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Todd Suomela

Guest Post: Is the Research Article Immune to Innovation? - The Scholarly Kitchen - 0 views

  • The real argument, then, is not about when and how traditional formats like the PDF will be replaced; it’s about accepting that the familiar (and perhaps boring) research article still has its purpose, while at the same time thinking ambitiously and creatively about how the humble document can be supplemented with the modern features and functions that the digital environment offers.
Todd Suomela

The Data Curation Network - A shared staffing model for digital data repositories - 0 views

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    "We are the Data Curation Network As professional data curators, research data librarians, academic library administrators, directors of international data repositories, disciplinary subject experts, and scholars we represent academic institutions and non-profit societies that make research data available to the public. What we do Data curators prepare and enrich research data to make them findable, accessible, interoperable and reusable (FAIR). Sharing our data curation staff across DCN partner institutions enables data repositories to collectively, and more effectively, curate a wider variety of data types (e.g., discipline, file format, etc.) that expands beyond what any single institution might offer alone."
luyangren

MangoMap - 0 views

shared by luyangren on 07 Apr 17 - No Cached
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    This is a web GIS mapping website, which allows you to upload different formats of data and create a web mapping.
Todd Suomela

the mass defunding of higher education that's yet to come - the ANOVA - 0 views

  • I am increasingly convinced that a mass defunding of public higher education is coming to an unprecedented degree and at an unprecedented scale. People enjoy telling me that this has already occurred, as if I am not sufficiently informed about higher education to know that state support of our public universities has declined precipitously. But things can always get worse, much worse. And given the endless controversies on college campuses of conservative speakers getting shut out and conservative students feeling silenced, and given how little the average academic seems to care about appealing to the conservative half of this country, the PR work is being done for the enemies of public education by those within the institutions themselves. And the GOP has already shown a great knack for using claims of bias against academia, particularly given the American yen for austerity.
  • But his critics can’t see something that, for all of his myopia, he always has: that our political divide is increasingly bound up in a set of class associations and signals that have little to do with conspicuous consumption and everything to do with a style of self-performance that few people ever talk about but everyone understands. It is the ability to give such a performance convincingly that, in part, people buy with their tuition dollars. That this condition makes egalitarian politics a part of elite class formation has gone little discussed in my political home, the radical left. I have been excited to see a recent groundswell of young left-aligned people, and many of them are bright and committed. But almost none of them seem aware of the fact that their ironic Twitter accounts and cultural references and received opinions on all manner of political issues are as sure a sign of their class identity as a pair of wingtips and a blazer once was. And until and unless they understand how powerfully alienated the great mass of this country is from their social culture, we cannot hope to build a mass left-wing movement and with it do good things like defend public education. I agree: it’s the economy, stupid, and we must appeal to them by making the case that things like universal free college are good. But if recent political history tells us anything it’s that no economic policy, no matter how sensible, can win if its proponents refuse to grapple with the politics of resentment. The left, broadly, has not done a good job of that. The professoriate? My god.
Todd Suomela

Beyond buttonology: Digital humanities, digital pedagogy, and the ACRL Framework | Russ... - 0 views

