Language and Culture – Maryland Institute for Technology in the Humanities https://mith.umd.edu Thu, 08 Oct 2020 19:59:18 +0000 en-US hourly 1 https://wordpress.org/?v=5.5.1 Launch of Early Modern Songscapes Beta Site: Encoding and Publishing strategies https://mith.umd.edu/launch-of-early-modern-songscapes-beta-site-encoding-and-publishing-strategies/ Wed, 13 Feb 2019 15:50:55 +0000 https://mith.umd.edu/?p=20511 Early Modern Songscapes is a project exploring the circulation and performance of English Renaissance poetry. The recently released beta version of the project’s site includes a digital exploration of Henry Lawes’s 1653 songbook Ayres and Dialogues. The project is a collaboration between the University of Toronto (UoT), the University of Maryland (UMD), and the University [...]

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Early Modern Songscapes is a project exploring the circulation and performance of English Renaissance poetry. The recently released beta version of the project’s site includes a digital exploration of Henry Lawes’s 1653 songbook Ayres and Dialogues. The project is a collaboration between the University of Toronto (UoT), the University of Maryland (UMD), and the University of South Carolina (USC). My role (Raff Viglianti) at MITH for this first exploratory phase has focused on designing a data model and an online viewer for the text and musical score of the songs. Prof. Scott Trudell (UMD) and Prof. Sarah Williams (USC) have contributed to shaping the data model and have carried out the encoding work so far.

Fig. 1 Schematic representation of the encoding data model for a song, with TEI including MEI data. The song shown is When on the Altar of my hand. Facsimile from Early English Books Online.

The scholarship surrounding Lawes’s book and Early Modern song is at the nexus of literature and music and pays careful attention to both the literary and musical aspects of the songs. To reflect this duality in the data model of a digital edition, we use the Text Encoding Initiative (TEI) format for the verse and the Music Encoding Initiative (MEI) format for the notated music. You can find our encoded files on GitHub. Combining the two formats is becoming a fairly established practice (see for example the Thesaurus Musicarum Latinarum), but is not without challenges as existing tools and workflows are usually focused on either TEI or MEI. The hierarchical nature of these formats also requires one of the two to contain the other or, in other words, take a primary position. We have decide to prioritize TEI, partly because it has a well established metadata header in which we store bibliographical information. The MEI representing the music notation is then embedded within the TEI (see Fig. 1). We have decided to reproduce the underlying lyrics as a TEI-encoded stanza in order to provide our interpretation of how it may appear if formatted as subsequent stanzas often printed after the music.

For some songs, we are also dealing with multiple versions from other sources with or without music. In these cases, we produce a variorum edition, or a presentation of the text that showcases differences across the sources without privileging one over the other. Both TEI and MEI are well equipped formats for modeling textual variance, but both assume that one text will be the main reading text and only variant text will be encoded from other sources. To overcome this apparent limitation, we create a separate TEI/MEI document that only represents a collation; in other words, a document that lists where the differences between the sources of one song are to be located. This allows us to encode each source separately and to the degree of detail that we deem appropriate without worrying about tessellating multiple sources in one place (see Fig. 2). This approach has proven quite effective and I have had the opportunity to apply it to other projects at MITH and beyond, such as Digital Mishnah and the Frankenstein Variorum edition where, together with colleagues at Pittsburgh University and CMU, particularly Prof. Elisa Beshero-Bondar, we have begun to further develop, contextualize, and generalize this approach.

Fig. 2 Diagram of the data model of an hypothetical song with variants, showing three sources (A, B, and C) and a collation containing two variants that identify and connect diverging parts of the sources.

One goal of the Early Modern Songscapes project is to capture song as a multidimensional form, so we are complementing the edition with recorded performances of the songs, including variant version, under the direction of Prof. Katherine Larson (UoT). The musicians are Rebecca Claborn (mezzo-soprano), Lawrence Wiliford (tenor), and Lucas Harris (lute).

