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"Mina Loy: Navigating the Avant-Garde": a case study of collaborative DH design

Published onJan 14, 2021
"Mina Loy: Navigating the Avant-Garde": a case study of collaborative DH design
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Team

This project was a collaboration between a small, liberal arts college (Davidson College), a mid-sized Catholic university (Duquesne University), and a large state university (University of Georgia). The team included a faculty PI from each institution, IT staff, librarians, graduate students, and undergraduates, and an Advisory Board comprising leaders in the fields of DH, modernist, and avant-garde studies from the US and UK. Find the complete list of contributors at the end of this case study.


Project URL

https://mina-loy.com


Project Abstract

Home page (https://mina-loy.com/)


Mina Loy: Navigating the Avant-Garde (https://mina-loy.com/) is a peer-reviewed, digital, multimedia scholarly book that charts the avant-garde migrations of artist, writer, feminist, inventor, and entrepreneur, Mina Loy. This open educational resource offers digital scholarly narratives and visualizations to contextualize and interpret Loy’s writing, art, and designs.

Mina Loy Baedeker

It includes a Mina Loy Baedeker (scholarly essay collection) that charts Loy’s relationship to Futurism, Dada, and Surrealism and related materials including timelines, maps, art exhibits, a Twine game, close readings that interlink a text with its interpretation, student-authored biographies and other projects (“New Frequencies”), and a crowd-sourced feminist theory of the en dehors garde (“Flash Mob”)—our feminist alternative to the avant-garde.

StoryMap (art exhibit)


New Frequencies (student-authored DH projects)


Post(card)s generated in the En Dehors Garde flash mob.


DH practitioners who want to adapt our model can find our custom WordPress “DH Scholarship Theme, site documentation, and instructional videos in an open GitHub repository, which can be accessed from the DH ToolBox featured on our homepage.


Time Needed

When did you begin this project? When did you complete this project?

Time Span: August 2015 - March 2020

Length: 4.5 years


Outcomes

What is the outcome of the project?

We completed our project in March 2020, submitting the White Paper to NEH and announcing publication on Twitter, Instagram, and Facebook. Mina Loy: Navigating the Avant-garde attracts an average of 2,500 views a month, with a peak of more than 4,500 views in April 2020 when we announced the project’s completion on social media. Anecdotal evidence suggests that our users range from professors, to graduate students, to undergraduates and avant-garde enthusiasts.

In fall 2020 our project was featured in the 2020 Modernist Studies Association (MSA) digital exhibition, our essay “Handiwork: Mina Loy, Collage, and the En Dehors Garde” was published in the “Visualities” series on Modernism/Modernity’s “PrintPlus” platform, and the project was cited in a subsequent article in the series. We also began the process of submitting the project for reviews and awards and are working on a proposal for a print book companion.


Resources

What tools, resources, programs, or equipment did you use for this project?

We adopted open-source tools and platforms whenever possible. We used WordPress along with a number of free plugins, including

  • Advanced Custom Fields,

  • Advanced WordPress Backgrounds,

  • Crop Thumbnails,

  • Easy Footnotes,

  • Hypothesis,

  • Ivory Search,

  • PDF Embedder,

  • Simple Page Ordering,

  • Smart Slider 3,

  • and Wonder 3D Carousel.1

In order to meet our design specifications for the grids and post(card) displays, we paid for the plugins Advanced Custom Fields Pro and Content Views Pro. Our technical designer, Greg Lord, used these plugins to enable WordPress to store, display, and export metadata, thereby making the CMS more suitable for scholarly projects. In our DH Toolbox, we share our custom DH Scholarship Theme and documentation on an open GitHub repository for scholars to freely use and adapt to other projects.

We collaborated with a team at Hypothes.is to use their web annotation tool for public peer review and for cross-institutional student peer review. Our Advisory Board, consisting of Loy scholars and digital humanities scholars, used Hypothesis to provide comments and suggestions as part of the project’s public peer review. We also worked with ModNets and submitted the project to their double-blind peer review process for DH projects in modernist studies.


Funding

Please describe any costs incurred for this project, and (if relevant) how you secured funding for these costs.

Our project was supported by a generous 2017 NEH Digital Humanities Advancement Grant ($75k), which enabled the three faculty PI’s to take course reductions, hire a technical designer, pay for permission and copyright fees, travel to work “retreats,” and cover other expenses. In addition, the three PI’s received smaller grants from their respective institutions.

