Given the many controversies surrounding the digital humanities and its relationship with other fields, we need to stop focusing on William Pannapacker’s well-intentioned definition of DH as a “big tent” and start to emphasize the many actual disciplinary and institutional localities where the digital humanities emerges. We need to stop being prescriptive (“who’s in? who’s out?”) and start being descriptive. There is no one digital humanities, there are assemblages of people and communities producing actual work that follows many different traditions. At its best, the digital humanities offers what Patrik Svensson has called a “trading zone” for collaboration between participants whose difference is celebrated, not erased under a tent of sameness. Given my work history at several different institutions with very different understandings of the digital humanities, I have experience bringing various traditions and people into conversation with one another. Further, my scholarship is dedicated to highlighting the publics whose work outside of academia should also be acknowledged as part of the digital humanities. To that end, if I am fortunate enough to be elected to the executive council, I would be interested in establishing a better grassroots effort at charting the actual institutions, non-academic hobbyist and maker groups, adjunct faculty and staff, and the other real spaces and people who participate in the work being accomplished in the digital humanities.
I’m an Assistant Professor of English at Washington State University, where I also teach in the Digital Technology and Culture (DTC) undergraduate degree program. I’m the author (with Jason Whittaker) of William Blake and the Digital Humanities: Collaboration, Participation, and Social Media (Routledge 2013) as well as the sole author of Steampunk and Nineteenth-Century Digital Humanities: Literary Retrofuturisms, Media Archaeologies, Alternate Histories (Routledge 2017). I’ve written widely on the digital humanities and digital pedagogy, often under the lens of nineteenth-century British Literature and its adaptations and appropriations — as well as hosted the Critical Making in Digital Humanities digital archive and webinar series. Previously, I worked at Emory University’s Center for Digital Scholarship and as a Marion L. Brittain Postdoctoral Fellow at the Georgia Institute of Technology. I’ve been a member of the digital humanities community since 2009.
Thank you for your consideration.