Proposals for New Grant Programs

I spent part of yesterday morning contributing to an email discussion of digital humanities and virtual reality with the good folks at the North Dakota Humanities Council. This was both fun and productive. One result of these conversations is that I was encouraged to propose some new grant initiatives to the NDHC. These are just proposals, but I wanted to think out loud here on the bloggie-blog to gets some feedback from as wide an audience as possible. As with any grants, the outcomes are only as good as the program will allow. Poorly articulated grant programs produce poor projects.

The first of two new programs that I’d propose would be called Digital North Dakota Grants. These grants have three goals:

1. Extending the Reach: The state of North Dakota has long suffered a diaspora of sorts as people with strong North Dakota ties have moved elsewhere for a better climate, more opportunities, and a different life. These individuals often retain a strong sense of connection to the state and its communities. The energy and remittances from this diaspora community has had an impact on life here in the state. The Digital North Dakota Grants would be a way to engage the North Dakota diaspora in the vibrant, local humanities scene.

More importantly, perhaps for the NDHC is that these folks have resources, and as the NDHC has turned its attention toward development to ensure that our programs can weather upheavals in federal funding, we need to expand the impact and reach of the NDHC to the diaspora who have typically remained active in state initiatives.

The population of the state has historically trended older, but recent trends have shown that the state is, in fact, getting younger and the media age of ND residents is now below the national average. Our younger constituency typically lacks the financial resources of the North Dakota diaspora, but should nevertheless be a target audience for humanities programing. Digital North Dakota grants would help bring a generation of citizens more familiar with digitally mediated discussions into the conversation.

2. Celebrating the Local. The National Endowment for the Humanities initiated its Office of Digital Humanities in 2011. This office has funded a wide range of grants that they recognized as having national and international impacts. They have been somewhat less interested in digital projects that have local impacts or reflect the more focused priorities of local communities. As we approach the 20th anniversary of the 1997 Red River flood or the 50th anniversary of the publication of Elwyn Robinson’s influential History of North Dakota, we encounter local events that speak directly to history of the region, the state, and our communities. Funding to support digitally mediated projects that engage these events (as examples) is unlikely to come from a federal sources (and even if it does, the NDHC brand should be associated with work to preserve, celebrate, and reflect on these memorable events).

3. Preserving the Conversation. The NDHC is remarkable in its ability to stimulate conversations. All too often, however, these conversations, discussion, and engagement are ephemeral. Digitally mediated conversations offer a way not only to expand the conversation but also to preserve it allowing future generations of North Dakotans to reflect on how certain events or encounters transformed their ways of thinking or even their communities. For example, the recent tumult over the new University of North Dakota nickname provides a fascinating perspective into the relationship between UND stakeholders and Native communities, ideas of North Dakota identity, and the politics of race in the state. Creating a digital application where members of the community can contribute their reactions to this process, while it remains energized by emotions, polemic, and conversation, presents an exciting way to document and capture the local history of the state at a particular moment in time.

With these goals in mind, my proposed grant would encourage applications that (1) extend the reach of traditional humanities programming, (2) focus on local concerns, issues, collections, and conversations, and (3) feature robust data management plans to ensure that both the program and conversations are preserved. Successful proposals must stimulate discussion, focus on local groups or communities, and encourage and preserve dynamic and thought provoking engagement with the humanities. Purely archival or access based initiatives will not be funded unless they foreground dynamic opportunities for reflective and reflexive engagement with collections. Whenever possible proposals should involve open source software and encourage free, open access materials.

In my formal proposal, I’ll include case studies funded by other state humanities councils like Washington’s, DC Digital Museum or Vermont’s wonderfully simple, Civil War Book of Days serial email.

The second proposed new grant program would focus on the North Dakota Humanities Council’s already successful GameChanger Series. One of the most exciting things about this series is how effectively it stimulates discussion and brings together a diverse and dynamic group of speakers and from the community to engage with the most pressing issues of the day. The first GameChanger focused on conflict and culture in the Middle East, the second focused on the challenges and opportunities of the digital world, and next year’s series will celebrate 100 years of the Pulitzer Prize.

