environment, while enhancing access to digital collections for educational purposes. Using our tagging project as a starting point, this talk seeks to open up a broader discussion about expanding who gets to participate in the creation and curation of digital cultural heritage objects, and how the work gets done, in the service of improving access and mutual co-learning.

FSM06
11:15 - 12:15
Friday Soapbox Session B

SB (8m) Surrealist (Video) Games (Eric Murnane)

https://youtu.be/SUn-Ygvci_c

Perhaps one of the biggest strengths of as well as challenges in the digital humanities is its interdisciplinary nature. The numerous sub-fields which have risen from the larger umbrella of DH have flourished due to this lack of constraints. Game studies, for example, developed from a fusion of principles in digital media, literature, and software engineering. However, as the field matures and its corpus of scholarship grows, scholars in the field are increasingly pushed toward a more rigid structure of disciplinarity. In my proposed soapbox talk, I will argue for maintaining a more transdisciplinary framework within the study of games. To demonstrate this, I will discuss the combination of Surrealism and video games as a means of discovery. The two principle points of entry for this talk are Surrealist play and Surrealist design. In both cases, the Surrealist Game, “Exquisite Corpse,” will be the method which informs my approach. In the case of Surrealist play, I will discuss my own experience of combining details from unrelated quests in games to gain new understandings of the gameworld to which a player visits. In games with an open play structure, there is often the feeling that once a quest or related string of quests is finished, the player never needs to worry about those events again. This is especially true with the side quest, little diversions that do not affect the overall narrative of the game in any significant way. By bringing the Exquisite Corpse to these games, I will showcase how the player’s understanding of interactions can be shifted with the minor adjustment of playing as though these individual micro-narratives are connected. On the other side of this discussion is Surrealist design which brings elements of chance to the design process in order to create moments of surprise and delight in the finished project of a game. I will demonstrate how the Exquisite Corpse can be brought to design decisions in the more traditional sense (through selection and cut-up) as well as how this element can be replicated in the design through the careful addition of randomness in the actual code. Using the Unity Engine, I will showcase examples of how this influences my own work in both the scripting and finished product. At its core, the principles of Surrealist (video) Games demonstrate the ways that a digital humanist is uniquely equipped to address the epistemic. In truth, the possible worlds of digital humanities are limitless, but we can only meaningfully engage with them if we, as a field, continue to do so openly and creatively.

SB (8m) Gay Eroticism as Game Mechanic in Cobra Club (Michael Deanda)

Jay Poole (2014), in his article, “Queer Representations of Gay Males and Masculinities in the Media” responds to the reiteration of heterosexual models of gender and sexuality in media billed for queer audiences, calling for an intervention that allows for the LGBTQ community to heal from these destructive representations of heteronormativity and broaden the understanding of sexuality and gender identity. In Cobra Club (2015), a game designed by indie developer, Robert Yang, the player, a chubby gay male avatar, takes nude pictures of himself in a virtual bathroom. This game requires the player to be connected to the internet and creates a real-time networked experience of sending out selfies of this fat gay body. After taking pictures, he talks to others on the network using pre-determined selectable lines, inciting more sharing of nude pictures. This game is clearly a critique on idealized male body, especially the presentation of this aesthetic on applications like Scruff and Grindr and provides a site to observe the intervention of heteronormativity in media made for queer audiences.

In my study of Cobra I analyze the use of the gaze in-game and compare it to the structure of other gendered media to show how designing for a queer gaze draws from structures of media typically coded male and female but creates a queer amalgamation of the two in order to make commentary about gay bodies and desire. I apply studies on the objectifying gaze and queer masculinities to talk about the presentation of the body in these frames, and complicate this discussion by detailing how the mechanics of the game engage the player with the body that is visually consumed. Through this analysis, I situate gay male bodies as sites of social construction, and through this situation, I argue that Yang’s use of a fat gay body his game serves as a way of challenging ideologies in marginalized communities, particularly idealized male beauty. Responding to Adrienne Shaw’s (2014) emphasis on creating games with queerness at the core, not as added features or bonus content, I articulate how the game interpellates the player as a queer male character through the ludic and semiotic features of the game. While the player is engaging in the consumption/objectification of a male body, this act is complicated through the way the player is contextualized in the space with a certain male-ness.

Understanding the gay male gaze is necessary to explicate it as a force of objectification of others that also establishes a reflexive means of self-policing one’s own body through the construction of desire for others. My close reading of this game observes the deployment of male body to create a space for a gay audience that simultaneously challenges players to confront and explore their own social trainings, particularly of the gay male gaze.

SB (8m) Engines of Power: Anti-Queer Ontologies in Simulation Software (James Malazita)

Game engine software is now widely used as a simulation and assessment tool in military, governmental, and scientific organizations. While humanities and Science and Technology Studies scholarship has long examined how political problems are understood “with and through” a host of texts and technologies, there is little work investigating how computational media frame political action through gaming and simulation platforms, and how queer ontologies and subjectivities are impacted via their translation into these platforms. Queer Digital Humanities projects are being developed by a host of persons and institutions; however, the specific ways in which game engines—the software environments that underpin digital game design—enact practices of “being in the world” can serve to undermine the radical potential of these projects. Through a “Critical Platform Studies” analysis, this talk will trace the design of BioShock Infinite, a triple-A commercial game with queer aspirations that was developed using the Unreal Engine. I will show how these queer aspirations were compromised due in part to Unreal’s historical ties with the military-entertainment complex and the taxonomic nature of object-oriented programming embedded within new media and game development software.

SB (8m) "Comments Must Contribute": How r/NoSleep's Community Guidelines Foster Interactions in their Fictions (Emily Hensley)

In 1984, Anthony J. Niesz and Norman N. Holland, described “‘electronic novels’” as “[admitting] totally free-form fictions” wherein “the original author simply starts out the story, and then anyone who wishes can add” (126). Today, these “free-form fictions” certainly still exist, some with even more focus on interactivity which allows for simultaneous interaction. For instance, in the subreddit r/NoSleep, users can post original horror stories that may or may not be “true” and receive feedback in the form of comments from readers. In subreddits, moderators create community guidelines for what type of interaction is acceptable in their subreddits, and r/NoSleep commenters are encouraged to comment on every story as though it is true, while original story writers must comment on their stories only “in character” as the main characters of their stories. Due in part to their nature as digitally published horror stories, many of the original posts on r/NoSleep do not contain the traditional, resolute endings some readers may expect of their fiction.

The participation and interactivity some online communities encourage is responsible for their community’s development and preservation. An examination of the subreddit r/NoSleep provides insight into the interactivity that takes place within interactive fiction in which users are more likely to represent a character in the fiction. Interactive fiction which encourages users to take on this character role and takes place online never really has to “end” when given a platform that supports this potentially endless writing. Therefore, fiction that is made interactive through community participation online does not necessarily provide the kind of “end,” or closure, that readers/consumers are assumed to seek in their consumption of traditional, less interactive media. This “end” is further complicated by the interactivity which asks that the reader take on a role within the fiction as a character rather than outside of the fiction as a narrator/operator. Therefore, because commenters must treat the stories as true and “must contribute to the discussion” according to the subreddit’s guidelines, this presentation will focus on how the participation and interactivity encouraged by r/NoSleep community guidelines and the lack of traditional, resolute endings within the community’s stories, fosters community development as it invites users to place themselves within this community and its stories.

SB (8m) Roleplaying the Mythos but not the Lovecraft: A Visual Analysis of the Cthulhu Mythos in Horror Roleplaying Games (James Cosper, Brigid Brockway and Barbara Martinson)

https://youtu.be/Si6KzVEFj4c

Howard Phillips Lovecraft’s Cthulhu Mythos is a foundational aspect in roleplaying games. Lovecraft’s writing is a formative part of the fantasy and horror genres, widely referenced in literature and pop culture. His stories depict existential fears, extra-dimensional terrors, and madness. Tabletop roleplaying games (RPGs) are collaborative storytelling games typically played by teens and adults.

Roleplaying games are rooted in fantasy, and the first RPG, Dungeons and Dragons, referenced Lovecraft in early publications. Lovecraft holds a complicated position as one of fantasy’s principal writers who was also racist. Lovecraft’s stories and racial views have affected writers of the late 20th and early 21st Centuries including World Fantasy Award Best Novel winners Nnedi Okorafor and China Miéville. Literature is the basis for roleplaying games.

This analysis examines how gender and race are depicted in games based on the writings of Lovecraft. Similarly, it describes how the appearances of the games change over the course of thirty years. The illustrators have interpreted the world created by Lovecraft without incorporating his racial bias. The authors often explicitly reject his views. However, there is little positive representation of women and minorities portrayed in the games. CthulhuTech is striking because it introduces a fantasy space-faring alien race that suggested the African slave diaspora."

