Scholarship is discussed below from both institutional and individual perspectives. The view I am starting from is that ‘scholarship’ refers to a set of epistemological and ethical practices that underpin the social construction of an enduring record of objectively validated knowledge. By this definition teaching and learning is not scholarship, although it may draw on scholarship and be done by scholars.
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Scholarly, digital, open: an impossible triangle? | Goodfellow | Research in Learning T... - 1 views
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Hugely disagree. The first part may be reasonable enough, although I disagree with the notion of "objectively validated knowledge" as a necessary component of scholarship (how is it "objective"? how can it be "validated"?). But to claim that teaching is separate from scholarship is problematic.
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Research in this area always runs the risk of collapsing into reflexivity, as digital scholars turn the lens of enquiry onto themselves, but grounded and critical research into situated practice in areas of research, teaching and public engagement where both scholarship in all its forms and digitality in all its manifestations are prominent is possible and should be pursued.
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Is reflexivity a bad thing? In the social sciences it's a sine qua non.
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There is an inherent tension between practices that aim to open up the social construction of knowledge to universal participation, and those which aim to deepen the understanding of specialist communities and establish a stable and enduring record. Nevertheless, it is the role of many scholars to be involved in both. To bring scholarship, teaching and public engagement closer together must surely be the aim, but first we need to understand the ways in which practice makes them different.
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I mostly agree with this bit, although I prefer the proper reading of Boyer's model, i.e., that research, teaching, and "public engagement" (which falls into Boyer's category of Application) are -all- forms of scholarship.
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Data, a first-class research output - 0 views
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" The Make Data Count (MDC) project is funded by the Alfred P. Sloan Foundation to develop and deploy the social and technical infrastructure necessary to elevate data to a first-class research output alongside more traditional products, such as publications. It will run between May 2017 and April 2019. The project will address the significant social as well as technical barriers to widespread incorporation of data-level metrics in the research data management ecosystem through consultation, recommendation, new technical capability, and community outreach. Project work will build upon long-standing partner initiatives supporting research data management and DLM, leverage prior Sloan investments in key technologies such as Lagotto, and enlist the cooperation of the research, library, funder, and publishing stakeholder communities."
Open Stacks: Making DH Labor Visible ← dh+lib - 1 views
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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.
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More conflation of DH with all digital scholarship
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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).
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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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The Digital-Humanities Bust - The Chronicle of Higher Education - 0 views
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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.
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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.
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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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