[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:00.74,0:00:03.32,Default,,0000,0000,0000,,{\i1}...and sort of debate and discuss\Nall the things she brings up.{\i0}
Dialogue: 0,0:00:03.32,0:00:05.73,Default,,0000,0000,0000,,{\i1}- So, Tara McPherson!\N- Thank you very much.{\i0}
Dialogue: 0,0:00:06.31,0:00:07.98,Default,,0000,0000,0000,,(audience applauds)
Dialogue: 0,0:00:10.85,0:00:14.80,Default,,0000,0000,0000,,I told my graduate students\NI was coming to the DH mothership, so...
Dialogue: 0,0:00:14.97,0:00:15.99,Default,,0000,0000,0000,,(audience laughs)
Dialogue: 0,0:00:16.10,0:00:17.20,Default,,0000,0000,0000,,It feels good to be here.
Dialogue: 0,0:00:17.20,0:00:22.04,Default,,0000,0000,0000,,And I've obviously followed the work\Nthat comes out of this space
Dialogue: 0,0:00:22.04,0:00:25.15,Default,,0000,0000,0000,,for a very long time,\Nso it's nice to be here.
Dialogue: 0,0:00:25.57,0:00:30.11,Default,,0000,0000,0000,,I kind of break what I understand\Nto be protocol here a little bit
Dialogue: 0,0:00:30.11,0:00:33.24,Default,,0000,0000,0000,,by doing a mix of talking and reading,
Dialogue: 0,0:00:33.24,0:00:35.57,Default,,0000,0000,0000,,because I'm working \Nthrough some new ideas
Dialogue: 0,0:00:35.57,0:00:39.20,Default,,0000,0000,0000,,and I actually find writing and reading\Nstill really useful for that
Dialogue: 0,0:00:39.20,0:00:42.01,Default,,0000,0000,0000,,as well as in the kind of context\Nof making.
Dialogue: 0,0:00:42.24,0:00:45.62,Default,,0000,0000,0000,,And the title has changed a little bit,\Nbecause I was supposed to be here
Dialogue: 0,0:00:45.62,0:00:51.04,Default,,0000,0000,0000,,last fall, doing a talk on databases,\Nbut hurricane Sandy had other ideas!
Dialogue: 0,0:00:51.67,0:00:52.72,Default,,0000,0000,0000,,I was not here.
Dialogue: 0,0:00:53.33,0:00:56.79,Default,,0000,0000,0000,,And I'm really happy to have \Nfinally made the program.
Dialogue: 0,0:00:56.79,0:00:57.100,Default,,0000,0000,0000,,So...
Dialogue: 0,0:00:57.100,0:01:02.48,Default,,0000,0000,0000,,I'm going to talk in a vein \Nthat characterizes some of the recent work
Dialogue: 0,0:01:02.48,0:01:05.20,Default,,0000,0000,0000,,I've been doing,\Nin an attempt to hold together
Dialogue: 0,0:01:05.20,0:01:06.80,Default,,0000,0000,0000,,my schizophrenic identities.
Dialogue: 0,0:01:07.53,0:01:13.50,Default,,0000,0000,0000,,And primarily that's a deep commitment\Nto forms of theoretical inquiry
Dialogue: 0,0:01:13.90,0:01:16.73,Default,,0000,0000,0000,,and post-structuralist scholarship
Dialogue: 0,0:01:17.40,0:01:22.20,Default,,0000,0000,0000,,with an interest in the making \Nand doing of the digital.
Dialogue: 0,0:01:22.83,0:01:27.73,Default,,0000,0000,0000,,And I've been engaged in trying to force\Nthese different parts of myself together
Dialogue: 0,0:01:27.73,0:01:29.00,Default,,0000,0000,0000,,for a little while,
Dialogue: 0,0:01:29.00,0:01:31.50,Default,,0000,0000,0000,,and I'm kind of continuing in that vein.
Dialogue: 0,0:01:31.81,0:01:35.44,Default,,0000,0000,0000,,In his very kind of purposefully\Nprovocative essay
Dialogue: 0,0:01:35.44,0:01:39.14,Default,,0000,0000,0000,,that first was on the blog\Nand then later included
Dialogue: 0,0:01:39.14,0:01:43.17,Default,,0000,0000,0000,,in the {\i1}Debates in the Digital Humanities{\i0}\Nbook here in its digital form,
Dialogue: 0,0:01:43.17,0:01:50.45,Default,,0000,0000,0000,,Alan Liu really argues "the digital\Nhumanities are noticeably missing
Dialogue: 0,0:01:50.45,0:01:55.10,Default,,0000,0000,0000,,"in action on the cultural critical scene.\NWhere the digital humanists
Dialogue: 0,0:01:55.10,0:02:00.20,Default,,0000,0000,0000,,"develop tools, data and metadata,\Ncritically,
Dialogue: 0,0:02:00.20,0:02:04.97,Default,,0000,0000,0000,,"rarely do they extend their critique\Nto the full register of society,
Dialogue: 0,0:02:04.97,0:02:07.03,Default,,0000,0000,0000,,"economics, politics or culture."
Dialogue: 0,0:02:07.77,0:02:09.77,Default,,0000,0000,0000,,And these debates aren't entirely new.
Dialogue: 0,0:02:09.77,0:02:13.90,Default,,0000,0000,0000,,Liu first delivered a kind of pacifist\Nat the MLA in Los Angeles,
Dialogue: 0,0:02:13.90,0:02:18.24,Default,,0000,0000,0000,,but your own Martha Nell Smith\Nhas for quite awhile been interested
Dialogue: 0,0:02:18.24,0:02:21.20,Default,,0000,0000,0000,,in variations of many of these questions.
Dialogue: 0,0:02:21.87,0:02:27.44,Default,,0000,0000,0000,,And Martha has narrated a particular\Nhistory of humanities computing,
Dialogue: 0,0:02:27.44,0:02:32.13,Default,,0000,0000,0000,,you know, as the field was known\Nfor many years before it was rebranded,
Dialogue: 0,0:02:32.13,0:02:36.50,Default,,0000,0000,0000,,under the sign of the digital humanities,\Nas a kind of reaction formation
Dialogue: 0,0:02:36.50,0:02:40.88,Default,,0000,0000,0000,,to "the concerns that had taken over\Nso much of academic work and literature
Dialogue: 0,0:02:41.20,0:02:43.97,Default,,0000,0000,0000,,those of gender, race, class\Nand sexuality."
Dialogue: 0,0:02:44.68,0:02:48.01,Default,,0000,0000,0000,,Today I want to consider some recent\Nvariations on this debate,
Dialogue: 0,0:02:48.01,0:02:50.27,Default,,0000,0000,0000,,which is longstanding and ongoing,
Dialogue: 0,0:02:50.27,0:02:53.71,Default,,0000,0000,0000,,around the role of cultural theory\Nwithin the digital humanities
Dialogue: 0,0:02:53.98,0:02:55.51,Default,,0000,0000,0000,,and its close analogs.
Dialogue: 0,0:02:55.78,0:02:58.58,Default,,0000,0000,0000,,And in order to argue\Nfor a theoretically explicit form
Dialogue: 0,0:02:58.58,0:03:02.01,Default,,0000,0000,0000,,of digital praxis\Nwithin the digital humanities.
Dialogue: 0,0:03:02.34,0:03:07.11,Default,,0000,0000,0000,,And in doing this I also take seriously\Nrecent claims by colleagues in the UK
Dialogue: 0,0:03:07.11,0:03:11.15,Default,,0000,0000,0000,,like Gary Hall, that the very goals\Nof critical theory
Dialogue: 0,0:03:11.15,0:03:16.68,Default,,0000,0000,0000,,and of quantitative or computational study\Nmight in fact be incommensurable.
Dialogue: 0,0:03:16.85,0:03:18.74,Default,,0000,0000,0000,,He's recently written \Na very interesting piece
Dialogue: 0,0:03:18.74,0:03:21.88,Default,,0000,0000,0000,,that'll be in a special issue\Nof {\i1}American Literature{\i0}
Dialogue: 0,0:03:21.88,0:03:23.78,Default,,0000,0000,0000,,that I co-edited this winter,
Dialogue: 0,0:03:23.78,0:03:25.88,Default,,0000,0000,0000,,making precisely that argument.
Dialogue: 0,0:03:26.28,0:03:29.31,Default,,0000,0000,0000,,And the goals of critical \Ntheoretical inquiry
Dialogue: 0,0:03:29.31,0:03:33.48,Default,,0000,0000,0000,,in the humanities interpretive traditions\Nare not compatible
Dialogue: 0,0:03:33.64,0:03:36.51,Default,,0000,0000,0000,,with computational analysis\Nthat they proceed from.
Dialogue: 0,0:03:36.51,0:03:39.28,Default,,0000,0000,0000,,And while I don't agree with him entirely,\Nit's an interesting
Dialogue: 0,0:03:39.28,0:03:40.97,Default,,0000,0000,0000,,and provocative argument.
Dialogue: 0,0:03:40.97,0:03:44.11,Default,,0000,0000,0000,,And he goes on to conclude \Nthat their productive combination
Dialogue: 0,0:03:44.11,0:03:48.58,Default,,0000,0000,0000,,will require far more time and care\Nthan has been devoted to that endeavor
Dialogue: 0,0:03:49.11,0:03:49.70,Default,,0000,0000,0000,,thus far.
Dialogue: 0,0:03:50.67,0:03:54.41,Default,,0000,0000,0000,,As such, I ask what it might mean\Nto design from the very conception
Dialogue: 0,0:03:54.41,0:03:58.28,Default,,0000,0000,0000,,digital tools and applications\Nthat emerge from the concerns
Dialogue: 0,0:03:58.28,0:03:59.91,Default,,0000,0000,0000,,of cultural theory.
Dialogue: 0,0:04:00.44,0:04:03.72,Default,,0000,0000,0000,,And in particular from a feminist concern\Nfor difference.
Dialogue: 0,0:04:04.78,0:04:07.28,Default,,0000,0000,0000,,This need to attend \Nwith more time and care
Dialogue: 0,0:04:07.28,0:04:11.34,Default,,0000,0000,0000,,to potential intersections of theory\Nand the digital humanities
Dialogue: 0,0:04:11.34,0:04:15.51,Default,,0000,0000,0000,,has been the subject of recent\Nand often heated online discussions,
Dialogue: 0,0:04:15.51,0:04:20.51,Default,,0000,0000,0000,,conference panels, various publications,\NTwitter wars, you name it.
Dialogue: 0,0:04:22.12,0:04:24.28,Default,,0000,0000,0000,,Groups of emerging scholars\Nhave organized
Dialogue: 0,0:04:24.28,0:04:28.68,Default,,0000,0000,0000,,under such rubrics as "Transform DH",\N"In DH Poco",
Dialogue: 0,0:04:28.68,0:04:32.12,Default,,0000,0000,0000,,in order to catalyze just such exchanges.
Dialogue: 0,0:04:32.34,0:04:35.82,Default,,0000,0000,0000,,And have recently formed the FemTechNet\Norganization.
Dialogue: 0,0:04:35.82,0:04:38.64,Default,,0000,0000,0000,,If you're not aware of FemTechNet,\Nit's a kind of anti-MOOC
Dialogue: 0,0:04:38.64,0:04:42.98,Default,,0000,0000,0000,,underway right now, being taught\Nwith a very large list
Dialogue: 0,0:04:42.98,0:04:46.51,Default,,0000,0000,0000,,of feminist collaborators\Nunder the leadership of Anne Balsamo
Dialogue: 0,0:04:46.51,0:04:47.88,Default,,0000,0000,0000,,and Alex Juhasz.
Dialogue: 0,0:04:48.81,0:04:52.61,Default,,0000,0000,0000,,One online forum initiated by \NAdeline Koh and Roopika Risam
Dialogue: 0,0:04:52.61,0:04:56.74,Default,,0000,0000,0000,,on the postcolonial digital humanities\Nin May 2013
Dialogue: 0,0:04:56.74,0:05:01.28,Default,,0000,0000,0000,,fostered a lively and sometimes heated\Ndebate in response to the question:
Dialogue: 0,0:05:01.28,0:05:03.44,Default,,0000,0000,0000,,is DH a refuge?
Dialogue: 0,0:05:04.08,0:05:05.69,Default,,0000,0000,0000,,I'm not even sure what that meant, exactly
Dialogue: 0,0:05:05.69,0:05:08.08,Default,,0000,0000,0000,,but from race, class, \Ngender and sexuality.
Dialogue: 0,0:05:09.11,0:05:12.74,Default,,0000,0000,0000,,I'll not attempt to summarize \Nthe conversation that transpired here.
Dialogue: 0,0:05:12.74,0:05:16.01,Default,,0000,0000,0000,,If I were to scroll down \Nit would go on almost infinitely.
Dialogue: 0,0:05:16.01,0:05:19.88,Default,,0000,0000,0000,,And Adeline and Roopika have already\Nkind of storified it
Dialogue: 0,0:05:19.88,0:05:21.38,Default,,0000,0000,0000,,in a variety of ways,
Dialogue: 0,0:05:21.38,0:05:24.35,Default,,0000,0000,0000,,so you can find their summary elsewhere.
Dialogue: 0,0:05:24.35,0:05:28.02,Default,,0000,0000,0000,,Including an interesting experiment\Non a shared Google Doc
Dialogue: 0,0:05:28.02,0:05:34.77,Default,,0000,0000,0000,,where folks could critique\Nhow they summed up their own statement.
Dialogue: 0,0:05:34.77,0:05:37.86,Default,,0000,0000,0000,,I do want to zero in on a few points\Nin this exchange
Dialogue: 0,0:05:37.86,0:05:40.82,Default,,0000,0000,0000,,to stage the beginnings of a claim\Nfor a particular mode
Dialogue: 0,0:05:40.82,0:05:43.08,Default,,0000,0000,0000,,of enacting the digital humanities.
Dialogue: 0,0:05:43.27,0:05:47.82,Default,,0000,0000,0000,,Or following Katie King, one might \Nsay "re-enacting the humanities".
Dialogue: 0,0:05:49.44,0:05:51.04,Default,,0000,0000,0000,,Entering into the--
Dialogue: 0,0:05:51.24,0:05:52.81,Default,,0000,0000,0000,,I don't know if you'll be able \Nto read this,
Dialogue: 0,0:05:52.81,0:05:54.44,Default,,0000,0000,0000,,but I'll summarize some of it\Nfor you.