FSM08
11:15 - 12:15
Friday Soapbox Session D

SB (8m) How to See Big Ideas: Visualizing HASTAC (Christopher Foley)

I’m a pretty big conference nerd. As a graduate student in a highly interdisciplinary program I have been lucky enough to travel to writing, writing center, technical communication, digital humanities, and gaming conferences--and I am not unique, especially when considering the attendees of a conference like HASTAC.

While there has been limited scholarship that directly engages academic conferences, it has primarily focused on participation patterns of particular groups, such as women (Johnson, Smith, and Wang, 2017), and undergraduate students (Hall, 2015), or the value of networking outside of traditionally structured learning environments (Castronova, 2013; Veloutsou and Chreppas 2015). If the connections between conferences in my brief academic career have any story to tell, visualizing the interdisciplinary network of theories, scholarship, and pedagogies connected to HASTAC should provide digital researchers and historians with a unique view of the intersections between the people, places, and ideas we encounter at conference.

In a brief, light-hearted narrative information visualization presentation, I will use @HDStanford’s Palladio to demonstrate the value of spatially visualizing conference networks. By showing my network of conference involvement in relation to an interactive map of HASTAC 2013-2017 drawn from past (and the current) conference programs, I will simultaneously demonstrate the scale of HASTAC’s academic influence...and how small I am in the scheme of things, while hopefully inspiring new connections, and questions we can ask of spatially visualized conference networks as the data is explored. Attendees will also be invited to submit a personal history of conference participation to be included in part of an ongoing information visualization project.

SB (8m) Performativity 3.0: Data Role-Play and the Politics of Post-Digital Identity (William Lewis)

21st-century daily life is saturated by pervasive connections to media information delivered via technological interface with the political and aesthetic capacity to reconfigure the very notion of human subjectivity, altering the performance of the self via media performativity. Media performativity refers to a reflexive “staging of oneself” through an embodied interfacing with the “materiality (ontology) and mediality (function)” of media delivery systems augmenting modes of perception (Kattenbelt 2010). This notion of media performativity also correlates with paradigms of the “postdigital” (Causey 2016) and “mediated constructions of social reality” (Couldry and Hepp 2017). This talk explores the implications of media performativity on perception in relation to media ecologies. Katherine Hayles posthuman concept of technogenesis – where constructions of perception and meaning making evolve in tandem with communications technologies – alongside Mark Hansen’s reading of “superjective subjectivity” – where human/media ecologies reconfigure the notion of agency and systems of consciousness – are used to discuss Blast Theory’s app based performance project Karen. Karen is a durational smartphone app-based interactive narrative/performance that requires its user/spectator to input data in the form of personal psychological assessments to craft the direction of the story. By exploring the way this digital interaction operates, the social and cognitive impact of data mining is foregrounded allowing its user a greater understanding of the implications of “smart” technologies on the formation of the posthuman self. Expanding on this understanding introduces potential strategies contemporary media users (virtually everyone) can use to subvert the subjective determination of big data on our daily lives.

SB (8m) #Womensmarch and #Marchademujeres: A Bilingual Study Visualizing Social Justice Activism on Twitter (Jennifer Byron)

On January 21st, 2017 the global community witnessed one of the largest civil rights protests to occur within the last several decades—The Women’s March. According to estimates made by scientists and the press alike, there were roughly 3-4 million individuals participating in the United States and “Sister Marches” from all seven continents. This civil rights movement and associated hashtag, #Womensmarch, serve as a call for unity in defense of the reproductive rights of women, the support of victims of domestic violence and taking a stand against femicide and gender violence, speaking out against the deportation of immigrants and refugees, advocacy for the LGBTQ community, and recognize injustices occurring in communities of people of color.

This study focuses on social networking data of the hashtags #Marchademujeres and #Womensmarch scraped from Twitter between January 21st and February 28th. The corpus of this work is subjected to language and text analysis as well as visual analysis methods, as this research aims to discover and to demonstrate the structural and discursive differences associated with each hashtag respectively, as #Marchademujeres should not be merely considered the Spanish translation of the #Womensmarch. The results that will be presented during the Soap Box presentation will also demonstrate when there was an influx of messages given crucial events that occurred over the month and a half period. Ultimately, the intention is to establish the role that each of these hashtags played in the worldwide protest and continuing civil rights activism.

SB (8m) Methods of Integrating Social Media Platforms and Critical Media Studies into Undergraduate History Classes (David Morton)

As a digital native, my love of history manifested itself early on through the consumption of a mixture of documentary programming, real-time strategy computer games, and works of historical fiction films and novels. As a relatively new instructor with students less than a decade younger than myself, such interests offer a great advantage. Over the last three years I set out to engage in a variety of new approaches toward allowing my students to engage with broader historic questions in a manner that applies Henry Jenkins’ concept of developing a ""participatory culture in the classroom.""

In addition to applying aspects of documentary film, gaming, and critical media analysis that I am particularly drawn too, I decided to integrate the use of these tools in the classroom even further by requiring my students to establish a Twitter handle where they are asked to submit live commentary during lectures and homework assignments. Twitter is used as a platform for students to share articles and experiences (museum visits, historic site tours, family history, etc.) relevant to the class discussion. Students are also expected to create a personal blog from sites such as Wordpress or Tumblr, where each week they are assigned to write a critical review of a selected piece of media, which include a selection of short articles, news clips, documentary films, and historic fiction television programs or films. The questions raised in these assignments follow the methodological questions Robert Rosenstone addresses in History on Film/Film on History (2006) such as, “How do you tell the past? How do you render that vanished world of events and people in the present? How can we (try to) the understand human generations that came before us?”

The selected subjects range from documentary productions or news report on a relevant current event/ongoing social or political issue. I next ask students to critically dissect the selected media for the quality of information it presents, they are asked to pay close attention to author bias, attention to detail, and factual accuracy. In Andre Bazin’s “Adaptation, or the Cinema as Digest"" he argues that “adaptation is aesthetically justified, independent of its pedagogical and social value.” This is a concept that is closely applied in the requirements for student’s critical reviews. Instead of simply asking students to assess the historic accuracy their selected work of fiction, they are instead expected to engage with the adaptive choices made by the author, filmmaker, or performer and provide a commentary on these identified choices.

Through assignments such as these, my students have in each successive semester demonstrated an enthusiastic and integrated engagement with a broad range of social, political, cultural, and historical topics. As the digital humanities continues to develop as a field, especially in the current post-truth climate we exist in, a student's ability to intelligently and capably address current event controversies through a critical lens. Ultimately this skill set may perhaps be the most valuable tool instructors in the digital humanities can offer their students in the years to come.

FSM07
11:15 - 12:15
Friday Soapbox Session C

SB (8m) Automated Technology and the Trouble with (Zachary Mandell)

Using anti-humanist philosophers like Martin Heidegger and Michel Foucault, I reveal the corrupt construction of humanism by the Romans and the marked difference in outcomes between the Romans and the ancient Greeks they borrow from. This paper seeks to problematize conclusions by some of the major Humanist philosophers like Rene Descartes, Immanuel Kant, and Friedrich Nietzsche and their relationships to our contemporary anxiety around technology. I argue that concepts like subjectivity, dualism, transcendental idealism, and the will to power have evoked our fears in automated technology that uses machine learning methods modeled by human culture. This paper reveals the foundation of Western ethics and their relationship to human anxiety over the application of automated technology. I reveal the underlying power dynamics constructed by the humanist philosophers and their implications for human-robot interactions. Further, I will provide an alternative ethics constructed by Post-Humanist theorists who provide a line of escape from a Latin-based humanist framework through an alternative ethic that adapts ancient Greek attitudes. I argue that the Roman attitude of control and domination have founded our fears on a technology that models itself after our own attitudes and that only by emphasizing a need for an ethic that nurtures emergence and spontaneity can we avoid confinement in this older system of domination. In order to prove the difference between the Roman philosophy and the Greek’s, I will rely on an etymological analysis to show how the Latin construction of order alters the definitions constructed by the Greeks and how those definitions implicate the role of power. Further, I connect these Latin concepts to the philosophies proposed by the aforementioned Humanist philosophers and how the outcomes of those philosophies reinforce the Roman construction of power dynamics. I then critically analyze the consequences of those power dynamics through a lens of Techno-Nihilism to reveal the roots of human anxiety in the face of automated technology. Finally, I reveal Post-Humanist concepts that explicitly corrupt the Humanists’ concepts to allow for a more co-existent environment for humanity and automated technology to live harmoniously. The central concern of this research is to persuade readers that the practice of domination for the of controlling one’s environment, reinforced by Western cultural attitudes, is deceptive and enables far more destructive consequences than a willingness to adapt and alter this system of order to the needs of the environment. By producing technology that automatically reproduces these actions, the anxiety over the destruction of environment for the purposes of control and reliability are almost guaranteed. Without lines of escape, we are teaching our technology that reliability is more important that spontaneity. As a consequence, innovation will become incestuous by relying on a mono-culture to produce new techniques. Though Post-Humanism is not a utopian panacea, it does enable lines of escape from current attitudes that are not prepared to open to new definitions. It is the flexibility granted through those lines of escape that will enable Western culture to grow and innovate.