The disappointing thing about these events is that the energy of the conversation tends to dissipate rather quickly as the attention of the small NDHC staff ramps up for the next year’s event. As a result, it is sometimes difficult to determine whether the game has, in fact, changed (or just the playahs). The KeepChanging Grant Program would support programs and projects that continue the momentum and themes of the GameChanger series in the three years following the event. Each year at least three grants would be available with at least one grant set designated to support a project related to each of the previous three years of the GameChanger. (Wow, that’s hard to articulate in a clear way!).

The goal of the KeepChanging program is to extend the impact of the GameChanger series without taxing the small NDHC staff. It will also provide us with an informal measure of the impact of the GameChanger in on the humanities in the state. Presumably more engaging events will spur ongoing interest.

As per usual on the blog, I’m interested in any and all feedback on these ideas. They are, as I said, just proposals; just my thoughts, man – right or wrong.

Curated versus Automated Revisits

There’s a good bit of buzz lately about Apple Music’s “curated” playlists, and TIDAL, my preference for a music streaming service, offers a range of curated music playlists as well. In general, the term curation, like crafted, artisanal, or any of the other tech-media, marketing buzzwords has come to mean that a human, rather than an algorithm has produced a collection. As many, many have observed, the term curation is annoying and overused.

But I still want to use for a little bit in reference to our work on the Western Argolid Regional Project. This morning, I took some time out of the field to start to analyze some of our finds and field data. We plan to revisit a few units before the season concludes and to collect some more material. Our hope is that these targeted revisits will help us both to refine our survey methods by offering some points to calibrate our sampling strategy, they’ll help us produce more robust assemblages of types of pottery that might only appear in very small quantities using our typical collection approach, and revisits will allow us to document archaeological features a bit more intensively than we would have time and resources to do over the course of intensive survey.


We target sites for revisit in three ways. First, our field teams can tick a check box and provide a brief explanation for why a particular unit is worth revisiting. Our ceramicists, Scott Gallimore and Sarah James, can also identify units as being interesting, important, or confusing and consequently worth revisiting. Finally, we can analyze data through our GIS and databases that target units with certain characteristics (such as low visibility with either high densities or diverse assemblages). Our revisit lists generated by team leader and ceramicists are not fortified by statistics, but generated through careful observations and total situational awareness. These units represent the slow archaeology approach to landscape and artifact analysis.

So far, it has been heartening to recognize that the lists of revisit units curated by our team leaders and ceramicists are remarkably consistent with the units generated from my analysis of our various databases. In fact, combining the curated list of unit with list of units generated through our analysis of GIS tend to complement each other by expanding the potential target units for revisit. As we nuance the criteria for revisit a bit over the next week, I’m sure that we’ll discover some counterintuitive units that will serve as tests of our archaeological instincts. For now, though, we’ll proceed into the final week of the season with just a bit of confidence that our experiences in the field and at the pottery tables reflects the complexity of our study area.

Adventures in Podcasting 8

This week, Richard and Bill welcomed their first guest into the studio: Andrew Reinhard. We convinced Andrew to talk to us about his research on Archaeogaming which is the archaeology in and of video games. We became particularly interested in his assertion that “meatspace” is no different than the virtual space of games. This, as you might guess, triggered some vigorous discussion that eventually devolved into Bill citing Pierre Bourdieu and railing against capitalism, Richard interviewing his 8-year-old son and comparing capitalism and video games to religion, and the homunculus who operates Andrew’s flesh robot almost leaping out of his head. Needless to say, a good time was had by all.

The opening and closing track on the podcast is 80-R’s Pacific Rim. You can listen to it in its entirely here.

Meatspace is a thing.

Over 19 million people have bought the PC version of Minecraft which is apparently Minecraft: Savior of Education and Marginalized Kids, according to the Fargo Forum.

There are only three characters you need to know about in Minecraft:

Steve– your default character


Herobrine– your nightmare:


Notch – the Creator:


Read a bit about Herobrine.  Then read a bit more.   This seems to be the ur-CreepyPasta.

Good lord, do you live in a box?  Learn about CreepyPasta.

And, well, we only briefly touch on him, but Slender Man is mixed up in the this a bit – he is the inspiration for the Endermen.  You should probably be aware of the tragic, bizarre and sad, Slender Man stabbing perpetrated by two 12 year old girls in Wisconsin.

