New Article on Teaching with Digital Archives in the World Literature Classroom

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I’m glad to report that my article “Digital Archives in the Wired World Literature Classroom” is now out in the journal ARIEL!

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You can access the article here, or check out the PDF here: Digital Archives in the World Literature Classroom.  The article includes several striking visuals from the archives, as well as case studies on how I incorporated selected primary sources in classroom teaching and assignments.  I also touch on the ethical implications of digitally archiving collections with relevance in the world literature classroom.  I conclude with strategies for enhancing undergraduate student engagement with archival materials.  Huge thanks to everyone (you are legion, and you are in the acknowledgements!) who supported my work for this article.

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Favorite Resources for Teaching with Archives

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Increasingly, exciting initiatives such as TeachArchives and Archives Alive! provide support for educators interested in incorporating primary sources in undergraduate education across the disciplines. Following is my running list of favored resources for teaching with archives.  Have a resource to add? Let me know and I’d love to include it (with proper credit to you, of course!).

Resources I’ve developed:

Archival Research Glossary and Exercise. This glossary pulls from the Society of American Archivists Glossary of Archival and Records Terminology.  The accompanying exercise enables students to familiarize themselves with common concepts and terms they’ll encounter in physical and digital archives.

Archival Research Glossary and Terms for Digital Collections. This glossary and accompanying exercise are very similar to the ones above, but geared toward digital collections.

Archival Artifact Analysis Worksheet. This basic worksheet challenges students to make analytical observations about a selected archival object.

Close-Listening Worksheet. I assign this worksheet to get students started analyzing audio and audiovisual primary sources such as oral histories.

Transcription as Close-Reading Worksheet. I assigned this worksheet for a component of my Spring 2015 English class involving transcription tasks for the American Prison Writing Archive. The worksheet is premised on the idea that transcription is an effective mode of close-reading as a humanities practice.

Teaching with social media? If your students will be posting on WordPress, Twitter, or other social media platforms, consider distributing this Social Media Privacy Agreement at the beginning of the semester.

Other resources:

The National Archives DocsTeach.  This project of the U.S. National Archives provides ready-made activities and selected primary sources searchable by time period and historic theme. Extensive supplementary resources include this simple but brilliant formulation of how to guide students through a step-by-step analysis during their initial encounter with a primary source.

The Claremont Colleges Library Early Modern Studies Primary Source Lab. This series of worksheets is highly adaptable for a variety of disciplines.

Analyzing primary sources undoubtedly facilitates student learning in terms of humanities content and research methods, but how to assess this learning? The student-generated rubric is one promising avenue for assessment.  Danica Savonick offers her experience guiding students in setting the priorities of a given assignment in HASTAC blog posts here and here, while her article in the Journal of Interactive Technology and Pedagogy provides a complete case study.

Pertinent for digital archives projects that may entail including digitized archival objects on publicly accessible project websites or platforms: Society of Authors Guide to Copyright and Permissions.

Summer DH Sizzlers: SHARP and the Keystone Digital Humanities Conference

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With support from Southwestern University, in addition to bursaries from the Society for the History of Authorship, Reading & Publishing (SHARP) and the Association for Computers and Humanities (ACH), I attended two exciting conferences over the course of July 2015: the Society for the History of Authorship, Reading & Publishing (SHARP) Conference, which took place July 7-10 at the Longueuil Campus of the University of Sherbrooke and McGill University in Montreal, Quebec, and the Keystone Digital Humanities Conference held July 22-24 at the University of Pennsylvania in Philadelphia.  Highlights follow!

