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Interdisciplining Digital Humanities
Interdisciplining Digital Humanities
Boundary Work in an Emerging Field

Julie Thompson Klein

University of Michigan Press

Ann Arbor
Copyright © by the University of Michigan 2015
Some rights reserved

This work is licensed under the Creative Commons Attribution-­Noncommercial-­

No Derivative Works 3.0 United States License. To view a copy of this license, visit
http://creativecommons.org/licenses/by-­nc-­nd/3.0/ or send a letter to Creative
Commons, 171 Second Street, Suite 300, San Francisco, California, 94105, USA.
Published in the United States of America by the
University of Michigan Press
Manufactured in the United States of America
c Printed on acid-­free paper
2018 2017 2016 2015  4 3 2 1
A CIP catalog record for this book is available from the British Library.
DOI: http://dx.doi.org/10.3998/dh.12869322.0001.001

ISBN 978-­0-­472-­07254-­5 (hardcover : alk. paper)

ISBN 978-­0-­472-­05254-­7 (pbk. : alk. paper)
ISBN 978-­0-­472-­12093-­2 (e-­book)
Gail Ryder, who created the cover art, is a graduate of the Master’s in
Interdisciplinary Studies program at Wayne State University and an Associate
Professor of Humanities at Siena Heights University where she teaches liberal
arts courses and composition—online. Bringing her classroom to the virtual
world has given her the opportunity to merge a strong interest in the visual arts
with her passion for curriculum development. Her newest creation is a course on
the Harlem Renaissance. In her spare time, she works on collages, multi-media
journals, and one-act plays about the locker room at the local YMCA.
We are by now well into a phase of civilization when
the terrain to be mapped, explored, and annexed is
information space, and what’s mapped is not conti-
nents, regions, or acres but disciplines, ontologies,
and concepts.
—­John Unsworth, “What is Humanities Computing and What
is Not?” 2002, http://computerphilologie.uni-muenchen.de/
jg02/unsworth.html
 Foreword
Cathy N. Davidson

Julie Thompson Klein has written a capaciously definitional book. By that

I mean, at this crucial moment in the formation of the many fields that,
together, intertwine to be called “digital humanities,” Klein provides an
invaluable guidebook that resists the temptation to restrict and, instead,
invites exploration. Interdisciplining Digital Humanities: Boundary Work in
an Emerging Field challenges the reader to not only visit the intellectual
bounty across, around, and in and about digital humanities, but also helps
us to explain its evolution. How did we get here? Where are we now? How
far can we go? For an emerging field to become an established field, this
work marks a necessary and vital contribution at the right moment.
This book will have many audiences at once and is the rare publica-
tion that actually keeps those multiple audiences in mind. Whereas most
books that have this level of sophistication do not explain their found-
ing principles, Klein patiently (and provocatively) explicates the basics—­
keywords, disciplinary inheritances, historical legacies, originating voices.
We are never left to feel as if there is a conversation happening and we are
not part of it. Rather, by analyzing the deepest assumptions and principles
of the field, Klein also brings the reader up to speed, allowing us to run
along when she makes her most demanding and expansive case for the
way interdisciplinarity forms digital humanities and the way the digital
humanities offer a new formation to classic accounts of interdisciplinarity.
This book should be required reading for anyone interested in the digi-
tal humanities, beginning student or founding figure. Its appreciations are
 viii / Foreword

