Saturday Interactive Schedule

HASTAC - Saturday Schedule

VAB 104
VAB - Various Locations
Saturday Breakfast
07:00 - 08:00
Saturday Breakfast

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

Saturday Afternoon Snack
15:15 - 16:15
Saturday Afternoon Snack

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

08:15 - 11:15
Southeastern Academic Community for DH

RT (3h) Southeastern Academic Community for the Digital Humanities (Hélène Huet, Leah Rosenberg, Laurie Taylor, Lauren Coats, Corrie Claiborne, Julian Chambliss, Laura Mandell, Emma Wilson, Jim Casey, Emily McGinn, Mike Gavin, Cliff Anderson, Justin Hosbey, and Daniel Genkins)

In imagining the possible worlds of Digital Humanities, and recognizing the need to create a future that is more interdisciplinary and inclusive, we propose to begin where we are. We propose a roundtable to discuss together the possibilities for a Southeastern Academic Community for DH. This community is inspired in part by the work of the Florida Digital Humanities Consortium, which has connected across different types of institutions and groups in Florida, as well as other collaborative entities including library collaboratives (e.g., HBCU Library Alliance, Association of Southeastern Research Libraries or ASERL, Digital Library of the Caribbean or dLOC), and research computing networks (e.g., Southeastern Universities Research Association, SURA, and the Sunshine State Educational and Research Computing Alliance, SSERCA).

Our roundtable is inspired by the work of these groups and our known shared needs. Many of our humanities departments have contracted. Whether our individual departments remain staffed and funded, we lack certain kinds of resources in the southeast. For example, the majority of our institutions cannot offer the full complement of courses needed for DH at the graduate or undergraduate levels. While we lack certain kinds of resources, we also have an abundance of resources with our libraries, archives, and museums both in terms of our collections and our communities. Further, we have an abundance of resources when we act collectively, collaborating and connecting together to address our individual needs and shared community dreams. This roundtable will be an opportunity to identify and discuss shared needs, resources, and goals.

This roundtable will focus on our identities, pasts, presents, and futures as southeastern institutions. Several of our institutions are members of the SECU academic initiative where the athletic program of “the Southeastern Conference sponsors, supports and promotes collaborative higher education programs and activities involving administrators, faculty and students at its fourteen member universities” ( Similarly, several of our institutions are members of the Associated Colleges of the South (ACS), which seeks to foster collaborations across institutions. This roundtable will include at least one speaker each from an SECU and ACS institution, along with speakers from institutions outside of the SECU and ACS, to discuss our shared goals and vision. We will also consider opportunities for seeking funds from the SECU, ACS, and others for collaboration across our institutions.

Our focus is on the specifics of our region. Each speaker for the roundtable will share on their local institutional context for needs and resources to share to make connections. The roundtable will be a lightning roundtable so that each can share, and then the focus can be on the discussion for next steps with the roundtable and all participants attending. In the process of holding this roundtable, we will also expand our draft contact list for DH practitioners and collaborators in the southeast (, to move forward on major initiatives, shared projects, and other needs.

Keynote Speaker
16:30 - 18:00

Cathy Davidson with Julie Thompson Klein as moderator.

Cathy Davidson Book Signing
18:00 - 19:00
Cathy Davidson Book Signing

Cathy Davidson Book Signing in CB1-121

08:15 - 11:15
Craft, Game, Play 2017

WS (3h) {Craft, Game} Play 2017 (Anne Sullivan and Gillian Smith)

"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”.

13:45 - 15:00
Digital Storytelling

RT (75m) Digital Storytelling as Public History/Archaeology: a View from the Vayots Dzor Fortress Landscapes Project, Armenia (Tiffany Earley-Spadoni, Travis Corwin, Nicolas Hilliard, and Laurel Schafer)

Digital storytelling is an outgrowth of the field of new media studies, a humanistic discipline that explores the nexus of computing, science and visual culture. Digital storytelling began as a workshop-based approach utilizing digital media to create short audio-visual stories, frequently oriented towards the autobiographical and confessional, but has subsequently expanded in its application to include fields such as public history. This roundtable discussion will present digital storytelling projects produced as the result of participation in the 2017 summer season of the Vayots Dzor Fortress Landscapes project in Armenia. On a broader level, the round table will discuss the role of digital storytelling as a tool for public presentation of research.

15:15 - 16:15
Bootstrap Your Digital Heritage

WS (60m) Immersive Worlds of Possibility – Bootstrap Your Digital Heritage (Barbara Truman and Francisca Yonekura)

Ever dreamed of getting or adapting a tattoo? Horrified at the thought? It is more manageable than you think. The pain and cost of permanent imprint can be avoided. Come see a demo of an open source platform in which art, modeling, and experiences can be designed. Building appreciative culture is possible through sharing perspectives across disciplines and distance. Attendees are invited to play and explore what it takes to express selfhood, enact dialogue, and create lasting memories using virtual environments. These spaces can also be enhanced with artifacts made digital to provide greater authenticity of historical significance. Sharing immersive creations are more fun with colleagues, friends and family members who contribute to interactivity. Don’t settle for any reality. Learn how to bootstrap your own!

08:15 - 11:15
Collaborating with Strangers

WS (3h) Collaborating with Strangers (CoLAB) Workshops: Jumpstarting Partnerships and Creative Ideas (Bess de Farber)

This proposed (1) plenary session Collaborating with Strangers in the Digital Humanities, and follow-up (2) Collaborating with Strangers Workshops Training-in-a-Box, a ""how-to"" companion workshop sponsored by the Procter & Gamble Higher Education Fund, will share time-tested facilitative processes for jumpstarting new community partnerships, exposing hidden resources, and generating creative ideas in libraries, classrooms, nonprofits, and conferences. CoLAB Workshops facilitate interactions of participants during 3-minute speed-meetings. These workshops have connected over 2,200 students, faculty, administrators, and nonprofit professionals, and 600 organizations. Librarians at the University of Arizona, University of Florida, University of North Texas, and the University of Washington have presented CoLABs on their campuses. Participant feedback reveals that 90% of participants would attend another CoLAB or recommend the workshop to others.

During the plenary CoLAB Workshop, participants will receive supplies to create their individual profile signs to be used during the speed-meetings. A short presentation will review CoLAB's history, basic principles, session goals, and provide instructions for the facilitated 3-minute speed-meetings during which pairs will learn about participants by reading profile signs and then discussing whatever topic they choose. Each participant will meet with at least 10 participants. This session will demonstrate the power of asset-based community development processes, and result in new connections, knowledge of other's access to specific assets that may enhance their current projects, spark ideas for how to use new resources, and generally provide the foundation for more impromptu conversations throughout the conference. Essentially, the CoLAB will create a safe space to remove barriers often felt by participants at conferences by creating a contrived coffee-house environment that one might have encountered during the age of enlightenment, as described by innovation historian, Steven Johnson, in his book, Where Good Ideas Come From.

The plenary session may inspire some participants to attend a companion session to learn how to present these workshops in their own organization or communities. During the follow-up ""how-to"" Collaborate with Strangers Workshops session, participants will learn about the CoLAB Planning Series® history, strategies, sponsors, and results; as well as receive training on the step-by-step methods for coordinating, promoting, funding, and facilitating CoLAB Workshops. ALA Editions recently released a new book by the presenter and coauthors, April Hines and Barbara Hood titled, Collaborating with Strangers: Facilitating Workshops in Libraries, Classes, and Nonprofits. Those attending the ""how-to"" Facilitate Collaborating with Strangers Workshops training session will be eligible to receive a book at no cost. At least five books will be distributed.

15:15 - 16:15
Teaching Computer Programming to Humanists

WS (60m) Teaching computer programming to humanists using emoticon-like scripting (Angelos Barmpoutis)

In many ways, learning to program can be challenging for humanists although computer programming is an essential skill for digital humanities. According to published studies this is often attributed to poor self-efficacy, limited prior experience with computers, or inability to relate personal experiences to abstract programming concepts.

In this session, a new educational framework will be demonstrated that overcomes the problems of the existing teaching/learning approaches by adding a human-readable layer on the top of existing programming languages. The proposed method is based on the use of emoticon-like typing that has become popular with social networks. Emoticons are visual representations that have one to one relationship with a corresponding combination of characters such as “:)”. These can be perceived as visual interpretations of the corresponding characters that provide instant feedback to the user regarding the meaning associated with the typed code. The proposed framework utilizes a set of meaningful visual replacements of each grammatical token in a given programming language that appear instantly when complete valid tokens are typed.

The proposed method, is based on the following three hypotheses: a) the immediate feedback given to the programmer can result in improved learning outcomes as it stimulates the brain to build one-to-one connections, b) the unique correspondence of each visual replacement, with a valid programming token re-enforces the learning of the syntax in an intuitive trial-and-error framework, c) the use of visual replacements remove visually the grammatical and syntactical details of a programming language and reveal to the users the logic of the program in the form of a pseudo code.

The smallest units in any writing system are known as graphemes. Graphemes are not only the characters in a given alphabet but also the accents, punctuation marks, and other symbols that may be used in the corresponding writing system. Similarly, in any programming language a set of graphemes is used, which usually includes the graphemes of the Latin alphabet as well as other logical, mathematical, and structural symbols required for the needs of a particular programming language. Let us consider the following written sample: “not:(or:|!be:)” and its equivalent in another written language with different graphemes (emoticons): “notor!be”. Obviously, the latter is easier to read, but the former is easier to write in the form of a typed text in a computer device. This example shows that there exist written languages that are primarily meant to be written (possibly to serve as an input to a computer system), and others that are primarily meant to be read. The proposed educational framework is based on a rigid theoretical foundation regarding grammatical construction of languages and employs a set of visual or textual metaphors to teach computer programming to humanists.

The technique has been preliminary tested using 35 adult subjects and it has improved significantly their learning outcome in terms of syntax recall and logic comprehension, compared to the performance achieved using traditional text editors for source code editing.

The audience will be invited to bring their own tablet/laptop computers during this workshop.

08:15 - 12:15
The Wearable and Tangible Worlds of DH

MA (4h) The Wearable and Tangible Worlds of DH Exhibition

1. Black Ribbon for Mourning (Kim Knight, Jessica Murphy, Dale MacDonald)
2. EMBODISUIT: A Wearable Platform for Embodied Knowledge (Sophia Brueckner and Rachel Freire)
3. The Future Past of Wearable Tech (UC Davis Critical Wearables Group)
4. Counting the Dead: AZ's Forgotten Pandemic (Jacqueline Wernimont and Elizabeth Grumbach)
5. Biological Watch (Elwyn Crawford)

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 an exhibition of work on the same topics. In addition to having several of the groups/people who attended the 2016 event on hand to show work that has emerged in the last year, we plan to make an open call for participation in this exhibition. We anticipate a maximum of 10 projects for this exhibition and interaction session.

Building on the enthusiasm for recent Debates in Digital Humanities anthologies such as Making Things and Drawing Boundaries (which addresses the role of “making things” in the Humanities) and Bodies of Information (which addresses topics of feminist concern in DH), the works in this curated exhibition will collectively suggest that one of the possible worlds of DH is material, embodied, and grounded in feminist approaches that are attentive to issues of gender, race, class, ability, sexuality, class and their intersections. With this exhibition we will highlight innovative new work that thinks differently about the media in which we do “big data” visualizations, the kinds of biohacking and modding we want to see in the world, and the ways that media making and archeologies encourage us to recognize that the past, present, and futures of tangible computing are material and can be ethical.

Further, we anticipate that the exhibition can function as a space in which some of the questions and contradictions of DH are articulated and contested. For instance, the projects will likely hold in tension the practices of hack and yack, often cited as one of the fundamental dichotomies in Digital Humanities. Sayers, et. al. suggest that physical computing intervenes in the opposition of these practices, making explicit the fuzziness of boundaries between mind/hand, hand/machine, maker/user (“Between Bits and Atoms” 4). We also suspect that many of the projects will be built upon technologies such as those addressed by many of the thought pieces in the GO:DH working group in Minimal Computing. These technologies facilitate novice engagements and rapid prototyping, and can be actualized with minimal financial and spatial resources, allowing for a greater variety of maker-participants. We anticipate that the projects will further bring together hardware and soft-wear, analog and digital, computing and craft, in the join between computing practices and the textile-based practices of sewing, knitting, and so forth. This assemblage has the potential to make explicit the ways that feminism and women’s labor might be cooked into our practices of DH making. As Wernimont notes, “a cooked in feminism is visible in the way that nutmeg is in a cookie — if you’re looking, you’ll find it” (“Whence Feminsim?”). We hope the encounter with tangible and wearable objects will help the exhibition’s audience look for it.

10:00 - 12:00
Enter Twine'd

RT (2h) [[Enter Twine’d]]: Linking Teaching and Learning through Hypertext (Dan Cox, Kristopher Purzycki, Howard Fooksman and Cody Mejeur)

Relating their own experiences with the hypertext platform Twine within and outside of classroom spaces, this roundtable builds on the call for greater multiliteracy learning. Twine promotes digital composition activities for students as part of a larger commitment to how games-based learning can speak to and enable student voices. Approaching interactivity from differing vantage points within English studies, each speaker emphasizes a different method of using Twine as part of a student-centered pedagogical criteria that fosters greater accessibility to critical methods in and through digital humanities.

As each speaker will describe, Twine can serve as a bridge for understanding how literary forms and concepts of interactivity can build student comprehension of digital and traditional text production. A crucial element of this is demonstrating how different words and phrases can “link” and shift meaning in a text, opening up creative and interpretive space for translating learning objectives, theoretical frameworks, and student experiences into digital praxis.In this way, projects created with Twine can serve as both visual patterns and their own enacted “paths” for understanding translational labor through different “passages.” With this same set of metaphors, learning the advanced features of Twine also “links” with ways of teaching code programming and how different levels of code literacy can converge for empowering students to create and communicate in new and exciting ways. Finally, as a digital creation and composition tool, Twine continues to be used as one of many gateways into advanced game development and the intersection between students, their work, and how it is perceived in public areas outside academia. On the flip side, Twine can also be used as a way to intervene with texts and engage in a hands-on method for critiquing interactive works. Several forms of this intervention will be detailed including the reinterpretation of fiction and using hypertext functionality to explore semantic connections. Throughout each of these forms, Twine is used to critique our understanding of choice and its viability in this highly scripted, digital epoch.

Through this roundtable, speakers will discuss their multidisciplinary experiences while inviting discussion of how Twine, and other creative and interactive fiction tools like it, work as part of an approach to teaching composition, digital writing, game development, English, translation, and assessment. Prompting conversation through examples of assignments, student work, as well as detailed video and textual resources created or used by the speakers, we will share what has and has not worked for us, and engage attendees to do the same. Ultimately, this roundtable will contribute to and build on the conversation about interactive fiction tools in the classroom, and help participants develop their own pedagogical uses of Twine.

13:45 - 15:00
Medical Financial Aid; MARA

PD (37m) Medical Financial Aid Chatbot Demonstration (Logan Smith and Michael Powell)

The demonstration will consist of a working example of a chatbot able to help people request financial relief for a acute (and expensive) medical procedures. A web-based version will be able for users to test responses from the chat through a keyboard interface. Additionally, a voice input version will be available so that users can see how someone might get assistance by only using their voice. Both demos will be shown by at least one of the project developers. The developers on hand will be available to answer any questions about the project.

PD (37m) MARA: Mobile Academic Research Application (Amy Sugar, Julian Chambliss and Shree Raj Shrestha)

Mobile Academic Research Application (MARA) is an application that allows users to collect, annotate, store, publish, and collaborate on digital content. The initial iteration of the project involved developing a means for student researchers to collect information while working on community based research projects. Project Mosaic created collaborative multi-class projects conducted under the auspice of the Africa and African-American Studies program at Rollins College encouraging students working under faculty direction to investigate issues of race, culture, and place within the local community. Growing from multiple semesters of working on this project, the problem of information abundance and the need to standardize the information to create stable online exhibits to demonstrate outcomes became apparent.

Recognizing that the mobile platform provided the opportunity to bring together multiple tools utilized by students conducting these projects, faculty and instructional technologists reviewed available software. While numerous programs promised some elements of functionality, ultimately, the decision to develop a mobile application that would provide students with a versatile tool for conducting information in the field emerged.

The result was a collaborative effort between faculty, instructional technologists, and a student app developer to design and develop this custom mobile application. We will demonstrate how MARA enables students to collect, annotate, and store media and then easily publish digital artifacts for collaboration and peer learning. We will also share our experiences and lessons learned during the planning, development, testing, and implementation stages for this project and discuss future plans.

