FOLLOWING A FASCINATING talk by Ed Finn on the changing role and source of literary criticism in a digital age, Natalia Cecire queried the implicit neutrality of a term like “nerd.” Melissa Harris-Perry's reclamation aside, the racialized and gendered aspects of nerddom, and by extension digital humanities, offer opportunities for a more explicit engagement with positionalities that lead “white men to feel embattled.” How do those outside the categories of “white” and “men” navigate this burgeoning disciplinary terrain?

The ways in which identities inform both theory and practice in digital humanities have been largely overlooked. Those already marginalized in society and the academy can also find themselves in the liminal spaces of this field. By centring the lives of women, people of colour, and disabled folks, the types of possible conversations in digital humanities shift. The move “from margin to centre” offers the opportunity to engage new sets of theoretical questions that expose implicit assumptions about what and who counts in digital humanities as well as exposes structural limitations that are the inevitable result of an unexamined identity politics of whiteness, masculinity, and able-bodiedness.

What counts as a digital humanities project? As an undergrad, I interacted with people who were actively doing intersectional digital humanities work in all but name in other arenas of the academy. Dr. Carla Stokes wrote her dissertation on the online culture of Black girls. She discussed how Black girls were using digital platforms like chat rooms, web pages, and blogs to create identity. Through the creation of the non-profit Helping Our Teen Girls, Stokes offered an alternative online network (which she built) that was peer moderated to help address issues of cyber-bullying and the targeting of youth online by adults. Stokes's work is lauded in girls studies and critical media studies. While certainly a digital humanities project, her work has not been legible as such.

In attempting to speak to and reach communities we felt accountable to outside academia, the Crunk Feminist Collective began blogging in 2010. A collective of about ten academics and activists use social media platforms to talk about the realities of our world in accessible feminist language. This hybridizing of cultural production and a theoretical praxis falls outside the purview of mainstream digital humanities but has been used in classrooms across the country.