co Models of Digital Documentation::==ea.rly a 2. Westerner .-u:nen's The 19th-Century ConcordDigital Archive - 'trans- E::":O after. A =- .:ontrol ~Commodore ~51>had an ::.d deliber- ;. xtter job."15 :::-Oc journal pro- ::::: apan and is :novement. Amy E. Earhart d her de- I wish I could write that I recognized the possibilities of digital scholarship immediately and, with my enlightenment, proceeded to create a project that cap- tured the potential of such scholarship. Instead, the journey to my current digital work has been halting and slow, with many moments of confusion along the way. My mantra, during my early work, was taken from John Unsworth: "If an elec- tronic scholarly project can't fail and doesn't produce new ignorance, then it isn't worth a damn."l Ultimately, digital scholarship is in its infancy and digital practi- tioners are largely self-trained. Missteps and failures necessarily come with exper- imentation. And, the primary objective of digital work, in my opinion, should be experimentation. The work of digital scholarship is not only about production of the final product, but production of the theoretical and methodological ap- proaches to the digital that we have only just begun to explore. The value of such work is not to be underestimated. Jerome McGann has famously predicted that in "the next fifty years the entirety of our inherited archive of cultural works will have to be reedited within a network of digital storage, access, and dis semina- tion."2 As our cultural heritage is being digitized at an increasingly rapid rate we are experiencing greater access to materials, but we are also confronted with new problems of use. Scholars will want digital materials to meet our particularized needs. For example, Geoffrey Nunberg has recently described the many problems connected to search capability that stifles scholarly work within Google Books. For the average user, Nunberg notes, Google-based searching is useful, but for the type of work that scholars imagine, "The metadata simply aren't up to it."3 As ;::T'i.'estern ::e:riod.Rela- : :;..-e there very '= aspects of ::.::abroad - n policy, ::::zeptance of ;::d she sel- "':;zht preju- =-c.,.l,i.duals. ;:'~:1estin her ating .,--;:nt, an d :~':s-le as good _ ~d other ~OIT = ::c-,- other 1John Unsworth, "Documenting the Reinvention of Text: The Importance of Failure," Journal rfElec- tronic Publishing 3 (1997). http://dx.doi.org/10.3998/3336451.0003.201 2 Jerome McGann, "A Note on the Current State of Humanities Scholarship," Critical Inquiry 30 (2004): 410. ;;g _-'~lfiiJenU:l1t in - So :984), 52. 3 Geoffrey Nunberg, "Google's Book Search: A Disaster for Scholars - The Chronicle Review- The Chronicle of Higher Education," The Chronicle rfHigher Education: The Chronicle Review, 31 August 2009. http://dx.doi.org/10.3998/3336451.0003.201 'lJlldw~;:)A9UlllsqnsII;:)lIlJ;:)U;:)gpUll;:)snsnopU;:)W;:)Jl;:)JU;:) -~J;:)dx;:)prnol[s;:)A~l[JJllpJOJU0;J;:)l[l'PJOJUO;JA.lmU;:)J-l[lU;:);:)PU~UU!lS;:)J;:)lU!;:)l[l U;:)A!O'l!S~J~;:)l[l;:)JOpqATIllnP!ApJOJU0;J;:)JOTdx;:)WOl[.M.JOAUllW'Jll;:)AIISJOl~S!A JOspUllsnOl[lJOSU;:)lSpllJUll;:)PllJlWS!JllOlgu~wooq;:)l[l,'J~lU;:)JWS!JllOlTllJ!JOl -S!l[UllSlllS;:)J;:)lU!TEJ;:)u;:)gpllOJqSpllJUllPJOJU0;J'pJOJU0;JU!lS;:)J;:)lU!APllTol[JS snopU;:)W;:)Jl;:)l[lOlU09!PPlluI'SSllpTEU!W!JJ;:)l[lpUll'Jood;:)l[l'SlUllJg!WW!l[S!JI 'SUK)!J;:)WV-UllJ!JN;:);:)JJ:S;:)A!l[JJllTEl!g~PAqP;:)lu;:)s;:)Jd;:)JApu;:)nb;:)JJsS;:)Tsdnolil ;:)SOl[ll[l!.M.P;:)PllJ;:)lU!pUllpJOJU0;JU~P;:)P!S;:)JUOJNUOSUOJS:pUll'll1l;:)Jol[l, P!AllQAJu;:)H'UOJNAllWIlS!no'1';:)UJOl[l.M.llHp~Ulll[lIlN'UOSJ;:)W3:OPTllMl[dTE(l 'pJOJ;:)JAJllJ;:)l~TpUllTEJ!JOlS!l[;:)l[llnol[s;:)Ullll[lS;:)Jllggu.M.oIDfunpUlls;:)J~g