SB (8m) The Possible Worlds of Reading and Virtual Embodiment in Digital Humanities: Why Reading is not being 'Re-Made' in the Technological Era (Danielle Farrar)

A leading conversation in Digital Humanities (DH) addresses practices of reading and the subsequent challenging of these practices, particularly in the bifurcation of and distinction between what have become commonly known as “close” and “distant” (Moretti, 2000) reading. Sustained research seeking to demarcate close and distant reading has continued to question “traditional” or “institutionalized” (Ciccoricco, 2012) reading and systems of knowledge-making in the realm of literary studies and electronic textuality. While the protean nature of DH interrogates what reading is in the machine-reading age, this presentation argues that DH does not disrupt practices of reading but, instead, reinforces and recovers the phenomenological possibilities of reading as a form of virtual embodiment where “immersion is the experience through which a fictional world acquires the presence of an autonomous, language-independent reality” (Ryan, 2015). A consideration of reading as virtual embodiment collapses methodological and theoretical gaps between close and distant reading as these two seemingly distinct, DH reading practices, instead, experience a co-extensive dynamic. DH scholarship has not only sought to delineate how reading has changed in digital versus non-digital textual environments but also how DH has re-imagined the construction of meaning vis-à-vis reading processes. Martin Mueller (2007) and Matt Kirschenbaum (2007) have argued for reading in digital environments, including machine reading, as both “non-reading” and a “re-making” of reading, respectively, while David Ciccoricco suggests that “close reading conflicts dramatically [. . . with] a multi-modal digital artifact.” Likewise, S. Jänicke, et al. (2015) call for a “bridge between distant and close reading,” suggesting that “close” and “distant” reading are in contradistinction to one another while Ted Underwood (2016)—who implies that bifurcating close and distant reading is delimiting—ultimately argues for the concept of distant reading as a separate movement “part of a broad intellectual shift.” Matthew Jockers (2013) has also worked to re-define distant reading itself with his concept of “macroanalysis,” and Kirschenbaum insists that value in DH techniques are only enhanced when we recognize “different kinds of reading.” Whether digital humanists are annotating a paperback by hand, analyzing and interpreting machine-driven data, and/or creating data visualizations to convey meaning for others to “read,” DH work regularly reinforces and engages in “traditional” reading when considering the phenomenology of reading as contributing to the codification of subjectivity and the meaning-making process. Reading, thus, is not being re-made by DH or the technological era when we recognize reading as a mode of virtual embodiment where it is both virtual (“not that which is deprived of existence but that which possesses the potential, or force, of developing into actual existence” [Ryan]) and virtual reality (VR)—a context defined by a “combination of immersion and interactivity” (Ryan). This presentation suggests that DH [re-]consider reading as a form of virtual embodiment where immersion and interactivity are equal constituents of the varied reading practices that occur in DH approaches to literary analysis and that “re-made” forms of reading are not necessarily produced as a result of electronic textuality, the digital literary, and machine reading.

SB (8m) The Influence of Digital Technology on Music Creation by Electronic Musicians (Jaehoon Choi and Norman Makoto Su)

https://youtu.be/uVtB0SLpAWU

With its emergence in the 20th century, electronic music and its technologies presented a set of radically new features different from the tradition of acoustic music. Digital technologies such as MIDI, digital synthesizers, algorithmic music, generative music, etc. are now an essential part of a modern musician’s toolkit. Therefore, this research aims to understand the influence of digital technology on the creation and perception of music by electronic musicians today. In addition, this research will contrast the compositional practices of electronic musicians and acoustic musicians.

In this work, we employed qualitative research methods. Semi-structured interviews with both formally trained and non-formally trained electronic musicians, observations of their working process and demos, and field work of live performances were conducted.

This study provides an interdisciplinary perspective into how digital technology shapes music composition today which contributes to the interdisciplinary conversation for Digital Humanities in music. This research illustrates how digital technology connects with the heritage of electronic music that started from the 20th century. Finally, our work surmises the future direction of electronic music.

SB (8m) STEManism: Current and Future Horizons of Interdisciplinary Collaboration between the Humanities, Digital Humanities, and STEM (Alex Ayris, Richard Paris and Haley Adams)

Ethical dilemmas – such as the trolley car example or the age-old question “Would you steal bread to feed your family?” – are popular and effective pedagogical tools. They present complex scenarios that expose unconscious thought processes and value judgments, thereby making us more aware of the ways in which we think. Ethical dilemmas are theoretical, but what if we could somehow make people feel like they really are in such a situation?

The three authors (one a graduate student in Religion and two graduate students in Electrical Engineering and Computer Science) have been asking such questions in an attempt to foster greater interdisciplinary collaboration on the campus of Vanderbilt University between humanists and STEM scholars. Our paper first points to the pressing need for increased dialogue between disciplines as the proliferation of new technologies is raising urgent questions that require technical expertise from STEM scholars as well as theoretical input from humanists. It then draws from the authors’ experiences and respective disciplines to point towards potential future collaborations, specifically regarding the uses of IVR (Immersive Virtual Reality) and teaching in courses addressing political theory and ethics.

This “soapbox,” we believe, fits excellently with the theme of the 2017 HASTAC conference (“The Possible Worlds of Digital Humanities”) as it draws attention to the reality that new technologies inevitably produce new questions, which require collaboration and diverse expertise to fully address. These technologies, however, can be harnessed as powerful teaching tools. As such, it continues the trend of interdisciplinary collaboration by both drawing attention to ongoing efforts as well as future horizons for cross-disciplinary research and teaching.

SB (8m) A Cultural Scripts and Prototype Theory Approach to Studying the Digital Humanities in Different International and Intercultural Contexts (Kirk St. Amant)

This presentation overviews how individuals working in the digital humanities can apply theories from cognitive science and linguistics to map the contexts in which individuals create, interact with, and critique digital humanities work in different cultural and linguistic contexts. Specifically, the presenter will examine how we can employ script theory (from cognitive science) to identify items affecting how we perceive of and discuss the digital humanities in different cultural settings around the globe. The presenter will also discuss how we can use prototype theory (from linguistics) to devise strategies for identifying, assessing, discussing, and crating digital humanities materials that address or meet the design and communication aspects of other cultural groups or audiences.

In examining these ideas, the presenter will

-- Overview script theory and how it helps individuals understand the contexts in which audiences from different cultures engage with, create, and study the digital humanities and how these individuals define “digital humanities” in different cultural contexts

-- Summarize prototype theory and how it helps individuals understand cultural expectations that affect how the members of a culture respond to, react to, and critique digital humanities work in specific cultural contexts and in greater international or global contexts

-- Explain how a combination of script theory and prototype theory can guide individuals in the digital humanities in how to create digital humanities, work study such work, or engage in collaborations around such work in different international and intercultural contexts to create an increasingly global ecosystem in which one develops such work

Attendees will gain a familiarity with employing theory to better understand how different cultural and linguistic factors can affect how individuals perceive of and thus how they collaborate in relation to digital humanities work across national and cultural lines and in greater global settings.

SB (8m) A Database for Embodied Technology (Andrew Iliadis and Isabel Pedersen)

https://youtu.be/SRlqXvLa0b0

This talk explains how the push for innovation in the wearables market introduces several sociotechnical problems, including greater uncertainty about future efficiency trade-offs and the need to uncover and track them. Using Vandrico Inc.’s popular Wearables Database as a case study, we frame the current wearables market as an innovation-driven industry whose main goal is to achieve greater efficiency in areas of life and activity. We introduce the concept of embodied technology to describe emerging varieties of body-centered computing excluded from the Vandrico database and explain the emergence of FABRIC, a novel database we constructed over the course of a federally funded, multiyear research project for tracking the evolution embodied technologies over time. FABRIC consists of multimedia related to the embodied technologies market – including patents, instructional videos, and articles – that are sorted using a custom metadata framework, featuring user-curated collections on sociotechnical problems relating to embodied technologies. We end by explaining how FABRIC provides a critical alternative database for studying embodied technologies, their trade-offs, users, and developers.

FEA01
13:45 - 16:45
The Wearable and Tangible Worlds of DH Workshop

WS (3h) The Wearable and Tangible Worlds of DH Workshop (Kim Knight, Christina Boyles, Fiona Barnett, T.L. Cowan, Amanda Phillips and Kris Fallon) Please download the software required from the workshop before attending. The instructions are at: http://bit.ly/2gSTzNK

At HASTAC 2016 we took part in a Wearables and Tangible Computing Research Charrette, where “charrette” was used in order to signal a session that was collaborative and participatory with the goal of shaping and extending how we engage with concepts around wearable technologies. We are now proposing for HASTAC 2017 a workshop on the same topics. Individuals and groups who attended the 2016 event will be on hand to guide participants in a beginner’s introduction to the ways that hobbyist-level wearable technology can be incorporated into digital humanities praxis, with an emphasis on feminist pedagogy.