15:15 - 16:15
Humanistic Challenges in Tech Courses

RT (60m) Humanistic Challenges in Technology courses and vice versa: putting together a syllabus for a multi-disciplinary class (Eleni Bozia)

The advancement of Digital Humanities and the increasing number of academics and enthusiasts have turned the focus to the following issues: 1. Why do the Humanities need technology, and how technology can be used to effectuate advanced research that has not been possible thus far? 2. How to motivate technology savvy individuals to collaborate with humanists. In this discussion, I intend to broaden the perspective and set the question: how do the Humanities can and should use technology, and how do technologically related areas can and should use the Humanities?

Two years ago I designed a class titled “Digital Tools for the Arts and Humanities,” which I offer to a large gamut of students, ranging from Digital Arts and Sciences and Computer Science to Classics, English, Linguistics, Architecture, and Anthropology. The point of the class is to introduce each field to the other, explore Humanities and technology, and study their confluences.

The challenges that have presented themselves and that I would like to bring forward and consider in this roundtable discussion have to do with the exigency to (re) present the Humanities not only to scientists, but to the humanists as well. First, Humanities are not just the study of the human record, as several scientists contend. The fields of study that constitute the Humanities provide individuals with the ability to think and communicate with one another. Social media rely on the Humanities, and other media of communication— online reviews, blogs, game reviews etc.—need to resort to the fundamental attribute of the Humanities, namely language. On the other hand, human languages are the seminal constructional parameter for programming languages. Therefore, humanists need to come to terms with newly molded forms of expression and enhance their research and understanding of their own fields, and computer scientists need to realize the fundamentally pervasive nature of the Humanities that infiltrates basic parameters of programming, while it also represents the human factor, which computer science is meant to serve, for instance in the form of human-centric computing.

The second half of the class is dedicated to several tools, such as html, xml, stylometric analysis, and visualization. Once more the issue that arises is not familiarization with the above, but the consideration of how these tools can be put to use in various fields as well as how students with different backgrounds can work together to create innovative projects.

The issue that I intend to discuss is how we can persuade not only humanists about the exigency of technology, but also programmers about the humanistic factor behind their work. Ultimately, the point is that the human factor should be both the drive and the purpose of every field of study and inquiry. It is only then that one can embrace the significance in the diversity of knowledge and appreciate the uniqueness in each individual field as well as the exigency to set them all in a collaborative motion.

10:00 - 12:00
Visualization using p5.js **participants should bring a laptop**

WS (2h) Visualizations using p5.js for Digital Humanities Projects (Jeremy Sarachan)

**Participants should bring a laptop**

Given the necessity of coding tools for many digital humanities projects, this workshop will introduce participants to the p5.js Javascript library, covering the basics of programming, including variables, for loops, if..then statements, and basic drawing syntax. After a scaffolded series of exercises, which include basic drawing and the repetition of patterns, participants will create data (through simple voting within the group on a convenient topic) and then create a basic visualization using the data. At this end of this portion of the workshop, participants will be introduced to using data files available on the web for their own projects.

In the last 20 minutes, participants will be introduced to the possibilities by using a Raspberry Pi and monitor—and how p5.js files can be displayed through the browser, opening up the world of interactive art installations.

While relatively simple in terms of the skill set required, this workshop will provide an accessible introduction to those attendees who are new to coding. Participants will be given time to work and receive help from the instructor and other participants. I have done similar workshops before for high school students (although with a shorter agenda.) I would ask for 90-120 minutes, although I could be flexible either way (by 30 minutes) to better fit in with the established HASTAC schedule.

These basic skills and technologies not only prepare digital humanists to create visualizations, but also to utilize the wide variety of online JSON files (available through government websites and elsewhere) that permit anyone to incorporate data visualizations into digital humanities projects. This fits in with the conference’s themes of exploring new ways and methods of creating digital humanities texts, especially in terms of visualizations and exploring issues of race, class, gender, and religion (depending on the dataset used).

P5.js is a Javascript library based on the popular Processing language. This web-based solution offers cross-platform exhibition for installations or web-based projects.

I direct the Digital Cultures and Technologies at St. John Fisher College in Rochester, NY, and teach and introductory course in p5.js as well as a secondary course in Interaction Art, using Processing and Raspberry Pis. I previously attend the HASTAC conference in Toronto, presenting a poster about the newly created (at that time) Digital Cultures program.

Introduction to Computational Media syllabus: Interaction Art syllabus: p5.js library: I spoke about my students' installation art at the 2015 New Media Consortium Conference:

13:45 - 15:00
How Micro-Grants Build Peer-Peer Intellectual Com.

PD (75m) How micro-grants build peer-peer intellectual community (Aneesah Ettress)

The Occidental College Center for Digital Liberal Arts has recently launched its first co-curricular Peer Learning Program. The PLP has the capacity to build a culture of open learning and address issues of access and equity on Occidental's campus both in its interaction with the broader community and within the program itself. We have 60+ peer learning mentors across 7 interdisciplinary teams, from critical making to subject advising. One of the key ways in which the Peer Learning Program addresses issues of access and equity is through its micro-grant initiative. The micro-grant initiative offers small grants to Oxy students for the purchase of equipment and supplies related to projects that advance the digital liberal arts. Students apply for these grants in the Fall and Spring and work on their projects over the semester. At the end of the semester students return the equipment to the CDLA (making what they purchased available to more students in the future) and they provide a final report on their project. Micro-grants are a new facet of our program, where we can clearly see the positive impact it has on the peer mentors and those students that are supported by the Peer Learning Program. In an 8 minute soapbox talk and 15 minute project demo we would like to share with the DH community how micro-grants build peer-peer intellectual community at a liberal arts college.

The 8 minute soapbox talk will feature an overview of the Peer Learning Program and the micro-grants initiative. Specifically, we will detail how the application process itself addresses issues of access and equity at Occidental College. I will then discuss the various projects that were supported by the micro-grant initiative and the ways in which peer-peer intellectual community was facilitated. For this talk I will need the ability to move through a powerpoint presentation, standard projection equipment in the form of a desktop computer or HDMI output to screen. After the 8 minute soapbox talk we will move into a 15 minute student project demo that is supported by the micro-grant initiative. This project addresses the theme of digital cultural heritage and hegemony. Five Occidental students have taken it upon themselves to preserve a portion of the Moore Lab bird collection, which features 65,000 American bird specimens (mostly from Latin America and Mexico), using Photogrammetry and Virtual Reality. The micro-grant initiative and Peer Learning Program has provided, space, equipment, and support to facilitate this homegrown student project. One student from the team will provide a 5 minute explanation of the project itself followed by a 5 minute demo of interacting with the bird specimens in a virtual reality environment. There will be 5 minutes left for participants to interact with the bird specimens as well. We will bring all of our own equipment with us. All we need is space and access to multiple outlets.

15:15 - 16:15
Folly is an Endless Maze

PD (60m) Folly is an Endless Maze (Emily Brooks and Norma Aceves)

This presentation is a project demo of a unique poetry game called Folly is an Endless Maze that was created as a culminating project for ""Data Mining and Digital Poetics,"" a graduate course at the University of Florida offered in Spring of 2015. This project was an interdisciplinary collaborative effort between three computer scientists and two humanists to reinterpret the poetry of Romantic poet and printmaker, William Blake. This project would not have been possible without an interdisciplinary collaboration of ideating, designing, coding, and beta-testing. The team took inspiration from the @autoblake Twitter bot, a Markov-chain text generator created by Roger Whitson and used data mining, HTML5, and JavaScript to design an interactive user experience.

We also drew inspiration from Deleuze and Guattari’s theories of detterritorialization and reterritorialization from the text A Thousand Plateaus, as a way to think through the ways we challenge traditional linear texts and conventional roles of readers and writers. Deleuze and Guattari argue that the taking, “disembedding,” and re-appropriating of a cultural-spatial text and transposing it into a different platform can challenge the hegemonic power the text can carry. Folly is an Endless Maze challenges dominant notions of the reading and writing experience by allowing the reader to become an active participant in the meaning-making process.

The aim of this project was to create a non-linear and interactive representation of the experience of reading Blake's famously dense and intertextually-rich poetry. The title of the game is derived from the poem “The Voice of the Ancient Bard,” part of the Songs of Innocence and Experience collection, which is often critically considered for its ambiguity as both and neither pertaining to innocence or experience. The aesthetics of the game mirror this ambiguity: both brightly colored yet dimly lit.

In Folly is An Endless Maze, the reader becomes a player in a first person shooter perspective game, navigating the text of Blake’s poetry in a self-propagating labyrinth. The player moves through the maze and creates a nonsensical poem that is generated on the right by selecting directions in a 3D acrostic on the left. The game space also has multiple levels with different images to view. Each iteration of the game is randomized and unique so that no two poems are alike. This game challenges traditional notions of reading and writing as the players become producers of their own unique texts.

The text and images which make up the game are sourced from the William Blake Archive, a web archive that collects the cultural heritage of William Blake from multiple sources around the world and displays them in one digital space. We envision this project as one possible way of introducing the visionary, illuminated works of William Blake to unfamiliar audiences.

08:15 - 09:45
Packaging Hashtags; Understanding Participatory Culture

RT (30m) Packaging Hashtags for (re)Composition: Rhetorical Velocity and Topoii in the Invention of Hashtags (Nicholas DeArmas)

In a recent interview for HASTAC’s Interview Collections, Dr. Moya Bailey discussed how she values social media as a research utility, because it gives her “access to what people are thinking and feeling in real time” along with “ very immediate ‘audience studies’” (Sperrazza para. 14). Bailey’s acknowledgment of the contributions that social media can provide academia hits close to home for the digital humanities, as it is a nexus between digital technology and humanities research. Social media can provide bridges between disciplines, scholars, and distances that could have never before been possible. One of the most effective facilitators for discourse and research made through social media is the hashtag. When used as rhetorical tools, hashtags unite research, make topical associations, spark discourse communities, organize activism, and spread awareness. I agree with Dr. Bailey and believe that, in the future, the discourse we conduct in the digital humanities will increasingly take place not housed in buildings spread out across campuses, but across digital space housed in metadata like hashtags. Considering the research of Bruns (2015), Caleffi (2015), Marwick and boyd (2011), Ridolfo and Divoss (2009), and Zappavinga (2015), my roundtable discussion will consider how hashtags enable the formation of ad-hoc discourse communities, ones whose discourse are often signified by the actual hashtag name itself. My research will draw upon the intersection between linguistics and rhetoric, in order to look at how the selection of a hashtag name often signals the topoii of the discourse that takes place by its participants. The dataset I’ll use will be a month-long sample of the trending terms from ten major American cities (which is also one of the focal points of my dissertation). I'll be using a Grounded Theory Methodology for my research performed on Twitter.

Through considering the linguistic aspects of hashtag names, and the dataset of what trends over the course of a month across America, my discussion will point to how certain linguistic patterns are more effective for hashtags; these rhetorical conventions should be recommended when inventing hashtags whose intent include increased rhetorical velocity. Said in a less academic voice, my roundtable discussion will use my data from trending terms on Twitter to argue for how hashtags can be better packaged for increased exposure.

If the future of the digital humanities includes interdisciplinary conversations, and if those conversations are going to take place by employing metadata like hashtags, then the digital humanities needs to continue to perform research, like this, on the rhetorical tools they use to communicate their research. In this way, the communication of knowledge through digital means will be more effective, making the interdisciplinary conversations that take place in the digital humanities more productive.

RT (60m) Understanding Participatory Culture through Hashtag Activism After the Orlando Pulse Tragedy (Nicholas DeArmas, Wendy Givoglu, Jennifer Miller, David Moran and Stephanie Vie)

On June 12, 2016, a hate crime took place during Latin Night at a queer club in Orlando, Florida. The violent attack at Pulse nightclub left 49 people dead and 53 injured from gunfire. Almost immediately, social media posts began to proliferate that incorporated hashtags like #OrlandoStrong, #OrlandoUnited, and #OnePulse.

Why do many of us reach toward our screens when tragedy strikes? In times of despair, such networked connections may serve to console and strengthen people, potentially linking different perspectives into a common, communicative channel. However, dynamics of power, privilege, and oppression often shape social media narratives, framing them according to the proximity of users’ social norms, identities, and ideological beliefs. The narrative of the Pulse tragedy (which should have demonstrated the identities and lived experiences of LGBTQ+ people, more specifically queer and trans people of color) selectively included or excluded specific perspectives from social media discourses, despite the fact that these marginalized groups were the most directly impacted and affected by the targeted violence. These voices, implicitly delegitimized by institutions upholding and continually ingraining hegemonic ideals of American citizenship, worked together in digital spaces to steer and diversify the evolving narratives of the Pulse tragedy. Since June 12, LGBTQ+ locals in tandem with Central Florida residents, the American public, and the international community have left a massive digital archive of their experiences: organizing to mourn, performing humanitarianism, and mobilizing into a critical mass to protest.

Unfortunately, across the world, tragedies occur regularly; a variety of publics within and across larger communities are leveraging social media along with digital skills to respond as prosumers or active participants who both consume and produce content (Jenkins, 2008; Potts, 2013). This is also true for the Pulse tragedy, as a diverse range of participatory voices responded to and shaped its conception via hashtags, awareness ribbon memes, arts-based overlays, activism, and direct action. The authors, affiliated with UCF in Orlando, Florida, documented and analyzed these participatory responses on Twitter. Using a combination of grounded theory methodology (Glaser and Strauss, 1967; Strauss and Corbin, 1990; Wolff, 2015) and critical discourse analysis (Huckin, Andrus, & Clary-Lemon, 2012; Vaara, 2014; Van Dijk, 2001), the research team coded a dataset of over 1,000 Tweets containing #OrlandoStrong, #OrlandoUnited, and #OnePulse—analyzing narrative patterns as they were discovered in the data as befitting grounded theory analysis, while categorizing visual and textual social media posts associated with the tragedy. Critical discourse analysis (CDA) was used because it examines “how those in power use discourse and contexts to form shared cognitions that contribute to people's perception of normality” (Vie, Balzhiser, & Fitzgerald Ralston, 2014). Van Dijk (2001) described how CDA is used to examine control of access to discourse, control of discourse interactions and structures, and then control of contexts and strategies that contribute to shared thoughts and values. Thus, reflecting on the experiences of the researchers, tweets were recursively axial-coded with respect for the narratives they (de)legitimized (Vaara, 2014) and the language that reflected shared thoughts and values (Van Dijk, 2001).

08:15 - 09:45
Playing with Data

RT (90m) Playing with Data (Michelle Cerrone, Jim Diamond and Noah Goodman)

Increased investment in ambitious digital games for learning, along with the development of accompanying online reporting systems means that teachers now have access to near real-time student performance data. These online reporting systems, or, data dashboards, provide teachers with formative assessment data they can use to inform their day-to-day instruction and ultimately bridge what students learn through gameplay to other contexts. However, translating students’ gameplay performance into meaningful and actionable information is new for many teachers, and there is little research on how to best support teachers in doing this. Likewise, there is little research about effective design features of data dashboards and the tools and supports teachers need to make sense of data. Playing with Data, a three-year National Science Foundation-funded study seeks to close this research gap and begin to build a knowledge base about how middle school teachers can learn to use gameplay data.

During this hands-on, round-table discussion the researchers from the Playing with Data team will guide participants through the data dashboard for Mars Generation One, a digital game designed to engage middle-grades students in the practice of argumentation. Participants will explore the data dashboard on iPads, discussing the design features, tools, and associated educative materials that support teachers in making sense of and using gameplay data to differentiate instruction and build bridges between the game and other instructional contexts.

10:00 - 11:00
Visualizing Editing; Procedural Sonnet

PD (60m) The Procedural Sonnet: A Demo (Corey Sparks)

This talk and game demonstration introduces a long-term project called the “Procedural Sonnet.” This project, located at the intersection of electronic literature, digital storytelling, gaming, and poetics seeks to connect premodern literary forms with contemporary digital platforms. Ian Bogost has declared that certain video games operated less according to a logic of representation—a category long fundamental to humanistic inquiry—but rather according to a ""procedural rhetoric."" For this presentation I will use Twine - a narrative hyperlink game platform - to ""play"" a sixteenth century sonnet. In doing this, I want to use Bogost's concept of proceduralist rhetoric to complicate a highly-recognizable poetic form. The “Procedural Sonnet” project prompts several questions: ""To what extent does poetic form act as Bogostian 'procedure' or not?"" ""How does playing a poem on Twine foreground the procedures assumed by a largely narrative platform?"" ""In what ways does 'playing' a sonnet open up new interpretive frameworks for both poetry and digital games?"" For Bogost, proceduralism is characterized by the fact that “in [such] games, expression is found in primarily in the player's experience as it results from interaction with the game's mechanics and dynamics.” In foregrounding the ""mechanics and dynamics"" of a game over more the more traditionally-analyzed categories of visuality or textuality, Bogost, I argue, hits on fundamental questions not just about games but about poetic form - especially, in terms of the longue duree of English literary history, the sonnet.

