ENGL 698 materials: Grad Thesis
new media installations and grants
Note to Self

Links to projects, Coastal Carolina University, Dr. Jen Boyle

 Jen Boyle,

Observations Upon a Blazing World: Margaret Cavendish and Mediated Form, digital edition and installation from The Virtual Sovereign 

The Atheneaum Press, Chasing the Paper Canoe Digital Compendium

Digital Commons Facebook page

Example of Graduate Student Online Thesis, Lauren Jackson

Undergraduate Online Honors Thesis, Jordan Lauver

Short Video on DCD Program



Digital Culture and Design and Edwards College 


Recent and Upcoming Presentations


Presenting: SAA (Shakespeare Association of America),March 23-27, New Orleans 2016, Digital Salon on multimodal chapter "Cavendish's Observations Upon a Blazing World" 

I will be participating in a roundtable at Geroge Washington University, GW Medieval and Early Modern Studies Institute (MEMSI), on "Crip Ecologies," "Biopolitics: Law, Life, Land, Love"


Jen Boyle, "Is There Love in The (Queer) Telematic Embrace?”

Other Participants:


Panel presentations, MLA 2017:

"Digital Critical Practice Beyond Quantification"  (Chair: Ellen MacKay,Director, IU Institute for the Digital Arts and Humanities, Associate Professor, English, Indiana University Department of English)

Jen Boyle

Telematic Traces (and Embraces): Moving Ontologies of Form across the Early Modern and the Digital

This presentation explores the potential in thinking across ontologies of scale and form as a model for re-casting critical questions related to both contemporary digital aesthetics and early modern mediation.   Earlier 20th-century interventions into digital aesthetics, like Roy Ascott’s “telematic embrace,” offer us alternative perspectives on form and mediation that challenge the positivism and quantification of later theories.  How do such framings re-tune our digital channels away from more ethereal imaginings and toward the scalar materialities and hybrid mediations of early modern polymaths (Bacon; M. Cavendish). 



239. Not by the Numbers: New Approaches to Early Modern Digital Scholarship, is scheduled to take place at 10:15+11:30 a.m. on 06-JAN-17 in 202B, Pennsylvania Convention Center. (Convention sessions will take place in the Pennsylvania Convention Center and the Philadelphia Marriott Downtown. The Job Information Center will be located in the Pennsylvania Convention Center).

"Early Modern Digital Embodiment" (Chair: Gina Bloom,Associate Professor of English, Univ. of California, Davis [website]; Project Director, Play the Knave, a video game about Shakespeare performance)

Jen Boyle

Scalar Bodies:  the Early Modern Hybrid Text and the Digital “Stack"

This presentation explores scalar hybridities in texts like Francis Bacon’s exemplars in The Advancement in Learning and Margaret Cavendish’s The Description of the New World Called the Blazing-World… as experiments in re-scaling and re-materializing modes of embodiment — an alternative construct to what Hobbes and Shakespeare (differently) would come to identify as the “multitudes.”  Some transhistorical comparisons are made with modes of embodiment in the contemporary rendering of the digital “stack,” a fascinating recalibration of emerging vertical-horizontal scales of performed interfacing that reorders the body of the sovereign “user” (Bratton). The early modern context offers a creative imagining of mediated embodiment that cathects “cloud” and scaled terrain.

Sunday, 8 January

729. Digital Embodiment

10:15–11:30 a.m., 112B, Pennsylvania Convention Center

Program arranged by the forum LLC Shakespeare

Presiding: Gina Bloom, Univ. of California, Davis

1. "Scalar Bodies: The Early Modern Hybrid Text and the Digital 'Stack,'" Jen Boyle, Coastal Carolina Univ.

2. "Digital Labor in Renaissance Texts," Whitney Trettien, Univ. of North Carolina, Chapel Hill

3. "(Dis)Embodied Activation: Theatrical Phenomenologies in Digital Shakespeares," Jennifer Roberts-Smith, Univ. of Waterloo

Respondent: Sarah Werner, independent scholar

We will accommodate the following audiovisual request(s) for your session: Projection equipment for a computer

keywords: digital humanities, theater, early modern, embodiment, labor


729. Digital Embodiment, is scheduled to take place at 10:15+11:30 a.m. on 08-JAN-17 in 112B, Pennsylvania Convention Center. (Convention sessions will take place in the Pennsylvania Convention Center and the Philadelphia Marriott Downtown. The Job Information Center will be located in the Pennsylvania Convention Center).




