Humanities2015, 4(3), 353-368; doi:10.3390/h4030353 - published 31 August 2015 Show/Hide Abstract
Abstract: Like those in the Sciences and Social Sciences, humanities researchers are turning to collaborations to explore increasingly complex questions and implement new forms of methodologies. Granting agencies are supporting this trend with specific programs focused on highly collaborative research. While researchers and other associated team members welcome these collaborations as a way to undertake projects that would not be otherwise possible, work needs to be done to prepare individuals for team research. This becomes especially important for those in the Humanities who have been trained in single author work patterns and rewarded for those. Given this, what does collaboration look like in Humanities research? This paper will explore the experience of a large scale Humanities collaboration to understand the nature of collaboration, benefits and challenges and conclude with best practices for individuals and teams considering collaborative research.
Humanities2015, 4(3), 334-352; doi:10.3390/h4030334 - published 20 August 2015 Show/Hide Abstract
Abstract: This article traces the transformation of hairworks in America during the mid-nineteenth-century. Harriet Beecher Stowe’s novel Uncle Tom’s Cabin transformed the meaning of hair and hairworks in the American cultural imaginary by endowing Little Evangeline St. Clare’s hair with sacred, moralizing power. Likewise, after the Emancipation Proclamation was issued in 1863, President Abraham Lincoln’s hair achieved nationwide, relic-like significance. The Abraham Lincoln Papers contains six hair requests; these letters demonstrate that the cultural meaning of Lincoln’s hair resembles the fictional power of Eva’s hair in Stowe’s novel. Analyzing this phenomena of relic-like hair modifies our understanding of the unprecedented sentimental reaction to Lincoln’s assassination and particularly the fascination with seeing and approaching the president’s body.
Humanities2015, 4(3), 320-333; doi:10.3390/h4030320 - published 19 August 2015 Show/Hide Abstract
Abstract: This article proposes that the experiences of screen tourists in Oxford help to create a theoretical “deep map” of the city which explores place through narrative. Building on the travel writing of William Least Heat-Moon and other recent work in the spatial humanities, two case studies of major screen tourism drivers are considered and analyzed. The British television drama Inspector Morse (1987–2000) explores the ambiguity of Oxford intellectualism through its central character. Morse’s love of high culture, especially music, provides suggestive additional layers for multimedia mapping, which are realized online through user-adapted Google Maps and geolocated images posted on the Flickr service. Harry Potter fans may not be “pure” or independent screen tourists, but they provide a wealth of data on their interactions with filming locations via social media such as Instagram. This data provides emotional as well as factual evidence, and is accumulating into an ever richer and deeper digital map of human experience.
Humanities2015, 4(3), 304-318; doi:10.3390/h4030304 - published 6 August 2015 Show/Hide Abstract
Abstract: This is a description of an avant la lettre deep mapping project carried out by a geographer and a number of landscape architecture students in the early 1980s. Although humanists seem to take the “mapping” in deep mapping more metaphorically than cartographically, in this neighborhood mapping project, the mapmaking was taken literally, with the goal of producing an atlas of the neighborhood. In this, the neighborhood was construed as a transformer, turning the stuff of the world (gas, water, electricity) into the stuff of individual lives (sidewalk graffiti, wind chimes, barking dogs), and vice versa. Maps in the central transformer section of the atlas were to have charted this process in action, as in one showing the route of an individual newspaper into the neighborhood, then through the neighborhood to a home, and finally, as trash, out of the neighborhood in a garbage truck; though few of these had been completed when the project concluded in 1986. Resurrected in 1998 in an episode on Ira Glass’ This American Life, the atlas was finally published, as Everything Sings: Maps for a Narrative Atlas, in 2010 (and an expanded edition in 2013).
Humanities2015, 4(3), 283-303; doi:10.3390/h4030283 - published 21 July 2015 Show/Hide Abstract
Abstract: There has been little academic research published on the work of Tim Robinson despite an illustrious career, first as an artist of the London avant-garde, then as a map-maker in the west of Ireland, and finally as an author of place. In part, this dearth is due to the difficulty of approaching these three diverse strands collectively. However, recent developments in the field of deep mapping encourage us to look back at the continuity of Robinson’s achievements in full and offer a suitable framework for doing so. Socially engaged with living communities and a depth of historical knowledge about place, but at the same time keen to contribute artistically to the ongoing contemporary culture of place, the parameters of deep mapping are broad enough to encompass the range of Robinson’s whole practice and suggest unique ways to illuminate his very unusual career. But Robinson’s achievements also encourage a reflection on the historical context of deep mapping itself, as well as on the nature of its spatial practice (especially where space comes to connote a medium to be worked rather than an area/volume). With this in mind the following article both explores Robinson’s work through deep mapping and deep mapping through the work of this unusual artist.