Willard McCarty

Text and Genre in Reconstruction Effects of Digitalization on Ideas, Behaviours, Products and Institutions

Cambridge

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© 2010 Willard McCarty. Contributors are free to re-publish their contribu- tions in whatever other ways they choose.

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Contributors viii Introduction Willard McCarty 1 +_=9*;*7=H&>=61<&>8=6,&.3a=Z*R*(9.438=43=9-*=9:2'*78=V&2*= John Burrows= +- 2. Cybertextuality by the Numbers Ian Lancashire= -1 -_=\*=9:&1=R&9-414,>= Peter Garrard= 1+ 4. The Human Presence in Digital Artefacts Alan Galey= 3- /_=;*Q3.3,=W1*(9743.(=W).9.438a=6=J.8947.(&1=&3)=X:3(9.43&1= Perspective !)<&7)='&3-4:*= ++3 6. Electronic Editions for Everyone Peter Robinson 145 1_=J4<=^.9*7&7>==4708=W=.89a=G251.*)`=Z*57*8*39*)`=&3)=G39*757*9*)= Peter Shillingsburg 165 2_=\*=9=&8=61,47.9-2=&3)=&8=R74(*88= Paul Eggert= +2- 3_= G=Z*&)=9-*=9*<8=\4)&>`=`-=I4>a=9*<85&5*7=R:'1.8-.3,= in the Online World Marilyn Deegan and Kathryn Sutherland= ,*- Z*+*7*3(*8= ,+3 !"#$%&#'()*+#,-&.&+/�+# Digital Artefacts1 Alan Galey

