In their 1999 essay "Deformance and Interpretation," Lisa Samuels and Jerome McGann propose deformative criticism against a rigid, theoretical, informative mode of reading in humanities. Deformance is an action, an imaginative, creative poiesis that does not necessarily aim to set a meaning of a text but reimagines it as a performance. Usually perceived in opposition to the more analytical camp of Digital Humanities, deformative criticism or deformance seems to be one of the very real and material alleys that Digital Humanities has offered to the structured, institutional, and perhaps all too ossified forms of production and exposition of knowledge. In line with the Digital Humanities Manifesto 2.0, this panel asks the way in which deformative practices disrupt our ways of doing, being, and perceiving in academia. What kind of creative actions came out of Digital Humanities that renders study of texts (visual, written, performative) more fluid? From Oulipo to Mark Sample's Disembergo, this panel asks ways in which Digital Humanities displace and enable academic and political action.

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