P;:)!PlllS-TI;:).M.'TllJ!UOUllJU;:);:).M.l;:)q;:)P!A!P;:)l[ls;:)gP!Jql!Sll;:)A!l[JJllTEl!g!PIIJOJ ;:)J!Ol[JgU!lS;:)J;:)lU!UllS!pJOJU0;J'sppg;:)S;:)l[ln~llld;:)JuOJ;:).M.l[J!l[.M.U!All.M.;:)l[l )[U!l[l;:)JOlSTE~J;:)lIlWTllUO!l!PPlll[l!.M.SJ1lTol[JS;:)P!AOJdm.M.;:).M.STE!J;:)lIlWJO;:)gUllJ pllOJqIIgU!Z!l!g!PAS:'sppgJ;:)l[wpUllS;:)!l!Ullwnl[Tlll!g!P'Al[dosoEl[d';:)JlllJ;:)l!l[J -Jll'W;:)WUJ;:)AOg'AJOlS!l[';:)JlllllJ;:)lnJOAPlllS;:)l[lOllUllPodw!s;:)AOJdpJOJ;:)JTllJ!JOl -S!l[S,U.M.OlITEwSS!l[lJOl[ld;:)p;:)l[l,'AIOlS!l[pUll;:)JlllllJ;:)lnUllJ!J;:)WVJO)[JO.M.;:)WllJJ IIlJ9!JJ;:)l[l;:)u~PPOlp;:)dl;:)l[llll[lU0911JOIllS!l!Sll)[JO.M.S!l[lJOJ;:)SIlJlS;:)lgU! -lS;:)J;:)lU!UlloSTES!PJOJu0;J'ATIll!lU;:)uodx;:).M.OJgsJ;:)qwnu;:)l[l'pJOJuo;JU!P;:»)[JO.M. 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While the position provided a low wage and high teaching load with lit- tle chance of advancement, it also allowed the freedom to experiment with a proj- ect that might have no measurable value in a tenure decision, yet interested me immensely and had, I thought, real scholarly value. During the ensuing years I effectively retrained myself to work with digital scholarship, something that would have been nearly impossible to do under the pressures of the tenure track. I found little infrastructure to support digital work on my campus, so I went to the experts. I attended a TEIIXML4 workshop at Brown University given by Julia Flanders and Syd Bauman and the first NINES (networked infrastructure for nineteenth-century electronic scholarship) summer workshop, where I learned much from Jerome McGann, Bethany N owviskie, Laura Mandell, and a small but dedicated group of scholars working on digital archives. I contacted Ken Price, co-founder of the Whitman Archive and a former professor of mine, to ask for advice. I was lucky that these pioneers were generous to a scholar interested in the field and were available for help and support. My story is not unique. Digital projects are often created by scholars outside the traditional academic power structure who believe strongly in the importance of such work or, at the other ex- treme, leaders in the field who have used their endowed chairs and full professor- ships to help alter attitudes toward digital work. If you decide to take on a digital project, people and organizations are there to help. Structures are changing. Uni- versities are putting support for digital work into place, new organizations, such as NINES, are emerging, and digital humanities centers are being created to sup- port the digital work that you imagine. But, a scholar interested in digital work needs to be realistic about how current digital work is valued by the academy . Some changes to tenure and promotion criteria are occurring, but many depart- ments are slow to respond. While groups like the MLA Task Force on Evaluating Scholarship have called for development of "a system of evaluation for collabora- ave work that is appropriate to research in the humanities and that resolves ques- -ions of credit in our discipline as in others," the same task force found that "60% of departments in Carnegie doctorate institutions say referred articles in digital ::annat either 'don't count' for tenure in their departments and institutions or that _~- have no experience evaluating them."5 Imagine, then, these departments' re- ~ase to non-referred online digital scholarship. I say this not to discourage :k within this field, but to caution you to be realistic and plan accordingly. ::;.::e about digi- ~:rdArchive ::-.-.x to a more --=-?ary team ~--- Humani- : ::2e :\lap and ::::.::.me Con- ~:ofinfra- ...