Sunday, November 14, 2010
on digital humanities
Phillip Barron on digital humanities: 'The humanities’ pattern of professional anxiety goes back to the 1800s and stems from pressure to incorporate the methods of science into our disciplines or to develop our own, uniquely humanistic, methods of scholarship. The “digital humanities” rubs salt in these still open wounds by demonstrating what cool things can be done with literature, history, poetry, or philosophy if only we render humanities scholarship compliant with cold, computational logic. Discussions concern how to structure the humanities as data.' [ source ]
"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'" 
that anyone has yet got the imaginative measure of that terrifying day six years ago. Certainly our Tolstoy has not crawled out of the rubble. The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man"). One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for 