A super-brief explanation of why Minecraft is so popular at Kotaku.

Richard’s son Matt reminded him that his prattle about Minecraft needs to be informed by an appreciation of DWARF FORTRESS. Fair enough.  Richard, a historian, responds ZORK – a version of which he played on the mainframe at CampVandyland a million years ago.  But Richard also concedes that Zork is not the same.

We don’t recommend going down this rabbit hole, but here are approximately 2,880,000 videos about Herobrine on YouTube.  (For perspective, Richard’s count is 19, Bill’s is 18, and Dionysus’s is 41,800).


Mancamp Moment of the Week:  ManCamps in Grand Forks, North Dakota!  It won’t be different in the sense that every type of workforce housing that exists in the world exists in Williston.

Writing and Publishing

I’ve spent a good bit of time this past month preparing the Punk Archaeology volume for publication (hopefully within the next week or so) and laying out the volume dedicated to a series of short posts from last year’s 3D Thursday series of blog posts.

At the same time, I was thinking about this year’s series of posts on craft and archaeology, and it occurred to me that the process of managing a book from writing, to contributors to lay-out, represents an artisnal approach to production. As the artisan, I’ve managed just about every step in the process layout, with the appreciation that my late friend Joel Jonientz did much of the basic conceptualizing of the punk archaeology, cover design, and laid out the first draft, and Andrew Reinhard and Brandon Olson have done more than their share of copy editing for Punk Archaeology and 3D Thursday respectively.

PunkA cover 1

Here are some of the things I’ve learned:

1. Book layout is hard. It has taken me endless hours of fussing (and still more on the horizon) to get the basic layout of the book right. Things like gutters, margins, and overset texts have become a preoccupation. I still can’t get pagination right: who realized that chapters almost always start on odd numbered pages? It has taken me weeks of fussing to get things right for even a relatively simple book design. If the technical details are not complex, the execution is.

2. Book production is invisible. While I’ve been laying out my own books, I’ve also been editing page proofs for Pyla-Koutsopetria I: Archaeological Survey of an Ancient Coastal Town for the ASOR Archaeological Report Series. As I’ve carefully re-read the text and made small corrections here or there throughout, I got to thinking how relatively invisible book designers, layout people, and even copy editors are within the system of academic production. So many of us academics consider ourselves sensitive to the various inequalities intrinsic to the various systems at play in our worlds. At the same time, I’ve never seen a particularly spirited defense of those folks who participate in the publishing industry below the levels of the clearly evil corporate overlords who spend their days converting the fruits of academic labors to the fruits of their table.

(With not a little embarrassment, I remember enabling a co-author to rewrite a good chunk of an article at the stage of page proofs, and the editors and production folks, through gritted-teeth, accepting our requests. As someone who is now spending time on the production side of publishing, I am becoming more and more aware of how our late-game creative decisions do not exist in a vacuum.)

3. The Heterotopia of Independent Publishing. Over the past few years, the potential of self or independent publishing has emerged as a largely unrealized threat set against the worst abuses of the academic publishing industry. As a blogger, I’m sure that I’ve expressed and even acted on some of those threats by pushing out pre-prints, sacrificing time that I could be spending producing products for publishers to make my ideas accessible on my blog, and by, finally, using my blog platform as an incubator for content that I will eventually publish with my low-fi press.

New Digital Press logo

At the same time, by actually following through on becoming an independent/self-publisher, I’ve realized how much time and energy goes into the production process. The time and energy involved in preparing a manuscript for publication redirects my work flow from writing toward editing, layout, correspondence, and even financial matters. The result of this reassignment of energy is that I will be a less productive scholar – at least for the foreseeable future. 

If our concern is making scholarship accessible to a wide audience in an efficient way, self and independent publishing represents a way of streamlining the appearance of scholarly works in print and cutting through a certain amount of corporate overhead. On the other hand, it shifts the burden of production closer to the hands of the author (and much of this burden is invisible in traditional, corporate model of academic publishing). 

Another View of Ghost Towns, Process and Product

My colleague Prof. Cindy Prescott generously offered this response to the my conversations with Troy Larson. 

