Interactivities: Difference, Computation, Textuality

What is possible at the intersection of Black expressive traditions, digital humanities, and electronic literature? Why is it important that we explore the intersectionality of Black arts and digital contexts? To answer these questions, Professor Marisa Parham will discuss her recent projects, such as “.break .dance digital project,” an experimental digital project that uses Beyoncé’s visual album Lemonade as a keystone text to ground musings about time, code, and internet experience. Referencing projects collected at mp285.com/sections/portfolio, she will discuss their underlying rationale and why they are needed now.

Marisa Parham is Visiting Professor of English at the University of Maryland, where she serves as director for the African American Digital Humanities initiative (AADHUM) and associate director for the Maryland Institute for Technology in the Humanities (MITH). She also co-directs the Immersive Realities Lab for the Humanities, which is an independent workgroup for digital and experimental humanities (irLhumanities). Parham’s current projects focus on texts and technologies that complicate our assumptions about time, space, and bodily materiality and that offer intersectional approaches to digital humanities and technology studies. Parham’s recent work includes “Sample | Signal | Strobe: Haunting, Social Media, and Black Digitality” and the interactive longform scholarly essays .break .dance, and Breaking, dancing, making in the machine. She is currently developing Black Haunts in the Anthropocene, a book-length interactive project that focuses on memory, haunting, digitality, and Black environmental experience.

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