The Digital Press at the University of North Dakota is very excited to announce the publication of the first volume of the Epoiesen Annual. This is an annual volume based on the extraordinary new journal, Epoiesen: A Journal for Creative Engagement in History and Archaeology, edited by Shawn Graham and colleagues and hosted by the library at Carleton University in Ottawa. Check it out here.
Epoiesen (ἐποίησεν) – made – is a journal for exploring creative engagement with the past, especially through digital means. It publishes primarily what might be thought of as “paradata” or artist’s statements that accompany playful and unfamiliar forms of singing the past into existence.
What have you made? What will you make? This journal, in its online home, makes space to valorize and recognize the scholarly ways of knowing that are expressed well beyond the text. Bill White reminds us why society allows archaeologists to exist in the first place:
“it is to amplify the whispers of the past in our own unique way so they can still be heard today.”
The journal seeks “to document and valorize the scholarly creativity that underpins our representations of the past. Epoiesen is therefore a kind of witness to the implied knowledge of archaeologists, historians, and other professionals, academics and artists as it intersects with the sources about the past. It encourages engagement with the past that reaches beyond our traditional audience (ourselves).”
For a bit of the backstory, Epoiesen is really the work of a group of dedicated and innovative collaborators, editors, and partners, as Shawn Graham himself makes clear in the introduction. The native format for the journal is on the web, but Shawn reached out to The Digital Press in the middle of last year to explore producing a hybrid, print/digital (pdf) format. The hope is that this form will appeal to readers who more comfortable with print for reading, citing, and cataloging.
The work of the Digital Press, then, was largely translation from they dynamic digital form to the more conventional print-ready format which at times was a bit tricky, as even a quick review of the PDF will show. We adopted a format that intentionally played with the tidiness of the textbook and the grid, pushing images over the boundaries and outside of lines.
The cover is itself is a vibrant piece of scholarship thanks to Gabe Moshenska’s generous decision to make his book, Key Concepts in Public Archaeology, free and open access. For the cover design, we listened intently to the authors, members of the editorial board, and various sundry social media commentators. It seemed fitting that the cover emerged from the very creative, digitally mediate milieu that journal itself celebrates.
Finally, this project embodies the kind of laboratory publishing that The Digital Press has pursued since Punk Archaeology appeared four years ago. So it’s particularly fitting that on the fifth anniversary of the Punk Archaeology conference, some of the same collaborators (Andrew Reinhard, for example, designed the cover for Epoiesen) returned to the scene of the crime to produce this volume.