The Society for the History of Authorship, Reading & Publishing (SHARP) Conference (#SHARP15)

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My main takeaway from this conference was that digital projects in academic libraries interact in important, generative, and various ways with physical collections.  It’s easy to think about digital projects in academic libraries such as the Provenance Online Project and the Book Traces Project as diverging from a tradition of librarianship stewarding material collections.  In fact, as the Book Traces Project itself points out, the rise of the digital can threaten the existence of print collections.  The project appeals to users to help identify unique copies of books with interesting ownership features (bookplates, striking marginalia) and inserted ephemera (locks of hair, dried flowers, personal notes, etc.) published between 1820 and 1923: “We need your help identifying them because many are in danger of being discarded as libraries go digital” (http://www.booktraces.org/).  Many presentations at SHARP touched on the role digital projects play in preserving and enhancing access to physical books and material collections.

For example, on the panel on which I presented, “Old Books and New Tricks: Regenerating the Library Visit,” Karla Nielsen, Curator at Columbia University Libraries, emphasized that the Book Traces Project ultimately exists in order to make a case for maintaining extensive print collections that include multiple copies and editions of a given text.  Moreover, far from alienating student users from physical collections, the Book Traces Project in fact provides many students with their first exposure to the library stacks, since the project actively involves students in surveying areas of the stacks looking for items to digitize.  Thus, the Book Traces digital project does crucial work to advocate print collections, demonstrate the value of retaining multiple editions, and promote student engagement with the rich materiality of these collections.  Despite its identity as a digital project, the Book Traces Project ultimately makes a case not to replace print editions with digital surrogates.

Over the course of my own panel as well as others such as “Generations of Readers: Appeals to Audiences and their Reactions Across Editions” and “Archive Accumulation : Antiquarian Affect and Obsolescence” I enjoyed learning useful tips and strategies for launching and running successful digital projects in libraries.  For example, in order to engage faculty, it’s important to make very specific pitches, suggesting how particular library or archive items might figure in a course syllabus, and providing sample assignment prompts and assessment models.  Gale Burrow of the Claremont Colleges Library provided great models on this front; see her highly adaptable series of exercises and prompts for her Early Modern Studies Primary Source Lab here.

The Keystone Digital Humanities Conference (#keyDH)

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This conference blended long paper presentations with punchy digital project lightening talks.  Keynote Miriam Posner‘s thoughtful talk, “What’s Next?: The Radical, Unrealized Potential of Digital Humanities,” encouraged digital humanists to frame projects that illuminate marginalized histories and perspectives, in a spirit of solidarity rather than charity.  Posner referenced a tradition of ethics that holds the “gesture toward plenitude and contingency,” not the encompassing of these (which is impossible), as the ethical act.  She pointed to The Knotted Line as a digital humanities project that embraces a non-linear, de-centered, deconstructivist approach in the service of one pressing humanities question: “how is freedom measured”?

A list of every exciting digital project showcased at the conference would be impossible long, but here are a few that I especially enjoyed learning about:

Goin’ North.  This Omeka project, which involves contributions from graduate and undergraduate students at West Chester University, synthesizes oral histories and digitized regional archival materials to highlight narratives of the Great Migration of African Americans from the southeast to northern regions of the U.S. during the early decades of the twentieth century.

Our Marathon. The Boston Bombing Digital Archive.  Also an Omeka project, Our Marathon marshals images, videos, social media, and other digital primary sources responding to the Boston Marathon bombing.

Doctor or Doctress?  This project centers the unique perspectives of African American female physicians in order to examine U.S. history during the 19th and early 20th centuries.

The Story of the Stuff.  This web documentary examines the phenomenon where sites of devastating mass shootings–Sandy Hook Elementary School and Virginia Tech, for example–are flooded with “stuff” (teddy bears, paper cranes, cards, etc.), thus creating impromptu, ephemeral memorial sites.

College Women.  This digital archives project documents the history of women in higher education through a focus on pertinent digital collections at the Seven Sisters.

In addition to the multitude of fascinating panels and digital project showcases, I also enjoyed tours sponsored by the conference of the Library Company and the Historical Society of Pennsylvania, where we had the privilege of visiting the digitization lab.

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These 19th-century fabric samples archived at the Historical Society of Pennsylvania are being digitized for an online exhibit.