This talk and game demonstration juxtapose a new technology - Twine - with an old technology - the sonnet - to think about the conference's theme of ""possible worlds."" The titular possibility foregrounds a sense of futurity; my project’s use of the sonnet form nonetheless complicates both Bogost's concept of ""proceduralist rhetoric"" and the narratively-oriented Twine platform. I thus suggest that we can look to ""old things"" to help us think about ""possible worlds."

PD (30m) Queer Classroom Spaces: Using Social Media and Digital Tools to “Meet Students Where They Are” (Kristin Lafollette)

As a digital humanities scholar and instructor, I have always struggled with knowing what, if any, rules I should make in my classroom about electronics usage such as cell phones, tablets, etc. A computer-mediated writing class I took in my doctoral studies with digital humanities scholar, Dr. Kristine Blair, led me to reevaluate the policies I have in my syllabi and enact in my courses when it comes to student usage of electronics. During the course I took with Dr. Blair, we were required to complete a technology literacy narrative using a digital tool. I chose to use the social media outlet Instagram to complete this assignment, and in completing this project and seeing the final product, I saw and understood the immense value of social media outlets and how they can be integral to helping students complete multimodal assignments in writing courses and beyond. I often had difficulty getting my students to focus in class when they were constantly looking at their phones, surfing the Internet on their computers, and playing games on their tablets. When I began implementing assignments and in-class activities that utilized the tools that students were already familiar with, they became more engaged, learning outcomes and course concepts were more easily grasped, and assignments were more approachable. In addition, as I delved further into my study of women’s, gender, and sexuality studies during my doctoral program, I saw the ways that queer theory provided a lens for which to understand this shift from the normative to the non-normative; instructors typically discourage students from using their phones and other electronics in class, but a queering of this norm and allowing students to harness the potential of these digital tools works toward helping students complete assignments that are more creative and rhetorically-aware. Drawing on work from multimodal and queer studies scholars like Claire Lutkewitte, Jonathan Alexander, and Jacqueline Rhodes, this roundtable starts with a discussion of my Instagram project and how I worked toward implementing social media outlets (like Facebook, Twitter, Instagram, Tumblr, etc.) in my classroom spaces. This will lead into a group discussion and brainstorming of the ways instructors can utilize these tools in the classroom to create activities, develop assignments, and queer the classroom experience to involve more digital tools to “meet students where they are.” Students already have knowledge of and an interest in these tools, so helping them understand that they are already composing using these methods can give them opportunities to create rich, multimodal work that takes some of the pressure away from completing academic work. This discussion will start with a discussion of writing studies but will be applicable to any discipline/classroom space.

13:45 - 15:00
Reimagining the Digital Humanities

RT (60m) Reimagining the Digital Humanities with ‘New Majority’ Students for Public Higher Education (Kitana Ananda, Lauren Melendez and Mike Rifino)

When we talk about the digital humanities as scholars and practitioners in higher education, who do we imagine to be the students of this emerging field? How is this connected to efforts to make the digital humanities more inclusive and interdisciplinary? This interactive session invites audience participants to meditate on this question as we aim to reimagine the digital humanities for today’s “new majority” students who are increasingly students of color, as well as low-income, first-generation, and community college students. Our session seeks to expand current understandings of what the “digital humanities” entails. We focus on two programs that combine learner-centered approaches with digital technologies, for a critical pedagogy that strives toward more inclusive, accessible and equitable futures for the digital humanities and public higher education.

We present case studies from our work with undergraduate and graduate students in two interdisciplinary programs based at The Graduate Center, City University of New York: The Futures Initiative’s Peer Mentoring Program and the Humanities Alliance. Both programs use free and open-source software--namely, WordPress, and the open-source Commons In a Box installation of BuddyPress, a WordPress plug-in for building online communities--along with other digital tools to foster active student learning.

Our hour-long session will provide a brief overview of the digital humanities tools and methods used in the Peer Mentoring Program and the Humanities Alliance, and will include at least one graduate or undergraduate student from each program. Students will discuss how their use of WordPress and other digital tools contributed to their experiences of teaching, learning, and mentoring, as well as their academic, professional, and personal growth. Throughout the session, we also invite audience members to participate in interactive exercises to engage in a critical analysis of the digital humanities, and better understand the educational needs and interests of today’s “new majority” students.

About the programs:

The Futures Initiative Peer Mentoring Program embodies the mission of advancing greater equity and innovation in higher education that reconnects liberal arts teaching and learning. Undergraduates learn to mentor one another while also learning and practicing transferable skills that contribute to their academic success and their lives outside the classroom: collaboration, leadership, project management, technology, time management, community-building, and organizational skills. The program is funded with the generous support of the Teagle Foundation.

The Humanities Alliance is dedicated to training doctoral students in the most successful methods for teaching humanities courses in the country’s most diverse undergraduate classrooms. The program provides Ph.D. students with mentorship and professional development, while broadening and strengthening access to and engagement in the humanities for community college students. The Humanities Alliance is a partnership between The Graduate Center, CUNY, and LaGuardia Community College, CUNY, and is funded with the generous support of the Andrew W. Mellon Foundation.

15:15 - 16:15
Needs Mapping

WS (60m) Needs Mapping: A visualization technique to understand student needs and improve student success (Steven Lam and Arthi Krishnaswami)

We believe every student should have a Community of Trust, that extends beyond the school community. A community of trust is a network of relationships and agreements that facilitates the exchange of information about students among parents, families, schools, and related service providers. A strong community of trust can support students on a pathway to academic success and increase graduation rates. However, there are many equity challenges and instances of inaccessible support services for at-risk students in underserved neighborhoods, both in K-12 and higher education. These challenges threaten to prevent learners from achieving their dreams to attend and graduate from college. RyeCatcher has created a Needs Mapper Tool to help identify The Five Areas of Needs (academic, behavioral, social, emotional, and health and wellness) for a given learner population, in hopes of eliminating any barriers that can prevent student success.

In this workshop, participants learn how RyeCatcher’s Needs Mapper survey can identify specific risk factors -- such as anger management, trauma, gang-violence, dental/vision service, counseling -- and broader student support needs. Participants will complete a Needs Mapper survey on behalf of a representative student or family. Participants then play the role of school-site leader to review and visualize the data gathered, analyze trends, and create a strategic plan of services that leads to equitable access for the student. Participants then discuss the importance of student access to services and why preventative measures and strategic planning are important for student success.

Upon completing this session, participants will gain strategies including:

- Strategies for addressing the major struggles or challenges that are present for student access to services for first-generation college bound and at-risk students.
- Remediation strategies or services that would support the needs of first-generation college bound and at-risk students.
- How to visualize the information gathered in ways that educators can use to make data-driven decisions to improve student success.

10:00 - 11:00
Breast Cancer Awareness

PD (60m) Ribbon Cutting: A Game for Breast Cancer Awareness (Stephanie Vie and Jennifer Miller)

October is Breast Cancer Awareness Month. All year, but peaking in October, individuals, organizations, and corporations appropriate the pink ribbon symbol to engage with the breast cancer cause. The symbol has become increasingly ubiquitous, and the general consensus it that it represents awareness. However, awareness is a generic term representing a myriad of socially constructed concepts, most notably health and fundraising.

Ribbon Cutting is a digital Twine game that seeks to elucidate the hegemonic meanings of the pink ribbon, while simultaneously challenging and supplementing them. The non-linear game playfully builds from viewing the pink ribbon itself as a meme (Dawkins, 1976; Shifman, 2014), or cultural replicator; a genre (Wiggins & Bowers, 2015), or format for entry into a conversation; and an immutable mobile (Potts, 2014) organizing dialogue. From this theoretical lens, the game furthermore leverages the genre of memetics and its inherent irony to gradually and humorously move players from dominant views on health philanthropy to supplemental directions. Indeed, Ribbon Cutting seeks to defamiliarize or highlight the implicit entanglement of actors and belief systems underlying the cause.

Awareness ribbons serve as powerful symbolic containers organizing semiotic systems of visual simulacra or signs into an easily accepted narrative (Baudrillard, 1994). Typically, awareness ribbons representing causes function as virals (Shifman, 2014), or packets of information shared as intended by an original author. Ribbon Cutting, as an interactive game, unpacks the semiotic signs that collectively function in constructing the complex breast cancer narrative that currently traverses society as a viral message. These simulacra function in a system to direct two dominant breast cancer simulations: individual health ideals and collective directed philanthropy (fundraising).

Ultimately, Ribbon Cutting boldly advocates for a new paradigm (Kuhn, 1970) in health philanthropy that prioritizes grassroots digital citizens’ networked activity over fundraising as the currency of power and change. Our aim with Ribbon Cutting is to demonstrate how both collective non-profit organizations and individual citizens may leverage the affordances of memes and games to expand digital citizenship beyond virality: fostering participatory culture and dialogue. Ribbon Cutting exhibits a digital process through which citizens’ may be guided from hegemonic beliefs about causes to subtly and personally challenge and enhance directions for causes. Ribbon Cutting, albeit about breast cancer, showcases a process and approach that has the potential to impact any of the causes that digital citizens deem important presently or in the future.

Visit the exhibit at:


Baudrillard, J. (1994). Simulacra and simulation. Ann Arbor, MI: The University of Michigan Press.

Dawkins, R. (1976). Memes: The new replicators. In R. Dawkins (Ed.), The selfish gene (pp. 245-260). New York: Oxford University Press.

Kuhn, T. S. (1970). The structure of scientific revolutions. Chicago: University of Chicago Press.

Potts, L. (2014). Social media in disaster response. New York: Routledge Taylor & Francis Group.

Shifman, L. (2014). Memes in digital culture. Cambridge, MA: MIT Press.

Wiggins, B. E., & Bowers, G. B. (2015). Memes as genre: A structurational analysis of the memescape. New Media & Society, 17(11), 1886-1906. doi:10.1177/1461444814535194

15:15 - 16:15
Designing Learning Adventures

WS (60m) Designing Learning Adventures with Playground City (Kelsey Kerce and Wes Shaffer)

Playground City believes learning is everywhere, all the time. We also believe learning can be fun, yet today’s youth have become disillusioned with the traditional classroom model, which “teaches to the test.” While technology and data are innovating at staggering rates, our education system is not providing a solid foundation for our youth to succeed in this information/digital age. In our quest to make learning more fun and to better prepare youth for bright futures, we infuse play into everything we do. We strive to find learning pathways through a system of “connected learning.”

Connected learning integrates personal interest, peer relationships, and achievement in academic, civic, or career-relevant areas. Youth learn best when they are actively creating and engaging and when they feel encouraged by peer support. Playground City uses human-centered design to create playful learning pathways to inspire a passion for lifelong learning with a connected learning mindset. We work to identify the experience that takes youth from “hanging out” to “geeking out.” Where does the point of interest become deeper and then progress to passion? For many of our youth in underserved neighborhoods, exposure is a critical first step.

This workshop will include 15 minutes of lecture and approximately 45 minutes of breakout sessions - 3 period of 5 minutes lecture and 15 minutes breakout session. These periods will be broken up into three topics:

1) a discourse on how human-centered design calls on curriculum writers to create with youth and a “how might we?” session geared toward identifying educational challenges;
2) the educational “playlist,” a series of learning experiences that result in a competency (e.g., three experiences that teach the basics of growing a plant are sprouting a seed, figuring out odd places where plants can grow, and breathing near a plant to understand the basics of photosynthesis) and rapid prototyping of potential playlists; and
3) badging (i.e., how the awarding of badges can result in equity by providing academic, civic, and career opportunities for those with recognized badges by credentialing non-traditional learning) and brainstorm in groups to discuss what opportunities badges might “unlock” within the community (e.g., a civic engagement badge might unlock a job shadow opportunity at City Hall).

08:15 - 09:45
H-Net and Digital Peer Review; Tracing New Possibilities

RT (45m) H-Net & Digital Peer Review (Robert Cassanello and Yelena Kalinsky)

Robert Cassanello, VP of Research and Publications with H-Net and Yelena Kalinsky Associate Director and Managing Editor, Reviews at H-Net launched a network based Peer Review initiative in 2016-2017. Individual networks at H-Net have launched original scholarly projects on H-Net. Robert and Yelena will address the nature of these projects and how H-Net adopted a digital peer review guidelines and standards for networks and how this process how to consider things like governance for the online network of scholarly groups. Robert and Yelena will address network based Digital Peer Review and ways in which H-Net can be a place for Digital Peer Review.

RT (45m) Tracing New Possibilities for Research and Collaboration (Kyle Bohunicky, Melissa Bianchi, Caleb Milligan, Shannon Butts, Jason Crider, Emily Brooks and Madeline Gangnes)

Despite recent innovative work in digital humanities, traditional modes of evaluating and circulating scholarship continue to create barriers for producing research. Concerns about project legitimacy and institutional support limit how scholars generate DH projects, often privileging knowledge production in digital forms that reproduce conventional modes of print media. Sharing the mission of HASTAC and The Futures Initiative, this roundtable opens a conversation about alternative forms of research and publication by discussing The Trace Innovation Initiative in the Department of English at the University of Florida—a hub for interdisciplinary research in digital technologies, media studies, and writing studies. Trace focuses on how new technologies affect the ways we read and write as well as how scholars might move away from “hand-me-down technologies” to create alternative means for research. To this end, Trace serves as a resource for scholars and collaborators across the nation who design and implement innovative technologies in humanities research, pedagogies, and maker projects.

Our roundtable details several Trace projects to start a dialogue about how emerging technologies are changing the way we teach, learn, and create knowledge. The Trace Innovation Initiative is currently comprised of several components: augmented reality (AR) applications; a big data mining program; a scholarly arts publication; digital technology workshops; a game design lab; a digital, peer reviewed journal. AR applications, called Augmented Reality Criticisms (ARCs), encourage positive political and cultural change by offering marginalized subjects a voice alongside and against hegemonic perspectives. AR projects developed by Trace, including SeeWorld and Disney Death Tour, illustrate the fundamental importance of multimodal and public writing in spurring social change and scholarly criticism. MassMine is open source software that provides digital humanists a set of easy to use tools for creating social media data archives, querying and mining the archives, and revealing the processes and technologies for generating new research methods and questions. Sequentials publishes interpretations of academic subjects or themes drawn and explained through the comics medium, contributing to the flourishing field of comics scholarship. Furthermore, members of Trace collaborate with the Marston Science Library to host maker workshops on Arduino, Raspberry Pi, and 3D modeling and scanning technologies. Play@Trace provides a space for humanities work in game design, game-based criticism, and game studies by repurposing and archiving legacy gaming technologies as well as designing subversive game media. In addition, Trace: Journal of Media, Cultures, Ecologies is an online, open-access journal that publishes interdisciplinary research at the intersections of writing studies, media studies, cultural studies, and ecocriticism.

With the rapid development of new technologies for invention and delivery, humanities scholars should continue to pursue novel strategies for creating and working within these emerging media. Moreover, the field must work towards new vocabularies, assessment strategies, and venues for digital scholarship. The various Trace initiatives demonstrate how we might imagine possible worlds for collaborative DH scholarship.

13:45 - 15:00
Soapbox Session A

SB (8m) Filtering the Flow: Interrogating Digital Culture through Web Archiving (Patricia Carlton)

Our digital culture is characterized by flow - the seamless integration of multiple digital devices and platforms and uninterrupted access to humanly imperceptible amounts of information. Given the interdependence between our everyday life and our digital devices and digitally networked systems, digital cultural heritage encompasses the ephemera of these transactions. These artefacts include private and public websites, social media platforms, the hidden code and software algorithms generated by human and machine, and the personal devices that keep our society seamlessly connected to our digital lives. Cultural heritage and educational institutions preserve and present our cultural heritage, adapting traditional methods for selection and description.Yet, the traditional means for preserving and describing these cultural artefacts rarely include references to a website's embedded, isolated objects that might reveal economic and political hegemonic forces. I argue that re-examining the fields of metadata and conducting close and creative “readings” of the embedded and often hidden content embedded in websites illuminates the hidden hegemony. In my talk, I provide examples from the Library of Congress K-12 Web Archiving Project and suggest that the deconstruction of the web crawls and creation of augmented metadata not only helps create new information, but also provides a method for critically examining digital culture.