1. What Lies Beneath

\-*=7*&)*7=<&3)*78=&9=1*.8:7*=4;*7=82.1.3,=Q*1)8b=-*=51&>8=&3)=7:38=&3)= 3*;*7=89:2'1*8b=&3)=-*=3*;*7=,.;*8=&=9-4:,-9=94=9-*=9.2*=&3)=9*).:2=.9=-&8= (489=2*=94='&1*=<.9-=9-*=9-4738=&3)='7.&78`=<-.1*=G=<&8=(1*&7.3,=9-*=1&3)=+47= -.8='*3*Q9_=J*=)4*8=349=7*(043= c =-4<=,7*&9=9-*=).8(42+4798=9-&9=8*(:7*)= -.8=(42+479`=-4<=2:(-=9*).:2=<&8=9-*=57.(*=4+=-.8=Q3).3,=349-.3,=9*).4:8_ W7&82:8`=1**7=94==.11.&2==&7-&2`=67(-'.8-45=4+=4&39*7':7>= +310= +/+.80 a=,0, This essay considers the tensions between the surface orderliness of scholarly resources and the stubborn irregularity of textual materials. Textual scholar- 8-.5=89&3)8=94=(4397.':9*=9<4=0*>=.)*&8=94=9-*=).,.9&1=-:2&3.9.*8a=Q789`=9-&9= 9-*7*=.8=247*=94=*1*(9743.(=+4728=9-&3=<-&9=7*&(-*8=9-*=8(7**3b=&3)=8*(43)`= that the relationship of form to content is complex and sometimes beyond exhaustive modelling. These two points may seem commonsensical enough within a book-history context, but much of the hypertext theory that domi- 3&9*)=9-*=57*;.4:8=)*(&)*=,.;*8=1.1*=.257*88.43=9-*>=(4:1)=2&*7_=R&79=4+= 9-*=':7)*3=4+=).,.9&1=9*=9:&1=89:).*8=2:89='*=94=(4:39*7=9-*=.3R:*3(*=4+=9-48*= hypertext theorists who rushed to essentialize computing, the Internet, and ).,.9&1=9*=9:&1.9>_=g47*=7*(*39=<470='>=A&9-&7.3*=J&>1*8`=g&-*<=A.78(-*3- +? The work presented here was supported by the Social Sciences and Humani- 9.*8=Z*8*&7(-=44:3(.1=4+=4&3&)&_=;.S*7*39=5&798=4+=9-.8=&79.(1*=<*7*=57*8*39*)=&9= the conferences of the Society for Textual Scholarship and the Society for Digital Humanities / Société pour l’étude des médias interactifs, the University of Toronto’s Faculty of Information Studies, and Texas A&M University. I am grateful to those audiences for their questions and comments and especially to Willard McCarty, Ri- chard Cunningham, Christopher Moore, and Stan Ruecker for their comments on *&71>=)7&V8_=63>=7*2&.3.3,=*77478=&7*=2.3*_ 3. Alan Galey '&:2`=^*;=g&34;.(-`=61&3=^.:`=&3)=49-*78=&884(.&9*)=<.9-=2*).&885*(.Q(= &3&1>8.8=&3)=3*<=84V<&7*=89:).*8=-&8=8-4<3=<-&9=9*(-3.(&11>=.3+472*)=5*7- spectives can bring to the study of digital textuality.2 Kirschenbaum describes 9-*.7=&5574&(-=&8=43*=9-&9= (:19.;&9*8=,7&3:1&7`=2&9*7.&1=7*&).3,8=4+=9-*=.3*;.- table cultural and ideological biases encoded by particular applications and .39*7+&(*8=,**.&a=/--_=H:(-=24)*8=4+=7*&).3,=*=548*=(439.3:.9.*8=<.9-=5&89= textual practices that some versions of hypertext theory were predisposed 349=94=8**=;=>*9=8:(-= ,7&3:1&7`=2&9*7.&1=7*&).3,8=7*3)*7=3*<=9*=9:&1=57&(- tices and technologies no less exciting for all that. This essay argues that it should be disquieting to see a deepening separation of material form from idealized content in our tools at the very moment when literary critics have established the materiality of texts to be indispensable to interpretation. As ).,.9&1=9*=9:&1=89:).*8=9&0*8=8-&5*=&8=&=Q*1)`=.9=Q3)8=.98*1+=(&:,-9='*9<**3= these divergent trends in computational practice and literary theory. Textual scholarship has long been driven by an anxious desire to know what lies beneath the perceptual surface — the authorial consciousness *2'*))*)= .3= <7.*3= 1&3,:&,*b= 9-*= 47.,.3&1= 4+= 2:19.51*= ;*78.438b= 9-*= moments of live inscription held within inert physical artefacts. If the object of textual work is to delve beneath surfaces, the subjects who carry out 9-&9=<470=Q3)=9-*28*1;*8=&9=9-*=9-7*8-41)`=3*,49.&9.3,='*9<**3=9-*=)*&)= 5&89=&3)=1.;.3,=57*8*39_=G3=V&7>=\&>1478=4V86:49*)=+472:1&9.43`= W).9.3,= is a ritual we perform over the corpus of an author who has passed away’ +322a=/*`=&3)=&11=8:(-=7.9:&18=*=.89=+47=9-*=8&0*=4+=9-*=1.;.3,_=;.,.9&1=9*=- tual scholars might well sympathize with Erasmus (quoted in the epigraph &'4;*=&8=-*=1&2*398=9-*=(43).9.438=4+=-.8=*).947.&1=1&'4:78=43=9-*=m:1,&9*= of St Jerome. Erasmus’s words capture the double-vision that texts demand of us with regard to their mediation of surfaces and depths. It is the same with our tools, digital and otherwise. Beneath any smoothly functioning computer interface such as a Web browser, the source code may harbour 9-*= 9-4738=&3)='7.&78=.3=W7&82:88=<47)8=4+=-&1+8841;*)=':,8`=1.3,*7.3,= &V*7=9-*= '&1*=<.9-=2&9*7.&18=&3)=)*&)1.3*8=94=':.1)=9-*=).,.9&1=&79*+&(9_= In a similar manner, the monuments of textual, philological, and historical 8(-41&78-.5=&7*=4V*3=&884(.&9*)=<.9-=<-&9=W7&82:8=(&118= ).8(42+479=&3)= 9*).:2=.3=9-*.7=574):(9.43`=&8=.8=9-*=Q(9.43&1=W)<&7)=4&8&:'438=2.8*7- able Key to All Mythologies in Middlemarch, or sometimes even spring from 9*77.'1*=97&:2&=&3)=1488`=&8=.3=9-*=(&8*=4+=61+7*)=R411&7)8= 5:3.8-.3,=<470= 8(-*):1*= g&,:.7*= +330a= ,2= <-.1*= -*= ,7.*;*)= 9-*= )*&9-8= 4+= -.8= 8438= .3=