wide and original. That means Klein makes the best case for the impor-
tance of the field and shows us how some of its most seminal debates,
arguments, differences, and disjunctions have, over the last decades now,
helped to form its vibrancy, relevance, scope, and impact in the academy
and in the more public intellectual work of museums, libraries, and other
civic spaces.
To my mind, one of the most important audiences for this book sits
on academic committees that judge the quality of work produced within
it. Especially for those who make hiring, tenure, and promotion decisions,
Interdisciplining Digital Humanities is indispensable. In the academy, we
are often called upon to judge the integrity of research outside our own
field of expertise. We often rely upon peers we trust for judgment and
those peers may or may not carry our own prejudices and predilections as
part of their judgments. When a disciplinary boundary is traversed, it can
sometimes look, to the more clearly defined disciplinary peer, as if it has
been violated, ignored, or, in the case of junior colleagues, not yet been
mastered. Klein helps those who do not understand the digital humanities
to see how they, in fact, can both contribute vitally to central disciplines
and also work through the assumptions at the heart of those disciplines,
including methodologically. Digital humanities do so not out of naïveté
but out of the interdiscipline’s own generic needs. A literary professor do-
ing a close reading of one novel, for example, may not need to know how
to use or design algorithms for network analysis; a digital humanist under-
standing word clustering in 200 nineteenth-­century British novels most
certainly does. The outcome of this second kind of work may well also
be a critical interpretation of texts, but that final analysis is by no means
the only part of the process that is of intellectual significance. In the man-
ner of many fields in the quantitative social sciences, the process on the
way to the analysis is itself something that needs to be carefully, clearly
documented and, in the end, is something also to be evaluated by those
determining scholarly contribution.
Klein defines the contours of several fields—­from computation to data-­
driven or “Big Data” analysis to visualization on the “digital” or technology
side and to the full array of the humanities and interpretive social sciences.
More importantly, she shows how, in the digital humanities, it is often the
combination of and interplay between and across fields that results in the
most exciting work—­including work that requires a “meta analysis” of the
fields themselves.
 Foreword / ix

For example, in addressing the formidable contribution of the jour-

nal Vectors, including its summer programs where scholars and designers
worked together to learn about one another’s respective fields in order to
learn how to collaborate, Klein shows the merging of different media, dif-
ferent vocabularies, different expertise, and even different ways of “seeing”
the world that are key to the digital humanities. Klein notes that what
emerged in the Vectors seminars were “bottom-­up . . . conversations about
how scholarship might be reimagined in a dynamic digital vernacular. The
outcome is not a pre-­determined tool for delivery.” She notes that the
result of the Vectors seminars is not just an exploratory, multimodal pub-
lication but a cadre of trained interdisciplinary collaborators plus an array
of tools (the middleware package, the Dynamic Backend Generator) that
allow those collaborators to work together in a digital environment.
In walking us through examples with such patience, Klein shows how
interdisciplinary is this field of digital humanities in its practices, its tools,
its methods, and its publications. She also shows how all of those things—­
practices, tools, methodology, publication—­are the object of study of the
digital humanities. Vectors is not just a major scholarly publication, in other
words, but an entire process that helps us to think about what we mean by
“major scholarly publication.” The published article, in other words, is by
no means the only finished product of the research. The development of
the middleware itself is part of the research, an outcome, a tangible asset,
and needs to be judged as part of the scholarly productivity of the digital
humanists who created it. Appointment, promotion, and tenure commit-
tees are accustomed to understanding such outcomes in the portfolios of
engineers but rarely of literary scholars, art historians, classics scholars, and
other humanists.
Klein shows us why our evaluation of “what counts” within digital hu-
manities as a performed interdiscipline must change from the standard
idea of “what counts” in most humanities fields. By the precision of her
analysis, and her strong citation of individual exemplars, Klein provides
those evaluating digital humanities with a new way of looking not just at
the outcomes of scholarship (such as a single-­author monograph as the
gold standard in many humanities fields) but at the process leading to
scholarship. She makes us understand why that process itself is a scholarly
outcome. The classic scholarly monograph can report on digital humani-
ties but it does not duplicate its actual, full, interactive, iterative, collabora-
tive outcome.
 x / Foreword

Thus, in order to judge a digital humanist, if one judges solely by the

production of a scholarly monograph, one is setting the bar too low. You
do not win the DARPA Grand Challenge from a blueprint of a self-­driving
car. You win it for building the car that actually navigates down an actual
road. That is my analogy, not Klein’s. But through her astonishing breadth
of knowledge, her generous assessment of so many areas of the field, Klein
walks us through all of the reasons for making such a distinction as we
evaluate the worth and contribution of the digital humanities.
Beyond that, Klein is suggesting, I believe, that we have entered an
important moment in higher education where many of the disciplinary
boundaries are not just being crossed but are being interwoven in exciting
new ways. In that interweaving, digital humanities has an absolutely cen-
tral place—­as model, pioneer, and predecessor to many different kinds of
interdisciplinary “mash-­ups” yet to come.
Read this book. Share it with those who are interested in what will
come next in higher education. What Julie Thompson Klein has given
us here is not only a comprehensive analysis of a field. She has given us a
glimpse of higher education’s future.
 Acknowledgments

