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See You at THATCamp Hybrid Pedagogy

Posted on by Brooke

It's official: I will be attending THATCamp Hybrid Pedagogy in Portland OR, on October 20-21.

Last year, I made it to THATCamp Pedagogy in Poughkeepsie NJ. I would love to see a more-or-less annual pedagogy unconference unfold, in some form or other.

More as we get close, but you can expect some live-tweeting and blogging from THATCamp Hybrid Ped.


[See You at THATCamp Hybrid Pedagogy was written by G. Brooke Lester for Anumma.com and was originally posted on 2012/09/13. Except as noted, it is © 2012 G. Brooke Lester and licensed for re-use only under CC BY-NC-ND 3.0.]

The Exegetical Thesis as (Digital) Storytelling

Posted on by Brooke

The "exegesis project" is a The Big Project for masters students in a biblical studies course. Usually, it's a paper, of course. This term, I hope to encourage students in my "Book of Daniel" to consider doing the project in the form of "Digital Storytelling." I realize that this calls for a two-part explanation:


  1. What makes exegesis "storytelling"?

  2. What makes exegesis "digital"?

I am going to take these one at a time. Today, we will stick with the first. In beginning to learn exegesis, one of the big hurdles for students is that they are asked to bracket their spiritual autobiography long enough to attend to the biblical text's own historical context. That being so, what can I mean when I ask them to accomplish their exegesis as "storytelling"? I'll break it down:

What makes it "exegetical"?


  • The body of the work asks questions about the meaning of the biblical text for its author, and for the community to whom the author appears to have written, in that author's own social and historical context.

  • The work's arguments rely on publicly available evidence and explicit lines of reasoning. They do not depend upon private revelation, confessional dogma, implicit lines of reasoning, or logical fallacies.

What makes it "a thesis"?


  • The work is organized around the defense of a single claim, or thesis. A thesis is NOT, then, an opinion, a narrative, an “exploration,” or a review. A thesis should be defensible, relevant, and manageable. By “defensible,” I mean that it is a proposition that can be established by publicly-available evidence (not private revelation or confessional dogma) and an explicit line of reasoning. By “relevant,” I mean that the thesis forces your reader to re-evaluate the biblical text; the thesis "makes a difference" to how the biblical text is read. By “manageable,” I mean that the thesis can be argued comprehensively within the constraints of the assignment; it is not too big an idea for the word count, and also not so small that the paper falls significantly short or has to be “padded up.”

What makes it "storytelling"?


  • Even when presenting data (as in a lecture, or a thesis paper), there is a "narrative" of sorts: you lead the reader from a starting place, through a terrain known only to you, to a destination. A good presenter "knows her narrative": you could take away her slides or her paper, and she can still guide you through the "narrative" of her subject matter or thesis (Ask a student about a recently-completed paper; if they can do this, it's probably a good paper.)

  • We commonly ask our students to "book-end" their thesis with an introduction and a theological/hermeneutical conclusion. The project should begin with a statement of the student's interest in the biblical passage. It should end with her own assessment of the passage's theological claims as determined by exegesis. (Are those claims moral? coherent with other biblical passages? intelligible to today's reading communities?). This conclusion should also include claims about how the text might, or might not, lend itself to preaching and teaching in particular, well-defined communities of hearers. This is to say, the thesis project is a "round trip," beginning and ending with the student's own pressing theological and hermeneutical concerns.

So…What makes it "digital," if it is?

Stay tuned. In a follow-up post, I will look at the phenomenon of "Digital Storytelling" in the digital humanities, and how it might serve as a platform for "exegesis as storytelling." In the meantime, what do you think of this way of putting things? Does "storytelling" offer a useful lens, or muddy the waters?



[The Exegetical Thesis as (Digital) Storytelling was written by G. Brooke Lester for Anumma.com and was originally posted on 2012/01/30. Except as noted, it is © 2012 G. Brooke Lester and licensed for re-use only under CC BY-NC-ND 3.0.]

