Putting Theory to Practice: A Discussion of Data Feminism

In coordination with the 2021 Neilly Author Series lecture with Catherine D’Ignazio & Lauren F. Klein, the Mellon Digital Humanities Fellows are hosting a discussion panel, Putting Theory to Practice: A Discussion of Data Feminism, on April 23, from 1:00 – 2:30 PM EST via Zoom.

Register for the Zoom link here

As a follow-up to D’Ignazio and Klein’s lecture, panelists from the fields of data science, digital humanities, data literacy and pedagogy, and philosophy will discuss the seven principles from Data Feminism (MIT Press), specifically how “working with data from a feminist perspective” can: “examine power, challenge power, elevate emotion and embodiment, rethink binaries and hierarchies, embrace pluralism, consider context, and make labor visible” (17-8). This panel will explore what these principles look like in practice by providing examples of practitioners whose current research and projects speak to and actively engage with questions of power and justice. Panelists will introduce their own work with data science, participate in a moderated discussion, and end with a Q&A. We are excited to be joined by the following panelists:

  • Amy Bach, CEO, Measures for Justice
  • Jonathan Herington, University of Rochester, Department of Philosophy
  • Darakhshan Mir, Bucknell University, Department of Computer Science
  • Emily Sherwood, University of Rochester, Director of Digital Scholarship
  • Whitney Sperrazza, Rochester Institute of Technology, Department of English

Being Human, Being Robot: A DigiTalk featuring Andrew John Wit

Tuesday, April 13, 2021, at 3:30pm to 4:45pm via Zoom.

Register for this free event here.

Event Description:

Andrew John Wit is an Associate Professor at the Temple University Tyler School of Art and Architecture, where he leads research in emerging technologies and their relationship to the built environment. He is a co-editor of the book Towards a Robotic Architecture, an associate editor for the journal Construction Robotics, and an elected editor for the International Journal of Architectural Computing. His work has been presented and published in a wide range of international conferences, journals, and galleries. Andrew is also the Co-Founder of WITO* (pronounced we – toe), Laboratory for Intelligent Environments.

In this talk, Andrew will discuss novel tools, methods, and materials that are helping to redefine the design discipline and the built environment. Typically situated either within the arts or engineering, this talk will discuss how the field of architectural design has been transformed through the integration of AI, robotics, mixed reality, and novel composite materials and their relationship to human makers and inhabitants.

Event Video:

Digital Places, Physical Spaces Schedule

Friday, May 1, 2020, 11 AM–4 PM EDT on Zoom.

11:00: Opening Remarks, Daniel Gorman Jr., University of Rochester

11:10 – 1:00: Digital Places
Moderator: Alexander Zawacki, University of Rochester

  • Sarah Thompson (Rochester Institute of Technology), “Reconstruction à l’identique: Restoration, Authenticity, and Digital Models in French Gothic Patrimony”
  • Jason Tercha (Binghamton University), “Mapping the Social Effects of Antebellum Railroad Development in Northern Virginia”
  • Stephen Jacobs (Rochester Institute of Technology), “Mordechi Marches to Manchuria: Building mordechi.org.”

1:00 – 1:30: Lunch Break

1:30 – 3:00: Digital Spaces
Moderator: Madeline Ullrich, University of Rochester 

  • Suchismata Dutta (University of Miami), “Schools in Community Conversations: Digital Analytics and the Formation of Hybrid Communities”
  • James Rankine (University of Rochester), “Messy Data, Neat Maps”
  • Sanaa Khan (University of California, San Diego), “Beyond Bodies: Critical Race Perspectives on Digital Embodiments”

3:00 – 4:00: Keynote Lecture
Moderator: Erin Francisco, University of Rochester 

Henry B. Lovejoy, Department of History, University of Colorado Boulder, “Follow the Drums: Mapping Yorùbá Migrations to Cuba, Brazil and Sierra Leone during the Abolition of the Slave Trade”

Digital Spaces, Physical Places: A [Revised] Digital Humanities Symposium

This symposium was originally scheduled for April 16–17, 2020, to be held on the University of Rochester River Campus in Rush Rhees Library, Humanities Center, Conference Room D. Unfortunately, the COVID-19 outbreak caused the cancellation of all in-person events at the University. The Mellon Fellows have changed the symposium to a virtual event, which will occur via Zoom on Friday, May 1, 2020, from 11 AM to 4 PM / 11:00 to 16:00 EDT.

