DHQ: Digital Humanities Quarterly: 2018

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href="/dhq/index/title.html"> Title</a></li><li><a href="/dhq/index/author.html"> Author</a></li></ul></div><img src="/dhq/common/images/lbarrev.png" style="margin-left : 7px;" alt=""/><div id="leftsideID"><b>ISSN 1938-4122</b><br/></div><div class="leftsidecontent"><h3>Announcements</h3><ul><li><a href="/dhq/news/news.html#peer_reviews">Call for Reviewers</a></li><li><a href="/dhq/submissions/index.html#logistics">Call for Submissions</a></li></ul></div><div class="leftsidecontent"><script type="text/javascript">addthis_pub = 'dhq';</script><a href="http://www.addthis.com/bookmark.php" onmouseover="return addthis_open(this, '', '[URL]', '[TITLE]')" onmouseout="addthis_close()" onclick="return addthis_sendto()"><img src="http://s9.addthis.com/button1-addthis.gif" width="125" height="16" alt="button1-addthis.gif"/></a><script type="text/javascript" src="http://s7.addthis.com/js/152/addthis_widget.js"></script></div></div><div id="mainContent"><div id="printSiteTitle">DHQ: Digital Humanities Quarterly</div><div id="toc"> <h1>2018 12.4</h1> <h2>Information Visualization Pedagogy</h2> <div class="cluster"><h3>Editor: Steven Braun</h3></div> <div class="cluster"><h3>Articles</h3> <div class="articleInfo" style="margin:0 0 1em 0;"><span class="monospace">[en] </span><a href="/dhq/vol/12/4/000403/000403.html">Creative Data Literacy: A Constructionist Approach to Teaching Information Visualization </a><div style="padding-left:1em; margin:0;text-indent:-1em;">Catherine D'Ignazio, Emerson College; Rahul Bhargava, Massachusetts Institute of Technology</div><span class="viewAbstract">Abstract <span class="viewAbstract monospace" style="display:inline" id="abstractExpanderabstract000403en"><a title="View Abstract" class="expandCollapse monospace" href="javascript:expandAbstract('abstract000403en')">[en]</a></span><span style="display:none" class="abstract" id="abstract000403en"> Data visualization has rapidly become a standard approach to interrogating and understanding the world around us in domains that extend beyond the technical and scientific to arts, communications and services. In business settings the Data Scientist has become a recognized and valued role . Journalism has re-oriented itself around data-driven storytelling as a potential saviour for an industry in peril . Governments are moving to more data-driven decision making, publishing open data portals and pondering visualization as an opportunity for citizen participation . This journal itself has numerous examples that use visualization tools and techniques within the digital humanities as a tool for exploration . This boom in attention has led large new populations of learners into the field. Formal educational settings have rushed to create new approaches and introductions to this content, but often they fall back on traditional approaches to things such as scientific charting and graphing . Many view data visualization as a new technology, which runs the risks of replicating old approaches without acknowledging the unique affordances and domains that data visualization relies upon. Data visualization is not simply another technology to integrate into education. It is visual argument and persuasion, far more closely associated with rhetoric and writing than spreadsheets . In this paper we present novel approaches to learning technologies and activities, focused on novice learners entering the field of data driven storytelling. We begin with a deeper dive into the problems we see with introducing new learners into a field characterized by inequality, continue with a discussion of approaches for introducing technologies to education, and summarize the inspirational pedagogies we build on. We then offer some design principles and three activities as examples of the concept of creative data literacy. We assert that creative approaches grounded in constructionist educational theories are necessary to empower non-technical learners to be able to tell stories and argue for change with data. </span></span><span class="Z3988" title="url_ver=Z39.88-2004&ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rfr_id=info%3Asid%2Fzotero.org%3A2&rft.genre=article&rft.atitle=Creative%20Data%20Literacy%3A%20A%20Constructionist%20Approach%20to%20Teaching%20Information%20Visualization&rft.jtitle=Digital%20Humanities%20Quarterly&rft.stitle=DHQ&rft.issn=1938-4122&rft.date=2019-02-04&rft.volume=012&rft.issue=4&rft.aulast=D'Ignazio&rft.aufirst=Catherine&rft.au=Catherine%20D'Ignazio&rft.au=Rahul%20Bhargava"> </span></div> <div