The UoT Scarborough Digital Scholarship Unit, under the direction of Marcus Barnes, has provided the backbone for the project through a robust implementation of Fedora for storing the Songscapes data and Islandora for the project website. My focus has been on providing a lightweight viewer for displaying the TEI, MEI, and adding interactivity for exploring variant readings and sources. The viewer is written in React/Redux and uses CETEIcean for rendering the TEI and Verovio for rendering MEI. Both of these tools offer a solution for rendering these data directly in a user’s browser, thus reducing the need for server-side infrastructure for TEI and MEI publications. They also provide isomorphic (that is one-to-one) renderings of the data, which allows to manipulate the rendering as if it were the actual underlying data. This, for example, makes it somewhat simple to write code to follow references from collation documents to the sources according to the variorum edition model described above. You can read more on CETEIcean in Cayless & Viglianti 2018 and on Verovio in Pugin 2106 (pages 617-631).

The first phase of Early Modern Songscapes has culminated with a conference at the University of Toronto, February 8-9 2019. As we plan the next phase, we are gathering user feedback on the site: we invite you to visit songscapes.org and fill in our survey!

Fig. 3 A screenshot of the current prototype showing a variant for the song Venus, redress a wrong that’s done (A Complaint Against Cupid).

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Report: Music Encoding Conference 2018 https://mith.umd.edu/report-music-encoding-conference-2018/ Wed, 30 May 2018 19:42:05 +0000 http://mith.umd.edu/?p=19657 Raffaele Viglianti (MITH) and Stephen Henry (Michelle Smith Performing Arts Library) hosted the Music Encoding Conference last week (22 - 25 May 2018). For the first time, the conference had a theme: “Encoding and Performance,” which was well represented throughout the program. We are especially grateful to John Rink for his keynote lecture-recital “(Not) Beyond [...]

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Music Encoding Conference

Raffaele Viglianti (MITH) and Stephen Henry (Michelle Smith Performing Arts Library) hosted the Music Encoding Conference last week (22 – 25 May 2018).

For the first time, the conference had a theme: “Encoding and Performance,” which was well represented throughout the program. We are especially grateful to John Rink for his keynote lecture-recital “(Not) Beyond the Score: Decoding Musical Performance,” which highlighted the challenges of encoding/decoding music notation through the lens of performance research and practice.

We are also particularly grateful to Anna Kijas who, in her keynote speech, “What does the data tell us?: Representation, Canon, and Music Encoding,” highlighted critical topics that are too often neglected in the music encoding community. Her talk made the fundamental point that our acts of building digital representations of notated music can (and currently do) reinforce traditional canons of music history that overlook contributions by women and people of color. In establishing a “digital canon” we have an unprecedented opportunity to change this. Read the full text of her keynote on Medium.

We closed MEC with a productive unconference day in the MITH offices and we are happy to already see some activity on the Music Encoding Initiative community as a result!

Music Encoding Conference reception and performance with Brad Cohen and Tory Wood

Many thanks were given throughout the conference days; however, we would be remiss not to acknowledge again the support provided by the University of Maryland College of Arts and Humanities and the MEI Board for sponsored bursaries for students. This was especially important to allow students to attend the conference in a place that is currently geographically distant from the core constituencies of the MEI community. We are also thankful to Tido for sponsoring the Wednesday reception and particularly to soprano Tory Wood and Tido’s founder and director Brad Cohen for a wonderful live performance.

We enjoyed hosting our attendees at the beautiful Clarice Smith Performing Arts Center and are grateful to the wonderful team there: Leighann Yarwood, Amanda Lee Barber, Kara Warton, and their technical staff. Special thanks also to Lori Owen from the College of Arts and Humanities. We are also thankful for the students from the Performing Arts Library who manned the registration desk and helped with all odds and ends of the conference. They are: Jennifer Bonilla, Peter Franklin, Will Gray, Kimia Hesabi, Amarti Tasissa, Zachary Tumlin, Terriq White, and Barrett Wilbur.

Finally, we are thankful to all who submitted contributions to the conference and to the Program Committee: Karen Desmond (chair), Johanna Devaney, David Fiala, Andrew Hankinson, and Maja Hartwig.