Bill’s previous blog post and Troy’s response raise interesting questions about intellectual property and the relationship between academic and public history. Many researchers in the hard sciences worry constantly about being “scooped.” Historians (and people in the humanities in general) tend to worry far less about this, since we tend to be pursuing lines of inquiry that interest each of us individually, rather than all working toward common goals or on common problems (say, curing cancer). And the nature of historical research and publishing also means that the timeline is much slower — which is perhaps made possible by the fact that we’re less likely to be trying to beat each other to publish the same material.

Academic historians have traditionally staked a claim to their chosen research topics at conferences, which (sometimes) have a shorter lead time than do historical journals, let alone coveted monographs. But in my experience, historians generally value conference presentations for the opportunity that they represent to receive feedback from knowledgeable people who can help us to hone our arguments, more so than as an opportunity to stake a claim to a particular topic. Thus you are willing to share your database, because you believe that other trained scholars will bring their own perspectives to bear on that data and produce interesting arguments that enhance, challenge, or perhaps refute your findings. As an academic historian, you are free to welcome such challenges and refutations, precisely because you have already received the substantial benefit of a Ph.D. diploma and a tenure-track job on the basis of your interpretation of the data.

Likewise, I published a book based on my dissertation that will never make me a single cent, and I’m OK with that, because I didn’t write it to make money. I wrote it so that I could get and keep a job at a university. And I would gladly share the database on which I based part of that book — should it be useful to anyone else without me having to go back and bring order to my crazy notes — because I’d welcome different interpretations of that data. The worst that would happen to me is that someone might publish something that refutes my book and discourages people from buying the remaining stock of my book before it gets remaindered. Either way, I’m not getting any cash out of the deal, and it wouldn’t take away my tenure.

Blogs and other internet materials raise these questions precisely because they welcome engagement by the general public, who do not operate within the terms of academic scholarship. As I understand it, Troy Larson has been willing to share his images and ideas online not only because he’s generous, but also because he seeks to benefit from sharing them with an audience in much the same way that an academic traditionally has benefitted from presenting at academic conferences: (1) he gains an audience for an intended publication, and (2) he gains information and perspectives from others that will strengthen that publication. An academic historian wants very similar things, but ultimately seeks different long-term benefits. Academics, then, can afford to be more generous with data than can public scholars. As faculty at a public university, we’re essentially being paid to do so.

I’m intrigued by your comparison to borrowing from someone else’s class syllabus. For all that we insist on intellectual property rights to our teaching, I think that most academics will willingly share the reading lists for their classes. Indeed, we tend to borrow from one another’s reading lists, seeking the tried-and-true rather than to be cutting edge in terms of reading assignments. I suspect most college instructors would be somewhat more hesitant to share their lectures or active learning assignments, but even these we are more willing to share freely. We tend to think of teaching as a more collaborative experience — perhaps because no one is going to publish my lesson plans or give me tenure on the basis of those lesson plans. But perhaps more importantly, it’s because even someone who had my lecture notes would still have to stand up and deliver that lecture — and it would sound and look different from what I deliver in class.

I think that intellectual property concerns get raised far more often — and appropriately so — when it comes to the realm of online teaching. While a grad student could certainly deliver a lecture drawn from my lecture notes in their own course, that feels different to me than having someone else launch an online course using lectures that I had typed/videotaped/tegrity-ed. Because then they’re not just delivering a lecture based on my content (which in turn is based on information drawn from mainstream textbooks and materials). But my personal objection would come less from their cribbing of my ideas (which I had quite appropriately gathered from published sources in the first place, and in which I generally am not trying to make an original argument), and more from the sense that they are cheating and stealing my work. In other words, my objection comes not from them borrowing my content, but from them using my hard work without me benefitting. Why this is OK when sharing lesson plans but not OK when copying lectures, I’m not entirely sure – especially considering that I generally dislike lecturing, and am far more invested in, and am more proud of, my active learning assignments. I suspect that it is because I tend to view sharing ideas/plans for active learning assignments as part of the larger project of intellectual exchange that is one of my favorite parts of a career in academia (and that sharing tends to strengthen my other favorite part of an academic career: having an impact on student learners). But to copy a lecture wholesale feels like stealing or outsourcing my work (something that might allow the university to replace me and my tenure line with a cheaper teaching assistant or adjunct), rather than engaging in an intellectual exchange. I suspect that non-academic researchers like Troy Larson, who are depending on their information-gathering to make a living, would see someone else using their database more like I would look at someone else delivering my pre-recorded lecture content – particularly if the people using the data are supported by a larger structure such as a public university. While I am fearful of having my material “stolen” (used extensively) by someone who would teach for cheaper (a grad student or adjunct instructor), Troy Larson appears fearful of having his material “stolen” (used extensively) by someone who might be far better paid, but whose paycheck is primarily supported by their other services to a large research university.

