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Chris Milando

»Highlights for Chapman's: Privileging Form Over Content: Analysing Historica... - 0 views

journalofdigitalhumanities.org/...m-over-content-by-adam-chapman

video games digh5000 digital humanities experience information accuracy history form content

shared by Chris Milando on 11 Mar 14 - No Cached
  • At this early stage in the serious study of historical videogames, we must be sure to adopt an approach that privileges understanding the videogame form (and the varying structures this entails) and its integral role in the production and reception of historical meaning, rather than solely, or even primarily, on the content of specific products as historical narratives.
  • In essence, when we play we may well be “reading” (i.e. interpreting and negotiating historical signifiers and narrative) but we are also “doing” (i.e. playing).
  • Content cannot be separated from its form, just as history cannot be understood separately from the modes in which it is written, coded, filmed, played, read, or viewed.
  • ...27 more annotations...
  • This last concern is integral to understanding games because, unlike the majority of historical forms, videogames have an additional layer of meaning negotiation because they are actively configured by their audiences
    • Chris Milando
      Chris Milando on 11 Mar 14
       
      This is super important and defines the idea of the form (the experience) as what we look for in a video game.  This is what the genre will be used for in learning about history.
  • To do so requires an analytical approach that fuses Salen and Zimmerman’s three schemas of games: play, rules, and culture, while allowing the consideration of the player’s role in the negotiation and fusion of this triad.
  • This article calls for academic work on historical videogames to move beyond the examination of the particular historical content of each game (i.e., historical accuracy or what a game ‘says’ about a particular period it depicts) and to adopt an analytical framework that privileges analysis of form (i.e., how the particular audio-visual-ludic structures of the game operate to produce meaning and allow the player to playfully explore/configure discourse about the past).
  • Simply focusing on the accuracy of the game often re-informs us about popular history rather than recognizing the opportunities for engaging with discourse about the past (and the nature of this discourse) that this new historical form can offer
  • Critiques of particular historical films were assumed to be indicative of some kind of basic structural inability of film to function as a mode of historical expression. Many scholars concluded that film could not constitute “proper history.”
  • the notion of “accuracy” or “truth” is collapsed with and thus taken to mean, “in alignment with the narratives of book-history.”
  • historical videogames mostly relinquish the telling of the experiences of specific historical agents, and favour instead typical historical environments, characters, scenarios, and experiences.
  • Obviously the aim of the developers of historical videogames like Civilization or Brothers in Arms (in addition to create an entertaining game), is to create history, not as it can be represented in a book but as it can be represented in a videogame.
  • Analysis on the basis of content alone almost invariably involves comparisons with historical narratives constructed and received in book form, which is often problematically understood as the only form capable of producing “proper” history
  • Most often these narratives are used as the benchmark for establishing truth or accuracy and thus, the examination of content
  • These written interpretations are taken to be history (or more accurately, the past) itself, rather than history as it can be written, which naturally cannot be bluntly compared to history as it can be played
  • history on film must be considered on its own terms.
  • Games will likely never produce the same opportunities for discourse as a book, but then why should they?
  • Each form utilizes different structures that, considered alongside one another as part of a larger transmedia meta-discourse, create much more interesting collaborative opportunities for establishing historical understanding than one or the other alone.
  • Examining only content also necessarily involves asking questions about what is included or left out of a particular videogame’s representation. This is rarely a useful question beyond the basis of a general common sense. Historical videogames are, like all histories, mimetic cultural products
  • The benefit will be more than just increased knowledge of a particular historical representation, but also insights about form (a particular game-structure’s operations) that are transferable to an understanding of games with similar ludic (and audio-visual) elements.
  • how much is to be actually gained by knowing, for instance, that certain shoes were not genuinely available until the 1490s rather than the 1470s, or that a particular character, though historically typical, did not truly exist? Relatively little, compared to the “feel” of a period or location, the life, colour, action, and processes (with which the book can struggle) and which can be easily communicated in games.
  • It is only by focusing on form that we can understand how the game can produce meaning in these, arguably, new ways, that neither book nor cinema can effectively utilize, whilst still remaining engaged with a larger historical discourse.
  • Historical videogames must be understood on their own terms, without relinquishing our understanding of the basic tenets of historical theory as they universally apply to history as a practice within any form (e.g. history is referential and representational).
  • Accepting this challenge requires a new approach to historical videogames, one that involves analysing the structures that produce meaning.
  • These are structures which create opportunities for players to negotiate meaning in the ways that we are familiar with from other more “passive” media but also allow them to actively configure their own historical experience through play.
  • the agency which the player wields and the challenges they confront, which allow a somewhat unique form of engagement with historical discourse.
  • though written logically, are still subjective aesthetics that attempt to represent historical experience through reactively producing signs to be read and responses to be acted upon.
  • In short, in any historical videogame, the aesthetics of historical description also function at a ludic level, producing a form of “procedural rhetoric” that, depending on a particular game’s (or genre’s) structures, can influence virtually all of the other historical signifiers through which the game produces meaning.
  • Having identified combinations of these audio-visual-ludic structures, we can then approach other games that operate similarly with an understanding of what opportunities for historical meaning-making they are likely to offer
  • When we look at the videogame form in this way we can, I hope, begin to create a cohesive understanding of how games represent the past and what structures create particular playful opportunities for players to explore, understand, and interact with these representations.
  • Chris Milando on 11 Mar 14
     