According to N.K. Hayles, David Beers, and Nigel Thrift, our society and culture has a highly developed “technological unconscious” – our cognitive and physiological adaptations to the rapid influx of information, reciprocated by software algorithms that record our inputs and shape our intake of information. Our cultural ethos of seamless connectivity and our desire for limitless information may blind us to hegemonic forces, whether these forces be fashioned by corporate capitalism or radical populism. Yet, as much as algorithms filter our information flow, we have both the ability and responsibility to generating new filters by adding metadata. Uploading digital content, whether sharing our videos as citizen journalists or annotating documents for cultural heritage institutions through crowdsourcing, are means by which the public creates information. When we include additional metadata to our content, we are essentially creating finding aids – an added filter to the information flow.

Creating digital content and adding metadata is not enough, however, to enlighten the public to hegemonic forces, let alone challenge them. Deconstruction of information and inventive rearrangement of web content may provide insights. In this discussion, I share my students’ examination of embedded images, documents, and ads that populate their screens of information – Imperceptible or hidden content that becomes revealed in their web crawls. Studying the semiotics or cultural significance of the various artefacts certainly raises awareness of various marketing and political trends. This may be an initial step towards pausing the flow and altering the shape of our information. When guided by ethical principles and inspired by creativity (such as creating stories from the collected artefacts), the results of the web crawls may surprisingly challenge the hegemony of market-driven algorithms.

SB (8m) The Archive Gap: the Kiplings and their Indian Interlocutors (Amardeep Singh)

Various scholars have alluded to the ways in which digital archives of 19th century authors tend to favor canonical (white, male, Euro-American) authors over the voices of others. The discrepancy is partly a function of the historical record, but it is also the result of the choices digital humanists have made about what materials to include in their archives. I call the discrepancy between Euro-American dominant archives and archives focusing on the contributions of people of color and non-western authors the ""Archive Gap.""

Members of Rudyard Kipling's nuclear family lived in India for approximately thirty years (roughly 1870-1900), and all four Kiplings (Rudyard, Lockwood, Alice, and ""Trix"") published writing based on that experience. While their writing has been extremely influential in shaping how the rest of the world saw British India, as postcolonial readers of Rudyard's work in particular have often pointed out, their representation of life in the British Raj was highly ideological and often quite limited.

For that reason, my new digital thematic collection, ""The Kiplings and India: A Collection of Writings from British India,"" has been designed to balance the presentation of digital editions of literary and journalistic texts by the Kiplings themselves with writing by contemporary Indian commentators and interlocutors. The project is being built in the Scalar platform, and I am using Scalar's in-built Visualization and Path frameworks to help users learn about a series of thematic debates in British Indian life: the famines, gender issues (especially around marriage law and the rights of Indian widows), and the advent of the Indian nationalist movement.

SB (8m) Innovation in the Global Midwest: Research and Pedagogy Across Regional Archives (Ned Prutzer, Stephen Horrocks and Anita Chan)

For as varied and diverse as innovation developments have been in the Midwest – with the region hosting the first computing-centered industrial district prior to the rise of Silicon Valley – existing literature in the social and historical studies of technology has placed relatively little emphasis on the region. In keeping with the theme of this year’s HASTAC -- that explores “The Possible Worlds of Digital Humanities – this proposal highlights a multi-sited collaboration that brings together scholars from across varied locales of the “global midwest"" -- the University of Illinois at Urbana-Champaign, Purdue University, and the University of Minnesota. These sites are brought together as a cross-disciplinary, multi-campus coordinated exploration into the Midwest's layered innovation histories that have often been overshadowed by innovation narratives focused on dominant regions and centers of computing (whether academic sites like MIT or Stanford, or regions like Silicon Valley and Massachusetts' Route 128). The Illinois research team’s case studies, for instance, include early innovations in education technology and online distance education such as PLATO (Programmed Logic for Automatic Teaching Operations) and PrairieNet and LEEP (Library Experimental Education Program); interdisciplinary cybernetics research with the Biological Computer Laboratory (BCL); and pioneering building, campus accessibility, and wheelchair athletics designs within DRES (Division of Disability Resources and Educational Services) research.

Our research collaboration adopts a distinct approach to innovation studies by looking to shed light on interdisciplinary digital developments in the Midwest that necessarily bridged expertise from social sciences, natural sciences, engineering, and humanities. Our work proposes developing a means to extend research and pedagogical resources – both existing and proposed, and both physical and digital – to expand greater visibility of such local, multi-disciplinary histories around collaborative regional innovation. The project thus resonates with conference themes on interdisciplinary goals and conversations in the digital humanities as well as challenges in the communication of knowledge across disciplines whose bridgings represent the various potentials and “Possible Worlds of Digital Humanities.”

Our group proposes a “soapbox” talk in which researchers from our multi-campus collaboration briefly narrate how local institutional and regional archives, living subjects and potential research participants, and the history of the various projects being studied shapes the local research process at each site. Researchers will share some preliminary findings from regional archives, highlights their takeaways from the overall process, and discuss how dialogue within and across sites organizes this collaborative research process. The goal is to highlight collaborative research engagement with regional archives as well dynamic, living institutional archives. In terms of technological considerations, our proposed talks would only require projection for working through our collaborative work on Scalar as well as other digital resources we may wish to highlight.

SB (8m) Archival Futures (Ali Rachel Pearl)

Archives are traditionally considered to be concerned exclusively with the past, but as archival scholar Michelle Caswell suggests, “How we as members of local and global communities remember the past is wholly bound up with how we imagine what is possible in the future.” If archivist and scholars are silencing certain pasts by not making space for them in traditional memory institutions, they are disallowing marginalized and excluded voices and communities from using records, memories, and visions of their own pasts to imagine new futures. Given that, as Caswell says, “digital archives are now providing unprecedented opportunity for individuals to communicate memories, for communities to forge collective memories,” it is time to begin evaluating how digital archives can be reimagined to serve marginalized communities and to build more just futures.

I am proposing a “soapbox” talk to highlight some current digital archival projects that are future oriented. I also intent to showcase a couple archival methodologies that utilize digital tools in ways that address race, gender, class, and access more effectively than traditional approaches to and understandings of archives. We cannot conceive of more socially just worlds in a digital era if we don’t account for how marginalization of histories are inextricable from marginalized futures. Archives is just one area where digital humanities intersects with race, gender, and class, and it’s a hugely important area if we are considering issues related to building new futures that depart from structurally oppressive colonialist, racist, sexist histories.

SB (8m) Difficult Digitization on a Dime: Crowd-sourcing Ideas to Harness Emerging Imaging Technology (Chris Strasbaugh)

It started with a problem and a Raspberry Pi. Faced with having to photograph student architectural models for entry into our digital library, the question arose, how do we capture the interiors? Inspection cameras are very low resolution but with a fabrication lab at my disposal and the plethora of highly document solutions to similar problems on the internet, all I needed was a reel of ABS plastic, a 3D printer, and a Raspberry Pi to creatively document these difficult spaces. Using plans from Thingiverse, a camera kit with the Raspberry Pi, and a lot of trial-and-error we have created and continue to fine tune an inexpensive and much more robust camera for architectural models.

This project wasn't about solving a specific problem. It was more about changing our perspective about what is possible when you employ the help of hundreds of people through various crowd-sourcing sites and forums. Instead of searching for a replacement to our wide-format scanner, we are adapting the plans of a rolling, overhead video rig designed for DIY cooking shows and some open-source photo stitching software to provide us the flexibility to digitize large format drawings and architectural models for a fraction of the cost. We are also approaching 3d scanning and automation differently since there are detailed instructions on how to hack cameras to do what we need.

This approach to searching, hacking, adapting, and sharing ideas online helps us to tackle big problems in content creation and usability for the digital humanities. By harnessing the creativity and experience of a large community, everything is possible.

SB (8m) The Invisible Labor in Digital Collaborations (Dan Martin)

In Net Smart, Howard Rheingold highlights several new literacies that are important for interacting in with digital writing and media environments (5). His definition for collaboration literacy can help expose more fully how invisible labor works in digital collaborations. Rheingold mentions that coordination, cooperation, and collaboration are three symbiotic facets of group work that are important for digital collaborations, and they require a significant amount of hidden labor that goes unnoticed. Rheingold contends that coordination “requires all involved parties share information and modify their activities for mutual benefit” (154). This requirement for successful group work asks group members to give up power and control over certain aspects of the project and to learn other aspects of the project they may not be familiar with. This can create additional stresses and tensions to manage.

Requiring other members to learn information out of a larger, more structured, context can be difficult and frustrating. Asking group members to relinquish authority or power over ideas or areas of expertise requires a rhetorical negotiation process that is complicated and laborious. Cooperation requires an even larger “amount of commitment and risk . . . than coordination” because cooperation requires everyone to meet common goals and to move away from “self-interests” (Rheingold 154). The work that goes into convincing group members to abandon self-interest and to continually keep the group goals and objectives at the forefront can be extremely tedious and time consuming. This also is a task that must be rhetorically negotiated and managed throughout the project and not just at one time or point in the project. The third facet is the actual collaboration. This is the “collective action” taken to complete a task, and this collective action is based on how well coordination and cooperation are managed.

There is a significant amount of hidden labor taking place during digital collaborations that needs to be drawn out and accounted for. My presentation examines how students managed hidden labor in a website collaboration project I require in an upper division Writing in Digital Environments course. This assignment asks students from different disciplines (some of these disciplines are IT, Writing and Rhetoric, Advertising and PR, and Film) to interact, collaborate, and create a website resource for digital writing environments that requires them write code and text, and to make videos, infographics, charts, graphs, and images. The questions driving this research project and presentation are where does invisible work occur in digital collaborations? Why did it occur? What work went unnoticed and why? For this presentation, I surveyed students from two Writing in Digital Environments courses on invisible labor in their group projects, and this presentation explores the results of this survey in relation to the research I found on hidden labor and digital collaboration.

SB (8m) Why is Gale Shrinking America? Or, Sabin’s Bibliotheca Americana and the Database’s (National) Limits (Mary Lindsay Van Tine)

This “soapbox” talk will offer a genealogy of the Gale database Sabin Americana 1500-1926, tracing its origins through an earlier Readex microprint project to Joseph Sabin’s Bibliotheca Americana, a monumental 29-volume “Dictionary of works related to America” begun in 1868 and completed in 1937. While Bonnie Mak, Ian Gadd, and others have explored the bibliographic roots of much-used digital resources like the ESTC and EBBO, the category of Americana has a distinct bibliographic tradition whose digital implications have not been examined. While many contemporary databases derive from earlier bibliographic projects organized by language or nation, “Americana” was for Sabin and his contemporaries a transnational and multilingual category that understood “America” as the entire Western Hemisphere. Sabin and other nineteenth-century bibliographers of “Americana” ultimately produced works with an implied teleological view of a New World history that began with “discovery” and culminated in the emergence of the United States; nevertheless, they conceived of the early history of the hemisphere as a shared one, and their work emerged from an extended scholarly network that encompassed not only the Anglophone but also the Hispanophone world.

While Gale’s database borrows Sabin’s name and title, it is otherwise strikingly vague on the exact nature of its relationship to the original print bibliography. A close examination reveals that, although the structuring logic of the database is not dissimilar to Sabin’s alphabetic schema and indexing, its selection principles and framing radically redefine America as the United States. Unlike the original bibliography, the vast majority of the works included are in English, with few in Spanish and even fewer in indigenous languages. The search interface offers ""subject"" options that uncritically sort the entire span of New World history into U.S.-based periodizations: colonial era, early republic, antebellum, postbellum, and so on. These silent omissions both assume and reinforce the conflation of ""America"" and ""United States.” When a database that claims to be “drawn from Joseph Sabin’s famed bibliography” and, like it, to “cove[r] four centuries of life in North, Central, and South America, and the West Indies,” returns overwhelmingly English-language sources from the “colonial era,” or fails to produce a single hit for one of the most prominent Mexican historians of the nineteenth century while returning dozens for his U.S. counterpart, the effect is not just inaccurate but deeply pernicious. I will argue that this dramatic shift is not so much a function of digital remediation as of a changed scholarly infrastructure that cannot accommodate the capaciousness of “Americana” in its earlier bibliographic sense. The logic of nineteenth-century Bibliotheca Americanas, I suggest, invites us to think otherwise, offering an alternate bibliographic framework that might inform the development of non-proprietary digital systems for bibliographic control.

08:15 - 09:45
Multi Lobes, Multi Modes; UCF Digital Storytelling

RT (45m) Multi Lobes, Multi Modes: Fostering Student Engagement and Learning Through Multimodality (Garrett Colón)

As academics seek to discover new ways to engage diverse bodies of students across classroom contexts, an opportunity for digital humanists to craft more culturally sustaining pedagogies emerges. Accommodating the needs of students in the scope of the classroom can be approached in a number of ways. Multimodal composition, as I plan to make evident through my research, offers students the opportunity to make meaning and create new meaning in ways that may have close ties with their discourse practices—either in terms of the cultural and linguistic diversities that they bring into the classroom, or the professional/academic literacies that they inherently exercise in their respective disciplinary niches.

The interactive project that I’d like to share was composed during the fall semester of 2016 as my final project submission for a graduate Visual Rhetorics seminar at Michigan State University. It presents itself as a poster board sporting a hands-on model of a brain at its core, with respective pieces designated to different areas or “parts” of the brain, branching out across the board’s capacity. Each component of the brain model is given its own branch, with a picture of the individual structure and an accompanying QR code (total: 13). Engaging a roundtable with this poster board project involves participants scanning QR codes with their cell phones to explore and experiment with the different areas of the brain in different ways. Here’s how: once a QR code is scanned, different components of the brain model are supported by either a brief YouTube video describing the given area of the brain, a still visual representation, a text-based description, or audio feature to promote a multimodal learning space. Those engaging with the project may find that they prefer certain modes over another as they learn about different components of the brain’s makeup. This direct exposure to different modes, their affordances, and their limitations works to communicate the different ways in which knowledge and material is learned and comprehended, while also suggesting the cognitive and sense implications of multimodality and student learning.

This project, at the height of its merit, places a group of participants in the student learning position. This experience could allow for a follow-up discussion on how pedagogues might go about adapting to the available modes of composition and meaning-making that look beyond standard text and essayist practices in courses incorporating any degree of student writing. I trust that the work of multimodality, as its situated in my home field of rhetoric and composition, overlaps with practices in the digital humanities as I’ve experienced them during my undergraduate digital humanities work at the University of Central Florida from 2013-2016. Given the nature of the theme for HASTAC 2017, it is my goal to communicate the importance of working toward a future of more inclusive classroom opportunities in the digital humanities and beyond.

RT (45m) I am UCF Digital Storytelling Database Panel Presentation (Stephanie Wheeler, Amanda Hill and Elizabeth Horn)

I Am UCF is a cross-disciplinary effort to create digital stories representing the diverse narratives of the University of Central Florida’s (UCF) campus body. As a digital narrative initiative it works to create a digital archive of personal digital stories created by UCF students that reflect the diversity on UCF’s campus. Spearheaded by faculty in the Theatre, Digital Media, and Writing and Rhetoric degree programs and the Social Justice and Advocacy center, students share their unique story through digital storytelling, a medium that fuses together writing, audio, visual, digital, and performative elements. Collectively, these stories will be made available online to provide a virtual campus map to promote a greater appreciation of the breadth of student perspectives at UCF. The panelists each approached the project from different perspectives: writing, theatre, and digital media. They will discuss their unique viewpoints on the creation process and the product including benefits and areas of opportunity for growth.

The I Am UCF digital archive showcases the voices and creations of the students and additionally will create a visual and sortable campus map for users to view the digital narratives. I Am UCF asks: In what ways do the multiple disciplines (writing, digital media, and theatre) influence one another and the digital storytelling process? How does the project address the need for greater accessibility and inclusion on campus? What is the “second life” of these stories as they are shared through social media? Through this project we seek to create a visual online exhibition featuring diverse student voices that can help students see their own experiences reflected back to them in a way that is empowering and reassuring. We believe sharing diverse stories such as those collected in I Am UCF will help to establish a broader campus narrative that enables all students to see themselves within this community. Keeping students engaged and engendering an atmosphere of support is key to student retention, success, and well-being. Through this project students collaborated with interdisciplinary faculty and staff to help create this online repository of support and affirmation. These digital narratives were initially developed within select groups of students and classrooms, but we aim to create a model that can be used by various classes and campus organizations, allowing the diverse body of students to self-advocate by having their stories represented on this public digital archive. Sharing our digital archive in a project demonstration would help us advocate for this important campus tool and spread the word to inspire further participation and partnership.