=::oYative, -= ....,,·rural -0:=-;;. 3-TChive. -:: 2. model of :... T".rIDers, de- - -·,·-ion in the "Z"""....:::5. census :::.;ecords. ~ irerature, =goYem- 2.. 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Using Google Earth, historical and contemporary maps as well as digitized town reports, census, and literary materials, we are hoping to develop a map and connected timeline that allows users to manipulate time and place as well as sift the materials to locate textual data. Another important issue that the Concord Digital Archive seeks to ex- plore through its interface structure is the way that transnationalism plays out within the particular literary and historical moments of the town. Current work on the CDA suggests that the Mrican and Irish Diasporas reveal themselves in town materials and that interactions between these groups impact the literary production of Concord writers and vice versa. Rather than focusing on the few authors that lived in Concord for most of their lives, the CDA materials invite the scholar to see those who immigrate, who traverse national boundaries, and who look outward, out of Concord, Massachusetts and the United States to a broader world. The mapping segment of the project is currently being built to show pat- terns of movement in Concord by Irish- and Mrican-Americans and the re- sponse of Anglo-Concordians to both groups by digitizing place of residence, nationality, race, and socioeconomic factors over time. In other words, while the Concord project does indeed look to one particular element ofliterary history that has been interpreted as "American," the materials found within the archive challenge this simplistic reading. While digital archives offer the scholar a chance to produce groundbreak- ing research, there remain structural difficulties in the creation of such scholar- ship. Digital work is often immeasurably slow to produce, so glacial, in fact, that :hose working within the field often speak of their never-ending projects. If you msh to publish a book, there is a long history of process in place. In addition, a ]:int project has boundaries that are fairly rigid. Presses limit page numbers, con- _~cts limit time to finished product, print publication is finished and a bound .:ook produced. Not so with the digital. Changing technology, the unbounded ~~ of a project, changes in copyright law, and more can create issues with :::rr..?letion. A spring 2009 DHQ: Digital Humanities Quarterly volume addresses -; "::fficulty of demarcating production boundaries within digital projects from a ~_:- of perspectives. Matthew Kirschenbaum asks in his introduction, 'What _ -~~ ::neasure of ,completeness' in a medium where the prevailing wisdom is to '----a.:ce the incomplete, the open-ended, and the extensible?"6 Or, as Susan _ et al. state of their project, "the Orlando Project, a large-scale and long- - -:: digital humanities undertaking, reveals an arbitrariness, even a fictive- -c=:b.eNew r.-~ctions of ~'::-.L-e 0fIn - :C 2..ildscape. =-= ~pe of ex- S:::-2.ctionsof __, -:ffiich lim- -;::1(8. As I puter Ccenviron- ::=x::s that I was .:::i.. :exts to set =.G: only to po- .,.--- e.:. Unlike a ;.=r. Instead, ,- """. IEl.L, the '-,~to :d land- ~ 0:infrastruc- = a:: ::::JT lireran-- . Ci ;. -;m-ki :1g re- :;c ~ moose =-z;:::e 2....-c.h..iTI! ~~~~c.e-- _---:.-:::..=L_ .,,~--;.~- -- -::::smenbaum, "Done: Finishing Projects in the Digital Humanities," DHQ: Digital =-==~- ~ly 3 (September 2009). http://digitalhumanities.org/dhq/vo1l312/000037.html http://digitalhumanities.org/dhq/vo1l312/000037.html ·(;00(;'SS::J1d,u!Sl::JA!Uflsl::Jlllnt[:OP!MSun1gM::JNA.[nG:w"BqmG)A.