Dialogue: 0,0:05:54.44,0:05:57.21,Default,,0000,0000,0000,,Entering into the forum's fray\Nby in his words
Dialogue: 0,0:05:57.21,0:05:59.01,Default,,0000,0000,0000,,"tapping on his cell phone"
Dialogue: 0,0:05:59.01,0:06:03.48,Default,,0000,0000,0000,,meaning that there weren't really\Nconsidered keyboard-linked responses,
Dialogue: 0,0:06:03.48,0:06:07.31,Default,,0000,0000,0000,,but still pretty hefty responses to be \Ndoing it from your cellphone keyboard,
Dialogue: 0,0:06:07.31,0:06:12.82,Default,,0000,0000,0000,,Ian Bogost wrote "On the one hand\Nanyone who believes computational platforms
Dialogue: 0,0:06:12.82,0:06:16.38,Default,,0000,0000,0000,,"are transparent doesn't really\Nunderstand those platforms,
Dialogue: 0,0:06:16.38,0:06:20.31,Default,,0000,0000,0000,,"but on the other, a blind focus\Non identity politics
Dialogue: 0,0:06:20.31,0:06:24.08,Default,,0000,0000,0000,,"above all other concerns,\Nhas partly prevented humanists
Dialogue: 0,0:06:24.08,0:06:28.35,Default,,0000,0000,0000,,"from deeply exploring the technical \Nnature of computer systems
Dialogue: 0,0:06:28.35,0:06:31.31,Default,,0000,0000,0000,,"in order to grasp \Nthose very understandings."
Dialogue: 0,0:06:32.28,0:06:35.21,Default,,0000,0000,0000,,Bogost's insistence that we must\Nexplore the technical nature
Dialogue: 0,0:06:35.21,0:06:38.62,Default,,0000,0000,0000,,of the computer\Nresonates with various formulations
Dialogue: 0,0:06:38.62,0:06:40.22,Default,,0000,0000,0000,,in the digital humanities,
Dialogue: 0,0:06:40.22,0:06:44.01,Default,,0000,0000,0000,,even though I don't think Ian himself\Nwould necessarily claim membership
Dialogue: 0,0:06:44.01,0:06:45.62,Default,,0000,0000,0000,,in the tribe of DH...
Dialogue: 0,0:06:45.62,0:06:48.45,Default,,0000,0000,0000,,Although he might, you never know\Non a given day.
Dialogue: 0,0:06:48.45,0:06:51.72,Default,,0000,0000,0000,,It aligns as well with a good deal\Nof digital media studies
Dialogue: 0,0:06:51.72,0:06:56.04,Default,,0000,0000,0000,,including hardware and software studies,\Nwhere end research has been prolific
Dialogue: 0,0:06:56.04,0:06:57.25,Default,,0000,0000,0000,,and important.
Dialogue: 0,0:06:57.85,0:07:00.78,Default,,0000,0000,0000,,It's an insight that's also fueled\Nmy own work.
Dialogue: 0,0:07:00.78,0:07:03.68,Default,,0000,0000,0000,,In the conversation that then spools\Nthroughout the thread,
Dialogue: 0,0:07:03.68,0:07:04.97,Default,,0000,0000,0000,,as you scroll down here,
Dialogue: 0,0:07:04.97,0:07:09.15,Default,,0000,0000,0000,,Ian goes on to observe that\N"doing hardware and software studies
Dialogue: 0,0:07:09.15,0:07:12.48,Default,,0000,0000,0000,,"sometimes requires one \Nto bracket identity
Dialogue: 0,0:07:12.48,0:07:15.64,Default,,0000,0000,0000,,"even if just for a moment,\Nin order to learn something
Dialogue: 0,0:07:15.64,0:07:17.91,Default,,0000,0000,0000,,"in the latter's service.
Dialogue: 0,0:07:17.91,0:07:22.08,Default,,0000,0000,0000,,"But those of us who do that work\Nare frequently chided
Dialogue: 0,0:07:22.08,0:07:26.24,Default,,0000,0000,0000,,"for failing to focus all energy\Nand all attention at all times
Dialogue: 0,0:07:26.24,0:07:30.48,Default,,0000,0000,0000,,"on the accuser's notion\Nof what comprises the entire discourse
Dialogue: 0,0:07:30.48,0:07:32.15,Default,,0000,0000,0000,,"of social justice."
Dialogue: 0,0:07:34.45,0:07:37.41,Default,,0000,0000,0000,,I find two things especially curious\Nin this formulation.
Dialogue: 0,0:07:37.41,0:07:41.72,Default,,0000,0000,0000,,First, it's interesting that a forum\Noriginally framed quite broadly,
Dialogue: 0,0:07:41.72,0:07:46.18,Default,,0000,0000,0000,,it's about the intermingling of race,\Nclass, gender and sexuality
Dialogue: 0,0:07:46.18,0:07:49.05,Default,,0000,0000,0000,,and disability in the digital humanities,
Dialogue: 0,0:07:49.05,0:07:52.05,Default,,0000,0000,0000,,quickly moves to a discussion\Nof identity politics
Dialogue: 0,0:07:52.05,0:07:56.07,Default,,0000,0000,0000,,as the natural or likely terrain\Nfor such concerns.
Dialogue: 0,0:07:56.25,0:07:59.11,Default,,0000,0000,0000,,Later in the forum, Anne Balsamo\Nobserves that there are certainly
Dialogue: 0,0:07:59.11,0:08:02.71,Default,,0000,0000,0000,,many ways to address questions\Nof feminism and of difference
Dialogue: 0,0:08:02.71,0:08:06.08,Default,,0000,0000,0000,,that do not narrowly default\Nto identity politics.
Dialogue: 0,0:08:06.85,0:08:09.88,Default,,0000,0000,0000,,And she points the forum\Nto the work of feminist philosopher
Dialogue: 0,0:08:09.88,0:08:11.02,Default,,0000,0000,0000,,Karen Barad.
Dialogue: 0,0:08:11.95,0:08:15.94,Default,,0000,0000,0000,,In her book, {\i1}Designing Culture{\i0},\NBalsamo builds upon Barad's theory
Dialogue: 0,0:08:15.94,0:08:17.71,Default,,0000,0000,0000,,of intra-actions,
Dialogue: 0,0:08:17.71,0:08:21.27,Default,,0000,0000,0000,,in order to develop a complex model\Nof design practice
Dialogue: 0,0:08:21.27,0:08:26.11,Default,,0000,0000,0000,,that understands the relationship\Nbetween materiality and discursivity
Dialogue: 0,0:08:26.11,0:08:28.41,Default,,0000,0000,0000,,between objects and subjects
Dialogue: 0,0:08:28.41,0:08:30.62,Default,,0000,0000,0000,,and between nature and culture
Dialogue: 0,0:08:30.62,0:08:34.08,Default,,0000,0000,0000,,to be fluid, open-ended and contingent.
Dialogue: 0,0:08:34.48,0:08:38.41,Default,,0000,0000,0000,,In such a model, design of technologies,\Nof software, of code,
Dialogue: 0,0:08:38.41,0:08:42.41,Default,,0000,0000,0000,,proceeds from an acknowledgement\Nof our messy entanglements
Dialogue: 0,0:08:42.41,0:08:44.54,Default,,0000,0000,0000,,with matter and with each other.
Dialogue: 0,0:08:44.74,0:08:48.75,Default,,0000,0000,0000,,For Barad, to be entangled is not simply\Nto be intertwined with another,
Dialogue: 0,0:08:48.75,0:08:51.64,Default,,0000,0000,0000,,it's in the joining of separate entities,
Dialogue: 0,0:08:51.64,0:08:54.78,Default,,0000,0000,0000,,but to lack an independent,\Nself-contained existence.
Dialogue: 0,0:08:56.01,0:08:59.15,Default,,0000,0000,0000,,Given this formulation, a second element\Nof the forum exchange
Dialogue: 0,0:08:59.15,0:09:01.58,Default,,0000,0000,0000,,from this website stands out.
Dialogue: 0,0:09:02.48,0:09:05.31,Default,,0000,0000,0000,,The notion of the bracketing of identity,\Nor of other things,
Dialogue: 0,0:09:05.31,0:09:08.21,Default,,0000,0000,0000,,other aspects of culture\Nthat might prevent one
Dialogue: 0,0:09:08.21,0:09:12.45,Default,,0000,0000,0000,,from accessing properly\Nthe technical nature of the computer.
Dialogue: 0,0:09:13.08,0:09:16.53,Default,,0000,0000,0000,,Similar ideas surface in a number\Nof moments across the discussion.
Dialogue: 0,0:09:16.53,0:09:21.01,Default,,0000,0000,0000,,For instance, Andrew Smart observes\Nthe "Digital technology
Dialogue: 0,0:09:21.11,0:09:24.44,Default,,0000,0000,0000,,"at its lowest level relies \Non the physical laws
Dialogue: 0,0:09:24.44,0:09:27.41,Default,,0000,0000,0000,,"of how information is represented\Nin voltage.
Dialogue: 0,0:09:27.41,0:09:30.60,Default,,0000,0000,0000,,"The way computers and networks work\Nis determined,
Dialogue: 0,0:09:30.60,0:09:35.04,Default,,0000,0000,0000,,"or may be very constrained\Nby the laws of physics."
Dialogue: 0,0:09:36.84,0:09:38.24,Default,,0000,0000,0000,,Is this you, Travis?
Dialogue: 0,0:09:39.87,0:09:41.10,Default,,0000,0000,0000,,{\i1}(Travis) Yes, it is.{\i0}
Dialogue: 0,0:09:41.10,0:09:42.87,Default,,0000,0000,0000,,I had no idea you were here!
Dialogue: 0,0:09:43.30,0:09:46.04,Default,,0000,0000,0000,,Sorry, but here we're going to go\Nfor a little bit into Lambda the Ultimate.
Dialogue: 0,0:09:46.04,0:09:47.97,Default,,0000,0000,0000,,When you introduced yourself
Dialogue: 0,0:09:47.97,0:09:49.50,Default,,0000,0000,0000,,my ears went PING!
Dialogue: 0,0:09:49.97,0:09:55.00,Default,,0000,0000,0000,,The tendency to describe computation\Nas a series of levels
Dialogue: 0,0:09:55.00,0:10:00.71,Default,,0000,0000,0000,,increasingly abstracted from culture,\Nsurfaces in other online venues as well.
Dialogue: 0,0:10:00.97,0:10:04.20,Default,,0000,0000,0000,,A further interesting example\Nis found at Lambda the ultimate,
Dialogue: 0,0:10:04.20,0:10:08.57,Default,,0000,0000,0000,,a site that "deals with issues \Ndirectly related to programming languages\N
Dialogue: 0,0:10:08.57,0:10:11.71,Default,,0000,0000,0000,,"and is largely populated by programmers."
Dialogue: 0,0:10:11.71,0:10:15.94,Default,,0000,0000,0000,,On May 5th 2010, Travis Brown,\Nhere in living flesh,
Dialogue: 0,0:10:16.27,0:10:17.95,Default,,0000,0000,0000,,created a forum there
Dialogue: 0,0:10:17.95,0:10:21.60,Default,,0000,0000,0000,,under the heading "critical code studies",\Nasking the Lambda community
Dialogue: 0,0:10:21.60,0:10:24.57,Default,,0000,0000,0000,,to reflect on the idea \Nof critical code studies
Dialogue: 0,0:10:24.57,0:10:27.87,Default,,0000,0000,0000,,as articulated by new media scholar\NMark Marino,
Dialogue: 0,0:10:27.87,0:10:32.21,Default,,0000,0000,0000,,including a link to a CFP \Nand essay by Marino,
Dialogue: 0,0:10:32.21,0:10:36.64,Default,,0000,0000,0000,,as well as to essays by Katherine Hayles\Nand Rita Raley.
Dialogue: 0,0:10:37.18,0:10:39.67,Default,,0000,0000,0000,,The ensuing discussion \Nlasted several days.
Dialogue: 0,0:10:40.14,0:10:42.50,Default,,0000,0000,0000,,While a few contributors were intrigued\Nby the possibility
Dialogue: 0,0:10:42.50,0:10:46.31,Default,,0000,0000,0000,,that cultural theory might be useful\Nin the study of code,
Dialogue: 0,0:10:46.31,0:10:47.64,Default,,0000,0000,0000,,including Travis,
Dialogue: 0,0:10:47.64,0:10:49.10,Default,,0000,0000,0000,,many were skeptical,
Dialogue: 0,0:10:49.10,0:10:52.54,Default,,0000,0000,0000,,or rejected the idea pretty much\Nout of hand.
Dialogue: 0,0:10:53.10,0:10:58.54,Default,,0000,0000,0000,,So, these are some fairly typical comments\Ngleaned from this forum.
Dialogue: 0,0:10:59.23,0:11:03.18,Default,,0000,0000,0000,,This is actually an essay forthcoming\Nin the feminist journal {\i1}Differences{\i0}
Dialogue: 0,0:11:03.18,0:11:08.10,Default,,0000,0000,0000,,and I attend to some of the other comments\Nfrom this forum in that list as well.
Dialogue: 0,0:11:08.10,0:11:10.50,Default,,0000,0000,0000,,But I bet you never imagined\Nwhen you posted this
Dialogue: 0,0:11:10.50,0:11:13.30,Default,,0000,0000,0000,,that it would end up in the pages\Nof {\i1}Differences{\i0}, right?
Dialogue: 0,0:11:13.74,0:11:14.51,Default,,0000,0000,0000,,{\i1}(Travis) No!{\i0}
Dialogue: 0,0:11:16.34,0:11:21.48,Default,,0000,0000,0000,,The comments begin to kind of replay\Na lot of the same kind of argument I think,
Dialogue: 0,0:11:21.48,0:11:24.61,Default,,0000,0000,0000,,that code at the end functions\Nor it doesn't,
Dialogue: 0,0:11:24.61,0:11:26.84,Default,,0000,0000,0000,,and at some level, \Nif it's going to function
Dialogue: 0,0:11:26.84,0:11:30.72,Default,,0000,0000,0000,,it really can't have that much\Nto do with culture and society.
Dialogue: 0,0:11:30.72,0:11:34.60,Default,,0000,0000,0000,,It's functional or it's not functional,\Nas one commenter says,
Dialogue: 0,0:11:34.60,0:11:38.04,Default,,0000,0000,0000,,"what I mean is that the sociological\Naspects of code
Dialogue: 0,0:11:38.04,0:11:40.14,Default,,0000,0000,0000,,"are not in the code itself."
Dialogue: 0,0:11:40.14,0:11:43.47,Default,,0000,0000,0000,,And I think that is actually something\Nwe don't know for sure,
Dialogue: 0,0:11:43.47,0:11:45.54,Default,,0000,0000,0000,,and I would hold that \Nas an open question,
Dialogue: 0,0:11:45.54,0:11:50.17,Default,,0000,0000,0000,,that perhaps there are ways \Nthat we might come to understand culture
Dialogue: 0,0:11:50.17,0:11:54.74,Default,,0000,0000,0000,,as quite deeply embedded\Nin our systems, infrastructures
Dialogue: 0,0:11:54.74,0:11:55.81,Default,,0000,0000,0000,,and code.
Dialogue: 0,0:11:56.27,0:12:00.38,Default,,0000,0000,0000,,In these examples, code functions\Nmuch as Andrew Smart imagines it does.