To RSVP for the event and receive the Zoom meeting ID, please complete the form that is linked below, under “Symposium Update.”

In the meantime, we hope you all remain safe and healthy.

Original Call for Papers (CFP)

Digital technologies have forever altered our understanding of place and space by dividing physical presence from telepresence, birthing the hybrid and sometimes messy field of digital humanities. At the most basic level, email, forums, and social media have enabled lightspeed asynchronous communication, changing the way we live, work, and perform scholarship. Physical places—real, historical, and fictional—can be reconstituted in electronic form and made interactive through the use of augmented or virtual reality, posing new opportunities for experiencing the past and the present alike. Emergent online platforms present new and accessible sites of learning.

And yet, while these real, historical, or fictional spaces may indeed be re-envisioned in other forms, how do we keep in mind the specificities and origins that come with a connectedness to particular physical spaces or locales? Scholars in the fields of feminist, post-colonial, and critical race studies have kept these questions at the forefront of their digital humanities practice. As digital humanities scholars, how do we ensure that, for example, the political and social dimensions of gender, race, sexuality, and class—dimensions that exist in physical space—do not get lost in newly emerging digital forms? While thinking through digital space reveals new modes of experience, such as opportunities for community, accessibility, and activism, we might also consider how digital technologies expand, compress, and transform different spaces in specific ways for specific bodies. 

This symposium invites contributions that explore the nature and functions of digital spaces, as well as their connection to the physical world. How does spatial thinking figure into digital projects? How do events and debates in digital spaces transfer to the “real” world, and vice-versa? Is a distinction between analog and digital spaces still valid? Possible topics may include and are by no means limited to:

  • Avatars and representations of bodies in digital spaces.
  • The relationship between digital and physical archives.
  • The implications of “big data” for spatial analysis.
  • The transformation of geography as a discipline in the computer age.
  • Social, cultural, political, and/or religious activity in the digital realm.
  • Digital preservation of archaeological, historical, and cultural sites.
  • Scholarly applications of GIS and network analysis technology.
  • Theoretical approaches for conceptualizing online spaces, bodies, and communities.
  • Hybrid communities spanning the digital and analog worlds.
  • Augmented and virtual reality (AR/VR) projects.
  • Uses of spatial thinking and technology in the classrooms.
  • The geo-political implications of digital spaces.

We invite individual submissions on past and ongoing digital humanities projects, as well as theoretical examinations of the above topics. We also welcome pre-constituted panels of 3–4 presenters. All submissions should include 300-word abstracts for each 20-minute paper presentation and 100-word bios for each presenter. Please submit all materials via email to UR Mellon Fellows, urmellonfellows@gmail.com, by January 31, 2020. Successful applicants will be notified of acceptance by February 15, 2020.

This conference is organized by the current Andrew W. Mellon Digital Humanities Fellows at the University of Rochester. Please contact at the email address above with any questions.


Henry B. Lovejoy, Assistant Professor of History, Center for Research Data and Digital Scholarship, University of Colorado Boulder.

Henry B. Lovejoy, Assistant Professor of History, Center for Research Data and Digital Scholarship, University of Colorado Boulder.