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MITH Receives NEH Grant for “Unlocking the Airwaves” https://mith.umd.edu/mith-receives-neh-grant-for-unlocking-the-airwaves-revitalizing-an-early-public-and-educational-radio-collection/ Thu, 10 May 2018 15:17:56 +0000 http://mith.umd.edu/?p=19590 MITH is pleased to announce an award from the National Endowment for the Humanities 2017 Humanities Collections and Reference Resources program for Unlocking the Airwaves: Revitalizing an Early Public and Educational Radio Collection. Unlocking the Airwaves, directed by Stephanie Sapienza with Co-PI Eric Hoyt, is a multi-institutional collaboration between MITH, the University of Wisconsin-Madison, the [...]

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MITH is pleased to announce an award from the National Endowment for the Humanities 2017 Humanities Collections and Reference Resources program for Unlocking the Airwaves: Revitalizing an Early Public and Educational Radio Collection. Unlocking the Airwaves, directed by Stephanie Sapienza with Co-PI Eric Hoyt, is a multi-institutional collaboration between MITH, the University of Wisconsin-Madison, the Wisconsin Historical Society, University Libraries at the University of Maryland, with collaborative support from the American Archive of Public Broadcasting at WGBH/Library of Congress, and the Radio Preservation Task Force.

The National Endowment for the Humanities (NEH) is an independent federal agency created in 1965. It is one of the largest funders of humanities programs in the United States. The Endowment awards grants to top-rated proposals examined by panels of independent, external reviewers.These grants are highly competitive and involve a rigorous peer-review process to ensure that the projects represent the highest level of humanities quality and public engagement.

The $217,000 grant will fund the creation of a comprehensive online collection of early educational public radio content from the National Association of Educational Broadcasters (NAEB). The forerunner of CPB and its arms, NPR and PBS, the NAEB served as the primary organizer, developer, and distributor for noncommercial broadcast production and analysis between 1925 and 1981. These broadcasts, mostly stemming from university and public school-run radio stations, provide an in-depth look at the engagements and events of American history, as they were broadcast to and received by the general public in the twentieth century. According to the project’s Lead Advisor, Josh Shepperd of Catholic University and Director of the Radio Preservation Task Force,

“The National Association of Educational Broadcasters recordings provide valuable context into cultural, political, and less-studied, educational discourses going back to the New Deal, and associated documents help media scholars to trace the origin of script development, audience research, and genres that we associate with both public media and cable television – science, travel, food, history, and journalism programming.”

The NAEB systematically preserved its history across over a hundred boxes of documents and 5,000 reels of tape, but the organization split its archive, depositing its papers in Wisconsin and the recordings in Maryland. Archival audiovisual media has been collected and maintained separately from other kinds of (primarily textual) archival sources, and these ‘split’ collections mean that researchers must often discover and manually reunite audiovisual collections and their related materials if they want to understand a broadcast not just as an audiovisual object, but as a medium that relays information within a set of historical contexts (time, place, related events, etc.). Unlocking the Airwaves will reunite the split NAEB collections, develop an open and comprehensive web portal for them, and tell the story of early educational and public broadcasting.

By coordinating the expertise of archivists, humanities researchers, and digital humanists, Unlocking the Airwaves will deliver enhanced access to important, mostly hidden, archival audiovisual materials by linking split hybrid paper/audiovisual collections together, and providing a search engine for the linked collections, enabling users to simultaneously search both the documents and sounds of the NAEB. The resulting resource will finally realize the potential of the collections of the NAEB for exploration and study by educators, scholars, journalists, documentarians, genealogists, and the broader public.

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Chris Mustazza Digital Dialogue https://mith.umd.edu/dialogues/dd-spring-2018-chris-mustazza/ Tue, 27 Mar 2018 18:22:11 +0000 http://mith.umd.edu/?post_type=mith_dialogue&p=19139 How can we construct a literary history of recorded poetry that recognizes media as an intrinsic dimension of the poems’ forms? Given the longtime understanding of the recorded poem as, at best, a simulacrum of a primary, written text (if not of the live performance, too—a copy of a copy), poetry recordings have not [...]