  • Here are a few specific examples you can apply to your instructional design process to help learners with metacognition: Model the metacognitive process during instruction (or in one-on-one consultations) to ask and reflect on big picture questions such as: “What questions can you answer with this tool?” “What can you not do with this tool?” Keep in mind some answers may be simple (e.g., this tool can only work with data in this way, so it is excluded automatically). Also, “Did I get the results I expected? What could I have done differently?” Start with inquiry and build conversations based on the learner’s answers. “Is it the data that does not work? Or is the research question fundamentally wrong to begin with?” Collaborate with faculty to teach together, modelling your practices while demonstrating a specific tool. This could include thinking aloud as you make decisions so learners can self-correct assumptions. Also, be aware of your own expert bias so you can demonstrate how to clear obstacles. Ask learners to specifically define what is difficult for them during the process of instruction. Digital humanities tools are complex and are based on complex methodologies and research questions. By constructing opportunities for learners to self-question as they move from one task to another, they learn to self-assess their progress and adjust accordingly. There are several instructional design activities that promote metacognition: think-pair-share, one minute paper (“share a key concept learned” or “what comes next?”), and case studies.
  • There are specific strategies we can implement to help learners escape the recursive spiral of the liminal state they experience while managing complex digital projects: One of the most challenging aspects of teaching digital tools is forgetting what it is like to be a novice learner. Sometimes being a near-novice oneself helps you better prepare for the basic problems and frustrations learners are facing. But recognizing liminality is a reminder to you as a teacher that the learning process is not smooth, and it requires anticipating common difficulties and regularly checking in with learners to make sure you are not leaving them behind. When meeting with learners one-on-one, make sure to use your in-depth reference interview skills to engage in methods discussions. When a learner is in the liminal state, they are not always able to “see the forest for the trees.” Your directed questions will illuminate the problems they are having and the solutions they had not seen. Pay close attention to the digital humanities work and discussions happening on your own campus, as well as across the academic community. Working through the liminal space may require helping learners make connections to others facing similar problems. Also follow online discussions in order to point your learners to a wide variety of group learning opportunities, such as the active digital humanities community on Slack.9 When designing instructional opportunities, such as workshops and hackathons, pay particular attention to outreach strategies that may bring like-minded learners together, as well as diverse voices. For example, invite the scholar whose project was completed last year to add a more experienced voice to the conversation. By encouraging the formation of learning communities on your campus, you are creating safe spaces to help learners navigate the liminal state with others who may be on the other side of struggling with specific digital project issues. In designing instructional activities, guide learners through visualization exercises that help to identify “stuck” places. Making graphic representations of one’s thoughts (e.g., concept maps) can highlight areas that require clarification.
jatolbert

Does Digital Scholarship Have a Future? | EDUCAUSE - 1 views

  • Although the phrase sometimes refers to issues surrounding copyright and open access and sometimes to scholarship analyzing the online world, digital scholarship—emanating, perhaps, from digital humanities—most frequently describes discipline-based scholarship produced with digital tools and presented in digital form.
    • jatolbert
       
      A couple of points. First, there's no reason to assume that DS comes from DH. "Digital" was a term and concept before DH claimed it. Second, I would suggest that DS can be produced with digital tools OR presented digitally OR both. It isn't necessarily always both. I did digital scholarship that was both printed in a conventional journal and published online. Semantic difference, but still important.
  • Though the recent popularity of the phrase digital scholarship reflects impressive interdisciplinary ambition and coherence, two crucial elements remain in short supply in the emerging field. First, the number of scholars willing to commit themselves and their careers to digital scholarship has not kept pace with institutional opportunities. Second, today few scholars are trying, as they did earlier in the web's history, to reimagine the form as well as the substance of scholarship. In some ways, scholarly innovation has been domesticated, with the very ubiquity of the web bringing a lowered sense of excitement, possibility, and urgency. These two deficiencies form a reinforcing cycle: the diminished sense of possibility weakens the incentive for scholars to take risks, and the unwillingness to take risks limits the impact and excitement generated by boldly innovative projects.
    • jatolbert
       
      I'm not sure about any of this. There's plenty of innovation happening. Also, galloping towards innovation for its own sake, without considering the specific needs of scholars, seems like a mistake.
  • Digital scholarship, reimagined in bolder ways, is cost-effective, a smart return on investment. By radically extending the audience for a work of scholarship, by reaching students of many ages and backgrounds, by building the identity of the host institution, by attracting and keeping excellent faculty and students, by creating bonds between faculty and the library, and by advancing knowledge across many otherwise disparate disciplines, innovative digital scholarship makes sense.
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  • Yet, other aspects of the changing digital environment may not be encouraging digital scholarship. The large and highly visible investments being made in MOOCs, for example, lead some faculty to equate technology with the diminution of hard-won traditions of teaching and scholarship. Using new capacities in bandwidth, MOOCs extend well-established patterns of large lectures to audiences otherwise out of the hearing range of those lectures. Unlike digital scholarship, however, MOOCs make no claim to creating new disciplinary knowledge, to advancing the scholarly conversation, to unifying research and teaching.
    • jatolbert
       