A Boswell Family Foundation Fellowship from Davidson College afforded Suzanne Churchill a full year sabbatical to begin developing this project. Grants from the University of Georgia’s Willson Humanities Center allowed the faculty PIs to meet at UGA to plan the project and work on the NEH grant proposal. Several smaller grants from Duquesne University’s McAnulty College NEH Endowment helped support graduate student work on the project and a series of DH talks by scholars that included public presentation of our website.


Workflow

Please give an overview of the workflow or process you followed to execute this project, including time estimates where possible.

Initial Conception, Prototyping & Planning (2014-2017):

Form teams, identify and network with communities of practice, develop early prototypes, apply for grant(s), secure permission from primary copyright holders.

After working with Olivia Booker (Davidson College ‘13) to design an early prototype, Churchill began developing this project in earnest during a 2014-2015 sabbatical, collaborating with Andrew Rikard (Davidson ‘17) to develop and refine prototypes. The project quickly grew, with Susan Rosenbaum and Linda Kinnahan joining the team as co-PIs, bringing in more students at our respective institutions. Our initial conception and planning of the project was enriched by meetings and conversations at the opening of the University of Georgia’s (UGA’s) Digital Humanities Lab (DigiLab), which coincided with an Interdisciplinary Modernisms Workshop (spring 2014), a follow up meeting at UGA (spring 2016), and a public lecture on “Visual Culture & DH” and a “DH & Pedagogy Workshop” at Duquesne University (spring 2017).

Churchill presented early prototypes at a Mina Loy Symposium at New York University in the spring of 2015. She also met with Roger Conover, executor of Mina Loy’s literary estate, and he granted permission for the project and agreed to serve in an advisory capacity. Churchill and her students attended ILiADS (Institute for Liberal Arts Digital Scholarship) twice and DHSI (Digital Humanities Summer Institute) three times. The team presented the project as a part of the Modernist Studies Association Conferences’ Digital Showcases (2015, 2016, 2018), and the PIs gave papers at various conferences. During this early phase, we researched, wrote, and worked with a senior program officer at NEH to revise a proposal for an NEH Digital Humanities Advancement Grant.

When, to our astonishment and delight, we received the $75k grant, we were able to move the project forward in full force. Here is a basic timeline of our workflow:

Grant Year 1 (Sept 2017-Aug 2018)

Research and develop content; link scholarship to teaching; expand teams to include students, librarians, and Digital librarians; provide relevant tech training for contributors; publicize project via scholarly publications and social media; orchestrate public “flash mob”.

Fall 2017: Churchill, Kinnahan, and Rosenbaum taught courses related to the project, piloting the first round of our “Biography project,” in which students researched and wrote biographies of people in Loy’s social network. We collaborated with instructional technologists at our respective schools (Emily McGinn, UGA; Gesina Philips, Duquesne; Sundi Richard, Davidson) to generate a social network visualization from the metadata students gathered. At the same time, we began working with our technical designer, Greg Lord, to develop a custom WordPress theme and split-screen architecture plugin for viewing primary texts alongside close readings of them.

January 2018: The PI’s met in Maine for a work retreat focused on technology training, content development, and continued conceptualization of the principles underlying our site architecture. While in Maine, we met with Roger Conover at his home to see his collection of Loy materials and artifacts, and discuss the project.

February 2018: Churchill and Kinnahan attended the prescribed meeting for NEH Digital Humanities Advancement Award winners in Washington DC and took part in presentations of awardees’ projects.

Spring 2018: We continued to develop the project, conducting research in Loy’s archives, presenting on her work at conferences, and co-authoring the chapter, “Digital Baedeker: A Feminist Experiment with Mina Loy’s Archive,” for the volume, The Contemporary Poetry Archive. We worked with librarians to discuss copyright and select a Creative Commons license for our site, and began discussions with Hypothesis. In May, the three PI’s gathered for a work retreat in Asheville, where we fleshed out our ideas for a digital “Flash Mob,” decided to use the “Baedeker” (travel guide) as a metaphor for our scholarly chapters, and continued to develop and reorganize the website to accommodate new content and functions, including split-text close readings and a carousel plugin.

