DMS is now EDP.

Electronic Media Arts & Design and Digital Media Studies have merged to create the Emergent Digital Practices (EDP) program.

This site is for archival purposes only.

Please visit the EDP program page to learn more about our exciting new program.

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Institute for the Digital Humanities @ University of Denver


University of Denver's Digital Media Studies Program is now accepting applications for fellowships in the 2011-2012 Institute for the Digital Humanities, a program funded by the National Endowment for the Humanities.

Proposals Due December 15, 2010

Email proposals to and

The University of Denver's Institute for the Digital Humanities will offer scholars the opportunity to explore the benefits of incorporating interactive media into interdisciplinary collaboration and public dissemination of research. Fellows will be given training and mentoring in the use of digital tools for data analysis and presentation, social collaboration and authorship, and/or research production and dissemination in relation to projects of their own choosing. This is a non-residential fellowship program, although participation is required in two on-campus events at the beginning (June 2011) and end (September 2012) of the 18-month fellowship period, as well as in one video teleconference at the fellowship's midpoint (December 2011). Fellowships do not come with a cash award. We can only cover the cost of the workshops and associated travel, room and board.

The interdisciplinary Digital Media Studies program at the University of Denver is renowned for innovative teaching, scholarship, and creative work in the digital humanities, with particular areas of strength in public good and in internationalization efforts. Established in 1997, the Digital Media Studies program is one of the oldest of its kind in the world. Housed in the Department of Media, Film & Journalism Studies (MFJS), the program is a partnership among MFJS and Art & Art History and offers courses at the graduate and undergraduate level in cutting-edge design and production of multimedia/digital media while investigating social, political, legal, cultural and individual issues relating to their uses. The program has a history of building dialogue between scholars and the public, such as through its Digital Media Outreach Center, its collaboration with the University's Estlow International Center for Journalism and New Media, and its work with the University's Center for Civic Engagement and Service Learning.


Fellowships will be awarded to twelve national scholars and eight local scholars. Applicants must have completed candidacy into their doctoral programs or have received their PhD. MFAs who have teaching or research positions are also eligible. Proposals can be submitted from individuals or from teams of scholars. Fellows will work together in theme-based groups to envision, execute, and produce research projects using digital tools to facilitate collaboration and to create representations of their work. We particularly welcome proposals from scholars interested in working with rich media formats such as video, photography, sound, graphics, and various forms of interactivity and from scholars working on engaged scholarship, whose work is both about public concerns and is intended for consumption and use by members of the public. During the institute meetings, fellows will explore central methods in the digital humanities and in multimedia authorship, including gaming, data visualization, digital archives/electronic journals, and audio and visual production.

The institute will be conducted in three sessions. The first session will be held over five days in June 2011 at University of Denver's new state-of-the-art C³ Studios. During this workshop, fellows will participate in two of the following workshop tracks: data visualization; gaming; audio production; video production, and interactive design. Descriptions below.

In December 2011 fellows and institute faculty will participate in a teleconference that will be the culmination of several months' worth of collaborative work from each person's home institution, offering participants the opportunity to share works in progress for feedback and further development. The final meeting will convene all of the fellows for a two-day conference in September 2012 at the University of Denvers C³ Studio, where fellows will share their work, discuss methods and experiences, and develop and organize the publication of an online collection of their work and their methodological reflections.

The institute's theoretical and practical curriculum will be interdisciplinary. The institute seeks scholars from diverse fields of expertise. Participating scholars will work directly with institute faculty throughout the eighteen month institute period.

In addition to the three meetings, fellows will engage with one another and with institute mentors using a website/social networking platform created specifically for the institute that will support engagement among institute faculty and fellows. This will be a space where fellows can experiment with the emerging multimedia skills to vlog, podcast, and blog concerns, queries, updates and comments on each others' work or on related work in the field.

Leaders and facilitators to be invited include cultural anthropologist Dr. Mimi Ito, director of the MacArthur Digital Learning Initiative at UC-Irvine and author of Engineering Play: A Cultural History of Children's Software and lead author of Hanging Out, Messing Around, Geeking Out; and Dr. Mike Wesch, cultural anthropologist and producer of widely-circulated video essays "The Machine is Us/ing Us" and "A Vision of Students Today" at Kansas State University.

The University of Denver's C³ Studios, where the Institute's meetings and workshops will take place, are designed to promote interdisciplinary collaboration as a key to the creative and critical thinking necessary in the 21st century university. The C³ Studios support:

  • - Complex Visual, Sonic, and Tangible Art Forms (including digital cinema and 3D animation, immersive and interactive theater, physical computing, performances, interactive exhibitions, and installations)

  • - The Digital Humanities (humane gaming; electronic literature and digital writing; technology and consciousness studies)

  • - Networked Engagement (social media, participatory culture, media activism, culture jamming, remix and mashup cultures)

  • - Sustainable Design and Practices (human-computer interface design, media ecology, biological media)

  • - Collaboration, Critical Exchange, and Public Discourse (lectures, round-tables, workshops, critiques, symposia, think tanks, and makers' fairs)

Fellows will be housed on campus in residence halls, close to the C³ studios. Housing and meals as well as travel to the university are covered for members of the fellowship program.


Applicants need not be proficient with new media authoring but must demonstrate familiarity with the potential of digital media forms and clearly articulate their motivations for creating a digital project. Evidence of the capacity for successful collaboration and for scholarly innovation is also required.