    Quick Summary: Do we need to look to games for historical accuracy? Chapman argues that we don't really - instead, we need to look to them for a historically accurate experience. This is what helps us to understand the context behind the information we get from books.
Chris Milando

» Highlights for McCall's: Historical Simulations as Problem Spaces: Criticis... - 0 views

journalofdigitalhumanities.org/...blem-spaces-by-jeremiah-mccall

video games digh5000 experience information history simulations problem spaces classroom

shared by Chris Milando on 11 Mar 14 - No Cached
  • The concept of problem space is a highly useful tool for studying historical simulations, teaching history, and using the former to help in the latter.
  • Simulation games are interpretations of the past designed as problem spaces
  • In the field of educational and cognitive research a problem space is a mental map of the options one has to try to reach a goal, the various states.
  • ...54 more annotations...
  • There is no implication of physical space. In contrast work by some scholars of video games, most notably Jenkins and Squire, discuss video games as contested spaces: here there are certainly problems, but the space itself (or rather the representation of it) becomes critical.
  • concepts a historical problem space has the following features:
  • Players, or in the physical world, agents, with roles and goals generally contextualized in space
  • Choices and strategies the players can implement in an effort to achieve their goals
  • That simulation games represent problem-spaces is in some respects just a more sophisticated articulation of the basic core of game-ness. By most definitions games require players, conflict, and a quantifiable outcome.
  • What a historical simulation game does beyond this basic game-ness, however, is craft a virtual problem space that represents to some degree a real-world one.
  • As expansive as a game might be in its treatments, it will impose arbitrary limits on its subject. These limits begin with the roles and goals of the player, decisions that shape the entire design
  • The quantifiable gameplay elements and mechanics all, in a tightly designed game any way, factor directly into whether the player achieves their goals.
  • There has been excellent discussion on Play the Past about the appropriateness of, and methods for critiquing simulations historically.
  • they are interpretations in the form of quantifiable problem spaces
  • It suggests considerations for rigorous and meaningful criticism that is holistic and sensitive to the medium
  • why Colonization codes native peoples the way it does, why Civilization does not deal with social issues in cities, or why East India Company does not represent the tensions between English and Indian customs—one needs to consider holistically the problem space selected by the designers
  • Generally speaking however—and I welcome examples where this is not the case—simulation games, especially pleasurable and/or commercially successful ones  must commit to a very small set of roles and goals, often one role and one goal. Even where roles and goals differ and conflict, they tend to be set up as binary opposites or at least draw from the same well of constraints and affordances.
  • This is in large part, again, because games must be closed functioning systems: each part must connect to every other part. So a game cannot represent roles and goals well that do not fit into the core choices, affordances, and constraints of the chosen problem space.
  • Slaves in the game become a commodity, a valuable source of cheap labor and it is not unreasonable at all for players to initiate battles in the hopes of gaining more slaves for mines and building projects.
  • Suppose, however, one wanted to criticize formally this historical representation of slaves. One might start by noting that these slaves have very little agency.
  • slaves become nothing more than affordances, resources for the player to exploit in the game
  • Why does the game not portray the agency of slaves? How Longbow defined the primary problem space, the human player’s problem space, is a critical answer. For the player Philip king of Macedon is the role with a goal of uniting Macedonia and building a Balkan empire. With this role and goal driving the articulation of the problem space, depicting slaves in the game as affordances is fully understandable.
  • It is important to note, however, that saying a portrayal of ancient slaves, native Americans, Hessian mercenaries, railroad barons or any other agent or aspect of the past, takes the form it does because of the problem space is not meant to be a tactic for ending discussion or defending an implementation (one could imagine such a chilling effect: “why are they portrayed this way? Because the problem space demanded it. Oh … okay, so what’s for lunch?”). It is meant to focus criticism on a game holistically and consider how the affordances and constraints of the simulation game medium and the interests and goals of a game’s creators (their concerns, assumptions, hopes, attitudes, what have you) shape a game’s interpretation of the past.
  • These designers have their own goals, and they are generally different from those of the historian.
  • At no point in the process of identifying problems of historical interpretation in a simulation game should the goal be to blame a game designer for somehow failing to get “the facts straight” (whatever that means) or for intentionally misrepresenting the past.
  • I suggest, as historians, that sentiment also applies to understanding why a historical game takes the form it does. The goal should not be to assign blame but to understand how the past is represented in games that suggest they are about historical topics and why it is represented in the ways they are. This requires understanding the medium and its constraints and affordances, the audience and its expectations, the designers and their goals, and the ways these and other factors shape how knowledge of the past is transmitted from that past to our living rooms
  • So, what kinds of questions might one ask of a simulation game as a problem space and what kinds of meaningful criticisms/evaluations can be made? A few, necessarily incomplete suggestions:
  • One might meaningfully question why the particular main roles and goals for the game were selected in the same way one can meaningfully question why certain generations of historians privileged one set of topics and questions over another. Indeed meaningful answers to such questions can be given based on careful research of prevailing ideas at the time. Simulation games, for example, tend to be inclined to issues of domination whether in political, military, or economic forms – discussing why this is continues to be a lively debate.
  • One absolutely should question whether the roles and goals selected for the players are historically legitimate. In other words, do they reflect what our evidence suggests were some important roles and goals in the past?
  • A thorough critique of why slaves are mere tools in Hegemony, happiness is the defining metric for success in CivCity: Rome, Indian culture is not represented in East India Company, or any other element in any game, should consider the goals set out for the game and the supporting game mechanics to be compelling.
  • So, suppose that one accepts the roles and goals of a game as historically valid goals, i.e. goals that reasonably represent what good evidence suggests motivated some peoples of the past. That might well mean that a thorough challenge to the portrayal of some historical agents in the game could only be made by suggesting:
  • the agents could not reasonably be conceived to play that role  in the problem space from the point of view of the player, the primary agent
    • Chris Milando
      Chris Milando on 11 Mar 14
       