Summer 2018: We launched an experimental digital “Flash Mob” in July, inviting the public to submit posts modeled on the postcard, offering their own visual and/or verbal theorizations of a feminist avant-garde. The Flash Mob ran through September and attracted 70 post(cards), noteworthy for their creative approaches to the task of producing theory. Users can select and arrange post(card)s to generate their own theoretical formations. Supported by a Davidson Research Initiative grants, Mahalia Cooks (Fayetteville State University ‘19) and Leah Mell (Davidson College ‘19) worked on social media and promotional materials for the flash mob during the summer. Duquesne Ph.D. student Allie Reznick was hired in August, with support from Duquesne’s McAnulty College, to manage and distribute social media about the Flash Mob and the Loy project throughout the academic year. Duquesne graduate students began work of editing and posting student-authored biographies, with financial support of the university’s McAnulty College NEH Endowment.

Grant Year 2 (Sept 2018-Aug 2019)

Develop and conduct usability testing on website design; implement split-screen close-reading plugin, complete scholarly chapters for the digital baedeker; work with Roger Conover on the selection and presentation of Mina Loy’s visual art; complete student-generated Bio project and network analysis; develop & incorporate student research projects on website; apply for grant extension.

Fall 2018: The three PI’s each taught new courses related to the project, and Kinnahan and Rosenbaum ran a second round of the “Biography Project.” The courses generated more bios and new student projects for “New Frequencies.” Graduate students edited and published biographies throughout the year.

October 2018: The PIs met in Maine in October to further develop content and refine website design. Particular focus was paid to the scholarly chapters in the “Mina Loy Baedeker” and to the development of split-screen close readings of poems. During this 3-day meeting, they also met with Roger Conover, Loy’s literary executor, and conducted a Zoom conference with Greg Lord, project web designer. At Conover’s suggestion, Churchill began developing the design and scholarly content for “Loy’s Signature Style,” working with Lindsay Rufolo (Davidson ‘19) to create a slide show of Loy’s signatures found in the Beinecke Library digital archives.

Spring 2019: Work continued on writing, developing, and uploading scholarly chapters for the “Digital Scholarly Baedeker” to the website. Student projects were finalized for review at the May meeting. The 3 PIs met by Zoom several times and as a group with Lord. Churchill held several Zoom conferences with Lord during this period and into the summer to address design and technical issues. The group applied for and received an extension of the grant duration from the NEH.

March 2019: Churchill traveled to Maine to meet with Roger Conover and discuss ways to present Loy’s visual art. She also worked with him to envision a format that could highlight his work as an editor, collector, and literary executor, which culminated in a photo essay written by Suzanne Zelazo and designed by Churchill.

May 2019: Churchill, Rosenbaum, and Kinnahan met in Davidson, North Carolina, for a 3-day work retreat. Following training on Knight Lab’s StoryMapJS tool, the 3 PIs each built a StoryMap focused on paintings or assemblages from different moments in Loy’s career. Student work from the year was reviewed and, following approval by all three PIs, featured in “New Frequencies.” The work remaining to be done to bring the project to completion in Fall 2019 was discussed and remaining tasks were assigned.

Summer 2019: Duquesne graduate students were hired to develop two important projects for the site: a Migration Map showing Loy’s lifelong movements from country to country (Jesse Jack, English PhD); and a set of timelines showing an accurate chronology of Loy’s live (Rochel Gasson, English PhD). This work was supported by a Duquesne McAnulty NEH Endowment grant. Maura Tangum (Davidson ‘19) was hired to edit page layouts, regularize citation style, and create an interactive site map. We invited Carolyn Burke, Loy’s biographer, to publish an essay on the website based on the 2015 talk she gave on collecting one of Loy’s art assemblages (Mina Loy Symposium, New York University, 2015). Work began to secure permissions for images and to design the photo essay.

Grant Year 3 (Sept 2019-March 2020)

Finalize plan for migration of website to UGA DigiLab, finalize and upload remaining website content, complete Whitepaper, publicize project completion.

Fall 2019: We planned for the migration of the project to the UGA Digital Lab (anticipated for Spring 2020), identified relevant tasks, and completed revisions. We published the Migration Map and added a site-wide table of contents and interactive site map. Efforts to secure permissions for several images in Burke’s essay continued.

Spring 2020: Carolyn Burke’s essay was published in January. Final tasks for the semester include several blog posts, some small essay revisions, publishing the timelines, and completing the white paper.

