Note: All Spring 2021 courses will be online.
DHUM 70002 - Digital Humanities: Methods and Practices #64010
Thursday, 6:30 - 8:30 PM, 3 Credits, Prof. Bret Maney (firstname.lastname@example.org)
During the Fall 2020 semester, students explored the landscape of the digital humanities, considering a range of ways to approach DH work and conceive of and propose potential DH projects. In the spring, we will put that thinking into action by refining and producing a small number of those projects. This praxis-oriented course will ask students to organize into teams and, by the end of the semester, produce a project prototype. Upon completion of the course, students will have gained hands-on experience in the conceptualizing, planning, production, and dissemination of a digital humanities project. Student work for this course will demonstrate a variety of technical, project management, and rhetorical skills. One of our goals is to produce well-conceived, long-term projects that have the potential to extend beyond the Spring 2021 semester. A range of advisors may be matched to support the needs of each individual project. Successful completion of the course will require a commitment to meeting mutually agreed-upon deadlines and benchmarks established at the outset of the semester.
The class will hold a public event at the end of the semester where students will launch their projects and receive feedback from the DH academic community.
Note: This course follows "Introduction to Digital Humanities" from the Fall 2020 semester.
DHUM 72700 - Remote Archival Encounters #64011
Tuesday, 6:30 - 8:30 PM, 3 Credits, Profs. Duncan Faherty (email@example.com) and Lisa Rhody (firstname.lastname@example.org)
In “Remote Archival Encounters” we will take an interdisciplinary and participatory approach to archival research. In so doing, we will attend to how current health protocols have fundamentally shifted the practice and possibilities of working with archival materials. Part seminar, part individualized research tutorial, part laboratory, part skills workshop, this course will combine traditional scholarly practices with emergent ones through analog and digital methods. We will consider new modes of access (for both scholarly and public audiences) to archival materials, paying attention to how our current situation has limited physical access to materials. By the end of the course, students will assemble a portfolio that articulates the challenges to archival research, approaches scholars may take to continuing their work, regular short public writing about archival research during troubled times, and a plan for how to move their individual research forward in the coming year.
The course will have four main units, including an introduction to current scholarly debates about the politics of archival work (readings may include work by Lisa Lowe, Jennifer Morgan, Britt Russert, and David Kazanjian), virtual “field visits” with archivists and librarians (crafted in response to the interests of the enrolled students), training in textual editing and book history (readings may include Greetham’s Textual Scholarship, McGann’s Radiant Textuality, Hayles and Pressman’s Comparative Textual Media), and workshops in digital research methods, platforms, annotation and encoding, and design (including but not limited to Archive Grid, HathiTrust, Bitcurator, JStor Labs, Omeka, and Tropy). Students will have an opportunity to interact with curators and archivists working at the various libraries, repositories, and special collections with which we aim to partner (including such possibilities as The New York Public Library, The Morgan Library, The New-York Historical Society, The Schomburg Center for Research in Black Culture, The Library for the Performing Arts,The Lesbian Herstory Archives, and the Interfernce Archive).
The course will provide PhD students the opportunity to advance (or experiment with) their own research agendas by pursuing further study in archival research, book history, and scholarly editing. For students in the MA in Digital Humanities program, projects could be expanded to form a digital capstone project--a requirement for completion of the degree.
Course Requirements: Active and engaged participation, a brief oral presentation, weekly reflections, a project outline, a brief mid-semester progress report, and a final portfolio of the student’s own design.
DHUM 73700 - Geospatial Humanities #64164
Wednesday, 6:30 - 8:30 PM, 3 Credits, Prof. Shipeng Sun (email@example.com)
Cross-listed with DATA 78000 #64009
This course combines an introduction to basic cartographic theory and techniques in humanities contexts with practical experience in the analysis, manipulation, and the graphical representation of spatial information. The course examines the storage, processing, compilation, and symbolization of spatial data; basic spatial analysis; and visual design principles involved in conveying spatial information. Emphasis is placed on digital mapping technologies, including online and offline computer based geographic information science tools.
DHUM 74500 - Digital Pedagogy 2: Theory, Design, and Practice #64013
Monday, 4:15 - 6:15 PM, 3 Credits, Prof. Shawna M. Brandle (firstname.lastname@example.org)
In the first digital pedagogy course, students were introduced to the history and contexts within which technology has been integrated into teaching, learning, and research at the college level. In the second core course, students will continue with that investigation as they begin to carve out space for their own work. In Spring 2021, the course will focus on opening our digital pedagogy- exploring open educational resources and open pedagogy, along with related opens: open access and open GLAM (Galleries, Libraries, Archives, and Museums).