Dialogue: 0,0:12:00.38,0:12:04.01,Default,,0000,0000,0000,,In a realm determined by math, physics,\Nor reason,
Dialogue: 0,0:12:04.01,0:12:06.81,Default,,0000,0000,0000,,apart from the messy realms\Nof culture.
Dialogue: 0,0:12:08.20,0:12:12.11,Default,,0000,0000,0000,,This tendency to frame computational\Ntechnologies in "levels",
Dialogue: 0,0:12:12.11,0:12:13.80,Default,,0000,0000,0000,,you know, kind of nested layers,
Dialogue: 0,0:12:13.80,0:12:18.94,Default,,0000,0000,0000,,is also reflected in the description\Nof the bulk series "Platform Studies"
Dialogue: 0,0:12:19.30,0:12:23.98,Default,,0000,0000,0000,,published by MIT Press, with editors\NIan Bogost and Nick Montfort.
Dialogue: 0,0:12:24.98,0:12:28.27,Default,,0000,0000,0000,,In the website that describes \Nthe Platform Studies series,
Dialogue: 0,0:12:28.27,0:12:32.71,Default,,0000,0000,0000,,Bogost and Montfort offer a chart\Ndelineating the five stacked levels
Dialogue: 0,0:12:32.71,0:12:35.34,Default,,0000,0000,0000,,of analysis of new media studies.
Dialogue: 0,0:12:35.64,0:12:40.31,Default,,0000,0000,0000,,So, we move from "reception and operation"\Nto "interface", to "form and function",
Dialogue: 0,0:12:40.31,0:12:42.51,Default,,0000,0000,0000,,to "code" to "platform".
Dialogue: 0,0:12:42.77,0:12:45.14,Default,,0000,0000,0000,,And most of the cultural stuff\Nhappens up here
Dialogue: 0,0:12:45.14,0:12:47.54,Default,,0000,0000,0000,,in the ways those descriptions\Nare understood.
Dialogue: 0,0:12:47.54,0:12:49.78,Default,,0000,0000,0000,,Some of you may be flashing back\Nto Jameson,
Dialogue: 0,0:12:49.78,0:12:52.67,Default,,0000,0000,0000,,if you ever had that past, right?
Dialogue: 0,0:12:52.95,0:12:56.51,Default,,0000,0000,0000,,The nitty gritty technological,\Nreally important stuff
Dialogue: 0,0:12:56.51,0:13:01.94,Default,,0000,0000,0000,,in the framing of book series\Nhappens down at the level of platform.
Dialogue: 0,0:13:03.10,0:13:05.84,Default,,0000,0000,0000,,And, potentially at the level of code \Nas well,
Dialogue: 0,0:13:05.84,0:13:09.33,Default,,0000,0000,0000,,but there's a very particular \Nkind of system
Dialogue: 0,0:13:09.33,0:13:13.84,Default,,0000,0000,0000,,of privilege built in \Nto the way the analysis operates.
Dialogue: 0,0:13:14.70,0:13:19.84,Default,,0000,0000,0000,,Platform is framed as the foundation layer\N"an abstraction layer beneath code."
Dialogue: 0,0:13:20.41,0:13:23.44,Default,,0000,0000,0000,,And even in the title of the series\N{\i1}Platform Studies{\i0}
Dialogue: 0,0:13:23.44,0:13:25.37,Default,,0000,0000,0000,,it's obviously given primacy.
Dialogue: 0,0:13:26.00,0:13:29.21,Default,,0000,0000,0000,,A later revision of this chart\Nin their book {\i1}Raising the Beam{\i0}
Dialogue: 0,0:13:29.21,0:13:33.71,Default,,0000,0000,0000,,encloses these five levels,\Nfollowing some critique of this diagram.
Dialogue: 0,0:13:33.71,0:13:37.31,Default,,0000,0000,0000,,It encloses these five levels\Nin a chart labelled "culture".
Dialogue: 0,0:13:37.51,0:13:38.53,Default,,0000,0000,0000,,(audience laughs)
Dialogue: 0,0:13:38.53,0:13:40.40,Default,,0000,0000,0000,,A box encloses those layers,
Dialogue: 0,0:13:40.40,0:13:44.77,Default,,0000,0000,0000,,and the authors stress "we see all\Nof these levels
Dialogue: 0,0:13:44.77,0:13:48.14,Default,,0000,0000,0000,,"not just the top level of reception\Nand operation"
Dialogue: 0,0:13:48.14,0:13:50.43,Default,,0000,0000,0000,,which on this website is where culture\Nis located,
Dialogue: 0,0:13:50.43,0:13:55.96,Default,,0000,0000,0000,,"as being situated in culture, society,\Neconomy and history."\N
Dialogue: 0,0:13:55.96,0:13:58.60,Default,,0000,0000,0000,,Yet the very model of discreet \Nboxed layers,
Dialogue: 0,0:13:58.60,0:14:02.60,Default,,0000,0000,0000,,neatly enclosed in the larger box\Nof history puts into place
Dialogue: 0,0:14:02.60,0:14:06.50,Default,,0000,0000,0000,,a conceptual framework\Nthat undervalues entanglements
Dialogue: 0,0:14:06.50,0:14:07.74,Default,,0000,0000,0000,,and interactions,
Dialogue: 0,0:14:07.74,0:14:13.54,Default,,0000,0000,0000,,encouraging a focus on individual layers\Nrather than a focus on the complex ways
Dialogue: 0,0:14:13.54,0:14:16.67,Default,,0000,0000,0000,,in which the layers themselves\Ncome into being,
Dialogue: 0,0:14:16.67,0:14:19.63,Default,,0000,0000,0000,,delineate particular possibilities \Nand boundaries
Dialogue: 0,0:14:19.63,0:14:23.19,Default,,0000,0000,0000,,and foreclose potential futures\Nand becomings.
Dialogue: 0,0:14:23.70,0:14:27.00,Default,,0000,0000,0000,,Obviously we need to focus \Nour scholarly attention somewhere,
Dialogue: 0,0:14:27.00,0:14:30.37,Default,,0000,0000,0000,,on particular themes, processes\Nor ideas,
Dialogue: 0,0:14:30.37,0:14:32.96,Default,,0000,0000,0000,,but the models we work from\Nare important.
Dialogue: 0,0:14:32.96,0:14:39.03,Default,,0000,0000,0000,,To follow Barad, if matter matters,\Nhow we focus on matter also matters.
Dialogue: 0,0:14:40.07,0:14:42.90,Default,,0000,0000,0000,,Despite this critique, I value\Nand learn from the work
Dialogue: 0,0:14:42.90,0:14:46.47,Default,,0000,0000,0000,,of code and {\i1}Platform Studies{\i0},\Nin particular from Ian's work
Dialogue: 0,0:14:46.47,0:14:50.10,Default,,0000,0000,0000,,and careful examinations\Nof particular platforms.
Dialogue: 0,0:14:51.53,0:14:55.06,Default,,0000,0000,0000,,And from the digital humanities practices\Nmore generally.
Dialogue: 0,0:14:55.06,0:14:57.60,Default,,0000,0000,0000,,I too have written at length\Nhow hard it is
Dialogue: 0,0:14:57.60,0:15:02.13,Default,,0000,0000,0000,,to entangle examinations of code\Nwith cultural critique.
Dialogue: 0,0:15:02.56,0:15:05.60,Default,,0000,0000,0000,,How easy it is to get into the lure\Nof the bracket.
Dialogue: 0,0:15:05.60,0:15:09.21,Default,,0000,0000,0000,,I've called for humanity scholars\Nto take code seriously
Dialogue: 0,0:15:09.26,0:15:11.00,Default,,0000,0000,0000,,and to learn to make things.
Dialogue: 0,0:15:11.00,0:15:13.58,Default,,0000,0000,0000,,Maybe not as vociferously\Nas Stephen Ramsay,
Dialogue: 0,0:15:13.84,0:15:14.81,Default,,0000,0000,0000,,(audience laughs)
Dialogue: 0,0:15:14.81,0:15:16.41,Default,,0000,0000,0000,,but certainly loudly!
Dialogue: 0,0:15:16.41,0:15:18.48,Default,,0000,0000,0000,,But I also worry \Nthat the digital humanities
Dialogue: 0,0:15:18.48,0:15:20.38,Default,,0000,0000,0000,,code and platform studies,
Dialogue: 0,0:15:20.38,0:15:23.61,Default,,0000,0000,0000,,all too often center computation\Nand technology
Dialogue: 0,0:15:23.61,0:15:26.95,Default,,0000,0000,0000,,in a way that makes interaction \Nhard to discern.
Dialogue: 0,0:15:27.47,0:15:30.51,Default,,0000,0000,0000,,In fact, I've argued that this\Nconceptual bracketing,
Dialogue: 0,0:15:30.51,0:15:34.85,Default,,0000,0000,0000,,this singling out of code from culture,\Nis in itself part and parcel
Dialogue: 0,0:15:34.85,0:15:37.25,Default,,0000,0000,0000,,of the organization \Nof knowledge production
Dialogue: 0,0:15:37.25,0:15:42.05,Default,,0000,0000,0000,,that computation has disseminated\Naround the world for well over 50 years.
Dialogue: 0,0:15:43.15,0:15:46.08,Default,,0000,0000,0000,,In an essay that tracks the \Nentangled historical moment
Dialogue: 0,0:15:46.08,0:15:49.95,Default,,0000,0000,0000,,that produced new racial codes\Nand new forms of computation,
Dialogue: 0,0:15:49.95,0:15:53.68,Default,,0000,0000,0000,,I maintain that the development\Nof computer operating systems
Dialogue: 0,0:15:53.68,0:15:59.94,Default,,0000,0000,0000,,mid-century installed an extreme logic\Nof modularity that black-boxed knowledge
Dialogue: 0,0:15:59.94,0:16:06.21,Default,,0000,0000,0000,,in a manner quite similar to emerging\Nlogics of racial visibility and racism.
Dialogue: 0,0:16:06.21,0:16:09.88,Default,,0000,0000,0000,,An operating system like UNIX\Nworks by removing context
Dialogue: 0,0:16:09.88,0:16:12.32,Default,,0000,0000,0000,,and decreasing complexity.
Dialogue: 0,0:16:12.91,0:16:18.15,Default,,0000,0000,0000,,Early computers, from 1940 - 1960\Nhad complex interdependent designs
Dialogue: 0,0:16:18.15,0:16:20.42,Default,,0000,0000,0000,,that were pre-modular.
Dialogue: 0,0:16:20.78,0:16:22.99,Default,,0000,0000,0000,,But the development of databases\Nwould depend
Dialogue: 0,0:16:22.99,0:16:27.65,Default,,0000,0000,0000,,upon the modularity of UNIX\Nand languages like C and C++.
Dialogue: 0,0:16:28.75,0:16:30.89,Default,,0000,0000,0000,,We could see at work here\Nthe basic contours
Dialogue: 0,0:16:30.89,0:16:34.82,Default,,0000,0000,0000,,of an approach to the world\Nthat separates object from subject.
Dialogue: 0,0:16:35.36,0:16:38.79,Default,,0000,0000,0000,,Cause from effect, context from code.
Dialogue: 0,0:16:38.79,0:16:42.42,Default,,0000,0000,0000,,I am suggesting that there's something\Nparticular to the very forms
Dialogue: 0,0:16:42.42,0:16:45.74,Default,,0000,0000,0000,,of digital culture that encourages\Nsuch a partitioning.
Dialogue: 0,0:16:45.87,0:16:49.99,Default,,0000,0000,0000,,A portioning off that also played out\Nin the increasing specialization
Dialogue: 0,0:16:49.99,0:16:51.72,Default,,0000,0000,0000,,of academic fields,
Dialogue: 0,0:16:51.72,0:16:56.07,Default,,0000,0000,0000,,and even in the formation of mini modes\Nof identity politics after World War II.
Dialogue: 0,0:16:56.89,0:16:59.73,Default,,0000,0000,0000,,We need conceptual models\Nfor the digital humanities
Dialogue: 0,0:16:59.73,0:17:03.74,Default,,0000,0000,0000,,and for digital media studies\Nthat do not rely upon the bracket,
Dialogue: 0,0:17:03.74,0:17:06.07,Default,,0000,0000,0000,,the module, the box,\Nor the partition.
Dialogue: 0,0:17:06.56,0:17:09.78,Default,,0000,0000,0000,,Feminist theory, \Nparticularly theories of difference,
Dialogue: 0,0:17:09.78,0:17:11.73,Default,,0000,0000,0000,,has much to offer in this regard.
Dialogue: 0,0:17:12.40,0:17:15.97,Default,,0000,0000,0000,,Participants in both the DH Poco\Nand the Lambda forums,
Dialogue: 0,0:17:15.97,0:17:18.26,Default,,0000,0000,0000,,and in the digital humanities \Nmore generally,
Dialogue: 0,0:17:18.26,0:17:20.90,Default,,0000,0000,0000,,call on humanist scholars\Nto learn to code,
Dialogue: 0,0:17:20.90,0:17:25.24,Default,,0000,0000,0000,,or at the very least, to require \Nadvanced technological literacies.
Dialogue: 0,0:17:25.52,0:17:29.30,Default,,0000,0000,0000,,I agree, but I would also issue\Na reciprocal call
Dialogue: 0,0:17:29.30,0:17:33.33,Default,,0000,0000,0000,,for coding humanists to engage\Nfeminist phenomenology,
Dialogue: 0,0:17:33.33,0:17:37.20,Default,,0000,0000,0000,,postcolonial theory, and theorizations\Nof difference.
Dialogue: 0,0:17:37.44,0:17:41.100,Default,,0000,0000,0000,,Gender, race, sexuality, class, disability\Nmight then be understood
Dialogue: 0,0:17:41.100,0:17:47.07,Default,,0000,0000,0000,,not as things that could simply be added\Nto our analyses, or to our metadata,
Dialogue: 0,0:17:47.07,0:17:50.90,Default,,0000,0000,0000,,but instead as operating principles\Nof a different order,
Dialogue: 0,0:17:50.90,0:17:54.63,Default,,0000,0000,0000,,always already coursing through discourse\Nand matter.
Dialogue: 0,0:17:54.63,0:17:58.17,Default,,0000,0000,0000,,And if we cannot study all discourse\Nand all matter at once,
Dialogue: 0,0:17:58.17,0:18:02.83,Default,,0000,0000,0000,,Barad offers up not the bracket,\Nbut the agencial cut,
Dialogue: 0,0:18:03.20,0:18:05.19,Default,,0000,0000,0000,,a kind of movement,\Na fluid movement
Dialogue: 0,0:18:05.54,0:18:10.13,Default,,0000,0000,0000,,as a method through which "in the absence\Nof a classic ontological condition,
Dialogue: 0,0:18:10.13,0:18:13.70,Default,,0000,0000,0000,,"of exteriority between observed \Nand observer,
Dialogue: 0,0:18:13.70,0:18:19.03,Default,,0000,0000,0000,,"we might enact a local, causal structure\Namong components of a phenomenon."
