Tag Archives: Digital History

Making History!

What skills or knowledge from your coursework are you using in your internship?  Have you noticed a difference between theory and practice? Why or Why not?  This is a challenging question for me, because I have been attempting to merge history and Digital Public Humanities (DPH) and it is difficult for me to now isolate them.  ‘What are the skills of DPH and how does the theory and practice differ from traditional history’ and is what the essence of my internship’ and another effort to merge the two (history and digital humanities).

During the process of arranging for this internship and coinciding with it; I have had some planned, some unanticipated, professional and personal opportunities providing DPH engagement experience.  These ventures have provided their own insights into the theory and practice.  As I have made a concerted effort to immerse myself in all things digital humanities over the past 2 years, the experiences tend to wind together in my brain.

In terms of theory, my natural bent is to the work of Sam Wineburg who discusses the nature of historical thinking and Digital Humanities processes reflecting on the intellectual differences between the two.[1] He applies historical thinking methodology to the data gathered through digital means, in other words, ‘digital humanities’ is just a new historical methodology.  That is what I thought when I decided I wanted to learn what ‘digital humanities’ was all about.  However, every historian is taught the significance of methodology and how the body of research impact interpretation.  The use of the term “corpus” has transformed the meaning of historical research to include digital textual and linguistic analysis rather than the socio-cultural contextual analysis traditionally practiced.  Digital historians seek to incorporate the digital into our research, which changes where we search for sources and eventually influence our interpretation.  

In my internship, I am seeking to create a new corpus from established collections and then interpret and present the findings using digital strategies.  To date, I have found helpful in this process, theory that is ‘methods’ rich, such as the work of Sheila Brennan and T. Mills Kelly.  Although I am not creating a crowd-sourcing project; their framing has been helpful.  I have applied their “lessons” in content collection, technical issues, attracting visitors & building trust with potential contributors and most  important adding 25% (50% if you are a newbie like me) to TIME Estimates.  Their idea that “low barrier entry is critical”I found very applicable when recruiting partners for this internship.  I promoted maximum benefit, minimal work and management to my supervising institutions as the “low barrier entry”.  Institutional collections, even when you think you are familiar with them, have their own idiosyncrasies and the assistance of ‘the insider’ is essential.[2] The literature of digital methods AND historical thinking is helping as I process the form of the Smithsonian Learning Lab collection I am creating.[3]  However, the experts make it appear so easy.  The challenges of research, the interference of daily obstacles and filling in the gaps of technical knowledge sometimes make this adventure feel more tedious then inspiring.  But then I remember: I am creating new knowledge, in a new way……Making History!


[1] Wineburg, Sam. “Why Historical Thinking is Not About History.” History News 71, no. 2 Spring. 2016.

[2] Brennan, Sheila A., and T. Mills Kelly. “Why Collecting History Online is Web 1.5” Roy Rosenzweig Center for History and New Media. 2009.

[3] Examples include: Kelly, T. Mills. “The History Curriculum in 2023.” edwired (blog). January 2013.  Schrum, K. (2012). “A tale of two goldfish bowls . . . Or what’s right with digital storytelling.” In D. Cohen & T. Scheinfeldt (Eds.) Hacking the academy: A book crowdsourced in one week. Ann Arbor, MI, University of Michigan Press. Calder, Lendol.  “Uncoverage: Toward a Signature Pedagogy for the History Survey”. Journal of American History.  P. 1358-1370. March 2006.

Is Digital History More Disruptive?

Reflections on the question: How have external expectations constrained teaching and learning in history, and how might the digital turn disrupt those constraints?

Historians have to explain what they do, basically we have to explain why our stories may not be interesting to people who would rather be watching historical movies, docudramas or curled up with a novel.  Historians have “rigor”, in other words, our stories are important and true.  It is human behavior to retrench and defend when attacked.  The discipline of History has two internal cultural reactions which have resulted in removing the discipline from the forefront of society – we talk to ourselves and we rely on the evidence of our practices, which others cannot see or understand.

Talking to ourselves.  Our authoritative sources are documents and archives, which few people wish to spend time in and to gain authority, historians cite other historians.  It appears that will not change as it is even included in Caldor and Steffes, Measuring College Learning in History’s list of essential concepts and competencies, which makes a valiant effort to identify, define and create measurements for the activity of historians, twice!  Historians trace the evolution of thought through other historians.  This means you have to ‘know’ the other historians (historiography) to participate in half the dialog.

