On December 3, 2012 I spent a day talking with a community arts organization, the New Urban Arts Center, that takes a different approach to their arts education and humanities-driven mission than most arts and humanities funders are accustomed to supporting.
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I want to offer some context about my particular experience with tenure and promotion, because George Mason University (GMU) has a new tenure policy that allows candidates to go up for tenure either on the basis of “genuine excellence in research” or “genuine excellence in teaching.”
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It’s no secret that times are tough for scholars in the humanities. Jobs are scarce, resources are stretched, and institutions of tertiary education are facing untold challenges. Those of us fortunate enough to hold tenured positions at financially stable colleges and universities may be the last faculty to enjoy such comparative privilege.
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In preparing my tenure and promotion dossier I was advised that I needed to explain my fields and contextualize my work in a more accessible way. Without many models for doing this, I made up my own rules, then tore apart my dossier, then re-assembled it, then tore it apart again (this happened 3 more times), then revised my narratives (this happened 6 more times).
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While we have used digital research in teaching at University College Cork for many years, the central role played by digital artefacts in the new Digital Humanities programmes is a relatively recent addition.
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