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Catalogers as Authors, Metadata as Annotation

Zine Union Catalog logo: cat paw fist over an open zineLauren and I are proposing a coordinated final project where we will work in parallel, each of our research and analyses benefitting the other, with paired annotation an integral part of the process. Our project will focus on our Zine Union Catalog, which we’ve been working on together since Spring 2017 in the second semester of DH Praxis, taught by Lisa Rhody. We continued through ITP I and II and then Data Visualization this summer.

We are coordinating, rather than directly collaborating for reasons of time. We hope to experiment with the idea of working together in parallel, letting one another’s processes, interests, strengths as researchers and analysts, as well as the feedback we’ll provide one another inform our work.

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Benny the History Pin Map

Map of publication locations of Benito Cereno

I am in the maps group with Anthony, Kat, Lauren, Lisa, and Raven, but it’s possible that my project relates more closely to the reception history group. I became interested in Benito Cereno book covers (rather than focusing on some element of the second installment of BC, as originally published in Putnam’s Monthly, which is what I had planned to do) and decided to try mapping them using History Pin, which I learned about from my library’s Digital Scholarship Librarian, Madiha Zahra Choksi.

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Note-Tweeting

In an earlier post or maybe in an annotation I observed that I’ve become more interested in tweeting reactions to a text than in taking notes. While reading “Note Taking as an Art of Transmission” by Ann Blair, I highlighted and commented in the pdf, took a few notes, and tweeted thirteen times. As it happens, one of this week’s other readings, “As We May Think,” by Vannevar Bush is something I read last year for ITP, highlighted and commented on, took a few notes, and tweeted.

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Jenna’s Bartleby Story

The process of making the computer voiced Bartleby was frustrating, and perhaps rewarding for overcoming the frustration. Within our group we had differing interpretations of the text and therefore had to work to come up with a concept that satisfied us all. It seemed that we were all down with the using computer voices for the characters other than Bartleby as a metaphor for the machine of capitalism. However, some group members had more sympathy for the narrator than others. Through our meeting before class last week I felt that we were at an artistic impasse. While that was no fun, once we’d arrived at a solution, I felt a real thrill at having worked through issues.

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Bartleby the Liberated Audiobook

Call me lazy, efficient, or a sneak: I doubled-dipped on this week’s homework and listened to Bartleby the Scrivener, read by Bob Tassinari. Part-time grad students who are full-time workers, amirite? Bartleby was my first Melville and my first audiobook. I’m not the best aural learner, and I rarely read books older than me or authored by men and even more rarely books by white men. We all gotta fight the patriarchy and systemic oppression in whatever ways work for us, right?

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It’s Not Them, It’s You: Evolve or Sigh

This is my seventh class in the MALS-DH and now MADH program, and I’ve taken both DH Praxis classes and both Interactive Technology and Pedagogy classes, so I’ve done a lot of reading and thinking about evolving modes of research, creating, and teaching. I was going to use the word “new,” rather than “evolving,” and thought better of it. I prefer to think of the works we read this week as commenting on a continuum of praxis, as opposed to the world wide web world as an environment that never existed before. I’m just putting together how the history of the book is relevant to this discussion–or maybe, as Jeff presented in our class introduction, the history of the material text.

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