Alan Lomax’s Global Jukebox Goes Digital

January 30th, 2012

Alan Lomax’s staggering assemblage of folklore materials goes digital at long last.

Long, long ago, when I was in college, I worked for Alan Lomax on an early incarnation of the Global Jukebox project, so it is a pleasure to see it going digital. I think the question remains about how, in digital form, to make this archival material more interactively robust, but it’s a delight to see it coming into print, sound, image, and online formats in breathtaking abundance:

http://www.nytimes.com/2012/01/31/arts/music/the-alan-lomax-collection-from-the-american-folklife-center.html

http://culturalequity.org/features/globaljukebox/LomaxCollection/ce_features_LomaxCollection.php

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Digital History Duet

January 28th, 2012

classifying two kinds of digital history.

As the Making History in a Virtual Archive: The Digital Berkeley Folk Music Festival Project slowly moves forward and I continue to think about my upcoming undergraduate research seminar, Digitizing Folk Music History, the question of where the digital and the study of history meet keeps reappearing.

I have increasingly conceptualized two ways by which the digital gets inserted into historical practice: application and communication. The key, however, is to continue to think about how these two areas of digital historical work intersect.

Application. Among the most exciting work in digital history is the effort to utilize digital techniques to yield new patterns, insights, and revelations that the “naked eye” might not be able to see in source materials. I think of this as the application of the digital to historical sources. It’s the use of tools not necessarily for the viewer or reader to then use, but rather as the stuff of research that goes into a publication. To apply a particular search algorithm to a mass of sources, to compile an effective research database, to use facial recognition software or sound recognition software to probe materials for new connections or comparisons—these all seem to me to be the application of digital tools. They are activities of the workshop, of the behind-the-scenes progress toward final historical product. They are the “hands-on” probings of historical evidence.

Communication. By contrast, the digital also gets inserted at the point of communicating historical findings. This can be a quite different use of the digital than application, for it is not so much concerned with discovering new interpretations as expressing findings of which one is already certain. The use of multimedia, effective spatialization and mapping of networks and patterns, different kinds of textual, design and interface arrangements, information on multiple platforms and devices, new modes of interactivity with readers and users—these all seem to be more about communicating confirmed findings rather than applying tools to sources to discover new insights. The digital operates here not so much as a research aid as a communication and publishing mode.

Application and communication are both, I would argue, important aspects of digital history. What is most intriguing is that they are not only distinctive, but also may also blur into each other. The research process rises up to the surface of publication and communication in many projects—process becomes, in some sense, part of the final project as authors and readers enter the flow of historical meaning through the electric currents of the Internet. At the same time, publishing research in an innovative digital mode of communication can suddenly, through new forms and arrangements and through the shared authority of digital interactivity, yield unexpected insights.

The process of application becomes part of what gets communicated, while communication becomes a new kind of application, potentially producing surprising conclusions just when an author thought the work was done.

Application and communication—it’s worth distinguishing them as two distinctive kinds of digital historical practice. Then it’s worth letting them blend.

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Anthology of American Folk Music @ 60 Conference

January 21st, 2012

This CFP looks grand!

“America Changed Through Music”: Harry Smith’s Anthology of American Folk Music at 60

UEA London, Saturday 15th September 2012
Keynote: Professor Geoff Ward, Royal Holloway, University of London

2012 marks the sixtieth anniversary of Harry Smith’s landmark Anthology of American Folk Music, which over the six decades of its existence has exerted considerable influence on generations of musicians, artists, and writers. In his acceptance speech for the Grammy Awards that the Anthology received in 1997, Smith claimed:  “I’m glad to say that my dreams came true. I saw America changed through music.”  This one day interdisciplinary conference, hosted by the UEA School of American Studies at UEA London, invites papers that will consider Smith’s claim: to what extent has America “changed through music”, specifically the music brought together on the Anthology of American Folk Music? More generally, discussions on the day will examine the wider legacy of the Anthology of American Folk Music on twentieth-century music, art, and literature. Possible topics could include:

  • The Anthology in relation to Smith’s other interests and activities including, for example, film, painting, and anthropology
  • Smith’s poetics of magic and the occult in the context of the Anthology
  • The Anthology’s role in defining/redefining notions of the “Old” and the “New Weird America”
  • The treatment of ethnic and cultural identity in the Anthology
  • The Anthology and folklore
  • Analysis of individual artists and songs from the Anthology
  • Vernacular aesthetics
  • The transatlantic scope of the Anthology
  • The Anthology in the internet age

Abstracts of 350 words with a brief biographical note to be submitted to Dr Thomas Ruys Smith [Thomas.Smith@uea.ac.uk] and Dr Ross Hair [R.Hair@uea.ac.uk] by June 1st 2012.