,?=`3=2*).&885*(.Q(=&3&1>8.8`=8**=J&>1*8=,**._= 4. The Human Presence in Digital Artefacts 3/ =471)==&7=G_=I&1*Q*1)=47=(1*&7*)=1&3)a='49-=2*9&5-478=+47=9-*=*).9*)=9*=9= are present in Erasmus’s picture of textual labour, positing a substratum of textual remains beneath the reader’s feet.-==-&9=9-*3=.8= 9-*=57.(*`=&8=W7&8- mus puts it, to be paid for the illusion of digital texts and environments as 82.1.3,=Q*1)8=<-*7*=9-*=:8*7=3*;*7=89:2'1*8
=\-*=+4114<.3,=).8(:88.43= approaches that question by examining some theoretical assumptions that shape the digital tools of Erasmus’s inheritors. As Erasmus implies, we cannot detach technical concerns from the aes- thetic, symbolic, and hermeneutic dimensions of textual work, and his preoccupation with unseen complexity takes visual form in Figure 1. This image shows what lies beneath the main reading room in the New York Public Library’s Central Building at 5th Avenue and 42nd Street, an icon of cultural heritage. The illustration comes from the cover of an issue of .(.*39.Q(=32*7.(&3=5:'1.8-*)=Q;*=)&>8=&V*7=9-*=3*<=':.1).3,=45*3*)=94= 9-*=5:'1.(=.3=+3++_=\-*=,*37*=8-4:1)='*=+&2.1.&7=;=&=7*57*8*39&9.43=4+=9-*= inner workings of an interface between readers and a massive collection of texts, using a visualization technique (the cutaway view) to make the unseen mechanism intelligible to non-specialists. In the reading room at the top, patrons and librarians use a system of catalogues, request slips, and pneumatic tubes to order books housed in the stacks below. The books, once located, ascend to the reading room via mini-elevator. We can also read a foreshadowing of the digital humanities’ open-access ethos here, too, since this union of aesthetics and machinery serves a public library. But .(.*39.Q(=32*7.(&3’s tribute to Q3=)*=8.T(1* design and engineering also illuminates anxieties about what lies beneath it. The image embodies the kind of metaphor for archiving that Thomas Richards uses to describe the symbolic importance of the British Museum at the data-collecting height of the British Empire, and especially its basement as a chaotic space that was symptomatic of the material pressures of data overload Z.(-&7)8=+33-a=.8+0_=\-*=89&(08='*3*&9-=9-*=9*<=o470=R:'1.(=^.'7&7>= reading room emphasize a volume of information that, as a totality, goes unseen by its users. As in Richards’ metaphor, there is even a basement &9=9-*=;*7>='442=4+=9-*=9*<=o470=R:'1.(=^.'7&7>8=89&(08`=<-*7*='4=*8= appear in disordered contrast to the stacks and retrieval system above. Such are the pressures felt by structures that must be at once monument and infrastructure.

-?=`3=9*=9:&1=8(-41&78-.5=.3=Middlemarch, see Lerer 2002. On Pollard, see Maguire +330a=,2`=&3)=\&>147=+322a=/*8+_ 30 Alan Galey

X.,:7*=+_=6=H*(9.43&1=m.*<=4+=9-*=9*<=o470=R:'1.(=^.'7&7>`=4*397&1=I:.1).3,`=g&.3= Reading Room. Cover issue of .(.*39.Q(=32*7.(&3`=,1=g&>=+3++=R.(9:7*=(411*(9.43`= The New York Public Library, Astor, Lenox and Tilden Foundations).