Every story has a beginning. This one started when Cathy Davidson called
to ask if I would host a local event in a new monthly series being sponsored
by the Humanities, Science, and Technology Alliance and Collaboratory
(HASTAC). Dubbed the In/Formation Year, the series featured innovative
uses of digital technologies on selected campuses. The planning team at
Wayne State University decided to focus our February 2007 symposium
on “Digital Partnerships in Humanities,” highlighting the University Li-
braries’ Digital Collections and the work of English Department faculty
Steve Shaviro and Jeff Rice. As stories go, one thing led to another . . .
Our event was the catalyst for a multi-­year experiment in fostering Digital
Humanities. I thank Walter Edwards, director of Wayne State’s Humani-
ties Center, for a small working group grant that expanded into a faculty
learning community with generous support from Sandra Yee (Dean of
University Libraries), Kristi Verbeke (former assistant director of the Of-
fice for Teaching and Learning/OTL), and Nardina Namath Mein (former
director of New Media and Information Technology and co-­organizer of
our HASTAC event). Sandy, Kristi, and Dina provided full access to the
OTL and Technology Resource Center, and subsequently Dina and I be-
came Co-­PIs on a project aimed at enhancing use of the digital collections
in teaching and learning. Supported by a Digital Humanities II Start-­Up
grant from the National Endowment for the Humanities, the project team
also included web librarians Joshua Neds-­Fox and Jonathan McGlone, in-
structional designer Anne-­Marie Armstrong, and metadata librarian Adri-
enne Aluzzo.
I have also gained enormously from participation in Digital Humani-
 xii / Acknowledgments

ties initiatives at the University of Michigan. Daniel Herwitz, former di-

rector of the Institute for the Humanities at the University of Michigan,
was a munificent host for two periods in residence at the institute, the first
as a visiting fellow in Digital Humanities in 2008 and the second as Mellon
Fellow and visiting professor of Digital Humanities in fall 2011. We were
also co-­chairs of the 2011 HASTAC conference hosted by the University
of Michigan. Being involved in creating a new publication series has been
a bountiful source of ideas as well. As co-­editor of Digital Humanities@
digitalculturebooks, I spent countless hours with Tom Dwyer, acquisitions
editor of the University of Michigan Press, designing the format and test-
ing the suitability of book projects. My co-­editors Tara McPherson (Uni-
versity of Southern California) and Paul Conway (University of Michigan)
have been valued partners in this effort, and the timing was propitious. As
the Press was being moved into the University of Michigan Library, I was
fortunate to work closely with Shana Kimball, former head of publish-
ing services and outreach at MPublishing and now business development
manager for digital initiatives at the New York Public Library. And, I thank
Aaron McCollough, Christopher Dreyer, and Andrea Olson for helping
guide the final production process at the Press, as well as Kelly Witchen,
Jason Colman, and Jonathan McGlone for their work on the online ver-
sion and Hypothes.is platform.
This project benefited as well from the help of two research assistants.
Sherry Tuffin, former student assistant in the OTL and HASTAC scholar
at Wayne State, provided early database searching and copyediting. Andy
Engel, a PhD candidate in English and HASTAC scholar, and now as-
sistant professor of English at Wiley College, worked two summers as my
graduate research assistant. Andy’s help with searching and managing our
digital research platform, feedback on chapters, and responsibility for the
“Resourcing” section made him a vital colleague, not simply an assistant.
Finally, I thank Wayne State University, for providing much-­needed sab-
batical time at an early stage of the book’s development, as well as Anne
Balsamo, Patrik Svensson, and Kate Hayles for generously sharing pre-­
publication copies of their work. Willard McCarty also kindly granted
permission to use his graphic of Methodological Interdisciplinarity. Their
collegiality exemplifies the widespread spirit of cooperation in the some-
times perplexing, perpetually dynamic, and ever-­evolving field of Digital
Humanities.
 Acknowledgments / xiii

Interdisciplining Digital Humanities is also freely available to read online

(DOI: http://dx.doi.org/10.3998/dh.12869322.0001.001), and it is the
first scholarly monograph published by the University of Michigan Press
to use the annotating and commenting tool Hypothes.is (http://hypothes
.is/). This tool supports sentence-level annotations and allows for discus-
sion at the paragraph level to enrich the reading and learning experience
of others and to facilitate community peer review. You can register to use
Hypothes.is at http://hypothes.is/.
Detroit, July 2014
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