February 2020: Churchill, Rosenbaum, and Kinnahan will meet in Louisville, KY to work on a white paper to be submitted for the NEH Digital Advancement Grant, and to finalize plans for the site migration to UGA’s server. Focusing on the Loy project, Churchill, Rosenbaum, and Kinnahan will also participate in a round table, “Digitizing Modernist Women’s Lives” at the Louisville Conference on Literature and Culture Since 1900. A related round table made up of students involved in the projects will include 2 students from Duquesne who have contributed significantly to the project (Jesse Jack and Rochel Gasson). They will discuss student labor, participation, and the experience of learning about DH scholarship.

March 2020: Migration to the UGA Digital Lab Server takes place, NEH Advancement Grant ends, and the final white paper is submitted. Social media campaign launched to publicize project completion.

Summer and Fall 2020 and ongoing: Draft and edit book proposal, “Handiwork” article for Modernism/Modernity’s PrintPlus platform, Medium article for MSA 2020 Digital Exhibition, and submissions for various grants and reviews.


Challenges & Opportunities

What, if anything, changed between beginning your project and its current/final form?

As our project grew, we decided not to include a limited archive of digital facsimiles of Loy’s writing and art work because the Beinecke Rare Book and Manuscript Library has digitized the Mina Loy Papers. We instead chose to focus on designing multimedia scholarly narratives with links to the Beinecke’s digital archive. Our NEH proposal also included displaying the project at a planned exhibition of Loy’s artwork. When that art exhibition was delayed, we rechanneled the travel funds for work sessions, which proved to be very important to the development of the project and the incorporation of Loy’s visual art. Finally, we encountered unforeseen delays due to family responsibilities, illness and injuries, weather events, and other obstacles, which required us to adjust our timeline and request a one year, no-cost extension of our NEH grant.

Is there anything specific you wish you had known when beginning your project that might help other people to know?

Lesson #1: Set realistic limits

Without a clear roadmap or precedent for this work, we worked intuitively, which allowed us to be open to discovery, enabled the project to expand organically, and helped us to be more flexible about its parameters. Andrew Rikard’s expression, “It’s doable,” became an early motto that encouraged us to take risks and explore.

When the project grew to a larger, cross-institutional collaboration, we had to modify the motto, reminding ourselves that just because “it’s doable” doesn’t mean we should do it. When you have a team of high achievers, “it’s doable” can fuel a relentless drive to succeed at a task, even if the time and effort needed to accomplish it isn’t commensurable with the benefits of the outcome. The project is going to grow bigger than you ever anticipated and will take more time than you ever set aside, so it’s important to set realistic, flexible limits.

Lesson #2: Collaboration is key to DH projects

DH scholarship is necessarily collaborative, in part because no single humanist by training will have all the skills necessary to build a successful project. But when the seeking of guidance and assistance and ideas from others becomes a truly collaborative effort, the nature and design of the project changes. Its most distinctive aspects may be those that result from the interpersonal exchanges, rather than from the idea or vision of an individual.

DH collaboration is also distinctive because often the “help” does not exist prior to the emerging project, but is part of its making. The knowledge, expertise, and even tools may not exist yet. You learn as you go, making and adapting tools to answer your questions and achieve your goals. Our collaborations were strengthened by practices such as work retreats, periodic and mindful delegation of work, and sharing of external training. These practices made the collaboration sustainable and gave contributors a greater sense of knowing how to contribute.

Collaboration will invariably lead to some friction and frustrations. But don’t forget that you encounter friction, frustration, and even despair when you work alone. The joy of a collaboration is that your partners can restore your faith in the project at those moments when you’re ready to throw in the towel. They’ll remind you why it’s valuable, why they joined in, and why it’s worth continuing. And they’ll produce work—new insights, new material—that make the project better and make you proud to be a part of it.

Lesson #3: Identify & network with communities of practice

Participation in various DH workshops and institutes such as ILiADS (Institute for Liberal Arts Digital Scholarship) and DHSI (Digital Humanities Summer Institute) was critical to the project, not just for technology training, but also for a sense of community. Communities of practice provide vital support and knowledge for DH pioneers; instead of feeling like you are wandering in a wilderness without a map, you understand that you are part of an emerging field, full of like-minded researchers eager to share their knowledge and expertise.