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How can we construct a literary history of recorded poetry that recognizes media as an intrinsic dimension of the poems’ forms? Given the longtime understanding of the recorded poem as, at best, a simulacrum of a primary, written text (if not of the live performance, too—a copy of a copy), poetry recordings have not received the same kind of material and media archaeological study as their textual counterparts. Through a precis of the PennSound archive, the world’s largest archive of recorded poetry and the archival response to Charles Bernstein’s call for scholarly attention to the performed poem, this talk suggests what such a literary history of poetry audio might look like. We will examine various periods of sound recording history, starting with late nineteenth-century European work to create Stimmporträts, or portraits of voices, through American record companies’ attempts to grapple with the political-economy of sounded verse. If there is a center and a periphery of our sonic memory, attention will need to be paid to oppositional archives and their use of media to subvert systems of dominance by seizing the media of production. Examples of the various kinds of archives under consideration will include: experimental French phonetics labs of the early 20th century; Columbia University’s Speech Lab Recordings, scored to aluminum records in the 1930s and ‘40s; and so-called Soviet bone records, samizdat records cut into discarded x-ray films. We will conclude on the question of what new affordances become possible when grooves become bits and the temporality of discs gives way to the logic of disks. By looking at the newest digital humanities research in distant listening and media archaeology, we will see that the digitized forms of previously recorded poems are not just copies of copies, but generative of new possibilities.

See below for a Sutori recap of this Digital Dialogue, including live tweets and select resources referenced by Mustazza during his talk.

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Kaiama Glover Digital Dialogue https://mith.umd.edu/dialogues/dd-spring-2018-kaiama-glover/ Tue, 13 Mar 2018 18:15:52 +0000 http://mith.umd.edu/?post_type=mith_dialogue&p=19135 This presentation discusses the conceptualization and development of interactive cartographic platform In the Same Boats: Toward an Intellectual Cartography of the Afro-Atlantic. In the Same Boats is a work of multimodal scholarship designed to encourage the collaborative production of humanistic knowledge within scholarly communities. Comprising two interactive visualizations that trace the movements of seminal cultural actors from the Caribbean and wider [...]

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This presentation discusses the conceptualization and development of interactive cartographic platform In the Same Boats: Toward an Intellectual Cartography of the Afro-AtlanticIn the Same Boats is a work of multimodal scholarship designed to encourage the collaborative production of humanistic knowledge within scholarly communities. Comprising two interactive visualizations that trace the movements of seminal cultural actors from the Caribbean and wider Americas, Africa, and Europe within the twentieth century Afro-Atlantic world, the platform seeks to push back against the ways in which “Global South” intellectual production has been stubbornly balkanized in the academy, its limits and contours largely determined by imperial metropoles. The project charts the extent to which Caribbean, African, Latin American, European, and Afro-American intellectuals have had opportunities to be in both punctual and sustained conversation with one another: attending the same conferences, publishing in the same journals and presses, active in the same political groups, perhaps even elbow-to-elbow in the same Parisian cafés and on the same transatlantic crossings – literally and metaphorically in the same boats – as they circulate throughout the Americas, Africa, Europe, and beyond. Leveraging the affordances of digital technology to facilitate a literal retracing of hemispheric black studies, the project draws attention to multiple sites of potentially interconnected Afro-Atlantic theoretical and creative production. Easily accessible, visually impactful, and content-rich, the combination of these two visualizations proposes a generative resource for twenty-first century scholarship concerning the long-historical impact of Afro-Atlantic figures across a vast networked geo-cultural space.

See below for a Sutori recap of this Digital Dialogue, including live tweets and select resources referenced by Glover during her talk.

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Alison Langmead Digital Dialogue https://mith.umd.edu/dialogues/dd-spring-2018-alison-langmead/ Tue, 20 Feb 2018 18:46:10 +0000 http://mith.umd.edu/?post_type=mith_dialogue&p=19128 Since the early days of the field, art and architectural historians have relied on image-based reproductions of our primary source material to do our work. And yet, Photography and digitization—the two main image-reproduction technologies of the twentieth and twenty-first centuries—do not duplicate their subjects uncritically. They have actively shaped our disciplines in sometimes overt, [...]

