Abstract
Digital humanities projects and methods are becoming increasingly common in
undergraduate humanities classrooms. Digital projects and exercises allow
students to engage with new technology, collaborate with peers, graduate
students, and faculty, and produce tangible scholarship that is publicly
visible. The Lab for the Education and Advancement in Digital Research (LEADR),
a new student-focused digital humanities initiative at Michigan State
University, has introduced digital components into large numbers of of History
and Anthropology courses. Through two years of courses, it has proven fruitful
to frame these not as “Digital Humanities projects,” but as
part of a digital liberal arts curriculum that seeks to teach students not only
about the domain-specific content, but also essential skills for information
retrieval and analysis, media literacy, and communication in the digital age.
This framework places these skills as extensions of longstanding skills,
literacies, and knowledges that humanities and social sciences have contributed
towards liberal arts education.
We ought to be able not only to
find any kind of document on the Web, but also to create any kind of
document, easily. We should be able not only to follow links, but to create
them–between all sorts of media. We should be able not only to interact with
other people, but to create with other people. Intercreativity is the
process of making things or solving problems together. If interactivity is
not just sitting there passively in front of a display screen, then
intercreativity is not just sitting there in front of something
'interactive'.
[Berners-Lee and Fischetti 1999]
As the field of digital humanities continues to gain traction in disciplinary
departments and in libraries, digital projects and methods are becoming increasingly
common in undergraduate humanities classrooms. Digital projects and exercises allow
students to engage with new technology, collaborate with peers, graduate students,
and faculty, and produce tangible scholarship that is publicly visible. Shining
examples of these types of experiences are illustrated in edited volumes such as
Digital Humanities Pedagogy and
Teaching History in the Digital Age, and
Digital Pedagogy in the Humanities, in journals like
Hybrid Pedagogy and
Journal of
Interactive Technology and Pedagogy, at conferences such as ILiADS,
HASTAC, and Bucknell’s Digital Scholarship Conference, and in numerous blog posts
and project pages. As Director of the Lab for the Education and Advancement in
Digital Research (LEADR), a lab specializing in digital research for students in
humanities and social sciences at Michigan State University, my focus is to develop
these types of experiences for undergraduate in collaboration with faculty. Through
working with faculty, librarians, graduate students, and undergraduates, we have
begun to frame these not as “Digital Humanities projects,” but as
part of a digital liberal arts curriculum. This frames our work as teaching students
about the domain-specific content, alongside essential skills for information
retrieval and analysis, media literacy, and communication in the digital age.
[1] This intentional focus on crucial
critical thinking and skills in the digital realm is the result of our students’
lack of knowledge and skills in using digital media and tools for communication and
critical analysis, and is backed by research on technology use in the United
States.
The World Wide Web that gained commercial success in the early and mid-1990s was very
much a read-only medium, where only a privileged few had the skills and the
resources to create material that others could access online. The
“read-only” web continued into the new millennium, as a
sliver of the population began to learn HTML (or software development languages like
Java) on their own or in colleges and upper-middle class high schools. In the
mid-2000s, Web 2.0 brought about blogging platforms, wikis, message boards, and
social media, significantly lowering the barrier to participation. Simultaneously,
the digital divide began to narrow, largely due to mobile access becoming more
available to lower-income communities. Today, though the digital divide persists in
the US in rural, poor, and elderly communities, 84% of American adults use the
Internet, and over half of US Internet users have posted photos and videos they have
taken to the web (including 81% of internet users age 18-29), and many more use
social media, blogs, or personal websites to produce content for the web. With the
ubiquity of the web as a platform for communication and knowledge production,
critical digital media production and communication in higher education is worth
examination [
Perrin and Duggan 2015]
[
Duggan 2013].
In higher education, the conversation surrounding digital technologies has largely
been dictated by the characterization of “digital natives,”
drawing from Mark Prensky’s influential 2001 article, “Digital
natives, digital immigrants”
[
Prensky 2001]. Digital natives and digital immigrants are the two
archetypes often used to represent the purported gap in technical proficiency
between younger people who have grown up with “the digital language of computers,
videogames and the Internet,”
[
Prensky 2001, 6] and older people, who are moving into digital technology from an analog
world. Many in higher education seem to have internalized the idea of digital
natives, and presume that students have the inherent ability and tools to work
critically and develop digital content [
Bennett and Maton 2011]. The digital
native/digital immigrant concept has been well-criticized for taking a homogenous
view of the generation, ignoring digital divides based on location, race, and
income, as well as disparities that encourage young boys to learn technology at a
higher rate than young girls [
Brake 2014]
[
Hargittai and Walejko 2008]
[
Thomas 2011]. Despite the clear problems with the concept of digital
natives, the presumption that young people as a whole are well versed in digital
media and communication remains strong in classrooms and curriculum development
committees [
Langan et al. 2016]
[
ALA 2013]
[
Hobbs 2010].