      So it's not just the experience. The spacial context also helps us to understand what caused specific decisions and events in history. While books can accurately tell us what happened, games can make us understand /why/.
  • So challenging the portrayal of slaves in Hegemony, if one accepts the historical validity of the role and goals (which I do), would require suggesting how slaves could have been portrayed more complexly and validly within the defined problem space, how they could have had a greater portrayal of agency through expanded roles and goals.
  • It becomes necessary to move outside the game design itself and consider what external factors (modern cultural assumptions and misunderstandings, design deadlines, demands of game-ness) shaped the inaccuracies.
  • simulation games are human interpretations of the past subject to certain constraints, as sources and media they should be considered holistically, and this can be done by thinking in terms of problem spaces.
  • When it comes to the history class, there is significant educational value to studying the past in terms of historical problem spaces. This is not to say that students should come to view the past exclusively or mostly in terms of problem spaces. It is simply to suggest that problem spaces provide an excellent framework for achieving certain goals in a 21st century history education.
  • Players and actions in physical space: One of the points I made in Gaming the Past[3] is that teachers and students too easily and often forget that humans in the past (and present) operated in physical, spatial contexts. Even the most intellectual/emotional/spiritual of goals is embodied in a physical and spatial context. Understanding that context helps understand agents’ roles, goals, choices, affordances, and constraints.
  • what more legitimate roles the agent could have played in the game that would mesh with the system incorporating the player’s roles and goals in the problem space
  • Players with choices and strategies
  • Affordances and constraints: Agents in the past (and present) have opportunities and roadblocks, abundances and scarcities, talents and weaknesses, access and exclusion. These affordances and constraints shape their choices, goals, and roles.
  • Spatial context: it is worth repeating. Human motives, goals, and actions are physically contextualized as are many of the affordances and constraints that influence these things. The psychological, the emotional, the spiritual, and the intellectual play critical roles, to be sure. Human goals and actions, however, cannot be severed from their environments and remain fully comprehensible.
  • Why use the idea of problem space as a framework for studying, teaching, and learning about the past?
  • One of the goals of history education should be for students to understand how factors shape and promote certain actions and outcomes over others, how everything is hardly ever equal, and how everything is contextualized.
  • It teaches to contextualize actions within space rather than divorcing choices from their real-world context. Humans in the past and present do not make decisions in vacuums. Learning to consider the context for decisions and actions before considering the decisions and actions is critical to studying human behavior.
    • Chris Milando
      Chris Milando on 11 Mar 14
       
      This is what it is all about. We can learn from history books what happened, but games allow us to feel and understand /why/. Information on its own is insufficient - we need context to get a proper understanding.
  • It fosters flexible problem solving and critical inquiry as students consider why actors made the choices they did, what else they could have chosen, and what the likely results of those other choices might have been (all of which is important counter-factual reasoning). It undermines the perennial problem of viewing the past as pre-determined. Training flexible problem solvers like this should be a goal high on the list for history teachers. These are the thinkers that can see many sides of a problem, analyze different possibilities, and, hopefully, come up with excellent solutions.
  • make notes on the following: role, goals, geographical setting, types of choices available, affordances (I didn’t call them that at first, but got there quickly), and constraints.
  • I indicated I would start the class off by giving some background biographical information on Pliny.
  • Comprehension: even those who sometimes struggled with the challenge of making sense of primary sources and organizing a variety of historical evidence reported their sense that they understood Pliny and his world better than they normally understood many topics we explored
  • t is too easy for evidence and facts (such as they are) to get divorced from one another and appear meaningless, particularly when one lacks a deep background in a subject.
  • Engagement: problem solving is inherently engaging
  • Flexibility and Creativity: Historical imagination requires individuals not only to understand the evidence for what did happen but also to use that evidence to consider what could have happened. To be able to reconstruct a world of possibilities requires creativity and flexibility far beyond that fostered by the rote examination of what did happen and the simple acceptance of standard explanations for why it had to be that way. Again, this is the kind of powerful thinking a 21st century history education should foster: ending not with how things are but considering how they can be.
  • what reasonably valid simulation games offer most of all to students of the past is the ability to explore problem spaces from the strategic, if not emotional and intellectual, perspective of a player/agent in the space.
  • Simulation games are particularly good at modeling choice in problem spaces.
  • When students play and critique simulation games, they can actually make choices within a problem space and see how they are resolved.
  • potentially a much closer analogy to the reality of the past problem than regular classroom media
  • Of course we must be very careful when using simulation games to help students study problem spaces. The games will tend to focus on one set of roles and goals in the problem space and it is essential to remind students that there are many roles and goals.
  • Chris Milando on 11 Mar 14
     
