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Marriage Equality: Stories from the Heartland is an on-going project dedicated to recording stories from same-sex couples about their journeys into marriage. Sponsored by the Indiana University’s Department of Gender Studies, the Office for Vice President for Research New Frontiers program, and the IU Bloomington Arts and Humanities Council. - WFHB Marriage Equality Stories from the Heartland page - WFHB Marriage Equality Stories from the Heartland page
Marriage Equality: Stories from the Heartland is an on-going project dedicated to recording stories from same-sex couples about their journeys into marriage. Sponsored by the Indiana University’s Department of Gender Studies, the Office for Vice President for Research New Frontiers program, and the IU Bloomington Arts and Humanities Council. - WFHB Marriage Equality Stories from the Heartland
Marriage Equality: Stories from the Heartland is an on-going project dedicated to recording stories from same-sex couples about their journeys into marriage. Sponsored by the Indiana University’s Department of Gender Studies, the Office for Vice President for Research New Frontiers program, and the IU Bloomington Arts and Humanities Council. - WFHB Marriage Equality Stories from the Heartland
In episode 84, journalist Jamie Kalven spoke to Media School Dean James Shanahan about using first amendment freedoms to fight censorship. Kalven successfully fought a subpoena to name sources for his story about the police-involved shooting death of Chicago teenager Laquan McDonald.
“When I was young I knew nothing about any legislative activities or laws that would allow an individual with a disability to have any kind of civil rights because I stayed in several nursing homes and at that time, there were no patients' rights,” states Karen Vaughn. In 2009, Karen Vaughn visited the Story Tent at the Indiana Governor’s Council for People with Disabilities conference and shared what she learned when she attended Partners in Policymaking and Disabilities Rights Education Defense Fund training in 1992. She took that information and assisted state parks with their ADA compliance plans.
This sound piece moves through several different neighborhoods of Kathmandu and Patan over the course of a fictive day, echoing the pleasures, frustrations, and humor of the dense and richly layered urban soundscape.
"There's a new crop of people that are saying, wait a minute, I'm not ashamed of anything. I don't need to distance myself from anything. In fact, I am a disabled person first." In this interview, Lawrence Carter-Long discusses his views on the evolution from people-first to identity-first language, and changes in the way disability is depicted in the media. "With more disabled people being creative behind-the-scenes," using new, more direct digital outlets, he has noticed that the stories we are seeing have more complexity, depth and authenticity. "The gatekeepers no longer have the same types of power."
Public Affairs Specialist for the National Council on Disability at the time he was interviewed in 2015, Lawrence grew up in Indianapolis and Terre Haute. He was program coordinator for the Disabilities Network of New York City when he undertook the Gimp Project, a collaboration with dance choreographer Heidi Latsky. As a young person, Lawrence says modern dance was never an option for him. "It wouldn't even enter my consciousness because of my physicality and because of having cerebral palsy." However, he recalls a theater teacher at North Vigo High School in Terre Haute, Indiana who was pivotal in encouraging him "to do things that I wouldn't have imagined possible."
Lawrence also discusses disability and film, talking about his experience curating and co-hosting the Turner Classic Movies festival, The Projected Image: A History of Disability in Film. The 2012 series reached 87 million people. "It was a fantastic opportunity to look back as a way to position ourselves and to say, how do we want to move forward." Earlier, Lawrence laid the groundwork for The Projected Image with a successful, experimental festival in New York City, "Dis This." He was interviewed at the Indiana Governor's Council for People with Disabilities conference in Indianapolis.
In episode 86, Emily Miles speaks with Barbara Restle, environmental activist and press freedom advocate. A childhood in 1930s Austria, where Nazi occupation came to suppress independent reporting, led Restle to eventually study journalism at Indiana University. In 2017, Restle contributed funding to the Media School for the study of the Freedom of Information Act and confidential source protections. The music in this episode comes from Greta Keller, Bela Bartok, Jahzzar and Doctor Turtle.