Further information will soon be available at: http://americachangedthroughmusic.blogspot.com/.
For more information about the School of American Studies at the University of East Anglia: http://www.uea.ac.uk/ams.
For more information about UEA London: http://london.uea.ac.uk/.

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Digital Humanities in the Age of Fluidity

January 19th, 2012

are we building a poststructural infrastructure? what does that mean?


Are we actually “doing” the digital humanities yet or are we still building the infrastructures for being able to develop new findings? Does this question matter?

I think it does and here’s why: the digital humanities implicitly proposes a new relationship between infrastructures and what goes on inside these structures. For lack of a better term, the field of DH—amorphous, developing, multifaceted—suggests that the creation of new infrastructures and the creation of new knowledge within those structures are merging.

While this development has antecedents in both the technological past and the history of humanistic scholarship, it is, in many respects, a new arrangement: in DH we potentially have a structure that is itself part of the stuff inside it, a new kind of integration of form and content, of medium and message (or massage for that matter). In a followup post, I want to map out more specific examples of this, but first it is worth considering the theoretical implications of DH’s new relationship to infrastructure.

In response to Stanley Fish’s provocative columns (first here, second here, third on its way) on the digital humanities, literary scholar and digital humanist Ted Underwood recently proposed that the digital humanities is a “rubric under which a bunch of different projects have gathered—from new media studies to text mining to the open-access movement—linked mainly by the fact that they are responding to related kinds of fluidity: rapid changes in representation, communication, and analysis that open up detours around some familiar institutions.” In making this comment, Underwood makes a sharp contribution to the call by Alan Liu for a critical theory of DH. And his observation also takes us to Toma Tasovac’s recent blog post on the political implications of scholarly digital infrastructure building.

Underwood’s comment is a starting point for deepening our understanding of this notion of “fluidity,” both in terms of DH scholarly practice and in terms of larger social contexts. It seems at first glance that DH scholars are not yet quite doing the digital humanities; we are merely building the infrastructure for the digital humanities. If you build it, they will come. But I wonder if what is new about the field, what is fundamentally different about it compared to recent decades of humanities scholarship (though not necessarily new to the long durée of humanistic investigation) is that infrastructure building and the work done within that infrastructure are assuming a new, more intertwined relationship. The construction of the digital humanities infrastructure and the production of new understandings in various humanities disciplines are occurring together in DH. They take place in tandem. They are synced.

So, to produce a database of one’s evidence for all to use (a kind of infrastructural creation) and to develop individual interpretations and findings out of that database (the stuff that flows through an infrastructure) are now more related than ever. To keep a blog of one’s discoveries along the way to final publication (a sort of exposed infrastucture) and the final publication have new potential relationships through digital communication. And so on. Walls are collapsing. That can be a good thing, but it also will have its dangers (like having one of those walls fall on you or on someone else).

As Liu and Tasovac argue, we need to consider more critically the infrastructural moves we are making (in all their good and bad ways) even as we continue with the hands-on development of DH. As infrastructure and what the scholarship it enables get hyperlinked in new ways, we have the opportunity to learn from critical meta-conversations about infrastructure. These might themselves be understood as “structuring structures” that should be brought into the light of rigorous DH analysis.

LINKS:

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O Folk Festival Footage, Where Art Thou?

January 13th, 2012

In 1967, 1968, and 1970, public television station KQED filmed the Berkeley Folk Music Festival and broadcast excerpts of the festival on television. I am on the hunt for the footage. Usually these were part of a KQED program called the “Summer Sampler.”

Please contact me if you have any footage or any leads about where the footage of the programs might be. Thanks!

The amazing researchers at the Berkeley in the Sixties blog (Ross, Corry, you astound me continually!) have uncovered these leads: http://berkeleyfolk.blogspot.com/2009/10/1967-berkeley-folk-festival-film.html.