Ghosts Towns, Process, and Product on the World Wide Web

I had originally intended to write about the local humanities this morning, but I was distracted by an interesting little discussion on the internet. A local author, Troy Larson, took issues with a website produced for a class offered by Tom Isern, a historian at North Dakota State University. Tom had designed the class, as far as I can recall, to produce a catalogue of North Dakota “Ghost Towns”. Troy Larson is the local expert on North Dakota Ghost Towns and has published a couple of coffee table books on the subject and maintains a remarkable blog called Ghosts of North Dakota. By all means, go and buy his book and surf his blog. They’re both pretty cool things.

Update: Troy has responded to my post here, and, better still, included a link to his original thoughts on the issue here with screen shots.

The website prepared for Tom’s class had a list of ghost towns on it with a series of links to Troy’s blog. From what I gathered, these links were designed to get students started on Tom’s larger ghost town project. In general, Troy has dedicated his blog to photographs with very short historical sketches of the towns with a bit of census information and some notes about local postal service. Most of this information is available in one way or another on the internet. In many cases former and even current residents of these towns make comments on Troy’s blog. In short, Troy’s blog is one of the best points of departure for research on small places in North Dakota. 

The kerfuffle began when Tom’s class page pointed to Troy’s blog as a point of departure for student research on ghost towns. Apparently, the goal of Tom’s class was to produce a book or part of a book on abandoned places in North Dakota. From what I understand that goal has not been achieved yet so there is no final product. The internet, as this blog is ample evidence for, provides access to process, however, and Troy objected to the process that Tom’s class was using to start their research. And then this all hit Facebook and got pretty exciting for a couple of days. 

This is an interesting problem on two levels. First, it demonstrates two fundamentally different ways of viewing information made available on the web. Troy naturally feels protective of the work he has invested into an impressive resource that he generously made available on the web. I can’t really say for sure what Tom’s motives are, but I suspect they were similar to mine when I created an index to my History 101 class that consisted entirely of links to Wikipedia. If a resource is available on the web, I feel pretty comfortable deploying it for whatever schemes or goals I have in mind. (Tom is a sometime reader of this blog and is known to have a wry smile about many things in life, so maybe he’ll post a comment).  

In fact, much of my academic career has been dedicated to creating resources that I hope other people will do more with than I have. For example, I included a catalogue of over 200 churches in my dissertation, and it is available for free for download via Ohio State’s library catalogue. I fully (and optimistically) expected someone to use my catalogue to produce their own studies of Early Christian basilicas in Greece. In fact, I think the enduring value to my work is probably not the analysis (which will always represent strains of thinking grounded in a particular time and place), but the catalogue, which will hopefully represent a resource for the next generation of scholars. David Pettegrew and I have made available a photographic catalogue of houses at the site of Lakka Skoutara in the southeastern Corinthia and our data from our work at Pyla-Koutsopetria on Cyprus.

From what I understand, and please Troy correct me here, is that Troy objects to his project being used as a sources of data for another similar project. Since the internet provides a kind of transparency of process, he was able to see how another group was using his “data” and object prior to the appearance of a final product that may or may not compete with his work. 

Much of the debate on Facebook centered around matters of etiquette. Troy was particularly put out that Tom did not ask for permission to use his content as a point of departure for his class. I’ve had a few scholars ask for permission to use my dissertation catalogue, but this is hardly necessary.

Perhaps a better point of comparison is that I ask people who read and cite my working papers to ask permission by including in bold across every page: “Do Not Cite Without Author’s Permission.” This is largely because most working papers get updated regularly and a more current copy of a paper might exist or the paper gets published and a more stable citation exists for the same content. I suppose Troy could ask people who want to use his content or link to his page to ask permission, but I am not sure that this would do anything but limit the reach and audience of his work.  