\-*=.2&,*=&184=).851&>8=&=Q=&9.43=<.9-=-:2&3=57*8*3(*=.3=9-*=+472=4+= 9-*=9.3>=Q,:7*8=9-&9=545:1&9*=9-*=89&(08=+479>88*;*3=4+=9-*2_==-*7*=W7&8- mus claimed to feel alone in his task of textual management, no such isola- tion seems possible in this system. One could imagine this image without 9-*=Q,:7*8`=&8=&=897.(91>=9*(-3.(&1='1:*57.39`=':9=9-*=5:7548*+:1=).897.':9.43= of humans throughout makes this a representation not just of mechanical automation but also of human labour. The book is a text on a human scale, 4. The Human Presence in Digital Artefacts 31 and this image goes out of its way at least forty-seven times to reassert a human presence in a system that holds books, readers, and machines within its compass. Yet none of the humans or books are individuated anywhere .3=9-*=.2&,*b=<*=&7*=8-4<3=3*.9-*7=.3).;.):&1=7*&)*78=347=7*(4,3.?&'1*= '4408=9-&9=2&*7=.3=9-*.7=85*(.Q(.9>_=68=9-*=&((425&3>.3,=&79.(1*=89&9*8= &5574;.3,1>`=9-*=8>89*2= ).897.':9* 8 =9-*=7*&)*7=7&9-*7=9-&3=9-*=;41:2*8= <-.(-=-*=7*&)8`=&3)= &:942&9.(&11>= c =).;.)*8=9-*=9-4:8&3)8=4+=7*&)*78= who wish to consult the books into the intellectual classes in which they '*143,=6343_=+3++a=/,1_=W;*3=<.9-=9-*=+4(:8=43=9-*=8(&1*=4+= 9-4:8&3)8=4+= readers’ and their intellectual subclasses, this representation of the library 8**28=94=+47,*9=74:,-1>=-&1+=4+=9-*=1.'7&7>8=549*39.&1=:8*78a=431>=2&1*=7*&)- ers are represented. The living moments of encounter between individual readers and texts, in all their diversity and idiosyncrasy, remain deferred in this representation, implicit in the image but inscrutable to our eyes. The 14,.(=4+=9-*=.2&,*`=9-*3`=.8=&8=2:(-=9*2547&1=&8=85&9.&1a=(*1*'7&9*=7*84:7(*8 ':.1).3,=34=9-*=/4>=4+=84:18=.3=9-*=57*8*3(*=4+=V4)`=&3)=.8=/:89=5:.3,=5*3= to paper to ask Jerome in Bethlehem for his thoughts.4 The information Augustine seeks comes to him in a moment of miraculously instant commu- nication that accords more with our present than with the epistolary of the ancient world. Jerome, the archetype of textual scholars, rebukes Augus- 9.3*8=7*):(9.43=4+=034<1*),*=94=-:2&3=3:2'*78a= 6:,:89.3*`=6:,:89.3*`= <-&9=&7*=>4:=8**0.3,
=;4=>4:=9-.30=9-&9=>4:=(&3=5:9=9-*=<-41*=8*&=.3=&=1.9- 91*=;&8*
= ___ ==.11=>4:7=*>*=8**=<-&9=9-*=*>*=4+=34=2&3=(&3=8**
= ___ =I>=<-&9= 2*&8:7*=<.11=>4:=2*&8:7*=9-*=.22*38*
=6:49*)=.3=Z4'*798=+3/3a=,3,_5

.?=`3=9-*=5&.39.3,8=574'&'1*=84:7(*=&3)=9-*=2.8.)*39.Q(&9.43=4+=9-*=5&.39.3,=&8=&= )*5.(9.43=4+=q*742*=-.28*1+`=8**=Z4'*798=+3/3_ /?= \-*= 97&381&9.43= .8= Z4'*7988= +742= Hieronymus. Vita et transitus`= m*3.(*= +.2/= J:39.3,943=^.'7&7>`=97&38(7.'*)='>=W:,*3*=I7:3*11*a= 6:,:89.3*`=6:,:89.3*`=6:.)= 6:*7.8a=5:9&83*='7*;.=.22.*7*=;&8(:14=2&7*=949:2= ___ =s:*=4(:1:8=3:11:8=-42- 32 Alan Galey

X.,:7*= ,_= = m.47*= 4&75&((.4= +.//8+/,/`= Vision of Saint Augustine (Alinari/Art Resource, New York).