class="articleInfo" style="margin:0 0 1em 0;"><span class="monospace">[en] </span><a href="/dhq/vol/12/4/000402/000402.html">Critically engaging with data visualization through an information literacy framework</a><div style="padding-left:1em; margin:0;text-indent:-1em;">Steven Braun, Northeastern University Library, Digital Scholarship Group</div><span class="viewAbstract">Abstract <span class="viewAbstract monospace" style="display:inline" id="abstractExpanderabstract000402en"><a title="View Abstract" class="expandCollapse monospace" href="javascript:expandAbstract('abstract000402en')">[en]</a></span><span style="display:none" class="abstract" id="abstract000402en"> The proliferation of tools that enable anyone to create visualizations of their data, even with limited experience or skills, has made data visualization more accessible than ever before. This is true in its use in both teaching and learning, as data visualization has increasingly taken on an important pedagogical role in the classroom and in scholarly research. However, with this proliferation of tools there has been a concomitant awareness that visualization needs to be employed through a critical lens that acknowledges its constructedness as explanatory medium and as a product of situated knowledges. Here, I describe one approach to teaching this notion of constructedness via a framework oriented around information literacy, which encourages critical engagement with data, the tools we use to interrogate them, and the visualizations we design to represent them. I describe this approach through a collection of “critical dichotomies” used to evaluate the authority and value of visualizations, which are mapped to a subset of the core information literacy competencies defined in the <cite class="italic">ACRL Framework for Information Literacy in Higher Education</cite>. To put these dichotomies into practice, I further describe an interactive activity called “Choose Your Own Adventure, with Data Visualization,” in which participants are given paper and markers to create booklets in the style of <cite class="italic">Choose Your Own Adventure</cite> books and asked to consider the relationship between active choices in the design process of a visualization and how a given visualization is interpreted. In the process, I explore how this framework can encourage us all, as critical practitioners of visualization, to think about the practical relationship between data visualization and information literacy more generally. </span></span><span class="Z3988" title="url_ver=Z39.88-2004&ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rfr_id=info%3Asid%2Fzotero.org%3A2&rft.genre=article&rft.atitle=Critically%20engaging%20with%20data%20visualization%20through%20an%20information%20literacy%20framework&rft.jtitle=Digital%20Humanities%20Quarterly&rft.stitle=DHQ&rft.issn=1938-4122&rft.date=2019-02-04&rft.volume=012&rft.issue=4&rft.aulast=Braun&rft.aufirst=Steven&rft.au=Steven%20Braun"> </span></div> <div class="articleInfo" style="margin:0 0 1em 0;"><span class="monospace">[en] </span><a href="/dhq/vol/12/4/000404/000404.html">Making and Breaking: Teaching Information Ethics through Curatorial Practice</a><div style="padding-left:1em; margin:0;text-indent:-1em;">Christina Boyles, Michigan State University</div><span class="viewAbstract">Abstract <span class="viewAbstract monospace" style="display:inline" id="abstractExpanderabstract000404en"><a title="View Abstract" class="expandCollapse monospace" href="javascript:expandAbstract('abstract000404en')">[en]</a></span><span style="display:none" class="abstract" id="abstract000404en"> For many years, digital humanists have responded to Alan Liu’s call for critical digital humanities. Projects such as #TornApart/Seperados and #PuertoRicoMapathon and pieces like “Where is Cultural Criticism in the Digital Humanities?” , “All the Digital Humanists Are White, All the Nerds Are Men, but Some of Us Are Brave” , and “Beyond the Margins: Intersectionality and the Digital Humanities” have paved the way for socially conscious developments in the field. At the same time, pressures from administrators, institutions, and funding agencies often discourage critical engagement in favor of tool development and/or “high tech” projects . As such, we often attempt to adapt highly rewarded tech skills, like