Learning to Code the Web with Code Year

Posted on by Brooke

On January 9th, I received my first unit of Code Year, a one-year, weekly lesson in Javascript programming offered freely by CodeAcademy. A short time later, the Boy and I were working through it together.

Javascript is the programming language on which most of the Web is built, and is one of the simplest coding languages to learn. And, just as natural human languages share most of their basic features with one another (nouns, verbs, adjectives, &c), the elements of Javascript are also used in other programming languages like Perl or Ruby.

Any of you who know me--or who see how rarely I've posted here lately--know that I am pretty extraordinarily busy these days. So why would I take ten minutes, a few evenings per week, to learn something of computer code?

How much of your work is accomplished on the Web or by means of some digital tools or other? Whatever percentage that is, remember that those environments and tools are the way they are because somebody decided that that is how they should be. Learning to code means learning what some alternative possibilities might look like. If we understand something of programming code, we begin to join that community of deciders.

If you are in the Humanities, you may well already be a "Digital Humanist": do you ever use digital tools to accomplish Humanities research? Or, do you ask Humanities-questions about the growing digitalization of our information and our practices? You don't have to code to be a digital humanist, but learning something of how the Web is coded may spark ideas for you about tools or processes that could improve your research and writing.

Do you have kids in school? If they even have "computer class," that's likely to mean, "Learning to use things made by Microsoft," rather than "Learning to build cool things that don't yet exist but could." The weekly units in CodeYear are broken down into several short lessons, perfect for children's lower stamina and shorter attention spans. (Okay, by day's end, my own stamina and attention span are pretty well shot as well.) Sit together on the sofa for ten minutes in the evenings, and learn together the language used to create on the Web.

If you are interested, you can read what others are saying about Code Year, or about Code Academy. But I recommend you just jump right in and sign up for your weekly email lessons. Have fun, and tell me if you decide to get started learning to code.

[Learning to Code the Web with Code Year was written by G. Brooke Lester for Anumma.com and was originally posted on 2012/01/13. Except as noted, it is © 2012 G. Brooke Lester and licensed for re-use only under CC BY-NC-ND 3.0.]

THATCamp Pedagogy This Weekend (Picking My Feet Edition)

Posted on by Brooke

Have you ever been to Poughkeepsie?

I'm on my way this morning to THATCamp Pedagogy (ProfHacker post), an unconference on teaching and learning as an aspect of digital humanities (THATCamp home). The unconference is in Poughkeepsie NY, and is sponsored by Vassar College.

Besides the "unconference" sessions, there are planned "boot camps" on:


  • integrating digital projects into undergraduate courses;

  • teaching with Omeka;

  • the undergraduate's voice in digital humanities;

  • "So Long, Lecture."


I will plan to live-Tweet as opportunity allows. On Twitter, you can follow me for the weekend at @anummabrooke to see my Tweets alone, or follow the hashtag #THATCampedagogy (note the single "p") to follow all Tweets on the unconference.

[Addendum: the hashtags actually used at the unconference have been #THATCamp and #pdgy]

Have you ever been to Poughkeepsie? (Not Safe For Work!)

http://www.youtube.com/watch?v=Zd5wCpR8Cg4&feature=youtu.be#t=00m30s [Update: cut from French Connection since blocked on copyright grounds]

[THATCamp Pedagogy This Weekend was written by G. Brooke Lester for Anumma.com and was originally posted on 2011/10/14. Except as noted, it is © 2011 G. Brooke Lester and licensed for re-use only under CC BY-NC-ND 3.0.]

MultiMarkdown and Me

Posted on by Brooke

MultiMarkdown: All I Never Knew I Wanted:


When I write, I want to write text files that are ready to be published either as word processing files or to the Web, with full formatting, while still already human-readable simply as text. And I didn’t even know how badly I wanted that until I discovered that it’s possible with Markdown. This is probably easier to show first, then tell.

