Most recently, Natalia Cecire has called into question Tom Scheinfeldt’s definition of DH as being “nice” because it focuses less on theory and more on methodology. The latter, according to Scheinfeldt, is easier to resolve because “either one method or another wins out empirically or the practical needs of our projects require us simply to pick one and move on.”

Natalia responds “[t]o espouse collaboration over authorship, one must have an authorial voice to cede; to be ‘nice,’ one must be in a position in which ‘niceness’ does not connote ‘servility.’”

It’s a good point, yet I feel that the topic of disability and access complicates both Scheinfeldt and Natalia’s conceptualizations of niceness. If niceness depends upon a certain privilege, then access also depends upon a certain privilege. Does this mean, on the one hand, that we should struggle against ‘niceness,’ or on the other, that we find certain arguments being won simply through pragmatic concerns or – what works? I’d argue that the question of access and technology shifts back and forth between Natalia’s cultural concerns about ceding privilege and Scheinfeldt’s sense that practicality ultimately wins out simply because there is no easy answer to what it means to make something, or someone, accessible. I feel it is our duty to make spaces and discourses accessible, yet, I also think that the idea of accessibility is always revealing new complexities. Sometimes individual concerns are more important, other times we have to take those concerns and see what works.

Rosemarie Garland-Thomson argued in our brownbag discussion group that “empathy” – another “nice” term is often put into the service of an unconscious eugenics discourse with regards to right-to-die cases, in the sense that some lives are deemed worth living (read: forced to struggle to “overcome” disability) and some aren’t (read: allowed to die because the disabled life, ultimately in this discourse, is not worth living). How do we access disabled lives or bodies, when we’ve already determined that their experience is so alien, so different from our presumed normality, that their lives are simply not worth living?

“Niceness” is also a part of Melanie Yergeau’s work, particularly in the way her niceness and her “extreme gullibility” “authors” her “autism”: “I’ve yet to decide whether my extreme gullibility is a personality trait or an autistic symptom – but usually my decision depends on with whom I am speaking. When my doctor insists that my insane indecision camps me with autists, I nod, concurring that Asperger’s has struck again. When my mother reminds me that I’m not gullible that I’m a peacemaker, I muse over my heavenly gift of perpetual compromise.” To what degree is it important to not be gullible in this scenario? And how does the struggle to assert onesself in Melanie’s case reinforce ideologies of identity and personal autonomy that also reflect attempts to author her? Access is about pragmatism, but we must also understand to what end we are being pragmatic. Does the American desire for individual choice and agency end up winning simply because we feel it should?

I’d like to mention just one more example, that of Michael Chorost, even though I know that the work of George Williams, Katy Crowther, Margaret Price, and the GTRI group also struggle with these questions. Michael’s two books Rebuilt and World-Wide Mind are disarmingly confessional. He describes, for example, his cochlear implant feminizing his body – making it something that can be invaded and implanted. He also discusses in-depth how hearing is a perpetual progress of updating software. He has no sense of “natural hearing” (if such a thing exists) because new versions of software changes how he hears. He suggests that such constant change forced him early on “to become an athlete of perception. I had to learn to glide over the sound-stream like a skier over bumpy snow, to assemble meanings out of phonemes like a juggler keeping ten balls in the air” (171). Hearing, for Michael, means training his senses but also being willing and working to connect with other people.

When we think of access and niceness, perhaps Michael’s metaphor is particularly apt. There is never any final answer to how to access another person, even if that person is presumably “able-bodied.” But we must remain agile, always emphasizing what connects us, finding the specific experiences that separate us, and turn them into opportunities for learning to listen to one another, and yet also making things work.

 

My fears visualized.

In addition to my Python series, I’m writing a series of articles on being a digital scholarship project manager. Miriam Posner has already written some amazing pieces on getting started with the Georgia Lynching Project. As she headed to UCLA, the task of managing the GLP fell to me. I met with the developers yesterday, who were beginning to think about how data would be visualized to users. I quickly learned that I needed to rethink how I imagined digital collaboration and interface design.

First, an aside about project management in institutions like libraries and Universities. Project managers, developers, user-interface designers, copyright experts, researchers, and faculty all work together - along with multiple levels of University administration - to create a digital project. This means that, in all likelihood, what appears on the screen is due to a long process combining ideas, deliberation, and compromise. Matthew Kirschenbaum has argued that what is often taken as the object of critique when considering media objects (the interface), comprises only part - and a small part at that - of a digital work. Even the interface, though, is a product of the complex interactions of collaboration. Politics, psychology, history, and sociology all play a part of collaboration, but it is important to understand that the product that emerges in a digital humanities project is often a strange conglomeration of the intentions of each member and elements that cannot be predicted at the outset. I like what China Mieville says about collaboration. He’s talking about collaborating on comics, but I think the lesson is relevant to digital scholarship as well. When speaking about having his work illustrated by another person, he says “you have to approach it with an open and collaborative frame of mind, because you aren’t creating these characters alone, you’re creating them with someone else, and the thing you create is always a strange combination of your ideas, theirs, and the ineffably generated third element that is sourced from neither of you, but becomes indispensable.”