Dialogue: 0,0:18:19.60,0:18:23.08,Default,,0000,0000,0000,,And here I think there are analogies\Nto be drawn between Barad's work
Dialogue: 0,0:18:23.08,0:18:24.87,Default,,0000,0000,0000,,and, say, the work of Bruno Latour.
Dialogue: 0,0:18:24.87,0:18:27.43,Default,,0000,0000,0000,,A lot of ways to begin to think \Nabout theorizing systems
Dialogue: 0,0:18:27.43,0:18:29.63,Default,,0000,0000,0000,,that don't depend upon the bracket.
Dialogue: 0,0:18:30.53,0:18:33.79,Default,,0000,0000,0000,,If bracketing tends to recapitulate\Nthe modularity of code,
Dialogue: 0,0:18:33.79,0:18:36.90,Default,,0000,0000,0000,,treating difference, either at the level\Nof content,
Dialogue: 0,0:18:36.90,0:18:40.24,Default,,0000,0000,0000,,and here, difference becomes the thing\Nwe fill our archives with,
Dialogue: 0,0:18:40.24,0:18:44.83,Default,,0000,0000,0000,,we build neutral archive platforms,\Nbut we have one about women,
Dialogue: 0,0:18:45.02,0:18:48.63,Default,,0000,0000,0000,,and one about scholars of color,\Nand one about Native Americans.
Dialogue: 0,0:18:48.63,0:18:51.46,Default,,0000,0000,0000,,Or difference functions in the background.
Dialogue: 0,0:18:51.46,0:18:55.59,Default,,0000,0000,0000,,i.e. that box that wraps around\Nthe different levels of technology.
Dialogue: 0,0:18:55.59,0:18:59.86,Default,,0000,0000,0000,,The cut as a methodological paradigm\Nis fluid and mobile,
Dialogue: 0,0:18:59.86,0:19:03.52,Default,,0000,0000,0000,,even as it recognizes \Nthe constituitive work of difference.
Dialogue: 0,0:19:04.29,0:19:09.50,Default,,0000,0000,0000,,As Barad notes, cuts are part of phenomena\Nthat they help to produce.
Dialogue: 0,0:19:09.50,0:19:14.20,Default,,0000,0000,0000,,Sarah Kember and Johanna Zylinska\Nin their recent book {\i1}Life After New Media{\i0}
Dialogue: 0,0:19:14.20,0:19:18.09,Default,,0000,0000,0000,,have highlighted the dual ontological\Nand ethical dimensions
Dialogue: 0,0:19:18.09,0:19:22.56,Default,,0000,0000,0000,,of Barad's agencial cut, observing\Nthat the cut is a causal procedure
Dialogue: 0,0:19:22.56,0:19:26.26,Default,,0000,0000,0000,,that performs the division \Nof the world into entities,
Dialogue: 0,0:19:26.26,0:19:28.66,Default,,0000,0000,0000,,but it is also a decision.
Dialogue: 0,0:19:29.26,0:19:32.76,Default,,0000,0000,0000,,That is, where and how we focus matters.
Dialogue: 0,0:19:32.89,0:19:37.58,Default,,0000,0000,0000,,This concept of the cut resonates,\Nif unevenly and imprecisely,
Dialogue: 0,0:19:37.58,0:19:42.05,Default,,0000,0000,0000,,with tension with a number of feminist\Nconceptual paradigms.
Dialogue: 0,0:19:42.05,0:19:46.36,Default,,0000,0000,0000,,Including Katie King's re-enactments,\NChantal Mouffe's articulations
Dialogue: 0,0:19:46.36,0:19:49.42,Default,,0000,0000,0000,,Chela Sandoval's\Ndifferential consciousness
Dialogue: 0,0:19:49.42,0:19:52.19,Default,,0000,0000,0000,,and Jane Bennett's vital materiality.
Dialogue: 0,0:19:52.62,0:19:56.12,Default,,0000,0000,0000,,While these theoretical models\Nare as different as they are alike,
Dialogue: 0,0:19:56.12,0:20:00.24,Default,,0000,0000,0000,,they each offer ways to understand\Nrelation between object and subject
Dialogue: 0,0:20:00.24,0:20:04.25,Default,,0000,0000,0000,,between discourse and matter,\Nbetween identity and difference.
Dialogue: 0,0:20:04.79,0:20:08.55,Default,,0000,0000,0000,,So, that was very long-winded\Nand not very DH-y.
Dialogue: 0,0:20:08.70,0:20:12.43,Default,,0000,0000,0000,,How might any of this matter at all\Nfor the digital humanities?
Dialogue: 0,0:20:12.43,0:20:16.06,Default,,0000,0000,0000,,Alan Liu mantains that the appropriate\Nunique contribution
Dialogue: 0,0:20:16.06,0:20:20.77,Default,,0000,0000,0000,,that the digital humanities can make\Nto cultural criticism at the present time
Dialogue: 0,0:20:20.77,0:20:26.17,Default,,0000,0000,0000,,is to use the tools, paradigms \Nand concepts of digital technologies\N
Dialogue: 0,0:20:26.17,0:20:29.84,Default,,0000,0000,0000,,to help re-think the idea\Nof instrumentality.
Dialogue: 0,0:20:30.70,0:20:32.76,Default,,0000,0000,0000,,If a core activity \Nin the digital humanities
Dialogue: 0,0:20:32.76,0:20:36.97,Default,,0000,0000,0000,,has been the building of tools,\Nwe should design our tools differently,
Dialogue: 0,0:20:36.97,0:20:41.60,Default,,0000,0000,0000,,in a mode the explicitly engages\Npower and difference from the get-go,
Dialogue: 0,0:20:41.60,0:20:45.64,Default,,0000,0000,0000,,laying bare our theoretical allegiances\Nand exploring the interactions
Dialogue: 0,0:20:45.64,0:20:47.99,Default,,0000,0000,0000,,of culture and matter.
Dialogue: 0,0:20:48.73,0:20:52.17,Default,,0000,0000,0000,,And I just want to, in the background,\Nhave some slides up
Dialogue: 0,0:20:52.17,0:20:55.54,Default,,0000,0000,0000,,illustrating what I think are kind of \Npeople already engaging this work,
Dialogue: 0,0:20:55.54,0:20:58.67,Default,,0000,0000,0000,,including Kim Christen, who was one \Nof our Vector scholars years ago
Dialogue: 0,0:20:58.67,0:21:01.92,Default,,0000,0000,0000,,and has been funded \Nby the likes of the NEH
Dialogue: 0,0:21:01.92,0:21:07.60,Default,,0000,0000,0000,,and IMLS to do a lot of work that's \Nreally rethinking database structures
Dialogue: 0,0:21:07.60,0:21:12.94,Default,,0000,0000,0000,,and ontologies from an indigenous \Nperspective in fairly radical new ways,
Dialogue: 0,0:21:12.94,0:21:16.60,Default,,0000,0000,0000,,kind of putting \Nher theoretical inclinations
Dialogue: 0,0:21:16.60,0:21:21.73,Default,,0000,0000,0000,,as a HisCon student at Santa Cruz\Nto practice in new forms
Dialogue: 0,0:21:21.73,0:21:25.53,Default,,0000,0000,0000,,of database and archiving technologies.
Dialogue: 0,0:21:26.03,0:21:27.04,Default,,0000,0000,0000,,This is...
Dialogue: 0,0:21:37.92,0:21:39.05,Default,,0000,0000,0000,,Sorry...
Dialogue: 0,0:21:50.56,0:21:54.68,Default,,0000,0000,0000,,This is just one out of many projects\Nfrom our practice-based PhD program
Dialogue: 0,0:21:54.68,0:21:57.85,Default,,0000,0000,0000,,which integrates theory and praxis.
Dialogue: 0,0:21:58.21,0:22:03.18,Default,,0000,0000,0000,,And this is by a young woman\NSusana Ruiz, a video game designer,
Dialogue: 0,0:22:03.18,0:22:07.15,Default,,0000,0000,0000,,who produced years ago,\Nan award-winning videogame
Dialogue: 0,0:22:07.15,0:22:09.52,Default,,0000,0000,0000,,on genocide in Darfur,
Dialogue: 0,0:22:09.52,0:22:12.49,Default,,0000,0000,0000,,who's now doing a series of projects\Naround...
Dialogue: 0,0:22:12.82,0:22:16.32,Default,,0000,0000,0000,,card play, strategy games.
Dialogue: 0,0:22:18.85,0:22:22.18,Default,,0000,0000,0000,,This is sort of like the kids' game\NApples to Apples,
Dialogue: 0,0:22:22.18,0:22:26.57,Default,,0000,0000,0000,,but it's meant as a social infrastructure\Nto wrap around a series
Dialogue: 0,0:22:26.57,0:22:30.78,Default,,0000,0000,0000,,of documentaries on women, girls,\Nand social justice.
Dialogue: 0,0:22:31.08,0:22:34.45,Default,,0000,0000,0000,,So, it extends the moving \Ninto a transmedial space
Dialogue: 0,0:22:34.45,0:22:37.35,Default,,0000,0000,0000,,and connects back up to social networks.
Dialogue: 0,0:22:37.35,0:22:39.91,Default,,0000,0000,0000,,So, she's thinking \Nabout feminist game design
Dialogue: 0,0:22:39.91,0:22:44.28,Default,,0000,0000,0000,,and how game mechanics\Nneed to incorporate activist mentalities.
Dialogue: 0,0:22:44.81,0:22:48.86,Default,,0000,0000,0000,,She's doing a lot of really fantastic work\Nwith her collaborators.
Dialogue: 0,0:22:49.15,0:22:53.94,Default,,0000,0000,0000,,Other feminist scholars offer models\Nof how practice-based work might unfold,
Dialogue: 0,0:22:53.94,0:22:57.45,Default,,0000,0000,0000,,including Martha Nell Smith,\NAnne Balsamo, Marsha Kinder,
Dialogue: 0,0:22:57.45,0:23:02.41,Default,,0000,0000,0000,,Sharon Daniel, Susan Brown,\NBethan Nowviskie, Alex Juhasz,
Dialogue: 0,0:23:02.74,0:23:07.30,Default,,0000,0000,0000,,Julia Flanders, Jackie Wernimont,\NMisha Cardenas and Mary Flanagan.
Dialogue: 0,0:23:07.84,0:23:11.15,Default,,0000,0000,0000,,And not all those names \Nusually cohere under 'DH',
Dialogue: 0,0:23:11.15,0:23:15.41,Default,,0000,0000,0000,,but I want to argue they're all DH\Nin profoundly important ways.
Dialogue: 0,0:23:15.81,0:23:18.71,Default,,0000,0000,0000,,Now I want to shift gears a little bit\Nand read at you much less
Dialogue: 0,0:23:18.71,0:23:23.17,Default,,0000,0000,0000,,and talk a little bit about the ways\Nand the collaborative practice
Dialogue: 0,0:23:23.17,0:23:27.32,Default,,0000,0000,0000,,of my own workspace at USC.
Dialogue: 0,0:23:27.54,0:23:30.41,Default,,0000,0000,0000,,We've tried to think \Nabout what it actually means
Dialogue: 0,0:23:30.41,0:23:33.44,Default,,0000,0000,0000,,to build feminist systems\Nfor knowledge production
Dialogue: 0,0:23:33.44,0:23:34.70,Default,,0000,0000,0000,,and circulation
Dialogue: 0,0:23:34.70,0:23:36.71,Default,,0000,0000,0000,,and show you some examples\Nof that work.
Dialogue: 0,0:23:36.94,0:23:39.81,Default,,0000,0000,0000,,So, this is the journal that I...
Dialogue: 0,0:23:41.34,0:23:45.41,Default,,0000,0000,0000,,originally edited and now I co-edit\Nwith my colleague Steve Anderson,
Dialogue: 0,0:23:45.41,0:23:46.34,Default,,0000,0000,0000,,at USC,
Dialogue: 0,0:23:46.34,0:23:48.52,Default,,0000,0000,0000,,it's a very experimental project.
Dialogue: 0,0:23:48.52,0:23:52.45,Default,,0000,0000,0000,,It looks almost nothing like \Nwhat we imagined a journal to be.
Dialogue: 0,0:23:52.45,0:23:57.04,Default,,0000,0000,0000,,And it began really as a set of \Nexperiments at the interface
Dialogue: 0,0:23:57.04,0:23:59.82,Default,,0000,0000,0000,,to try to understand \Nhow new screen languages
Dialogue: 0,0:23:59.82,0:24:03.21,Default,,0000,0000,0000,,might afford scholars new ways\Nto work with the materials
Dialogue: 0,0:24:03.21,0:24:06.54,Default,,0000,0000,0000,,from their evidence and archives.
Dialogue: 0,0:24:06.74,0:24:11.51,Default,,0000,0000,0000,,So, I'll really quickly just show you\None project from {\i1}Vectors{\i0}.
Dialogue: 0,0:24:11.93,0:24:15.34,Default,,0000,0000,0000,,It's open access, \Nit's available for free online,
Dialogue: 0,0:24:16.17,0:24:19.74,Default,,0000,0000,0000,,you can find it and \Nsee it for yourself, but...
Dialogue: 0,0:24:23.48,0:24:27.95,Default,,0000,0000,0000,,We were very interested, besides looking\Nat screen aesthetics,
Dialogue: 0,0:24:27.95,0:24:31.31,Default,,0000,0000,0000,,also thinking \Nabout multi-sensory engagement
Dialogue: 0,0:24:31.31,0:24:34.87,Default,,0000,0000,0000,,and what it meant \Nto have truly multi-modal composition
Dialogue: 0,0:24:34.87,0:24:38.94,Default,,0000,0000,0000,,for scholarly materials,\Nand what kind of impact that might have
Dialogue: 0,0:24:38.94,0:24:42.64,Default,,0000,0000,0000,,on how scholars understood \Ntheir relationship to their work.
Dialogue: 0,0:24:44.91,0:24:49.54,Default,,0000,0000,0000,,I'm at a very big screen resolution here,\Nso we'll see if it all fits on!
Dialogue: 0,0:24:50.64,0:24:51.98,Default,,0000,0000,0000,,Oh, no sound...
Dialogue: 0,0:24:58.50,0:25:00.81,Default,,0000,0000,0000,,Let me know if this sound is turned on...
Dialogue: 0,0:25:00.81,0:25:03.98,Default,,0000,0000,0000,,{\i1}(audience member 1) The best thing to do\Nmight be to crank up your laptop{\i0}
Dialogue: 0,0:25:03.98,0:25:05.41,Default,,0000,0000,0000,,{\i1}as loud as it'll go.{\i0}
Dialogue: 0,0:25:07.31,0:25:09.35,Default,,0000,0000,0000,,I always forget to ask about sound!
Dialogue: 0,0:25:11.92,0:25:14.12,Default,,0000,0000,0000,,Actually I think I'll show you\Nanother piece, real quick,
Dialogue: 0,0:25:14.12,0:25:17.42,Default,,0000,0000,0000,,that we talked about in the launch,\Nbecause it doesn't need sound.