As you can see, the *.txt file is human-readable, and I get the same formatting results whether I publish to *.rtf (for word processing) or to HTML (for web publishing as you’re reading it now). This is the point.

Results Explained:


These examples illustrate the gist of it. As a writer, this is what I gain from MultiMarkdown:

I get to create a human-readable document that can nonetheless be exported to the Web as HTML. Have you ever seen a page of text that is marked up for HTML, that is for web viewing? It’s a blizzard of tags that make the actual content unreadable. (You can see an example if you select, in your browser, View: Source or Page Source.) But with MultiMarkdown (or just Markdown: see below), I have a document that is prepared for the web, but which is also totally readable in plain text.

I get to create a human-readable document that can nonetheless be exported to a word processor as *.rtf (RTF). Have you ever seen a page of text that is marked up as *.rtf, for opening in Word or another word processor? It’s even worse than with HTML. (You can see an example if you take the RTF file linked above, change the suffix from *.rtf to *.txt, and open it in Apple’s TextEdit or in Microsoft Notepad.) But again, with MultiMarkdown, I have a document that is prepared for export as *.rtf to almost any word processor, but again which is also totally readable in plain text.

I get to write this file just once, and archive it as a single file, no matter whether I used it for word processing or web publishing. The same file, written in MultiMarkdown, can be exported as an *.rtf document, easily read in almost any word processor, or as HTML, easily read by any browser or pasted into a blog post or web site.

I get to compose this file in plain text, in any application that suits my stage in the writing process (collecting ideas, outlining, drafting, editing, publishing). It doesn’t feel like I am writing “markup,” it feels as much as possible like I am simply writing. The beauty of Markup is that most of it derives from email conventions: a line of white space between paragraphs, or asterisks surrounding a word or phrase to mark emphasis, or two asterisks for strong text. There are multiple ways (see below on Gruber’s Markdown) to write Web links that are wonderfully readable, completely unlike HTML web link markup.

I get to be sure that it will be readable in twenty years, without a word processor or web browser to render the formatting. Do you have any old files that you cannot read anymore because they only exist in an obsolete format like “AppleWorks”? The stuff I wrote during my Masters work can only be opened as plain text, and the text is entirely buried in obsolete markup and code. But the stuff I write today in Markdown is already human-readable in plain text, and will remain human-readable for as long as we have plain text.

This is the beauty of MultiMarkdown: plain text files, easily readable to the human eye, but already marked up for headers, sub-headers, ordered or unordered lists, emphasis, and footnotes…both for word processing via *.rtf or for web publishing via HTML. Yeah, it’s the writer’s holy grail.

What is MultiMarkdown?


John Gruber developed Markdown with the web-publishing end in view. Markdown allows almost any formatting one will need for most purposes: emphasis (usually italics), strong text (usually bold), paragraphing, lists, block quotes, hyperlinks to the web, and more. However, Gruber’s Markdown exporter only exports as HTML, because web-publishing is what Gruber has in mind.

Fletcher Penney developed MultiMarkdown as a supplement to, or extension of, Gruber’s Markdown. It accomplishes two things:

  • It exports Markdown as *.rtf rather than only as HTML. (It also exports to OPML, LaTex, and other formats that you may or may not know about or be interested in.)

  • It adds syntax for things like bibliography, footnotes, tables, and more.


So, MultiMarkdown incorporates all the features of Gruber’s Markdown, and extends the idea beyond web publishing to word processing. Note that you do have to install Fletcher’s MultiMarkdown script and support package in order to export MultiMarkdown plain text files as HTML, *.rtf, or other file formats.

My Workflow


I like this because I often don’t know where doodling, note-taking, and outlining might leave off and “writing” begin. I am learning to write in MultiMarkdown all the time, in every stage, because any of that stuff may, at some point, become part of the written piece. Composed in Markdown, anything I write is legible while I play around with it, and it won’t require additional formatting for word processors or for the Web once that writing sits in the final, published piece.