Applying for an NEH Digital Humanities Advancement Grant also helped us connect with wider communities of practice, including the staff at NEH, the directors of our respective institutions’ Digital Libraries/Laboratories, scholars with expertise in modernist Digital Humanities, and later with other grant recipients. The grant writing process goes beyond seeking funds for your project; it helps you develop a plan and template, drawing upon the expertise and examples of others. NEH Senior Program Officer Jennifer Serventi's suggestions on our draft proposal were crucial to our success. Serventi had a broader perspective and wider experience, asked good questions, and pointed out weaknesses and gaps in our plan. Perhaps most importantly, she asked us to address the question: How will you know when your project is finished?

Lesson #4: Incorporate strategic planning throughout your project

A strategic plan is essential for setting manageable goals, identifying steps to achieve them, and matching those steps to a calendar. Our NEH Digital Humanities Advancement Grant served as our strategic plan, and the NEH guidelines, requirements, and advice made this document detailed, thorough, and practical. It became an essential reference point throughout our process. Submitting required updates on our progress to the NEH allowed us to revisit and revise our strategic plan regularly.

While the NEH proposal was a valuable planning document for the project as a whole, the Faculty Success Program (FSP) from the National Center for Faculty Development & Diversity allowed Churchill to recognize the importance of ongoing strategic planning for each semester, along with weekly planning. The FSP strategic planning method requires you to set goals, identify the steps to reach the goals, and match those steps to your calendar. We recommend incorporating such strategic planning throughout your project.

Lesson #5: Choose a system for project communications & record keeping

As vital as interpersonal exchanges are, communications will be more difficult than you think, not because they don’t take place, but because they occur in such abundance, over such long stretches of time. Even with a tool like Slack and with a process blog to record progress, it was hard to retain all the thinking, talking, decision making, and delegating. We thought Slack would be a good place to gather and record our decision-making process, but we didn’t use it consistently or find its interface intuitive. Often we kept track of goals for the semester and year through shared Google Docs.

We’ve realized the importance of a decision log, as well as a place and system for storing project materials. We ended up reverting to email for communications and using Google folders and docs for project materials. Next time around, we would investigate open source project management tools or platforms that would enable us to keep a decision log that we could search and sort by date or topic.

Communications aren’t just important within your team. You need to be connecting and networking with your desired audiences and networking with communities of practice throughout your project. It’s important to be dedicated and aggressive about promoting your site. Our hits skyrocketed when we ran the Flash Mob and had students orchestrating our social media campaign, but our faculty leaders couldn’t sustain that activity, due to the time a social media presence requires. We would have benefited from a permanent team member dedicated to social media, as well as a detailed outreach plan, which should include not just social media, but also applying for awards, attending conferences, and contributing to DH forums and publications.

Lesson #6: Give students freedom, responsibility, and peer review

Students (undergraduate and graduate) are capable of innovative research. In our project, they made crucial decisions, implemented them, and contributed original content. Even in an era of flipped classrooms, the dominant model of learning remains top-down and hierarchical, perhaps even more in the production of research than in the classroom. Students are invited to do interesting work, but often within a framework established by the professor. There’s good reason for this scaffolding, because the professor often has knowledge, training, and experience a student lacks.

But what if you don’t know exactly where your research will go or how you will present it? In this regard, it helps to lack knowledge, training, and experience, because students may have knowledge, expertise, and experiences that faculty lack. We had to figure out ways to help students explore and implement tools we did not fully understand ourselves, collaborating with librarians and instructional technologists as intellectual partners. Our lack of expertise often enabled us to learn with and from our students.

Our students contributed original research projects to our website, included under a section titled “New Frequencies.” They researched, wrote, and edited biographies of figures in Mina Loy’s social and artistic networks. They culled data from these biographies to create a visualization of Loy’s social-artistic network. They created maps and timelines of Loy’s life and career, as well as 3D animations, lexicons, and e-commerce sites to promote engagement with her work. In short, their contributions to mina-loy.com were essential.

As much as they have to offer and teach us, students may also produce work that doesn’t meet scholarly standards of accuracy, citation, or accessibility. And once they’ve completed a course or graduated, they have little incentive to correct their work. How to strike that balance between giving them the freedom to explore, invent, and design, while also making sure they research thoroughly, represent accurately, cite adequately, or uphold accessibility standards—all within the constraints of a summer or semester? It’s important to build in oversight for projects that occur during the semester as part of a course. Have students sign release forms or agree to give editorial access, so that you can make changes—or have another set of students make changes—to their work before it is published. We also set up systems of peer review, in which undergraduates evaluated each other’s work, graduate students vetted and edited undergraduate work, and the faculty PIs reviewed and commented on graduate student projects. Creating systems of peer review and editing is crucial to upholding scholarly standards for student work.


