I am the Visiting Assistant Professor in English and Digital Scholarship at the University at Buffalo, where I serve as the Technical Director of the Marianne Moore Digital Archive, contribute to the development of digital humanities curriculum, and teach classes on modernist literature, media studies, and the digital humanities.


My book in progress, Editorial Modernism: Eliot, Moore, Pound, argues that modernist studies should look beyond its usual focus on authorial works to examine the crucial role of the “author-editor” in the construction of literary modernism. Writers such as T. S. Eliot, Marianne Moore, and Ezra Pound redefined the scope of literary authorship in the twentieth century by intervening in the production and reception of literature as manuscript editors, book and periodical editors, editorialists, and publishers. By tracing the ways in which these author-editors selected, designed, arranged, and revised books and periodicals, Editorial Modernism opens fresh domains for investigation into the forms of modernism, while presenting new narratives about the careers of Eliot, Moore, and Pound that reveal the editorial influences and experiences that shaped their development as artists and critics. In addition to recuperating the varied editorial activities of these poets as objects of sustained critical analysis, the book explores how digital tools for scholarly editing, visual and textual analysis, and data aggregation could better account for the historical editorial agencies inscribed in literary works.

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Graduate and Undergraduate Courses

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Syllabi and web links for recently offered and proposed courses in new media, digital humanities, and modernist literature.

Course Info and Syllabi

Curriculum Development

Materials related to on-going efforts to create new, interdisciplinary digital scholarship curriculum at the University at Buffalo.

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Advanced Workshops, Seminars, and Professional Education

Training sessions and workshops for advanced graduate students and faculty in scholarly editing, digital humanities, modernist studies, and digital pedagogy.

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I lead or contribute to a variety of digital humanities and digital media projects, while also serving as the Education Director for the Association for Documentary Editing.

Marianne Moore Digital Archive


I am the Technical Director of the Marianne Moore Digital Archive, in which role I have worked closely since the project launched in 2015 with Director Cristanne Miller, the editorial board, student project assistants, and our collaborators in the Center for Unified Biometrics and Sensors at the University at Buffalo.

The centerpiece of the MMDA is the Notebooks Project, which will make digital editions of Marianne Moore’s notebooks readily accessible to scholarly, classroom, and non-academic readers for the first time. The transcriptions are supported by annotations contextualizing Moore’s writing and life, including citations to the original source texts she invokes and an image-text linking feature that makes it easy to move back and forth between the facsimile and the transcription. The digital editions of the notebooks are supported by a growing collection of related materials, such as indexes, a glossary, an interactive timeline of Moore’s life and publications, searchable reproductions of the Marianne Moore Newsletter, and, eventually, integrated text and image search tools. This site will, we hope, revolutionize criticism on this significant poet; contribute to popular understanding of the modernist period’s history and culture; and develop new tools for the digital editing and publication of handwritten materials. In summer 2016 we published our first edition of a miscellaneous notebook kept by Moore across the 1920s and 1930s. Our upcoming goals for 2017 include the publication of an edition of a 1920s poetry notebook, as well as improvements and expansions to our related resources such as the timeline, educational and scholarly resources, and a new glossary feature.



Since early 2015, I have helped to design, implement, and coordinate the peer review and data aggregation processes for Modernist Networks (“ModNets”), a federation of digital projects in the field of modernist literary and cultural studies. ModNets aims to promote affiliated digital projects; to offer peer review based on content, conception, and technical design; to provide editorial and technical support; to evolve standards and “best practices”; and to maintain a system for the aggregation of scholarly resources in the field. The field of modernist studies has thrived and greatly expanded in recent years, becoming increasingly interdisciplinary, transmedial, and geographically decentered. While the temporal boundaries of the field are a topic of current debate, for the purposes of this consortium we are soliciting projects spanning the late 19th century through the first half of the 20th. Inevitably some projects—on Objectivist poetry or musical Serialism, for example, or on sound technology—will cross boundaries, and in such cases ModNets does not intend to be doctrinaire. By concentrating, however, on a modernism conceived in historical terms as the response in expressive culture to the specific global modernity associated with such phenomena as late imperialism, the two World Wars, first-wave feminism, the emergence of the modern city, and the advent of technologies of mass culture, we intend to maintain a focus on a historically rooted modernism and not to engulf all literatures and cultures of the 20th and 21st centuries. We have been focusing recently on adding full text search to existing projects in the index, especially the Modernist Journals Project and Blue Mountain Project, while welcoming several new peer reviewed projects such as The Note Books of A Woman Alone and the Newberry Library’s Making Modernism digital collection. To recognize a wider variety of scholarly sites and interactive works, including those that do not produce significant amounts of metadata or those that rely on structures not well-represented through aggregation, we are working on an alternative “Approved Sites” page. We are also, as always, looking for new submissions for peer review and aggregation.

Man into Woman


In 1930 Danish artist Einar Wegener underwent a series of surgeries to become Lili Elvenes (more commonly known as Lili Elbe). Lili’s life story, Fra Mand til Kvinde (Man into Woman), published in Copenhagen in 1931, is the first full-length narrative of a subject who undergoes a surgical change in sex. Produced collaboratively by multiple agents, Fra Mand til Kvinde was re-edited and published in German in 1932 (Ein Mensch wechselt sein Geschlecht), with English-language translations in Britain and the U.S. in 1933 (Man into Woman: An Authentic Record of a Change of Sex).