The tours reaffirmed for me the very fun relationships among digital humanities, archives, and special collections.  A big thank you to the organizers of the Keystone Digital Humanities Conference for their hard work on this hugely successful conference!

HASTAC Highlights: Digital Scholars Descend on Michigan State University, May 27-30

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With the generous support of both Southwestern University and the Council on Library and Information Resources (CLIR), I recently had the privilege of attending the HASTAC (Humanities, Arts, Science, and Technology Alliance and Collaboratory) 2015 Conference at Michigan State University in East Lansing, Michigan.

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The HASTAC 2015 Conference brought digital scholarship practitioners together May 27-30, 2015.

It was an utterly stimulating few days of reconnecting with my fellow CLIR Postdoctoral Fellows in Academic Libraries and making new connections with people building exciting digital projects all over the country.  Check out the HASTAC Panel and Event Schedule here.  Following are some highlights from #hastac2015.

Inspiring digital tools and projects to explore:

  • The web-based Palladio data visualization platform.  Andy Wilson uses Palladio to map and examine international aspects of the Nicaraguan Sandinista Revolution.  He blogs about his research here.  In response to Wilson’s presentation, Devin Higgins made a great point by tweet: “Nice to hear about network visualization being used as one step in a research process, not as the final product.”  We need to remember that data visualization and spatial analysis tools are good for more than providing flashy visual research products; they can also transform research methodologies.
  • The Homestead Nebraska Project.  Rebecca Wingo presented on this fascinating digital project, which uses the platform Gephi to visualize ethnic communities, neighborhoods, and identities of place on the Nebraska plains.
  • Open Folklore.  This comprehensive online resource for folklorists represents a partnership between the American Folklore Society and the Indiana University Bloomington Libraries.
  • Library Juice Academy.  This online professional development site is the Lynda.com of the library world.
  • The AfroLatin@ Project, the LatiNegrxs Project, and Afro-Digital Connections, presented by Amilcar Priestley, Jessica Marie Johnson, and Eduard Arriaga, respectively, on the panel “African and African-Descendent Cultures in the Digital Age: Adoption, Adaption and the Emergence of Complex Identities.”  The panel, which also included Dorothy Odartey-Wellington on born-digital African literature, offered an in-depth examination of the digital tools engaged by Afro-Latino, African American, other Afro-descended users and communities.  Arriaga discussed the function of the Afro-Digital Connections repository to illuminate the variety of ways African and African-descended artists, academics, and activists use digital tools to construct digital identities.  I look forward to keeping in touch with Arriaga about possibilities for involving students in contributing to the Afro-Digital Connections repository in future World Literature classes I may teach.
  • HASTAC Forum on Colonial Legacies, Postcolonial Realities and Decolonial Futures of Digital Media.

Selected pearls of wisdom from HASTAC presenters and panels:

I had opportunities to present on two panels: “Tales From the Library Basement: Doing Digital Humanities as CLIR Fellows” (with co-panelists Rachel Deblinger, Emily McGinn, and Alicia Peaker”) and “Thinking Outside the Archive: Engaging Students and Community in Special Collections Digital Projects” (with co-panelists Chella Vaidyanathan, Caitlin Christian-Lamb, Robin Wharton, and Elon Lang).

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CLIR Fellows unite! From left to right: Charlotte Nunes, Justin Schell, Alicia Peaker, Emily McGinn, and Rachel Deblinger.

Both panels were followed by extremely useful discussions.  During our discussion, gracefully moderated by former CLIR fellow and current Director of the Center for Digital Learning and Research at Occidental College Daniel Chamberlain, about doing Digital Humanities as CLIR fellows, we compared tensions and challenges in various institutional settings where we circulate not exactly as faculty, and not exactly as librarians.  It can be a very productive (if sometimes uncomfortable!) place to be.  Despite our very different project responsibilities and position descriptions, all of us function as “human hubs,” or “Collaborators-in-Chief” (Dr. Chamberlain’s term), working as intermediaries between libraries, academic departments, and other bodies on campus.