Dialogue: 0,0:25:18.82,0:25:22.01,Default,,0000,0000,0000,,Would not be entirely fair \Nto Sharon's piece
Dialogue: 0,0:25:22.01,0:25:23.65,Default,,0000,0000,0000,,to show it without sound.
Dialogue: 0,0:25:26.58,0:25:28.42,Default,,0000,0000,0000,,So, this is the very first issue
Dialogue: 0,0:25:28.42,0:25:33.12,Default,,0000,0000,0000,,and it included a project\Ncalled {\i1}The Stolen Time Archive{\i0}
Dialogue: 0,0:25:35.22,0:25:37.18,Default,,0000,0000,0000,,by Alice Gambrell.
Dialogue: 0,0:25:42.51,0:25:45.11,Default,,0000,0000,0000,,And it's probably an appropriate project\Nto show in the space of MITH
Dialogue: 0,0:25:45.11,0:25:47.92,Default,,0000,0000,0000,,since there's so much interest here\Nin widening technologies
Dialogue: 0,0:25:47.92,0:25:50.02,Default,,0000,0000,0000,,and the history of those technologies,\Nbecause this project
Dialogue: 0,0:25:50.02,0:25:51.88,Default,,0000,0000,0000,,is a digital...
Dialogue: 0,0:25:54.48,0:25:58.15,Default,,0000,0000,0000,,performance of the central arguments\Nof a written book project
Dialogue: 0,0:25:58.15,0:25:59.48,Default,,0000,0000,0000,,called {\i1}Writing is Work{\i0}
Dialogue: 0,0:25:59.48,0:26:02.42,Default,,0000,0000,0000,,that's interested \Nin the material practices of writing
Dialogue: 0,0:26:02.42,0:26:06.35,Default,,0000,0000,0000,,and the ways this practice \Nhas changed quite substantially
Dialogue: 0,0:26:06.35,0:26:08.52,Default,,0000,0000,0000,,across the early 20th century,
Dialogue: 0,0:26:08.52,0:26:12.22,Default,,0000,0000,0000,,from being masculine \Nto feminine occupations
Dialogue: 0,0:26:12.22,0:26:16.12,Default,,0000,0000,0000,,and the kind of cultural anxieties\Nthat were produced around that.
Dialogue: 0,0:26:16.12,0:26:19.92,Default,,0000,0000,0000,,So, the project is basically\Nan eclectic small archive
Dialogue: 0,0:26:19.92,0:26:22.78,Default,,0000,0000,0000,,of hundreds of documents\Nthat somehow relate
Dialogue: 0,0:26:22.78,0:26:26.78,Default,,0000,0000,0000,,to this kind of material status\Nof writing and exchanging conditions
Dialogue: 0,0:26:26.78,0:26:30.18,Default,,0000,0000,0000,,that you interact with\Nthrough this interface.
Dialogue: 0,0:26:32.32,0:26:33.92,Default,,0000,0000,0000,,Do people know what these are?
Dialogue: 0,0:26:35.32,0:26:36.82,Default,,0000,0000,0000,,{\i1}(a few audience members) Shorthand.{\i0}
Dialogue: 0,0:26:36.82,0:26:38.11,Default,,0000,0000,0000,,So, these are the...
Dialogue: 0,0:26:38.31,0:26:42.72,Default,,0000,0000,0000,,What they mean sort of refract\Nthe different personalities of the scholar
Dialogue: 0,0:26:42.72,0:26:44.98,Default,,0000,0000,0000,,and the designer she was working with.
Dialogue: 0,0:26:44.98,0:26:46.92,Default,,0000,0000,0000,,So, "toy" I would attribute to Alice,
Dialogue: 0,0:26:46.92,0:26:49.38,Default,,0000,0000,0000,,and "abuse" I would attribute\Nto Reagan Kelly.
Dialogue: 0,0:26:49.38,0:26:52.55,Default,,0000,0000,0000,,And the interface plays with, \Nesthetically with the tension
Dialogue: 0,0:26:52.55,0:26:54.12,Default,,0000,0000,0000,,between those dimensions.
Dialogue: 0,0:26:54.12,0:26:57.69,Default,,0000,0000,0000,,So, to clock in, because the piece\Nis getting you to think
Dialogue: 0,0:26:57.69,0:27:00.91,Default,,0000,0000,0000,,about the structuring \Nof employment and time.
Dialogue: 0,0:27:00.91,0:27:03.72,Default,,0000,0000,0000,,You have to practice your shorthand.
Dialogue: 0,0:27:03.72,0:27:05.72,Default,,0000,0000,0000,,All those orange things are mistakes.
Dialogue: 0,0:27:05.72,0:27:07.92,Default,,0000,0000,0000,,You don't really have to do it,\Nyou could just clock in.
Dialogue: 0,0:27:07.92,0:27:10.02,Default,,0000,0000,0000,,But people tend to do it anyway.
Dialogue: 0,0:27:10.49,0:27:13.29,Default,,0000,0000,0000,,And what you gradually begin to do\Nas you move through the piece
Dialogue: 0,0:27:13.29,0:27:16.45,Default,,0000,0000,0000,,is to explore Alice's eclectic archive
Dialogue: 0,0:27:16.45,0:27:20.48,Default,,0000,0000,0000,,that's the unacknowledged \Ninfrastructure for her book.
Dialogue: 0,0:27:20.48,0:27:25.41,Default,,0000,0000,0000,,And you can read through her glosses\Non the materials.
Dialogue: 0,0:27:25.41,0:27:30.35,Default,,0000,0000,0000,,The words on the project are probably\Nequivalent to a small book,
Dialogue: 0,0:27:30.35,0:27:33.79,Default,,0000,0000,0000,,but they're deliberate in these\Nkind of smaller sections.
Dialogue: 0,0:27:36.75,0:27:40.55,Default,,0000,0000,0000,,We quickly realize although we thought\Nwe were interested in the surface
Dialogue: 0,0:27:40.55,0:27:43.65,Default,,0000,0000,0000,,of the screen, that we were working\Nwith databases, almost immediately,
Dialogue: 0,0:27:43.65,0:27:48.45,Default,,0000,0000,0000,,as we meant to build these lovely\Nbespoke, unsustainable Vectors projects.
Dialogue: 0,0:27:48.81,0:27:53.62,Default,,0000,0000,0000,,So, the first iteration \Nof the database structures,
Dialogue: 0,0:27:53.62,0:27:57.65,Default,,0000,0000,0000,,we would go on to work with,\Ncame out of these projects.
Dialogue: 0,0:27:58.22,0:27:59.82,Default,,0000,0000,0000,,So, you can move through the...
Dialogue: 0,0:27:59.82,0:28:02.42,Default,,0000,0000,0000,,I'm not going to tell you a lot\Nabout the project,
Dialogue: 0,0:28:02.42,0:28:05.99,Default,,0000,0000,0000,,but it's full of everything\Nfrom didactic materials
Dialogue: 0,0:28:05.99,0:28:09.36,Default,,0000,0000,0000,,produced for office workers \Nand secretaries
Dialogue: 0,0:28:09.36,0:28:12.41,Default,,0000,0000,0000,,to cartoons, to contemporary zines.
Dialogue: 0,0:28:12.41,0:28:16.88,Default,,0000,0000,0000,,{\i1}Stolen time{\i0} is what you do at work\Nwhen you're on Zappo's buying shoes
Dialogue: 0,0:28:16.88,0:28:19.22,Default,,0000,0000,0000,,instead of the work \Nyou're supposed to be doing.
Dialogue: 0,0:28:19.22,0:28:21.69,Default,,0000,0000,0000,,And that's the conceit\Nthat organizes the piece.
Dialogue: 0,0:28:21.69,0:28:24.76,Default,,0000,0000,0000,,As you move through it,\Nif you click on Alice's glosses,
Dialogue: 0,0:28:24.76,0:28:27.18,Default,,0000,0000,0000,,you start to build a composite\Nof where you've been.
Dialogue: 0,0:28:27.18,0:28:30.59,Default,,0000,0000,0000,,This was very early,\Nthis was 2004 when we built it.
Dialogue: 0,0:28:30.59,0:28:33.48,Default,,0000,0000,0000,,It's still pretty, I think.
Dialogue: 0,0:28:34.45,0:28:37.72,Default,,0000,0000,0000,,And lovely to spend time with,\Nbut it's not doing a lot of things
Dialogue: 0,0:28:37.72,0:28:40.52,Default,,0000,0000,0000,,the networked web is interested\Nin doing.
Dialogue: 0,0:28:41.68,0:28:47.28,Default,,0000,0000,0000,,The early projects were all done in Flash,\Nso they're kind of hermetically sealed.
Dialogue: 0,0:28:47.28,0:28:50.52,Default,,0000,0000,0000,,The very early ones,\Nyou can't even get the data out of.
Dialogue: 0,0:28:50.52,0:28:54.68,Default,,0000,0000,0000,,There were problems with the way\Nthe work unfolded in some ways.
Dialogue: 0,0:28:54.68,0:28:58.66,Default,,0000,0000,0000,,But it was also an experiment\Nthat we learned an enormous amount from.
Dialogue: 0,0:28:58.66,0:29:02.25,Default,,0000,0000,0000,,In terms of what we might want to do next\Nand where we can move.
Dialogue: 0,0:29:02.75,0:29:06.40,Default,,0000,0000,0000,,We learned about screen language,\Nbut also database design,
Dialogue: 0,0:29:06.40,0:29:10.55,Default,,0000,0000,0000,,about open access publishing,\Nand I think probably most importantly,
Dialogue: 0,0:29:10.55,0:29:11.79,Default,,0000,0000,0000,,about collaboration
Dialogue: 0,0:29:11.79,0:29:16.66,Default,,0000,0000,0000,,with scholars with very particular \Ntheoretical and activist commitments.
Dialogue: 0,0:29:17.72,0:29:21.72,Default,,0000,0000,0000,,Our projects were speculative in \Nthe sense that Johanna Drucker describes,
Dialogue: 0,0:29:21.72,0:29:24.55,Default,,0000,0000,0000,,"committed to pushing back\Nagainst the cultural authority
Dialogue: 0,0:29:24.55,0:29:28.78,Default,,0000,0000,0000,,"of rationalism in the digital humanities\Nand in digital design."
Dialogue: 0,0:29:29.14,0:29:31.95,Default,,0000,0000,0000,,They were also centered on critical\Nand theoretical questions
Dialogue: 0,0:29:31.95,0:29:34.48,Default,,0000,0000,0000,,that motivated the scholars\Nwith whom we worked.
Dialogue: 0,0:29:34.48,0:29:37.66,Default,,0000,0000,0000,,Humanities scholars interested\Nin questions of memory,
Dialogue: 0,0:29:37.66,0:29:42.88,Default,,0000,0000,0000,,race, gender, embodiment, sexuality,\Nperception, temporality
Dialogue: 0,0:29:42.88,0:29:45.02,Default,,0000,0000,0000,,ideology and power."
Dialogue: 0,0:29:45.72,0:29:49.68,Default,,0000,0000,0000,,While {\i1}Vectors{\i0} projects began \Nas experiments at the surface of the screen,
Dialogue: 0,0:29:49.68,0:29:51.62,Default,,0000,0000,0000,,they soon led us to building tools,
Dialogue: 0,0:29:51.62,0:29:55.75,Default,,0000,0000,0000,,in particular we began to grapple\Nwith the database as an object
Dialogue: 0,0:29:55.75,0:29:58.15,Default,,0000,0000,0000,,to think with and to think against.
Dialogue: 0,0:29:58.59,0:30:02.35,Default,,0000,0000,0000,,We found that the constraints\Nof much relational database software
Dialogue: 0,0:30:02.35,0:30:06.36,Default,,0000,0000,0000,,were not particularly well-suited\Nto the ways in which humanities scholars
Dialogue: 0,0:30:06.36,0:30:07.65,Default,,0000,0000,0000,,think and work.
Dialogue: 0,0:30:07.65,0:30:11.15,Default,,0000,0000,0000,,And, in particular, \Nto interpretive humanity scholarship,
Dialogue: 0,0:30:11.15,0:30:12.85,Default,,0000,0000,0000,,which is often narratively-driven.
Dialogue: 0,0:30:13.12,0:30:14.45,Default,,0000,0000,0000,,And we wanted to think \Nabout how the database
Dialogue: 0,0:30:14.45,0:30:18.62,Default,,0000,0000,0000,,might be amended somehow\Nto perform differently.
Dialogue: 0,0:30:19.12,0:30:21.68,Default,,0000,0000,0000,,Through the guidance of our\Ninformation design director,
Dialogue: 0,0:30:21.68,0:30:25.72,Default,,0000,0000,0000,,Craig Dietrich, the team developed\Na customized database tool
Dialogue: 0,0:30:25.77,0:30:29.73,Default,,0000,0000,0000,,that allowed more flexibility\Nin how scholars could iteratively work\N
Dialogue: 0,0:30:29.73,0:30:30.89,Default,,0000,0000,0000,,within our middleware.
Dialogue: 0,0:30:30.89,0:30:34.62,Default,,0000,0000,0000,,The scholars each built \Nout their own infrastructure,
Dialogue: 0,0:30:34.62,0:30:36.99,Default,,0000,0000,0000,,while the designer worked\Non the front end.
Dialogue: 0,0:30:36.99,0:30:41.56,Default,,0000,0000,0000,,This is from a project by Minoo Moallem
Dialogue: 0,0:30:41.56,0:30:43.72,Default,,0000,0000,0000,,looking at the function \Nof the Persian carpet
Dialogue: 0,0:30:43.72,0:30:45.83,Default,,0000,0000,0000,,in the American imaginary.
Dialogue: 0,0:30:45.83,0:30:48.00,Default,,0000,0000,0000,,She's a feminist postcolonial \Nscholar at Berkeley.
Dialogue: 0,0:30:50.18,0:30:52.36,Default,,0000,0000,0000,,And she did that with Eric Loyer.
Dialogue: 0,0:30:52.36,0:30:57.02,Default,,0000,0000,0000,,So we began to explore several things,\Nincluding the ways
Dialogue: 0,0:30:57.02,0:30:58.96,Default,,0000,0000,0000,,in which the interface design
Dialogue: 0,0:30:58.96,0:31:01.80,Default,,0000,0000,0000,,might mitigate the database's\Nrelentless logic.
Dialogue: 0,0:31:01.99,0:31:03.96,Default,,0000,0000,0000,,So, the Vectors projects\Nwere very much toddling
Dialogue: 0,0:31:03.96,0:31:06.86,Default,,0000,0000,0000,,between the rigid structures\Nof the database
Dialogue: 0,0:31:06.86,0:31:07.53,Default,,0000,0000,0000,,and...