J:2&3=9*=9=,.;*8=<&>=94=).;.3*=;4.(*`=&3)=9-*=1**7=94=q*742*='*(42*8=9-*= perfect interface, instantly receding before an unmediated presence. Where the .(.*39.Q(=32*7.(&3=image shows a perfectly synchronic system, outside of time and history, Carpaccio shows us an instant of collaborative intel- lectual work deeply embedded in history. In Alexander Nagel and Chris- 945-*7=H_==44)8=7*&).3,`= \-*=R:*7.3,=5&,*8=4+=9-*=45*3=(4).(*8`=9-*=+&11= of shadows, the alerted dog, the poised pen all suggest the momentariness of that moment, the evening hour of compline, as Augustine tells us. This is secular time, the time of lived experience, whose each moment repeats ':9=).S*78=+742=9-*=57*;.4:8=242*39=,**/a=.*-_6 Most importantly, The Vision of Saint Augustine is not our vision, and the miraculous text Augus- tine receives from Jerome lies beyond the limits of human representation. Both of these scenes depict technologies for managing multiple texts — Carpaccio places numerous writing implements, books, and a horizontal reading wheel in Augustine’s study — but his painting meditates on the partialness of human knowledge, while the .(.*39.Q(=32*7.(&3 image cel- ebrates the abstraction of a mechanical system. Both use encounters with .3:2= ;.)*7*= 549:.9= 9::8= ;.)*'.9
= ___ = G22*38&`= 6:&= 2*38:7&= 2*9.*7.8
= Z4'*798= +3/3a=,31_ 0?On Carpaccio’s depiction of temporality and its relation to the history and na- ture of reading, see Bringhurst 2006. 4. The Human Presence in Digital Artefacts 33 )4(:2*398=94=7*R*(9=43=47)*78=4+=*=5*7.*3(*=9-&9=*=(**)=-:2&3=(&5&(.9.*8_= Z*R*(9.3,=43=&=(45>=4+=9-*=4&75&((.4=5&.39.3,=,.;*3=94=-.2=&8=&=89:)*39`=A_= 639-43>=655.&-=(422*398=9-&9= 9-*=8-*1+=4+='4408='*-.3)=9-*=8&.39=;=-.8= library — contained most of the works he would have thought worth read- .3,b= -*=<4:1)=&12489=(*79&.31>=-&;*=7*&)=&11=4+=9-*2=,**/a=./_1 Today, Appiah notes, more is printed in a single city in a week than Augustine or q*742*=(4:1)=-&;*=7*&)=.3=9-*.7=1.+*9.2*8a= <*=&7*`=.3=8-479`=)74<3.3,=.3=9-*= particulars we humanists study’. In essence, the .(.*39.Q(=32*7.(&3=image .8=+3++8=&38<*7=94=655.&-8=+*&78`=&3)=94=9-*=6:*89.43=548*)=.3=9-*=9.91*=4+= &=(41146:.:2=&3)=&79.(1*='>=V7*,47>=47&3*a= =-&9=;4=o4:=;4=<.9-=&=g.1- 1.43=I4408
=,**0_2 One could read the Carpaccio and .(.*39.Q(=32*7.(&3 .2&,*8=).S*7*3(*8=&8=*2'1*2&9.(=4+=9-*=).,.9&1=-:2&3.9.*8=.3=.98=57*8*39= state, which emphasizes abstract, large-scale approaches such as linguis- tic corpora and data mining, the social-science version of literary history 57&(9.(*)='>=X7&3(4=g47*.=848(&11*)=).89&39=7*&).3,`=&3)=9*=9=&3&1>8.8= 9*(-3.6:*8=9-&9=)*7.;*=5&*738=+742=2:19.9:).34:8=14<81*;*1=4'8*7;&9.438= rather than situated acts of subjective interpretation.3 These approaches represent a movement away from the humanities’ traditionally idiographic 9*3)*3(>= 94= 8**0= 14(&1= 034<1*),*= &'4:9= 85*(.Q(= (&8*8= &3)= 94<&7)= 9-*= 3&9:7&1=&3)=84(.&1=8(.*3(*8=34249-*9.(=9*3)*3(>=94=8**0=&'897&(9=5&*738= and general laws).10 These approaches also share something in common with the .(.*39.Q(=32*7.(&3=image in that they place the viewer or critic in a superhuman position, showing systems of words and texts from a per- 85*(9.;*=9-&9=34=8.3,1*=-:2&3=(4:1)=4((:5>=.3=7*&1=85&(*=&3)=9.2*_=g47*.= 897*88*8=9-&9=).89&3(*=(&3='*= &=(43).9.43=4+=034<1*),*=,***a=/1b=*25-&8.8=

