The DH@CC is a week long, immersive learning symposium held for faculty members who were awarded a Summer Institute Grant. It took place during the first week of June at the Honnold Mudd Library, 2015. During the event, a wide selection of presentations and hands-on sessions were led by scholars working at the forefront of the digital humanities. Key topics at the symposium included discussions regarding the definition of the digital humanities and its uses, DH criticism, the advantages to infusing humanities courses with the digital, and controversies in the field. Hands-on sessions focused on getting started with tools such as Omeka, WordPress, video production and post production, mapping, and GIS, many of which were presented by professionals working at the 5Cs. Below is a list of The Summer Institute presenters and their talks.
The 2015 Summer Institute Fellows, chosen from across the 5C’s faculty, are described below.
Bill Anthes is an interdisciplinary scholar in the Art Field Group at Pitzer College. With a background in studio art, art history and the interdisciplinary field of American Studies, he teaches and writes about art in terms of multimedia practice and intercultural exchange. His current research focuses on global indigenous modern and contemporary art in the Americas, Africa, and the Pacific, decolonial methodologies for art history in settler nations such as the United States, Canada, South African, Australia, and New Zealand, and artistic engagements with animals and nonhuman nature. He is author of the books Native Moderns: American Indian Painting, 1940-1960 (Duke University Press, 2006) and Edgar Heap of Birds (Duke University Press, 2015). He is also contributing author to the textbook Reframing Photography: Theory and Practice, by Rebekah Modrak (Routledge, 2010). He has received fellowships and awards from the Georgia O’Keeffe Museum Research Center, the Center for the Arts in Society at Carnegie Mellon University, the Rockefeller Foundation/Smithsonian Center for Folklife and Cultural Heritage, and the Creative Capital/Warhol Foundation Arts Writers Grant Program. He is a member of the Editorial Board of the journal American Indian Quarterly.
Gary Gilbert received his B.A. in Classics from Haverford College, and Ph.D. in religion from Columbia University where he studied ancient Jewish history and literature at the Jewish Theological Seminary and New Testament and early Christianity at Union Theological Seminary.
Gary has taught at the University of Pittsburgh, and in 1998 began his current position in the Department of Religious Studies at Claremont McKenna College. Gary currently serves as director of the program in Jewish Studies, Middle East Studies, and Classical Studies at CMC, and is a staff member of the Tel Akko archaeology program in Israel. Gary is the author of numerous articles on Jewish communities in antiquity, the rhetoric of New Testament, and is currently completing written work on the involvement of non-Jews in Jewish social and religious life during the Roman Empire.
Martha Gonzalez was born and raised in East Los Angeles and is a Chicana artivista (artist/activist) musician, feminist music theorist and Assistant Professor in the Intercollegiate Department of Chicana/o Latina/o Studies. Gonzalez has an undergraduate degree in Ethnomusicology from UCLA and a PhD in Feminism from the University of Washington, Seattle. A Fulbright (2007-2008) and Ford Fellow (2012-2013) she has published extensively on Chican@ music popular culture, and music as social movement.
Her academic interest in music has been fueled by her own musicianship as a singer/songwriter and percussionist for East L.A’s Quetzal for over 20 years. Quetzal has made considerable impact in the Los Angeles Chicano music scene. The unique blend of East Los Angeles sounds as well as the social justice content in the work has sparked dialogue and theoretical work among various artist communities, culture theorists, and scholars across the country, Mexico and Japan. The relevance of Quetzal’s music and poetry work has been noted in a range of publications from dissertations to scholarly books. Quetzal has been invited by the U.S. Library of Congress and Kennedy Center as well as the recent Ralf Rinzler Concert and panel discussion, paying special tribute to Pete Seeger. In addition, the traveling exhibit “American Sabor: Latinos in U.S. Popular Music” sponsored by the Smithsonian Institute, featured Quetzal as leaders and innovators of Chicano music. This feat coupled with their Grammy Award winning album on the Smithsonian Folkways label, “Imaginaries” marks the importance of her past and ongoing work. Most recently and as a testament to the body of music and community work, in the summer of 2014 Gonzalez’s tarima (stomp box) and shoes were acquired into the National Museum of American History.
Professor Gonzalez is currently working on her manuscript titled, Chicana Artivistas: East Los Angeles Trenches Transborder Tactics. To the Claremont Consortium, Gonzalez has introduced such courses as: Fandango as a De-Colonial Tool and Chican@ Music: From Genre to Experience, Women Who Rock: The Archive, Popular Music and New Media, and a Core III Course: Collective Songwriting: Knowledge and Theory. For more information on Professor Gonzalez’s community, professional music and academic work visit www.marthagonzalez.net.