Implicit in the rhetoric of the digital native is the notion that students are
skilled in both the use and creation of digital content. This ranges from the
scientific — studies do show that the majority of young people are using, creating,
and publishing digital content — to the anecdotal — teachers, parents, and
professors alike have stories about how their students or children have had to
assist them with new technologies. Though many in higher education generalize their
undergraduate students as being well acquainted with technology and approach their
studies through a digital lens, students often struggle when it comes to critical
content creation and mediation. The characterization of undergraduates as
“digital natives” ignores the significant portion of students
who are from an older generation, as well as students whose families and schools
were not able to afford these devices. Even for students who have grown up with
digital devices and can fairly easily adapt to digital interfaces, they have most
often grown up as consumers of digital media and commercialized sharing
services. Students are often much less adept at creating content that is not tightly
mediated by some kind of commercial service with restrictions on form (e.g.
Snapchat, Twitter, Facebook). Commercial services limit the form and functionality
(though not necessarily the creativity) of content created to advocate for social or
political change, analysis, information, art and entertainment, or commercial
interests, and create a greater divide between those who can freely communicate in
digital forms, and those who can communicate only through limited form.
There should be reason for concern that students are often taking part in digital
information and media transmission, but are not currently trained in the literacies
and affordances of the technology they use. For the most part, content creation and
sharing involves proprietary software or services that heavily mediate creation.
This means that some “tech skills” often come through narrow
technology that limits potential outcomes and often monetizes user-created content —
platforms and software such as Twitter, Instagram, Snapchat, YikYak, PowerPoint, and
Facebook create a rigid form for content, and make simple interfaces for creation
and publication. While this is greatly beneficial in that it provides a low bar, it
means that users become skilled at using a particular tool, not in the theoretical
or technical principles, or even potential options. Tool-based literacy limits
sustainability, cross-platform work, and understanding of the impact of media upon
the message. Critical evaluation of digital media and the means to produce them is
valuable for both consumption and production of digital media and information. The
integration of digital skills in the liberal arts course is an opportunity to
promote the continued strength of a skilled, literate, critical culture. Ideally,
digital content creation and publication should be done using free and open source
means, or at least software that is widely used and amenable to multiple sources of
distribution. This allows users to continue their creative, civic, and personal
communication or media production with platform and service agnostic tools, and a
better understanding of production.
Consider the following example: If a person wished to promote a social justice group,
she may do so easily using platforms like Facebook, Twitter, and Snapchat. She could
develop a Facebook page with a text description and distribute photos, video, and
calls to action via all three platforms. However, she is forced to adhere to limits
of each platform, such as design constraints, inability to use custom HTML/CSS, and
size and space constraints. She may also be forced to pay to promote content for
others to see her group’s media. Furthermore, she is subject to the limits of the
platforms’ terms of use. Should she experience harassment or misbehavior on these
platforms, she will likely be powerless to prevent it. On Facebook, for example, she
is required to use her full legal name (and would be required to provide legal
documentation if challenged). Meanwhile, the content she produces is monetized by
the platform on which she publishes. If, on the other hand, she were skilled at
creating media, she would be able to create a standalone website to host media in
whatever size and form she desires; she would have freedom to style and hyperlink
any text, and she (and her organization) retains sole rights to the use and reuse of
their content. Once content is produced to the website, social media platforms may
be leveraged to generate site traffic.
Liberal Arts in the Digital Age
While many in higher education are calling for more (and better) digital pedagogy
for students, the field of Digital Humanities continues to experience
substantial growth [
Hirsch 2012]
[
Thomas and Lorang 2014]. An increasing number of universities are offering
minors, majors, and specializations in Digital Humanities and similar fields,
and still more are including digital project development and critique of
existing digital projects in coursework. Rather than continuing to produce
students who are unfamiliar with many of the common communication, analysis, and
research methods of the modern day, this framework seeks to apply a liberal arts
rationale for the development of critical analysis and development of web
interaction and writing, multimodal projects, data analysis and visualization,
and large-scale analysis.