      I don't see why any of this is necessarily a problem--unless you reject the notion of lectures as useful pedagogical forms entirely
  • In other words, digital scholarship may have greater impact if it takes fuller advantage of the digital medium and innovates more aggressively. Digital books and digital articles that mimic their print counterparts may be efficient, but they do not expand our imagination of what scholarship could be in an era of boundlessness, an era of ubiquity. They do not imagine other forms in which scholarship might live in a time when our audiences can be far more vast and varied than in previous generations. They do not challenge us to think about keeping alive the best traditions of the academy by adapting those traditions to the possibilities of our own time. They do not encourage new kinds of writing, of seeing, of explaining. And we need all those things.
    • jatolbert
       
      Somewhat melodramatic. What kind of innovation does he want, exactly? And what doesn't he like about the formats he mentions here? He lists things that scholars do, suggests they need to change, but makes no compelling case re: WHY they need to change.
  • Interpretation must be an integral and explicit part of the fundamental architecture of new efforts. Insisting that colleges and universities broaden their standards and definitions of scholarship to make room for digital scholarship is necessary, but it is only a partial answer. To be recognized and rewarded as scholarship in the traditional sense, digital scholarship must do the work we have long expected scholarship to do: contribute, in a meaningful and enduring way, to an identifiable collective and cumulative enterprise.
  • By way of example, the Digital Scholarship Lab at the University of Richmond is attempting to build one model of what this new scholarship might look like. The lab combines various elements of proven strategies while also breaking new ground. With the support of the Andrew W. Mellon Foundation, the historians Robert K. Nelson and Scott Nesbit and their colleagues are creating a digital atlas of American history. The first instantiation of the atlas, Visualizing Emancipation, will soon be followed by an amplified, annotated, and animated digital edition of The Atlas of the Historical Geography of the United States, first published in 1932. Over the next three years, chapters of original and dynamic maps and interpretations will focus on key aspects of the American experience since the nation's founding. The digital atlas will allow scholars to see patterns we have never been able to envision before while at the same time it will make available to teachers of all levels visualizations of crucial processes in American history.
    • jatolbert
       
      This one example doesn't seem all that innovative--story maps, etc. have been around a long time. Also, what he's doing is still basically a repackaging of print scholarship. It could be useful, but it's not nearly as radical as he seems to think.
  • Does Digital Scholarship Have a Future?
    • jatolbert
       
      A problematic think piece about digital scholarship in general. Has some useful definitions. Unfortunately Ayers is doing a lot of hand-wringing over what he sees as the lack of meaningful innovation in digital scholarship. It's not at all clear, though, what he means by this. He argues that what innovation has happened isn't sufficient, then gives an example of a project--a digital atlas of American history--that he seems to think is radically different, but isn't in any way I can discern from his description.
jatolbert

Open Stacks: Making DH Labor Visible ← dh+lib - 1 views

  • When infrastructure is understood as an irrational social formation, emotional labor tends to compensate for a perceived lack of resources. Scholars who are used to the invisibility of traditional library services, for instance, find that digital projects expose hierarchies and bureaucracies that they don’t want to negotiate or even think about, and the DH librarian or one of her colleagues steps in to run interference. Why can’t the dean of libraries just tell that department to create the metadata for my project? After all, they already create metadata for the library’s systems. Why can’t web programming be a service you provide to me like interlibrary loan? I thought the library was here to support my scholarship. Why can’t you maintain my website after I retire–exactly the way it looks and feels today, plus update it as technology changes? In some conversations, these questions may be rhetorical; it may take emotional labor to answer them, but doing so exposes the workings of the library’s infrastructure–its social stack.
    • jatolbert
       
      More conflation of DH with all digital scholarship
  • How does DH fit within this megastructure? According to some critics, DH is part of the problem of the neoliberal university because it privileges networked, collaborative scholarship over individual production. If creating a tool (hacking) or using computational methods has the same scholarly significance as writing a monograph, then individualized knowledge pursued for its own sake, the struggle at the heart of humanistic inquiry, is devalued. Yet writing a book always depended on invisible (gendered) labor in the academy. Word processing, library automation, and widespread digitization are just three examples of the support labor for traditional scholarly work that Bratton’s globalized technology Stack has absorbed. (And we know that the fruits of that labor are in no way distributed equitably.) What has changed in the neoliberal university is that the humanities scholar becomes one more node in a knowledge-producing system. Does it matter, then, whether DH work produces ideas or things, critics say, if all are absorbed into a totalizing system that elides the individual scholar’s privileged position? This is of course a vision of scholarship that is traditionally specific to the humanities; lab science and the performing arts, for example, have always been deeply collaborative (but with their own systems of privilege and credit).
  • DH librarians, whose highly collaborative work is dedicated to social justice and public engagement, may be one particularly vital community of practice for exposing the changing conditions that create knowledge.
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  • like the fish who asks “what is water?”–most scholars are unaware of the extent to which their work, professional interactions, and finances are imbricated with the global technology Stack.
    • jatolbert
       