Follow the Drums: Mapping Yorùbá Migrations to Cuba, Brazil and Sierra Leone during the Abolition of the Slave Trade

While scholars have amassed large amounts of data related to the transatlantic slave trade, a more pressing question lingers: Where did those 12.7 million people come from within pre-colonial West Africa before boarding slave ships destined for the Americas? The answer is complex for two reasons: 1) many sub-Saharan peoples did not have written orthographies until the mid-to-late nineteenth century (suggesting their histories were largely undocumented); and 2) Africa lacks reliable historical maps compared to other heavily populated regions of the world (meaning internal geo-political transformations are frequently misunderstood, especially before the colonization and decolonization of the continent). This digital mapping project seeks to visualize and calculate the probabilities of African origins of enslaved people in diaspora by using two open-source applications: Quantum Geographic Information System and R Project for Statistical Computing. By presenting geo-referenced data of intra-African conflict alongside slave ship departures, it is possible to generate statistical models capable of predicting large-scale, inland migrations on an annual basis. This experiment traces Yorùbá migrations during the collapse of the Oyo empire between 1817 and 1836, while emphasizing bàtá drums as a form of literacy that have contributed to the making of the Atlantic world. This interdisciplinary project appeals to scholars interested in exploring the relationship between conflict, slavery and abolition in the Atlantic world.

Symposium Update, April 23, 2020

Dear Colleagues, 

Like many university events, our digital humanities symposium “Digital Spaces, Physical Places,” scheduled to take place on April 16-17, was cancelled due to COVID-19 precautions. However, in the spirit of our symposium theme—an investigation of how the digital complements and alters our sense of physical space—we have decided to move our event online for a virtual symposium. We invite you to join us for our virtual symposium “Digital Spaces, Physical Places,” taking place over Zoom on Friday, May 1st from 11am–4pm EST. Our keynote speaker, Henry Lovejoy, has kindly agreed to give the keynote talk at 3pm that day. More information about his research can be found on his faculty page.

We will post a full schedule here in the following days; until then, we invite you to RSVP to the symposium using this form: https://docs.google.com/forms/d/e/1FAIpQLSdc73oVFYPccqz1zR2bdrRThCnPI0vRuvOL0acC_t-PjeJDpw/viewform. A link to the Zoom meeting event will be provided through this event sign-up page. 

We are looking forward to this event in its new format, and hope you will join us for this virtual opportunity to engage in digital humanities scholarship, from scholars in the Rochester area and beyond! 

The UR Mellon Fellows


THATCamp (The Humanities and Technology Camp) “unconferences” are informal and participatory events in which most sessions are group discussions, hands-on workshops, productive working sessions, or pop-up collaborations among participants. By following the model of a THATCamp, we hope to foster an open and spontaneous environment to engage an interdisciplinary group of scholars and practitioners. THATCamp Rochester will be organized around the intersections between digital technologies  and the public’s experience of material objects in museums, archives, and new media. We also welcome sessions more broadly related to digital scholarship and pedagogy.

The University of Rochester hosted a featured speaker, Michael Phelps, on Thursday, March 22, at 5 p.m. Phelps directs a multi-spectral imaging project at St. Catherine’s Monastery in the Sinai Peninsula, Egypt where he uses digital technologies to recover damaged and previously unknown ancient manuscripts.  St. Catherine’s Monastery has one of the oldest continuously operating libraries, founded in the fourth century.  Phelp discussed his work as the director he Early Manuscripts Electronic Library (EMEL), and was present as an interlocutor at THATCamp on Friday, March 23.

THATCamp Rochester is a collaboration between the The Digital Humanities and Social Sciences program at the Rochester Institute of Technology, the Andrew W. Mellon Graduate Program in the Digital Humanities at the University of Rochester, and the Memorial Art Gallery.

THATCamp 2018

THATCamp Rochester 2018, Memorial Art Gallery, March 23rd.

The Andrew D. Mellon Program is delighted to announce THATCamp Rochester 2018, a Digital Humanities “Unconference” created in partnership with The Digital Humanities and Social Sciences program at the  Rochester Institute of Technology and the Memorial Art Gallery.    THATCamp (The Humanities and Technology Camp) is an event that embraces an informal, spontaneous, inclusive and participatory style, a unique approach that encourages group discussions, practical joint workshops and on-the-spot collaborative efforts in the digital humanities.