[2] These skills all have parallels in liberal
arts classrooms that have been taught for generations, such as effective
persuasive writing, critical analysis of arguments, and techniques for research
and information source analysis. If instructors are not familiar enough with
these technologies to teach them themselves, partnerships with digital
humanities specialists, librarians, or instructional designers can be
productive.
The Lab Model for Digital Research
Founded in August of 2014, LEADR is both a physical space and a curriculum
development initiative developed as a collaboration between the Department of
History, the Department of Anthropology, and Matrix: The Center for Digital
Humanities and Social Science at Michigan State University, a large public
research university in the United States. LEADR emerged out of feeling that
students needed to engage more critically with the digital materials and
techniques that faculty were using for their own research. The space itself was
designed to facilitate collaboration and openness in a decentralized learning
space. Nearly all of the furniture is movable, facilitating shifts between
seminar-style arrangement and group project work, in addition to decentralized
poster-like presentation spaces. LEADR is also fully equipped with large screens
for group work, machines, cameras, audio and light kits, 3D printers, micro
computing equipment, and other technology to facilitate innovative digital work.
The LEADR staff, comprised of two full-time academic staff members and three PhD
students from the History and Anthropology departments, assist faculty with the
development of assignments, develop and teach digitally-focused instruction and
discussion sessions, provide assistance in developing grading guidelines, and
staff the lab space, which is open nearly fifty hours per week.
LEADR works with courses at all levels (graduate as well as undergraduate) and
across a number of departments, programs, and colleges. Faculty in History and
Anthropology teach the vast majority of courses, but these courses can be listed
as History, Anthropology, Integrated Social Science, residential colleges, or
other programs. Although some courses are specifically developed as Digital
History or Digital Humanities courses, most courses visit the lab a few times
per semester, often with at least one visit aimed solely at a flipped
classroom-style work session, where students read or watch content ahead of time
and complete activities or project work in the classroom. The LEADR component
for these courses is similar to the use of labs in many science courses – it is
an opportunity for students to take the content and methods that they have read
and discussed and apply them in hands-on experiences where they can build,
experiment, and play, and then reflect on their experiences.
For our students entering the fields of History, Anthropology, or related fields
as graduate students, researchers, or careers in libraries, galleries, or
museums, the benefits of digital humanities skills may be fairly apparent. These
skills enable them to engage with emerging work and to produce their own
research, projects, or critiques capable of making public and scholarly impact.
However, for students taking these courses as non-majors fulfilling degree
requirements, the benefits may be less obvious, especially to the students
themselves. For these reasons, it is important to break down the skills,
methodologies, and literacies that comprise or could comprise digital humanities
coursework, and to subsequently focus on these skills when creating digital
curricula and adding digital activities and assignments to existing courses.
Rather than teaching “Digital Humanities,” we began thinking
about project building as an entryway to teaching essential liberal arts skills
using new media and web publishing, and visualization and analysis tools. There
are many great reasons to incorporate digital project creation into courses —
students build technical skills, create scholarship that is accessible to
others, approach their research objects in new and dynamic ways, collaborate and
develop project management skills, learn emerging methods of knowledge,
production, and build their portfolio. If constructed thoughtfully, the
literacies, hard skills, and soft skills that go into digital humanities work
can contribute both directly to the growth of knowledge and capabilities within
students’ own disciplines. They can also contribute more generalizable skills
that can be understood as digital extensions of long-standing liberal arts
skills that History, Anthropology, and other disciplines have long imparted to
students, such as writing, evaluation, critical thinking, and synthesis. The
ability to break these down and understand them as teaching liberal arts in the
digital age allows for more clarity in the development of assignments, and it is
also a useful way to encourage instructors to integrate these projects and
activities into their classrooms.
DH Pedagogy as Essential Liberal Arts
The framework employed in LEADR consists of four flexible learning objectives
that can be packaged and built upon to meet the needs of the course and the
desired outcomes of the faculty member and partners. The objectives are 1)
Information Literacy, 2) Digital Literacy, 3) Data Literacy, and 4)
Computational Analysis.
Information Literacy
Students in LEADR are often required to develop digital projects that include
digital primary sources, including digital collections and narrative-driven
websites. Usage of digital objects can range from a few photographs used to
illustrate central concepts in writing to creating exhibits that draw upon
large collections of digitized documents, artifacts, and photographs.
Because primary source discovery and evaluation is a critical component of
nearly all projects, information literacy instruction in conjunction with
LEADR often begins with a strong focus on finding, evaluating, and
understanding digital information. Librarians at MSU Libraries are often
brought into classrooms to fulfill this learning frame, drawing upon their
expertise in information literacy and the usage of digital resources.