    Quick Summary: McCall explores problem spaces - self-contained moments in history where a gamer can relive the experience of a specific event in time, and understand how history came to be through the decisions they are forced to make.
Christina Stokes

Small Assignment #1 - 25 views

The text analysis tools selected are Voyant and AntConc. These tools were mentioned on Shawn Graham's website "The Historian's Macroscope of Big Digital History." Initially I wanted to conduct a te...

started by Devin Hartley on 03 Feb 14 6 follow-ups, last by Christina Stokes on 06 Feb 14
Ridha Ben Rejeb

Storytelling & Learning Through Video Games - 20 views

Interesting Tapestry. I can see it working magnificently in my language class to enhance reading and writing skills among students, with the possibility of peer review and editing. I saw a questio...

History Learning Games Digital Storytelling digh5000 education

started by Danuta Sierhuis on 10 Mar 14 2 follow-ups, last by Ridha Ben Rejeb on 27 Mar 14
Chris Milando

Highlights for Morris': The Future of the Civil War through Gaming: Morgan's Raid Video... - 2 views

www.playthepast.org/?p=3546

history data education play digh5000 civil war gaming video games

shared by Chris Milando on 11 Mar 14 - No Cached
  • Because elementary teachers have limited amounts of time for social studies, if they teach it at all, they need powerful direct experiences that allow them to introduce a topic and provide some context for it, a game or activity that helps the students learn a concept
  • All of this must occur in a block of about thirty minutes or the teacher will determine that it takes too much time
  • Fact checking is, of course, a historian’s greatest role to insure that the design team gets the story correct
  • ...11 more annotations...
  • Since games are best at helping the player to understand processes, the historian has an important role on the design team in identifying the process to be explored through the game
  • The rest of the team brings talents from art, computer, education, music, and telecommunication backgrounds, but they may not share the understanding of the historical events or the commitment to getting details accurate.
  • Historians contribute to the process of designing a gaming experience by providing three important aspects of the design sequence: fact checking, process identification, and curriculum collaboration.
  • Visitors to museums and historic sites and school students can engage in interactive history-themed games to learn historical, geographic, economic, or civic processes
  • As a marketing tool these games can help a historical site establish followers who become interested in the content prior to making a pilgrimage to the site
  • When teachers select educational games for the classroom, the games must be keyed into academic standards, and they must have measurable knowledge outcomes in subjects such as history, geography, economics, or civics.
  • Narrative-driven solutions are not appropriate for games
  • Video is very narrative-driven and allows the flexibility of looking at multiple perspectives from a single phone by referring to multiple quotations from primary sources and examining different characters present on a battlefield at the same time
  • A more interactive approach for classroom students would be for them to gather evidence from the battlefield to provide evidence of their construction of knowledge
  • A virtual experience like a game or video never takes the place of a direct experience, but it does allow a greater audience to become attracted to the site.
  • A good game never tells a story even if it is a simple adventure story; a good game always examines a process and engages the player in decision making.
  • Chris Milando on 11 Mar 14
     
    Quick Summary: Morris argues that video games can provide accurate historical information - as long as they are not presented as narratives. He argues that video games can (and should) be used for educational purposes, and can be effective tools in teaching history in a quick, engaging and fun way. He also advocates for the role of the historian and a general sense of collaboration in creating educational video games.
Chris Milando

Highlights for Gibbs and Owens': Writing History in the Digital Age » Hermene... - 0 views

