Our website explores several major threads:
1. What are the postcolonial digital humanities?
- Where are the digital humanities practiced and what does it mean to practice it globally?
- How can scholars of postcolonial studies and digital humanities better account for the needs, representations, and legiblities of vulnerable populations?
2. How can/should the goals of postcolonial studies shift to adapt to digital changes and challenges?
- How does the movement from print to pixel affect the shape of global knowledge, and how should postcolonial studies be reoriented to address this shift?
- How does the digital space push the limits of what postcolonial studies is, and reshape forms of postcolonial knowledge?
- How can and should postcolonial studies engage different forms of media and connectivity to further its mission?
- How has the issue of representation developed and shifted in accordance with changing media forms, and what role can postcolonial studies play in this process?
3. What are some alternative genealogies of the digital humanities?
- What genealogies exist for the digital humanities, and where do they intersect with histories of imperialism? How can postcolonial studies intervene at such convergences?
- Formerly termed “humanities computing,” the digital humanities used to be considered one of the more marginal subfields within mainstream humanities field. While the digital humanities has now been criticized for its lack of inclusion of projects on race, class, gender, disability, and for building tools with this in mind (Earhart, McPherson, Cecire, Koh), Amy Earhart has also noted that the 1990s saw a wave of DIY “recovery” digital projects by women and people of color, many of which are now defunct (see Alan Liu’s list of minority/ethnic projects on Voice of the Shuttle). At the same time, there do exist multiple digital projects on marginalized populations, including the Women in World History project, the Black Gotham Archive project, and the Soweto ‘76 project.
- How can, and should, genealogies of the digital humanities be rewritten to encompass the ways in which race, class, gender and disability have influenced–and yet been invisible–within the digital humanities?
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