Evidence & Historical practice.  The common person sees an object (in the broadest sense of the term) of the past as interesting but useless.  Historians value objects of the past as clues upon which to build connections to stories that have influenced our own.

History is so ‘academic’, but helpful in certain situations.  Its place in learning is revered, but no one is quite sure why.  Historians will tell you their work is important.  Public monuments, parks and museums, where it is so prominently displayed, reinforce these conceptions that history is remote, but essential to our identity and understanding of ourselves.  No one wants to be reminded of their faults, mistakes or shameful episodes from their past.  So when a modern historian calls for “Uncoverage” (Lendol Calder) it is definitely a dangerous idea.  Better to stick with the story we remember and can recite, it helps us conform and sets a tradition for our children to follow.  The willingness of historians to be confined in that box in order to maintain the public’s respect and an established place in the public curriculum has had the unintended consequence of people graduating and relegating history to their school days or tourist sites.

Digital tools and digital historians are threatening to do what the social historians of the 1960’s and 70’s threatened to do – make history visible, accessible and relevant.  The new fields of history brought new populations into the study of American history…African Americans, Native Americans and women, but relied on traditional methodologies and failed to move beyond stories of famous individuals in a meaningful way.  Histories that framed separated groups bred ‘identity politics’ of competition that did not serve American society any better than a false conception of a ‘melting pot’.

Digital technologies stripped any and every thought or process down to the barest elements of 1 or 0, on or off.  But 1’s and 0’s are aligned, arrayed, combined, shuffled, sorted and stacked to make all kinds of complex processes happen.  Historians entered the digital world to see how technology could help organize records and make research easier.  (Roy Rosenzweig and Sam Wineburg)  The process and frustrations of learning new systems caused a rethinking of traditional historical practices: engagement in the process of research and collaboration.  Historians had to explain what they did to or needed computer systems to do.  (Anne Hyde, Calder & Steffes) As the ‘processes’ of history are broken down into its elemental parts, it is easier to see how they can be aligned, arrayed, combined, shuffled, sorted and stacked – differently.  Communicating the process has become accessible, just like the documents and histories of “the public” can now be included in historical analysis because “big data” can be analyzed quickly.  This new history touches more people, average people who can now see how ordinary tasks are historical. (Schrum, et al.)   When we start looking into the stories of everybody, the ‘pretty pictures’ get messy.  The story of “America” becomes broader and more complex, because more stories are included.  For historians, solving the puzzles of human events and behavior is the excitement of “the work”, it is increasingly possible to engage more people in “the work” and the excitement rather than just showing them the picture.

Digital Humanities Projects are Collaborative!

Cleveland Women’s Archive Project Update or “Digital Humanities Projects are Collaborative!”

The words of my mother ring in my ears, “how many times do I have to tell you”!  The things I know, but have to be repeated until I finally take action.  ‘Digital humanities projects are collaborative’ and like all good academics, I looked around for the collaboration within my institution and my (actually fairly wide) circle of friends.  But when my known resources failed me in resolving my issues with Omeka,  I swallowed my pride and reached out to strangers in my community.  What a concept!  Is that not what “community” is all about?  Cleveland is a Midwestern town, where folks still help others!  I made an appointment at the Center for Public History + Digital Humanities at Cleveland State University.  Extraordinarily generous with their time and expertise;  Erin Bell clarified my understanding of Curatescape and some of the nuances of Omeka while Dr. Mark Souther introduced me to their goals for the Cleveland Historical ‘living history archive’ and the activities of Center.  We shared our love of the city and its history.

Armed with these new perspectives, I am somewhat back at the drawing board.  My recent investigations into the Landscape and Oral history modules have reminded me of the need to focus on audience and more intentional design.  The Omeka User Manual  clearly states that planning is critical, but an individual cannot know, what they do not know.   My new understanding of Omeka will necessitate re-calibration of what I can and cannot do within the Omeka structure in the time available to complete the project.  Traditionally, I have been uncomfortable with trial and error, but a huge benefit of my collaboration, was Erin Bell’s assurance that is an on-going aspect of “digital” humanities.  I will be eternally grateful for that advice.

My immediate goal is to finish the administrative aspects of the collaboration with the CSU Special Collections division, complete the identification of all the resource materials to be included on the site while I ponder the design.  This  IS  Community History!