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Collaboration within digital humanities is both a pertinent and a
pressing topic as the traditional mode of the humanist, working
alone in his or her study, is supplemented by explicitly
co-operative, interdependent and collaborative research. This is
particularly true where computational methods are employed in
large-scale digital humanities projects. This book, which
celebrates the contributions of Harold Short to this field,
presents fourteen essays by leading authors in the digital
humanities. It addresses several issues of collaboration, from the
multiple perspectives of institutions, projects and individual
researchers.
This is a study of the forms and institutions of print -
newspapers, books, scholarly editions, publishing, libraries - as
they relate to and are changed by emergent digital forms and
institutions. In the early 1990s hypertext was briefly hailed as a
liberating writing tool for non-linear creation. Fast forward no
more than a decade, and we are reading old books from screens. It
is, however, the newspaper, for around two hundred years print's
most powerful mass vehicle, whose economy persuasively shapes its
electronic remediation through huge digitization initiatives,
dominated by a handful of centralizing service providers, funded
and wrapped round by online advertising. The error is to assume a
culture of total replacement. The Internet is just another
information space, sharing characteristics that have always defined
such spaces - wonderfully effective and unstable, loaded with
valuable resources and misinformation; that is, both good and bad.
This is why it is important that writers, critics, publishers and
librarians - in modern parlance, the knowledge providers - be
critically engaged in shaping and regulating cyberspace, and not
merely the passive instruments or unreflecting users of the digital
tools in our hands.
Traditional critical editing, defined by the paper and print
limitations of the book, is now considered by many to be inadequate
for the expression and interpretation of complex works of
literature. At the same time, digital developments are permitting
us to extend the range of text objects we can reproduce and
investigate critically - not just books, but newspapers, draft
manuscripts and inscriptions on stone. Some exponents of the
benefits of new information technologies argue that in future all
editions should be produced in digital or online form. By contrast,
others point to the fact that print, after more than five hundred
years of development, continues to set the agenda for how we think
about text, even in its non-print forms. This important book brings
together leading textual critics, scholarly editors, technical
specialists and publishers to discuss whether and how existing
paradigms for developing and using critical editions are changing
to reflect the increased commitment to and assumed significance of
digital tools and methodologies.
Collaboration within digital humanities is both a pertinent and a
pressing topic as the traditional mode of the humanist, working
alone in his or her study, is supplemented by explicitly
co-operative, interdependent and collaborative research. This is
particularly true where computational methods are employed in
large-scale digital humanities projects. This book, which
celebrates the contributions of Harold Short to this field,
presents fourteen essays by leading authors in the digital
humanities. It addresses several issues of collaboration, from the
multiple perspectives of institutions, projects and individual
researchers.
This is a study of the forms and institutions of print -
newspapers, books, scholarly editions, publishing, libraries - as
they relate to and are changed by emergent digital forms and
institutions. In the early 1990s hypertext was briefly hailed as a
liberating writing tool for non-linear creation. Fast forward no
more than a decade, and we are reading old books from screens. It
is, however, the newspaper, for around two hundred years print's
most powerful mass vehicle, whose economy persuasively shapes its
electronic remediation through huge digitization initiatives,
dominated by a handful of centralizing service providers, funded
and wrapped round by online advertising. The error is to assume a
culture of total replacement. The Internet is just another
information space, sharing characteristics that have always defined
such spaces - wonderfully effective and unstable, loaded with
valuable resources and misinformation; that is, both good and bad.
This is why it is important that writers, critics, publishers and
librarians - in modern parlance, the knowledge providers - be
critically engaged in shaping and regulating cyberspace, and not
merely the passive instruments or unreflecting users of the digital
tools in our hands.
Traditional critical editing, defined by the paper and print
limitations of the book, is now considered by many to be inadequate
for the expression and interpretation of complex works of
literature. At the same time, digital developments are permitting
us to extend the range of text objects we can reproduce and
investigate critically - not just books, but newspapers, draft
manuscripts and inscriptions on stone. Some exponents of the
benefits of new information technologies argue that in future all
editions should be produced in digital or online form. By contrast,
others point to the fact that print, after more than five hundred
years of development, continues to set the agenda for how we think
about text, even in its non-print forms. This important book brings
together leading textual critics, scholarly editors, technical
specialists and publishers to discuss whether and how existing
paradigms for developing and using critical editions are changing
to reflect the increased commitment to and assumed significance of
digital tools and methodologies.
This book seeks to inform both scholars and librarians in the field
of all the possibilities being offered by new computer technology,
and to persuade them to pursue these possibilities. The book is
divided into three sections. Part one considers the major current
technical tools and computer based methods being used in humanities
research. Part two examines how new technologies are changing the
way that specific disciplines do research, and the final section
discusses the changing roles of information services and providers,
including questions relevant to libraries, archives and network
access.
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