For example, this blog post was

  • begun as a note in NotationalVelocity,

  • moved into OmniOutliner while I played with structure and began some drafting,

  • imported via OPML into Scrivener for continued drafting and editing. From Scrivener I can compile it as HTML (as for this post in WordPress), or as *.rtf for word processing. I save it in Scrivener, but also compiled as plain text ( *.txt) for archiving.


At any of these stages I can compose freely in MultiMarkdown, working in whatever tools suits my present location and purposes, knowing that the result will be a human-readable plain text file formatted for word processing or for the Web.

What do you think? It can sound complicated, and there is a bit of a front-end learning curve (not much, for anyone who already habitually writes in “email style” paragraphing), but once learned, it is all simplicity itself. Can MultiMarkdown do for you what it does for me?

[MultiMarkdown and Me was written by G. Brooke Lester for Anumma.com and was originally posted on 2011/05/02. Except as noted, it is © 2011 G. Brooke Lester and licensed for re-use only under CC BY-NC-ND 3.0.]

RBoC: Not-Yet-End-of-Term Edition

Posted on by Brooke

End of term? Not even Spring Break yet! (Next week, insh'allah and the creek don't rise).

I have in mind some writing on pseudonymity and nymity in blogging, on a recent Chronicle op piece about keeping quiet in faculty meetings, on ancient language “reading examinations,” and on “feeling like a writer.” This is what I’m doing instead:

  • Facilitating faculty training on our new Moodle learning management system (so long, Blackboard);

  • Arranging to offer similar training to our platoon of TAs;

  • Preparing biblical Greek reading exams for 2nd-year Greek students and Ph.D. candidates;

  • Catching up on a self-paced UWM online certification program in online teaching and learning;

  • Working up a couple of videos for our seminary admissions page;

  • Keeping up on quizzes, exams, and papers for Elementary Hebrew, Elementary Greek, and Intro to OT;

  • Experimenting with a couple of new productivity helps to organize the above and more;

  • Eat, sleep, you know. Maybe try for a haircut.


What do you find this week  among your RBoC?

[RBoC: Not-Yet-End-of-Term Edition was written by G. Brooke Lester for Anumma.com and was originally posted on 2011/04/12. Except as noted, it is © 2011 G. Brooke Lester and licensed for re-use only under CC BY-NC-ND 3.0.]

Day in the Life of the Digital Humanities 2011

Posted on by Brooke

Along with everything else in life that you’ve been missing, the Day in the Life of Digital Humanities (“Day of DH”) 2011 came and went a couple of weeks back. What are the “Digital Humanities,” you ask? You could settle for me telling you that it’s humanities accomplished digitally, or you could ask the Wikipedia about it; or best of all, you could simply hear the explanations offered by those who have self-identified over the last three years as working in “digital humanities.” Here are just a few:

Digital Humanities is the application of humanities methodologies and theories to modern technology research. -Andy Keenan, University of Alberta, Canada

Under the digital humanities rubric, I would include topics like open access to materials, intellectual property rights, tool development, digital libraries, data mining, born-digital preservation, multimedia publication, visualization, GIS, digital reconstruction, study of the impact of technology on numerous fields, technology for teaching and learning, sustainability models, and many others. -Brett Bobley, NEH, United States

I think digital humanities, like social media, is an idea that will increasingly become invisible as new methods and platforms move from being widely used to being ubiquitous. For now, digital humanities defines the overlap between humanities research and digital tools. But the humanities are the study of cultural life, and our cultural life will soon be inextricably bound up with digital media. -Ed Finn, Stanford University, USA

On the Day of Digital Humanities, hundreds of folks who see their work in this way agreed to write a blog post about what they were doing that day, March 18, 2011. (This was the day that I became aware of the term, "digital humanities,” because the Day nosed its way onto my Twitter feed, whereupon I followed the tag #dayofdh for the rest of that day and the next.)

You will be excited to know that I’ve saved the best news: Because the fine folks at Day of DH have made the RSS feeds for the blog posts available as an OPML file (or, to translate, “Because blah blah the internet is cool”), I have been able to place the blog posts on my public NetVibes page! And you have a whole year to peruse them before Day of DH 2012!

