By Susan Schreibman, Ray Siemens, John Unsworth
This highly-anticipated quantity has been commonly revised to mirror alterations in expertise, electronic humanities tools and practices, and institutional tradition surrounding the valuation and book of electronic scholarship.
- A totally revised version of a celebrated reference paintings, providing the main entire and up to date selection of examine at present on hand during this quickly evolving discipline
- Includes new articles addressing topical and provocative matters and ideas akin to unfashionable computing, computing device fabrication, gender dynamics, and globalization
- Brings jointly an international workforce of authors who're pioneers of leading edge learn within the electronic humanities
- Accessibly established into 5 sections exploring infrastructures, production, research, dissemination, and the way forward for electronic humanities
- Surveys the prior, current, and way forward for the sector, supplying crucial learn for a person drawn to higher realizing the idea, equipment, and alertness of the electronic humanities
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Extra info for A New Companion to Digital Humanities
As sites where humanities practitioners can engage thoughtfully with embodiment in all of its forms, makerspaces may also foster productive thinking on issues of representation, contingency, privilege, and other structural problems in academic labor. Finally, spaces for fabrication and physical computing can foreground the role of technology and design in fashioning new audiences for academic research. As digital humanities performance moves off the screen and into mobile computing, wearable technology, and augmented reality, the value of the humanities (and therefore of the institutions that host and foster humanities research) may be articulated to new publics in new ways.
Design‐in‐use has also flourished in what are often collectively called the GLAM (Galleries, Libraries, Archives, and Museums) professions. At first blush such an assertion might appear counterintuitive, notwithstanding the ready example of inter active museum exhibits. After all, the purpose of archives and museums is to preserve and sustain our cultural heritage, not make or design it. Moreover, GLAMs are also industries in which the hand has historically been viewed with suspicion: it is under stood as an instrument that breaks things as well as repairs them; deposits dirt and grime as well as removes it; accelerates an object’s physical degradation as well as reverses it.
K. Gold. Minneapolis: University of Minnesota Press, 161–86. Manovich, L. 2001. The Language of New Media. Cambridge, MA: MIT Press. McPherson, T. 2009. Media studies and the digital humanities. Cinema Journal 48 (2), 119–23. McPherson, T. 2012. Why are the digital human ities so white? Or thinking the histories of race and computation. In Debates in the Digital Humanities, ed. K. Gold. Minneapolis: University of Minnesota Press, 139–60. Montfort, N. 2004. Continuous paper: the early materiality and workings of electronic literature.
A New Companion to Digital Humanities by Susan Schreibman, Ray Siemens, John Unsworth