1?=655.&-=&(9:&11>=7*+*78=94= 43*=4+=4&75&((.48=,7*&9=2:7&18=4+=H&.39=q*742*==':9=.9= is more likely that he has the Augustine image in mind. Carpaccio’s other paintings 4+=q*742*=)4=349=+*&9:7*=1.'7&7.*8`=&3)=9-.8=.2&,*=<&8=4V*3=2.89&0*3=&8=&=)*5.(9.43= of Jerome (see note 4 above). 2?=\-*=(41146:.:2=<&8=(488543847*)='>=9-*=@3.;*78.9>=4+=4-.(&,4=&3)=9-*=G11.34.8= G389.9:9*=4+=\*(-3414,>b=8**=47&3*=,**0=&3)=9-*=g.11.43=I4408=R74/*(9`=&=(411&'47&- 9.43='*9<**3=4&73*,.*=g*1143=@3.;*78.9>=^.'7&7.*8=&3)=9-*=G39*73*9=67(-.;*a=-5a22 <<<_&7(-.;*_47,2)*9&.1822.11.43'4408= &((*88*)=+32+*2,**2 _ 3?=X47=&3=*&71>`=.3R:*39.&1=(7.9.6:*=4+=6:&39.9&9.;*=2*9-4)8=.3=1.9*7&7>=89:).*8`=8**= H9&31*>=X.8-8= =-&9=G8=H9>1.89.(8=&3)==->=67*=\-*>=H&>.3,=H:(-=\*77.'1*=\-.3,8= 6'4:9=G9
=+32*2+31-_=\-*=9*72= =).89&39=7*&).3,==(42*8=+742=g47*.=,***a=/082b= the opening to his more recent book, Graphs, Maps, Trees, suggests a movement be- >43)=9-.8=9*72=g47*.=,**/a=+_ +*?= \-*= 9*728= idiographic and nomothetic originate with the neo-Kantian philos- 45-*7==.1-*12==.3)*1'&3)=+3322+23.a=+-`=&3)=94)&>=8**=247*=+7*6:*39=:8*=.3= anthropology and psychology than in literary studies. On the tradition of thought &'4:9=9-*=).89.3(9.43=9-*>=3&2*`=.3(1:).3,=g&===*'*7`=8**=g&3.(&8=+332_ 100 Alan Galey removed), but The Vision of Saint Augustine complicates the metaphors we :8*=94=7*57*8*39=).89&3(*`=574=.2.9>`=&3)=9-*=6:&39.Q&'1*_=\-*=;.*<*7=4+= that painting remains all too human. Carpaccio invites his viewers just to the threshold of human experience, inviting us to cast our eyes, like Augus- tine in the painting, beyond the frame of human perception even as we accept its limits. The scale of the human is the preoccupation of both images. H:(-=.8=9-*=54<*7=4+=94418=&3)=7*57*8*39&9.438=&1.0*a=94=8-&5*=9-.30.3,`= both through the conclusions they enable and the metaphors they deploy. The concerns this essay advances have tended to remain tacit in the dig- .9&1= -:2&3.9.*8`= &= Q*1)= <-48*= 8:89&.3.3,= 574,7*88= 3&77&9.;*8= &3)= .3;*89- ments in fundable projects foster a sense of itself as an onward march into the future — an avant garde=9-&9=<&8=9-*=Q789=94=*2'7&(*=(425:9.3,=&8=&= tool for humanities scholarship. Yet the tool-building enterprise risks fall- ing into a binary in which digital tools represent innovation, dynamism, and provocative instability, while the materials they operate upon — very 4V*3=1.9*7&7>=9*=98=;=7*57*8*39=&;&.1&'.1.9>`=(439.3:.9>`=&3)=:3574'1*2&9.(= stability. This binary makes it easy to forget textual work always has an interpretive dimension that depends upon the complexity of humanities 2&9*7.&18`= *85*(.&11>= &V*7= '.'1.4,7&5-.(&11>= &<&7*= 1.9*7&7>= 8(-41&78-.5= .3= 9-*=<&0*=4+=;_X_=g(A*3?.*=&3)=q*742*=g(V&33=-&8=*89&'1.8-*)=9-*=;&1:*= of joining interpretation with the materiality of texts. Our understanding 4+=9-&9=7*1&9.438-.5=-&8='*(42*=.39*79<.3*)=<.9-=&349-*7`=1*88=4';.4:8=43*a= the tension between tools and materials in the digital humanities.