The debate is still simmering on Facebook as I write this post and with any luck Troy and Tom will comment here to clarify their positions. What interests me the most is seeing how the relative transparency of the internet has created new social expectations. I think back to my largely pre-internet graduate school days where certain resources like A.H.M. Jones’ Later Roman Empire (1964) or well-acronymed Oxford Dictionary of Byzantium served as guides for many issues in the Late Antique world. Neither Jones nor Khazdan could know, of course, if we were using their work and its hard to avoid the idea that many recent books and encyclopedias on these topics used the exhaustive efforts of Jones and Khazdan as a guide. I wonder whether Troy would have felt different had Tom used a paper syllabus and assigned copies of Troy’s books as a guide for his class? Would Troy have ever even known?

I also wonder whether the relatively small and tight nit community of scholars interested in North Dakota also played a part in how this particular controversy took place? It seems like Troy was particularly offended that Tom didn’t ask or contact him before linking liberally to his blog. The courtesies, much like waving on a lonely rural road in North Dakota, are the kind of thing that happens regularly in small communities where people know one another and both Tom and Troy live in Fargo. I wonder whether Troy would have felt the same way if Tom was a professor at, say, the University of Texas or University of Queensland in Australia?

Finally, it is interesting that some of the rhetoric (and I’ll ask Troy to clarify this, if he thinks I’m mischaracterizing him in any way) is grounded in the difference in how academics and non-academics see resources made available on the web. As we academics explore small, privately produced collections  on the web (many of which are curated by antiquarians like Troy), we will have to think more carefully about how we use these resources both to respect the significant investment of time and energy that they involved and to transfer their value effectively to an academic context.

I’m reluctant to see either Troy or Tom in the wrong here, but this little controversy (by the standards of the internet) reminds us how far we are from understanding how this media works even after in the 25th year of the World Wide Web Era. 

Day of Digital Humanities 2014

Today is the long awaited Intergalactic Day of Digital Humanities. While we have not heard whether we’ll be joined by any off planet humans and the usual uproar about whether “the humanities” are offensive to non-human lifeforms has yet to flair up, I commend the organizers for melding together humanocentric jingoism with a open-armed inclusiveness. The digital humanities are, after all, big tent.

My posts today will appear here.

But I’ll keep a little updated index on this page so none of my regular readers will miss out.

A Digital Morning
Digitally Mediated Learning
The Afterlife of Old Media
The Keymaster and the Gatekeeper

An Article Abstract on Archaeological Blogging

Over the past couple years, I’ve been turning over in my head an article idea about archaeological blogging. I have written a good bit on my blog about the virtues and prospects of writing about my research and teaching on a nearly daily basis, but I’ve so far found it difficult to wrap my various ideas (reflexive, reflective, and otherwise) into a cohesive argument.

I tried with this thing, but it’s hard not to see it as a mess.

So with the open invitation to contribute something to an Internet Archaeology volume dedicated to blogging and edited by the spectacular Colleen Morgan, I decided to take another stab at it.

My biggest struggle is attempting to understand how blogging in the archaeological community fits into the larger trajectory of blogging and publication on the web. I started with the  idea that blogs began with the promise of creating communities on the web (even before social media). The blogroll and sharing links established communities of likeminded readers. At the same time the regular, daily posts that tended to be short, filled with links, and informal created some generic expectations that many bloggers followed.

More recently, however, I have this feeling that blogging – as Jason Kottke has observed – is (not) dead, and in a period of transition as the traditional practice of ordering posts by days gives way to more elegant and topic organization of content. And the long form potential of the internet has challenged the dominance of short informal notes. Sites like Medium may not be the precise way forward, but its hard to avoid thinking that they are the general direction that online, personal publishing will go. In archaeology, being traditionalists, we may continue to blog in a chronological format drawing on longstanding models from the archaeological notebook or field dispatch. But as we have started to use our web presence for more than just regular reports from the field, we may begin to think about how the blogging platform fits can contribute to larger enterprise of reimagining publication.