text, sentiment, and big data analyses, for use in social justice projects. While it is possible for these two aims to be compatible, we do ourselves a disservice when we try to force them together. So, how should teacher-scholars implement an intersectional digital humanities framework in the classroom? Using my own classroom as a case study, I assert that one effective strategy is through curation, which helps students investigate topics such as race, gender, sexuality, disability, and socioeconomic status through the careful selection, arrangement, and presentation of materials. Doing so teaches students to think more critically about the act of curation, by encouraging them to participate in knowledge construction as well as the dismantling of harmful narratives and power structures. While this approach differs from the tool-based pedagogy often utilized in the field, its emphasis on knowledge production, critical thinking, digital literacy, and social justice gives students proficiency in socially conscious methodologies that can be applied to any project. Linking curation to making and breaking, two digital humanities approaches to meaning-making, provides a method for interrogating “archives of humanity” and developing a pedagogy grounded in cultural critique and social justice . </span></span><span class="Z3988" title="url_ver=Z39.88-2004&ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rfr_id=info%3Asid%2Fzotero.org%3A2&rft.genre=article&rft.atitle=Making%20and%20Breaking%3A%20Teaching%20Information%20Ethics%20through%20Curatorial%20Practice&rft.jtitle=Digital%20Humanities%20Quarterly&rft.stitle=DHQ&rft.issn=1938-4122&rft.date=2019-01-11&rft.volume=012&rft.issue=4&rft.aulast=Boyles&rft.aufirst=Christina&rft.au=Christina%20Boyles"> </span></div> <div class="articleInfo" style="margin:0 0 1em 0;"><span class="monospace">[en] </span><a href="/dhq/vol/12/4/000406/000406.html">Placing Graphic Design at the Intersection of Information Visualization Fields</a><div style="padding-left:1em; margin:0;text-indent:-1em;">Yvette Shen, Ohio State University</div><span class="viewAbstract">Abstract <span class="viewAbstract monospace" style="display:inline" id="abstractExpanderabstract000406en"><a title="View Abstract" class="expandCollapse monospace" href="javascript:expandAbstract('abstract000406en')">[en]</a></span><span style="display:none" class="abstract" id="abstract000406en"> The popularity of information visualization in academia and practice brings a renewed emphasis on aesthetic values and visual applications to ensure its appeal to a wider audience. This paper focuses on visualization aesthetics and perception by making the case for using graphic design techniques and design languages to understand and create more aesthetically pleasant and functionally effective information design and visualization. It uses cross-disciplinary reviews of background research to demonstrate the value of graphic design principles and methods in the realm of visualization education. A user-centered design framework and student projects are discussed by adapting graphic design elements into the visualization process. It shows that the practice of developing a visualization should be executed with an understanding of graphic design basics in mind, and with a balanced consideration of tangible and conditional design elements, as well as how these design elements fulfill the purpose of the objective, context, content, audience, and the knowledge of the design outcomes. </span></span><span class="Z3988" title="url_ver=Z39.88-2004&ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rfr_id=info%3Asid%2Fzotero.org%3A2&rft.genre=article&rft.atitle=Placing%20Graphic%20Design%20at%20the%20Intersection%20of%20Information%20Visualization%20Fields&rft.jtitle=Digital%20Humanities%20Quarterly&rft.stitle=DHQ&rft.issn=1938-4122&rft.date=2019-01-12&rft.volume=012&rft.issue=4&rft.aulast=Shen&rft.aufirst=Yvette&rft.au=Yvette%20Shen"> </span></div> <div class="articleInfo" style="margin:0 0 1em 0;"><span class="monospace">[en] </span><a href="/dhq/vol/12/4/000405/000405.html">Best Practices: Teaching Typographic Principles to Digital Humanities Audiences</a><div style="padding-left:1em; margin:0;text-indent:-1em;">Amy Papaelias, SUNY New Paltz</div><span class="viewAbstract">Abstract <span class="viewAbstract monospace" style="display:inline" id="abstractExpanderabstract000405en"><a title="View Abstract" class="expandCollapse