This book explores the concept of digital epistemology. In this
context, the digital will not be understood as merely something
that is linked to specific tools and objects, but rather as
different modes of thought. For example, the digital within the
humanities is not just databases and big data, topic modelling and
speculative visualizations; nor are the objects limited to computer
games, other electronic works, or to literature and art that
explicitly relate to computerization or other digital aspects. In
what way do digital tools and expressions in the 1960s differ to
the ubiquitous systems of our time? What kind of artistic effects
does this generate? Is the present theoretical fascination for
materiality an effect or a reaction to a digitization? Above all:
how can early modern forms such as the cabinets of curiosity,
emblem books and the archival principle of pertinence contribute to
the analyses of contemporary digital forms?
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