So here’s my abstract for now:

From Blogs to Books
Blogging as Community, Genre, and Platform

Looking back at my first efforts to describe the blogging phenomenon among Mediterranean archaeologists in 2008, I was reminded how the work at the intersection of blogging and archaeology defied simple characterization. At the same times, blogs created communities of readers and allowed for public experiments with the traditional generic conventions of academia as bloggers reflected, speculated, and annotated their experiences. The speed of blogging, the networks it created and relied upon, and the range of different functions blogging served from public relations to academic notes, initiated a key reimagining of our professional discourse by the archaeological community.

In recent years, archaeological bloggers begun to move the platform used for blogging in the direction of a new forms of archaeological publication. It is worth noting that there is nothing inherent in the technology of blogging that makes it incompatible with academic publishing. In fact, even the casual, conversational style of an informal blog post can echo the style of the more academically respectable conference paper. Moreover, new platforms like Medium dispense with the rigid chronological formatting associated with blogs and provide graphically sophisticated and appealing final product. More importantly, these new forms offer both a speed of delivery absent in traditional print publications as well as space for interaction between author and audience and can accommodate audio, video, and interactive media that are only now being incorporated into the more digital versions of traditional journals.



Working Group in Digital and New Media Open House and Press Release

Over the past 5 years, I’ve been active in a group called the Working Group in Digital and New Media. This is a cross-disciplinary, cross-college, and cross-campus group of scholars whose work touches on digital methods, media, and approaches to problems in the arts, humanities, and sciences. 

Each year, to attract new members we do a Fall open house and make a press release. It is often my job to prepare the press release. Here it is for the 2013 open house:

On Wednesday, November 6th, the Working Group in Digital and New Media will host its 4th annual open house in its laboratory space in O’Kelly Hall from 11 am to 1 pm. The Open House will feature works-in-progress by members of this transdisciplinary collective of scholars from across the University of North Dakota Campus. 

The open-house will provide demonstrations of Travis Desell’s Wildlife@Home project, the digital music of Mike Wittgraf, Tim Pasch‘s innovative digital outreach in, to and from Indigenous Arctic communities, and Rick Van Eck‘s latest work to use computer games to introduce students to STEM disciplines. Paul Worley will be on hand to discuss his new monograph which makes important contributions to how we understand contemporary Mayan performance in the digital world. Crystal Alberts’ will present her interdisciplinary collaboration with Katia Mayfield, a Ph.D. candidate in Scientific Computing, James Merrill’s “Lost in Translation” Piecing together the Puzzle. Wilbur Stolt will discuss how the Chester Fritz Library has become a key space for digitally mediated interdisciplinary collaboration between faculty, staff, and students. Joel Jonientz, Kyle Conway, and Bill Caraher will introduce the first two volumes from the The Digital Press at the University of North Dakota, a laboratory press that will curate original research in digital and print forms. For the 2013/2014 Academic Year, the Working Group will host an innovative speaker series featuring global leaders in digital technologies and approaches.

“Over the past 4 years, the Working Group has become a regional leader in digital innovation in the arts and humanities,” Joel Jonientz remarked. “The members of the group refuse to be fit into disciplinary boxes or conform to outmoded expectations of what it means to be a scholar in this or that field.”

Founded in 2008, the Working Group in Digital and New Media pioneered the vision of Exceptional UND by facilitating collaborative research in a dynamic gathering space. The uniquely collegial environment of the Working Group encourages faculty and students to experience the digital world as a means of expanding and enhancing their academic, regional, and global community.


Data, Blogging, and the Art of Digital Publication in Archaeology

Last week, I mentioned that I was invited to write something for our local literary journal on digital art, presumably, in the field of archaeology. I decided to take idea of art broadly and focus on some transformations in the world of archaeological presentation and data collection. More importantly, for me, is that I decided to try to write in a reflective and reflexive way about my experience as a blogger. This is very early draft of this effort. It’s due on November 15th, so I’ll have to try to get something more substantial and sustained together soon.