monospace" href="javascript:expandAbstract('abstract000405en')">[en]</a></span><span style="display:none" class="abstract" id="abstract000405en"> Typography, the arrangement and use of type, permeates our visual landscape, from printed pages and digital interfaces to physical environments and interactive experience. Those who study and work in the digital humanities are called upon to make typographic choices everyday, yet few have any training in how to effectively design with type. Over the past several years, I have been involved in several initiatives that seek to help educate digital humanities scholars, technologists and students about the value of information design, including typography. This paper will discuss these experiences and some guiding principles for helping a digital humanities audience understand the basic principles of typography and apply them to their projects and research. </span></span><span class="Z3988" title="url_ver=Z39.88-2004&ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rfr_id=info%3Asid%2Fzotero.org%3A2&rft.genre=article&rft.atitle=Best%20Practices%3A%20Teaching%20Typographic%20Principles%20to%20Digital%20Humanities%20Audiences&rft.jtitle=Digital%20Humanities%20Quarterly&rft.stitle=DHQ&rft.issn=1938-4122&rft.date=2019-02-04&rft.volume=012&rft.issue=4&rft.aulast=Papaelias&rft.aufirst=Amy&rft.au=Amy%20Papaelias"> </span></div> <div class="articleInfo" style="margin:0 0 1em 0;"><span class="monospace">[en] </span><a href="/dhq/vol/12/4/000407/000407.html">Visual Communication and the promotion of Health: an exploration of how they intersect in Italian education</a><div style="padding-left:1em; margin:0;text-indent:-1em;">Viviana De Angelis, Università degli Studi di Bari Aldo Moro; Patricia Mannix McNamara, University of Limerick; Rosa Gallelli, Università degli Studi di Bari Aldo Moro; Gemma Pichierri, Media Training Expert</div><span class="viewAbstract">Abstract <span class="viewAbstract monospace" style="display:inline" id="abstractExpanderabstract000407en"><a title="View Abstract" class="expandCollapse monospace" href="javascript:expandAbstract('abstract000407en')">[en]</a></span><span style="display:none" class="abstract" id="abstract000407en"> The use of new technologies, media and computational methods in Humanities may evolve and indeed it is already changing the “contents” and “forms” of contemporary education, opening new scenarios previously unimaginable. Nowadays Visual Mobile Devices, smartphones, tablets, etc, contribute to a range of computer-mediated activities, which are related to specific locations and times. But for such critical reflection, we need a closer look to deeper layers of our culture to unveil the characteristics of new technologies and devices. This paper describes some emerging aspects of the teaching use of visual communication techniques in primary and secondary schooling. In particular it reviews the evidence of the efficiency of visual communication for learning both in varied curriculum disciplines and of transversal socio-ethical affective skills necessary for the promotion of health and the construction of a planetary citizenship. The paper illuminates the didactic applicability and unique potential of images for the epistemological peculiarities of different disciplines, highlighting how educational use of images in creative pedagogy can be more focused given the function they perform in the more general cognitive process of individuals. The theoretical analysis of the teaching validity of the use of visual communication, as reported in the international literature, seems to receive confirmation from a case study, which provides detailed analyses of how this technique can enhance specific projects and demonstrates its significance for wider practitioners. </span></span><span class="Z3988" title="url_ver=Z39.88-2004&ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rfr_id=info%3Asid%2Fzotero.org%3A2&rft.genre=article&rft.atitle=Visual%20Communication%20and%20the%20promotion%20of%20Health%3A%20an%20exploration%20of%20how%20they%20intersect%20in%20Italian%20education&rft.jtitle=Digital%20Humanities%20Quarterly&rft.stitle=DHQ&rft.issn=1938-4122&rft.date=2019-07-26&rft.volume=012&rft.issue=4&rft.aulast=De Angelis&rft.aufirst=Viviana&rft.au=Viviana%20De Angelis&rft.au=Patricia Mannix%20McNamara&rft.au=Rosa%20Gallelli&rft.au=Gemma%20Pichierri"> </span></div> </div> <h2>Articles</h2> <div class="articleInfo" style="margin:0 0 1em 0;"><span class="monospace">[en] </span><a