The American Library Association defines information literacy as “an overarching set of abilities
in which students are consumers and creators of information who can
participate successfully in collaborative spaces”
[
ACRL 2015]. The information literacy objectives used in LEADR are informed by
the ACRL’s
Framework for Information Literacy for
Higher Education, which includes six frames [
ACRL 2015]:
- Authority Is Constructed and Contextual
- Information Creation as a Process
- Information Has Value
- Research as Inquiry
- Scholarship as Conversation
- Searching as Strategic Exploration
The sources students use for their digital projects — images, datasets,
documents, film, etc. — can be found all over the web. Many resources,
especially images, can be located with incomplete metadata, incorrect
information or with questionable provenance. Although studies have shown
that students do usually end up in library journal databases when seeking
reliable or scholarly sources, based on experiences in the LEADR classroom,
students rarely think about similar repositories for accessing primary
source material [
Asher and Duke 2012]. Source location and evaluation
exercises in LEADR have shown that the great majority of students turn
directly to Google Image Search when asked to find a historic photograph to
use as a source. To alleviate this problem, students are introduced to
librarians early on, and have a session on finding and working with primary
source material whenever relevant. In addition to learning about available
resources through library databases, students are shown local collections in
the MSU Museum or the MSU Library Special Collections. This gives students
the additional benefit of meeting and speaking with the curators and
librarians who possess relevant expertise about the collections, and
students are strongly encouraged to visit the locations and conduct more
research. These exercises are molded to meet the
Authority is Constructed and Contextual and
Searching as Strategic Exploration frames.
Legal and ethical intellectual property use is a key component of digital
literacy in the classroom. Throughout the first two years of courses in
LEADR, a substantial portion of students would correctly cite the sources
they used in their writing, but would use images on their projects without
citations, even when this was mentioned as a requirement. There is seemingly
a disconnect between traditional requirements of paper writing and web
project development. In response to this, LEADR staff, librarians, or museum
staff put strong emphasis on the Information Has Value
frame, including lessons on citation practices in academic writing,
copyright, Creative Commons licensing, and fair use in courses by discussing
preferred media citation practices for the digital platform being used.
Ithaka S&R’s recent US Faculty Survey shows that information literacy
remains both valued and underdeveloped in the Humanities and Social Science
classrooms. Over 60% of Humanities faculty and approximately 55% of Social
Science faculty strongly agreed with the statement “My undergraduate students have poor skills
related to locating and evaluating scholarly information,” while
over two thirds of both faculty groups strongly agreed with the statement, “Improving my undergraduate
students’ research skills related to locating and evaluating
scholarly information is an important educational goal for the
courses I teach”
[
Wolff et al. 2016, 57–64]. Focused studies on information usage in the classroom have shown
that most US faculty find that the greatest issue students have is not in
finding appropriate material, but instead in thinking critically and using
these sources to augment a larger argument [
Foster 2013]
[
Head 2013]
[
Dimmock 2013, 12]. In-class exercises go beyond access,
and engage students in deeper evaluations of the sources they have found.
These exercises, which draw on deeper engagement with resources, allow MSU
Libraries and LEADR staff to build on the aforementioned frames, as well as
frames such as
Research as Inquiry,
Scholarship as Conversation, and
Authority is Constructed and Contextual.
Potential Information Literacy Topics: Determine the
extent of information needed; access and evaluate secondary and primary
sources; understand source biases and evaluation; understand economic,
legal, and social issues surrounding the use of information
Information Literacy Example: Historical Sources and Their Uses
Assignment
Working with Bobby Smiley of Michigan State University Libraries,
students in an introductory historical methods course (HST 201)
located primary sources related to their research, and then found
secondary journal sources that directly engage those primary
sources. Once students located these sources, they placed selected
primary sources in conversation with matching secondary sources to
identify how historians use primary sources.
Process
The ability to source material for research is essential to scholarly
practices, and the library furnishes an excellent resource for
locating those sources, as well as helping students understand how
they are used in scholarship. The first component of this lesson
required students to familiarize themselves with specific library
resources to find primary source documents of interest (whether in
the catalog, or a highlighted database), and then secondary source
journal articles which remark on the primary source. To understand
how the historian uses a primary source in their analysis, both
documents were placed in
JuxtaCommons, which displays documents side-by-side. This
program highlights exact phrases appearing in both documents,
enabling students to see how one source is used in the other.