Jonathan Hall — My research has focused on critical and psychoanalytic theories, avant-garde and experimental literature and film, queer theory, and cultural studies. I draw my materials from popular cinema and media, from experimental film, video, and animation, as well as from the unfolding directions of new media. I am especially interested in the intersections of desire, expression, and politics with special concern for filmic, literary, and new media texts from East and Southeast Asia. My first book project, “Geographies of Unbelievable Latitude,” addresses media theory, social histories of perversion, and the mid-century Japanese film underground. I have begun work on a second project on the history of Japanese experimental film.
Curatorial work is vital to sustain a dynamic, active visual culture. In Spring 2003, I co-curated with Po-Chen Tsai “Queerly Chinese Cinemas” at the University of Chicago. My “JPEX: Japanese Experimental Film & Video 1955-now,” co-curated with Michelle Puetz, toured seven North American cities in 2004 and 2005. An abridged version was shown at the Frankfurt German Film Musuem in 2007. In January 2o1o, I co-curated with Mizoguchi Akiko “Iwasa Hiroki: Complete Works” in Tokyo, Japan, while in March 2011, I was busy with a program on the work of Japanese animator Kurosaka Keita for the Ann Arbor Independent Film Festival. In collaboration with the Pomona College Museum of Art, I have hosted Chinese animator Wu Junyong and organized Pomona’s participation in the biennial Los Angeles-wide celebration of Chinese contemporary film.
Vivien Hamilton is the Assistant Professor of History of Science in the Humanities, Social Science and the Arts Department at Harvey Mudd College in Claremont, CA. She joined the department in 2011 and teaches a wide range of courses in the history of science, technology and medicine. She is also a member of the intercollegiate STS program in Claremont.
Vivien discovered history of science while majoring in physics at Dalhousie University. A fantastic elective in the history of ancient science turned into a double major in the newly formed History of Science and Technology program at the University of King’s College, which then turned into a PhD at the University of Toronto.
In her current research, Vivien is interested in understanding how individuals from different disciplinary cultures have collaborated on scientific and technical problems. Her book project explores this question, focusing on the collaboration of physicists and doctors in the first decades following the discovery of x-rays in 1895.
Gizem Karaali has a long-standing interest in the intersection of mathematics with the humanities. She is a founding editor of Journal of Humanistic Mathematics a peer-reviewed open-access journal that publishes articles, essays, fiction and poetry, exploring the aesthetic, cultural, historical, literary, pedagogical, philosophical, psychological and sociological aspects of learning, teaching and doing mathematics. Karaali is also the associate editor of The Mathematical Intelligencer which publishes articles about mathematics, mathematicians, and the history and culture of mathematics, and serves on the editorial board of Carus Mathematical Monographs, Mathematical Association of America.
Karaali Gizem‘s mathematical research involves algebraic objects of representation theory (Lie superalgebras, Coxeter groups, Hopf algebras) and combinatorial structures on them (r-matrices, Lie bialgebra structures, Bruhat orderings) which have deep geometric significance. Her scholarly interests include humanistic mathematics, pedagogy and quantitative literacy, as well as social justice implications of mathematics and mathematics education.
Karaali has organized panels, paper sessions, and poetry readings at MAA and AMS meetings. She presented invited addresses to diverse audiences ranging from high school teachers to humanities scholars. She is a Sepia Dot (2006 Project NExT fellow), and currently serves as the secretary of SIGMAA-QL as well as program chair of the MAA SoCal/Nevada Section.
Karaali enjoys seeking creative answers to challenging questions with Pomona students. She created a provocative first-year seminar titled “Can Zombies Do Math?” that required students to think both about the nature of mathematics as a human endeavor and, on a fundamental level, what it means to be human. More recently, funded by an NEH grant, she developed and taught another first-year seminar on the philosophical and pragmatic question of purpose in education.
Gary Kates has been Professor of History at Pomona College since 2001. Before that, he taught at Trinity University (San Antonio) between 1980 and 2001. He was Pomona’s Dean of the College from 2001 to 2009. A specialist in eighteenth-century Europe, he is best known for Monsieur d’Eon is a Woman: A Tale of Political Intrigue and Sexual Masquerade (New York: Basic Books, 1995; second edition John Hopkins, 2001), translated into Italian, Portuguese, and German. He hopes to someday create, with much student participation, an online annotated critical edition of Tom Paine’s two-part pamphlet Rights of Man (1791 and 1792).
