Upon visiting Itinera at http://itinera.pitt.edu, you might be inclined to think of it as a “digital humanities project” or a “historical visualization project,” and of course you would not be wrong. But the web-facing interface to Itinera is only one component of this multi-faceted project, although an important one to be sure. Indeed, I have spent many an hour designing, revising, and working on this public-facing side of the project in collaboration with Whirl-i-Gig, the team behind CollectiveAccess (http://www.collectiveaccess.org/), Itinera’s software infrastructure. As the project’s technical director, I have been responsible for the customizations of the site’s back-end as well, from the data model that structures the historical information the team is studying, to the format of the entry forms we use to record our data. Even above and beyond the material affordances of Itinera, the project also has a series of social affordances, such as workflows and best practices, that the entire team has shepherded over the years, almost all of which can now be found on the project’s “Guide” site found at https://sites.haa.pitt.edu/itineraguide/, thanks to Lily Brewer.

When I think about Itinera, however, I do not think of it as a website, or even as a digital humanities project. I think of it as a classroom.

Itinera is a place—an environment—where I mentor, am mentored by, and learn alongside a team of fellow inquirers, collaborating on the process of thinking deeply about the past, and engaging with robust scholarly methods for interpreting historical source material. By thinking of Itinera as a classroom, I see it as but one example of the ways that digital computing can be used mindfully in order to structure how we think about the past. It is not an end-all-be-all for studying culturally-motivated travel in the 18th and 19th centuries, instead, it is a structured environment for exploration of the past. Like a classroom, it is also never “done” or “complete.” Writing about the experience of interacting with Itinera, as we are doing here with this roundtable, can serve as a touchstone for a moment in its history, but such essays will never serve as the project’s sole end goal.

Itinera, like those of us who work on it, is always in a state of constant becoming, changing in response to internal and external needs and conditions. Each year, a new project manager joins the team. This leader is drawn from the cohort of PhD students within the Department of History of Art and Architecture, and, so far, they have all proactively requested the position. In part because they are not assigned but self-selected, each year, the project manager has had a different research interest as well as a personalized set of learning goals for their time here in the Visual Media Workshop. These variations always set a different tone for the project, encouraging Itinera to grow, evolve, and adapt to the current needs of its team. Thinking about, learning about, and even entering data into Itinera is a practice that each person takes to differently, as demonstrated the various “Displacements” included in this roundtable. For some, the process of data entry asks them to slow down and think about every sentence in their primary source material, looking for how the puzzle pieces of the past might productively fit together. For others, the work of structuring historical data asks them to think differently about their own methodological habits and patterns. It is impossible for me to predict—even if I wanted to—what shape Itinera will take year upon year.

And, it is not only at the project management level that Itinera changes over time. Each year, a different group of undergraduates becomes involved in the project. The project managers, my colleague Drew Armstrong, and I all work together to mentor these less-experienced inquirers as they learn not only about ways that digital computing can be used to think through and produce new historical narratives, but also, more fundamentally, about the process of doing history itself. Some of these undergraduates come from the Department of History of Art and Architecture, but because we are affiliated with  the University of Pittsburgh’s First Experiences in Research Program (https://www.asundergrad.pitt.edu/research/first-experiences-research), many of them come from departments scattered across our Dietrich School of Arts and Sciences, such as Neuroscience or French and Italian Languages and Literatures. Vibeka McGyver’s experience, as recounted amongst these reconfigurations, comes from the Department of Computer Science. The ever-changing and transdisciplinary nature of the entire project team lends depth and strength to all of our engagements with Itinera.

We proactively designed the “Routes” interface (https://itinera.pitt.edu/index.php/Routes/Index) for Itinera without any lines connecting the dots that represent life events. Straight lines suggest neat narratives. But if working on this project over the years has demonstrated anything to me, it is that neat narratives are not only no more true in the present than they were in the past, they are also not as desirable as they might first appear. Allowing for transformation and change has been hugely inspiring and educational for me, and I hope, for my fellow team members.