Accompanying activities examined fidelity to original sources,
analysis of use in secondary sources and a comparison of context in
the primary document, in addition to understanding how historical
arguments are constructed.
As befits a library-specific approach, instruction is framed by
beginning with informational literacy principles from the ACRL
Revised Framework, which undergird the class exercise. In this case,
the focus is on the framework element,
Authority is Constructed and Contextual, which is
paired with the data informational literacy competency,
Discovery and Acquisition
[
ACRL 2015]
[
Shorish 2015]. When creating a learning outcome for
the class, those two elements are combined with an appropriate
disciplinary expectation — in this case, the AHA's
History Discipline Core
[
AHA]. The idea of crosswalking and aligning these
elements is to stress how an information literacy-focused approach
to working with digital sources and tools transcends demonstration
and is instead anchored firmly in library and disciplinary-oriented
teaching and learning.
Learning Outcomes
Students will able to locate primary and secondary source materials
and from the library's e-resources, and use to those sources to
identify how historians use sources in constructing their
analyses.
Digital Literacy
The critical production and consumption of digital media is much more
effective with an understanding of both the technical principles and
theoretical affordances of the media. Digital communication is not only
important in the disciplinary sense, as History and Anthropology scholarship
is increasingly being produced digitally, but also as an essential skill for
participation in civic society. In LEADR, students learn how to write for a
web audience in a variety of ways — identifying audiences and users, using
appropriate rhetoric, structuring narratives to function well on the web,
integrating multimedia, and using HTML/CSS or a content management system
(CMS) to publish and distribute scholarship. The American Library
Association defines digital literacy as “the ability to use information and
communication technologies to find, understand, evaluate, create,
and communicate digital information, an ability that requires both
cognitive and technical skills”
[
ALA 2013, 1]. There is a great deal of overlap between the ALA’s Information
Literacy and Digital Literacy frameworks, but their Digital Literacy report
can be instructive for the production, reuse, and communication of digital
information. ALA’s digital literacy report stresses that academic libraries
play a key role, as undergraduate students are not nearly as digitally
literate as often assumed [
ALA 2013, 5–17]. “Generally, neither children nor
adults acquire critical thinking skills about mass media, popular
culture or digital media just by using technology tools
themselves…One thing is certain: simply buying computers for schools
[and libraries] does not necessarily lead to digital and media
literacy education”
[
Hobbs 2010, 25]
[
ALA 2013]. The critical evaluation of the
“digital-ness” of an object promotes a better use of
the affordances of the media and information, while also understanding
external implications, such as ethical and legal rights, privacy, permanence
and impermanence, audience reception, and feedback.
Metaliteracy, the expansion of traditional information skills (determine,
access, locate, understand, produce, use) as described by Thomas P. Mackey
and Trudi E. Jacobson, plays a key role in teaching students to produce and
remix digital content [
Mackey and Jacobson 2014]. Mackey and Jacobson have
expanded the traditional notions to include “the collaborative production and sharing of
information in participatory digital environments” that,
crucially, “requires an ongoing adaptation
to emerging technologies and an understanding of the critical
thinking and reflection required to engage in these spaces as
producers, collaborators, and distributors”
[
Mackey and Jacobson 2014, 1]. Mackey and Jacobson list the following metaliteracy learning goals
and objectives:
- Understand format type and delivery mode
- Evaluate user feedback as active researcher
- Create a context for user-generated information
- Evaluate dynamic content critically
- Produce original content in multiple media formats
- Understand personal privacy, information ethics and intellectual
property issues
- Share information in participatory environments
Metaliteracy also addresses the challenges of maintaining literacy over time.
Technologies change, and the (mostly) proprietary platforms that make
production and publication easy will require sustained monetary
contributions and will likely fade away in lieu of new ones. This means
there should be a focus on communication using open and sustainable tools
that allow for total freedom and ownership of content, including the
creation of video and visualizations and the production of content on flat
HTML files, or at least an open source CMS. It should also include the
metacognition that is at the center of Mackey and Jacobson's metaliteracy.
Metacognition allows for an understanding of content creation within a
system of moving and evolving parts, enabling (at least partially) an
ability to adapt to new technologies and environments [
Mackey and Jacobson 2014, 41–44].
Potential Digital Literacy Topics: Web publication
(HTML/CSS and CMS), user experience, multimodal communication, film
composition and editing, critical engagement with technology, social media,
and third party data collection
Digital Literacy Example: Digital Atlas of Egyptian Archaeology
Assignment
Anthropology students collaboratively developed an atlas of
archaeology sites as a final project for an Archaeology of Ancient
Egypt course (ANP 455).
