Exploring two decades of evaluating digital scholarship for tenure and promotion (in the humanities)
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In this presentation at the Brown University Library, Cheryl Ball outlines the history of digital scholarship in the humanities and traces the accompanying changed to tenure and promotion practices.
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Exploring two decades of evaluating digital scholarship for tenure and promotion (in the humanities)
- 1. Exploring Two Decades evaluating Digital Scholarship for Tenure and Promotion (in the Humanities) Dr. Cheryl E. Ball Associate Professor of Digital Publishing Studies West Virginia University @s2ceball
- 2. Background
- 4. Names for this Field • computers and composition • computers & writing • new media composition • digital writing • digital rhetoric • digital literacies • techno-pedagogy “Views from a Distance” - a word-cloud based webtext on the disciplinary history of writing studies by Derek Mueller. (http://kairos.technorhetoric.net/16.2/top oi/mueller/)
- 9. Early Digital Tenure Guidelines CCCC Position Statement on Promotion and Tenure Guidelines for Work with Technology (1998) Candidate should: • Educate others • Explain their work in terms of traditional scholarship • Network with technologists
- 12. full screen of tenure portfolio ’09 @ ILSTU
- 13. writing about webtexts infrastructure & metadata projectsgrants (tool-building)
- 14. Rise of “Digital Humanities” 1. traditional (online) scholarship about DH 2. DH projects (but not “counted”) • tools (Zotero, etc.) • grants (ODH) • collaboration (in “lone-genius” fields) • collections/archives (NINES, etc.) • public humanities (social media & open peer review, etc.)
- 15. Updated Guidelines (2013) • for institutions • for committees • for T&P candidates MLA Guidelines for Evaluating Work in Digital Humanities and Digital Medi https://www.mla.org/guidelines_evaluation_digital
- 16. Documenting & Explaininga sample video
- 17. Remaining issues in T&P • rhetorical & aesthetic reading practices • technological understanding (from readers) • contracting valid external readers • tenure guidelines that favor print-like work • peer-review locations for media-rich projects • design-editing knowledge & platforms for digital projects
- 21. job portfolio @ MTU ‘03 3rd-year review & job portfolio @ USU ‘06 tenure portfolio @ ILSTU ‘09
Notas del editor
- nice Brown, MFA in late 90s, postmodern literary theory —> HT theory ended up in e-lit (1st ETD): ETD (sciences) and e-lit work pushed T&P changes in digital writing.
- In this talk: outline field of digital writing studies to trace changes in T&P practices and guidelines.
- Kairos is fulcrum for T&P changes in digital writing History: 1996 (not first, but longest - 20th anniv), grad students, HT theory, completely online, “webtexts” Independent, open-access (libre), collab peer review 10-15% acceptance rate (could talk all day about how…)
- primary audience of Kairos — after MFA, PhD in RTC (intersects: RC, TC, PW, CW) — RQs: how rhetorical writing makes meaning and is taught through and with digital technologies
- — field is now dated back to 1975 when the first article about c&c came out: Ellen W. Nold's “Fear and Trembling: The Humanist Approaches the Computer” published in CCC. First journal, C&C, started in 1983. Kairos, then, comes along when the field was established but with the advent of the Web. — other journals were also doing Web-based work, or even networked-writing work (Postmodern Culture, 1990, email), many in sciences, but sharing written text, print-like scholarship in the same tradition as ever.
- This is why Kairos is unique: webtexts, from the beginning SHOW EXAMPLES
- Not surprisingly, getting tenure by publishing webtexts has always been at the forefront of authors’ and editors’ minds. apocryphal stories, turn out true: Marcy Bauman (2002), Dan Anderson (2003), Ray Seimens.
- first issue dedicated to tenure in digital scholarship: Spring 1997.
- even tho guidelines existed prior to the three examples I mentioned earlier, they weren’t always helpful because (1) incumbent on candidate, (2) external evaluators not always called (and not many of those), (3) local guidelines didn’t accommodate —> CCCC tenure narratives
- 2005 study (now being redone) showed that NO TT scholars in digital writing studies got tenure based on webtextual work. Only one or two published a digital piece pre-tenure.
- why digital tenure portfolio? (webtexts and OA work) (Editor of Kairos for 8 years by then; my first publication - elite - was in it) (—> ALL T&P applications for CAS are required to be electronic, starting Fall 2014) other schools: Findlay, Kent State
- Although less and less of my scholarship is in webtextual form, it’s taking three radically different directions: — blogs, columns, and alternative publication venues — digital project administration born from grants, which produces white papers and tools — print-based articles (that I cross-publish on my OA website) on scholarly publishing THIS IS WHERE DH PROJECTS COME IN…
- circa 2011, began DH takeover of MLA by then, lots of print-like scholarship about DH, and lots of DH projects, but latter didn’t count for tenure. PROBLEM: still counting in re traditional forms of scholarship (e.g., Todd Taylor vs. Bump Halbritter) — Lee & Selfe article//WVU English rewrites
- Like AHA recently did, all of these organizations semi-regularly update their guidelines to accommodate changes in genres, technologies, and processes used in digital scholarship. —> GO briefly to MLA site
- - story of digital portfolio change in tenure guidelines working AGAINST MLA wiki genres
- i can talk at length about rhetorical reading strategies…. (most of my scholarship)
- At each school, I had a different need for presenting my materials for the job market and for tenure committees.
- redesign of tenure portfolio, post-tenure & again on the 2012 job market
- And, because I couldn’t resist playing up my personality even amidst making the design more professional and updated to mid-2010s design standards,
- I have 6 head shots that rotate, each with different expressions. I have always said that people need to know what they’re getting when they get me, and my portfolio is how I express my work all in a single place.