writinghistory.trincoll.edu/...gibbs-owens-2012-spring

digh5000 history data education play generate

shared by Chris Milando on 11 Mar 14 - No Cached
  • historical scholarship increasingly depends on our interactions with data, from battling the hidden algorithms of Google Book Search to text mining a hand-curated set of full-text documents.
  • Even though methods for exploring and interacting with data have begun to permeate historical research, historians’ writing has largely remained mired in traditional forms and conventions
  • In this essay we consider data as computer-processable information.
  • ...69 more annotations...
  • Examples include discussions of data queries, workflows with particular tools, and the production and interpretation of data visualizations
  • At a minimum, historians need to embrace new priorities for research publications that explicate their process of interfacing with, exploring, and then making sense of historical sources in a fundamentally digital form—that is, the hermeneutics of data.
  • This may mean de-emphasizing narrative in favor of illustrating the rich complexities between an argument and the data that supports it
  • This is especially true in terms of the sheer quantity of data now available that can be gathered in a short time and thus guide humanistic inquiry
  • We must also point out that, while data certainly can be employed as evidence for a historical argument, data are not necessarily evidence in themselves
  • we argue that the creation of, interaction with, and interpretation of data must become more integral to historical writing.
  • Use of data in the humanities has recently attracted considerable attention, and no project more so than Culturomics, a quantitative study of culture using Google Books
  • the nature of data and the way it has been used by historians in the past differs in several important respects from contemporary uses of data
  • This chapter discusses some new ways in which historians might rethink the nature of historical writing as both a product and a process of understanding.
  • The process of guiding should be a greater part of our historical writing.
  • As humanists continue to prove that data manipulation and machine learning can confirm existing knowledge, such techniques come closer to telling us something we don’t already know
  • However, even these projects generally focus on research (or research potential) rather than on making their methodology accessible to a broader humanities audience
  • The processes for working with the vast amounts of easily accessible and diverse large sets of data suggest a need for historians to formulate, articulate, and propagate ideas about how data should be approached in historical research
  • What does it mean to “use” data in historical work?
  • For one, it does not refer only to historical analysis via complex statistical methods to create knowledge.
  • We should be clear about what using data does not imply.
  • Perhaps such a potential dependence on numbers became even more unpalatable to non-numerical historians after an embrace of the cultural turn, the importance of subjectivity
  • Even as data become more readily available and as historians begin to acquire data manipulation skills as part of their training, rigorous mathematics is not necessarily essential for using data efficiently and effectively
  • work with data can be exploratory and deliberately without the mathematical rigor that social scientists must use to support their epistemological claims.
  • historians need not treat and interpret data only for rigorous hypothesis testing
  • To some extent, historians have always collected, analyzed, and written about data. But having access to vastly greater quantities of data, markedly different kinds of datasets, and a variety of complex tools and methodologies for exploring it means that “using” signifies a much broader range of activities than it has previously.
  • data does not always have to be used as evidence
  • knowledge from visualizations as not simply “transferred, revealed, or perceived, but…created through a dynamic process.
  • Data in a variety of forms can provoke new questions and explorations, just as visualizations themselves have been recently described as “generative and iterative, capable of producing new knowledge through the aesthetic provocation
  • It can also help with discovering and framing research questions.
  • using large amounts of data for research should not be considered opposed to more traditional use of historical sources.
  • humanists will find it useful to pivot between distant and close readings
  • More often than not, distant reading will involve (if not require) creative and reusable techniques to re-imagine and re-present the past—at least more so than traditional humanist texts do.
  • we need more explicit and careful (if not playful) ways ways of writing about them
  • teven Ramsay has suggested that there is a new kind of role for searching to play in the hermeneutic process of understanding, especially in the value of ‘screwing around’ and embracing the serendipitous discovery that our recent abundance of data makes possibl
  • historical writing has been largely confined by linear narratives, usually in the form of journal articles and monographs
  • easier than ever for historians to combine different kinds of datasets—and thus provide an exciting new way to triangulate historical knowledge
  • The insistence on creating a narrative in static form, even if online, is particularly troubling because it obscures the methods for discovery that underlie the hermeneutic research process.
  • Although relatively simple text searches or charts that aid in our historical analysis are perhaps not worth including in a book
  • While these can present new perspectives on the past, they can only do so to the extent that other historians feel comfortable with the methodologies that are used.
  • This means using appropriate platforms to explain our methods.
  • It is clear that a new relationship between text and data has begun to unfold.13 This relationship must inform our approach to writing as well as research.
  • We need history writing that interfaces with, explains, and makes accessible the data that historians use
  • the reasons why many historians remain skeptical about data are not all that different from the reasons they can be skeptical about text.
  • We need history writing that will foreground the new historical methods to manipulate text/data coming online, including data queries and manipulation, and the production and interpretation of visualizations.
  • Beyond explicit tutorials, there are several key advantages in foregrounding our work with data:
  • It allows others to verify historical claims;
  • In addition to accelerating research, foregrounding methodology and (access to) data gives rise to a constellation of questions that are becoming increasingly relevant for historians.
  • 2) It is instructive as part of teaching and exposing historical research practices; 3) It allows us to keep pace with changing tools and ways of using them.
  • Dave Perry in his blog post “Be Online or Be Irrelevant” suggests that academic blogging can encourage “a digital humanism which takes down those walls and claims a new space for scholarship and public intellectualism.”14 This cannot happen unless our methodologies with data remain transparent.
  • we should embrace more public modes of writing and thinking as a way to challenge the kind of work that scholars do.
  • Google’s data is proprietary and exactly what comprises it is unclear
  • Perhaps more importantly, this graph does not indicate anything interesting about why the term “user” spiked as it did—the real question that historians want to answer.
  • But these are not reasons to discard the tool or to avoid writing about it
  • Historians might well start framing research questions this way, with quick uses of the Ngram viewer or other tools
  • But going beyond the data—making sense of it—can be facilitated by additional expertise in ways that our usually much more naturally circumscribed historical data has generally not required.
  • Owens blogged about this research while it was in progress, describing what he was interested in, how he got his data, how he was working with it, along with a link for others to explore and download the data.
  • Owens received several substantive comments from scholars and researchers.
  • These ranged from encouraging the exploration of technical guides, learning from scholarship on the notion of the reader in the context of the history of the book, and suggestions for different prepositions that could further elucidate semantic relationships about “users.”
  • Sharing preliminary representations of data, providing some preliminary interpretations of them, and inviting others to consider how best to make sense of the data at hand, quickly sparked a substantive scholarly conversation
  • this chart is not historical evidence of sufficient (if any) rigor to support historical knowledge claims about what is or isn’t a user.
  • How far, for example, can expressions of data like Google’s Ngram viewer be used in historical work?
  • how does one cite data without black-boxy mathematical reductions, and bring the data itself into the realm of scholarly discourse?
  • How does one show, for example, that references to “sinful” in the nineteenth century appear predominantly in sermon and other exegetical literature in the early part of the century, but become overshadowed by more secular references later in the century? Typically, this would be illustrated with pithy, anecdotal examples taken to be representative of the phenomenon. But does this adequately represent the research methodology? Does it allow anyone to investigate for themselves? Or learn from the methodology?
  • Far better would be to explain the steps used to collect and reformat the data; ideally, the data would be available for download
  • Exposed data allow us to approach interesting questions from multiple and interdisciplinary points of view in the way that citations to textual sources do not
  • As it becomes easier and easier for historians to explore and play with data it becomes essential for us to reflect on how we should incorporate this as part of our research and writing practices.
  • Overall, there has been no aversion to using data in historical research. But historians have started to use data on new scales, and to combine different kinds of data that range widely over typical disciplinary boundaries
  • The ease and increasing presence of data, in terms of both digitized and increasingly born digital research materials, mean that—irrelevant of historical field—the historian faces new methodological challenges.
  • Approaching these materials in a context sensitive way requires substantial amounts of time and energy devoted to how exactly we can interpret data
  • we have argued that historians should deliberately and explicitly share examples of how they are finding and manipulating data in their research with greater methodological transparency in order to promote the spirit of humanistic inquiry and interpretation.
  • Historical data might require little more than simple frequency counts, simple correlations, or reformatting to make it useful to the historian looking for anomalies, trends, or unusual but meaningful coincidences.
  • To argue against the necessity of mathematical complexity is also to suggest that it is a mistake to treat data as self-evident or that data implicitly constitute historical argument or proof.
  • Working with data can be playful and exploratory, and useful techniques should be shared as readily as research discoveries
  • Chris Milando on 11 Mar 14
     
