Like what some other peers are saying, this topic sounds like a perfect size for the scope of a three-week project. It's also an engaging topic that has, in recent years, entered the conversation for many colleges that have decided to incorporate verbal land acknowledgments at institutional gatherings. I'm curious to see if your project will include an explanation of the relationship between the Parrish Papers and Vassar College. Can't wait to see the final result!

It's impressive to see that you drew from current student experiences to inform your project topic. I'm also glad you included the link to the article you referenced because it helped to inform me of just how difficult the conditions are on Hamilton's campus—it is shocking how inaccessible the buildings and roads are. I'm interested to see how you will document the many shortcomings of accessibility from both campuses.

It was interesting that Drucker answered this interview question with a series of questions in order to communicate that there is much progress to be had with incorporating abstract ideas into visual maps thoroughly and accurately. Her questions remind me of a course I took regarding gender fieldwork methods: sociology researchers often struggled with quantifying their research (or representing it in a manner that "translated" to be consumable by the white, male standards of the research world). This calls into question the role of translating humanities research into visually quantifiable means—how might this process be harmful or useful?

The shock you felt at the lack of warning for the references to lynching are quite valid, as it would have been helpful to read a disclaimer so that you could have decided to witness such disturbing content. Moreover, in response to your criticism of the lack of descriptions, explanations, or further contextualization of the pages in the yearbook, I would say the user experience would certainly be more useful and enriching if there were explanations for clubs. One change that might improve the user experience would be to add a program that let viewers ask questions about an archive that can be answered by archive staff online.

This suggestion resonated with me, as it is vital that archives are striving towards inclusivity by not only monitoring how diverse their collection of artists are in terms of gender, race, and nationality, but also what major and minor cultures are represented by the artist and their art.

This is accomplished by paying attention to what cultures are major and minor; one major culture that is rarely captured in art archives (physical and digital) is that which is currently sustained by the younger generation, who has created a ecosystem of culture cultivated on the Internet and social media. It will be interested to see the different ways future archives attempt to document cultural movements that exist only on our devices.

I am curious about what specific features the implementor of the facial recognition technology used to search through the National Archive to find Asian-Australian and other people of color. It is interesting to think about using physical cues to identify people who aren't white. How obvious is ethnicity? Is it as easy to pin down as we think it is? Were there people of color who didn't make it into this collection because they didn't fit what the AI technology was looking for?

I admire how succinctly you communicated the efficiency that a virtual reality digital project such as this one carried with providing a user-friendly (and rather graphic) experience for young learners to be exposed to. The increased accessibility that this project provides to younger audiences, especially audience that are more familiar with VR technology makes me wonder about how many parents would be resistant to their children learning more about the history of enslaved people. Of course, parents who do want to engage their children with creative and educational forms of enslaved peoples' history now have a most convenient option, but I am curious about how this technology might be received if it were to be introduced as a learning tool in schools.

What is creative tension? In the earlier comparisons of this tension to the conflict between critics and creators in the arts, tension seemed to be defined by the idea that one way of participating in the arts was superior to the other. However, I don't understand how there is creative tension between older participants in digital humanities and those who are new to the field.

The veil of objectivity within data collection is an interesting concept, because regardless of whether a study consists of "just the numbers" or if it is a collection of field-note observations, the research is always colored by the researcher's identity, beliefs, and reason for researching. Something I have found difficult to remember when encountering references to data is keeping in mind who the researcher is, why they were interested in the research, and how they decided to go about data collection.

This is a direct manifestation of the lack of care and concern for women's health in America, and it is absolutely a reflection of the hypocrisy of pro-life rhetoric. For instance, the surplus of data collected for embryo development and infant survival versus the scarcity data available for maternal survival reflects society's violent indifference to women's well-being. It is as disappointing as it is horrifying.