10:00 - 11:00
Critical Language Awareness; Living Monument; Diagnosing Depression

PD (20m) A Digital Module on Critical Language Awareness: Resistance and Social Justice in the Classroom (Sergio Loza and Angelica Amezcua)

Despite Spanish being the second most spoken language in the U.S., its speakers often face hegemonic language ideologies. Moreover, it is vital for Spanish heritage language instructors to address these socio-political topics embedded within the heritage language itself. Spanish heritage students are speakers that were raised or born with an exposure to this language normally starting from birth (Valdés, 2001). Spanish is often relegated to a subordinate status in American society. Both within institutions and society, English monolingualism is often perceived as the national norm. To this effect, it is often the case that Spanish as a minority language is impacted so that it is lost among and within generations. This is primarily due to the implementation of educational policies that, not only target bilingualism, but also contribute to the devaluation and marginalization of Spanish. Therefore, as educators and speakers of Spanish it is vital to challenge the devaluation and marginalization of Spanish, and one way to accomplish this is through incorporating critical language awareness in heritage language pedagogy. In heritage language pedagogy and through critical language pedagogical framework, the classroom should serve as socio-political space to bring the students’ and communities’ experiences to the center of the classroom (Leeman, 2005). This presentation focuses on the different ways of implementing media in a Spanish heritage language classroom to develop students’ critical language awareness. This is achieved via an online module that introduces real-world examples of the consequences of language subordination with the goal of exposing students to critical thinking of hegemonic ideologies. This module is divided in four parts: 1) English positioned as the prestige language, 2) monolingualism presented as the “norm,” 3) the societal impact of the classification of “minority languages” and 4) linguistic prejudice and subordination. In doing so, this module contributes to students becoming agents and critical thinkers of language in society who can deconstruct, challenge, and advocate for the validation of Spanish in the U.S.

PD (20m) The Children of Föhrenwald, a Jewish Shtetl from the Post-Holocaust Displaced Person Camp, are Reconnected through an Interactive Documentary Project and a Virtual "Living Monument" in the Newly Designed Handy-Memorial App (June Owens)

Oral histories have been conducted on Föhrenwald Children and their suffering in refugee camps after World War II and the Holocaust for a very long time. It is a crucial matter that has affected many lives since 1945. To talk about the Föhrenwald Children in depth, many of David Boder’s research and used similar methods have been cited for further analysis.

Also, two of the Föhrenwald Children were interviewed who lived together and grew up in the same camp. Föhrenwald Children faced agony, distress, and even happy childhood memories daily in their ‘specialized’ camps known as ‘Displaced Person’ (DP) camps. These were only two of many untold stories hidden in the homes of various Föhrenwald Children.

Hence, creating an interactive documentary: a “site-specific” virtual “living monument” in the newly designed Handy-Memorial app where historical accounts are accessible and oral histories experienced.

An interactive online platform creates memorials that will be available for everyone worldwide to connect more easily and share information, stories, and objects. These first-hand stories will enable historians and those in the education field to conduct better research and educate the next generations to come.

Owens is creating an original interactive digital content across many platforms (tablet, mobile and the Web). Owens is in the production phase of her Interactive Documentary about Displaced Persons camps in West Germany from 1945-1952 to what life looks now in 2017. She is representing and creating reality in digital environments that will open new ways to allow people to co-create and collaborate.

She is exploring memory, identity, and documenting everyday life. Owens is specifically interested in Jewish cultures, memories and eye-witness accounts and identities in the 40’s to what it is now in 2017 in Germany. Testimony thus far indicates that the Displaced Persons camps today are unknown and forgotten. It is important to know what happened to the survivors, or those who came in the survivor’s place, after the Holocaust.

Owens will create a new historical record by making photographic images, text and video/oral interviews in Germany where Displaced Persons camps were once located. History of the past, along with publication of rare documents that have never been published and/or are difficult to access, will be shared through the creation of an Interactive Documentary. The form of digital storytelling gives others opportunities to co-create, learn, discover, explore, archive and collaborate.

PD (20m) Diagnosing Depression: Building an Open-Source Tool for Mental Health (Michelle Morales)

Developing an easy-to-use open-source tool to support the timely and accurate diagnosis of depression may lead to a significant increase in appropriate treatment, particularly in regions underserved by health care. Through my work on OpenMM, an open-source tool, I will show how multimodal feature analysis can complement advances in natural language processing and human-computer interaction in order to improve the likelihood of successful diagnosis and treatment.

Depression is a serious mental health issue that affects millions of people globally. The World Health Organization estimates that by the year 2020, depression will be the second largest cause of burden of disease worldwide. Due to the variation in how depression presents itself within each person, it is difficult and time-consuming to diagnose. Since diagnosis often relies on a clinician's assessment, it is also subjective. Moreover, many under-served regions have severe shortages of clinicians who can make the diagnosis. Even in areas with well-developed health systems, less than half of those suffering from depression receive treatment. Given advancements in hardware and software, coupled with the explosion of smartphone use, possible health care solutions have begun to change and interest in developing technologies to assess mental health has grown.

Researchers in natural language processing and human-computer interaction have made significant progress in building systems to automatically detect depression, but many challenges remain. One major challenge is determining which features, from which modalities, are most successful in training an algorithm to make a correct depression prediction. In an ideal world, researchers would provide the machine with the same streams information a clinician receives, e.g. multimodal features (video, audio, and language). However, multimodal features are extremely time intensive to engineer as they involve multiple data sources as well as expertise across modalities.

In order to facilitate and promote multimodal research in computing and mental health, I present OpenMM, an open-source tool for multimodal feature extraction, which is available for download ( This demo will outline OpenMM describing each of its components in depth. The demo will walk through each modality (video, audio, and text), explaining how OpenMM analyzes and extracts meaningful features from each data stream. The demo will also explain how to download, install, and run the tool. Lastly, I will show how OpenMM can be used to build a system to detect depression as well as highlight our system performance, which is 76% accurate in detecting depression.

13:45 - 15:00
Soapbox Session B

SB (8m) Values Beyond Cost: Open Educational Resources in the Humanities Classroom (Deanna Sessions)

Open Educational Resources (OER) are educational materials and resources offered freely and openly for anyone to use and under some licenses to re-mix, improve and redistribute. Usually touted as alternatives to expensive textbooks and rising educational costs, there has been a push for the promotion and development of these type of materials. Using OER makes sense in an economics or science classroom, where a textbook may cost upwards of three hundred dollars, but how can we imagine OER in the environment of a humanities course where required texts can be found at a used bookstore for a few dollars each? Where can we add value for our students - and create teaching and learning resources that embody a humanistic pedagogy that is interdisciplinary, collaborative, participatory, and accessible? This paper explores several case studies related to OER and affordable course content coming out of New York University’s Office of Educational Technology for Faculty of Arts and Science. In the first, faculty from the Expository Writing Program and instructional technologists iterate over the course of several semesters to create a digital course reader for a year-long, essay-writing course required of all Tisch School of the Arts students. The e-reader was used in conjunction with several digital annotation platforms, with the instructional goal of making texts truly “open,” to encourage student engagement with course content and foster collaboration. While eventually successful in eliminating text costs, the Tisch e-reader initiative ultimately proved costs are not the only factor when determining value of educational materials.

In the second, faculty create instructional video modules to supplement course texts for a philosophy course, “Ethics of Identity.” Students are required to read both philosophical and literary texts - some with little to none existing contextual or critical resources. Faculty are in the process of creating short video modules providing biographical, historical, linguistic, and cultural contexts for these works. By creating open, reusable resources, we hope to supplement our students’ learning, as well as encourage the adoption of these novels into syllabi and courses across the university and the global network.

Finally, instructional technologists and subject librarians collaborate to address twin concerns of affordability and accessibility. Faculty will be able to submit syllabus to an optional review service. Subject librarians will advise on affordable course content and open educational resources (as substitutions and/or supplements) while instructional technologists offer any feedback to make sure that course materials can be accessed by those with disabilities, foreign language issues, or other needs that could affect accessing required course material.

Overall, these case studies demonstrate that OER can add value to a humanities course, not just reduce costs. By embracing and expanding “open” to all its definitions, we can develop pedagogical materials that foster collaboration, participation in the knowledge-building process, and equitable access.

SB (8m) Towards a Digital Humanities Design Pedagogy (Pouya Jahanshahi)

The field of Digital humanities by the virtue of its own mandate is bound to demand a new generation of thinkers and makers – one comprising of a hybrid skill set of not only writing and mastery of the textual realm, but a keen awareness of processes and potentialities pertaining to the visual realm.

Meanwhile, contemporary programs in design education have been undergoing constant and rapid change during the past two decades, reflecting that of the design arena. From interface design to motion graphics and information design, new landscapes demanding the attention of design educators and institutions towards new paths. Bearing the brunt force of the fluctuations in the curriculum structure, and in order to satisfy the needs of upper level courses and the professional arena, foundation faculty are faced with decisions that tend to arrive at either maintaining the status-quo or a constant editing or juxtapositions.

Considering these parallel currents, this paper proposes an alternative approach to structuring content and curriculum, with a focus on the foundations: Implementation of project based structure and focus on human creativity and knowledge production, and setting a pragmatic and adaptable course for the Century ahead.

Adopting principles based on Bauhaus and Basel schools of thought and design, this document proposes a synergy of traditional content and contemporary perspectives into a 1-year long foundations course.

This hybrid structure will encompass:

• 2d / 3d design • applied technical skills • exploration of methods of inquiry and knowledge production • surveys of contemporary culture •classroom based learning complemented by hands on approaches • collaborations and interdisciplinary activates

• governance of a “Human Creativity” model will govern the over methodologies,

These characteristics shall allow the foundations year to create a base for building upper division and specialized program needs as they vary per institution, while staying nimble and responsive to a landscape that will undoubtedly remain in a state of constant flux for time to come.

Note: This paper is a reflection of the process and ongoing results of the directive to restructure and revise the foundation courses at Oklahoma State University, Department of Art, Graphic Design and Art History.

SB (8m) Bridging the Gaps: Digital Humanities Labs as Spaces of Access and Engagement in the University (Geoffrey Gimse)

While it may not have always kept pace with the rapidly evolving state of digital technology, digital scholarship in the humanities has come a long way. Researchers today regularly use, create, design, and deploy digital algorithms, techniques, strategies, and media to gather new insights into their topics of interest. For some, this analysis has turned to the very systems and structures that drive these technologies moving from new media studies, to software studies, to critical code studies and beyond. This ongoing research into these underlying structures has helped to create new understanding into how publics and individuals construct much of their modern world and has created new possibilities for research and analysis. Quite often, at the center of this growing research stands the digital humanities lab. These labs often act as points-of-entry for digital scholars and, at their best, bring together different researchers with a shared interest in digital technology. Digital humanities labs have helped to open new doors to interdisciplinary practice and collaboration. This growth and development does not come without challenge, however. As digital research grows in importance and new technologies and disciplines arise, a growing series of divides are beginning to appear. In this soapbox talk, I will highlight two divides: the separation between digital humanities scholars and non-digital humanities scholars and the separation of digital scholars from digital developers and designers. I will argue that these divides, while different, both stem from a failure of digital scholars to effectively engage with these two publics, and I will suggest that digital humanities labs can and have become spaces where those divides can be bridged. By moving beyond highlighting academic scholarship in the digital humanities into providing access to shared pools of expertise in both the humanities and technology, digital humanities labs can continue to drive new research and interest. In this sense, the digital humanities lab becomes more than a technical makers’ space, which carries its own affordances and barriers, and into a space for academic and technical inquiry and invention. This is not an easy balance to maintain, and is often an ongoing struggle for smaller labs. Using examples from my own work and experience with the University of Wisconsin – Milwaukee Digital Humanities Lab and the work of others, I will suggest ways in which digital scholars and digital humanities labs can help to make digital humanities scholarship more accessible and useful to audiences and researchers inside the university and beyond. As we think of the worlds made possible by the digital humanities, we must be careful to ensure that access to those worlds is not limited to a privileged few. Digital humanities labs, large and small, can help to make those worlds more accessible to all.

SB (8m) From Fake Participation to Embedded Selves: Four Dimensions of Participation in Open, Online Learning (Kira Baker-Doyle)

Open, online learning has been embraced by some educators as a way to broaden the networked scope of learning and foster connections to real world contexts and communities. Openly-networked learning introduces a different paradigm of student engagement, shifting from a traditional mode of participation in which the student primarily engages dialogically with the instructor regarding assignments and feedback, to one in which students exchange information, resources, and feedback with each other and the communities in which the course connects the students. The shift represents a different way of thinking about equity, access, expertise, and public representation in learning contexts.

This presentation describes the results of research on the ways in which students participated in an open, online course that used the Connected Learning (Ito et al, 2010) approach as a pedagogical framework. Connected Learning emphasizes openly networked and peer-supported learning. The findings demonstrate tensions for students in their expectations and understanding of participation in the openly-networked paradigm of learning. This presentation will describe the four different ways in which students perceived and enacted participation in the course, ranging from “fake participation” to authentically embedding themselves in the learning community. This research has significant implications for issues of access and equity for openly networked learning and has specific take-aways for online practitioners regarding how to establish a culture of democratic participation in an open, online course, and how to evaluate participation.

SB (8m) How to Transition into the Coding World: Lessons Learned from Teaching Humanities Students (Joseph Fanfarelli)

Learning to code for the first time is typically a challenging endeavor, but more so for students who doubt their capabilities. After all, a student’s self-perceived ability to succeed (self-efficacy) is strongly related with her classroom performance (Chemers, Hu, & Garcia, 2001). Thus, a student who believes coding is hard or I’m not a coder may be reducing her chance of success before her study even begins.

This “soapbox” talk will examine this phenomenon in reference to humanities Ph.D. students in a face- to-face web coding course. Students in this course have varying technical skillsets, but most enter the course from traditional humanities backgrounds with no coding experience. As such, many students exhibit a strong overt apprehension toward the topics of study. This talk will discuss the challenges faced in teaching these students, and the strategies that have been implemented to address these challenges. Specifically, it will examine topics such as identifying and addressing preconceived weaknesses at the beginning of the class, encouraging students and acknowledging their learning progress, and making the content more relatable.

Another key issue is the technical jargon and ways of speaking that are common within the coding world; a field-specific vocabulary becomes a barrier of entry to students who have never encountered it, providing a strong source of apprehension for novice coding students. Thus, this talk will also address how prior knowledge in reading and writing can be used to bridge the gap between general and coding literacies. It will discuss the similarities between English language structure and coding structure, creating simile between writing sentences and coding statements, punctuation and syntax, paragraphs and functions, and so on. It will draw lessons from the very basics of algebra to explain how variables are used in coding, and explain how basic knowledge of pop culture dance can be leveraged to teach functions and loops.

This talk will be targeted to two types of audiences. First, educators looking to teach coding to students with no prior experience, whether they are humanities majors or not, will identify new strategies for presenting and relating material to their students. They will come away from this talk with specific strategies they can implement in their courses. Second, individuals looking to learn to code for the first time will be introduced to basic coding constructs in a way that is understandable to those who are not part of the coding in-crowd and who are not yet literate in coding jargon. With this portion of the audience, the goal is to provide a starting point and encouragement for learning to code. Overall, this talk will identify ways to bridge the gap between prior knowledge and coding knowledge in order to help apprehensive participants or their novice students to transition into the coding world.

SB (8m) Raspberry PMREK (John Bork)

While the stereotypical scholarly aversion toward developing technological prowess and programming skills has long been laid to rest by the emergence of digital humanities, and demands for cost analysis, schedules, and project management reflect the extent to which an engineering mindset has infiltrated academic thinking, hard problems remain, precisely at the interface of hardware and software systems. Montfort and Bogost explore this territory by introducing platform studies, a low level yet comprehensive perspective on cultural artifacts like the Atari VCS. However, meaningful tinkering with extant devices implies familiarity with electronics, as well access to circuit schematics and technical data for reverse engineering. Moreover, mistakes can ruin fragile circuitry and components.