      Also not sure that this is true.
  • Many DH programs, initiatives, and teams have arisen organically out of social connections rather than centralized planning.
  • the myth of scarcity
  • Scholars often presume that because libraries acquire, shelve, and preserve the print books that they write, that the same libraries will acquire, shelve (or host), and preserve digital projects.
    • jatolbert
       
      This is a natural assumption, and in fact is true in many cases.
  • digital scholarship
  • DH
  • digital scholarship
jatolbert

The Digital-Humanities Bust - The Chronicle of Higher Education - 0 views

  • To ask about the field is really to ask how or what DH knows, and what it allows us to know. The answer, it turns out, is not much. Let’s begin with the tension between promise and product. Any neophyte to digital-humanities literature notices its extravagant rhetoric of exuberance. The field may be "transforming long-established disciplines like history or literary criticism," according to a Stanford Literary Lab email likely unread or disregarded by a majority in those disciplines. Laura Mandell, director of the Initiative for Digital Humanities, Media, and Culture at Texas A&M University, promises to break "the book format" without explaining why one might want to — even as books, against all predictions, doggedly persist, filling the airplane-hanger-sized warehouses of Amazon.com.
  • A similar shortfall is evident when digital humanists turn to straight literary criticism. "Distant reading," a method of studying novels without reading them, uses computer scanning to search for "units that are much smaller or much larger than the text" (in Franco Moretti’s words) — tropes, at one end, genres or systems, at the other. One of the most intelligent examples of the technique is Richard Jean So and Andrew Piper’s 2016 Atlantic article, "How Has the MFA Changed the American Novel?" (based on their research for articles published in academic journals). The authors set out to quantify "how similar authors were across a range of literary aspects, including diction, style, theme, setting." But they never cite exactly what the computers were asked to quantify. In the real world of novels, after all, style, theme, and character are often achieved relationally — that is, without leaving a trace in words or phrases recognizable as patterns by a program.
  • Perhaps toward that end, So, an assistant professor of English at the University of Chicago, wrote an elaborate article in Critical Inquiry with Hoyt Long (also of Chicago) on the uses of machine learning and "literary pattern recognition" in the study of modernist haiku poetry. Here they actually do specify what they instructed programmers to look for, and what computers actually counted. But the explanation introduces new problems that somehow escape the authors. By their own admission, some of their interpretations derive from what they knew "in advance"; hence the findings do not need the data and, as a result, are somewhat pointless. After 30 pages of highly technical discussion, the payoff is to tell us that haikus have formal features different from other short poems. We already knew that.
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  • The outsized promises of big-data mining (which have been a fixture in big-figure grant proposals) seem curiously stuck at the level of confident assertion. In a 2011 New Left Review article, "Network Theory, Plot Analysis," Moretti gives us a promissory note that characterizes a lot of DH writing: "One day, after we add to these skeletons the layers of direction, weight and semantics, those richer images will perhaps make us see different genres — tragedies and comedies; picaresque, gothic, Bildungsroman … — as different shapes; ideally, they may even make visible the micro-patterns out of which these larger network shapes emerge." But what are the semantics of a shape when measured against the tragedy to which it corresponds? If "shape" is only a place-holder meant to allow for more-complex calculations of literary meaning (disburdened of their annoyingly human baggage), by what synesthetic principle do we reconvert it into its original, now reconfigured, genre-form? It is not simply that no answers are provided; it is that DH never asks the questions. And without them, how can Moretti’s "one day" ever arrive?
  • For all its resources, the digital humanities makes a rookie mistake: It confuses more information for more knowledge. DH doesn’t know why it thinks it knows what it does not know. And that is an odd place for a science to be.
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