THATCamp Rochester 2018 will be held at the Memorial Art Gallery, March 23rd, from 9.00am to 5.00pm.  In keeping with the venue, participants are encouraged to (but not limited to) explore the role of material objects, archival materials and new and old media as experienced by scholars and the broader public.

Michael Phelps will give a keynote address at the University of Rochester on Thursday, March 22nd, at 5pm.  Phelps will discuss his work as the director of the Early Manuscripts Electronic Library (EMEL) and multi-spectral imaging project at St. Catherine’s Monastery in the Sinai Peninsula.  Phelps will also be attending THATCamp as a participant and interlocutor.

To be a part of THATCamp, participants are encouraged to register here and to visit the THATCamp Rochester 2018 website for more information.

Location: Memorial Art Gallery, 500 University Ave., Rochester NY 14607.
Time: 9am – 5pm.

Decolonizing Digital Networks: Women of Color, Feminism, Open Access, and What It Means to be Woke

Lisa Nakamura, Professor of American Cultures, University of Michigan, Ann Arbor

Thursday, October 19, 2017
Gamble Room, Rush Rhees Library 361

Lisa Nakamura is the Gwendolyn Calvert Baker Collegiate Professor in the Department of American Cultures at the University of Michigan, Ann Arbor. She is one of the leading scholars in the field of critical digital media studies/digital humanities. From coining the concept of “cybertype” as distinctive ways that the internet propagates, disseminates, and commodifies images of race and racism, to locating the internet as a privileged and extremely rich site for the creation and distribution of hegemonic and counterhegemonic visual images of racialized bodies, Nakamura has significantly contributed to the theory of racial formation in digital cultures. Her publications include Race After the Internet (2011, co-edited with Peter Chow-White) and Digitizing Race: Visual Cultures of the Internet (2007).

DH Lunch: Playing with Digital Histories in the R-CADE

Friday, September 22, 2017
Humanities Center, Conference Room D

James J. Brown, Jr., Assistant Professor of English and Director of the Digital Studies Center, Rutgers University-Camden

Robert A. Emmons, Jr., Assistant Professor of Fine Arts and Associate Director of the Digital Studies Center, Rutgers University-Camden

In 2014, Robert Emmons and Jim Brown launched the Rutgers-Camden Archive of Digital Ephemera (R-CADE), a collection of digital artifacts made available for research and creative activities. Scholars are free to take apart, dissect, and repurpose artifacts in the R-CADE as they attempt to understand their historical and cultural significance. While the R-CADE does not preserve in the sense of keeping objects in their “original” condition, the archive is in fact an exercise in the preservation of digital culture. The R-CADE has expanded and changed in the intervening three years, and this presentation will discuss the genesis of the project, its theoretical underpinnings, and how the annual R-CADE Symposium has grown. Emmons and Brown will share some of the work that has emerged from the R-CADE and will discuss some of the project’s future directions.


Recap: The DH Grad Student and the Job Market

After completing her PhD in the Department of English at the University of Rochester, Szabo took a position as an Instructional Multimedia Specialist at Grinnell College. Shortly thereafter, she was offered a position at Stanford University where she worked in Academic Technology in the Stanford University Libraries. While at Stanford University she helped to develop numerous digital projects for both teaching and research. Her diverse skill sets and experiences helped prepare for her current position as an Associate Research Professor in the Department of Art, Art History, and Visual Studies at Duke University. Szabo wears many hats at Duke University where she is connected with the Information Sciences, Computational Media, Wired! Lab, the Franklin Humanities Center, and Bass Connections. The wide range of responsibilities and positions helped to inform her discussion with digitally minded graduate students about the academic job market.

