In the end, I decided to frame rights in the context of "rights-making" and "rights-taking." By "rights-making," I asked the students to reflect on the fact that civil, human, constitutional, etc. rights are always made in a historical context. In practice, rights are never constant. They are negotiated, claimed, and fought for. By "rights-taking," I wanted them to think about how, in these historical contexts, rights are taken (i.e. claimed) by activists or taken away by those with power. Rather than working from a history-of or a taxonomical approach to rights, we would focus on rights as an assemblage of ideas, concepts, social relations, symbolic forms, claims, laws, practices, and materialities in motion.
Read MoreIt must be that time of year again. Politicians on the right are lining up to censor history— specifically, what texts can be used in the classroom. And, once again, they’re pulling out their copies of Howard Zinn, shaking them in the air, and decrying writers who challenge their triumphalist versions of U.S. history. This time it’s the president—a person who, I can say with relative confidence, has never read more than a few pull quotes from the book.
Read MoreIn this selection from a module which teaches them about the concept of the “Lost Cause,” I try to help students better understand the overt and subtle ways in which the myth of the “Lost Cause” is embedded in the contemporary cultural milieu. In this section, I have them focus on the “antebellum imagination”—a way of thinking that effaces the history of enslavement and violence and instead imagines a glorious period of great houses, refined manners, and fancy dress.
Read MoreCentral to any historical work is reading, interpreting, and analyzing texts (whether these texts are written, visual, audio, etc.). Because of this, historians have to read texts very closely, sifting for valuable information and clues.
This course module has been created to help students better understand the nature of disinformation, misinformation, and mal-information.
Read MoreMy assignment is to introduce students to critical theory…in two weeks…
Read MoreThe COVID-19 Oral History Project has teamed up with the Journal of the Plague Year (JOTPY) project to make these oral histories about the experience of COVID-19 available to the public. Among the items created through this collaboration is our Oral History Training Module. The first version of this module is available in Canvas through Indiana University.
Read MoreThis essay, “The COVID-19 Oral History Project: Some Preliminary Notes from the Field” reflects on C19OH as a rapid response oral history project – how the research team conceived and implemented it, both in the field and in the classroom, and how they continue to transform it in response to practical concerns and ethical frameworks.
Read MoreFuture Remains and A History of the World in Seven Cheap Things are valuable, critical contributions to the literature on the Anthropocene—a literature that has become increasingly vast over recent years…
Read MoreLaura Holzman, Pam Napier, and I co-host the Art+Ethics Seminar several times a semester. Since we’re online this semester, it’s easier to record.
Our last event was on April 20, 2020 with the amazing Dr. Kelli Morgan. We’ve uploaded it, and you can watch it here.
Dr. Kelli Morgan is Associate Curator for American Art at Newfields.
Read MoreThe COVID-19 Oral History Project is one of several research projects in which historians and museum curators are collecting stories about the lived experience of COVID-19. This important work is being contextualized by journalists, who see the importance of this archiving work for future generations.
Read MoreWe developed The COVID-19 Oral History Project to allow professional researchers and the broader public to create and upload oral histories about the lived experience of COVID-19 to an open access, open source database.
Read MoreThis post provides ten tips on how to create and manage an effective online discussion forum for students. I’ve also included an example assignment for an intro level course.
Read MoreThis tutorial builds upon our teaching modules that explored Google My Maps and Google Earth. In it, I will introduce Leaflet.js—a javascript-based program for hosting maps on your website.
Leaflet.js is open source and provides quite a bit of functionality that goes beyond the basic features of Google Maps. And, for those who wish to host maps on their own websites, it’s a relatively simple and low-cost option.
In this tutorial, we walk through a series of steps to understand the basics of Leaflet.js. The tutorial provides an example of how to create a basic map using a georectified historical map from MapWarper and a kml layer that we create in Google My Maps.
Read MoreThis post introduces teachers and students to the process of georectifying maps so that historical maps can be used in programs such a Google Earth, QGIS, and ArcGIS. It provides a step-by-step tutorial on how to find historical maps, georectify them, and output them for use in research and in the classroom.
Read MoreThis post teaches you how to embed responsive YouTube videos into your web page.
Read MoreAt the core of Historical GIS are latitude and longitude coordinates. When you are first getting started, it’s not always obvious where to find these coordinates. The video below provides you with a simple way to track down latitude and longitude for any location around the globe.
Read MoreAs more scholars have engaged in the digital humanities—and as this scholarship has become an increasingly prominent part of promotion and tenure cases—it has become incumbent upon professional organizations and university departments to educate faculty on 1) what we mean by digital humanities and 2) how to evaluate faculty research in the digital humanities.
This post is a brief introduction to the digital humanities (a.k.a. DH) for university faculty whose responsibilities include reviewing promotion and tenure cases.
Read MoreToday, I am going to work with you on some basic audio editing techniques. As you will remember from class, we could use any number of programs to edit, such as GarageBand or Audacity. Since we all have a free subscription to Adobe Audition, I am going to demonstrate with it.
While the techniques that I am showing you today look different in different programs, all audio editing programs have the functionality that I am demonstrating.
Read MoreWe’ve finally gotten to microphones. A quality microphone might be the most important factor in creating a good recording rather than a bad recording.
I have already talked about onboard microphones a bit in the first entry in this series on recording devices. That’s pretty much all I have to say about built-in mics. They’re fine for getting the job done—if content is more important than quality.
For many public history applications, we would much prefer to have great content and a quality recording. To do this, we need good microphones that are set up so that they record what we want them to record and ignore what we want them to ignore.
Read MoreIn this second installment for “Digital Audio for Public Historians,” I want to have a look at one of the basic recording options available on mid-range recorders: the option to have a mono or stereo recording. We will use sample recordings from the 1960s to illustrate a few key principals, including recordings of James Baldwin, The Beach Boys, and The Beatles.
Read More