Raspberry PMREK combines a fully playable, classic electronic pinball machine whose missing sound board has been replaced by a Raspberry Pi passively interfacing the existing microprocessor control unit (MPU) via custom circuits connected to its GPIO connector. Its inspiration is the Pinball Machine Reverse Engineering Kit (PMREK), a free, open source software project that completely replaced the MPU. Besides risking damage to the game’s working parts, it relied on the availability of ISA bus computers, an ISA prototyping board, and a number of obsolete integrated circuit chips. While the ubiquitous, inexpensive Raspberry Pi seems like an obvious substitute, understanding the technical reasons why it is not exposes a class of hard problems for digital humanists seeking to undertake studies that span software and hardware, revealing the irreducible materiality of the former through its interactions with the latter. It embodies the platform studies level of analysis, examining the ways the same MPU used in thousands of pinball machines manufactured from the late 1970s through the mid 1980s generated sound effects during game play. Over the years they transitioned from a xylophone struck by individual solenoids, to digitized sound effects, background music, and eventually synthesized speech, all triggered by the MPU.

The initial goal for the media arts show is to successfully replace a missing sound board by tapping into the solenoid control bus used to trigger it, and based on its detection of solenoid requests via the Raspberry Pi’s GPIO data interface, employ custom software to generate sound effects via the Pi. This passive approach reduces the risk of damaging the other circuits on the game that made the original PMREK project so risky, and presents a lower stakes reverse engineering challenge: determining whether and how user space programs on the Pi can perform the high speed input/output operations required to detect the state changes on the solenoid bus and generate the sound effects without recourse to developing a custom Linux kernel module. Beyond simulation of the original equipment, new interpretations of the game’s theme could be created by extending the repertoire of sounds and voices by writing more software, and devising ways to track the state of the game to go beyond the original signaling done by the MPU. Doing so invites interdisciplinary collaboration between those skilled in electronics, software engineering, digital composition, and game play mechanics.

08:15 - 09:45
Platforms that Matter

RT (90m) Platforms that Matter: Fans and Digital Spaces (Kristina Busse, Francesca Coppa, Jsa Lowe, Katherine E. Morrissey and Mel Stanfill)

Since its emergence in the 1970s, media fandom has utilized a range of different technologies to collaborate and communicate. With each new platform, new features are introduced and previous norms are reworked. This session examines how platforms matter in contemporary fan cultures and practices. In particular, we interrogate the features and assumptions built into platforms, their affordances and limitations, and the ways they materialize in code and through social norms.

Francesca Coppa, one of the founders of the Organization of Transformative Works (OTW), discusses how fandom’s founding of OTW and building projects like the Archive of Our Own (AO3), the CC Gold Open Access journal Transformative Works and Cultures (TWC) and the wiki Fanlore were based in a realization that fans needed to own the servers that housed their works and tracked their networks. This anticipated current digital humanities initiatives for scholars and teachers like UNW’s Domain of One’s Own and Open Media Scholarship, pointing to academia’s similar need to develop alternatives to corporate, for profit scholarly tools and paywalled journals that make scholarship inaccessible and unusably expensive.

Also taking a long view, Kristina Busse examines the challenges scholars and teachers face when selecting fan works to discuss in their research or use in teaching. Researchers are forced to choose between the accessibility of texts on open platforms and the intertextual quality of fan texts intensely situated in more closed communities. Busse outlines the methodological and ethical tensions that arise when choosing between exemplary versus representative fan texts.

In contrast to the models offered by AO3 or in fan fiction communities, the next two presentations address the challenges fans face when using mainstream commercial platforms like Tumblr and Twitter. These are platforms where fans have far less control and input. However, Twitter and Tumblr remediate and transform classic fan practices/features. JSA Lowe and Mel Stanfill examine ways Twitter brings fans and celebrities into closer proximity, facilitating both contact and harassment. In particular, we discuss actor William Shatner’s attacks on queer and women fans on Twitter. We use this case study to consider how Twitter’s affordances simultaneously amplify and diminish user inequalities.

Finally, Katherine Morrissey interrogates Tumblr’s emphasis on reblogging and tag surfing, outlining ways these features lead to charged encounters between different fans. Tumblr’s reblog, ask, and tagging features extend and dramatically transform long-standing fan practices. As a result,Tumblr is viewed, simultaneously, as a problematic echo chamber, a social justice powerhouse, and all that is wrong and right about contemporary media fandom.

Through these historic and contemporary views, we investigate the specific intersections of technology with fan practice. This allows us to better understand how fan cultures have engaged with specific platforms over time and the ways fan engagement and practices shift along with their platforms.

10:00 - 11:00
Tech Environment of New Media

RT (60m) Technological Environment of New Media and Open-Ended Training Pattern for Creative Media Talents (Xin Xun Wu, Ling Jiang and Lanlan Kuang)

The practices in the media and cultural and creative industries (CCIs) suggest that an integrative trend in the totality of media network, including integrations in the modes of information production, communication channels and terminals, and the appearance of prosumers, is revolutionizing information environment and the way of being. This is particular true when considering the full-fledged prevalence of mobile videos in the media networks thanks to the development and application of 4G and 5G broadband technologies. The 4G technology, in this sense, ushers in a new “Era of Moving Images”. Meanwhile, the new media technologies also create a need for new types of talents and pose great challenges to the traditional pedagogical principles and modes in training media and CCI talents, necessitating a strong need to reexamine and reflect on the past experiences. This article explores diachronically the interplay between the disciplinary evolution of journalism and communication studies and the ICTs (information and communication technologies), identifies the new features of human innovations under the new media circumstances, especially in the Era of Moving Images, and elaborates on the cutting-edge solutions adopted by the profession and academia of international journalism and communication in coping with the changes in the media ecosystem. Besides, it also takes “The Rookie’s Innovation Platform” developed by Shanghai Center of Innovations in Social Sciences and the Institute on Cultural Prosperity and New Media Development under Shanghai University as a case study to unveil the efforts Chinese academia has made to innovate the training pattern under new media circumstances.

13:45 - 15:00
Soapbox Session C

SB (8m) It's All in the Bag: Developing the BookBag Tool to Organize and Analyze Data and Create Narratives Onsite (Connie Lester)

Archival databates are static repositories for housing data. While useful to researchers, they require users to download images, documents and oral histories in order to analyze the data and develop a narrative. The Regional Initiative for Collecting Histories, Experiences, and Stories (RICHES) has developed digital tools to enable users to organize and analyze the data and begin the process of creating an interpretative framework onsite. The BookBag tool is useful for classroom use, for academic research, and to general reading audiences.

RICHES is an interdisciplinary, collaborative, academic-public, digital project that was founded in 2010. RICHES is funded through the University of Central Florida College of Arts and Humanities and the Office of Academic Affairs, internal grants, community grants (Florida High Tech Corridor Council and Winter Park Health Foundation) and grants through the National Endowment for the Humanities.

RICHES has two goals: 1) to serve as a model for documenting regional history, especially “hidden” history and culture, through an interactive database that draws from multiple repositories and personal collections, and 2) to develop new digital tools for historians. Omeka, is an open source data management software used in over 300 sites (including the Florida State Archives). RICHES MI is a graphical, map-driven interface that overlays the Omeka database and serves as a sensemaking system for historians by accessing co-located collections. a ""sensemaking loop"". Researchers using RICHES MI follow the “sensemaking loop,” described by Pirolli and Card (2005), that models the process researchers use to develop theories and deep understanding of historical periods or events: searching and filtering, saving information found in their search, analyzing their findings and finally exhibiting their narratives. The RICHES team has developed two sensemaking tools: Connections and BookBag.

The BookBag tool has been available to users since the RMI site opened in 2012. Initially, registered users could save search items in the BookBag and create a photographic slide show. Additional refinements followed, and in the current iteration, the affordances of the BookBag include: allowing users to annotate individual saved items and organize their historical data into folders according to their research needs; visualizing saved items on a timeline and a map; browsing the Omeka archive from the BookBag view; suggesting new items for their BookBag based on the RICHES Connections algorithm; visualizing comparisons of topics and tags for saved items; and providing StoryBoard space to let users aggregate their thoughts into a narrative or interpretative analysis.

Peter Pirolli and Stuart Card, “The Sensemaking Process and Leverage Points for Analyst Technology as Identified Through Cognitive Task Analysis,”

SB (8m) Measuring the Impact of History Harvests on UCF and its Community-Based Partner Institutions (Abigail Padfield)

History Harvests are community events, where students and residents, together collect and preserve history. Starting in 2010 at the University of Nebraska, Lincoln, History Harvests broaden the historical conversation, from elite to popular, democratizing history by involving community businesses, residents, and scholars. From the personal collections of the community, new histories and conversations arise, opening up the conversation to those that do not usually participate in history.

The University of Central Florida brought History Harvests to the Orlando community. Graduate students in Public History classes organized the harvests, getting the community involved and sharing their history. UCF has successfully held three Harvests within the community, with three more, funded by the National Endowment of the Humanities, will be completed by June 2017. All are hosted in RICHES.

The success of History Harvests at UCF has created questions about their impact. Using the UCF Strategic Plan where Scale+Excellence=Impact, this study considers ways to measure the collective impact of the History Harvests programs in UCF and the surrounding communities. Voluntary interviews were conducted with participants of UCF History Harvests. Each interview lasted between twenty and sixty minutes. The interviews were then coded for description and conceptualization. Interview participants described the History Harvests they participated in and from the interview general categories about History Harvests impacts were created. These categories then informed the qualitative and quantitative data.

Initial results show Scale is measurable by numbers including visitors to the RICHES site, artifacts digitized, oral histories completed, classes participating, students receiving internships, and number of partnerships. Excellence is measurable by the student skills learned and the name recognition of UCF and RICHES.

SB (8m) The Paper Lens and Dominant Roots: Exploring the Hegemony of Agricultural Modernization through Historical Agricultural News ( Marcy Galbreath and Amy Giroux)

Digital cultural history can mean different things to different audiences; a community history website, an online museum, or an institutional photo repository all have digital cultural contexts. Our project concerns interpreting data from one such heritage database, Chronicling America, to understand the role newspapers—the social media of the era—played in disseminating hegemonic ideologies within American agricultural communities. Our research uses archival newspapers to trace the role of federal and state governments in shaping perceptions and identities for U.S. farmers.

How did late 19th and early 20th century legislative acts challenge and redefine farming and the people who participated in agriculture? The First Morrill Act, Hatch Act, and Smith-Lever Extension Act set the stage for agricultural knowledge to become a formalized sphere for technical and scientific inquiry in the United States during the advent of modern farming. Agriculture at the time was an area open to change through reorganization, systemization, and science-based principles of production. It was hoped that, just as these ideas had transformed the U.S. manufacturing economy, they would similarly reshape agricultural processes. Implicit in this drive for modernity is the notion that farmers, in their native practices, would be inadequate for the needs of an industrialized America; farmers, for their part, embraced the new technologies and the concept of a business-model agriculture.

Finding the newspapers that contain traces of these acts through Chronicling America is possible but difficult due to the immense amount of information. Currently, the database contains 11,764,536 pages, and is continually growing as more collections are added. Our response to the challenges and opportunities of big data, a topic-specific search tool website we title Historical Agricultural News (HAN), makes the Chronicling America database more accessible and offers downloadable data sets and visualizations.

To rhetoricians, written genres such as legislative acts (and the newspapers that report them) participate in social action, reflecting power relationships and directing community perceptions. In this paper, we argue that legislative acts, visible through the lens of archival newspapers, demonstrate a hegemonic reshaping of farming identities by establishing discourses of education, improvement, and industry. HAN enables article-level text analysis of newspapers from the time period, reveals the presence and activity of these genres, and produces visualizations to trace the expansion of progressive ideologies.

SB (8m) Mapping property boundaries and Indian trails in the Chesapeake (Jessica Taylor)

In response to the indigenous cultures and digital humanities and identity themes for HASTAC 2017, I propose a short soapbox presentation about uncovering indigenous landscapes and movements via English property records, maps, and Google Earth. Historians have referred to “Great Warrior Paths” or “Indian trails” in the abstract, when in fact for the English colonists they provided concrete points of reference on plat maps and in property descriptions. The mention that “the Nanzaticoe path” bounded John Aston’s Virginia estate means little without context, but taken alongside his contemporary neighbors’ boundaries, we can determine orientation and connections between roadways that facilitated everyday communication. Who accessed these paths, and how? What might have been its primary destination, and how did its purpose change over time? Did the new “King’s Road” and the old “Nanzaticoe path” ever intersect? A more exact reconstruction of these paths not only reveals geographic patterns and overlaps in early Indian and English movements, but to provide a methodological breakthrough useful to historians and archaeologists who could then, for their own research purposes, thoroughly reexamine areas mapped by colonial surveyors. Further, historians and history buffs alike often visualize Anglo-Indian interactions through maps depicting encroaching English settlement on Indian homelands. GIS can demonstrate that Indians continued to live along landscapes familiar to them in “colonized areas,” offering visually powerful evidence that locally, these borders meant little. Indians may not have shared our reverence for property boundaries but they certainly valued and defended as sacred the sovereign borders of their domains. Thus, plotting property boundaries—ironically, symbols of legal dispossession—will bring us closer to understanding the English-occupied Chesapeake from an Indian perspective.

SB (8m) Surfacing Indigenous Perspectives on the French Conquest of Algeria in a Graduate DH Course (Ashley Sanders)

In response to a scandal involving a fly swatter, as well as local social and political turmoil, France invaded Algeria in 1830 and eventually colonized the former Ottoman territory. The history of France’s 132-year occupation of Algeria is fraught and complicated, and most studies approach it from a single perspective – that of the conquering French, while scholars often struggle to access non-French primary and secondary sources. This presentation showcases the many possibilities that DH offers to de-center and decolonize the historical narrative by demonstrating how graduate students used text analysis and network visualization to uncover and share the complexity of Algerians’ identities, roles in society, and diplomatic relationships between 1830 and 1847.

Algeria was a complicated, heterogeneous world in the mid-nineteenth century, but much of that complexity is lost in colonial record. As part of the reclamation of this history, it is important to provide both students and scholars the chance to interact with Indigenous sources. Through the memoir of Ahmed Bey, Algerian governor and resistance leader, students learned both close and distant reading techniques, as well as how to structure unstructured data and use social network analysis to better understand his world.

By integrating the aforementioned methods, the students developed greater empathy for Ahmed Bey and the Algerians, as well as a deeper understanding of the intricate web of relationships, motivations, and evolving alliances during the French conquest. By organizing information about the actors that Ahmed Bey described, as well as their religion, place of origin, ethnic identities, allegiances, and actions, the students began to understand the socio-political landscape and how it shifted over time in response to the incursion of the French. Through careful analysis of Ahmed Bey’s social network, they grappled with the complicated choices that Algerians faced as they sought to flee, resist, manipulate, or negotiate with the French.

As students experimented with network visualizations in Palladio and analyzed the memoir with Voyant Tools, they shared their questions and conclusions on their individual websites. Making their findings openly available and accessible increases the academic material available in English on the French colonization of Algeria. What is more, their digital scholarship surfaces Indigenous perspectives and voices, and continues the important work of repositioning Indigenous people at the center of this historical narrative. These projects reveal how DH research methods can enable students to develop a nuanced understanding of Indigenous cultures and make meaningful contributions to the scholarly conversation.

SB (8m) The JFK Assassination Records Act of 1992 and Digital History (Diane Cline)

My course at George Washington University is called Digital History, and it introduces undergraduate students to new technologies and practices that professionals inside and outside of academia use to preserve, provide access to, analyze, and exhibit primary sources for history. I take students on a journey from Digitization, through Discovery, to Design, and Dissemination (building an Omeka exhibit). This year's theme really engaged the students, and was also timely. The John F. Kennedy Assassination Records Act of 1992 specified that 25 years from the day it was signed, all documents pertaining to it in government hands must be turned over to NARA and made available to the public (except for documents which the president himself withholds on national security grounds). That 25-year window closed on October 26, 2017. Through NARA's citizen-archivist program, each student got an FBI folder for a key person of interest. They transcribed their folder to help NARA make their October 26, 2017 deadline, and felt they were contributing to the country's history in doing the project. We had guest speakers who are practitioners in the digital humanities, including archivists, librarians, digital project managers, and internal historians in institutions like the Ford’s Theatre, Smithsonian Museums, and National Archives. The end product is an Omeka digital historical exhibit on witnessing the assassination. On the last day of class, being in Washington DC, we took the metro to Arlington Cemetery to see JFK's final resting place. This is the third year I have taught the class, but the first using this theme.