The Sample: In the inaugural episode of The Sample, our weekly student-driven short, we talk with Tamara Loewenthal of the Lotus Education and Arts Foundation and Norbert Herber of the Media School. They cover everything from the 25th annual Lotus World Music and Arts Festival volunteer cohesion to the collaboration necessary for this year's Big Tent multimedia experience.
This week, Dean Shanahan discusses the Lotus World Music and Arts Festival with Executive Director Sunni Fass and Interim Artistic Director Rob Simonds. Listen to learn about the history of the festival, how Lotus cultivates the acts, and what artists that will be performing this year.
Institute for Digital Arts and Humanities, Kathryn Tomasek
Summary:
When students transcribe and mark up primary sources, they learn the kind of close reading that is necessary for historical interpretation. When their professors teach transcription and markup, they can discover new research projects and make an impact on their fields. In 2004, Tomasek began to work with colleagues in the Wheaton College Archives and in Library and Information Services to build transcription and markup into an undergraduate course in nineteenth-century U.S. Women’s History. They used a scaffolded assignment that allowed students to build on skills developed throughout the semester, and students reported real investment in the life of the daughter of a Baptist minister whose journal they transcribed and marked up. Summer interns who did similar work with the pocket diaries and travel journal of Eliza Baylies Wheaton, a member of the institution’s founding family, did extra unassigned work tracking down the graves of people mentioned in the documents in town cemeteries.
By 2009, the Wheaton team had developed a successful model for teaching students close reading, but they had run out of “easy” documents like journals and pocket diaries. So Tomasek and her colleagues turned to the daybook kept by a member of the institution’s founding family. A student research assistant who attended DHSI and took the Introduction to TEI course with Tomasek became the local expert and assisted in teaching a module focused on transcription and markup of the daybook. As is always the case, some students took to the assignment more readily than others. Pairing students to work on a page spread worked better than asking individual students to take on the work themselves. Successful students found stories in their page spreads and wrote real historical depictions of the facts and their significance. Tomasek, her library partners, and the student assistant taught the module for two years before receiving a Start-Up award for further investigation of markup for account books from the Office of Digital Humanities at the National Endowment for the Humanities in 2011.
This award marked a transition in Tomasek’s research agenda to a focus on account books as humanities sources and the value of digital scholarly editions for reuse by other researchers. The small community of practice that began in summer 2011 expanded with the help of a Bilateral Digital Humanities award from the German Research Foundation and the NEH in 2015. Tomasek found the use of the classroom module to be slower than ideal for producing a full edition of the day book, and she transitioned to more intensive work with summer interns in 2015. A group of those interns completed a first-run transcription and markup of the daybook in 2016, and an alpha version is part of a data set that includes excerpts from the Financial Papers of George Washington, accounts from the Stagville plantation in North Carolina, Matthew Carey’s Printers File, and accounts of the Uihlein family, founders of the Schlitz brewing company.
Circuses and other traveling shows were a staple of nineteenth-century American society, but just how American were they? This project uses digital mapping together with traditional archival research to investigate the geographic reach, business networks, and cultural significance of three iconic American shows: Cooper, Bailey, and Company’s Great International; the Barnum and Bailey Circus; and Buffalo Bill’s Wild West show. Mapping their routes from the 1870s to the 1910s reveals how thoroughly they were embedded in global entertainment circuits—Cooper and Bailey travelled to Australia, New Zealand, India, and a handful of South American countries in the late 1870s; Buffalo Bill visited countries in Europe between 1887 and 1892 and again from 1902 to 1906; and Barnum and Bailey toured extensively in Europe from 1898 to 1902. Furthermore, in 1899, James Bailey officially relocated the headquarters of his circus to England, establishing the publically traded company Barnum and Bailey, Limited. By contrast, none of these shows travelled consistently to the west coast of the United States until 1907. Analysis of these entertainment geographies helps us rethink standard narratives of national integration in the U.S. in the second half of the nineteenth century and recasts institutions traditionally understood as quintessentially American in a transnational and global light.