Szabo stressed the importance of flexibility for graduate students as they approach the job market. As traditional tenure-track jobs continue to dwindle, she argued, the digital humanist should recognize the fluidity of their skills. Digital humanists are valued assets to libraries and other departments where a skillset is more desirable than the departmental affiliation associated with a Ph.D. As a result graduate students involved in the digital humanities should build a portfolio of work to demonstrate skills learned as well as their application. With a field as young and broad as the Digital Humanities, Szabo urged graduate students to be proficient with one, or two, digital tools. By building a (manageable) digital project or incorporating a tool into one’s traditional dissertation, graduate students can better prove their competencies in DH.

Digital humanists might never be considered a “traditional” faculty members. Szabo demonstrated that this reality is not necessarily a bad thing. She pointed out that she has had the opportunity to travel abroad for research, work on numerous digital projects, and collaborate across disciplines. Her publications and projects demonstrate a productive and rewarding career path. Szabo’s skills are valued and her perspectives are unique. The inherent flexibility of DH, she argued, is increasingly sought out in an age where boundaries between disciplines are beginning to break down. As departments begin to incorporate digital literacies into their curriculum, digital humanists will be a valuable source of knowledge for those disciplines now facing the realities of 21st century technologies. Ultimately, she argued, the changing landscape of academia requires graduates students to be flexible, optimistic, and creative—essential traits of the digital humanist.

Camden Burd is a PhD candidate in the Department of History at the University of Rochester. He is a 2016-2018 Andrew W. Mellon Fellow in the Digital Humanities.


Victoria Szabo — Omeka Workshop

To kick off Victoria Szabo’s visit, we actually left the Humanities side of campus and made our way to Carlson Library and its high-tech Vista Collaboratory, a visualization lab with a interactive, 24-screen tiled-display wall. With the help of support staff Jonathan Carroll-Nellenback and Carl Schmidtmann, Victoria had arranged a detailed, visually exciting guide through the basic structure, and some of the more obscure and difficult features, of the online archive platform Omeka.


Having pre-arranged specific Omeka accounts of for each of the 31 participants at the workshop, Victoria launched into the goal for today: to create an interactive display of notable graves in the nearby Mt Hope cemetery. We all signed up for a particular grave on a shared googlesheet, and got to work adding images as items and writing up funny (or not) captions and accompanying text. The first hour of the workshop was consumed with the business of creating these and adding tags, collecting them within new exhibits, producing relevant (or not) metadata, and otherwise exploring the basic functionality of the site. Meanwhile Victoria was everywhere around the room, helping those who were stuck, suggesting new or better choices, and prepping for the next stage.


Neatline is a plugin for Omeka which allows the user to represent geospatial information — and as we were working on the Mt Hope Cemetery, an apt choice for a display tool. Giving us a map of the cemetery, Victoria then guided us through the possibilities for collectively shaping the map with our newly-collected, newly-made material. There were far more features than we were capable of working with in the limited time for the workshop, but even just playing around with the colour and style of our additions let us feel like we were making substantial contributions to a group project. As Victoria presented it, Neatline was a great tool for adapting textual information to be accessibly viewed within a spatial environment, and as a medium which invariably complicated and challenged the simpler items we had originally made.

Over too soon, the workshop was definitely an enlivening way to start off Professor Szabo’s visit to Rochester.


Alison Harper is a PhD student in English at the University of Rochester. She is a 2015-2017 Andrew W. Mellon Fellow in the Digital Humanities.

Recap: “Cultural Approaches to Digital Heritage” Keynote Lecture

Dr. Victoria Szabo, Associate Research Professor of Visual and Media Studies from Duke University delivered the keynote lecture, entitled “Cultural Approaches to Digital Heritage,” to a group of engaged audience in the Welles-Brown room on March 2, 2017.

The word “cultural heritage” often invokes regressive politics and obsessive identification with one’s past, as historian David Lowenthal most famously contends “as hopes of progress fade, heritage consoles us with tradition.” Despite the antithetical relation between heritage and new technologies, Szabo’s keynote lecture offers a retort to the conservatism associated with the term. Specifically, by engaging the “Visualizing Cities” project in North Carolina and Italy, she explores how we tell stories about space over real time and how academics can inform “cultural heritage experience design.” Meanwhile, by experimenting with the lab model as the way in which to produce Digital Humanities scholarship, she also examines how traditional authorship could be questioned and restructured in this often collaborative and participatory process.