Dialogue: 0,0:31:07.53,0:31:13.59,Default,,0000,0000,0000,,a very designed, estheticized front end\Nthat performed in ways quite different
Dialogue: 0,0:31:13.59,0:31:16.12,Default,,0000,0000,0000,,than most database structures.
Dialogue: 0,0:31:16.96,0:31:19.49,Default,,0000,0000,0000,,We were interested\Nin really refusing the tyranny
Dialogue: 0,0:31:19.49,0:31:20.49,Default,,0000,0000,0000,,of the template.
Dialogue: 0,0:31:20.49,0:31:24.50,Default,,0000,0000,0000,,But obviously we're still using \Ncomputational materials
Dialogue: 0,0:31:24.50,0:31:27.100,Default,,0000,0000,0000,,that physics still had to work,\Nthat voltage still had
Dialogue: 0,0:31:27.100,0:31:30.06,Default,,0000,0000,0000,,to course through the machine.
Dialogue: 0,0:31:30.45,0:31:32.60,Default,,0000,0000,0000,,In exploring relations of form\Nto content,
Dialogue: 0,0:31:32.60,0:31:35.46,Default,,0000,0000,0000,,we privileged particular kinds\Nof content.
Dialogue: 0,0:31:35.89,0:31:39.46,Default,,0000,0000,0000,,Choosing to work with scholars\Ninterested in questions of gender,
Dialogue: 0,0:31:39.46,0:31:43.10,Default,,0000,0000,0000,,race, affect, memory and social justice.
Dialogue: 0,0:31:43.10,0:31:45.93,Default,,0000,0000,0000,,And those concerns were at the core\Nof our research.
Dialogue: 0,0:31:45.93,0:31:47.44,Default,,0000,0000,0000,,Those intellectual questions.
Dialogue: 0,0:31:47.82,0:31:49.12,Default,,0000,0000,0000,,And they profoundly continued
Dialogue: 0,0:31:49.12,0:31:52.49,Default,,0000,0000,0000,,to shape the way we design\Ntechnological systems today.
Dialogue: 0,0:31:52.96,0:31:57.16,Default,,0000,0000,0000,,Now, over the past five years,\NI've worked with a number of colleagues
Dialogue: 0,0:31:57.16,0:31:59.29,Default,,0000,0000,0000,,from across the country,\Nin the UK,
Dialogue: 0,0:31:59.29,0:32:03.92,Default,,0000,0000,0000,,around the emergence of the new kind\Nof organization
Dialogue: 0,0:32:03.92,0:32:07.16,Default,,0000,0000,0000,,that grows out of the Vectors work,\Nreally trying to think
Dialogue: 0,0:32:07.16,0:32:11.06,Default,,0000,0000,0000,,about how we might work\Nwith digital materials held in archives,
Dialogue: 0,0:32:11.06,0:32:12.36,Default,,0000,0000,0000,,in new ways.
Dialogue: 0,0:32:12.75,0:32:17.53,Default,,0000,0000,0000,,And this work has been supported by Mellon\Nand by the Office of Digital Humanities
Dialogue: 0,0:32:17.53,0:32:18.49,Default,,0000,0000,0000,,at NEH,
Dialogue: 0,0:32:18.49,0:32:23.19,Default,,0000,0000,0000,,and roughly, models a new kind of workflow\Nfor scholarly materials
Dialogue: 0,0:32:23.19,0:32:28.76,Default,,0000,0000,0000,,from digital archive through a set\Nof archive partners like the Getty,
Dialogue: 0,0:32:28.76,0:32:31.92,Default,,0000,0000,0000,,and Shoah\Nand the Internet Archive
Dialogue: 0,0:32:31.92,0:32:33.82,Default,,0000,0000,0000,,and Critical Commons,
Dialogue: 0,0:32:33.82,0:32:36.62,Default,,0000,0000,0000,,all the way through \Nto university press partners
Dialogue: 0,0:32:36.62,0:32:42.66,Default,,0000,0000,0000,,like MIT, California, Oxford, Cambridge,\NMichigan, Duke and...
Dialogue: 0,0:32:43.96,0:32:45.26,Default,,0000,0000,0000,,I'm missing somebody...
Dialogue: 0,0:32:45.26,0:32:46.66,Default,,0000,0000,0000,,California, right, so...
Dialogue: 0,0:32:46.66,0:32:50.13,Default,,0000,0000,0000,,We're interested in how scholars \Nmight work with digital archival materials
Dialogue: 0,0:32:50.13,0:32:53.96,Default,,0000,0000,0000,,and publish them in interesting\Nand lively new ways.
Dialogue: 0,0:32:54.42,0:32:58.20,Default,,0000,0000,0000,,And really begin to think about how\Nwe can activate the archive
Dialogue: 0,0:32:58.20,0:33:02.89,Default,,0000,0000,0000,,as more than a neutral, \Nobjective repository for materials
Dialogue: 0,0:33:02.89,0:33:07.36,Default,,0000,0000,0000,,and instead think about the archive\Nas a space for argumentation,
Dialogue: 0,0:33:07.36,0:33:09.19,Default,,0000,0000,0000,,a space for point of view,
Dialogue: 0,0:33:09.19,0:33:12.16,Default,,0000,0000,0000,,even while it can maintain,\Nunder another interface,
Dialogue: 0,0:33:12.16,0:33:13.96,Default,,0000,0000,0000,,its own objectivity.
Dialogue: 0,0:33:14.49,0:33:17.53,Default,,0000,0000,0000,,So, we're interested \Nin theories of difference
Dialogue: 0,0:33:17.53,0:33:20.96,Default,,0000,0000,0000,,activated in the archive\Nin a variety of ways.
Dialogue: 0,0:33:21.52,0:33:25.19,Default,,0000,0000,0000,,And to really begin to push\Ntoward new forums of publication.
Dialogue: 0,0:33:25.56,0:33:30.96,Default,,0000,0000,0000,,We also are committed to ethical issues\Naround open access and to fair use,
Dialogue: 0,0:33:30.96,0:33:34.12,Default,,0000,0000,0000,,and one of our archive partners\Nis Critical Commons,
Dialogue: 0,0:33:34.12,0:33:37.10,Default,,0000,0000,0000,,which was founded by my colleague,\NSteve Anderson,
Dialogue: 0,0:33:37.10,0:33:39.93,Default,,0000,0000,0000,,and is a sort of YouTube\Nfor media studies scholars
Dialogue: 0,0:33:39.93,0:33:44.30,Default,,0000,0000,0000,,to put commercial media\Nand to use it in emerging genres
Dialogue: 0,0:33:44.30,0:33:46.73,Default,,0000,0000,0000,,of digital scholarly publishing.
Dialogue: 0,0:33:47.19,0:33:51.46,Default,,0000,0000,0000,,And we mostly work through\Nprototyping and iteration,
Dialogue: 0,0:33:51.46,0:33:53.20,Default,,0000,0000,0000,,not always rapid iteration!
Dialogue: 0,0:33:53.20,0:33:55.73,Default,,0000,0000,0000,,I think there may be a lot\Nto rapid prototyping,
Dialogue: 0,0:33:55.73,0:34:00.33,Default,,0000,0000,0000,,but the first project was with feminist\Nactivist scholar Alex Juhasz,
Dialogue: 0,0:34:00.33,0:34:03.40,Default,,0000,0000,0000,,who wanted to do a book\Nabout YouTube
Dialogue: 0,0:34:03.40,0:34:05.29,Default,,0000,0000,0000,,in the form of YouTube,
Dialogue: 0,0:34:05.29,0:34:08.23,Default,,0000,0000,0000,,and this was peer-reviewed\Nand published open access
Dialogue: 0,0:34:08.23,0:34:10.76,Default,,0000,0000,0000,,by MIT Press a few years ago.
Dialogue: 0,0:34:11.20,0:34:13.69,Default,,0000,0000,0000,,And it was the prototype\Nthrough which we began
Dialogue: 0,0:34:13.69,0:34:16.20,Default,,0000,0000,0000,,to build the software system\Nthat I want to talk to you
Dialogue: 0,0:34:16.20,0:34:19.20,Default,,0000,0000,0000,,a little bit now,\Ncalled Scalr.
Dialogue: 0,0:34:19.34,0:34:22.84,Default,,0000,0000,0000,,And her work has always evolved\Nfrom trying to understand with
Dialogue: 0,0:34:22.84,0:34:24.01,Default,,0000,0000,0000,,want and need,
Dialogue: 0,0:34:24.01,0:34:26.44,Default,,0000,0000,0000,,and then building systems\Nto support that work.
Dialogue: 0,0:34:26.73,0:34:29.63,Default,,0000,0000,0000,,Both conceptually and practically.
Dialogue: 0,0:34:30.13,0:34:35.80,Default,,0000,0000,0000,,So, Scalr is an authoring platform,\Nit connects to archival resources
Dialogue: 0,0:34:35.84,0:34:36.63,Default,,0000,0000,0000,,as well.
Dialogue: 0,0:34:37.06,0:34:39.77,Default,,0000,0000,0000,,It allows you to render your views\Nas well, in many different ways
Dialogue: 0,0:34:39.77,0:34:41.42,Default,,0000,0000,0000,,so it not only...
Dialogue: 0,0:34:41.42,0:34:44.54,Default,,0000,0000,0000,,Well it feels in some ways\Nwhen you're authoring in it,
Dialogue: 0,0:34:45.62,0:34:49.06,Default,,0000,0000,0000,,like Wordpress, it's radically \Nquite different from Wordpress.
Dialogue: 0,0:34:49.06,0:34:50.68,Default,,0000,0000,0000,,It's infinitely more flexible.
Dialogue: 0,0:34:50.68,0:34:53.55,Default,,0000,0000,0000,,It's horizontal, it's non-hierarchical.
Dialogue: 0,0:34:54.14,0:34:57.21,Default,,0000,0000,0000,,It also connects to archival materials\Nand we're building out
Dialogue: 0,0:34:57.21,0:34:58.68,Default,,0000,0000,0000,,that set of archive partners.
Dialogue: 0,0:34:58.68,0:35:00.79,Default,,0000,0000,0000,,So, when you're working \Nin a Scalr project,
Dialogue: 0,0:35:00.79,0:35:03.75,Default,,0000,0000,0000,,you could connect \Nto the native search function
Dialogue: 0,0:35:03.75,0:35:07.18,Default,,0000,0000,0000,,of the archives you're interested in\Nand pull the metadata
Dialogue: 0,0:35:07.18,0:35:09.28,Default,,0000,0000,0000,,associated with those objects\Nas you bring them in
Dialogue: 0,0:35:09.28,0:35:14.01,Default,,0000,0000,0000,,to your Scalr book or project\Nwith the object from the archive.
Dialogue: 0,0:35:14.21,0:35:17.29,Default,,0000,0000,0000,,So, that careful metadata record\Nis not lost
Dialogue: 0,0:35:17.29,0:35:19.49,Default,,0000,0000,0000,,as scholars begin to work\Nwith the material.
Dialogue: 0,0:35:19.84,0:35:22.65,Default,,0000,0000,0000,,And down the road,\Nwe're interested in what you add
Dialogue: 0,0:35:22.65,0:35:26.32,Default,,0000,0000,0000,,in the layer in Scalr\Nroundtripped back to the archive,
Dialogue: 0,0:35:26.32,0:35:28.89,Default,,0000,0000,0000,,and that allows the archive\Nto build out that.
Dialogue: 0,0:35:29.12,0:35:32.31,Default,,0000,0000,0000,,So, really it's a kind of management\Nof workflow
Dialogue: 0,0:35:32.31,0:35:35.68,Default,,0000,0000,0000,,from archive to article, \Nto digital project.
Dialogue: 0,0:35:36.15,0:35:39.02,Default,,0000,0000,0000,,Because it's not like Wordpress,\Nit allows you
Dialogue: 0,0:35:39.02,0:35:42.81,Default,,0000,0000,0000,,to do some very funky things\Nwith structure if you choose to.
Dialogue: 0,0:35:42.81,0:35:47.69,Default,,0000,0000,0000,,You could build a Scalr project\Nthat's a linear path of 30 pages,
Dialogue: 0,0:35:47.69,0:35:50.88,Default,,0000,0000,0000,,1 - 30, just like a chapter,
Dialogue: 0,0:35:50.88,0:35:55.59,Default,,0000,0000,0000,,but you can also begin to allow\Nmultiplicity and multivocality
Dialogue: 0,0:35:55.59,0:36:00.18,Default,,0000,0000,0000,,intersecting points of view\Nto seep into the project
Dialogue: 0,0:36:00.18,0:36:04.09,Default,,0000,0000,0000,,in a variety of ways,\Nbecause its structure is quite malleable.
Dialogue: 0,0:36:04.09,0:36:08.12,Default,,0000,0000,0000,,Scalr understands technologically\Nall of its components,
Dialogue: 0,0:36:08.12,0:36:14.29,Default,,0000,0000,0000,,a media object, a path, a page, a tag, \Nan annotation, to all be the same thing
Dialogue: 0,0:36:14.29,0:36:18.22,Default,,0000,0000,0000,,and that allows this kind \Nof flattening out of the structure
Dialogue: 0,0:36:18.22,0:36:22.66,Default,,0000,0000,0000,,which is not really possible\Nin a platform like Wordpress.
Dialogue: 0,0:36:23.69,0:36:26.55,Default,,0000,0000,0000,,So when I say we've intentionally\Ndesigned a system
Dialogue: 0,0:36:26.55,0:36:29.52,Default,,0000,0000,0000,,which values the cut, fluidity,\Nintersectionality,
Dialogue: 0,0:36:29.52,0:36:33.25,Default,,0000,0000,0000,,that is reflected in the kind\Nof conscious design decisions
Dialogue: 0,0:36:33.25,0:36:35.12,Default,,0000,0000,0000,,made about Scalr.
Dialogue: 0,0:36:36.02,0:36:39.15,Default,,0000,0000,0000,,I'm going to quickly walk you\Nthrough several different projects,
Dialogue: 0,0:36:39.15,0:36:40.56,Default,,0000,0000,0000,,but in a little more detail,\Nthis one,
Dialogue: 0,0:36:40.56,0:36:46.87,Default,,0000,0000,0000,,which is a project by Nick Mirzoeff\Nto extend his book
Dialogue: 0,0:36:46.87,0:36:48.12,Default,,0000,0000,0000,,{\i1}The Right to Look{\i0}
Dialogue: 0,0:36:48.44,0:36:52.92,Default,,0000,0000,0000,,which is a long history of visuality\Nand counter-visuality and power.
Dialogue: 0,0:36:53.49,0:36:57.28,Default,,0000,0000,0000,,And in this project,\Nafter he'd turned his book in to Duke,
Dialogue: 0,0:36:57.28,0:37:01.15,Default,,0000,0000,0000,,the Arab Spring happened,\Nwhich was very relevant
Dialogue: 0,0:37:01.15,0:37:02.86,Default,,0000,0000,0000,,to the book Nick was writing,
Dialogue: 0,0:37:02.86,0:37:08.32,Default,,0000,0000,0000,,and he wanted to kind of address in some detail\Nthat in an extension to the book.