[3]
Process
Students had a basic introduction to HTML and CSS through a class
session in LEADR, and developed skills using Codecademy modules with
staff available to help. Students then learned about Git, GitHub,
and collaborative coding through a subsequent class session. To
build the project, students forked the course website, copied and
customized an HTML template for their site, then added their
location information to a CSV that comprises the back-end of the
map, then did a pull request to make their changes visible in the
main repository.
Learning Outcomes
Students have a basic understanding of experience in collaborative
coding, version control (Git), and primary web technologies.
Data Literacy
As “open data” and “big data” become
increasingly common phrases, the ability to access, refine, manipulate,
critically evaluate, and share data becomes more of an essential skill.
Librarians and data curators have made efforts in recent years to move
curation “up the stream,” and to train researchers and
scholars to start data collection with good practices in mind. This greatly
increases reusability and clarity of the data, and reduces the work required
in preparing the data for sharing. Training often occurs in university-wide
workshops, brief seminars to train researchers in data curation practices,
or perhaps a lab-specific workshop faculty, staff, and graduate student
researchers [
Carlson et al. 2011]. These sessions teach attendees
about establishing metadata standards early on in the research process,
documenting their data processing, and using sustainable formatting, among
other curation practices, but are often brief and divorced from content and
community practices [
Carlson and Johnson 2015, 2–3]. Instead,
teaching data principles in courses allows for a greater focus on uses of
the data that take full consideration of the context and the potential
questions that could be asked of the data.
The Data Information Literacy (DIL) initiative, led by Jake Carlson and Lisa
R. Johnson, is an extension of the ACRL Information Literacy Framework that
focuses on both the creation and consumption of data. The authors describe
DIL as “...merg[ing] the concepts of
researcher-as-producer and researcher-as-consumer of data products.
As such it builds upon and reintegrates data, statistical,
information and science data literacy into an emerging skill
set”
[
Carlson et al. 2011, 634]. Data information literacy is a framework designed to be integrated
into courses and graduate research processes in the context of
subject-specific data and domain-based community practices. DIL is comprised
of 12 primary frames:
- Introduction to Databases and Data Formats
- Discovery and Acquisition of Data
- Data Management and Organization
- Data Conversion and Interoperability
- Quality Assurance
- Metadata
- Data Curation and Re-use
- Cultures of Practice
- Data Preservation
- Data Analysis
- Data Visualization
- Ethics, including citation of data
The target community for data literacy is typically limited to those doing
research for peer-reviewed publication — faculty, academic staff, graduate
students, and undergraduate research assistants [
Carlson and Johnson 2015]
[
Shorish 2015]. However, these are valuable skills for all
citizens, and basic introductions to concepts should be taught broadly at
the undergraduate level. Data skills and literacies are becoming crucial, as
terms like ‘big data’ become more and more pervasive in the news, scholarly
research, and across industries, and governments and other entities
increasingly make data open in the name of transparency. Without the skills
to access and evaluate data, there can be great hurdles to successfully use
and analyze these resources as scholars, citizens, and employees.
With growing access to humanities datasets through both library vendors and
open repositories, data literacies and skills can greatly benefit students
in History and Anthropology courses working on small, course-based or thesis
research projects.
[4] One promising project for
effective information and data literacy pedagogy in the humanities is the
Library-Led DH Pedagogy: Modeling Paths Toward
Information and Data Literacy symposium [
Padilla et al. 2015]. Librarians at Michigan State University
specializing in digital humanities, data curation, and information literacy
called a symposium of librarians and disciplinary faculty from across the
region to discuss and develop library instruction that melds together
disciplinary information and data literacy needs.
The ability to evaluate and use data gives students the ability to ask
different types of questions, and to utilize growing resources for analysis.
Data literacy skills have great utility that extends beyond large research
projects, and even beyond academic research. New technologies and the
increasingly widespread use (and misuse) of data visualization in journalism
and politics make data competencies such as collection, evaluation, and
management a crucial skillset. Data skills are essential if we wish to
transform students from passive data consumers to critical consumers and
producers of data. In LEADR, data literacy lessons are delivered using
domain-specific data as well as domain-specific norms for data curation and
manipulation, but examples and use-cases from mainstream sources are
discussed whenever relevant.