Next Steps

Do you have any plans to follow up on this project or work on something similar in the future?

We conceived of mina-loy.com as an end-stopped experiment in DH scholarship rather than as an ongoing clearinghouse for digital work on Mina Loy. However, our aim is to inspire similar projects on other women writers and artists of the “en dehors garde,” and to that end we share the custom WordPress theme, along with site documentation, via GitHub, and our hope is that scholars will use and adapt our theme for their own DH projects. We are also writing a proposal for a book companion to the website, designed for readers who prefer a handheld, illustrated book that they can read in an armchair or take with them if they travel to the places where Mina Loy lived and worked.


Publications & Presentations

Our completed, peer-reviewed publication is the digital scholarly website Mina Loy: Navigating the Avant-Garde (https://mina-loy.com/). In addition, we have published three essays about the project:

  • Suzanne Churchill, Linda Kinnahan, Susan Rosenbaum. “Handiwork: Mina Loy, Collage, and the En Dehors Garde.” M/m Print Plus Vol. 5, Cycle 2 (Oct. 21, 2020). https://modernismmodernity.org/forums/posts/handiwork

  • Suzanne Churchill, Linda Kinnahan, Susan Rosenbaum. "Digital Baedeker: A Feminist Experiment with Mina Loy's Archive." Linda Anderson, Mark Byers, and Ahren Warner, Eds. The Contemporary Poetry Archive: Essays and Interventions. Edinburgh: Edinburgh UP, 2019. Print.

  • Susan Rosenbaum, Linda Kinnahan, and Suzanne Churchill. "Feminist Designs: Modernist Digital Humanities and Mina Loy: Navigating the Avant-Garde." Feminist Modernist Studies. Vol. 1.3 (Summer 2018), special cluster on "Feminist Modernist Digital Humanities." https://doi.org/10.1080/24692921.2018.1505255.

The three PIs have publicized the project at numerous conferences and symposiums, including:

  • Digital exhibitions, panels, roundtables, and a seminar at Modernist Studies Association (MSA) conferences (Boston, 11/15; Pasadena, 11/16; Amsterdam 8/17; Columbus 11/18).

  • Churchill, Kinnahan, and Rosenbaum, “Visual Culture & Digital Humanities,” public lecture, with Linda Kinnahan and Susan Rosenbaum, Duquesne University (3/17).

  • “Mina Loy & Transatlantic Surrealism” panel organized by Kinnahan, Rosenbaum, and Hayden. ISSS Conference (11/18). https://surrealisms.sched.com/event/FLWO/2c-mina-loy-and-transatlantic-surrealism.

  • Suzanne Churchill, “Feminist Designs: from Mina Loy to Modernist Digital Humanities,” invited public lecture, University of Kentucky (10/19).

  • Louisville Conference on Literature and Culture since 1900: roundtable (2/20).


Contributor List

Faculty PI’s

  • Suzanne W. Churchill, Professor of English, Davidson College

  • Linda A. Kinnahan, Professor of English, Duquesne University

  • Susan Rosenbaum, Associate Professor of English, University of Georgia

Project Advisor

  • Roger Conover, Mina Loy’s editor and literary executor; Executive Editor, MIT Press.

Technology & Design

  • Greg Lord, Lead Designer and Software Engineer, Hamilton College

  • Emily McGinn, Director, Digital Humanities Lab, UGA

  • Gesina Phillips, Digital Scholarship Librarian, University of Pittsburgh (formerly at Duquesne)

  • Sundi Richard, Assistant Director for Digital Learning, Davidson College

  • Kristen Eshleman, Director of Digital Innovation, Davidson College

  • Katie Wilkes, IT Fellow, Davidson College (2014-16)

  • Olivia Booker, IT Fellow, Davidson College (2013-14)

  • Jennifer Hall Mandula, IT Fellow, Davidson College (2012-13)

Advisory Board

  • Sara Crangle, Professor of Modernism and the Avant-Garde (English), University of Sussex

  • Irene Gammel, Professor of English and Canada Research Chair in Modern Literature & Culture, Ryerson University; Director, Modern Literature and Culture Research Centre