Drawing on recent developments in humanities-based “critical making” or “critical design,” the workshop will situate wearable computing alongside other process-oriented and constructionist learning practices. Like other forms of physical computing, wearable computing does the work of combining the digital and the analog, or “[moving] easily, back and forth in the space between bits and atoms” (Sayers et al. “Between Bits and Atoms” 3). Wearables also open the door for feminist engagement, allowing “scholars to build alternatives” that incorporate both the body and its relationship to structures of power (Sayers et al. “Between Bits and Atoms” 15). By connecting interpretation and scholarship to the body, we highlight the relationship between situated knowledge (Haraway; Harding) and the subjective nature of interpretation (McGann and Samuels “Deformance and Interpretation”), with particular emphasis on the textual, visual, audible, and tactile.

The workshop will center on the Arduino LilyPad, a small computer designed to be sewn into circuits with conductive thread. The organizers have used the LilyPad for a range of digital humanities assignments: as a signifying platform (asking students to solve a problem or make a social statement), or as a tool for textual analysis (remediating poetry about identity or bodies). Both projects demonstrate the LilyPad’s value as a tool for critical social engagement, bridging coding and electronics with techniques such as sewing and embroidery to foreground questions of labor, gender, and what counts as “digital humanities.”

Our hope is to introduce participants to a technological platform, but more importantly, to engage in a consideration of how wearables, and the techniques and skills that support them, make explicit the tangible, the situated, and the embodied in our teaching. In these ways the workshop suggests possible worlds of DH as student-centered feminist engagements with texts and events of the past, as well as the future.

The workshop is intended to complement the proposed exhibition on Wearables and Tangibles. Ideally, we would have the span of two sessions (approximately two hours and thirty minutes) for the workshop. If that is not possible, an abbreviated version can be accomplished within one session.

In tandem with the onsite workshop, the organizers will further coordinate with one or more remote workshops led by other 2016 charrette participants. The multiple events will be in conversation through the use of a common hashtag and possible live streaming.

FSM10
11:15 - 12:15
From Coursework to Community of Practice

RT (60m) From Coursework to Community of Practice: Realizing the Potential of Undergraduate Digital Fellows Programs (Elizabeth Rodrigues, Rachel Schnepper, Mike Zarafonetis, Austin Mason and Sarah Calhoun)

The growth of digital scholarship in the humanities and social sciences has opened new methodological, pedagogical, and ethical horizons for undergraduate research: there are new tools to use and teach, new archives to approach with a transformative critical lens, and new commitments to ethical collaboration on the many types of labor and expertise that digital projects entail. At the same time, digital scholarship is likely to be funded and staffed contingently, with the most funding and prestige likely to gravitate toward large research-driven institutions. In this fertile and fraught environment, how can we create meaningful critical digital scholarship experiences for students at small undergraduate institutions? We propose a roundtable of digital scholarship program coordinators in undergraduate liberal arts settings to share practices, experiences, and open questions. Our programs demonstrate a range of approaches to recruitment, compensation, curriculum, and funding. By sharing and comparing the origins and goals of our programs, we will outline a number of ways that the possible world of students as full collaborators in digital scholarly research and pedagogy can begin to be realized. Some of the questions we anticipate opening include: how do we build sustainable programs in this field? What is more motivating to students: being paid or being supported in independent research or receiving academic credit? How do we structure training, learning, and feedback to make these programs valuable for students? How do we balance the roles of supervisor, mentor, and collaborator? How do we get good work done while striving for ethical and sustainable practice?

Lunch
12:15 - 13:30
Lunch

Lunch is included for all conference attendees and will be served at Knightros near the UCF Arena.

FEA02
13:45 - 16:45
Case Studies and Business Plan Development

WS (3h) Case Studies and Business Plan Development Workshop on Strategies for Creating a Program for Paid Student Internships/ Assistantships in the Digital Humanities (Poushali Bhadury, Julian Chambliss, Hélène Huet, Brian Keith, Laurie Taylor and Kalle Westerling)

The proposed workshop “Strategies for Creating Programs for Paid Student Internships/Assistantships in the Digital Humanities” will provide case studies of programs that have implemented and refined programs for student internships and assistantships in the Digital Humanities. These case studies will build into facilitated discussions and workshop development of business plans for proposing and implementing internship and assistantship programs at workshop participant institutions. Speakers include those from different size, scale, and types of institutions (both private and public), and different methods for creating and supporting student internships and assistantships. This workshop builds upon the ongoing conversations and work by many groups including the DH 2016 conference workshop “Building Capacity with Care: Graduate Students and DH work in the Library” (http://dhgradlabor.github.io/dh2016workshop/), which asked about the models in place for student work in DH in the library, sharing practical advice, and serving as a starting point for an ongoing discussion on student labor in DH. This workshop extends that ongoing conversation to focus specifically on compensation and paid student work in DH, both in libraries and through other areas within/across institutions, as part of the critical infrastructure for capacity, care, and generous and generative communities of practice.

Following the case study presentations, the workshop facilitators will review business plan elements and critical path development for proposals. The workshop will include time to develop initial drafts of business plans, sharing of those plans, and sharing for next steps for program development at the local institution and in collaboration with others as part of the community of practice.

Proposed workshop format and schedule (total of 3 hours):

Workshop Schedule Time

Introductions by all attendees 15 minutes

Short presentations by workshop leaders on their programs

Presentations will focus on methods employed for developing programs, budgets (considerations including paying a living wage, and other compensatory factors including course credit, experience, and networking), exploration of methods with local organizational concerns and goals 1 hour

Writing a 1-2 page business plan

Review of business plan elements (Problem/Opportunity; Solution for maximizing on opportunity; Requirements; Considerations) for types of compensation, including paid graduate student internships and assistantships in DH, specific to each institution and the participant’s roles

Creating critical path for business plan process with constituents and budget

• Identification of stakeholders (e.g., Department Chairs, Deans)
• Identification of community of practice (e.g., collaborators within and outside the institution)
• Budget needs and scope (e.g., proposing a single year pilot with a set limit on internships; donor funds or development for a larger scale program initially or in a second phase)
• Establishing the community of practice and resources for ongoing support of community involved in internships (e.g., collaborative participants, committees, roles for directors of internships, training resources)
• Considerations for care, generosity, and generative potential 45 minutes
Participants draft initial business plans 30 minutes
Sharing of business plans and considerations, next steps 30 minutes

FSA01
13:45 - 15:15
Building a Feminist Future

RT (90m) Building a Feminist Future: On (Digital) Pedagogical Praxis (Danica Savonick, Melissa Meade, Christina Bosch, Whitney Sperrazza, Emily Esten, Frances Tran and Heather Suzanne Woods)

https://youtu.be/d48qIGYLWzE

In what ways can digital technologies exacerbate or challenge extant power hierarchies both in the classroom and in the world beyond the classroom? How can digital technologies empower historically-silenced and excluded students? In this interactive session, six panelists will share some answers to these questions drawn from our own experiences as feminist scholars and educators. Before, during, and after the session, the panelists and audience will contribute digital feminist pedagogy resources to a Google Doc, which the panelists will edit and post to HASTAC following the session. Each panelist will speak briefly about a specific example from their digital feminist pedagogical praxis, after which we will engage the audience in sharing examples from their own work. Rather than a traditional question and answer session, we will then break out into smaller groups and work together to populate the Google Doc with sources, examples, syllabi, lesson plans, and future questions we hope to address.

Our panelists examine digital feminist pedagogy through case studies in and outside the classroom. Melissa Meade’s discussion takes on her work with FemTechNet, analyzing digital epistolary exchanges as a way to explore subjectivity and performativity. Heather Suzanne Woods’s contribution argues that technology in the classroom can lead to a digitally literate and active community. Danica Savonick addresses the challenges and possibilities for teaching digital humanities with students who work full time, commute, and lack regular access to the internet. Whitney Sperrazza theorizes how analog craft activities might help students think critically about the gender politics of digital environments. Christina Bosch shares her research in developing a digital curriculum for juvenile corrections facilities, minimizing barriers to learning while increasing relevance and transference of inquiry skills. Emily Esten questions how museum educators and cultural organizations can also take advantage of digital technologies and a feminist pedagogical praxis. Kristin Moriah will moderate this discussion and keep everyone on time, thus ensuring equitable participation and that everyone (including the audience) has a chance to contribute.

All of these approaches – from assignments to structure – focus on the role of students as active stakeholders and creative knowledge producers, and aim to restructure pedagogical praxis and power for the distributed and participatory digital age. As educators invested in the changes and emerging practices of feminist theory and digital practice, we answer HASTAC’s call for presentations that use technology to materialize a more just, equitable, and pleasurable feminist future.