Yours in folk festivity,

Michael

mjk at northwestern.edu

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Activating the Archivists

January 10th, 2012

reflections on getting in trouble with archivists and the productive conversations that ensued.

My proposal for THATCamp AHA raised the hackles of a number of archivists. So this is a post to continue the process of probing the disconnects and possible connections between archivists and historians (and librarians and technologists and humanists and anyone else curious about using artifacts as evidence to think about the past).

There are a few issues tangled up here that seem, to me, worthy of separating out.

(1) R-E-S-P-E-C-T

First, as ArchivesNext blogger Kate Theimer pointed out to me (playing the role of historian I should note!), we enter into a history of professional turf wars between archivists and historians (Blouin, Jr. and Rosenberg’s Processing the Past recounts these). Inheriting this past, we need to respect and acknowledge each other across differences of training, orientation, interest in archives as well as the perceived goals of what an archive should be and do.

Archivists do not need historians to do their jobs (historians do need archivists though, I should point out!). But with the possibilities of the digital, archivists may benefit from conversations with historians (and other archive users as well).

Overall, there needs to be recognition of the different sensibilities and problems and professional concerns that each field encompasses. The digital affords us an opportunity to think about what the archives are and what new kinds of knowledge they might be able to inspire, but only if we work together with respect for where our ideas converge—and, just as importantly, diverge.

(2) There are not totalities, only debates.

It’s easy to forget when we start working toward collaborations between archivists and historians that these two professions are large. Being large, they are cut through with internal debates and discussions. No archivist can speak for all archivists; the same goes for historians. What we can do is start to identify and describe the internal debates in our fields, particularly methodological debates, and discuss how they overlap across trainings—or do not.

(3) Vocabulary

Kate and I also noted that archivists and historians may be using the same words, but mean quite different things. For archivists, the difference between a digital archive and a digital collection might be vast; the important goal is precision of technical use. For a historian such as myself, an archive and Harry Smith’s Anthology of American Folk Music are both archives of a sort; I like to think more metaphorically about terms in order to grasp how knowledge gets configured, categorized, arranged, and produced from archives broadly conceived as collections of evidence.

This difference in discourse is far from insurmountable. But it does take a kind of careful leaping between linguistic registers as we think about archives on the one hand pragmatically and scientifically and on the other imaginatively and adventurously.

(4) It’s not just archivists and historians. Archiving and historicizing as verbs.

Rather than get caught up in professional roles, we might explore the activities we do. Instead of picturing archivists and historians as nouns (and possessive nouns at that), what if we think in terms of verbs: creating archives and analyzing history as activities. In the digital age, these will involve multiple participants: archivists, scholars, curators, genealogists, history buffs, educators, citizens, voices from the past, people in the future, and still others. The archive will stay the archive, but it has the capacity to produce new kinds of commons, new publics from its arrangements of evidence and the way we decide to utilize that evidence.

(5) One person’s “alt-ac” (alternative academic career) is another person’s actual advanced training.

There’s been a big buzz among historians and other scholars about broadening specialized graduate training so that students qualify for a wider range of professional careers. There’s Anthony Grafton and Jim Grossman’s now famous “No More Plan B” column and subsequent responses (including mine). And there are people such as Brian Croxall and Bethany Nowviskie, two among many smart people trying to map out the contours of “alt-ac” work and training.

This exploration is all well and good, but I wonder if we are forgetting the already-existing training that archivists and others pursue. Do scholarly graduate programs, especially ones in the humanities, need to do more work exploring the relationship of potential reimaginings of graduate work to existing fields such as the archival sciences, arts administration, curatorial programs, and other graduate professional programs? Does the construction of this project of rethinking academic careers using the “alternative” rubric pose as many problems as it does suggest solutions to the job crisis among Ph.D.s in the humanities? I wonder if we need to probe the ways we are conceptualizing shifts in humanities graduate training more fully here.

(6) The benefits of arguing about archives and history.

Overall, the very fact that discussions and interactions with archivists during and after AHA provoked all these questions and concerns is indicative of the ways in which talking across disciplines and trainings is not only necessary and practical, but also deeply intellectually stimulating. I shall be preserving my memories of this exchange while also, I hope, turning that preservation toward new insights!

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There’s No-Place Like the Digital Humanities

January 10th, 2012

Andrew Hartman and an entertaining cast of commentators discuss “the utopianism of the digital humanities” over at the US Intellectual History blog today.