  • Alex Goody, Professor of Twentieth Century Literature, Oxford Brookes University

  • Cristanne Miller, Edward H. Butler Professor of English and SUNY Distinguished Professor, SUNY Buffalo; Director, Marianne Moore Digital Archive

  • Tara Prescott, Lecturer in Writing Programs, UCLA

  • Shawna Ross, Assistant Professor of English, Texas A & M University

  • Stephen Ross, Professor of English, University of Victoria; Co-Founder, Modernist Versions Project and Open Modernisms

  • Mark Sample, Associate Professor of Digital Studies, Davidson College

  • Whitney Trettien, Assistant Professor of English, University of Pennsylvania, co-editor of Thresholds, a digital zine.

Contributors

  • Matt Bell, Davidson College, class of 2019, B.A. in English

  • Jillion Bennion, Duquesne University, Ph.D student in English

  • Claire Biggerstaff, Davidson College, class of 2019, B.A. in English

  • Amy Bonnaffons, University of Georgia, Ph.D student in Creative Writing

  • Nichole Brazelton, Duquesne University, M.A. student in Communication & Rhetorical Studies

  • Carolyn Burke, author, Becoming Modern: The Life of Mina Loy

  • Mahalia Cooks, Fayetteville State University, class of 2019, B.A. in English

  • Matthew Days, Davidson College, class of 2019, B.A. in English

  • Brett DiPuma, Duquesne University, M.A. student in English

  • Courtney Druzak, Duquesne University, Ph.D student in English

  • Alexandra Edwards, Georgia Tech Brittain Postdoctoral Fellow; University of Georgia 2017 Ph.D. in English

  • Kenneth Estrada, Duquesne University, M.A. student in English

  • Elise Foote, Davidson College, class of 2016, B.A. in English

  • Meredith Foulke, Davidson College, class of 2018, B.A. in English

  • Sarah Gompper, Davidson College, class of 2018, B.A. in English

  • Rochel Gasson, Duquesne, Ph.D. student in English

  • Alex Goody, Professor of Twentieth-Century Literature and Culture, Oxford Brookes University, UK

  • Genevieve Guzmán, University of Georgia, Ph.D. student in Creative Writing

  • John Hadlock, Duquesne University, Ph.D. student in English

  • Caitlyn Hunter, Duquesne University, Ph.D. student in English

  • Jesse Jack, Duquesne University, Ph.D. student in English

  • Jacqueline Kari, University of Georgia, Ph.D. student in Creative Writing

  • Annie Maisel, Davidson College, class of 2019, B.A. in English

  • Casey Margerum, Davidson College, class of 2019, B.A. in English

  • Erin McClenathan, Assistant Professor of Art History, Mercer University; University of Georgia 2018 Ph.D. in Art History

  • Cristanne Miller, SUNY Distinguished Professor & Edward H. Butler Professor of English, University of Buffalo

  • Taylor Maldonado, Duquesne University, M.A. student in English

  • Leah Mell, Davidson College, class of 2019, B.A. in English and Russian Language & Literature

  • Jill Moliterno, Duquesne University, Ph.D student in English

  • Hannah Muczynski, Duquesne University, M.A. student in English

  • Naira Oberoi, Davidson College, class of 2019, B.A. in English

  • Andrew Rikard, Davidson College, class of 2017, B.A. in English

  • Jessica Riley, University of Georgia, class of 2017, B.A. in English

  • Lindsay Rufolo, Davidson College, class of 2019, B.A. in English

  • Josie Rush, Duquesne University, Ph.D student in English

  • Anna Samuels, Molly Harbaugh, Duquesne University, M.A. student in History

  • Molly Sharbaugh, Duquesne University, M.A. student in English

  • Hannah Sommerlad, Davidson College, class of 2019, B.A. in English

  • Severine Stier, Davidson College, class of 2019, B.A. in English

  • Maura Tangum, Davidson College, class of 2020, B.A. in English & Studio Art

  • Suzanne Zelazo, Research Associate, Ryerson University, Modern Literature & Culture Research Center

Other Contributors

  • 70 Postcard Contributions to our “En Dehors Garde Flash Mob” from the U.S., Canada, UK, and France, chiefly from educators, students, artists, and writers: https://mina-loy.com/endehorsgarde/

  • 51 Graduate and Undergraduate student contributors to our Biography Project https://mina-loy.com/bios-page/


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