FSA02
13:45 - 15:15
The Veterans Legacy Program

RT (90m) The Veterans Legacy Program: How DH Tools and Values are Reshaping the Landscape of Public Commemoration and Expanding Communities of Practice (Scot French, Caroline Cheong, Amy Giroux, Bryce Carpenter, Mark Barnes, Tyler Campbell and Kendra Hazen)

In her essay ""’This is Why We Fight’: Defining the Values of the Digital Humanities,"" Lisa Spiro calls upon DH scholar-practitioners to identify shared values -- collaboration, experimentation, open access, etc. -- that define the field and unite its diverse communities of practice. This panel will examine the critical application of DH tools and values to a federally funded project -- The Veterans Legacy Program -- from the diverse scholarly, pedagogical, and administrative perspectives of its stakeholders. A partnership of the National Cemetery Administration and the University of Central Florida History Department, the Veterans Legacy Program engages academic historians, data visualization specialists, graduate research assistants, undergraduate history majors, public high school teachers, and federal program administrators in a collaborative effort to research the lives and legacies US veterans buried and/or memorialized at Florida National Cemetery. UCF's Center for Humanities and Digital Research is facilitating the project.

Roundtable participants will include:

Dr. Bryce Carpenter, Educational Outreach Program Officer, National Cemetery Administration, will introduce the VLP program and discuss how each institutional stakeholder is contributing to the overall project design.

Dr. Scot French, Co-PI, Associate Professor of History, University of Central Florida, will discuss the role of digital humanities in shaping the VLP project and highlight the expansion of “communities of practice” to include those with little or no prior experience or identification with the field.

Dr. Caroline Cheong, Co-PI, Associate Professor of History, University of Central Florida, will discuss how graduate students in her Cultural Resource Management seminar are contributing to the multi-disciplinary framing of the project.

Dr. Amy Giroux, Co-PI, Computer Specialist, Center for Humanities and Digital Research, University of Central Florida, will discuss the website and augmented reality app created for the project.

Tyler Campbell, Graduate Research Assistant, will address the collection of gravesite and biographical geospatial data and possibilities for digital storytelling with GIS.

Mark Barnes, Graduate Research Assistant, will discuss the editing and curation of student-authored narratives for presentation through the open-access VisualEyes web-authoring tool.

Kendra Hazen, a participating Polk County public school teacher, will discuss strategies for linking the VLP website and VisualEyes storymaps to lesson plans and Florida’s K-12 standards.

FSA03
13:45 - 15:15
Digital Humanities Methods and Fan Studies

WS (90m) Digital Humanities Methods and Fan Studies (Mel Stanfill, Jingyi Li, Josh Stenger, Tom Armstrong and Sarah Sterman)

The field of fan studies has a long history of using traditional humanistic tools on digital objects, and recent years have seen the beginnings of a strand of research using technological tools to humanistically examine fans and fandom. The issue of method is somewhat fraught in this field, as in many others, with arguments about whether inquiry should be framed around texts, or metadata, or human subjects, or all of the above.

This solution-focused workshop takes the premise that, rather than prioritizing some questions, objects, or methods over others, we should think of different approaches as having different affordances and limitations, allowing us to see some things (and not others). Presenters will discuss the interrelations between what objects we examine, what tools we use, and what questions we can answer.

At one end of the panel’s spectrum of methods and questions, Jingyi Li is interested in applying computation to better understand large fan datasets. For example, how can we leverage advancements in Natural Language Processing for insights on the kinds of content published on the fan work archive Archive of Our Own? How can we best apply computer vision for novel, aggregate visualizations of fan art?

For her part, Sarah Sterman will discuss a web scraper for Archive of Our Own that retrieves metadata and story text. Using this tool in conjunction with close reading and automated text analysis, we can quickly discover areas of interest for closer investigation and large-scale patterns across multiple fandoms, enabling exploratory analysis and distant reading approaches to fanfiction.

Josh Stenger and Tom Armstrong, on the other hand, will discuss some of the limits and possibilities of using data-driven approaches to study multi-fandom fanfiction archives in order to discern otherwise indiscernible aspects of a wide range of fan devotion, practices, and communities: e.g., authorship, genre, reader address and reader engagement; discursive and recursive dimensions of canonicity; the existence of affinity communities within and across fandoms; and ways in which fandoms and fan engagement are becoming integrated into marketing models and content creation.

At the most traditionally humanistic end of the spectrum, Mel Stanfill will discuss a methodology called Big Reading that aggregates close readings at scale. This method allows answering questions about both comprehensiveness, drawing on thousands of cases and examples from multiple types of source across a long period and depth, asking not just whether or with what frequency fans or specific fan practices appear in the archive but how they appear.

After brief introductions to each of these methods and their affordances and limitations, the workshop will move into collaborative discussion among attendees and presenters toward taxonomizing techniques and methods and thinking about how different methods might come up with different answers to the same questions. The session aims to produce a collaborative document on the intersection of fan studies and DH in terms of methods, to move the intersection of these fields forward.

FSA14
15:30 - 16:30
Mapping Early Modern Histories

RT (60m) Mapping Early Modern Histories of Racism and Migration (Roya Biggie, Amaris Bates, Isabel Gerber Brydolf)

This roundtable showcases digital mapping projects completed by Grinnell College students in an upper-­‐level seminar entitled, Early Modern Transnational Encounters. Taking seriously Mark Monmonier’s contention that every map tells a story, students used Neatline, a geotemporal exhibit builder, to create maps relevant to the early modern English imaginary. Each map focuses on a specific location—Tunis, Tidor, Cyprus, and Istanbul—and visually represents England’s increasing trade and contact with racialized others. The maps bring together a range of literary texts and archival materials, such as travel narratives, religious discourses, and medical texts, and in doing so, underscore the competing narratives surrounding each location. During the roundtable, students will talk audience members through their projects by discussing the “story” of their maps and the process of creating a digital map—for example, the decision to include some archival sources over others. Students will also address the subsequent questions and lines of research these maps can inspire. Finally, the roundtable will consider how these digital maps may serve as a resource and pedagogical tool for students and instructors alike. In fitting with the conference theme, “The Possible Worlds of Digital Humanities,” this roundtable demonstrates how digital tools, such as Neatline, allow researchers to represent and engage with a history of migration and racism through the visual and interactive possibilities of a digital map.

FSA05
13:45 - 15:15
Creating Individually and Collectively

WS (90m) Creating Individually and Collectively; Building Identity and Community: The Intersections of Theatre and Digital Storytelling (Elizabeth Horn and Amanda Hill)

https://youtu.be/X51NCZKTx3g

In a recent panel discussion Edwanna Andrews, Director of University of Central Florida’s Center for Social Justice and Advocacy, spoke of the continued feeling of ‘otherness’ felt by the minority students with whom she works. While UCF is a diverse student body, the safety and inclusion of all students continues to be of greater importance, as evidenced by the posting of Anti-Semitic literature in residence halls in November 2015. “I Am UCF” is an initiative that databases personal digital narratives reflecting and celebrating the diversity on UCF’s campus to combat such oppressive and marginalizing acts. The project fuses together writing, digital media, and theatre to help students develop their narratives.

The integration of theatre in rhetorical and digital composition provides an interactive, community-based approach to digital storytelling, which might otherwise be completed in isolation. Both theatre and digital storytelling contain similar components: voice, body, visuals, and story. While digital storytelling adds the technological component, ensemble-based theatre exercises can be used to build community and empathy throughout the process. As I Am UCF serves to celebrate unique voices on campus, strengthening the group dynamic empowers the voice of each individual. Additionally, theatre can be an engaging and activating tool for imagining and visualizing story development. For students who may not feel as confident in their digital or rhetorical literacy skills, theatre provides a varied approach to the project: a non-digital, interactive way to explore generating story and dialogue, vocal expression and dynamics, imagery and composition, characterization, and emotion.

Our proposed workshop will present methods for incorporating theatre into the digital storytelling process and examine the interplay between the real and digitized performative experience. Participants will be led sequentially through short story-generating exercises; interactive theatre exercises to explore the themes, moods, and visual potential of these stories; and exercises to serve as the bridge between live theatre and digital storytelling. Following the workshop, we will lead an interactive reflection and talkback about the challenges and potential in a cross-disciplinary approach to digital storytelling, and how the applied exercises create space for diverse stories, diverse storytellers, and diverse means of telling stories."

