Kyle Parry researches across digital media, visual culture, critical theory, and the environmental humanities. His book project, The Elements of Witness, examines both "analog" and digital techniques of disaster representation, emphasizing convergent practices of assembly and archiving as well as critical negotiations of mapping and networked communication. Coincident projects build on these themes. Current topics include the history and theory of photographic "ubiquity," critical approaches to metadata and "aboutness," digital scholarship and data visualization as performative enactment, and the intersections of photography, selfies/self-portraiture, and thought. Parry is also committed to research, experimentation, and critical collaboration around digitally-enabled--as well as embodied, relational, and studio-based--pedagogy. His research has been published or is forthcoming in Critical Inquiry ("Generative Assembly after Katrina"), Debates in the Digital Humanities, and Archive Journal ("As We May Now Think: A Note on Vannevar Bush's Scaffolding Claim").
Winter 2018: Thursdays 2pm–4pm, or by appointment. To sign-up for a specific slot, please visit this page.
“Reading for Enactment: A Performative Approach to Digital Scholarship and Data Visualization” (in press, Debates in the Digital Humanities 2018)
“Generative Assembly after Katrina,” Critical Inquiry (Spring 2018)
“As We May Now Think: A Note on Vannevar Bush’s Scaffolding Claim,” Archive Journal (November 2016)
“Theorizing Metadata,” Society For Cinema and Media Studies Annual Conference (March 2017)
“Performative Data Curation,” Hard Coded Humanities (University of Rochester, 2016)
“The Event Archive as a Genre of Networked Media,” Society For Cinema and Media Studies Annual Conference (March 2016)
“Network Crisis Archiving: From First Response to Remembrance,” Invited Talk, Japan Forum, Harvard University (March 2016)
“3.11 and the Digital Archival Assemblage,” Society For Cinema and Media Studies Annual Conference (March 2015)
“Structuring Collaborative Learning,” Harvard Initiative for Learning and Teaching Annual Conference (Cambridge, MA, September 2014)
“Photographing Things to Come and Making Secret History,” Film and Visual Studies Colloquium (Cambridge, MA, February 2012)
Here are descriptions of my two Fall 2017 courses, which I'm excited to teach:
HAVC 49: From Memes to Metadata: An Introduction to Digital Visual Culture [New Title; Originally, "A Short History of the Digital"]
An introduction to digital visual culture, including critical and historical approaches to memes; social media and politics; and the many intersections of data, images, and society. Other sample topics: digital art, digital activism, and surveillance.
GE: PE-T, TuTh 950a-1125a, Merrill 102
HAVC 141P: Networks and Natures: Art, Technology, and the Nonhuman
Through critical readings and primary sources, this course explores the historical and theoretical developments in the interactions of art, culture, nature, and technology. Sample topics include environmental art; media infrastructures; concepts of nature and the nonhuman; and climate change and visual culture.
GE: PE-E, TuTh 320p-455p, McHenry 1256
Outstanding Teacher Award, Arts Division, UC Santa Cruz (2017)
"Ubiquity: Photography's Multitudes," Humanities Project, University of Rochester (2017)
Mellon/CLIR Postdoctoral Fellowship, University of Rochester (2015–2016)
“Experimental Teaching as Design Practice,” Grant, Harvard Initiative for Learning and Teaching, 2014–2015 (co-recipient with metaLAB)
“Digital Archive of Japan’s 2011 Disasters as Teaching Tool and Laboratory Course,” Grant, Harvard Initiative for Learning and Teaching, 2012–2013 (co-recipient with metaLAB and Reischauer Institute of Japanese Studies)
Ashford Fellowship in the Humanities and Social Sciences, Harvard University (2009–2015)