All of my fellow panelists on “Thinking Outside the Archive: Engaging Students and Community in Special Collections Digital Projects” are doing fabulous work to enhance undergraduate education through engagement with archives and special collections.  Check out the Hoccleve Archive project run by Elon Lang and Robin Wharton.  And see Caitlin Christian-Lamb’s absorbing blog posts about archives-oriented digital projects she’s undertaken at Davidson College Archives and Special Collections here.  Christian-Lamb recommends that DH practitioners hone a “DH and Archives elevator speech” to effectively and directly articulate the benefits of allying digital humanities work with archives and special collections.

During the panel discussion, I posed the question of how to assess student work on digital archives projects.  Here are two ideas from the audience that I look forward to implementing:

  • Badges.  Beau Case, Head of the Arts & Humanities Team at University of Michigan Libraries, suggested implementing a digital skills badge system as a way to incentivize and assess student work on digital archives projects in the semester-long classroom setting.
  • Student-generated rubrics.   offered her experience guiding students in setting the priorities of a given assignment by collaborating on rubrics for assessment.  Her HASTAC blog posts here and here offer insights into the collaborative process, while her article in the Journal of Interactive Technology and Pedagogy provides a complete case study.

Other pearls of wisdom from the conference at large:

  • With regard to building digital humanities projects in libraries: Julie Bobay of Indiana University Libraries emphasized that libraries need a “digital humanities consultation checklist” to work with faculty to anticipate audience, impact, sustainability, rights, grant-funding prospects, and other crucial criteria for successful and sustainable projects.  She added that it’s important to align project goals with existing support and infrastructure.  Nancy Maron of Ithaka S+R suggested the Sustainability Implementation Toolkit as a first step toward building sustainable digital projects.
  • With regard to digital archives projects: in her presentation on the 9/11 Digital Archive, Dhanashree Thorat reminded us that we must examine not only the content but the structure of archives to learn how they may privilege and/or de-privilege certain voices and perspectives.  Dorothy Odartey-Wellington argued for the preservation of “inactive voices” (such as discontinued blogs) as crucial for the historical record.  And Rebecca Wingo analogized digital humanities and archival research: we can go in with an agenda, but we must be open to a journey elsewhere, since both digital humanities and archival projects often take on lives and identities of their own, regardless of original intentions.

Huge thanks to the HASTAC Conference Organizing Committee for making this dynamic, inspirational, and beautifully-run event possible!

“Connecting to the Ideologies that Surround Us”: English 10-714 Students Reflect on Digital Tools, Texts, and Narrative Itself

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It’s been a whirlwind of a semester in “English 10-714: Freedom and Imprisonment in the American Literary Tradition: A Multidisciplinary Approach”!  Now that the class has drawn completely to a close–all digital projects and reflective essays turned in, grades submitted, and digital archiving commitments to the Texas After Violence Project (TAVP), the Human Rights Documentation Initiative (HRDI), and the American Prison Writing Archive (APWA) wrapped up–I’d like to report on some themes that emerged from students’ final reflective posts on our course blog.  The students’ reflections not only provide immensely useful considerations as I look forward to future adventures teaching digital humanities; they also provide great insights into what the digital humanities can do and be in undergraduate liberal arts education.

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The TAVP partners with the HRDI to make oral histories pertaining to the death penalty in Texas digitally available to the public. As a class, we digitally archived approximately 15 hours of oral history testimony.

In addition to regularly blogging, tweeting, and building independent digital projects using platforms such as Annotation Studio, Tiki-Toki, Omeka, and HistoryPin, our class transcribed 17 prison essays for the American Prison Writing Archive and digitally archived a whopping 15 hours of oral history testimony for the Texas After Violence Project.  In this time- and labor-intensive enterprise, students took responsibility for transcribing, auditing, formatting, and synching transcripts with video for five oral history narrators whose stories are collected at the Human Rights Documentation Initiative.  Students also created tables of contents and abstracts for the interviews, which will be made available to the public pending finalization by HRDI archivists.