FSA13
15:30 - 16:30
Thick TV

WS (60m) Thick TV: Subtitles for Intercultural Learning (Maria Ocando)

Since the 1990s, translation has been considered as a “cultural political practice that might be strategic in bringing about social change” (Venuti, 2004). Authors such as Spivak (1992), Appiah (1993), Brisset (1996), and Harvey (1998), have highlighted the importance of alterity and cultural otherness in translation practices. Of particular interest is Appiah’s (1993) concept of thick translation, which locates “the text in a rich cultural and linguistic context” by way of annotations and glosses. Regarding subtitling, Nornes (1999) wrote about the corruptness of subtitling practices which advertise learning and intercultural meetings but, in reality, obscure the cultural Other. Considering the growing industry of customizable, individualized television on-demand and video-streaming platforms, this project observes the need to enrich the “anxiety-free zone” for intercultural learning experiences Burwitz-Melzer (2001) that is film, by actively highlighting its intercultural elements. Based on Vygotksy’s (1978) understanding of mediating tools, we consider technology as a mediator. The project takes the form of a “thick subtitling” design, understood as intercultural subtitling by way of hyperlinks and annotations included in culturally rich audiovisual texts offered through television on-demand and video streaming platforms. The Venezuelan film “Pelo Malo” (Rondón, 2013) is the pilot AVT through which this design explores the subtitling script and its potential realization as digital media. By submitting this proposal for a maker session at HASTAC 2017, the objective is to present the design in a thirty-minute two-part session: a first section to briefly present the theoretical framework, as well as the work done so far, and a second section for attendees to engage in feedback, discussion, and collaboration that can expand and improve the initiative.

FSA06
13:45 - 15:15
A Digital Graveyard; Crafting Digital Content

RT (45m) A Digital Graveyard and Monument to Lost Data (Barry Mauer and David Staley)

https://youtu.be/9J7Pd9zxCTU

As our society shifts its archival media from print to digital, an unintended consequence results; we lose a great amount of data. The effects of data loss can be profound; without access to vital data, our access to history may be severely diminished. Data loss threatens to undermine individual lives and major institutions. The project described here — the monument to lost data and its accompanying digital graveyard — is relevant to those cases in which data cannot be recovered and must be considered lost. In these cases, it is appropriate and healthy to embrace mourning, which is the process whereby one achieves a measure of detachment from a lost person or object. The monument to lost data foregrounds critical reflection in the mourning process and to recognize data loss as a collective experience and not just a personal one.

The proposal for this monument recognizes lost data not as an accident, an avoidable mistake, but as an unavoidable loss that we may choose to designate as a sacrifice and that we will see this sacrifice as a price we pay for our collective values and behaviors. We might then choose to reconsider the wisdom of our collective values and behaviors in relation to data storage.

Monumentality does not seek ways to avoid loss, though it has no quarrel with rationalist efforts to reduce or eliminate data loss. Monumentality aims to represent the values for which the losses occurred. Values are determined by the price we are willing to pay to sustain our behaviors. What values might be honored by data loss? A provisional answer: we suffer data loss because our society demands progress, which we define as increased efficiency and storage capacity. Efficiency and capacity are values for which we are willing to pay.

Our roundtable will discuss ways of visualizing lost data, particularly as it affects scholars, in terms of its quantity, its quality, and its impact.

What does data rot look like? Staley is interested in data visualization, and has recently begun to create physical objects that visualize humanistic data (see, for example, FHQ III: a 3-D printed data sculpture of the Florida Historical Quarterly, currently on permanent display at the University of Central Florida). He is at work on a monumental installation called “Leaves of History,” a large-scale visualization of the entire run of the American Historical Review. Those projects are monuments to big data: in this panel, Staley will present preliminary designs for a “monument to lost data,” a large-scale visualization of patterns of absence in data. If Stephen Ramsay has argued “in praise of pattern” as a key feature of visualization in the digital humanities, the designs presented at this panel will “commemorate data voids.”

RT (45m) Crafting Digital Content for Contexts of Use: An Approach to the Digital Humanities in International Contexts (Kirk St. Amant and Barry Mauer)

https://youtu.be/WCDaFjL-8RQ

The New Context for DH

Today, digital media allow us to engage in global-level interactions with almost the same speed and ease as speaking with individuals face to face. For the digital humanities (DH), this situation brings with it new possibilities for collaborating internationally on projects to offer a more holistic approach to examining what the humanities are, how works are interpreted, and how ideas are exchanged.

Perhaps the greatest challenge to DH in the age of ready international access involves identifying where communication could break down or miscommunication or offense could occur. This situation involves various interrelated variables including culture, politics, economics, and technologies. Scholars, educator, artists, critics, and performers working in such contexts can thus benefit from frameworks that help them understand and deal with prospective problem areas that could affect online/technology-based discussions of DH in international contexts.

Proposed Frameworks for DH

This presentation would overview two frameworks for mapping the variables affecting communication and comprehension in these emerging international contexts around DH. One focus of this proposed framework is to understand the context in which such exchanges take place and then identify – and map – the variables affecting communication and the use of materials in these international spaces of exchange in DH. This approach involves using script theory to identify the expectations individuals from different cultures bring to DH exchanges. In so doing, script theory helps identify those factors/variables individuals expect to encounter to interact effectively in a given context. By using script theory to guide research on communicating the digital humanities in different contexts, individuals can identify – and address – prospective problem areas that could affect international collaboration on or communication relating to the digital humanities.

Humanities scholars often values obscure paradigms, and some of the most promising research in Digital Humanities involve collaborations across disciplines and across international boundaries. These opportunities also present numerous challenges. We can learn about how to develop effective collaborative strategies by looking at a second approach related to script theory: the pragmatic cognitive framework developed by James Peterson in his study of avant-garde cinema. Peterson’s approach puts perception, cognition, and communication into the framework of problem solving, and his strategies for engaging with avant-garde cinema help us to deal with the ill-structured and difficult problems posed by international and cross-disciplinary humanities collaboration. They key to Peterson’s strategy is to identify the relevant principles of communication, which include schemas such as prototype, template, and procedural knowledge, and discourse comprehension that includes semantics and pragmatics. Our panel will suggest ways to develop digital content for international contexts using script theory and cognitive theory.

FSA15
15:30 - 16:30
(Un)Natural Disaster; Honoring the Dead

PD (15m) (Un)natural Disaster: Depicting Racialized Responses to the 1928 Hurricane (Christina Boyles)

Although the hurricane of 1928 is the second deadliest natural disaster to occur on U.S. soil, the legacy of the storm has largely been lost to history. In fact, one of the few well-known sources about the storm is Zora Neale Hurston’s Their Eyes Were Watching God. Nicole Sterghos Brochu asserts that this is “because the vast majority of those who died were black migrant workers, segregated in life and abandoned in death” (“Florida’s Forgotten Storm”). The fallout of the storm, however, has left a lasting cultural legacy in central Florida. Notably, anger has simmered for decades in West Palm Beach’s African-American community over disparate memorials for black and white storm victims. Sixty-nine white victims in a segregated mass grave received personalized burial markers. In a nearby pauper’s cemetery, a mass grave of 674 black victims was forgotten and left unmarked, later sharing space with a dump, a sewage plant, and a street extension (“Storms Path Remains Scarred after 75 Years”).

Government documents reveal that the racialized response to the 1928 storm was intentional. Seeking to protect Florida’s burgeoning tourist industry, federal officials minimized the damages caused by the storm, even going so far as to dramatically underestimate the death toll. Since many individuals who lost their lives were transient—meaning their names and residences did not appear in census data—the government could easily downplay and even negate their existence. To bring the stories of the storm’s underrepresented victims back into our cultural memory, I am creating a Neatline exhibit demonstrating the loss of life the 1928 hurricane caused in both the United States and the Caribbean which includes embedded interviews with family members of survivors.

As the hurricane occurred before the National Weather Service had established a system for naming hurricanes, I also am compiling resources about the storm from each nation affected. Doing so will produce a comprehensive database of resources about the storm and its aftermath.

The exhibit, which is currently a work-in-progress, can be viewed on my website christinaboyles.net under the “research” tab. This project expands upon Hurston’s narrative by highlighting the racialized context and response to the storm. Moreover, it demonstrates the need to focus aid efforts communities of color both during the Hurricane of 1928 and more recent events like Hurricane Katrina. Failing to do so risks contributing to the ongoing insecurities caused both by hurricanes and disaster relief in the U.S.

PD (45m) Honoring the Dead—A Digital Repository of Documents Related to the Canton Asylum for Insane Indians 1903-1934 (John Nelson and Stacey Berry)

In a demo session, Dr. John Nelson and Dr. Stacey Berry will show their recent grant-supported work on a digital collection of documents related to the Canton Asylum for Insane Indians, a unique institution opened in 1903 and closed in 1934. These documents relate the government’s use of the asylum to house Native Americans deemed too difficult to house on reservations, the only such institution in the United States. The demo should fit well with the conference themes regarding indigenous peoples, race, and community development.

The documents will become available for scholars, writers, and Native Peoples whose interests include tracing what became of the hundreds of patients at the asylum.

Little now remains of the asylum, only a plaque at the site, a cemetery surrounded by a golf course, and hundreds and hundreds of documents that reveal the nearly continual battle over how the asylum was run, who was sent there, who might be released, and what the impact on families and friends of those who found themselves committed to the institution.

