I like what Bernard says very much.<div><br></div><div><span></span><br><br>On Thursday, August 20, 2015, Bernard Dionysius Geoghegan <<a href="mailto:bernard.geoghegan@hu-berlin.de">bernard.geoghegan@hu-berlin.de</a>> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">
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Hi All,<br>
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After Matthew threw in his two bits tom Tom's comments, I feel
compelled to add something too. Tom wrote:
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. . I’m trained in history, rather than English
or media studies. There’s a difference between the
kind of arguments that are allowed in the two
fields, specifically with respect to evidence and
claims about causation. Scholarship in English
tends to be more self-consciously performative,
and more concerned with joining up apparently
unconnected things in a provocative or original
way. I’m reminded of a workshop at Penn where Rob
Kohler asked a visiting English professor “How
would you know if an argument of this kind had
gone off the rails and fallen off the cliff?” His
suggestion was that you couldn’t, that the
aesthetic standards at work meant that almost any
connection of conclusion to evidence would be
equally valid. </span></p>
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I'd put it a little differently, by saying that a stricter code of
what can be considered causality governs much (though not all)
academic historiography. The world is full of interrelations that
are quite important but slip through the grid of standard academic
historiography, which often favors certain kinds of narrative
causality, and in anglophone contexts especially, certain kinds of
intentionality or human agency, and so on. So I'd agree with Tom
that it's about different notions of evidence and causation.
However, because academic historiographic it's so bound up with
matching a certain set of professional codes, it's not actually
about "history" in the very first instance, but rather about shared
standards that we can work around to "write history." In this
regard, I think that sometimes adjacent fields -- sociology, media
studies, literary studies, philosophy, even literature -- can in
certain instances get closer to the messy interrelations that "make
history" or "are history," even though they are not the stuff of
"historiography" in its disciplinary, academic iteration. <br>
<br>
To take an example relevant to the UNIX case: I did an oral history
with an engineer who worked at Bell Labs from the 1950s through the
1970s, and he told me that working there was great, it was like a
sleepover camp, they frequently worked all night and over the
weekends. Then, he claimed, it all changed in the 1970s when they
started "hiring womens and foreigners." In his account, the social
life (I think Tom called it a "bromance" broke down. Not too long
after, UNIX started becoming a big deal in the Labs. What does this
mean? How do we map these interrelatedness of gender, race, and
communication engineering that is suggested here? It's damn hard.
Folks on this list such as Light, Medina, and Ensmenger have helped
us start mapping out those relations historiographically. And yet,
so much there will forever escape rigorous historiographic method.
Does that mean those relations cannot be considered? Or that they
cannot be considered empirically? Not at all, it seems to me. It
is probably helpful that some folks from English or media studies
can investigate these interrelations without worrying about the
models of causality that govern mainstream disciplinary approaches
to History. That's why so many of the major historiographic
innovations don't originate in academic history, but instead migrate
from other fields.<br>
<br>
In that regard, and like J. Abbate, I think the McPherson piece is a
wonderful provocation, an occasion to think further, and think
historiographically, about problems are difficult to think about
with established historiographic methods. (That's also why I like
this list so much --- its grab-bag methodological character!). <br>
<br>
Best,<br>
Bernard<br>
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<div>I don't this is an especially helpful anecdote, other
than perhaps a very low-resolution snapshot of the general
embrace of indeterminacy that characterizes much of the
academic humanities. By contrast, and given that my
scholarly training is in English literature and that my
professional activities take the form of "media studies"
(including what we term book history, itself a form of
media studies in my view), I feel very comfortable in
asserting the following:<br>
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<div>English professors (and media studies scholars) are
interested in being right in so far as what reasonable
people would understand getting their facts straight to
mean.<br>
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<div>English professors and media studies scholars are
interested in primary sources and the archival record.<br>
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<div>English professors and media studies scholars do not
think anything goes, that one point of view is just as
good as any other, or that it's all just, like, your
opinion anyway, man.<br>
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<div>I do think, as Tom, notes, that we are generally *more*
interested in close reading and the ambiguities and
sensitivities of language as evidence of historical
phenomena, and more willing to place pressure on seeming
contradictions or ambiguities which manifest at a
linguistic level as evidence of same; and that we are
generally more sympathetic to social constructivist (as
opposed to techno determinist) arguments. These are huge
sweeping statements of course, and my own intent is less
to throw down the gauntlet with any single one of them
than to offer a general corrective to the notion that the
difference between media or cultural or literary studies
on the one hand, and the work of an historian on the other
is that the one is concerned with getting it right and the
others just want to put on a good show.<br>
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<div>I don't think Tom really thinks that either, btw, but I
have been a little concerned to see it taken up as an
acceptable explanation for whatever shortcomings people
perceive to be at work in the essay that kicked off the
discussion. Disciplinary differences are very real to be
sure, but they can't be reduced to anecdote and
caricature.<br>
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<div>Best, Matt<br>
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-- <br>
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<div>Matthew Kirschenbaum<br>
Associate Professor of English<br>
Associate Director, Maryland Institute for Technology in
the Humanities (MITH)<br>
University of Maryland<br>
<a href="http://mkirschenbaum.net" target="_blank">http://mkirschenbaum.net</a>
or @mkirschenbaum on Twitter<br>
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<pre cols="72">--
Dr. Bernard Dionysius Geoghegan
Institut für Kulturwissenschaft
Wissenschaftlicher Mitarbeiter
Humboldt-Universität zu Berlin
<a href="http://www.bernardg.com" target="_blank">www.bernardg.com</a></pre>
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</blockquote></div><br><br>-- <br><div dir="ltr"><div>Matthew Kirschenbaum<br>Associate Professor of English<br>Associate Director, Maryland Institute for Technology in the Humanities (MITH)<br>University of Maryland<br><a href="http://mkirschenbaum.net" target="_blank">http://mkirschenbaum.net</a> or @mkirschenbaum on Twitter<br><br></div></div><br>