One example she mentioned is the use of Augmented Reality (AR) to juxtapose the history of Smith Warehouse with its current function as the Art & Art History Department at Duke University. Since Durham is undergoing processes of rapid gentrification, the site-specific experience provided by AR technology is especially meaningful. Because it gives the user a chance to see and indeed experience the space’s history as a tobacco warehouse which reminds the user just upon what our fortunes have been built. As she says,”in this case, the AR overlay experience becomes an opportunity to mediate or ‘haunt’ the location more visibly.” The most “haunting” example she mentions is perhaps the over-lay of a historic photograph from February 1969 when the African American Society occupied Duke’s administration building to advocate the need of black students which augmented a radical moment in the history of the Civil Rights movement with a recent protest against racism on campus. Needless, such juxtapositions is not only meaningful but also collapses space and time in space and time which reveals the cyclical nature and repetitiveness of history. Also mentioned in her lecture is the “Visualizing Venice” project which engages the city as a lab and offers the students and teachers an unusually productive pedagogical environment.

Watch the keynote.




Harry Gu is a PhD student in Visual and Cultural Studies at the University of Rochester. He is a 2016-2018 Andrew W. Mellon Fellow in the Digital Humanities.

Laura Mandell: Visiting Scholar in Digital Humanities

Laura Mandell Visitor in Digital Humanities

The Andrew W. Mellon Fellows in Digital Humanities are pleased to announce the February 19-20 visit of Dr. Laura MandellDirector of the Initiative for Digital Humanities, Media, and Culture at Texas A&M University. Dr. Mandell is our first-ever Visiting Scholar in Digital Humanities. Her research focuses on visualizing poetry, developing software that will allow all scholars to deep-code documents for data-mining, and improving OCR software for early modern and 18th century texts via high performance and cluster computing. During her time in Rochester, she’ll lead and participate in several thought-provoking events that draw on her wide range of scholarly, pedagogical, and professional pursuits. We’re excited for her visit, and hope you can share the experience with us.

These events are open to the public.

Thursday, February 19
  • 10:30am — Presentation: “Big Data and the Humanities” (VISTA Collaboratory)
  • 12:30pm — Lunch with graduate students (Digital Humanities Center)
  • 5pm — Keynote: “Scaling Up: Search as Research” (Morey 321)
Friday, February 20
  • 10:30am — Panel: “Archives in Between: Cultural Preservation, Material to Digital” (Welles-Brown Room). With Joanne Bernardi, Associate Professor of Japanese and Film and Media Studies, and author/editor of ReEnvisioning Japan; Daniela Currò, Preservation Manager, Moving Image Department, George Eastman House; and Jim Kuhn, Joseph N. Lambert and Harold B. Schleifer Director of Rare Books and Special Collections.
  • 12:30pm — DH Lunch: “The Dark Side of Digital Humanities” (Welles-Brown Room). For this event, RSVP to urmellonfellows@gmail.com by February 13.
Keep your eyes peeled for more info about each event!


Event Posters:

Recap: Psychasthenia 2

The term “psychasthenia” originated in turn-of-the-century psychology as a counterpart to hysteria, broadly recognizable in more contemporary discourse as introversion and extroversion, respectively. Where hysterics seemed overly sensitive to and affected by their experiences, magnifying their presence in the process, psychasthenics appeared to disappear into their surroundings, choosing to withdraw rather than react. Psychasthenia meant the trading of one form of integration for another: obsessing often uncontrollably about the outside world replaces the synthetic processes of attending and adjusting to one’s changing subjective experience.