In 2007, I began a blog called the Archaeology of the Mediterranean World (available here in archival form). The goal of the blog was to publicize my research on Cyprus particularly the work at the Pyla-Koutsopetria Archaeological Project (PKAP). I wanted to think in public space and bring an interested public closer to the experience of archaeology. The daily blog seemed to be a great way to post regular dispatches from both my desk work and my field work. At first, I dutifully posted a few times a week, but before long, I was posting daily. My dispatches started as regular updates on our work at PKAP along side some cursory comments on my research and professional activities to a repository for fieldwork updates, conference paper and article drafts, research quandaries, essays on various topics, and increasingly common guest posts on topics ranging from archaeological publishing to 3D modeling and punk rock. Over this time, my blog developed from a few hundred views a week to over 100 per day and gained a degree of notoriety in my profession.

2007 were heady days for blogs. They still dominated the way in which individuals distributed content on the internet. Social media, like Twitter and Facebook were in their infancy, and hybrid services like Tumblr which streamlined the social sharing of content among its users was born the same year. Even the mighty YouTube was still relatively uncharted territory among content producers. Blogging was king among Web 2.0 pioneers and the ability to almost instantly modify the appearance and content of a website attracted a generation of intrepid academic content producers. (I discussed a good bit of the origins of blogging in general and in archaeology here.)

Of course, some remained concerned that an unfettered medium like blogging could undermine the professional standing of a young faculty member. At the same time, others began both to discuss blogging in academic publications and to embrace its potential as a publishing platform. My own efforts to understand the medium in which I was working were tentative and halting. A good bit of self-censorship was involved, and I only engaged other academic bloggers or scholarship in general in a superficial way. Once I was on staff at the American School of Classical Studies at Athens, a gentle reprimand about a slightly impious post further discouraged me from doing much more than providing a travelogue of my time in Greece and various notes about “goings on”.

By 2008, however, a growing confidence in the blog as a medium and perhaps a developing awareness of its potential emboldened my blogging efforts. I was committed to being more transparent in my presentation of our archaeological work. I announced our idea that we had discovered an Early Christian Basilica at the site of Vigla, published some short video productions, and posted more regularly from the field. The use of podcasts from the site, almost daily updates, and more regular photographs, brought our viewers closer to work and exposed them to the vagaries of real archaeological research. Our “Early Christian Basilica” ended up being a Hellenistic fortified settlement by the end of the summer and the blog had exposed a major interpretative mistake.

By 2012, attitudes toward blogging had changed and new approaches to the immediacy of the archaeological experience had emerged. We had begun to use Twitter in the field and to collect data from our trenches using iPads. With Twitter we encountered the immediacy of engaging our network of stakeholders, colleagues, and viewers. With the iPads at trench side, we began the fraught process of directly digital data collection. This opened the door to communicating with our archaeological community not through the interpretative lens of the blog or even the truncated expressions of Twitter. The opportunity to push trench-side results directly to a global audience creates a new way to communicate the immediacy of archaeological discovery to the world. There is no middle step of interpretative or peer-review and mistakes are visible on the edge of the trowel. Data becomes immediate and transparent.

Publishing data directly from the edge of the trench is probably still a ways off and a cultural change away. Archaeologists still follow the traditions of social science in their need for neat and tidy data. The hasty conclusions set out in blogs and the immediate, trench side, analysis present in new digital notebooks pushes the social aspects of archaeology from the meeting among staff members to a larger community. In this context, the archaeological process become transparent and ownership of the results moves from the intimate confines of the project to the universal domain of the web community.

From the opposite perspective, the limited and specialized academic community has begun to find ways to integrate traditional practices of peer review with the more dynamic space of Web 2.0 content and born digital data. The result is a hybrid space of engagement that recognizes the persistent value of peer review, but also lays bear the process and accommodates the dynamic potential digital content.

I have recently begun to experiment with using my blog to introduce and serialize a print publication. From October to December, I have featured a series of guest posts from scholars around the world on issues related to 3D imaging in archaeology. These posts will eventually form a small volume produced very soon after the last blog post appears. The advantage of this approach is that it can accommodate the rapid pace of change in the world of 3D imaging by immediately circulating the results of very recent work in this area. The ability to post comments or even Tweet responses to these contributions using a designated hashtag (#3DMedArch) exposes these articles to a kind of public peer review. A digital and print-on-demand publication after the last post appears will include any comments or Tweets that shed critical perspectives on the posts. A final publication forms a “publication of record” that conforms to traditional expectations, but the entire process was more transparent and dynamic.