SB (8m) Big Data, Digital Humanities, and a New Understanding of Predictive Analytics (J.D. Applen)

Drucker and Svensson write that “digital humanists need to push critical issues into the implementation” of technologies, and that “data structures remain a rather unfamiliar area of compositional competence for most humanists” (2). In their book Big Data, Mayer-Schonberger and Cukiar describe that big data is more than an analysis of a large amount of datapoints; it is about throwing many datasets together and seeing if they show any predictive correlations, regardless of the logic behind the connections. For example, data acquired from seemingly “unstructured” phenonema was acquired from airline web sites to be able to predict when ticket prices would go up or down in the near future, thus enabling patrons to better time their purchases. In the past, this general method has been disparaged as mere “fishing expeditions” and thus unscientific, but today, the useful results yielded from these methods, coupled with a recent and dramatic increases in available data in digital environments and the relatively inexpensive technologies that are now available for processing them, have changed this view for many.

One scholar in technical communication describes the work of Mayer-Schonberger and Cukiar as one that “elide[s] the layers of interpretation and communication” (Frith 2017) from big data projects and thus undermines the value of technical communicators, but I believe their position has been misrepresented. A deeper epistemological foundation is at work here and we have to begin imagining that if there are correlations that we do not initially understand, but are predictive, we should use them. We can also suggest and perform more traditional research that discovers just what are the actual mechanisms behind the connections and how to present these data so we can begin our analyses.

As digital humanists, we have to come to terms with the idea that we cannot always use traditional cause and effect narratives to describe how and why big data results and representations are of value. Bolter writes that each new medium provides “a new strategy” that achieves an “authentic experience” for users (45), and we should be able to identify the changes in the visual and rhetorical representations of big data and their affect on the authenticity of these texts, whether it is in industry or the humanities. A long-standing concept in our field is that technical communicators need to be “symbolic analysts” (Johnson-Eilola 245-6), and understanding the symbolic nature of information encoding used in the digital humanities requires “new work habits, new training, new tools, new practices, and new instincts” (Kirschenbaum and Reside 272).

I will illustrate in my presentation that there are past examples for the kinds of analyses suggested by today’s big data advocates, and many of them are in medicine. For example, narratives based on World Health Organization records have described how one type of drug or treatment that is used to treat one disease also benefits a patient with another affliction, and while there are no biochemical explanations at hand to explain this, medicines have been prescribed to treat “secondary” ailments.

10:00 - 11:00
ELLE: The EndLess LEarner Videogame

RT (60m) ELLE, The EndLess LEarner Videogame: An Interdisciplinary Digital Humanities Collaboration (Amy Giroux, Emily Johnson, Don Merritt, Gergana Vitanova and Sandra Sousa)

Learning a new language is difficult and time-consuming. This panel discussion will consist of descriptions of the unique research interests and perspectives from each member of the five person interdisciplinary team working to design a second-language acquisition (SLA) videogame, ELLE: The EndLess LEarner.

The videogame’s style is an “endless runner,” which means that the player’s avatar is continuously in motion, “running” through the game’s virtual world without being able to stop, (e.g. Temple Run 2). This type of game limits player autonomy, even dictating the speed of motion, limiting player control to turning the avatar left or right, jumping, and ducking. The resulting fast pace of this game style requires rapid responses which can aid in the engagement and motivation of players, especially in a game intended for vocabulary practice, such as ELLE.

The design of ELLE is grounded in the scholarship of language learning theories and evidence-based pedagogical methods. The videogame is the center of a variety of studies being planned to increase understanding of individual components that influence SLA. This game’s interchangeable components allow the team to quantify the effects of different game features and player actions.

The central question guiding our project is: How can a videogame be best designed to effectively enhance student second language acquisition? However, each of us considers this question through unique lenses and fields of scholarship within the digital humanities.

● Contact Zones (Giroux): Amy’s research involves the contact zones (interfaces) between people, artifacts, and computers such as the infrastructure necessary for collaborative work/gamespace.

● Serious Game Design (Johnson): A former middle school teacher working in a Games Research Lab, Emily approaches this project with an interest in researching best practices for educational games, engagement and motivation pedagogy, and self-regulated learning.

● Interfaces and Accessibility (Merritt): Don’s research focuses on the intersections of interface, game, and accessible design. The endless-runner approach to a language acquisition aid presents interesting opportunities for investigating these intersections.

● Second Language Acquisition (Vitanova): Gergana approaches this project from the perspective of second language acquisition, outlining key theoretical considerations. Some of these were traditional, for instance, the acquisition of vocabulary. The creation of the game has also been guided by more recent, socio-cognitive concepts. As a second-language scholar and a trainer of L2 teachers, Gergana’s role is to situate ELLE within the current context of this field.

● Modern Languages (Sousa): Sandra is an Assistant Professor of Portuguese. After 16 years of teaching the language, she is interested in observing and researching on how a videogame will improve second language acquisition. ELLE will be implemented in her Portuguese language classes.

For this full panel, we intend for each of the five contributors to the project to speak, briefly describing our unique research interests as they pertain to ELLE; we wish to leave 5-10 minutes for discussion and questions.

13:45 - 15:00
Soapbox Session D

SB (8m) Humanities Heart (Jeffrey Suttles)

This project will examine the power of creativity by challenging students and faculty to raise their voices and talents, while taking a stand for social justice and equality. Our objective is to enlighten our collegiate community, through a digital platform (blog), as we engage students and faculty throughout the tri-state area. This project is designed to examine qualitative research through contemporary creative arts pedagogies. This project was conceived to provide assessments (how our new students feel about social inequality), as well as a therapeutic platform for students and faculty to share through art, literature, and music. Our goal is to provide a creative space for students to present their work, as we incorporate non-traditional pedagogical methods of learning through analysis, synthesis, and evaluation. Strategies such as minor debates, abstract jigsaw puzzles, and problem-based learning will help develop solutions to issues associated with the study of social justice.

HASTAC would be an ideal place to present a 5-8 minute soapbox to broaden the awareness of this project. Although we are based in New York City, we believe that this project will eventually spread throughout the United States of America, and then the world. In our presentation we plan to address issues such as (technology and education, communicating knowledge through publishing, conversations in digital humanities, the power of creative thinking, and building awareness in our communities). My vision is to cultivate creative expression on topics associated with social justice, while creating a digital platform for students and faculty to engage through productive dialogue.

I believe that this project has the potential to provide healing as well as insight to the growing social issues in our society. By providing a voice and a platform for students, we not only encourage constructive ways to deal with frustration, but we empower our students to express themselves articulately through digital humanities. The possibilities for implementing several pedagogical methods through research findings could prove to be a quintessential aspect of this research, as we build awareness in collegiate communities. Finally my passion for this project leads me to this theme, “Create works that ignite emotional power, as we build integrity for the future! “

SB (8m) From Four-Color to Inclusive: race and gender in contemporary superhero comics (James Cosper)

Marvel Comics and DC Comics, the two largest publishers in the United States sharing about 64% of the retail market in March 2017, approach diversity in two different manners: through legacy and expansions of thematic families. The discussion of comics characters has particular relevance to Graphic Design education and provides many opportunities to bring social issues and graphic advocacy opportunities into the classroom. The elevation of existing supporting or new characters to leading roles is often accompanied with increased cast diversity and greater risks in the superhero genre where the majority of leading characters are cisgender white males. A legacy character is one whose identity is built on the existence of another as either a relative or as homage, like when the character African American character Falcon became Captain America. A family character is one whose superhero identity may be new but the character is brought into an existing group of closely related characters, such as the Jewish lesbian Kate Kane Batwoman. While comics are a relatively small proportion of overall entertainment market share, the films based on comics, along with Young Adult fiction, dominate the movie box office with billions of dollars in revenue each year and thus have a strong potential for influencing culture.

As publishers expand the representation in mainstream titles, there are many aspects to consider. Firstly, from a story perspective, there is the question of whether the change is uplifting or exploitive. Secondly, from a graphic design standpoint, there are different approaches such as the adoption of the original’s costume or the redesign of a traditional costume and how to visually distinguish the new character while maintaining the brand. Thirdly, there are business decisions to consider such as how books succeed or fail when such changes are made and whether the changes are tied to the desires of the writers and artists or editorially dictated. Fourthly, the audience reaction to such characters has been mixed, and comics authors and editors have both voiced opinions about what makes such character initiatives succeed or fail.

I will present an overview of how race and gender have been approached by Marvel Comics and DC Comics with an emphasis on how the two publishers have made changes since the year 2000. I will place the discussion in the context of expanding civil rights and how stories and history have parallels. I will present criticisms from both those for and against the diversity initiatives and place them in context with both liberals and conservatives. I will bring the discussion back to teaching Graphic Design and how instructors might use mainstream comics as a springboard to discuss aspects of race and gender in the classroom as they relate to redefining brands and expanding audiences.

SB (8m) “You Look Disgusting”: A YouTube Beauty Guru's Response to Comments About Beauty and Ugliness (Emily Tarvin)

In “The Revolution Will Be Sooo Cute: YouTube ‘Hauls’ and the Voice of Young Female Consumers,” Laura Jeffries expresses her disappointment that young female YouTubers “fail to deliver substantial ideas, show little awareness of global issues and corporate behavior, and glibly extricate themselves from tricky questions about endorsement” (70). Instead, these young women use the platform to showcase the new clothes and makeup products they recently purchased, and Jeffries wishes they would rebel against traditional beauty standards for women and other social pressures. Since the publication of Jeffries’ article in 2011, the YouTube beauty community underwent several changes, and while hauls and makeup tutorials are still common videos on the platform, beauty gurus now use their channels to voice opinions about beauty standards and the role of makeup in society.

One example of this is Em Ford’s video “YOU LOOK DISGUSTING.” The video begins with text telling viewers, “3 months ago I began posting images of myself without makeup on social media. During that time over 100,000 people have commented on my face. The following film contains real comments that were left on those images.” Serious music plays in the background as harsh comments such as “I can’t even look at her” and “WTF is wrong with her face?” appear next to bare-faced Ford. Almost a minute into the video, Ford begins to apply makeup, and the tone of the comments drastically changes to “You look beautiful.” However, as the video continues, the comments begin to criticize Ford for wearing makeup and “false advertising.” At the end, Ford wipes off her makeup, and the text tells viewers, “You are beautiful.” The video came out July 1, 2015, and currently has over 24 million views.

Ford’s video “YOU LOOK DISGUSTING” demonstrates that the beauty community on YouTube does discuss the pressures women face to meet beauty ideals and how they are regularly criticized for both striving to reach those standards and not trying to. My “soapbox” talk will use Ford’s video as a case study of how gender and beauty standards function in the YouTube beauty community, and I will explore how “YOU LOOK DISGUSTING” compares to the Doves Campaign for Real Beauty. I will also connect the video to how society uses the concepts of beauty, ugliness, and disgust, using works such as Mary Douglas’s ""Purity and Danger: An Analysis of Concepts of Pollution and Taboo"" and Sara Halprin “'Look at My Ugly Face!': Myths and Musings on Beauty and Other Perilous Obsessions with Women’s Appearance."" My presentation will demonstrate how gender, beauty standards, and identity function in digital cultures, such as YouTube.

SB (8m) Tomi Lahren: White Power Barbie (Rachel Molko)

Tomi Lahren is an American television and online video host, and a conservative political commentator; she currently hosts Tomi for TheBlaze. By operating with a radical feminist lens as well as a cultural feminist perspective, this critical rhetorical analysis of Tomi Lahren as a public figure notes that she presents herself as a preferred blatant representation of patriarchal norms. Although she has been called an anti-feminist who admires strong women, she does not embody the mannerisms or identity of an empowered woman (whether consciously or subconsciously). It is the suspicion of the researcher that Tomi has been conditioned to believe that she is not an oppressed person if she truly believes in and supports patriarchal values. Through an exploration of her social-media presence, the researcher traces the way Tomi reinforces patriarchal values in order to gain power, and in turn, perpetuates the oppression of underrepresented populations.

10:00 - 11:00
Open Humanities

RT (60m) Open Humanities: Strategies for Creating Open Access Course Materials (John Venecek, Christian Beck, John Raible, Sarah Norris and Lily Flick)

As textbook affordability and access to information become important topics on university campuses and within the population more generally, finding ways to decrease book costs in a humanities classroom while providing the best possible resources for students emerges as a multi-disciplinary strategy that requires cooperation across campus. Open Access texts are a way to offer content for free, but humanities assembling this type of text in the humanities is often restricted by copyright and intellectual property. Utilizing materials found in public domain or with a Creative Commons license, however, provides an opportunity to create Open Access texts. In spring 2016, a literature professor, humanities librarian, scholarly communication librarian and adjunct, and an instructional designer at the University of Central Florida (UCF) collaborated to create a full literature course anthology based on this principle. While the project has an air of simplicity, the group had to overcome many obstacles before the text was ready to use in class. In this roundtable, we will discuss how we navigated the multi-faceted world of Creative Commons licenses, permissions, translations, and textual formatting to deliver a cohesive open text to students free of charge. We will also discuss issues related to platforms, access, and the scalability of creating open access materials in the humanities. We will provide insight and strategies for creating a digital anthology of open access texts that can be utilized and distributed to students in a humanities course. By highlighting the pedagogical, archival, and technological necessities of this project, we will deliver key information for reproducing and individuating a similar project. In the end, this session will demonstrate how a project of this nature can serve as a model for creating open access materials in the humanities, while addressing textbook affordability and student reception.

13:45 - 15:00
Cyborgs and N-Dimensional Texts; Colonizing the Hyperreal

RT (75m) Colonizing the Hyperreal: Alterity in Zombie Apocalypse Narratives (Mark Kretzschmar, Sara Raffel and Jay Gentry)

Famed French theorist Jean Baudrillard defined the precession of simulacra as an eventual replacement of reality from representation to hyperreality. Curiously, the theme of the zombie apocalypse, common in recent popular culture, is an intriguing example of such a simulacrum in that various narratives present the experience of the zombie apocalypse as authentic and realistic, even though the event could arguably never occur. Although the zombie apocalypse is a representation based on nothing, it continues to perpetuate the “othering” that is commonly affixed to post-apocalyptic texts.

The Walking Dead and other media within the genre of the zombie apocalypse use the concept of alterity, or difference, to further their survival storylines. The show portrays the survival of one group of people--the main characters--as noble, while other groups encountered are shown as incorrect in their motives and methods unless they agree to be absorbed into the main group’s culture. These narratives frequently tie into what Edward Said referred to as Orientalism, the exaggeration of differences and presumption that Western societies are superior. Using Said's text Orientalism as a frame of reference, this presentation will argue that when left to their own devices, shows like The Walking Dead will perpetuate the problematic stereotypes associated with Orientalism, which reinforce an imperialist narrative. These stereotypes might include depicting the “other” as irrational and weak, whether physically or mentally.

Unfortunately, the practice of “othering” extends from fictional media to real-world issues of social justice and equality, which is why digital humanists must carefully critique and bring attention to problematic representations of different cultures and modes of thought. In her analysis of the relationship between digital humanities and feminist game studies, Elizabeth Losh states, “successful digital humanities projects often encourage imaginative identification with other times and places and allow the visitor to become a participant in historical narratives” (17). However, popular culture often denies viewers the opportunity to identify with all characters, creating a self/other binary that encourages fear of the altern when society collapses. Though this particular apocalyptic situation is extremely hypothetical,the lessons taught--to be scared, rather than hopeful or helpful--exacerbate postcolonial ideas of survival through extermination or absorption of competing survivors, who are often unabashedly depicted as wholly evil. As media, along with the field of digital humanities, continue to expand and influence the lives of consumers, it is necessary to be mindful of these representations both as scholars and fans alike so that hypothetical fears don’t supersede actual concerns represented in reality.

15:15 - 16:15
Noise and Nature in the Anthropocene

RT (60m) Noise and Nature in the Anthropocene: Soundscape Ecology to Understand Liminal Space (Robert Clarke, Jonathan Beever, Patricia Thomas and Bartley Argo)

Thanks to the recent rise of work in soundscape ecology, there is growing evidence of impacts of anthrophony, or human-created noise on both human and nonhuman animal listeners. The study of anthrophony’s impact on other species and environments can help us better understand the pervasive ecological and geological impacts of the human species in the Anthropocene. Some projects have sought to understand species-specific behavior in response to anthrophonic noise while others have examined the ways in which “nature sounds” positively impact human well-being and sense of place. Yet a specific gap remains at the intersection of these two: in liminal natural spaces that regularly occur around developed spaces. Some liminal spaces, like nature parks in urban settings, have been the object of study for cultural soundscape design.