    Gibbs and Owens explain that data and information need to be played with. "Data does not always have to be used as evidence" in itself - it can also be used as a springboard for questions and further discovery (data is "generative").
Kayla Cuggy

Video Games as Problem Spaces - 10 views

I agree that the use of problem spaces in games like "Over the Top" offers a really useful alternative to the assigned readings and textbook discussions that we usually get in elementary school as ...

started by Christina Stokes on 15 Mar 14 1 follow-up, last by Kayla Cuggy on 22 Mar 14
Jordon Tomblin

Project 4: Lansdowne Undead - 14 views

Small Project 4.0: Lansdowne Undead The Digital Humanities is understood to be a "culture that values collaboration" (Kirschenbaum 2011: 9) while investigating traditional social science and h...

digh5000 dh education history Digital data information

started by Jordon Tomblin on 30 Mar 14 no follow-up yet
Danuta Sierhuis

DIGH 5000 Jan 20 Libraries, Archives and Databases - 28 views

When Christina mentioned that the article she was looking for on Hacking the Academy archive no longer existed, I thought about the issues that digital preservation programs in archives and museums...

started by Christina Stokes on 22 Jan 14 6 follow-ups, last by Danuta Sierhuis on 27 Jan 14
Danuta Sierhuis

Access/Restriction: Art History Grad Conference - March 7-8th - 6 views

Hello everyone, Just wanted to let you know that the Art History Grad Conference that I helped organized is this weekend. The theme is Access/Restriction, and it is a one-day interdisciplinar...

Grad Conference Access_Restriction Art History DIGH 5000

started by Danuta Sierhuis on 05 Mar 14 no follow-up yet
Christina Stokes

Small Assignment #2 - 74 views

I think it's a good idea too, however I'm not sure how we would implement this this late in the semester. It might be a bit tight to do this kind of peer-review presentation for the visual analysis...

digh5000 smallassignment2 evaluation

started by Devin Hartley on 10 Feb 14 18 follow-ups, last by Christina Stokes on 08 Mar 14
Christina Stokes

A few Unanswered questions from Monday's readings on "Spatial Humanities" - 7 views

Hi everyone, so I thought I would post some of the questions I had from the readings that I forgot to mention during class to get some feedback if anyone else was having the same questions. 1) Jas...

started by Christina Stokes on 20 Mar 14 no follow-up yet
Alessandro Marcon

Tools and Humans - 14 views

Although I had wanted to write this reflection at the end of the first week, it, for some reason or another, eluded me. I'll try to formulate some of the ideas I was, and still am, thinking about w...

