For months now I’ve been stewing about how much I hate @HistoryInPics and their ilk (@HistoryInPix, @HistoricalPics, @History_Pics, etc.)—twitter streams that do nothing more than post “old” pictures and little tidbits of captions for them. And when I say “nothing more” that’s precisely what I mean. What they don’t post includes attribution to the photographer or to the institution hosting the digital image. There’s no way to easily learn more about the image (you can, of course, do an image search through TinEye or Google Image Search and try to track it down that way).
Alexis Madrigal recently wrote a piece for The Atlantic revealing that @HistoryInPics is run by a couple of teenagers who are savvy at generating viral social media accounts to bring in money: § continue reading →
At the most recent Modern Language Association convention (held in Chicago, January 9–12, 2014), I organized a panel (session 757) on “Alt-Ac Work and Gender: It’s Not Plan B.” Stephanie Murray gave a wonderful talk with a feminist perspective on thinking about the metaphor of the jungle gym as a way of exploring the dynamics and value of alternative-academic careers. And Amanda French delivered a moving and powerful paper that used email as an example of the value of “empathy work” as compared to “authority work.” I don’t know what their plans are for sharing their presentations, but there’s a Storify that captured some of the tweets from the session. § continue reading →
So the start of Open Access Week seems like a good prompt to share with you my latest round of negotiating with a publisher for a better contributor’s contract. I’ve written about earlier versions of this exercise before, from the initial steps to its happy conclusion, but so far it’s not something that feels natural and I repeatedly hear from others that they don’t know how to go about this.
The most recent exercise involves a commercial press that does a lot of scholarly publishing and a collection of Shakespeare-related essays. The contract I was sent (one page via snail mail) asked me to assign copyright to the publisher in exchange for one copy of the finished collection, with no provision for archiving or distributing the piece for teaching purposes. § continue reading →
I introduce to you the Folger Shakespeare Library’s Digital Media Strategist . . . Me! This is a new position in the newly-created division of Digital Media and Publications at the Library and it should offer lots of exciting opportunities to explore how the Folger’s digital resources develop. Those of you who have been following this blog and my twitter feed will know that I’ve had an ongoing interest in how digital tools might enable new ways of interacting with special collections, ranging from online publications (like the research blog I created for the Library, The Collation) and social media (like @FolgerResearch) to imagining not-yet-realized possibilities like topographies of books and smell-o-meters and virtual vaults. § continue reading →
What follows is a keynote I gave at the Digital Preservation 2013 conference on July 23, 2013. If you’re curious, there’s a video up of the talk and the Q & A as well and a pdf of the slides I showed (some of which vary from what I’ve shown here).
“Disembodying the past to preserve it”
I am, as you’ve heard, not someone who focuses on issues of digital preservation. I’m a book historian and performance scholar who works at a cultural heritage organization that is focused on the preservation and exploration of centuries-old objects. I think about the digital and preservation from the perspective of someone who studies the past and seeks new ways to make it accessible to scholars and the public. § continue reading →
This is a post I put together as part of an ongoing conversation with a group of folks who aren’t early modernists but are interested in media. I thought I’d look back at some examples of early print that disrupt our sense of what was typical. In the back of my head I was thinking about Matt Kirschenbaum’s work in Mechanisms and the sorts of tensions between how we perceive media and how it manifests itself—I’ve written about some of those ideas here, too, in my continuing curiosity about the distance between how we imagine early print and how it was experienced. § continue reading →