Harmony O’Rourke is an Assistant Professor of History at Pitzer College, where she teaches courses on African history, world and diaspora histories, gender and feminist studies, and oral history methodology. Her research interests have focused on Muslim Hausa diaspora communities in the Grassfields region of Cameroon, looking in particular at the role of women and gender relations in creating and sustaining diaspora settlements and networks. Her work revises the dominant, androcentric conceptualization of Hausa mobility as a “commercial diaspora.” Drawing on a vast range of sources–including oral interviews, Islamic court cases, colonial and missionary archives, European travel paintings, and ethnographic data–she examines the roles that marriage, enslavement, and community patriarchy played in making Hausa diaspora settlements, as well as how colonial rule, Islamic law, and Hausa cultural mores came together to shape the ways people experienced dispersal and diasporic formation. In partnership with Dr. Mohammed Bashir Salau of the University of Mississippi, Harmony is also investigating how and why colonial authorities deployed the political tool of exile to manage real and imagined tensions arising from Islamic religious leadership, as well as the ways in which Islamic leaders and their families experienced their displacement.
Harmony received her B.A. in History and International Studies from Macalester College in 2001, after which she worked on international development projects in East and Southern Africa for Chemonics International Inc., a Washington D.C.-based USAID contractor. Realizing that the development world was not for her, Harmony returned to academia and earned her Ph.D in African History from Harvard University in 2009. For her research on the Hausa diaspora, she received the Fulbright-Hays Doctoral Dissertation Research Award from the U.S. Department of Education, as well as the Frederick Sheldon Traveling Fellowship and Jennifer Oppenheimer African Studies Research Grant from Harvard University. She has published articles in the journals History in Africa: A Journal of Method and The Journal of West African History. Her book manuscript, Contesting Abakwa: Hausa Diaspora Tales of Gender and Belonging in Colonial Cameroon is currently under review with Indiana University Press.
Joti Rockwell is an Associate Professor of Music at Pomona College, where he teaches courses in music theory, popular music, and music and natural order (ID1). He does research in the realms of American popular music, mathematical music theory, roots music, rhythm, genre, and analysis. He has published in Journal of Music Theory, Music Theory Online , Journal of Popular Music Studies, Ethnomusicology, and Popular Music, and he has work forthcoming in the second edition of The Grove Dictionary of American Music. He previously served as chair of the Society for Music Theory’s Popular Music Interest Group and as a member of the editorial board of Music Theory Online. He performs roots music, bluegrass, and contemporary concert music on the acoustic guitar, mandolin, and banjo, and he has been performing as part of Pomona College’s Balinese gamelan since 2008. He is interested in digital approaches to music pedagogy as well as collaborative online scholarship involving music analysis.
Kathleen S. Yep is a Professor of Asian American Studies at Pitzer College and the chair of the Intercollegiate Department of Asian American Studies at the Claremont Colleges. Her research and teaching interests include cultural politics, feminist/antiracist pedagogies, community health, and social documentation. She is the author of Outside the Paint: When Basketball Ruled at the Chinese Playground (Temple University Press, 2009), which examines how working-class Chinese American women and men utilized basketball to mediate poverty, patriarchy, heteronormativity, and racial segregation in the 1930s.
Dr. Yep has published peer-reviewed articles in Journal of Ethnic and Cultural Diversity in Social Work, Frontiers: A Journal of Women Studies Journal for Civic Commitment, Metropolitical Universities. She also co-authored Dragon’s Child: The Story of Angel Island (HarperCollins, 2008) with award-winning author Dr. Laurence Yep. The novel was named one of New York Public Library’s “Top 100 Books to Read and Share in 2008” and a Cooperative Book Center Choice for 2009.
With a specialization in oral historiography, she advised a community digital archive funded by the California Council of the Humanities called “API Women, Faith, Action: Fourteen Oral Histories of Asian Pacific Islander women and their faith-based activism.” Funded by the Carnegie Foundation and California Campus Compact, Yep was awarded a two-year faculty fellowship in the “Service Learning for Political Engagement Program.” In addition, the Bonner Foundation, the Weingart Foundation, and Project Pericles have funded her to integrate community-based learning and social action research in her teaching. Raised in Northern California, Professor Yep received her B.A., M.A., and Ph.D. in Ethnic Studies from the University of California, Berkeley. She was a University of California President’s Post-Doctoral Fellow at the University of California, Santa Cruz. Awarded Pitzer’s 2010 Scholar-in-Residence, Dr. Yep is currently researching community (re)formations and the politics of place in Southern California and Hawai’i.
Candida Jaquez — No bio