started by Alessandro Marcon on 25 Jan 14 no follow-up yet
Chris Milando

» Napster, Udacity, and the Academy Clay Shirky - 3 views

www.shirky.com/...apster-udacity-and-the-academy

digh5000 dh MOOC udacity online education

shared by Chris Milando on 08 Feb 14 - No Cached
  • How did the recording industry win the battle but lose the war? How did they achieve such a decisive victory over Napster, then fail to regain control of even legal distribution channels?
  • Hey kids, Alanis Morisette just recorded three kickin’ songs! You can have them, so long as you pay for the ten mediocrities she recorded at the same time.
  • Napster told us a different story. Napster said “You want just the three songs? Fine.
  • ...36 more annotations...
  • hey just couldn’t imagine—and I mean this in the most ordinarily descriptive way possible—could not imagine that the old way of doing things might fail.
  • Once you see this pattern—a new story rearranging people’s sense of the possible, with the incumbents the last to know—you see it everywhere. First, the people running the old system don’t notice the change. When they do, they assume it’s minor. Then that it’s a niche. Then a fad. And by the time they understand that the world has actually changed, they’ve squandered most of the time they had to adapt.
  • Higher education is now being disrupted; our MP3 is the massive open online course (or MOOC), and our Napster is Udacity, the education startup.
  • We have several advantages over the recording industry, of course. We are decentralized and mostly non-profit. We employ lots of smart people. We have previous examples to learn from, and our core competence is learning from the past. And armed with these advantages, we’re probably going to screw this up as badly as the music people did.
  • A massive open online class is usually a series of video lectures with associated written materials and self-scoring tests, open to anyone. That’s what makes them OOCs. The M part, though, comes from the world. As we learned from Wikipedia, demand for knowledge is so enormous that good, free online materials can attract extraordinary numbers of people from all over the world.
  • Last year, Introduction to Artificial Intelligence, an online course from Stanford taught by Peter Norvig and Sebastian Thrun, attracted 160,000 potential students, of whom 23,000 completed it, a scale that dwarfs anything possible on a physical campus.
  • The size of Thrun and Norvig’s course, and the attention attracted by Udacity (and similar organizations like Coursera, P2PU, and University of the People), have many academics worrying about the effect on higher education. The loudest such worrying so far has been The Trouble With Online Education,
  • As most critics do, Edmundson focussed on the issue of quality, asking and answering his own question: “[C]an online education ever be education of the very best sort?”
  • Higher education has a bad case of cost disease
  • But you know what? Those classes weren’t like jazz compositions. They didn’t create genuine intellectual community. They didn’t even create ersatz intellectual community. They were just great lectures: we showed up, we listened, we took notes, and we left, ready to discuss what we’d heard in smaller sections.
  • The large lecture isn’t a tool for producing intellectual joy; it’s a tool for reducing the expense of introductory classes.
  • “Why would anyone take an online class when they can buy a better education at UVA?” But who faces that choice? Are we to imagine an 18 year old who can set aside $250K and 4 years, but who would have a hard time choosing between a residential college and a series of MOOCs? Elite high school students will not be abandoning elite colleges any time soon; the issue isn’t what education of “the very best sort” looks like, but what the whole system looks like.
  • An organization with cost disease can use lower paid workers, increase the number of consumers per worker, subsidize production, or increase price. For live music, this means hiring less-talented musicians, selling more tickets per performance, writing grant applications, or, of course, raising ticket prices. For colleges, this means more graduate and adjunct instructors, increased enrollments and class size, fundraising, or, of course, raising tuition.
  • Cheap graduate students let a college lower the cost of teaching the sections while continuing to produce lectures as an artisanal product, from scratch, on site, real time.
  • The minute you try to explain exactly why we do it this way, though, the setup starts to seem a little bizarre. What would it be like to teach at a university where a you could only assign books you yourself had written? Where you could only ask your students to read journal articles written by your fellow faculty members? Ridiculous. Unimaginable.
  • e ask students to read the best works we can find, whoever produced them and where, but we only ask them to listen to the best lecture a local employee can produce that morning. Sometimes you’re at a place where the best lecture your professor can give is the best in the world. But mostly not.
  • As Ian Bogost says, MOOCs are marketing for elite schools.
  • Any sentence that begins “Let’s take Harvard as an example…” should immediately be followed up with “No, let’s not do that.”
  • ny institution that tries to create a cost-effective education will move down the list.
  • Outside the elite institutions, though, the other 75% of students—over 13 million of them—are enrolled in the four thousand institutions you haven’t heard of
  • And the only thing that kept this system from seeming strange was that we’ve never had a good way of publishing lectures.
  • Clayton State educates as many undergraduates as Harvard. Saint Leo educates twice as many. City College of San Francisco enrolls as many as the entire Ivy League combined. These are where most students are, and their experience is what college education is mostly like.
  • The fight over MOOCs isn’t about the value of college; a good chunk of the four thousand institutions you haven’t heard of provide an expensive but mediocre education.
  • The fight over MOOCs isn’t even about the value of online education. Hundreds of institutions already offer online classes for credit, and half a million students are already enrolled in them. If critics of online education were consistent, they would believe that the University of Virginia’s Bachelor of Interdisciplinary Studies or Rutger’s MLIS degree are abominations, or else they would have to believe that there is a credit-worthy way to do online education, one MOOCs could emulate. Neither argument is much in evidence.
  • the fight over MOOCs is really about the story we tell ourselves about higher education: what it is, who it’s for, how it’s delivered, who delivers it.
  • How will we teach complex thinking and skills? How will we turn adolescents into well-rounded members of the middle class? Who will certify that education is taking place? How will we instill reverence for Virgil? Who will subsidize the professor’s work?
  • The possibility MOOCs hold out isn’t replacement; anything that could replace the traditional college experience would have to work like one, and the institutions best at working like a college are already colleges. The possibility MOOCs hold out is that the educational parts of education can be unbundled. MOOCs expand the audience for education to people ill-served or completely shut out from the current system, in the same way phonographs expanded the audience for symphonies to people who couldn’t get to a concert hall, and PCs expanded the users of computing power to people who didn’t work in big companies.
  • Those earlier inventions systems started out markedly inferior to the high-cost alternative: records were scratchy, PCs were crashy. But first they got better, then they got better than that, and finally, they got so good, for so cheap, that they changed people’s sense of what was possible.
  • For people used to dealing with institutions that go out of their way to hide their flaws, this makes these systems look terrible at first. But anyone who has watched a piece of open source software improve, or remembers the Britannica people throwing tantrums about Wikipedia, has seen how blistering public criticism makes open systems better. And once you imagine educating a thousand people in a single class, it becomes clear that open courses, even in their nascent state, will be able to raise quality and improve certification faster than traditional institutions can lower cost or increase enrollment.
  • If this happens, Harvard will be fine. Yale will be fine, and Stanford, and Swarthmore, and Duke. But Bridgerland Applied Technology College? Maybe not fine. University of Arkansas at Little Rock? Maybe not fine. And Kaplan College, a more reliable producer of debt than education? Definitely not fine.
  • Udacity may or may not survive, but as with Napster, there’s no containing the story it tells: “It’s possible to educate a thousand people at a time, in a single class, all around the world, for free.”
  • In the US, an undergraduate education used to be an option, one way to get into the middle class. Now it’s a hostage situation, required to avoid falling out of it. And if some of the hostages having trouble coming up with the ransom conclude that our current system is a completely terrible idea, then learning will come unbundled from the pursuit of a degree just as as songs came unbundled from CDs.
  • Open systems are open.
    • Chris Milando
      Chris Milando on 08 Feb 14
       