I commend the students of English 10-714 for their openness to experimenting not only with new digital technologies, but also with traditional notions of genre and narrative.  The multidisciplinary goals of the class–to deepen our understanding of how freedom, imprisonment, and criminal justice have been variously conceptualized in the U.S. imaginary–called for a broadly construed understanding of the “prison narrative.”  While we encountered many texts that comport directly with the genre conventions of the prison narrative (including readings from Fourth City: Essays from the Prison in America edited by Doran Larson, and pieces archived at the American Prison Writing Archive), we also encountered texts that challenged us to expand our idea of what the “prison narrative” might be, to include ostensibly non-narrative texts as well as the perspectives of writers and narrators far outside prison walls.  Poems from Guantanamo: The Detainees Speak, oral histories from family members of victims of crimes, the documentary Crime After Crime directed by Yoav Potash, and speeches by Angela Davis enriched our discussions of the generic boundaries of the prison narrative.  Over the course of the semester, we framed our humanities inquiry in terms of questions like these:

  • Explored collectively and comparatively, how do these multidisciplinary texts narrate shifting ideologies with regard to U.S. criminal justice?
  • Whether explicitly narrative or not, what stories do these texts tell about about how criminal justice policies and practices impact people and communities inside prisons and beyond?
  • What do these texts reveal about the power of narrative to establish, sustain, overturn, or transform widely held assumptions about prisons and the imprisoned?

One student wrote that reflecting on the semester, “I see narrative in everything that we have read and watched and listened to. I learned a great deal about how the narratives Americans are exposed to about imprisonment and punishment have a great impact on how we view prison — views that I saw in myself, and that have definitely been impacted the way that I think about punishment in general.”  Another student remarked that our course readings “destroyed the dissociation that I have had with those that are incarcerated and rather humanized them.”  Yet another student concluded that “the work of listening and contextualizing that needs to be done around crime… broadens the discourse around capital punishment by urging us to think about corporal and mental punishment, almost akin to death, perpetuated by prisons… While we need to fight for reform and specific policy changes, there needs to be a vast overhaul of this system.”  These students’ reflections, as well as many others not cited here, evidence how effectively our course readings challenged students to confront their own assumptions, beliefs, and thoughts about future directions with regard to U.S. imprisonment practices.

In their thinking about the power of narratives to register and react to U.S. criminal justice, students cited a range of texts as favorites, but oral histories at the Texas After Violence Project and the Rule of Law Oral History Project reigned in the students’ appreciation.  Students interacted with audiovisual oral histories using this Close Listening Worksheet as a basis for analysis.  They also interacted with TAVP oral histories by transcribing, auditing, and archiving them for the Human Rights Documentation Initiative TAVP Collection.  As one student remarked,

“Oral history interviews were my favorite types of texts to work with and analyze. I really liked being able to see a face to a narrative and hear the voice behind the story…. It was a way to get closer to the content and analyze it on many levels. I was able to draw different responses from these type of texts that I wouldn’t be able to draw from something in print.”

Another student agreed, commenting that the “oral history aspect of the project was very affecting…, and I am glad this class exposed me to oral history projects, as I was previously unfamiliar. Watching people talk about their own experiences and beliefs, being able to see them process their own thoughts, is powerful in a different way than a carefully crafted story or essay.”  The student added that the Rule of Law Oral History Project provided him with a valuable access point to “the philosophy surrounding law,” since the project includes diverse perspectives from “experts, activists, psychologists, and those who have personally experienced extralegal detainment or torture.”