Our ongoing interdisciplinary study, at the intersection of field-based science and humanities-based critical inquiry, proposes a different and unique focus for interdisciplinary bioacoustic research: one that asks about the sense of place and value implications of these liminal spaces as transitional, between the borders of wild and domestic spaces. And indeed, while some spaces are clearly marked as liminal, we identify more and more space as effectively liminal as we better understand the diverse and far-reaching impacts of human influence within the natural world. This study asks the targeted question: what is the impact and implications – scientific and normative – of “liminal” natural spaces? Understanding the impacts on both human sense of place and on nonhuman species diversity of natural spaces as spaces moved through as transitional rather than experienced as destination lets us better understand the nature of Nature in the quickly changing world of the Anthropocene. This research gap is of specific interest because of the implicit assumption that liminal natural spaces are more than mere aesthetic spaces but, instead, are examples of ethically-important natural conservation. To date, there is little scientific evidence to support such a claim. Our project seeks to fill that gap, using the scientific tools and methodologies of soundscape ecology to address and evaluate a fundamentally normative claim about the ethical importance of liminal space.

This roundtable presentation will engage the HASTAC community in conversation about this concept of liminal spaces. Led by a philosophy professor and a panel of graduate student researchers and undergraduate collaborators, the roundtable will offer diverse perspectives on the idea, drawn together by our shared research experience, and then engage the audience in discussion of how the idea of liminal space shapes the ways hearing organisms relate to their environments.

08:15 - 09:45
Digital Epistemologies/Engaging the Public

RT (45m) Learning / Knowing / Having / Sharing: Digital Epistemologies, Spaces of Learning, and Scalar (Ashley Byock, Tassie Gniady and David Kloster)

In his “Theses on the Epistemology of the Digital: Advice For the Cambridge Centre for Digital Knowledge” (2014), Alan Liu argues that “[a]n honest effort to grapple with digital knowledge will . . . require the Centre for Digital Knowledge [at Cambridge University] to let go of too fixed an adherence to established modern ideas of knowledge (here simplistically branded ‘Enlightenment’).” He notes that “there are new systems, forms, and standards of knowledge” that have reshaped not only epistemological methodologies but also the relationship between knowledge and the public sphere (“Theses”). Liu’s theses further suggest that sequential logic, centers of authority (or authorized centers), and knowledge hierarchies operate to corral and shape the forms of knowledge that emerged (or perhaps were produced) in and through Enlightenment structures (and publics); however, they are attuned to a different logic of knowledge and no longer pertain in our more recent digital environments.

Liu’s comments implicitly arise in part from a recognition that digital scholarship entangles modes of knowing with the content of knowledge. This is a question that arises consistently when we bring digital humanities modes into the classroom; and yet, it isn’t one we regularly reflect on as part of teaching DH. For the most part, students experience digital spaces as more informal spaces. We don’t do our students any favors when we treat digital environments – particularly DH data-visualization or research-oriented environments – as new containers for familiar content. Transposing the traditional essay into a digital space just doesn’t make sense, as Microsoft’s terrible “digital essay” application, Sway, proves. This roundtable takes up the problems of technology and pedagogy, communication of knowledge, and the nature of digital humanities itself as both mode and methodology across interdisciplinary bounds. As Liu points out, disciplinary boundaries come out of the same structures of epistemology that he finds to be rendered at least partially obsolete. Combining the experiences of the DH director on a very small liberal arts campus (Ashley Byock, Edgewood College), a DH cyberinfrastructure manager and DH instructor at a large research university (Tassie Gniady, Indiana University – Bloomington), and a programmer in DH cyberinfrastructure and student in Tassie’s Scalar course (David Kloster, Indiana University – Bloomington), we propose to set out modes for integrating a critical perspective on pedagogy and epistemology into DH learning.

We propose that this is a crucial and often overlooked aspect of DH pedagogy in order to avoid the pitfalls of treating DH tools as merely part of a larger digital landscape. We must heed Liu’s other call for a critical digital humanities that applies the methodologies of an academic community to the material at hand. This group proposes to focus in particular on the use of Scalar, developed by scholars at USC, as an example of a free, open-source DH platform conducive to a critical meta-discourse around pedagogy and epistemology.

RT (45m) Engaging the Public: Virtual Reality, Photogrammetry, and Accessibility (Tassie Gniady and David Kloster)

Given the intersectional nature of good digital humanities scholarship, it only makes sense that one source of intersection lies outside the university. At Indiana University—Bloomington the Advanced Visualization Lab and the Cyberinfrastructure for Digital Humanities Group are in the same Research Technologies portfolio and often work together, but approaching these two research entities as someone without a connection to IU is difficult.

One of our community partners is the Monroe County Public Libraries. Taking two of our most popular areas of expertise, virtual reality and 3D object creation via photogrammetry, two camps will run side-by-side in June of 2017. As one set of campers create a virtual downtown with any added twists they wish, another set will go on photo safaris to capture outdoor works of art and items from the Monroe County History Center, then learn how to stitch and clean them to make 3D digital objects. Finally, the virtual reality camp will integrate the 3D objects before the public showcase capping off the week.

Both the constituency of these camps and their sources of data are important to us. Many of the campers (ages 12 and up) do not have access to these technologies anywhere besides the public library, and, because the camps are free, there is no financial barrier to entry. Camps held at the public library often draw from a wide cross-section of the Bloomington population, unlike events held on campus—despite the fact that the two entities are only two blocks away from each other. Secondly, by focusing on downtown Bloomington and its environs, campers will be taking spaces they are familiar with and rendering them in new ways that go beyond simple recreation—for example, we plan to encourage the creation of a sculpture park that doesn’t exist in the real world and can include photogrammatized objects as well as virtually created ones. Similarly, campers can add interiors to some of the buildings in the downtown square and create any kind of rooms they wish.

It is our hope that by reaching out to the community in this way, by marrying history, reality, and imagination, that some of the work done on campus will carry over and attract community members to continue to experiment on their own at the public library (which owns a collection of HTC Vives and had Unity installed in a lab of computers), to attend public lectures and workshops on campus, and to generally break down some of the barriers that may make some members of our community feel less engaged with the university and/or the new technologies it offers.

I will bring 3D prints resulting from the camp, as well as environments created by our campers (as well as some Google Cardboards).

10:00 - 11:00
Digital Work, Material Consequences

RT (60m) Digital Work, Material Consequences: Approaches to our Virtual World (Derek Price, Kyle Romero, Ted Dawson, James Phelan, and Terrell Taylor)

In turbulent political, economic, and social times, we are forced to confront one of the most enduring “hard problems” of Academia in general: What is the broader significance of our work as scholars in the societies and communities in which we live? How does our analysis and criticism of cultural objects impact the cultures in which those objects are created, circulate, and take on meaning? For our work as digital humanists and media scholars, we’re faced with the additional challenge of defining and justifying how creating, playing, and critiquing digital objects intersects with and impacts material life.

This roundtable will open up a space for all participants to describe how they have approached these questions with their research and projects, regardless of form or format. Each group of roundtable participants will have an opportunity to describe a particular research project they have been working on to the group that they feel addresses the topic of the roundtable, after which there will be a 20 – 30 minute open discussion about how our approaches to addressing this hard problem differ, intersect, and interact in a multiplicity of ways. The participants come from a variety of disciplines and are all working on creating, playing, or critiquing digital worlds and spaces, pursuing research through non-traditional formats (video essays, podcasts, blog posts, forums, etc.), or researching digital objects such as video games, virtual reality environments, simulations and modeling, digital reading and writing, interactive media, digital social networks, and digital visual culture.

13:45 - 15:00
No Place Like Home; From Score to Film

PD (37m) No Place Like Home (Kristin Miller)

No Place Like Home is both a community-initiated and student-engaged research endeavor and a web-based digital humanities/social sciences project; we seek to expand the possibilities of visualizing results, communicating framing ideas, and using narrative and animation in our exploration of the meaning of home and community. No Place Like Home emerged out of two ongoing research initiatives at the University of California Santa Cruz: Critical Sustainabilities, led by Miriam Greenberg, and Working for Dignity, led by Steve McKay. These projects arrived at the importance of affordable housing via issues of sustainability and labor, respectively. The university's surrounding community of Santa Cruz has the highest cost of living of any city of its size in the US, and growing pressure on its housing market from the rapid gentrification of the neighboring Bay Area and Silicon Valley, as well as from the lingering effects of the financial crisis. With significant student, immigrant, transient, and homeless populations, Santa Cruz serves as a microcosm of the national crises of rent, eviction, and urban change; the survey results and oral histories gathered locally by teams of student researchers address questions of belonging and the maintenance of community. No Place Like Home launched in Fall 2015 to research and represent these experiences and impacts, as well as to explore potential responses. Beginning in Summer 2016, I joined the research team as Web Project Lead, helping to conceptualize and design a platform that would be public-facing and capable of presenting our results to a variety of audiences. One of the foremost considerations at this stage was that the project be entirely bilingual in English and Spanish, to properly serve as a resource to Santa Cruz residents most affected by the crisis. This first stage also includes data visualization of crucial survey findings, intended to convey the level of rent burden, overcrowding, and other issues facing tenants in Santa Cruz. Later phases of the project will add photo and video histories, animation, and multiple paths of navigation that interweave in a rich consideration of what ""home"" means in a community in crisis.

MA (37m) From Score to Film: Reimagining the Dance of Irmgard Bartenieff (Susan Wiesner, Rommie Stalnaker, Stephen Ramsay and Brian Pytlik Zillig)

This proposed performative event (a filmed performance of Schrifttanz zwei/Chinese Ballad) combines archival research, dance choreography, music composition, animation creation, and video production with the goal to highlight the place of the Arts in the archive and digital world. Four researchers across three time zones and 3000 miles, have collaborated using social media and the negotiation of four personal processes in order to reconstruct/re-imagine a dance score created in 1927 (see image) by Irmgard Bartenieff, founder of the Laban/Bartenieff Institute of Movement Studies, and a rare text by Rudolf Laban published in 1926: Choreographie. Schrifttanz Zwei builds upon two previous Digital Humanities projects conducted by the collaborators: ARTeFACT (which strives to enable the automatic recognition, tagging, and retrieval of movement-based data) and Indigo (a program developed to perform command-line stop-motion animation using Scalable Vector Graphics). Yet although Schrifttanz Zwei began as a digital humanities exercise, the reconstruction/reimagining of the 1927 score also supports the creative possibilities inherent in archival research. Thus, score, translation, transmission, and traces can be integral elements in encountering dance through its artifacts. Schrifttanz zwei is admittedly an interdisciplinary artistic collaboration, but we would argue that the production of a work of art does not preclude the use of the digital; and indeed, Schrifttanz zwei includes born-digital elements (music and animation) intertwined with the born-human components of choreography and the hard copy written/archived texts. Also, this collaboration between Digital Humanities scholars is possible because of the prior work of the collaborators as it reflects the early phases of the ARTeFACT Project and research on the production of animation from digitized musical scores (Indigo). This project is intended to create a Whole, where all voices and art forms share equal value with the supporting technologies, without privileging any one element. To accomplish this, we must negotiate within Digital Humanities AND the Arts. In fact, through this collaboration we have been made even more aware of the conversations surrounding definitions of the Digital Humanities, a topic we keep returning to during our collaboration. To wit: what is the place of the Arts in the Digital Humanities and what is required of a project to be aligned with the Digital Humanities? As DH artists as well as producers and users of digital technologies (e.g. Indigo, ARTeFACT, IDMove, etc.), we hope this performance will provoke discussion and perhaps inspire others to find ways to access other ‘outlier’ disciplines through collaborative activities. Finally, as this collaboration constantly reminds us: “As technology and machines consume more and more of life, perhaps theater [read: dance] can help us remember what it means to act like a human.” (

15:15 - 16:15
Hacking Evaluation

RT (60m) Hacking evaluation: towards values-based professional advancement practices for the digital humanities (Stacy Konkiel)

Digital humanities scholars face a hard, continued socio-technical problem: though the results of their research are often web-native, interactive, and iterative (think: websites, exhibits, datasets, and more), their careers are often evaluated based upon discrete, static, and ossified publication formats like print monographs and journal articles, due in large part to disciplinary cultures and technological limitations. Such evaluations--and the metrics that sometimes underpin them--are often opaque and inappropriate when applied to digital humanities research. Worse yet, they can be divorced from the values that many humanists hold dear: equity, openness, collegiality, quality, and community.

Though in recent years, some sectors of academia have edged closer to a more correct means of evaluating digital humanities research (cf. scholarly societies that have adopted statements of support for the inclusion of born-digital research formats in promotion and tenure dossiers and the emergence of altmetrics as a means of research evaluation), there remains a dearth of values-based evaluation practices for DH.

This session will explore a possible new world of professional advancement for DH scholars, one shaped by evaluation practices rooted deeply in the scholarly values we wish to embody (as identified by the HuMetricsHSS project ), and that uses web-native metrics and qualitative data to better evaluate the born-digital research methods that digital humanists employ. We will first explore the current state of the art in research evaluation practices for DH in the United States, including instances where DH scholars have successfully proven the relevance and quality of their work using a variety of web-native research impact data, including altmetrics. We will then engage attendees to explore the values that drive their own research practices, and imagine what metrics for a fully transparent, responsive, and values-based DH evaluation paradigm would look like.

Print Posters
11:15 - 12:15
Print Poster Showcase

PP01 What’s in a Name? Users, the Generalized Others (Setsuko Yokoyama)

PP02 One to Many: The Possible Worlds of Online Exhibits (Barbara Lewis)

PP03 Visualizing Difficult Historical Realities: The Uncle Sam Plantation Project (David Neville and Sarah Purcell)

PP04 New World-Views: Mapping Illegal Marriages in the French Colonial Louisiana Borderlands 1690-1763 (Jacquelyne Howard)

PP05 Networked Publics in the 2016 US Presidential Election (Cindy Koenig Richards)

PP06 Toward a Framework for Project-Based Learning with Visual Storytelling (Hannah Jacobs)

PP07 New Majority Student Success: Fostering Connection, Renewal, and Leadership through Peer Mentoring (Lauren Melendez and Mike Rifino)

PP08 Chronicling America-Open Access Digital Newspapers (Sarah Moxy Moczygemba and Melissa Jerome)

PP09 Cultural Interactions in 3D Immersive Environments (Lynn Ramey)

PP10 Digital Games and Exploring Historical Contingency (Michelle Davison)

PP11 The Suffrage Postcard Project (Alexander Cendrowski)

PP12 Textual Analysis and the Hard Problem of Interdisciplinary “Information” (Dallas Liddle)

PP13 Conducting Place/Consulting Space: Psychogeography, Logic, and Electronic Map Making (Clayton Benjamin)

PP14 Spatial Visualization of Globally Patented Inventions in Argentina, 1866-1914 (Yovanna Pineda and Amy Giroux)

Digital Poster Showcase
11:15 - 12:15
Digital Poster Showcase

DP01 Hunting for the Tribune Collection (Elisa Landaverde)

DP02 Critical Cataloging: Examining LCSH as Text (Mia Tignor)

DP03 Central Florida Pulse: The Tragedy of Place and the Power of Perspective (Carys O'Neill and Mia Tignor)

DP04 High Penalties: Mapping Drug-Free Zones in North Omaha (Grace Brown)

DP05 How you say it Matters!: Building and Supporting an Open Digital Scholarship Community (Verletta Kern and Michelle Urberg)

DP06 Our Electrate Pulses: Citizen Curating in Eliminationist Contexts (Christopher Foley and Abigail Padfield)

DP07 Displacement and Desplazamiento: Rediscovering the Florida-Cuba Connection in a Digital Landscape (Javier Sampedro and Carol McAuliffe)

DP08 Listening to Place: Sound Walks Within Sites of Cultural Heritage (Erin O’Quinn)

DP09 Internet Garbage/Violent Games/ Performative Emotions (Nazli Akhtari)

DP10 Rhetoric, Agency, and Risk Visualization for Diverse Audiences (Sonia Stephens)

DP11 Digital Arts / Social Justice: A Space for Interdisciplinary Dialogue (Camila Afanador-Llach)

DP12 Queerty is not the Queer Me: An Interactive Conversation on Queer Minority Representation Online (David Cordero)

DP13 Ripples in a Pond: How Virtual Reality may be a Tool of Impact for the Humanities (Maria C. R. Harrington)

DP14 Interconnecting culture in the ESL classroom: Using smartphones to develop an intercultural approach to second language learning (J.D. Swerzenski)

Saturday Lunch
12:15 - 13:30
Saturday Lunch

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

HASTAC - Saturday Schedule
VAB - Various Locations