      I really like this point. I want to eventually host my own online course, and I think it would be great to have criticism! I come from a writing background, so I know how powerful and wonderful criticism can be. I was in a writers circle a few years ago and we used to completely tear down each other's work. But when we rewrote our stories (with their criticism in mind), they were /always/ much stronger than they had ever been. For something like a massive online course to work, it has to work /well/, so if criticsm can help bring it to the level of quality it needs (to provide the justification for its existence), then that is what we need to employ! I, for one, welcome criticism in everything that I do (so long as it is constructive). The only way to improve is through criticism, and as literary scholars - whose degrees are based on criticizing the work of others - I find it very odd (and wrong) that we cannot take criticism of our own work.
  • The cost of attending college is rising above inflation every year, while the premium for doing so shrinks. This obviously can’t last, but no one on the inside has any clear idea about how to change the way our institutions work while leaving our benefits and privileges intact.
  • In the academy, we lecture other people every day about learning from history. Now its our turn, and the risk is that we’ll be the last to know that the world has changed, because we can’t imagine—really cannot imagine—that story we tell ourselves about ourselves could start to fail.
Christina Stokes

How to create a helpful Q&A forum for class and the wider DH community! - 7 views

Hi DIGH 5000, One of the great things about our class is that we all have different levels of experience using different tools assigned for each week.Unfortunately I am less experienced than most ...

started by Christina Stokes on 26 Feb 14 no follow-up yet
Danuta Sierhuis

DH People over Projects - 2 views

Here is the link to Miriam Posner's blog post and my reaction to it on my blog: http://miriamposner.com/blog/commit-to-dh-people-not-dh-projects/ http://digitalatheart.wordpress.com/2014/03/25/d...

digh5000 dh

started by Danuta Sierhuis on 31 Mar 14 no follow-up yet
Chris Milando

March 10th Presentation Powerpoint and Notes - 3 views

Hi everyone, Sorry for not being able to upload this yesterday. These are my notes (thematic summaries and the presentation outline) along with the powerpoint presentation and Morgan's Raid (if any...

digh5000 video games history digital dh education

started by Chris Milando on 12 Mar 14 no follow-up yet
Alessandro Marcon

A Playful Multitude...Redditing again. - 16 views

It seems as though a looser and 'freer' work environment, where employees can spend as much time at work as they please, has two converse effects. On one hand, it allows for an incredible amount of...

started by Matt Bastin-Millar on 11 Mar 14 3 follow-ups, last by Alessandro Marcon on 18 Mar 14
Jordon Tomblin

#DayofDH - 8 views

Without a doubt. Color threads for new posts would be great. Does anyone have a link to the posts created from our last workshop for 'Day of DH'?

digh5000 dh education history Digital video games data Conference information

started by Jordon Tomblin on 08 Apr 14 2 follow-ups, last by Jordon Tomblin on 13 Apr 14
Devin Hartley

DIGH5000 Blogs - 92 views

So I know I'm a little late to the party for the first blog post, but to be fair I was somewhat distracted by preparing for my presentation. Also I seem to have a hard enough time keeping up with m...

digh5000 blogs

started by Game Cat on 09 Jan 14 8 follow-ups, last by Devin Hartley on 26 Jan 14
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