Over the last several years I’ve made (and helped other people make) a lot of things.
I’ve redesigned and built a number of open access digital publications, like the Sounding Spirit initiative and the Journal for Humanities in Rehabilitation. I’ve helped analyze the public impact of digital archives like the NEH-funded Voyages database. I worked as a project manager to coordinate the development of a suite of augmented reality and web applications through which visitors to the Atlanta History Center can interact with a 49-foot tall (and 133-year-old) cylindrical painting about one of the key battles in the Civil War. I’ve also consulted on digital publishing projects through the Mellon Future of the Monograph Initiative at Emory, envisioning new possibilities for digital publications with faculty and graduate students.
My own research experiments with using digital as an interpretive mode, looking for what opportunities are created by treating digital objects as poems (and vice versa) — as dynamic networks of codes and nodes connected across material or virtual spaces. I look to identify digital projects before they know what they are, and also to find digital tools that solve analog problems.
Sounding Spirit (an NEH funded digital project) wanted a website redesign that would make their already public material (songbooks they have digitized) more legible to general audiences, while still appealing to scholars and researchers. With their project team as content experts, I scoped, designed, and built a more interactive and visually interesting site that captured the nineteenth-century aesthetics of the books themselves, foregrounding the project’s digital objects (images of the volumes) in the process.
The Journal for Humanities in Rehabilitation (JHR) requested a website redesign for their work publishing open-access articles. Working with an ECDS team, we scoped, designed, and implemented an entirely new structure for the site, emphasizing readability, functionality, and a low-clutter interface. We also generated new behind-the-scenes workflows to streamline their semesterly publishing process, and updated old content.
When I taught Lines and Design: The Poetry of Digital Culture (a writing course I developed at Emory), I built a website to keep teaching materials and information in a central location for students, in an environment more interactive than a traditional digital syllabus.
Dissertation: I found printed texts that I argue are intrinsically digital poems: inherently interactive artifacts that have been failed by print. (And I made them into those digital objects to see what happened next.) I built websites for interactive Emily Dickinson poems originally written on scraps of paper, abolitionist poems first printed within the social networks of newspapers, prose poems like Moby Dick that don’t unfold in order, and a fragmentary autobiography by Walt Whitman that only makes sense when read as a virtual collection of texts instead of a series.