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Since the early days of the field, art and architectural historians have relied on image-based reproductions of our primary source material to do our work. And yet, Photography and digitization—the two main image-reproduction technologies of the twentieth and twenty-first centuries—do not duplicate their subjects uncritically. They have actively shaped our disciplines in sometimes overt, sometimes covert, ways. That said, photography and digitization are also different technologies from one another, and their use has been implemented fitfully and heterogeneously over time within the field. Art and architectural historians have thus not only become familiar with the process of embedding technologies into the humanities, we have also gathered hard-won, field-wide experience with the impact that their presence and obsolescence can have on our research processes over time. The story is not always one of success. We have often chosen to elide, ignore, or take for granted the ways that the socio-technical environments of these remediations have transformed the daily operations and rituals of our discipline. Because of this time-tested relationship, I wish to argue that art and architectural history offers the Digital Humanities approximately 115 years of experience with being attuned (or not attuned) to the impact of relying on technologically-mediated representations of the phenomenal world to perform humanities research. This type of scholarship, that is, one not directly reliant on primary sources but instead on remediations of those sources, is the fundamental, originary condition of the Digital Humanities.

See below for a Sutori recap of this Digital Dialogue, including live tweets and select resources referenced by Langmead during her talk.

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Elisa Beshero-Bondar Digital Dialogue https://mith.umd.edu/dialogues/dd-fall-2017-elisa-beshero-bondar/ Tue, 17 Oct 2017 16:30:15 +0000 http://mith.umd.edu/?post_type=mith_dialogue&p=18886 In this talk, I will introduce the collaboration of the Pittsburgh Bicentennial Frankenstein team with MITH to produce a new and authoritative digital edition of the 1818, 1823, and 1831 published texts of Frankenstein linked with the Shelley-Godwin Archive edition of Mary Shelley’s manuscript notebooks. We have been hard at work on the project [...]

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In this talk, I will introduce the collaboration of the Pittsburgh Bicentennial Frankenstein team with MITH to produce a new and authoritative digital edition of the 1818, 1823, and 1831 published texts of Frankenstein linked with the Shelley-Godwin Archive edition of Mary Shelley’s manuscript notebooks. We have been hard at work on the project since fall, and aim to complete the project by May 2018, the bicentennial of the novel’s first publication.

Preparing the edition has given us a fascinating vantage point on early work with 1990’s hypertext, as we began our work by up-converting hundreds of “hypercard” files in Stuart Curran and Jack Lynch’s Pennsylvania Electronic Edition of Frankenstein. That hypertext edition represented groundbreaking digital scholarship in the era of web 1.0, by deploying an interface for reading the 1818 and 1831 texts in juxtaposed parallel texts. Our work on the project has involved polishing and repurposing the code of Curran’s and Lynch’s electronic editions of the 1818 and 1831 texts. With help from Rikk Mulligan, Digital Scholarship librarian at Carnegie Mellon University, we have been correcting our restored text against photo facsimiles of the originals, and we have prepared plain text and simple XML editions from OCR of the 1823 edition, derived via ABBYY Finereader, and formatted like our editions of the 1818 and 1823. We have been preparing a new edition in TEI by first processing these documents with CollateX, which computationally locates the points of variance (or “deltas”) among the editions and outputs these as a single critical edition with TEI XML critical apparatus markup.

Collating the print editions establishes a basis for one last and especially challenging stage of our project. We are now working with Raffaele Viglianti to integrate the Shelley-Godwin Archive’s manuscript notebook drafts of Frankenstein with our critical edition of the published novels. For this we are planning a new implementation of TEI critical apparatus markup to point to specific locations in the manuscript notebooks. This will provide a way to link a reading interface of the novel that highlights “hotspots” of variance in the print edition and that links into relevant passages in the Notebooks.