With regard to oral histories, yet another student put forth “two specific nuggets of knowledge I learned in class: new ways of close-reading (transcribing, auditing, etc.) and the activist power of narratives.”  For this student and others, the values of interactive close-reading and community engagement were closely tied in our interactions with digital oral history collections.

Following are some further themes that emerged in student reflections on course learning outcomes, demonstrated with more quotes from their blog posts.

How digital archives, digital archiving practices, and digital tools introduced new ways of close-reading and enhanced interactivity with course texts and topics:

“Although we were already engaging with the texts in such an analytical way this course pushed us to a different level. Using digital technology to annotate, archive, respond to, and discuss texts we were thinking about the texts in so many different ways. All the different forms of digital technology gave us different insights to what we were working with and helped us communicate our thoughts about the texts with others.”

With reference to archiving TAVP oral histories and transcribing APWA essays: “This type of close reading deals with the narrative/text physically… obviously, for literature classes, reading is that physical activity, but often times it is hard to engage with a text and read every, single, word.  But when transcribing, auditing, or syncing a narrative, it is almost necessary to overly pay attention to every word—therefore another way to close-read texts. Looking at texts and narratives by using digital technology in class, has been a valuable avenue to deal with texts in a new way.”

How working with digital tools and texts enriched our conception of narrative and shifted students’ relationships to narrative:

“Poetry, oral narratives, scholarly articles, and even documentaries are all some ways we’ve explored the prison narratives in our course this semester… When we think about a text we think about something in print or online that can be read but this course taught us to broaden the term “text” in such an interesting way…We focused on the content but also on the media that we received the text from.”

“All of the tools and texts we have worked with this semester have made me start thinking differently about the act of reading and listening. Reading is not a passive activity, as I had once thought. Putting my responses down on paper (or rather, a blog) made me realize just how much I reflected during the reading process. I was not simply taking in information; I was interpreting it and forming new information. The same goes with the act of listening. Transcribing and auditing another person’s words makes them seem like your own, which is an interesting feeling. As a reader and a listener, I have been able to understand an author or narrator’s point of view much more quickly and with a much more open mind than I did before this class… We are connecting not just to each other, but to the ideologies that surround us.”

“[T]ranscribing pieces [was] a deeply new thing for me. The first time I listened to the Jeff Hood interview [at the Texas After Violence Project], I found myself enjoying his story, questioning his motives, finding places where his activism plays into other systems of power that I have been taught about, and absorbing the story but not being changed by it.  After auditing, and syncing this interview I found a new take on it entirely. The places that I would write off from his story because it doesn’t align with my experience (whether seeming unbelievable or merely not recognizable), in the end became the parts that really stretched me a lot… Normally, I would only listen to a long video such as this over and over again if I wanted to remember it, share it, somehow take ownership of it. But what I found with the Jeff Hood interview was that I engaged with the story not because I wanted to use it, but because it was a voice that mattered and it was my job to listen.”

How social media challenged student writers, enhanced community in our class, and connected us with communities beyond our class:

“Using Twitter as a productive and efficient way to respond to the “texts” we worked with made it really easy to attach other media aspects to what we were already talking about and add a more “real” feel to it all. We could join in conversation with current events and topics on Twitter and tie them into what we were thinking about in class.”

“While I enjoyed the use of a popular social media platform such as Twitter, I found it particularly challenging to narrow my thoughts down to 140 characters. This challenge made me think more carefully about each word and letter used in order to effectively and concisely make my point. I think it was very beneficial, however, to have all the thoughts in one place such as the feed. In other classes that require daily or weekly responses, it is usually for the professor’s benefit and is not shared with the rest of the class.”

“[A]t first I really disliked having to comment on weekly readings via Twitter, because of the extremely limited space, but eventually I realized that most of what I disliked was the way that the short format pushed me to very carefully consider my thoughts, and condense them into the best, purest form possible.”