This project is being built in Omeka, with planned tagging to facilitate searches for individual patients, government officials, place names, and other related topics. Users will be able to view a searchable repository of images of individual documents and read digitized versions of the same documents. Our demo session would allow participants to see, search, and examine documents, with an opportunity to share and discuss future options, concerns, and suggestions.

Our efforts are intended to help provide what governmental evidence exists regarding the internment of Native Americans from across the country, from as far away as Washington, Florida, New Mexico, and California.

Held from public view for decades, these documents now are available in microfilm and other format copies in repositories in Pierre, South Dakota; Washington, DC; Kansas City, KS; and in other far-flung places that make it difficult for researchers to address the institution and its legacy. Our project aims to make this material more accessible and useful. Documents include annual reports, listings of patients, letters of transferal, and reports on the state of the institution, including the revelations that finally led to the closure of the institution.

Dr. Berry has worked on the online Whitman Project and the Civil War Washington at the University of Nebraska, and Dr. Nelson and Dr. Berry both teach in the English for New Media program at Dakota State University in Madison, South Dakota, less than 60 miles from where the Asylum once stood. This program seeks to provide a Digital Humanities background for undergraduates, including courses in databases and textual analysis.

This demo should illustrate our effort to accumulate, organize, digitize, and make available the documents to tell the tragic story of this institution, revealing the changing relationship between the dominant White culture that built and ran the institution and the Native Americans and their allies whose voices were finally heard.

FSA07
13:45 - 15:15
Connecting Participatory Research and Design to DH

RT (90m) Connecting Participatory Research and Design to the Digital Humanities (Timothy Hawthorne, Natalie Underberg-Goode and Emily Johnson)

We propose a roundtable submission that focuses on drawing connections between participatory research and design approaches and the work of digital humanities. We will take as our case study the development of the Participatory Research and Design Network (PRDN), an informal, interdisciplinary network made of scholars and practitioners who work in the area of participatory research and design. Comprised of faculty from diverse fields at the University of Central Florida and beyond, the group holds monthly meetings and is developing, through a small teaching grant, online-based resources and student-produced multimedia projects that exemplify the methods at work. In this roundtable, participants will discuss and share teaching materials related to integrating technology and education and demonstrate how the student-created multimedia project assignments attempt to replicate the “core story” approach combined with the points for reflection structure used in the PRDN meetings, so that they become an illustration of the “core story” and can be combined with a reflection process to create highly engaged research and design practices for students. And because the membership of PRDN is so interdisciplinary, the potential for productive and challenging dialogue between as well as among disciplines is multiplied—thus creating an engaging opportunity for discussion of interdisciplinary goals and conversations in the digital humanities.

Reason and Bradbury explain the approach in these terms, as “A participatory, democratic process concerned with developing practical knowing in the pursuit of worthwhile human purposes, grounded in a participatory worldview…[and bringing] together action and reflection, theory and practice, in participation with others in the pursuit of practical solutions to issues of pressing concern to people.” This workshop will examine three methods from the point of view of digital humanities: digital storytelling, participatory GIS (PGIS), and participatory design applied to games. Digital storytelling involves everyday storytellers creating digital videos that incorporate photographs, narration, and other multimedia elements typically in order to tell a personal narrative. Participatory design is an approach that encourages active end-user involvement in the design process. Originating in Scandinavian countries, it has applications to multiple research and practice areas, including game design. Participatory GIS or PGIS is an approach to spatial planning and information management, and combines participatory learning and action methods with geographic information systems (GIS). As Clement, in a recent Debates in the Digital Humanities, puts it: “In contrast to social science scholarship on information work, digital humanities studies of information work often lack methodological discussions—even while methodological perspectives, as I term them, are always at play.” This methods roundtable discussion will make an important contribution to the digital humanities because students need to not only know how to use digital tools, but also how to critically design and reflect upon the kinds of stories, visuals, and research they produce with these tools.

FSA11
15:30 - 16:30
Humanities in the Lab

PD (60m) Humanities in the Lab: Experimenting with Local History (Susan M. Merriam and Gretta Tritch Roman)

This project demonstration centers on the ethos and work of Bard College’s Digital History Lab (https://eh.bard.edu/dhl/), founded under the auspices of Bard’s Experimental Humanities Program in 2016 with the support of a Mellon Foundation Digital Humanities grant. The lab serves a two-fold purpose. First, it develops interactive digital projects based on the history of Dutchess, Columbia, Ulster, and Greene Counties in upstate New York by working with a range of constituencies, including local residents and historians, archivists, librarians, and Bard faculty, staff, and students across disciplines. Second, the lab seeks and promotes projects that welcome the local community to design research questions, work in new ways with the college, and tell alternative histories. By inviting local communities to contribute to project development and planning, the lab actively nurtures new forms of community and community engagement. This ethos is fundamentally shaped by a traditional understanding of the humanities, which encourages a spirit of inquiry, experimentation, and openness. The integration of the community into these academic processes not only promotes personal investment in the work of the lab from outside the college but also proves to be mutually beneficial to the students in gaining new perspectives on their place in this local history.

Additionally, and equally important, the lab is especially attentive to histories and communities that have been understudied relative to some of the more famous historic sites in the Hudson Valley. Lab projects focused on the culture and economic history of local apple farms, the documentation of a retirement-home cemetery near the campus, and a stretch of road running from Bard to a prison in which the college runs a degree program each enable the lab to uniquely illuminate aspects of place and experience that have impacted a range of constituencies, thus creating what might be termed a “people’s history.” An important aspect of the lab is to privilege community-sourcing of histories, for instance the more traditional collection of oral histories as well as experimentations in artifact documentation with a “mobile history van” and an interactive digital tool to populate historic maps with the research conducted by individuals currently living in these landscapes. Because the organization of this humanities lab allows for a number of projects to be in production simultaneously, it accommodates the natural intersections of topics and methods to inform the work of the lab. This project demonstration will discuss these projects in the context of our larger aims for the lab and will welcome a discussion about the relationship of the academy and its neighbors.

FSA08
13:45 - 15:15
Curating Culture; Challenges to Learning

RT (45m) Curating Culture in the 21st century: Orlando as a Case Study for Arts Participation and Engagement Among Millennials (Wendy Givoglu)

https://youtu.be/H6zReJgLwTw

Deriving from the Latin curare, meaning “to care,” according to Merriam Webster (2016), a curator is the “person who is in charge of the things in a museum.” While the job of curator is indeed one that requires formal training and preparation, the word has been liberated from its contextual home within the museum and has become mainstreamed and democratized, now referring to the control and care that we have over our arts, media, and culture in the 21st century. This is largely due to technological evolution along with the proliferation of media choices and new media creation opportunities. We curate our Netflix queues, I-tunes playlists, Instagram photos, and affinity groups on Facebook and Twitter. We curate our identities, if we so choose, by our affiliations, causes, creations, likes, and tastes.

The subject of arts participation discourse over the past decade has focused on the curatorial mindset and spirit of co-authorship of the arts experience that exists and is demanded by arts patrons of today, many of which are artists themselves. As aptly summarized by Ivey and Tepper (2008) “… citizens have developed the skills and expertise to be connoisseurs and mavens – seeking out new experiences, learning about them, and sharing that knowledge with friends” (p. 4). What does this shift in citizens’ abilities and interests mean for traditional arts organizations that are striving for relevancy, sustainability, and the cultivation of audiences in the 21st century? And, how can arts organizations better engage Millennials? The Millennial generation, the first in human history to experience the presence of digital technologies since birth, is uniquely positioned to engage in artmaking and participation in arts and culture on a level that is vastly different in scope and scale than previous generations. Digital technologies not only afford Millennials a conduit for engagement in the arts but act as a vehicle to construct, create, and potentially control opportunities for engagement.

The time is now for arts organizations to consider ways to incorporate the participatory culture that permeates throughout technology and mass media (Jenkins, 2008, 2013) – not doing so could result in extinction and obsolescence. Further, a July 2016 report from Americans for the Arts reveals that Americans find value in arts and culture – and they want to participate/make/do instead of just “watch.” It is evident that the art-making and sharing that is happening online and within social media spaces can spill out into the physical space of the art museum and concert hall. Best practices for engaging Millennials and infusing a participatory format into the traditional model that arts organizations have adhered to for so long have already been developed and tested. This session will give an overview of the meaning, trajectory, and challenges of participatory culture while providing initial recommendations for arts organizations who are struggling with questions of access and relevancy – particularly among Millennials. Examples from doctoral research exploring the cultivation of millennial arts patrons in Orlando will be shared as both best practices and opportunities for improvement.