Potential Data Literacy Topics: Data collection,
manipulation, cleaning, and structuring; critical evaluation of data; data
sharing and publication
Data Literacy Example: Archaeology Field School Data
Visualization
Assignment
Campus Archaeology Field School (ANP 464) students learned about
archaeological data structure, data organization, and visualization
in two sessions in LEADR.
[5]
Process
Students were introduced to basic concepts of data structure and
organization, such as the difference between structured and
unstructured data, foundational metadata, and principles of
Tidy Data
[
Wickham 2014]. Students were then introduced to data
from previous Campus Archaeology digs, and were shown how to
manipulate the data in order to visualize and analyze it with the
selected tools. In the first session, students were introduced
geospatial data and used
CartoDB to map artifacts and analyze their spatial
distribution. In the second session, students used
Raw to visualize
item-level metadata. Both sessions included ample time for students
to experiment with the tools and data, and produce their own
visualizations. They were then asked to reflect on their findings
and produce a blog post on their experiences.
Learning Outcomes
Students are able to think critically about the ways in which data
can be collected, analyzed, and curated. Students also learned the
affordances of particular data types and data sets, and how data
collection can impact the understanding and analysis of
archaeological collections.
Computational Analysis
Computational analysis is used here to signify a wide-ranging set of tools
and methodologies that rely upon computational processes to assist in the
asking and exploring of research questions, including but not limited to
text mining, network analysis, GIS and web mapping, 3D modeling, desktop
fabrication, and topic modeling. These lessons are grounded in disciplinary
methodology, and illustrate the ways in which scholars are using
computationally-aided methods to ask new questions of their sources, as well
as exploring more traditional questions. Once the methodological groundwork
is established, students are instructed in the usage of a tool or tools, and
then encouraged to experiment with the tool(s) and dataset(s) before
reflecting on the experience.
Although computational analysis is often seen as a means to a scholarly end,
it holds great value in its ability to challenge students to think
differently about a resource — to break down the way we convey information
and think about ways to work through those abstractions. The disciplinary
benefit is not necessarily the development of computational research skills,
but instead in teaching students about research methodologies and new ways
of thinking about sources [
Mahony and Pierazzo 2012]
[
Sayers et al. 2016]. Computational methods can serve as valuable
aids to think about datasets, electronic representations of materials and
cultures, and the affordances that come with each. Stephen Ramsay, long a
proponent of teaching programming as a way to help students learn both
computational and humanistic thinking, wrote, “The center of digital
humanities, after all, is not the technology, but the particular
form of engagement that characterizes the act of building tools,
models, frameworks and representations for the traditional objects
of humanistic study”
[
Ramsay 2012]. Emerging practices in physical computing and desktop fabrication
allow for the making, breaking and alteration of real and speculative
objects, enabling interested parties to engage critically with the form,
function, and materiality of objects [
Sayers et al. 2016].
Teaching the ubiquity of this kind of analysis, along with critical
approaches to the strengths and shortcomings of such analysis, can help to
remove the black box that often surrounds such digital outputs, and allows
for thoughtful criticism of these methods employed in our everyday lives.
For example, the usage of text mining and text analysis in the undergraduate
humanities classroom does not only lead to learning more about the content
and the humanities methodology, but also about the potential and limits of
surveillance analytics [
Sinclair and Rockwell 2012]. Likewise, critical
makerspaces can contribute to “advanced thinking and policy-development around critical issues like
privacy, surveillance, intellectual property, consumerism in education,
data exploitation, and sustainability and the environment” and “foster productive thinking on
issues of representation, contingency, privilege, and other
structural problems in academic labor”
[
Sayers et al. 2016, 16].
Potential Computational Analysis: Text analysis, 3D
fabrication and modeling, network analysis, mapping
Computational Analysis Example: Intro to Text Mining with
Tweets
Assignment
Students in Eating Industrial (ISS 310) evaluated the rhetoric
surrounding different types of food using several collections of a
few thousand food-related tweets.
[6]
Process
Prior to the LEADR session, students read a linguistics study of the
rhetoric of food reviews on Yelp, an online business review company,
and thought about how they may approach large collections of text to
analyze the modern processed food industry [
Jurafsky et al. 2014]. Once students arrived in class, they
were invited to browse several thousand tweets archived via a number
of food-based Twitter searches, and to think about how they may
design an analysis of the sample tweets. Students evaluated each of
the default analysis tools in
Voyant, and were given examples of how to use the
visualizations, statistics, and concordances to construct an
analysis of the corpus. Following the session, students were asked
to write a blog post reflecting on their process and their findings.