How working with digital technologies and digital narratives opened up possibilities for advocacy, activism, and community engagement:

“Narratives are crucial aspects of activism. Reading someone’s story—being placed in someone’s metaphorical shoes by reading their work—creates a bond; and then this bond creates a meaningful connection for the person to the narrator. Therefore, I think that learning about injustices of the prison industrial complex through narratives like the TAVP [oral histories], the Rule of Law Oral History Project…, Fourth City: Essays from the Prisons in America and our other course texts—completely achieve this goal, of creating a bond with the reader.”

“The tools we have interacted with… have shown me the depth of accessibility for a wide variety of audiences that comes along with open air digital blogs and projects, and that is a necessary hinge of activism.”

Relatedly and in conclusion, one student reflected that in our “class about freedom and imprisonment,” she was frequently struck by the fact that her “own access to information and digital tools is very apparently a rare privilege.”  Over the course of listening to audiovisual oral histories, reading from texts such as Fourth City: Essays from the Prison in AmericaPoems from Guantanamo: The Detainees Speak, and Reading Is My Window: Books and the Art of Reading in Women’s Prisons, and as a result of our class’ volunteer relationship with the Inside Books Project, our class learned that access to texts, oral histories, and other digital media is an important measure of freedom.  By the same token, the lack of access to educational tools and texts faced by many people in prisons is a major factor of their imprisonment.

Update, May 22, 2015: Course evaluations are in!  Following are some of the problems, issues, and challenges that students identified in the class.  Some of these were articulated in their blog posts as well, so I’ll synthesize them here:

  • The emotional component of the class.  The controversial course topic, sensitive course material, and provocative voices and perspectives we encountered in course texts sometimes made for an emotionally charged classroom experience.
  • With the exception of the final project, in which students selected a digital platform from which to conduct a literary analysis, the digital skill-building did not always interact with the literary texts.  Over the course of the semester, we learned Annotation Studio, Omeka, Tiki-Toki, and HistoryPin in preparation for the final project assignment.  This, in addition to learning video-editing skills and the digital archiving software GLIFOS, was indeed a lot (probably too much) to cover, in light of our heavy reading load, regular social media contributions, and task sessions for the Texas After Violence Project and the American Prison Writing Archive.  Several students suggested spending less time on skill-building, and more time independently applying selected digital tools to course texts.
  • Assessment.  Assessment is a big issue in both digital humanities and community-engaged classrooms, and ours was both.  While I provided consistent feedback to students in the form of individual responses to blog posts and tweets, project management e-mails and meetings in and out of class with regard to tasks for the TAVP and the APWA, an in-class digital project proposal workshop, one-on-one consultations on final digital projects, and in-depth written responses to final projects, I did not assign grades until the end of the class.  For the most part, students responded well to this format.  Our class had great momentum.  Every student completed all requirements for the class, quite a number of them going well above and beyond.  But some student evaluations indicated that the gradelessness of the class was a challenge.

I take seriously issues of assessment in a course where the work does not neatly correspond to a system of letter grades.  The question of how to assess digital scholarship and community-engaged learning looms large at this juncture in higher ed.  Is it a matter of channeling student work into grade categories no matter what and however uneasily?  Is it a matter of front-loading the class with extensive discussion about how their work will be valued and evaluated outside of the traditional grading system?  What are the best strategies for providing students with the feedback they need to learn and succeed in the digital humanities/community-engaged classroom?  This semester was undoubtedly a valuable experiment for me as an educator when it comes to assessment.  The students’ feedback has provided me with a lot of important food for thought, and I look forward to implementing their suggestions in future teaching.

More immediately, I look forward to connecting with other educators and taking on questions of assessment in my upcoming presentation centered on my spring class at the HASTAC (Humanities, Arts, Science, and Technology Alliance and Collaboratory) 2015 Conference taking place at Michigan State University May 27-30.  My panel, titled “Thinking Outside the Archive: Engaging Students and Community in Special Collections Digital Projects,” will be a great opportunity to talk through issues of assessment with educators and archivists facing similar challenges.