[Day in the Life of the Digital Humanities 2011 was written by G. Brooke Lester for Anumma.com and was originally posted on 2011/04/05. Except as noted, it is © 2011 G. Brooke Lester and licensed for re-use only under CC BY-NC-ND 3.0.]

Silicon-Chip Tanak Goes to Pope

Posted on by Brooke

The world’s smallest Hebrew Bible will be given to Pope Benedict XVI by Israeli President Shimon Perez.

I had reported earlier on the Hebrew Bible, which is etched onto the gold face of a silicon chip that is one half of a millimeter square.

The news came as a surprise to elementary Hebrew students worldwide, who had assumed that their 5.5"×7.5" BHS already used the most miniscule type modern science could produce.

Accordance: Finding the Weak Roots

Posted on by Brooke

This post at the Accordance Bible blog was a revelation for me. (Yes, it is now a revelation that is over five weeks old. So I percolate.) It shows that I can use Accordance to search for particular kinds of weak Hebrew roots, like geminates, middle-weaks, even III-liquids and the like.

Long ago, I had done far worse than give it a whirl and give up. I had glanced the problem over and decided it couldn't be done.

Serves me right, then, that I've spent long stretches of minutes looking at indiscriminate search lists of, say, Qal infinitive constructs, picking the weak roots I wanted from the crowd until my eyes bled.

The big insight here is that you can describe a root as “???” then define any of the three radicals in parentheses: ??(w, y)? for roots middle wāw/yōd, for example. Why would I want to find these sorts of results? Two reasons:


  1. In my research or when reading the Hebrew Bible, I will pop up with a question or provisional hypothesis of the “what would it look like” variety. "Hey, I see that the nūn doesn’t assimilate in לִנְפּוֹל, perhaps because the initial lin- derives from lĕnĕ- (“rule of shewa”). Let’s have a look at the rest of the I-nūn Qal infinitive constructs with preposition –לְ, and see if the nūn is typically preserved, as we suspect.” This sort of thing happens all the time when I’m reading, including when I’m reading other semitic languages. The search term in this instance looks like this:accordance search shot

  2. For my students, I like to create worksheets, exams, or presentation slides that a) demonstrate a phenomenon in weak roots, like the assimilation of nūn or the loss of III- before a suffix, and b) demonstrate it with nominal or verbal forms that they already know, like Piel perfect or participle when they have not yet learned the Piel imperfect. This helps me find relevant biblical examples, eliminating the risk that I’ll create on my own an unattested or incorrect form.


So, a big ol’ fist-bump to David Lang. I’m not even bitter about all the time I have wasted in the last 8–10 years doing this the hard way with overly-broad search terms. Really. Just a lesson well learned about asking for help on this sort of thing, and looking forward to at least 8–10 years of doing exactly the searches I want on weak roots.

Like (a Grain of) the Sand of the Sea

Posted on by Brooke

Researchers at Haifa Institute of Technology have printed the entire Hebrew Bible—with vowel points, I’ve read elsewhere—on a chip that is the size of a single grain of sugar: 0.5 mm sqare. When displayed at 7 meters square, the text’s line-height is a legible 3 mm high.

“[T]he aim of the project is to increase young people's interest in nanoscience and nanotechnology.” This seems to me a creative approach to that goal, a sensitive mix of the sensational and the reverent.

The words are etched onto the gold face of a silicon grain using a focussed ion beam, but I see no word on what sorts of type-face decisions were made. I expect that a printed text was photographed and fed to the machine's computer, but I wonder: is it a serif font like “SBL Hebrew” and therefore similar to the BHS? Sans serif like JPS Tanak and so more like “Lucida Grande”?

Where would you like to see the Hebrew Bible inscribed or painted? I’ll start with my vote: a nice, accessible bit of rock face on the moon, ideally not far from Neil and Buzz's haunts.