Dialogue: 0,0:37:08.32,0:37:11.06,Default,,0000,0000,0000,,So, this is not really dealing\Nwith material from the book,
Dialogue: 0,0:37:11.06,0:37:14.65,Default,,0000,0000,0000,,as much as it's extending the argument\Nof the book to the present.
Dialogue: 0,0:37:15.08,0:37:17.96,Default,,0000,0000,0000,,And it's actually got \Na fairly complex structure.
Dialogue: 0,0:37:17.96,0:37:20.72,Default,,0000,0000,0000,,What I'm going to show you now\Nis a series of screenshots
Dialogue: 0,0:37:20.72,0:37:23.91,Default,,0000,0000,0000,,that are all the same page\Nrendered in different views
Dialogue: 0,0:37:23.91,0:37:27.19,Default,,0000,0000,0000,,through the technology\Nthat's just sort of off-the-shelf,
Dialogue: 0,0:37:27.19,0:37:28.95,Default,,0000,0000,0000,,built into Scalr.
Dialogue: 0,0:37:29.45,0:37:32.91,Default,,0000,0000,0000,,So, you could explore the whole structure\Nof the project
Dialogue: 0,0:37:32.91,0:37:36.61,Default,,0000,0000,0000,,through visualizations that come\Nfrom the jQuery library
Dialogue: 0,0:37:36.61,0:37:42.65,Default,,0000,0000,0000,,you could see the kind of structure\Nof its organization, its paths and pages
Dialogue: 0,0:37:42.65,0:37:46.32,Default,,0000,0000,0000,,You could explore it through media\Nor through tags and a variety
Dialogue: 0,0:37:46.37,0:37:48.08,Default,,0000,0000,0000,,of different visualizations.
Dialogue: 0,0:37:48.72,0:37:51.45,Default,,0000,0000,0000,,You could look at the metadata\Nfor the object you're seeing
Dialogue: 0,0:37:51.45,0:37:52.99,Default,,0000,0000,0000,,on the page we looked at.
Dialogue: 0,0:37:52.99,0:37:55.35,Default,,0000,0000,0000,,These are all the pages\Nrendered on the fly
Dialogue: 0,0:37:55.35,0:37:59.28,Default,,0000,0000,0000,,through the View button \Nautomatically into a new dimension.
Dialogue: 0,0:37:59.58,0:38:02.52,Default,,0000,0000,0000,,Nick has said that this project\Nwas really intended
Dialogue: 0,0:38:02.52,0:38:06.71,Default,,0000,0000,0000,,to illustrate the new possibilities\Nof a kind of horizontal writing,
Dialogue: 0,0:38:06.71,0:38:11.16,Default,,0000,0000,0000,,and the way that he's talked about that\Nresonates, I think quite interestingly,
Dialogue: 0,0:38:11.16,0:38:14.68,Default,,0000,0000,0000,,with work by both Jane Bennett\Nand Karen Barad.
Dialogue: 0,0:38:15.35,0:38:17.88,Default,,0000,0000,0000,,It incorporates a rich set\Nof multimedia examples,
Dialogue: 0,0:38:17.88,0:38:22.52,Default,,0000,0000,0000,,but it also structures the piece\Nalong multiple intersecting pathways
Dialogue: 0,0:38:22.52,0:38:26.88,Default,,0000,0000,0000,,in a manner that serves to reinforce \Nhis larger theoretical arguments
Dialogue: 0,0:38:26.88,0:38:30.92,Default,,0000,0000,0000,,about the value of the demonstration\Nor the meeting point
Dialogue: 0,0:38:30.92,0:38:32.75,Default,,0000,0000,0000,,as a theoretical model.
Dialogue: 0,0:38:33.11,0:38:36.82,Default,,0000,0000,0000,,So, here, much as in the Vectors project,\Nalthough less obviously I think,
Dialogue: 0,0:38:36.82,0:38:39.72,Default,,0000,0000,0000,,form and content merge\Nin compelling ways.
Dialogue: 0,0:38:40.72,0:38:43.52,Default,,0000,0000,0000,,Other scholars have used the platform\Nfor a variety of things.
Dialogue: 0,0:38:43.52,0:38:47.39,Default,,0000,0000,0000,,This is a project by Matt Delmont\Nthat is very straightforward
Dialogue: 0,0:38:47.39,0:38:49.88,Default,,0000,0000,0000,,and simply incorporates all the media
Dialogue: 0,0:38:49.88,0:38:52.42,Default,,0000,0000,0000,,that couldn't obviously \Ngo in his print book,
Dialogue: 0,0:38:52.42,0:38:55.81,Default,,0000,0000,0000,,into a website\Nthat's organized through Scalar.
Dialogue: 0,0:38:56.25,0:39:00.72,Default,,0000,0000,0000,,And the argument of his project\Nis about looking at American Bandstand
Dialogue: 0,0:39:00.72,0:39:05.22,Default,,0000,0000,0000,,as a way to understand the struggle\Nfor civil rights in a particular locale,
Dialogue: 0,0:39:05.22,0:39:09.66,Default,,0000,0000,0000,,so there's a lot of media material\Nbut also advertising and other images
Dialogue: 0,0:39:09.66,0:39:11.22,Default,,0000,0000,0000,,collected in this piece.
Dialogue: 0,0:39:11.71,0:39:14.19,Default,,0000,0000,0000,,Diana Taylor \Nfrom the Hemispheric Institute
Dialogue: 0,0:39:14.19,0:39:17.72,Default,,0000,0000,0000,,is one of our archive partners,\Nbut also one of our scholarly
Dialogue: 0,0:39:17.72,0:39:19.62,Default,,0000,0000,0000,,research center counterparts.
Dialogue: 0,0:39:19.62,0:39:23.58,Default,,0000,0000,0000,,We're now partnered with eleven\Nhumanities centers around the country,
Dialogue: 0,0:39:23.58,0:39:28.36,Default,,0000,0000,0000,,and Diana is basically using Scalar,\Nin this case they're doing five books,
Dialogue: 0,0:39:28.36,0:39:32.98,Default,,0000,0000,0000,,to remediate a book that she did years ago\Nthat didn't sell very well,
Dialogue: 0,0:39:32.98,0:39:41.48,Default,,0000,0000,0000,,but it's about relatively unknown,\Nexperimental Latin American women
Dialogue: 0,0:39:41.48,0:39:42.59,Default,,0000,0000,0000,,feminist performance artists.
Dialogue: 0,0:39:43.19,0:39:46.62,Default,,0000,0000,0000,,And what she's able to do\Nin the context of the Scalar book
Dialogue: 0,0:39:46.62,0:39:49.12,Default,,0000,0000,0000,,is incorporate all the media\Nof those performances
Dialogue: 0,0:39:49.12,0:39:53.05,Default,,0000,0000,0000,,that might allow the material\Nto circulate in different ways.
Dialogue: 0,0:39:53.05,0:39:55.01,Default,,0000,0000,0000,,It's also a trilingual book.
Dialogue: 0,0:39:55.01,0:39:56.82,Default,,0000,0000,0000,,Trying to reach \Nthe different audiences
Dialogue: 0,0:39:56.82,0:39:58.55,Default,,0000,0000,0000,,that he works with.
Dialogue: 0,0:39:58.78,0:40:01.59,Default,,0000,0000,0000,,This is a project that began\Nas a dissertation at NYU,
Dialogue: 0,0:40:01.59,0:40:03.21,Default,,0000,0000,0000,,by Deb Levine,
Dialogue: 0,0:40:03.21,0:40:07.18,Default,,0000,0000,0000,,who, in her dissertation,\Nspent a lot of time and care
Dialogue: 0,0:40:07.18,0:40:11.05,Default,,0000,0000,0000,,theorizing the methods\Nof activism of Act Up in New York.
Dialogue: 0,0:40:12.11,0:40:15.92,Default,,0000,0000,0000,,And a lot of time in the archive\Nof oral history materials.
Dialogue: 0,0:40:15.92,0:40:19.42,Default,,0000,0000,0000,,So, this project brings together\Nmany hours of that testimony
Dialogue: 0,0:40:19.42,0:40:21.79,Default,,0000,0000,0000,,of oral history, activism,
Dialogue: 0,0:40:21.79,0:40:25.99,Default,,0000,0000,0000,,with a theoretical argument\Nabout Act Up's model
Dialogue: 0,0:40:25.99,0:40:31.06,Default,,0000,0000,0000,,of affinity organizing,\Nwhich was a flat, non-hierarchical...
Dialogue: 0,0:40:31.06,0:40:34.08,Default,,0000,0000,0000,,differential consciousness mode\Nof organizing.
Dialogue: 0,0:40:34.56,0:40:37.72,Default,,0000,0000,0000,,So, she uses the platform\Nto model that flat structure,
Dialogue: 0,0:40:37.72,0:40:41.52,Default,,0000,0000,0000,,by allowing to tag the \Nkey players in that history
Dialogue: 0,0:40:41.52,0:40:46.68,Default,,0000,0000,0000,,and see their shifting relationship\Nto different groups and organizations
Dialogue: 0,0:40:46.68,0:40:48.48,Default,,0000,0000,0000,,over a chunk of history.
Dialogue: 0,0:40:50.95,0:40:53.12,Default,,0000,0000,0000,,Lesbian feminist scholar Kara Keeling
Dialogue: 0,0:40:53.12,0:40:54.92,Default,,0000,0000,0000,,is working with one \Nof her graduate students
Dialogue: 0,0:40:54.92,0:40:59.18,Default,,0000,0000,0000,,who has a long history as an activist\Nin third world organizations,
Dialogue: 0,0:40:59.18,0:41:01.35,Default,,0000,0000,0000,,to bring together \Nall the archival materials
Dialogue: 0,0:41:01.35,0:41:06.46,Default,,0000,0000,0000,,from an early 21st century\Ndigital storytelling group
Dialogue: 0,0:41:06.46,0:41:10.15,Default,,0000,0000,0000,,called Third World Majority\Nthat was founded.
Dialogue: 0,0:41:10.15,0:41:12.09,Default,,0000,0000,0000,,All their archival materials
Dialogue: 0,0:41:12.14,0:41:14.04,Default,,0000,0000,0000,,are being collected \Non the internet archive
Dialogue: 0,0:41:14.04,0:41:15.50,Default,,0000,0000,0000,,and pulled into a Scalr book.
Dialogue: 0,0:41:15.50,0:41:19.99,Default,,0000,0000,0000,,And twelve scholars are now writing\Ncritical pathways through that archive.
Dialogue: 0,0:41:20.36,0:41:24.46,Default,,0000,0000,0000,,So, the book will exist at once\Nas the archive of the materials
Dialogue: 0,0:41:24.46,0:41:27.89,Default,,0000,0000,0000,,and as narrated pathways\Nthrough the material,
Dialogue: 0,0:41:27.89,0:41:30.52,Default,,0000,0000,0000,,when you might come\Nor go through it either way.
Dialogue: 0,0:41:34.53,0:41:35.06,Default,,0000,0000,0000,,Oops!
Dialogue: 0,0:41:36.76,0:41:39.66,Default,,0000,0000,0000,,This was a project that was taken live\Nthis spring.
Dialogue: 0,0:41:39.66,0:41:42.97,Default,,0000,0000,0000,,It's an edited volume of essays\Ninteracting,
Dialogue: 0,0:41:42.97,0:41:45.96,Default,,0000,0000,0000,,illustrating database narrative.
Dialogue: 0,0:41:46.89,0:41:52.06,Default,,0000,0000,0000,,And many of the pathways or chapters\Nare themselves database narratives
Dialogue: 0,0:41:52.06,0:41:54.89,Default,,0000,0000,0000,,that have interesting \Ninformation structures
Dialogue: 0,0:41:54.89,0:41:56.46,Default,,0000,0000,0000,,as part of their design.
Dialogue: 0,0:41:57.30,0:41:59.03,Default,,0000,0000,0000,,This project went live this summer.
Dialogue: 0,0:41:59.03,0:42:00.64,Default,,0000,0000,0000,,It's a virtual exhibition
Dialogue: 0,0:42:00.64,0:42:02.86,Default,,0000,0000,0000,,as part of \Nthe College Art Association's
Dialogue: 0,0:42:02.86,0:42:05.36,Default,,0000,0000,0000,,CEA Reviews journal.
Dialogue: 0,0:42:06.33,0:42:09.100,Default,,0000,0000,0000,,It was their first attempt\Nto actually review an exhibition
Dialogue: 0,0:42:09.100,0:42:11.50,Default,,0000,0000,0000,,multi-modally.
Dialogue: 0,0:42:11.72,0:42:14.56,Default,,0000,0000,0000,,So, it includes photographs, \Na video walkthrough,
Dialogue: 0,0:42:14.56,0:42:20.03,Default,,0000,0000,0000,,floor plans, very expansive
Dialogue: 0,0:42:20.03,0:42:23.26,Default,,0000,0000,0000,,and high-quality professional photography\Nof the exhibits,
Dialogue: 0,0:42:23.26,0:42:25.53,Default,,0000,0000,0000,,as well as a review of the exhibit itself.
Dialogue: 0,0:42:25.53,0:42:27.60,Default,,0000,0000,0000,,So, the platform is fairly flexible
Dialogue: 0,0:42:27.60,0:42:30.90,Default,,0000,0000,0000,,and could be taken \Nin a lot of different kinds of directions
Dialogue: 0,0:42:30.90,0:42:33.56,Default,,0000,0000,0000,,This project went live\Nabout a year and a half ago,
Dialogue: 0,0:42:33.56,0:42:38.76,Default,,0000,0000,0000,,by the artist and activist Evan Bissell,\Nand our creative director Erik Loyer.
Dialogue: 0,0:42:38.76,0:42:43.57,Default,,0000,0000,0000,,It's an interactive exploration\Nof the history of imprisonment
Dialogue: 0,0:42:43.57,0:42:46.13,Default,,0000,0000,0000,,and incarceration in California.
Dialogue: 0,0:42:46.53,0:42:50.62,Default,,0000,0000,0000,,Roughly asking over hundreds of years\Nwhy California's become
Dialogue: 0,0:42:50.62,0:42:52.47,Default,,0000,0000,0000,,the prison capital of the world.
Dialogue: 0,0:42:52.47,0:42:57.63,Default,,0000,0000,0000,,And it uses a feature of Scalr\Nthat's an open API,
Dialogue: 0,0:42:57.63,0:43:02.27,Default,,0000,0000,0000,,so that the front end is done\Nin one version for OS
Dialogue: 0,0:43:02.27,0:43:03.70,Default,,0000,0000,0000,,and one version in Flash,
Dialogue: 0,0:43:03.70,0:43:06.87,Default,,0000,0000,0000,,but the content is driven by Scalr\Nand you click
Dialogue: 0,0:43:06.87,0:43:10.49,Default,,0000,0000,0000,,through the interactive interface\Ninto a Scalr book.