href="/dhq/vol/12/4/000401/000401.html">Defining scholarly practices, methods and tools in the Lithuanian digital humanities research community</a><div style="padding-left:1em; margin:0;text-indent:-1em;">Ingrida Kelpšienė, Vilnius University, Lithuania</div><span class="viewAbstract">Abstract <span class="viewAbstract monospace" style="display:inline" id="abstractExpanderabstract000401en"><a title="View Abstract" class="expandCollapse monospace" href="javascript:expandAbstract('abstract000401en')">[en]</a></span><span style="display:none" class="abstract" id="abstract000401en"> The article discusses the current situation in the adoption of digital tools and practices in the humanities and arts in Lithuania, based on a major European survey conducted by the Digital Research Infrastructure for the Arts and Humanities (DARIAH) in 2014 and 2015. The survey was aimed at understanding existing scholarly practices, methods and tools that are applied by researchers, as well as attitudes towards digital technologies in research and scholarship. This article analyzes specific aspects of scholarly research activities and digital needs in Lithuania, and provides evidence-based insights on the national digital humanities landscape. </span></span><span class="Z3988" title="url_ver=Z39.88-2004&ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rfr_id=info%3Asid%2Fzotero.org%3A2&rft.genre=article&rft.atitle=Defining%20scholarly%20practices,%20methods%20and%20tools%20in%20the%20Lithuanian%20digital%20humanities%20research%20community&rft.jtitle=Digital%20Humanities%20Quarterly&rft.stitle=DHQ&rft.issn=1938-4122&rft.date=2018-12-31&rft.volume=012&rft.issue=4&rft.aulast=Kelpšienė&rft.aufirst=Ingrida&rft.au=Ingrida%20Kelpšienė"> </span></div> <h2>Case Studies</h2> <div class="articleInfo" style="margin:0 0 1em 0;"><span class="monospace">[en] </span><a href="/dhq/vol/12/4/000400/000400.html">Renaissance Remix. <cite class="italic">Isabella d’Este: Virtual Studiolo</cite></a><div style="padding-left:1em; margin:0;text-indent:-1em;">Deanna Shemek, University of California, Irvine, USA; Antonella Guidazzoli, VisitLab - Cineca Interuniversity Consortium, Italy; Maria Chiara Liguori, VisitLab - Cineca Interuniversity Consortium, Italy; Giovanni Bellavia, VisitLab - Cineca Interuniversity Consortium, Italy; Daniele De Luca, VisitLab - Cineca Interuniversity Consortium, Italy; Luigi Verri, VisitLab - Cineca Interuniversity Consortium, Italy; Silvano Imboden, VisitLab - Cineca Interuniversity Consortium, Italy</div><span class="viewAbstract">Abstract <span class="viewAbstract monospace" style="display:inline" id="abstractExpanderabstract000400en"><a title="View Abstract" class="expandCollapse monospace" href="javascript:expandAbstract('abstract000400en')">[en]</a></span><span style="display:none" class="abstract" id="abstract000400en"> Among the most elaborate and coherent instances of Renaissance self-fashioning and female self-determination through culture was a suite of rooms designed by Isabella d’Este in what is now the Ducal Palace museum of Mantua, Italy: a full-blown personal studiolo (study) and an adjoining smaller chamber she called the grotta (grotto). Isabella’s studiolo is a regular point of reference in the study of Renaissance history and art, yet for centuries it has been accessible only in dispersed pieces and in spaces depopulated of major works and artefacts. Digital technology offers the possibility of creating a “remastered” studiolo, a virtual space in which both visual and acoustic elements may be enhanced with respect to previous attempts at its representation. At the same time, historical uncertainty about numerous details in the arrangement of the objects in this collection requires a high level of flexibility in the digital remix, allowing for the programming of a customisable virtual environment. In anticipation of the project’s full construction and in order to facilitate discussion with potential users about the Virtual Studiolo’s backward design, the authors have developed a concept-demonstration video within the open-source Blender environment (www.blender.org). Among the concerns we aim to address in this phase of the project is how to combine historical accuracy, emotional power, and creative possibilities for users. This case study presents some of the opportunities, constraints and challenges we confronted during the production of our video as we strove within the Blender open environment for a result that will be historically accurate, emotionally compelling, and creatively flexible. </span></span><span class="Z3988" title="url_ver=Z39.88-2004&ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rfr_id=info%3Asid%2Fzotero.org%3A2&rft.genre=article&rft.atitle=Renaissance%20Remix.