Addendum:

For posterity here are my comments on Andrew’s post:

Andrew,

A typically sharp, Laschian post. Since I’ve been working at the interstice of modern US cultural/intellectual history and digital history here are a few observations on the ways in which people are talking about the field, followed by my own sense of things.

(1) First, one issue here is that digital humanities means many things to many people right now. Its meaning and future are contested. There is, however, a developing critical, methodological literature of DH that is not all utopian. I think THATCamp is meant to be utopian in a way that the larger field is not necessarily. (The whole THATCamp “unconference” move is intriguing in its own right, and worthy of inquiry methinks.) But from what I read, DH is deeply engaged with the very questions you raise. Is it new? Is it good? What is it, anyway? And so on.

For instance, (these are just a few among dozens) there were these intriguing articles about a “big tent” approach to DH (coming out of a DH conference in 2011)…its possibilities and problems:

Douglas Knox, Digital Humanities 2011 and the elephant in the tent, http://beingnumero.us/blog/2011/07/digital-humanities-2011-and-the-elephant-in-the-tent/

And William Pannapacker’s overviews:

http://chronicle.com/article/Big-Tent-Digital-Humanities/128434/

http://chronicle.com/article/Big-Tent-Digital-Humanities-a/129036/

And Fred Gibbs has been thinking about these issues, see http://historyproef.org/blog/digital-humanities/critical-discourse-in-the-digital-humanities/.

On to part 2…

…part 2

(2) Digital history is indeed the latest “trendy” subfield in history. After all, this is how the discipline works, for better or worse. Social history in the 70s, cultural history in the 80s, the transnational more recently. One of the great things about intellectual history, in my opinion, is that it is always there in all of these fields, which is what causes handwringing about intellectual history as an autonomous subfield, but also what makes IH such a worthy, important kind of work.

For a number of DHers, digital humanities is a kind of return and extension of cliometrics and the Braudelian French Annales School approach. These are the “big data” people who are thinking about how we can use computational power to discern patterns that are not visible using smaller sets of empirical evidence. What happens when you look at 20,000 19th century newspapers? What can you see using algorithmic searches that can then work as a heuristic for further inquiry (here I’m drawing on Ted Underwood’s work, http://www.english.illinois.edu/people/tunder; or see Dan Cohen and Fred Gibbs project about Victorian literature, and other projects, http://historyproef.org/projects/). Another project that uses digital tools to “mine” new information from sources is Kate Bagnall and Tim Sherratt’s work on Invisible Australians: Living Under the White Australia Policy, which used facial recognition software to extract the visages of non-Europeans from government documents and place them front and center, pulled out of archives that categorized them as less than full citizens and humans (http://invisibleaustralians.org/faces/).

The Invisible Australians project points to another dimension of DH. It’s not just about applying digital tools to evidence to see new things, but also about communication: how can we express historical interpretation in new ways, mediums, modes, narrative forms?

For still others, its about the education end of things, how do we train students (and retrain ourselves) for the digital, information age (and do we want to? do we have to?)?

(3) Digital history/humanities are possibly responses to tectonic shifts in our world. Picking up on Tim’s comments above, the position here would be that DH is the equivalent of the shift from scrolls (and the professional scribes who made them; and the people who read them) to the Gutenberg press. DH is a scholarly response to these large-scale transformations. Easy to take down this idea, easy to inflate it, but the truth is we just do not know yet.

I think the most intriguiing writer on this (from the “the world is changing” side of the equation) is Cathy Davidson, especially this essay:

http://hastac.org/blogs/cathy-davidson/information-age-without-humanities-industrial-revolution-without-steam-engine

(4) My take: zooming back in on scholarly concerns, I think digital history has the potential to reinvigorate core historical questions, most especially the way we investigate and communicate the relationship of evidence to argument. In this sense digital history is no utopian revolution, but rather an elaboration and continuation of what’s best about historical method. New tools for the toolbox of seeing patterns and talking, writing, sharing, and debating them. When the hype settles down about DH, this may well be the main contribution.

So, last thought: if you want to get students to write and read more deeply and critically, one non-utopian question is whether the digital might enable that in new ways. Not as a replacement of what intellectual history is about, but rather as an elaboration and enrichment of it. The answer may be no, but the question is worth pondering.

Cheers,
Michael

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