2. Digital Textual Scholarship

Every tool is a weapon, If you hold it right. 63.=;.X7&3(4`= g>=Gs=,**, Whenever we ask what new technology can do for textual scholars, we 2:89=349=148*=8.,-9=4+=&=)**5*7=6:*89.43a=<-&9=.8=&9=89&0*=.3=9-*=<470= 9*=9:&1=8(-41&78-.5=)4*8`=).,.9&11>=&3)=49-*7<.8*
==-&9=2&0*8=9-.8=<470= <479-=)4.3,
=R74,7*88=3&77&9.;*8=&12489=&1<&>8=1*&;*=842*9-.3,=.2547- tant behind, and information culture itself has been accused of system- &9.(&11>=+47,*.3,=.98=4<3=-.8947>=;&>=,**+a=-`=&3)=4+=8:((:2'.3,=94=&= 7-*947.(=4+=3*<3*88=&3)= 7-*947.(=4+=&23*8.&=Z&'.34;.9?=&3)=V*.1=,**.a= 2). Indeed, we have been here before. The digital humanities now occupy 4. The Human Presence in Digital Artefacts 101 2:(-=9-*=8&2*=548.9.43=9-&9==_=_=V7*,=&3)=9-*=49-*7=9*<=I.'1.4,7&- phers did in the era when the New York Public Library’s Central Build- .3,=Q789=45*3*)=.98=)4478_=69=9-&9=9.2*`=9-*=(:19:7&1=57*88:7*8=9-&9=<*39= with social and technological change required the assimilation of vast amounts of technical knowledge about the transmission of texts — and by extension, the seemingly transmissible parts of culture itself — into a coherent progress narrative. This narrative had to account not only for the literary documents that had survived, but also for the practical means by which culture could be preserved and disseminated into the future through editing (and through the related activities of historical bibliog- raphy and bibliographic appraisal, enumeration, and preservation). Like digital humanists today, the New Bibliographers lived in a time of new 2*).&=&3)=.3+472&9.43=9*(-3414,>b=9-*>=-&)=94=&79.(:1&9*=9-*.7=<470=94=&= (-&3,.3,=&(&)*2>=9-&9=4V*3=).)=349=:3)*789&3)=.9b=9-*>=<*7*=4'1.,*)='>= their material to command a detailed knowledge of how texts, humans, &3)=2&(-.3*8=.39*7&(9b=&3)=9-*>=-&)=94=7*8543)=94=9-*=4V*38(4397&).(947>= imperatives of explaining and making. \4)&>`=9*=9:&1=89:).*8=89&3)8=349=431>=&8=&='*3*Q(.&7>=4+=3*<=94418=94= 841;*=41)=574'1*28=;=&3)`=1*9=:8=-45*`=94=Q3)=3*<=574'1*28=;=':9=&184=&8= a well-developed perspective on new kinds of cultural artefacts. Through- out this essay, the term artefact= *3(425&88*8= 574):(98= 4+= -:2&3= &79.Q(*= that can be studied for interpretative purposes, like books, but also what g(A*3?.*=842*<-&9=&<0<&7)1>=(&11*)= 3438'440=9*=98_11 (Digital artefact can also mean an instance of visual noise in a digital image, but that usage )4*8=349=*39*7=9-.8=).8(:88.43_=\-*=9*72.3414,.(&1=(-&11*3,*=.8=94=Q3)=&= noun that includes books as easily as cultural productions like video games, Q128`=&3)=5&.39.3,8`=':9=&;4.)8=9-*=8(.*39.Q(=&3)=574,7&22.3,=(43349&- tions of the term object. Anthropologists and archaeologists have also thought about this problem. For example, Anders Andrén makes a distinc- 9.43='*9<**3=&79*+&(98=&3)=9*=98`=9-4:,-=349=&=7.,.)=43*=+332a=+.08/-`=&3)= Karin Barber takes text=94=.3(1:)*=&79*+&(98=&3)=;*7'&1=5*7+472&3(*8=,**1a= +8,3_=I440=-.8947.&3=g&-*<=I74<3=-*158=94=+4(:8=9-*=(43(*59='>=)*8(7.'- ing artefact= &8= &= 9*72= <-.(-= 8:,,*898= &3= &:9-*39.(`= *=9&39= 84:7(*`= 349= &= (45.*)`=97&38(7.'*)`=&3)=*).9*)=;*78.43=,**.a=1*,8-_=J4<*;*7`=I74<38= description becomes complicated when we consider whether a copy of a video game can be an artefact, since there are no instances of, say, the