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The discussions surrounding THATCamp Theory have been widespread and intriguing. Ted Underwood, for example, makes a very convincing case that the category of “theory” without a direct object is often used by academics to dominate and co-opt already existing conversations. I find this argument, and the one by Jean Bauer, extremely compelling. Bauer argues that DHers are already engaging with theory:

Just this week I was presenting The Early American Foreign Service Database and got the question “So where is the theory in all of this?” Before I could answer with my standard, diplomatic but hopefully though-provoking, response a longtime DHer called out “The database is the theory! This is real theoretical work!” I could have hugged her.

This understanding of theory, theory as embodied in the act of creation, is often overlooked by some of the critics of THATCamp and DH. But there were further interesting observations on Twitter.

Do we need to theorize 'T/(t) / theory as it applies to DH? That is, to what extent can DH interrogate theory? Lots, I think
November 3, 2025 11:20 pm via TweetDeckReplyRetweetFavorite
@patrick_mj
Patrick Murray-John
Great thing about DH was it's focused on actually DOING something, not just talking about it. @THATCampTheory's going to fuck that up. #dh
November 4, 2025 3:36 am via YoruFukurouReplyRetweetFavorite
@trentmkays
Trent M Kays

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Photo by cogdogblog

Cross-posted on thatcamp.org

THATCamp is looking to create a short piece that documents the history of THATCamp, interviews from participants, short footage from various THATCamps from around the world, and the issues surrounding developing and creating unconferences. In the spirit of THATCamp, we’d like to crowdsource part of the film, and get a good sense of different locations where THATCamps occur, different opinions about THATCamp as a phenomenon, different methods used to organize different Camps, etc.

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On her blog “Works Cited,” Natalie Cecire makes an interesting point regarding the undertheorized status of the digital humanities, and links that with the “more hack, less yack” philosophy of THATCamp.

I cannot agree with the distinction between theory* and practice that this [“more hack less yack”] sets up, nor the zero-sum logic that it implies (i.e. in order to do more you must speak less). [...] We seem to have a tendency to think that the “humanities” part of DH is stable, that we sort of already have it squared away, while the tech skills are what we need to gain.

She suggests that “[i]t’s time for THATCamp Theory” which includes bootcamps based on “narrative, time, and surveillance,” and also “sessions that look at different mapping projects in light of critical theories of space or that consider the interstitiality of iPhone apps and Twitter in light of queer and feminist theorizations of time.”I agree with some of the points she makes in her article. Some THATCampers are anti-theory, looking instead for technological solutions to academic problems. But I truly find that most THATCamps are not like this; in fact I’ve gone to several theoretically informed sessions at THATCamp (including Michael Altman’s Messy DH, George Williams’s Diversity in DH, and Brian Campbell’s Psycho-Spiritual Impacts of Technology). Continue reading »

Why I Love THATCamp

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Mar 072011
 

As a master’s student in my introductory theory course, I became particularly enamored by Roland Barthes’s essay “Why I Love Benveniste.” At the end of the essay, Barthes says that

Working with him, with his texts […],we always recognize the generosity of a man who seems to listen to the reader and to lend him his intelligence, even in the most special subjects, the most improbable ones. We read other linguists (and indeed we must), but we love Benveniste.

What a magical feeling! While I tried desperately to be like those scholars I most admired, Barthes saw in Benveniste a figure who would lend his readers his intelligence. Derrida had an unearthly ability to evade me. Deleuze was so cool that I wanted to ride the wave of his hyper-prose. I knew I could only be, at best, a pale imitation of these thinkers. But the magic of Barthes’s sentiment is that Benveniste didn’t want you to be like him; he wanted to share with you.

I can’t think of a better way to characterize my experience at THATCamp. So much of my experience in the humanities has been centered around finding, and defending, an increasingly small track of academic land. Conferences have often filled me with a sense of the resentment that I feel almost programmed to acknowledge as the proper approach to academic life. Most recently, I remember having a discussion about the role of love in philosophy. One participant remarked that we should be critical of love, that it often keeps us starry-eyed with a thinker or a topic while ignoring important problems. I didn’t necessarily disagree, but I was truly disgusted. You mean I can’t even really love what I do anymore?

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