The focus of the course reading will be on the why’s, how’s, and where’s of open educational practices, with a special focus on critical digital pedagogy. By the end of the semester students will produce a polished proposal for a multimedia-based project in their discipline related to research, pedagogy, or both. The course incorporates hands-on exploration of educational uses of new-media applications and open possibilities. The course will use an open pedagogy approach to teaching and learning, beginning with a co-created syllabus wherein students will have significant say in the selection of readings and assignments.
DHUM 78000-01 - Digital Memories: Theory and Practice #64012
Wednesday, 4:15 - 6:15 PM, 3 Credits, Prof. Aránzazu Borrachero (email@example.com)
Memory Studies, an interdisciplinary field focusing on "how, what and why individuals, groups and societies remember, and forget" (Memory Studies), has experienced important paradigm shifts since its inception in the 1980s. The onset of digital media is responsible for the latest and, arguably, most radical changes.
This course explores how the past is constructed, archived and communicated through digital media from a sociocritical angle:
* What is the potential of digital memory and storytelling projects to change or break power structures?
* Has digital technology opened spaces for contesting traditional narratives of the past?
* Is civic action shaped by digital memory initiatives? Are digital memory initiatives shaped by civic action?
With these questions as a framework, students will analyze key concepts in Memory Studies, such as collective memory (Maurice Halbwachs), cultural memory (Aleida and Jan Assman), transnational memory (Astrid Erll), and postmemory (Marianne Hirsch) --concepts, all of them, interrogated by the emerging field of Digital Memory Studies (Andrew Hoskins). Armed with this theoretical work, students will examine a diversity of digital memory and storytelling projects, from well-established and institutionalized ones (e.g. Imperial War Museums, Forced Labor 1939-1945, Memorial Democràtic) to community-led projects and/or projects explicitly engaged in counter-hegemonic memory-making (e.g. 858 Archive, Documenting the Now, Torn Apart/Separados).
This course utilizes a project-based pedagogical approach to the study of Digital Memory. Students will design and develop their own storytelling and memory projects guided, step by step, by a team of expert developers of digital tools for cultural heritage and oral history archives. Besides acquiring skills to create narrative projects, students will become acquainted with tools currently used to build digital archives. They will learn project design, content collection, content management and analysis, and online publication.
DHUM 78000-02 - Special Topics in DH: Alternative Data Cultures #64163
Monday, 4:15 - 6:15 PM, 3 Credits, Prof. Kevin Ferguson (firstname.lastname@example.org)
Cross-listed with DATA 78000 #64008
This course will examine alternative trajectories of data visualization that lie outside of the traditional approaches that aim to represent data as neutrally and naturally as possible. Beginning with Lisa Samuels and Jerome McGann's concept of “deformance”—a new scholarly performance of a text that eschews solely searching for a hidden interpretation—we will survey a variety of ways that data visualization centered on humanistic inquiry can be recontextualized, remixed, and otherwise bent, broken, and glitched in order to generate new knowledge. By considering how data visualization might fruitfully embrace subjective perspectives in order to create meaning, this course will ask students to more deeply consider how and why we visualize complex data sets, including sets of objects such as literary corpora, photographs, motion pictures, and music.
Throughout the course we will explore the intersection of aesthetics, art, and alternative ways of “performing” data to reveal new insights, drawing on surrealist and other avant-garde traditions that begin with defamiliarization as a critical practice. In addition to readings and models of new perspectives on data visualization, students will complete experimental projects visualizing a variety of texts, which may include condensing feature films to single images, comparative movie “barcodes,” glitching historical images, and other experimental exploratory data visualization. Students may complete exploratory projects in ImageJ (Java), Python, and/or R, although no prior expertise is required of students.
Readings may include: Johanna Drucker, Mark Sample, Zach Whalen, Jason Mittell, Deb Verhoeven, Michael J. Kramer, Stephen Ramsay, Lev Manovich, Julia Flanders, Eric Hoyt, Shane Denson, Giorgia Lupi and Stefanie Posavec, Virginia Kuhn, and Bethany Nowviskie.