We’ve spent the last two days immersing ourselves in the wide-ranging, somewhat nebulous world of digital humanities, and while I am overwhelmed by the field’s immensity, I am also so excited by all of the potential that its methodologies offer.
Aside from commonplace, expected student uses of technology, I’m coming at this internship with absolutely no experience with digital anything. I was a double major in Chemistry and the History of Art at Amherst, and spent most of my time here buried in piles of dusty books or in the lab, conducting experiments. As I grew here as a student and as a researcher, I did notice the increasing role of digital tools and methodologies in both of my major fields, but I never had the time or training to substantively explore them. This summer, I am excited to finally immerse myself in the realm of the digital, and to understand how the digital humanities may expand, redevelop, and perhaps complicate my previous approaches to humanities research.
In his chapter “The Emergence of Digital Humanities (as the Network is Everting),” Steven Jones writes about digital humanities as more than just the digitization of materials that constitute humanities research—instead, he says, it is “…characterized by two-way interactions between two realms, physical artifacts and digital media.” This was an important point for me, because, as an art history student, I am often intensely focused on the physicality and materiality of the objects I study, and often, I’m frustrated when left with only digital reproductions to work with. However, understanding digital humanities as a conversation between the physical and digital, as a decentering of the physical object in order to make space for new types of dialogue and inquiry, strikes me as an exciting new way of thinking, and as something to consider in my own research going forward. This summer, I hope gain a better understanding of what that might look like in practice.