Learning Outcomes
Students learn how to use text mining and exploratory text analysis
to develop and answer research questions, and gain an understanding
of distant reading techniques and methods.
Benefits of the Framework
The use of this framework over the past academic year has led to a number of
changes in the ways courses are conceptualized, structured, and taught. On the
whole, these changes have contributed to more course partnerships, to more
immersive and engaged assignments and activities, evaluation that focuses on
literacies and reflection more than final product, and, in the end, more
undergraduate students who are equipped with technical and critical thinking
skillsets for engagement in digital environments on and off campus. On the
administrative level, the framework has enabled these improvements in several
ways:
First, it moves the assignment focus away from the deliverable and back into the
process and the praxis. There are a number of tools that offer sleek final
interfaces, but little in the way of customization, and limit the actual
learning about publication, research methods, and the technology behind them.
The domain, method, and technical objectives should be considered first, with
the process and expectations can be determined accordingly. It can be tempting
to formulate learning objectives and then jump to the simplest solution to
produce a deliverable, abandoning or partially conceding learning objectives in
the process. The framework helps us keep these in mind, and also informs grading
rubrics that value the demonstration of methods and skills over a shortcut to a
presentable deliverable.
Second, this framework is helpful in engaging people who are new to digital
research, or even those who are skeptical of its values. Some humanists may be
dismissive of digital projects because of the presumption that they are flashy
but lacking in substance, while others may be intimidated by the technical work
required to make a digital project function effectively. The framework makes it
much easier to move beyond conversations that focus too much on the output or
the technology and instead focus on the learning that occurs throughout project
development. This type of reframing may be obvious to many immersed in digital
humanities, but can go a long way toward making digital methods more
interesting, valuable, and approachable for those who are new to the field.
Third, the framework serves as an excellent way to start and manage
collaborations between faculty, librarians, graduate students, education
technology specialists, and others. Conversations between domain specialists
with limited digital skills and librarians, programmers, user experience
designers, or others who may have knowledge of the technical skills, but little
or no background in the domain develop more easily because expectations and
needs are clarified. By centering the conversation on clear-cut learning goals,
parties can much more easily determine where their own expertise may be valuable
to the learning process.
Conclusion
Douglas Rushkoff, a Professor of Media Theory and Digital Economics, delivered an
oft-cited talk at the 2010 South by Southwest Festival proclaiming that citizens
in the imminent future must “program or be programmed”
[
Rushkoff 2010]. In his book, which gets its title from this proclamation, he wrote of
his typical response when people ask him if they really do need to learn to
program:
And while I always answer,
“Yes, you do have to learn to program,” the real answer is
probably no. You don’t. You can get by without becoming a literate
participant of the digital age. You may not know what’s going on, you
may not have much of an impact on the future of our species, and you may
begin to feel like technology knows more about you than you know about
it-but no, you don’t have to learn to program.
[Rushkoff and Purvis 2011, 7–8]
While Rushkoff’s response may be a bit facetious, his larger point,
articulated throughout his book, is that digital media and technologies are full
of decisions made by people, and those decisions have an impact on the everyday
lives of others. Without an understanding of how technology works — even a
surface level understanding — an individual has reduced agency in their everyday
lives. It is the duty of liberal arts educators to ensure that students retain
this agency, at least in the ways that they experience media, think critically,
and communicate on personal and societal levels.
It is my hope that the framework articulated here will facilitate and aid others
to include these crucial skills into their teaching, in much the same way they
have long facilitated skill-building and discussion of things like writing,
evaluating evidence, and critical thinking. Digital humanities provide an
opportunity to integrate the disciplinary study of literature, historical
primary sources, and archaeological discoveries with these skills and knowledges
for the twenty-first century. The framework here also provides an approach that
enables instructors to focus on the core learning outcomes without gravitating
towards an easier or more attractive deliverable.
Although the framework was developed within a digital research-oriented lab, the
framework can be useful for collaborations between disciplinary faculty,
librarians, educational technologists, instructional designers, or graduate
students. Educators in the liberal arts must continue to grapple with emerging
forms of communication and analysis, or we risk leaving our students lacking in
critical areas of the liberal arts. Media and information literacies and
multimodal and digital writing skills are essential for effective communication
and civic engagement now and in the future, and liberal arts courses must engage
with them. This flexible and extensible framework offers one fruitful route, by
developing digital humanities projects intended to impart such skills while
engaging with domain-specific content.
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