In more modern psychology, the term has largely been supplanted by more clinical diagnoses such as OCD and long-term anxiety. This has created room for its uptake in more metaphorical realms. In social biology, it was used to describe the ability of some creatures to blend into their surroundings, the most obvious example being the chameleon, an animal that protects itself by appearing to become a part of its environment. In the 1930s, Roger Caillois took this usage and expanded it into a meditation on social and corporeal experience in modernity. Often, perhaps too often, the ability to blend in turns inward on itself and results in an inability to stand out.

Psychasthenia 2 is an interactive artwork developed by Victoria Szabo and Joyce Rudisnky, a North Carolina-based new media artist. As they describe it on their website, the piece “explores the culture of psychological diagnosis and treatment within the context of a highly mediated consumer culture that often produces the ills it purports to treat.” During Szabo’s visit, we had the chance to view Psychasthenia 2 in the immersive setting of a 9-screen array, such that the game’s abstract and familiar mazes achieved a similarity to life size not usually encountered in video games. We thus moved through the game’s levels: historic and diagnostic psychological literature; the holistic marketplace of self-help books, medications, and binge eating; an alley of common fears; a coffee shop brimming with social anxiety; and finally the tedium of everyday “normal” existence.

The game is organized according to Maslo’s Hierarchy of Needs, a mid-century motivational theory that often appears in literary studies. This usage suggests something of the hierarchy’s tendency toward fiction, which figures in multiple forms in Psychasthenia 2 in the stories we tell ourselves in our quests for psychological help. What are we really afraid of? Will this book, this treatment, this attitude finally hold the key to self-actualization? Throughout the levels, one responds to intermittent survey questions modeled on self-diagnosis quizzes found in psychiatric practices and BuzzFeed articles alike. These questions push the player to maintain sight of herself despite the distractions or desirable escapes offered by the external world. And yet, as the game goes on, it slyly suggests that these questions might also function to imbricate us into the discourses they prop up, displacing a true sense of self-actualization with the document declaring it.

Playing Psychasthenia 2 was simultaneously fun and sobering. Particularly in the self-help marketplace, methods of seeking guidance that seemed at first easy to dismiss—reading, for example, I’m Ok, You’re Ok—quickly gave way to more socially acceptable but nonetheless still ameliorative strategies. But what was most intriguing about the game was its theoretical engagement with the medium of video games. To the extent that we might characterize the ailment of psychasthenia as being too immersed, Szabo and Rudinsky have selected the ideal platform for examining its diagnosis and treatment. Video games are in many ways distinguished from other media by their interactivity and even immersion, especially in the case of contemporary virtual and augmented reality technology. In this sense, Psychasthenia 2 provides a tool for thinking both about present-day psychological culture and for anticipating, and thus assessing, the ramifications of technology’s increased ability to disrupt and multiply our sense of reality.

Tracy Stuber is a PhD candidate in Visual and Cultural Studies at the University of Rochester. She is a 2015-2017 Andrew W. Mellon Fellow in the Digital Humanities.

Dorothy Kim, “How To Decolonize the Digital Humanities: Or A Practical Guide”

Dorothy Kim
Assistant Professor of English
Vassar College

Time: Friday, April 14, 1pm
Location: Gamble Room, Rush Rhees Library

Responding to digital humanities’ issues with openness, race, disability, LGBTQ, feminist, and other kinds of non-normative bodies in the field, Dorothy Kim will outline a set of practical steps to #decolonizeDH, or to make it less white, heteropatriarchal, male, and ableist. She asks what are the field, departmental, and institutional steps to #decolonizeDH? What are the considerations that must be addressed in terms of politics, local action, education, and resistance?

Co-Sponsored by the Central New York Humanities Corridor, from an award by the Andrew W. Mellon Foundation, Department of Art & Art History, Department of English, Department of Modern Languages & Cultures, Film & Media Studies, Graduate Program in Visual and Cultural Studies, the Digital Scholarship Lab, and the Andrew W. Mellon Fellowship in the Digital Humanities at the University of Rochester.

Visiting Scholar Recap

Tweets and pics from events by our first “Visiting Scholar in Digital Humanities.”