%20Isabella%20d%E2%80%99Este%3A%20Virtual%20Studiolo&rft.jtitle=Digital%20Humanities%20Quarterly&rft.stitle=DHQ&rft.issn=1938-4122&rft.date=2018-12-31&rft.volume=012&rft.issue=4&rft.aulast=Shemek&rft.aufirst=Deanna&rft.au=Deanna%20Shemek&rft.au=Antonella%20Guidazzoli&rft.au=Maria Chiara%20Liguori&rft.au=Giovanni%20Bellavia&rft.au=Daniele%20De Luca&rft.au=Luigi%20Verri&rft.au=Silvano%20Imboden"> </span></div> <h2>Issues in Digital Humanities</h2> <div class="articleInfo" style="margin:0 0 1em 0;"><span class="monospace">[en] </span><a href="/dhq/vol/12/4/000408/000408.html">Racism in the Machine: Visualization Ethics in Digital Humanities Projects</a><div style="padding-left:1em; margin:0;text-indent:-1em;">Katherine Hepworth, University of Nevada, Reno; Christopher Church, University of Nevada, Reno</div><span class="viewAbstract">Abstract <span class="viewAbstract monospace" style="display:inline" id="abstractExpanderabstract000408en"><a title="View Abstract" class="expandCollapse monospace" href="javascript:expandAbstract('abstract000408en')">[en]</a></span><span style="display:none" class="abstract" id="abstract000408en"> Data visualizations are inherently rhetorical, and therefore bias-laden visual artifacts that contain both explicit and implicit arguments. The implicit arguments depicted in data visualizations are the net result of many seemingly minor decisions about data and design from inception of a research project through to final publication of the visualization. Data workflow, selected visualization formats, and individual design decisions made within those formats all frame and direct the possible range of interpretation, and the potential for harm of any data visualization. Considering this, it is imperative that we take an ethical approach to the creation and use of data visualizations. Therefore, we have suggested an ethical data visualization workflow with the dual aim of minimizing harm to the subjects of our study and the audiences viewing our visualization, while also maximizing the explanatory capacity and effectiveness of the visualization itself. To explain this ethical data visualization workflow, we examine two recent digital mapping projects, Racial Terror Lynchings and Map of White Supremacy Mob Violence. </span></span><span class="Z3988" title="url_ver=Z39.88-2004&ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rfr_id=info%3Asid%2Fzotero.org%3A2&rft.genre=article&rft.atitle=Racism%20in%20the%20Machine%3A%20Visualization%20Ethics%20in%20Digital%20Humanities%20Projects&rft.jtitle=Digital%20Humanities%20Quarterly&rft.stitle=DHQ&rft.issn=1938-4122&rft.date=2019-02-04&rft.volume=012&rft.issue=4&rft.aulast=Hepworth&rft.aufirst=Katherine&rft.au=Katherine%20Hepworth&rft.au=Christopher%20Church"> </span></div> <h2>Reviews</h2> <h2><a href="/dhq/vol/12/4/bios.html">Author Biographies</a></h2></div><div id="footer"><div style="float:left; max-width:70%;"> URL: http://www.digitalhumanities.org/dhq/vol/12/4/index.html<br/> Comments: <a href="mailto:dhqinfo@digitalhumanities.org" class="footer">dhqinfo@digitalhumanities.org</a><br/> Published by: <a href="http://www.digitalhumanities.org" class="footer">The Alliance of Digital Humanities Organizations</a> and <a href="http://www.ach.org" class="footer">The Association for Computers and the Humanities</a><br/>Affiliated with: <a href="https://academic.oup.com/dsh">Digital Scholarship in the Humanities</a><br/> DHQ has been made possible in part by the <a href="https://www.neh.gov/">National Endowment for the Humanities</a>.<br/>Copyright © 2005 - <script type="text/javascript"> var currentDate = new Date(); document.write(currentDate.getFullYear());</script><br/><a rel="license" href="http://creativecommons.org/licenses/by-nd/4.0/"><img alt="Creative Commons License" style="border-width:0" src="https://i.creativecommons.org/l/by-nd/4.0/80x15.png"/></a><br/>Unless otherwise noted, the DHQ web site and all DHQ published content are published under a <a rel="license" href="http://creativecommons.org/licenses/by-nd/4.0/">Creative Commons Attribution-NoDerivatives 4.0 International License</a>. 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DHQ: Digital Humanities Quarterly: 2018