About

I specialize in media theory, digital humanities, and nineteenth-century British literature. My research investigates how the Nineteenth Century is adapted, remediated, and transmitted into more contemporary art and digital media. I’ve specifically looked at this phenomenon by exploring the adaptation of William Blake and by investigating the alternate history reconstruction of the Victorian Period in steampunk. I also occasionally write about digital pedagogy.

Education

I received my MA in English from St. Louis University and my PhD at the University of Florida. I also held postdocs at the Georgia Institute of Technology and at Emory University’s Robert W. Woodruff Library.

Other Publications







PEER-REVIEWED SINGLE AND CO-AUTHORED MONOGRAPHS
2017                Steampunk and Nineteenth-Century Digital Humanities: Literary Retrofutures, Media Archaeologies, Alternate Histories. London: Routledge, 2017.
Reviews: Jessica Witte. Configurations. 26.2 (2018); Jaymee Goh Sook Yi. Science Fiction Studies. 45.2 (July 2018); Megan Ward. Postmodern Culture. 28.2 (January 2018); Joanna Swafford. Victorian Studies 60.4 (Summer 2018); Jonathan Lewis. Extrapolation. 1 October 2018; Kostas Boyiopoulos. The BARS (British Association of Romantic Studies) Review 52 (2018); Ana Alicia Garcia et al., “The Victorian Period.” This Year’s Work in English Studies, Volume 0 (2019).
2012                William Blake and the Digital Humanities: Collaboration, Participation, and Social Media. Co-authored with Jason Whittaker. London: Routledge. Hardback, 2012. Paperback, 2015.
Reviews: Laura Mandell. Studies in Romanticism. 53 (2014); Frances Ferguson. SEL: Studies in English Literature. (2014); Whitney Anne Trettien. Blake/An Illustrated Quarterly. 49.4 (2016); Mark Greenberg. Review19. 02 February 2014.  
PEER-REVIEWED ARTICLES AND BOOK CHAPTERS
2019a              “Now: A Kit for Digital Mindfulness.” Enculturations. Special Issue on Critical Making and Executable Kits. Forthcoming. 5,121 words.
2019b              “Networking the Great Outdoors: Object-Oriented Ontology and the Digital Humanities.” Reading as Democracy in Crisis: Interpretation, Theory, History. Ed. James Rovira. Lanham: Rowman and Littlefield.
2018                “Making ‘Comics as Scholarship.’ A Reflection on the Process Behind DHQ 9.4.” Co-authored with Anastasia Salter and Jason Helms. Kairos: A Journal of Rhetoric, Technology, and Pedagogy. 23.1 Fall 2018. < http://technorhetoric.net/23.1/inventio/salter-et-al/index.html#a/&gt;. 4,747 words + images.
2017                “The Difference Engine: 1832, 1855, 1876, 1991, 2002, 2008.” BRANCH: Britain, Representation, and Nineteenth-Century History. Ed. Dino Franco Felluga. Extension of Romanticism and Victorianism on the Net. August 2017. < http://www.branchcollective.org/?ps_articles=roger-whitson-the-difference-engine&gt;. 7,152 words.
2016                “How to Theorize with a Hammer, or Making and Baking Things in                                              Steampunk and the Digital Humanities.” Like Clockwork: Steampunk Pasts,                            Presents, Futures. Eds. Rachel Bowser and Brian Croxall. Minneapolis: U of                            Minnesota Press.
                        Award: Co-Winner, PCA/ACA 2017, “Ray and Pat Browne Award for Best                               Edited Collection in Popular Culture and American Culture.”


2016b              “There is No William Blake: @autoblake’s Algorithmic Condition.” Essays in Romanticism. 23.1: 69-87.
2015                “Steampunk Anachronisms: Queer Histories of the Digital Humanities.” Rhizomes: Cultural Studies in Emerging Knowledge. 28. <http://rhizomes.net/issue28/whitson/index.html&gt;. 8,439 words.
2015b              “Critical Making in the Digital Humanities.” Introducing Criticism in the Twenty-First Century. Second Edition. Ed. Julian Wolfreys. Edinburgh: U of Edinburgh Press. 157-77.
Review: Forum for Modern Language Studies. 51.4 (2015).
2013                “Digital Literary Pedagogy: Teaching Technologies of Reading the Nineteenth Century.” Journal of Interactive Technology and Pedagogy. 4 <http://jitp.commons.gc.cuny.edu/&gt;. 7,788 words.
Award: First Runner Up DH Awards 2013, “Best DH Blog Post, Article, or Short Publication.”
2013b              “How to Survive a Graduate Career.” Workplace: A Journal of Academic Labor. 22. 58-70. <http://ojs.library.ubc.ca/index.php/workplace/&gt;.
2011                “Digital Blake 2.0.” Blake 2.0: William Blake in Twentieth-Century Art, Music and Popular Culture. Eds. Steve Clark, Jason Whittaker, and Tristanne Connolly. New York: Palgrave. 41-55.
Review: Grant F. Scott. Blake/An Illustrated Quarterly. 47.4 (2014).
2008                “Applied Blake: Milton’s Response to Empire.” Interdisciplinary Literary Studies. 9.2. 87-101.
2007                “Engraving the Void and Sketching Parallel Worlds: An Interview with Bryan Talbot.” ImageTexT: Interdisciplinary Comics Studies. 3.2. <http://www.english.ufl.edu/imagetext/archives/v3_2&gt;. 2,664 words.
2007b              “Paneling Parallax: The Fearful Symmetry of Alan Moore and William Blake.” ImageTexT: Interdisciplinary Comics Studies. 3.2. <http://www.english.ufl.edu/imagetext/archives/v3_2&gt;. 7,852 words.
                        Award: Broken Frontier 2007, Best Comics Scholarship Award.
2005                “Jerusalem and ‘The Jew’: Biopolitics Between Blake and Spinoza.” Romanticism on the Net. 40. <http://www.ron.umontreal.ca/&gt;. 6,568 words.

Projects

“Critical Making in Digital Humanities Webinar Series.” Webinar series about Critical Making via WSU’s Blackboard Connect. Presenters include Lori Emerson, Matt Ratto, Kari Kraus, Garnet Hertz, Amaranth Borsuk, and Jentery Sayers. <http://www.rogerwhitson.net/critical-making/?page_id=2&gt;.

“Critical Making in Digital Humanities Digital Archive.” Co-edited with Dene Grigar (2013-2014). Archive of Critical Making projects from around the country. <http://www.rogerwhitson.net/critical-making/?page_id=128&gt;.

@autoblake. Twitter bot that computationally remixes the poetry of William Blake. <http://www.twitter.com/autoblake&gt;.
Reviews: Leonardo Flores. I Love E-Poetry; Sarah Jones. Blake House: Goings-On At the Blake Quarterly.

Tweeting #OWS: Emory’s Archive of Occupy Wall Street Tweets. Emory Center for Digital Scholarship. Website and data analysis of tweets from Occupy Wall Street. <http://disc.library.emory.edu/ows&gt;.

The Blake 2.0 Cloud. Co-authored with Jason Whittaker. Blog posts, social media analysis and digital domain for my William Blake and the Digital Humanities book. <http://blake2.org&gt;.

Roger Whitson

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