An annotated, comparative print edition based on the American text produced by Pamela Caughie and Sabine Meyer will be published by Bloomsbury Academic (London). I am directing an accompanying digital archive to be hosted by Loyola University Chicago’s Libraries and supported by its Center for Textual Studies and Digital Humanities. This digital archive will enable the German typescript and the four versions published in three languages between 1931 and 1933 to be collated and compared so that readers can trace in detail the many permutations, additions, deletions, or rearrangements that shaped and reshaped this important life narrative. The digital archive will also make the German and Danish texts available to English-language readers for the first time through scholarly translations linked to the source text on the paragraph level. Our comparative scholarly edition and digital archive now underway will make this work widely available to historians and literary scholars of the early 20th century, to historians and scholars of transgender, and to the general public.

The Purple State

As part of The Purple State project supported by the Techne Institute at the University at Buffalo, I created a hybrid physical and social media exhibit in collaboration with students from the Arts Management program. This work began in a series of planning meetings and a digital workshop, the results of which were translated into a live exhibit of social media feeds presented on election night in November 2016. The exhibit reimagined our personal relationships to contemporary political discourse using aggregators, bots, and text generators that reenact and adapt content mined from social media sites and the web.

Following the election night performance, I also participated in a follow up discussion panel on November 11th, led by Franck Bauchard (Director, Techne Institute and Chair, Arts Management) and Harvey Palmer (Chair, Political Science). The other panelists included Tero Karppi (Asst. Prof., DMS), Rebecca Bryan (PhD Student, Political Science), and Jacob Neiheisel (Asst. Prof., Political Science).

l’election parfait: #voicesthatmatter

Quelles sont les réactions des individus à la campagne électorale ? Quel discours est généré à partir du discours des politiques ? Comment les individus y réagissent, se l’approprient, le réutilisent et le détournent ? Comment des mots deviennent des termes clés qui animent un débat politique ? Comment l’environnement numérique détermine un milieu d’acteurs du discours public ? Que se passe t-il quand les individus, les plate-formes en ligne, les bots entrent en collision ou en collusion ? La participation peut-elle miner le débat démocratique quand réactions émotionnelles et réponses algorithmiques s’enchevêtrent ? Peut-on documenter ces processus dans leur temporalité? Produire d’autres configurations de connaissance du processus électoral ? Peut-on faire performance du tweet ? Comment réactiver le geste, le corps et la voix à partir d’un corpus hétérogène qui se nourrit à la fois des images, de l’art et de la théorie ? Comment conjuguer ce matériau en temps réel avec le flux des tweets et la présence du public ? Par quel type de protocole se construit un schéma en direct qui témoigne de ce qui se joue à la veille d’une élection?

Voices that Matter Voices that matter est une collaboration entre l’Institut Techne de l’Université de Buffalo, l’université Sorbonne Paris Cités, le réseau Usages Des Patrimoines numérisés (UDPN) et l’équipe Esthétique de la Performance et des Arts de la scène (EsPAS/ACTE-Paris 1) Coordination: Marie Dupond (UDPN) et Isabelle Barbéris (UDPN) Corpus tweets et visualisation: Nikolaus Wasmoen, chercheur en humanités numériques à l’université de Buffalo, avec Mélodine Lascombe (Paris VII) et J. Flaccavanto (Université de Buffalo) Corpus vivant*: Simona Polvani et Kahena Sanaa & Dramaturgie sonore: David Christoffel (EsPAS/ACTE/Paris 1) * Corpus vivant est un dispositif performatif conçue par Mélanie Perrier (EsPAS/ACTE/Paris1)

William Blake Archive


Since 2010, I have been a key contributor to the ongoing edition of the letters of William Blake for the William Blake Archive, while providing extensive training for new assistants and helping with other editorial projects within the team responsible for manuscript and typographical works overseen by Morris Eaves at the University of Rochester.

The William Blake Archive is an online digital edition of Blake’s literary and artistic work founded by Morris Eaves, Robert Essick, and Joe Viscomi. It has been available as a free resource on the web since since 1996, and continues to grow as new works and collections are published. The Blake Archive provides a unified way to access Blake’s visual and literary art from many public and private collections around the world, including extremely rare and fragile works that are not generally accessible even to scholars.

Coming Soon …

Finnegans Waves

Organized by Techne Institute November 1, 2017, noon-midnight Hallwalls Contemporary Art Center Buffalo, NY

“If we can find the rhythm and make sure that Finnegans Wake is not unreadable, we can enter in the river of life – the riverun – and let ourselves be carried by the deepest stream of consciousness” (Christian Giriat)

Finnegans Waves is an artistic and social experiment in reading James Joyce’s Finnegans Wake out loud. This event is organized by UB’s Techne Institute for Art and Emerging Technologies. The event will feature two parts, where the audience can choose to be a reader, a listener, or both. On on side, it is a participative event with a reading machine, based on a community of readers. For twelve hours, Finnegans Wake will be read in the original text and in a variety of available translations: French, German, Italian, Spanish, Chinese, etc. The reading will take place under the supervision of the French stage director Christian Giriat. Simultaneously, there will be a Recirculation Café, open to the public for the duration of the readings, where performances, music, and conferences will be offered (details forthcoming). Light refreshments will be served. Finnegans Wave will take place from noon to midnight November 1 at Hallwalls Contemporary Art Center.