SAA, Vancouver, "How We Think: Shakespearean Studies in the Digital Turn"

Organizer, Ellen MacKay; Char: Gina Bloom.  Papers by: Ellen MacKay (IU); Christopher Warren (CMU); Jentery Sayers (UVic).  Respondent, Jen Boyle: "An Orchid in the Land of DH"

On display for Digital Salon: "Observations Upon a Blazing World"


BABEL 2014: The Retro-Futurism of Cuteness (October 16th-18th); University of California, SB

Session 24. The Retro-Futurism of Cuteness

Co-Organizers: Jen Boyle, Coastal Carolina University + Wan-Chuan Kao (Washington & Lee University)

Flâneurs: Una Chaudhuri + Marina Zurkow

2:00 – 3:00 pm

University Center: State Street Room

*this session is cross-listed with Session 20. Cute Shakespeare

Cute cues: infancy, youth, helplessness, vulnerability, harmlessness, play, enjoyment, awkwardness, needs, intimacy, homeliness, and simplicity. At other times, cuteness is cheapness, manipulation, delay, repetition, hierarchy, immaturity, frivolity, refusal, tantrum, and dependence. Cuteness is a threshold: “too cute” is a backhanded compliment. Or, cuteness is a beach where forces congregate. A dolphin breaching in the ocean may be cute, but not a beached one. And more than the pop cultural kawaii (literally, “acceptable love”), “cute” — the aphetic form of “acute” — also carries the sense of “clever, keen-witted, sharp.” The Latin acutus embraces the sharpened, the pointed, the nimble, the discriminating, and the piercing. To be cute is to be in pain. Cuteness is therefore a figure of Roland Barthes’s punctum or Georges Bataille’s point of ecstasy. As we gather at the Pacific Rim, let us, à la Takashi Murakami, recast the premodern in cuteness. The OED cites the first reference to “cute” in the sense of “attractive, pretty, charming” as 1834. Sianne Ngai, in 2005, offered a critical study of the cuteness of the twentieth-century avant-garde. But was there ever a medieval or early modern history or historiography of cuteness? Is it possible to conceive of a Hello Kitty Middle Ages, or a Tickle Me Elmo Renaissance? Has the humanities, or the university, ever been cute? Cuteness is the cheap bastard child of beauty: what’s beautiful may not be cute, but what’s ugly and monstrous may be. This panel will feature curated materials (images, videos, texts, essays, sound bytes, trinkets, texts, objects and artifacts from the premodern and present) as a pre-session, submitted 2 to 3 months in advance of the conference and made available online; and a 40-minute dialogue during the conference, preceded by 5-minute “flash talk” show-and-tells where participants re-introduce their curated pieces. Pre-session curated materials will also be part of a media exhibit space associated with the conference (University Center: Flying A Room). We plan to cover a diverse range of approaches (including but not limited to): aesthetics, material culture, affect, gender, queerness, childhood, youth, disability, camp, Sado-Cute, and Superflat.

Curated online materials available HERE.

  • Kelly Lloyd (School of the Art Institute of Chicago): Katie Sokoler — Your Construction Paper Tears Can’t Hide Your Yayoi Kusama Grade Neurotic Underbelly
  • Michael O’Rourke (Independent Colleges Dublin): Cuturity
  • Tripthi Pallai (Coastal Carolina University): ‘Itemizing’ Violence in Marlowe and Bollywood
  • Rebekah Sheldon (Indiana University): Pleading, Hurt, and Incredibly Cute: The Child, Environmental Crisis, and the Regime of Faciality
  • Devin Toohey (University of Southern California): It’s a Cute Old-World After All: the Kawaii Renaissance of Tokyo DisneySea
  • Eileen Joy (BABEL Working Group): Response