RT (45m) The Challenges to Learning in a Digital Age: Exploring Issues of Access and Equity (Sarah Norris and Sandy Avila)

As teaching and learning evolves to meet the demands of an increasingly digital world, we find these experiences transformed by hard unsolved problems and burgeoning opportunities yet to be explored and identified. Of critical importance to learning in the digital age are the issues of access and equity. These issues, while long prevalent in academia and beyond, have become increasingly more significant as the shift towards online and digital technologies provides new pedagogical possibilities we could not have predicted. Like faculty and students, libraries and librarians have equally felt this digital shift. The challenges faced provide an interconnected struggle that everyone in higher education currently faces. With this in mind, this roundtable discussion aims to explore this by tackling issues that highlight the unprecedented ways in which we can reach and connect to our stakeholders and even new populations digitally. This session will explore a variety of topics such as monolingualism in digital humanities, open access and open educational resources, peer learning, and issues surrounding copyright, intellectual property, and data literacy.

FSA09
13:45 - 15:15
Hegemony of the Written Word; Visualizing World Diplomacy

RT (90m) Apulian Vases, Network Visualizations, and the Hegemony of the Written Word (Veronica Ikeshoji-Orlati and Bobby Smiley)

How do you read an ancient vase? What can a ceramic object and its decoration tell us about the people who made and used it more than two millenia ago? Such questions have occupied scholars of Greek figure-decorated pottery throughout the 20th and 21st centuries. Despite the importance of the visual and tactile dimensions of pottery, however, verbal narratives have dominated how ancient Mediterranean ceramics are analyzed and presented.

The seminal works of the founder of South Italian and Sicilian vase-painting studies, Arthur Dale Trendall (1909-1995), exemplify the hegemony of the written word in ancient art historical and archaeological studies. Throughout his 60+ year career, Trendall relied on his trained eye and eidetic memory to analyze some 20,000 figure-decorated vases dating to the 5th and 4th centuries BCE. Trendall's method of analyzing the images, known as connoisseurship, lead him to identify thousands of relationships between vases, vase-painters, and pottery workshops.

Despite the rich network of connections Trendall identified in South Italian and Sicilian vase-painting, his publications are, fundamentally, lists: verbally-dense descriptions of each vase, with groups of vases introduced by short passages describing the iconographic and stylistic characteristics of each painter or workshop. Trendall's lists are fundamental to the study of Greek colonization of the Western Mediterranean, and his observations continue to provide a framework for contextualizing and giving voice to archaeological artefacts which would otherwise remain mute objets d'art. Since his magna opera were published, other scholars have tackled the same materials in diverse ways, but approaches remain firmly entrenched in using the written word as the means for exploring, extracting, and presenting the objects' stories.

This presentation will explore how network visualizations may offer a novel perspective on the narrative of ancient figure-decorated pottery. The network of painters and workshops from a subset of Trendall's lists will be mapped using Gephi to visualize the interconnections between groups of artists working in the South Italian region of Apulia during the 5th and 4th centuries BCE. Subsequently, additional iconographic data collected on representations of music and musicians within the Apulian vase corpus will be mapped. By placing these visualizations alongside one another and considering where the networks converge and diverge, the presenters aim to generate a discussion about a common type of monolingualism in the digital humanities: the dominance of the written word and verbal modes of expression and analysis. In addition, what is lost when verbal data are presented in a single, monodirectional narrative will be considered, as well as the challenges of translating from physical object, to digital image, to verbal data.

FSA12
15:30 - 16:30
Defining and Questioning Terms

RT (60m) Defining and Questioning the Terms “Casual” and “Hardcore” in Video Games (Kenton Howard, Sara Raffel, Eric Murnane, Mark Kretzschmar and Christopher Foley)

In A Casual Revolution, Jesper Juul argued that “simple casual games are more popular than hardcore games” (Juul 8) and claimed that they do not require a great deal of knowledge to play (Juul 5), suggesting that a shift toward inclusivity and accessibility was occurring in gaming culture and design. The terms he uses, “casual” and “hardcore,” are employed frequently in such discussions of games and their players; however, recent developments have called the definitions and usage of such terms into question. “Free to play” games and mobile games in particular have skyrocketed in popularity: for example, Blizzard Entertainment’s Hearthstone was estimated to have over 50 million players in April 2016 (Frank). The popularity of such games suggests that, at least in some ways, gaming has become more inclusive as Juul suggested: players are not always the typical “hardcore gamers” that were often associated with video games in the past, and games are designed to appeal to larger audiences. On the other hand, various controversies in the gaming community also suggest that there are still many unresolved issues within gaming culture, and in such discussions, terms like “casual” and “hardcore” are often used pejoratively rather than descriptively.

This roundtable addresses the HASTAC conference themes because it explores the potential for both effective and problematic uses of the terms “casual” and “hardcore” in discourse about gaming. Addressing these concerns requires an inclusive and interdisciplinary approach because of the variety of ways the terms “casual” and “hardcore” are used, and resolving these questions will therefore necessitate answering them from a variety of viewpoints. After a brief overview of how these terms have been used by scholars, designers, and gamers in the past, I hope to raise some of the following questions for a roundtable discussion with both the panelists and the audience:

1. How should the terms causal and hardcore be defined, both with regards to games and gamers?

2. Are popular free-to-play mobile games, such as Blizzard Entertainment’s Hearthstone, casual, hardcore, or both? Is there an objective way to measure such factors?

3. Could a taxonomy for casual and hardcore games be developed?

4. Do the monetization methods of video games affect whether they are casual or hardcore?

5. The terms “Casual” and “Hardcore” often have negative connotations when used to describe players – can some of these problems be addressed? If not, should the terms be abandoned?

6. What happens when labels such as “causal” and “hardcore” evolve and take on various characteristics?

7. Are the terms “casual” and “hardcore” still useful with regards to video games? If not, what can be done about their prevalence in discussions of gaming culture?

FSA18
16:45 - 17:45
Friday Afternoon Project Demo, and Media Art Session

Friday Afternoon Project Demo and Media Art Session

MA01 (VAB-213B)
Eliza and Andromeda (Anastasia Salter and Deena Larsen)

MA02 (VAB-213B)
Southerly Wind: Exploring Chicago Chinese Immigrants’ Struggles in the early 1900’s (Xi Rao, Jodi Houlihan and Maimuna Venzant)

MA03 (VAB-SVAD faculty hallway)
Welcome to Nikki’s Place Mobile Narrative Demonstration (Sara Raffel, Amanda Hill, Bartley Argo and Nicholas Dearmas)

MA04 (VAB-213B)
Wayfarer’s Song (Laura Moeller)

MA05 (VAB-108)
Wall-Mounted Level (Scott Swearingen and Kyoung Swearingen)

MA06 (VAB-SVAD Faulty hallway)
Strathroy Stories (Tony Vieira)

MA07 (VAB-108)
Bentham’s Technological Specters (Julia Madsen and Jayne Butler)

MA08 (VAB-108)
eBee: An Electronic Quilt Game (Celia Pearce and Gillian Smith)

MA09 (VAB-108)
If These Walls Could Speak (Matthew Mosher)

MA10 (VAB-108)
Cyborg Aesthetics (Kris Casey)

MA11 (VAB-213B)
Non-arrival Flights: A Digital Remapping of Linguistic Borders (Anastasia Kozak and Asmaa Ghonim)

MA12 (VAB upper and lower main hallways)
The Radium Girls: A Radically Advancing Tour of Exits Signs (Letícia Ferreira and Xtine Burrough)

MA13 (VAB-108)
Digital Puppetry: KENDRA Crab (Lynn Tomlinson)

MA14 (VAB-108)
Fireflies, Typewriters, and Nostalgia: A Conversation between an Artist, a Social Scientist, and Participants (Xtine Burrough and Kristin L. Drogos)

MA16 (VAB-104)
Streamings from the Past (Murilo Paiva Homsi and Leticia Ferreira)

MA17 (VAB-108)
Sign My Book: A Multimodal System for Mediating Collaborative Semiotic Authorship (Brad Tober)

MA18 (VAB-108)
Possible Worlds: Ithaka (Caitlin Fisher and Damon Loren Baker)

MA19 (VAB-213B)
Psychasthenia 3: Dupes (Victoria Szabo and Joyce Rudinsky)

MA20 (VAB-213B)
Witness to the Revolution: Experiencing the Boston Massacre in 3D (Austin Mason and Lydia Symchych)

PD21 (VAB-108)
ELLE, The EndLess LEarner Videogame: Language Acquisition Through Interactive Technology (Georg Anemogiannis, Eric Butt, Tyler Chauhan and Megan Chipman)

PD22 (VAB-108)
(Not So) Silent Movie (Hope Hutman, Daxit Agarwal, Matthew Riegel, Harrison Smith and Arnav Jhala)

PD23 (VAB-108)
Simulations in Digital Humanities: Online and AR Reading Machines (Craig Saper)

PD24 (VAB-213B)
Deformant (Dolsy Smith)

PD25 (VAB-213B)
Prosthetic Limb Training Game Demo (Matt Dombrowski, Emily Johnson, Peter Smith and Ryan Buyssens)

PD26 (VAB-SVAD Faculty hallway)
Go Queer (Maureen Engel)

HASTAC - Friday Schedule