Dialogue: 0,0:43:10.49,0:43:14.19,Default,,0000,0000,0000,,This is a recent collaboration\Nwhich just went live last month
Dialogue: 0,0:43:14.19,0:43:17.56,Default,,0000,0000,0000,,in celebration of the March \Non Washington, its anniversary.
Dialogue: 0,0:43:18.13,0:43:20.30,Default,,0000,0000,0000,,If you haven't seen this piece,\NI'm not going to show it,
Dialogue: 0,0:43:20.30,0:43:21.56,Default,,0000,0000,0000,,because I haven't got the sound,
Dialogue: 0,0:43:21.56,0:43:23.67,Default,,0000,0000,0000,,please go look at it,\Nit's gorgeous!
Dialogue: 0,0:43:23.99,0:43:25.40,Default,,0000,0000,0000,,It's...
Dialogue: 0,0:43:25.40,0:43:29.85,Default,,0000,0000,0000,,as you enter the piece, you enter\Narchival text of the speech
Dialogue: 0,0:43:29.91,0:43:33.25,Default,,0000,0000,0000,,of the March on Washington,\Nwith audio playing,
Dialogue: 0,0:43:33.25,0:43:35.79,Default,,0000,0000,0000,,and as the audio plays,\Nyou can scroll down the page
Dialogue: 0,0:43:35.79,0:43:39.88,Default,,0000,0000,0000,,and see the improvisations King\Nmade on the fly
Dialogue: 0,0:43:39.88,0:43:43.12,Default,,0000,0000,0000,,that left his script\Nand that he chose to omit,
Dialogue: 0,0:43:43.12,0:43:46.36,Default,,0000,0000,0000,,and then you can click\Ninto a variety of information
Dialogue: 0,0:43:46.36,0:43:50.65,Default,,0000,0000,0000,,that builds out the context in history\Nand lingering ramifications
Dialogue: 0,0:43:50.65,0:43:51.79,Default,,0000,0000,0000,,of that moment.
Dialogue: 0,0:43:51.79,0:43:53.99,Default,,0000,0000,0000,,There are hundreds of pieces of media\Nin here,
Dialogue: 0,0:43:53.99,0:43:57.12,Default,,0000,0000,0000,,and both this and The Knotted Line\Nare meant to be teaching platforms,
Dialogue: 0,0:43:57.12,0:44:03.39,Default,,0000,0000,0000,,primarily to use in after-school\Nand in various kinds of youth groups.
Dialogue: 0,0:44:04.43,0:44:09.39,Default,,0000,0000,0000,,So, we're really trying hard\Nto think about how a platform
Dialogue: 0,0:44:09.39,0:44:13.12,Default,,0000,0000,0000,,might allow us to mediate\Na lot of kind of binaries
Dialogue: 0,0:44:13.12,0:44:15.45,Default,,0000,0000,0000,,of the digital humanities.
Dialogue: 0,0:44:15.98,0:44:18.29,Default,,0000,0000,0000,,Within a single project,\Nwe can glimpse research
Dialogue: 0,0:44:18.29,0:44:21.16,Default,,0000,0000,0000,,operating across scales,\Nwith scholars able
Dialogue: 0,0:44:21.16,0:44:23.38,Default,,0000,0000,0000,,to move from the micro level\Nof a project,
Dialogue: 0,0:44:23.38,0:44:26.49,Default,,0000,0000,0000,,perhaps a single image\Nor video annotation,
Dialogue: 0,0:44:26.49,0:44:29.06,Default,,0000,0000,0000,,to the structure\Nof the entire project
Dialogue: 0,0:44:29.06,0:44:30.82,Default,,0000,0000,0000,,and its integrated media.
Dialogue: 0,0:44:31.45,0:44:34.26,Default,,0000,0000,0000,,The researcher can create careful\Nclose readings within a project
Dialogue: 0,0:44:34.26,0:44:35.66,Default,,0000,0000,0000,,of many components.
Dialogue: 0,0:44:36.35,0:44:39.79,Default,,0000,0000,0000,,They could also be instantly represented\Nas a whole collection.
Dialogue: 0,0:44:39.79,0:44:44.39,Default,,0000,0000,0000,,Thus moving beyond the artificial binary\Nof distant versus close reading
Dialogue: 0,0:44:44.39,0:44:46.89,Default,,0000,0000,0000,,that often characterizes \Nour conversations.
Dialogue: 0,0:44:47.72,0:44:50.72,Default,,0000,0000,0000,,The result richly combines\Nnarrative interpretation
Dialogue: 0,0:44:50.72,0:44:55.52,Default,,0000,0000,0000,,with visualizations that are automatically\Ngenerated via the semantic elements
Dialogue: 0,0:44:55.52,0:44:56.86,Default,,0000,0000,0000,,of the platform.
Dialogue: 0,0:44:57.42,0:45:01.19,Default,,0000,0000,0000,,These visualizations allow an author\Nor reader to see the larger structure
Dialogue: 0,0:45:01.19,0:45:04.76,Default,,0000,0000,0000,,of a project they have been building up\Nmore organically, piece by piece
Dialogue: 0,0:45:04.76,0:45:09.82,Default,,0000,0000,0000,,while also allowing iterative refinements\Nto the information structure.
Dialogue: 0,0:45:10.72,0:45:13.56,Default,,0000,0000,0000,,They could also allow a user\Nto access and explore
Dialogue: 0,0:45:13.56,0:45:15.32,Default,,0000,0000,0000,,specific elements of a project.
Dialogue: 0,0:45:15.69,0:45:18.86,Default,,0000,0000,0000,,Including tags, media files\Nor narrative pathways.
Dialogue: 0,0:45:19.32,0:45:22.35,Default,,0000,0000,0000,,Thus, the visualizations\Nare not merely illustrative,
Dialogue: 0,0:45:22.35,0:45:26.76,Default,,0000,0000,0000,,they're also powerful interpretations\Nthat present a project's structure,
Dialogue: 0,0:45:26.76,0:45:29.79,Default,,0000,0000,0000,,evidence and interpretations\Nin new ways.
Dialogue: 0,0:45:30.85,0:45:34.25,Default,,0000,0000,0000,,They bring narrative and analysis\Ntogether with the database
Dialogue: 0,0:45:34.25,0:45:35.49,Default,,0000,0000,0000,,enriching each.
Dialogue: 0,0:45:36.28,0:45:39.19,Default,,0000,0000,0000,,This method of researching and writing\Nacross scales
Dialogue: 0,0:45:39.19,0:45:42.45,Default,,0000,0000,0000,,now predominantly unfolds\Nwithin a given scale or project
Dialogue: 0,0:45:42.45,0:45:45.49,Default,,0000,0000,0000,,with the possibility of reporting\Nthese modes of analysis
Dialogue: 0,0:45:45.49,0:45:49.05,Default,,0000,0000,0000,,back to archival partners,\Nlarger holdings,
Dialogue: 0,0:45:49.05,0:45:55.03,Default,,0000,0000,0000,,in between Scalr books represents \Na key area for ongoing research
Dialogue: 0,0:45:55.03,0:45:57.94,Default,,0000,0000,0000,,The software that underpins Scalr\Nwas born of the frustrations
Dialogue: 0,0:45:57.94,0:46:02.18,Default,,0000,0000,0000,,our scholars often experience\Nworking with traditional database tools.
Dialogue: 0,0:46:03.11,0:46:06.78,Default,,0000,0000,0000,,Vectors engaged intersectional, political,\Nand feminist work
Dialogue: 0,0:46:06.78,0:46:10.81,Default,,0000,0000,0000,,at the level of content,\Nbut also integrated form and content,
Dialogue: 0,0:46:10.81,0:46:14.38,Default,,0000,0000,0000,,so that the theoretical implications\Nof the work were manifest
Dialogue: 0,0:46:14.38,0:46:17.15,Default,,0000,0000,0000,,in both aesthetic and information design.
Dialogue: 0,0:46:17.98,0:46:20.48,Default,,0000,0000,0000,,Scalar is now seeking to integrate\Nthese methodologies
Dialogue: 0,0:46:20.48,0:46:22.31,Default,,0000,0000,0000,,at the level of software design.
Dialogue: 0,0:46:22.77,0:46:24.51,Default,,0000,0000,0000,,Scalr takes our early experiments
Dialogue: 0,0:46:24.51,0:46:27.01,Default,,0000,0000,0000,,at hacking the database \Nfor Vectors projects
Dialogue: 0,0:46:27.01,0:46:30.17,Default,,0000,0000,0000,,to a different level,\Nby wrapping a relational database
Dialogue: 0,0:46:30.17,0:46:32.74,Default,,0000,0000,0000,,in a very particular semantic layer.
Dialogue: 0,0:46:33.77,0:46:37.07,Default,,0000,0000,0000,,In effect, we wanted to build a system\Nthat respected and extended
Dialogue: 0,0:46:37.07,0:46:40.74,Default,,0000,0000,0000,,the research methodologies\Nof the scholars with whom we work.
Dialogue: 0,0:46:41.31,0:46:45.04,Default,,0000,0000,0000,,Scalr resists the modularity\Nand compartmentalized logics
Dialogue: 0,0:46:45.04,0:46:49.71,Default,,0000,0000,0000,,of dominant computational design,\Nby flattening out the hierarchical structure
Dialogue: 0,0:46:49.71,0:46:51.34,Default,,0000,0000,0000,,of platforms like Wordpress.
Dialogue: 0,0:46:52.02,0:46:53.75,Default,,0000,0000,0000,,While relatively easy to use,
Dialogue: 0,0:46:53.75,0:46:56.11,Default,,0000,0000,0000,,it also moves beyond \Nthe template structures
Dialogue: 0,0:46:56.11,0:47:01.37,Default,,0000,0000,0000,,that frequently characterize the web,\Nallowing a high degree of customization
Dialogue: 0,0:47:01.37,0:47:04.35,Default,,0000,0000,0000,,with cascading style sheets\Nor through its API.
Dialogue: 0,0:47:04.94,0:47:07.34,Default,,0000,0000,0000,,Thus it mediates a whole set\Nof binaries,
Dialogue: 0,0:47:07.34,0:47:10.60,Default,,0000,0000,0000,,between close and distant reading,\Nauthor/user,
Dialogue: 0,0:47:10.91,0:47:12.11,Default,,0000,0000,0000,,interface/backend,
Dialogue: 0,0:47:12.37,0:47:13.58,Default,,0000,0000,0000,,macro/micro,
Dialogue: 0,0:47:13.58,0:47:15.00,Default,,0000,0000,0000,,theory/practice,
Dialogue: 0,0:47:15.00,0:47:16.61,Default,,0000,0000,0000,,archive/interpretation,
Dialogue: 0,0:47:16.61,0:47:17.71,Default,,0000,0000,0000,,text/image,
Dialogue: 0,0:47:17.71,0:47:19.35,Default,,0000,0000,0000,,database/narrative,
Dialogue: 0,0:47:19.35,0:47:20.61,Default,,0000,0000,0000,,human/machine.
Dialogue: 0,0:47:21.37,0:47:23.91,Default,,0000,0000,0000,,Scalr takes seriously \Nfeminist methodologies
Dialogue: 0,0:47:23.91,0:47:26.64,Default,,0000,0000,0000,,ranging from {\i1}the cut{\i0} to theories \Nof alliance,
Dialogue: 0,0:47:26.64,0:47:29.31,Default,,0000,0000,0000,,intersectionality and articulation,
Dialogue: 0,0:47:29.31,0:47:32.84,Default,,0000,0000,0000,,not only in support of scholars\Nundertaking individual projects,
Dialogue: 0,0:47:32.84,0:47:35.18,Default,,0000,0000,0000,,but in our very design principles.
Dialogue: 0,0:47:35.51,0:47:39.51,Default,,0000,0000,0000,,As authors work with the platform,\Nthey enter into a flow of becoming
Dialogue: 0,0:47:39.81,0:47:42.14,Default,,0000,0000,0000,,through the creation of a database\Non the fly
Dialogue: 0,0:47:42.14,0:47:44.98,Default,,0000,0000,0000,,and through an engagement\Nwith the otherness of the machine.
Dialogue: 0,0:47:45.52,0:47:50.11,Default,,0000,0000,0000,,Scalr respects machine agency,\Nbut it does not cede everything to it.
Dialogue: 0,0:47:50.87,0:47:52.91,Default,,0000,0000,0000,,As Anne Balsamo reminds us:
Dialogue: 0,0:47:52.91,0:47:55.88,Default,,0000,0000,0000,,"Every interaction that constitutes\Na technology
Dialogue: 0,0:47:55.88,0:47:58.97,Default,,0000,0000,0000,,"offers an opportunity\Nto do things differently.
Dialogue: 0,0:47:59.58,0:48:02.37,Default,,0000,0000,0000,,"Scalr offers a way to explore\Nthe rich interactions
Dialogue: 0,0:48:02.37,0:48:06.38,Default,,0000,0000,0000,,"that link matter and discourse,\Nto engage the alterity of technology,
Dialogue: 0,0:48:06.38,0:48:10.24,Default,,0000,0000,0000,,"and to cut through plentitude\Nwith ethical intent.
Dialogue: 0,0:48:10.24,0:48:12.74,Default,,0000,0000,0000,,"Our goal is to build technology
Dialogue: 0,0:48:12.74,0:48:14.67,Default,,0000,0000,0000,,"in order that we might \Nbetter understand it
Dialogue: 0,0:48:14.67,0:48:16.98,Default,,0000,0000,0000,,"and its entanglements with culture.
Dialogue: 0,0:48:16.98,0:48:19.41,Default,,0000,0000,0000,,"We aim to bend the digital\Nto our desires,
Dialogue: 0,0:48:19.41,0:48:22.38,Default,,0000,0000,0000,,"and to use it in our utopias,\Nif only in the instant.
Dialogue: 0,0:48:23.30,0:48:27.05,Default,,0000,0000,0000,,"In theories of difference,\Nwe already find bountiful ways
Dialogue: 0,0:48:27.05,0:48:30.11,Default,,0000,0000,0000,,"in which we might rewire these circuits.
Dialogue: 0,0:48:30.11,0:48:33.98,Default,,0000,0000,0000,,"Feminists have long brought together\Nthose who value hybrid practices
Dialogue: 0,0:48:33.98,0:48:39.61,Default,,0000,0000,0000,,"artist theorist, activist scholars,\Ntheoretical archivists, queer failures,
Dialogue: 0,0:48:39.61,0:48:41.54,Default,,0000,0000,0000,,"[inaudible] cyborgs.
Dialogue: 0,0:48:42.05,0:48:46.22,Default,,0000,0000,0000,,"I ask you, who better to turn the digital\Nagainst its darkest logics?"
Dialogue: 0,0:48:47.11,0:48:47.75,Default,,0000,0000,0000,,Thanks
Dialogue: 0,0:48:48.28,0:48:50.15,Default,,0000,0000,0000,,(audience applauds)