Proposals should include a 6-page (single-spaced) description that clearly states the projects argument, its intended contribution to multimedia scholarship and to contemporary research in the field, and an explanation of why a digital media endeavor is integral to the goals of the project. Each participant must submit a brief biography and a full c.v. listing previously published work in any format. You may include sample media if available. Please also indicate in your proposal your top three choices for workshop tracks (descriptions below).

We will choose applicants based on an assessment of their proposed research; their record of past research (and in the case of graduate students their research potential); and the clarity and sophistication of their application essay. For individual applicants, our ability to place them with others working on similar topics will also factor into their application acceptance. Please email proposals to and


Data Visualization

From its beginnings in the simple bar graph, data visualization has evolved into one of the best ways to help people understand complex sets of data. Properly formulated, visuals can unpack information so that people from across disciplines can relay and share ideas without first needing to learn discipline-specific vocabularies and processes. Long the domain of data heavy sciences, visualizations have now begun to help us see patterns in languages, identify the flow and changes of cultural shifts, and even come to better understand the complex networks of media organizations. The workshop will expose participants to a wide spectrum of data visualizations and discuss how they become useful in communicating ideas and concepts in the humanities. Participants will learn to use the free open source tool, Processing, to create their own visualizations. Although we will not be able to cover complex geo-spatial mappings or other specialized visualization software packages, our focus will enable participants to develop means of utilizing visualization to illuminate complex ideas, connections and patterns in their own research.

Video Production

Digital video is emerging as a tool that allows people to collaborate across time and space on a single emotionally engaging project. Following in the traditions of visual anthropology, some scholars give cameras directly to those who are the subjects of study, empowering the subjects of research to represent themselves on their own terms. Other artists, historians, and those working in literature and in other areas in the humanities similarly find that working with video can enhance their abilities to not only share knowledge but to playfully counter existing perspectives or to offer counter- and anti-narratives. Visual literacy will be a continuous thread throughout this workshop, as we focus on the challenges of planning a shoot, framing a shot, and creating meanings through scripting and editing decisions -- in other words, the challenges of composing within the frame." This work will create fruitful fodder for interdisciplinary dialogue as we address meaning as a construct with its variation in disciplines (and cultures). Video editing software instruction will take place on several levels. Given the timeline, the goal will be to lay a foundation that will allow for most editing needs, along with support for troubleshooting as participants spend time with the editing equipment on their own.

Audio Production

This workshop introduces participants to the possible benefits of radio-style audio production of short podcasts. The podcast facilitates the documentation and presentation of ones research at various stages of development, from initial research questions and content-gathering to the delivery of the finished results of ones work. These sessions further present the podcast as a compelling mechanism for the incorporation of multiple voices into ones work through monologue, interview and dialogue. Most importantly, the podcasting workshop suggests that the sharing of audio work within the collaborative frameworks commonly encountered in the networked communities of experimental music and sound art are in fact reasonable mechanisms for interdisciplinary exchange, community archiving, and public engagement. In particular, participants will be asked to consider the creative commons mechanism of licensing and specific projects that the CC approach has inspired as a possible model of a sonified, collaborative commons for the interdisciplinary humanities. Participants will be introduced to sound production from content-gathering and editing to Web-based distribution. Content-gathering will include working from primary sources through interviews, during which we will work with digital audio recorders, as well as incorporating secondary sources downloaded or recorded off of the Web. Participants will also work with applications for editing and mixing their sounds, with the target of producing a 5-minute podcast. The final stage of the workshop will cover distribution of the work in the form of both downloadable podcasts and streaming radio-style productions, as well as cover the value of a creative commons approach to shared audio archives collecting original content from multiple disciplinary perspectives.

Digital Archives, E-Journals & Interactive Design: Re-mediating the Fields for Scholars & Writers

This workshop is designed for scholars and writers interested in building electronic research and production models that cross disciplinary boundaries to reach new audiences within and beyond academia. Research and production models that may be initiated or accomplished during this workshop include, for example: collaborative, interdisciplinary research and writing; undergraduate- or graduate-level curriculum development; digital publishing initiatives; electronic conference initiatives; single- or multi-author research and writing. Participants will be granted access to the Penrose Librarys world-class digital reference collections and databases and will receive instruction on introductory and advanced research and production strategies for their individual projects. Workshop meetings will combine practical hands-on experience with theoretical studies concerning the ways in which digital archives, electronic databases, interactive design tools, and open-access publishing and conference platforms remediate fields and objects of knowledge for a new generation.

Humane Gaming

Humane Games are 1) games for education, 2) games for health, and 3) socially conscious games. The crafting of Humane Games is a critical practice. It is a critique of commercial products, of industrial working methods, and an affirmation of humane ideals. The Humane Games approach is a critical, digital, liberal art. During the workshop we will share models of videogames that reflect this approach, especially focusing on socially conscious games. The creation of videogames is a complex undertaking. We privilege an approach that takes an individual through the whole process so that she can identify her own strengths and weaknesses, and understand the roles and opportunities for collaboration. In broad outline, our approach can be summarized as comprising play, programming and pixels to make small videogames. Small videogames have the following attributes: 1.- all gameplay occurs on a single screen; 2.- the game has four screens: a startup, intro, or splash screen; a play screen; and, two outcome screens, for example a you win screen and a you lose screen; 3.- small videogames are typically one-player games; 4.- small videogames can be created by an individual, novice, creator in a timeframe measured in days. Small games are an extensible framework. We expect to have a playable small game at the end of the second day of the workshop. Fellows will be able to take the knowledge and craft larger, more ambitious game projects through collaboration.

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