We will be offering our bicentennial edition to update the one currently hosted by Romantic Circles. Our new edition’s reading interface should invite readers to learn the interesting story of how the events and characters of the novel changed over the first decades of its life, from the time of its first drafts by its 18-year-old author to the changes imposed by authors and editors over three published editions from 1818, 1823, and 1831. We hope our edition will inspire fresh investigations of longstanding questions about Frankenstein’s transformations, such as the extent of Godwin’s interventions in the text in 1823 and how many of these these persist in the 1831 text. This dialogue offers a chance to share views of the new TEI edition underway, and invites reflection and discussion of our textual methods in stitching together our new textual “monster.”

See below for a Storify recap of this Digital Dialogue, including live tweets and select resources referenced by Beshero-Bondar during her talk.

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Sarah Florini Digital Dialogue https://mith.umd.edu/dialogues/dd-fall-2017-sarah-florini/ Tue, 03 Oct 2017 16:00:23 +0000 http://mith.umd.edu/?post_type=mith_dialogue&p=18899 Though publics are often conceived of as bounded by platform, users frequently deploy platforms in conjunction to create trans-platform digitally networked publics. The multi-media and trans-platform nature of such publics provide users with a range of affordances that allow them to oscillate the public between functioning as an enclave or as a counter-public. This [...]

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Though publics are often conceived of as bounded by platform, users frequently deploy platforms in conjunction to create trans-platform digitally networked publics. The multi-media and trans-platform nature of such publics provide users with a range of affordances that allow them to oscillate the public between functioning as an enclave or as a counter-public. This talk discusses a network of Black American content creators and social media users to explore how such oscillation, between enclave and counter-public, occurs as participants move between platforms in the network and exploit, or work around, the affordances each offers.

See below for a Storify recap of this Digital Dialogue, including live tweets and select resources referenced by Florini during her talk.

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Nicole Cooke Digital Dialogue https://mith.umd.edu/dialogues/dd-fall-2017-nicole-cooke/ Tue, 26 Sep 2017 16:00:31 +0000 http://mith.umd.edu/?post_type=mith_dialogue&p=18870 Library and information science (LIS) has a dual history; as a profession that is over 80% white and female, the LIS workforce has been plagued with segregation and a lack of representation. However, LIS also has many amazing stories, stories of people of color changing the profession and the lives of their patrons. It [...]

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Library and information science (LIS) has a dual history; as a profession that is over 80% white and female, the LIS workforce has been plagued with segregation and a lack of representation. However, LIS also has many amazing stories, stories of people of color changing the profession and the lives of their patrons. It is imperative that these stories be unearthed, to celebrate our success stories, but to also learn from our mistakes.

This talk will discuss examples of segregation in LIS, specifically highlighting The Carnegie Scholars who were a group of 30 graduate students of who attended the University of Illinois after the Civil Rights Movement and the Brown vs. Board of Education decision. Discussion will then turn to the difficulties of conducting this type of research and the challenges that come with trying to unearth both good and bad episodes of LIS history.

See below for a Storify recap of this Digital Dialogue, including live tweets and select resources referenced by Cooke during her talk.

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Kevin Hamilton Digital Dialogue https://mith.umd.edu/dialogues/dd-fall-2017-kevin-hamilton/ Tue, 29 Aug 2017 14:35:37 +0000 http://mith.umd.edu/?post_type=mith_dialogue&p=18893 This presentation will explore the unique ethical, creative, and epistemological potentials of explicitly placing art or design in a subservient role to other disciplinary agendas in research-based inquiry. Historical and contemporary examples from within and without the presenter’s experiences will animate this overview and dialogue on intentional asymmetry in arts-integrative collaborative relationships. [...]

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This presentation will explore the unique ethical, creative, and epistemological potentials of explicitly placing art or design in a subservient role to other disciplinary agendas in research-based inquiry. Historical and contemporary examples from within and without the presenter’s experiences will animate this overview and dialogue on intentional asymmetry in arts-integrative collaborative relationships.

See below for a Storify recap of this Digital Dialogue, including live tweets and select resources referenced by Hamilton during his talk.

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