++?=H**=g(A*3?.*=+3332+32/a=+-`=&8=<*11=&8=-.8=(-&59*7=43= \-*=I740*3=R-.&1a=9438 I440=\*=98=-+8/-_ 102 Alan Galey game Myst in the world that are not copies — or can such cultural works 3*;*7=&&.3=&79*+&(9:&1=89&9:8
==-&9=9-*3=4+=&=(45>=4+=9-*=H-&0*85*&7*=X.789= Folio, itself an edited text created in part from scribal transcriptions, but <-.(-=&);*79.8*8=.98*1+=&8= R:'1.8-*)=&((47).3,=94=9-*=\7:*=`7.,.3&11=445.*8= I1&>3*>=+330a=-
=6=9-474:,-=)*Q3.9.43=4+=artefact is beyond the scope of 9-.8=*88&>b=.389*&)`=.9=2&>='*=247*=:8*+:1=94=(438.)*7=9-*=.39*11*(9:&1=(43- 9*=98=.3=<-.(-=<*=)*Q3*=&=9*72=1.0*=digital artefact. On its present course, digital textual scholarship may well turn out to be a continuation of the project of D.F. McKenzie. By the time of his death .3=+333`=-.8=<470=&3)=.3R:*3(*=-&)=,43*=&=143,=<&>=94<&7)=).8*39&3- ,1.3,=9-*=Q*1)=+742=9-*=479-4)4=.*8=4+=9-*=9*<=I.'1.4,7&5->`=&3)=-&)= reintroduced historical and interpretive perspectives into editorial theory, <-.(-=57*)*(*88478=8:(-=&8==_=_=V7*,=-&)=9*3)*)=94=7*,&7)=&8=&=(148*)= system of transmissible texts, human agents, and mechanical constraints.12 This essay takes its title from a phrase of McKenzie’s, for whom bibliog- 7&5->8=,7*&9=;.79:*=<&8=9-&9=.9=(4:1)= 8-4<=9-*=-:2&3=57*8*3(*=.3=&3>= 7*(47)*)=9*=9=+3332+32/a=,3_=\-*8*=&7*=<47)8=94=(43/:7*=<.9-a=9-*=5-7&8*= any recorded text’ opens the scope of textual scholarship’s materials to &11= 2&33*7= 4+= <-&9= g(A*3?.*= (&11*)= 3438'440= 9*=98`= .3(1:).3,= Q128`= 7*(47)*)= 84:3)`= 89&9.(= .2&,*8`= (425:9*78,*3*7&9*)= Q1*8`= &3)= *;*3= 47&1= 9*=98=+3332+32/a=.`=94=<-.(-=<*=(4:1)=&))=84V<&7*`='4738).,.9&1=Q(9.43= and poetry, and now blogs, wikis, and social networking websites — the kinds of intensely socialized digital texts whose existence in a Web 2.0 world would likely have fascinated McKenzie had he lived to see it.+- It is worth noting that he tended not to describe computers simply as new tools for the textual scholar’s toolbox, but rather as a welcome challenge in a continuing professional obligation to account for new forms of com- munication. As McKenzie suggested in his centenary lecture for the Bib- 1.4,7&5-.(&1=H4(.*9>=.3=+33,`=

+,?=\-*8*=(:77*398=7:3=9-74:,-4:9=2489=4+=g(A*3?.*8=<470`=':9=8**=.3=5&79.(:1&7= -.8=(-&59*7= \-*=I440=&8=&3=W=57*88.;*=X472=+3332+32/a=38-*_=X47=&3=4;*7;.*<=4+= 7*85438*8=94=g(A*3?.*8=548.9.43=8**=;&3=)*7==**1=,**/b=9-*=2489=54.39*)=(7.9.(.828= 2&>='*=+4:3)=.3=\&38*11*=+33+_ +-?=H**=&184=g(A*3?.*=+3332+32/a=+-=&3)=-3_=\-.8='74&)=8(45*=-&8=574;*3=*&8.*7=94= *2'7&(*=.3=9-*47>=9-&3=.3=(7.9.(&1=57&(9.(*_=X47=*=&251*`=;&;.)=V7**9-&28=7*;.*<= 4+= I:73&7)`= `I7.*3= `A**S*`= &3)= @38<479-= ,**0= -.,-1.,-98= 8*;*7&1= 574'1*28= <.9-=9-*=(411*(9.438=4;*7&11=(43(*59.43`=5&79.(:1&71>=9-&9= 9-*=&'8*3(*=4+=5&.39.3,`= )&3(*`=Q12`=9*1*;.8.43`=;.)*4=,&2*8`=2:8.(=&'4:9=&11=4+=<-.(-=9-*7*=-&8='**3=842*= very challenging discussion of late) makes the collection almost relentlessly text- (or 1.3,:.89.(88='&8*)=,**1a=+-/_ 4. The Human Presence in Digital Artefacts +*- That obligation has acquired a new urgency with the arrival of computer-gen- erated texts. The demands made of bibliography and textual criticism by the evolution of texts in such forms, the speed with which versions are displaced one by another, and the question of their authority, are no less compelling than those we accept for printed books. By the logic of our discipline, we’re *6:&11>=(422.*)=94=&(034<1*),*=9-&9=9-*8*=9*=9:&1=&79*+&(98=&184=*2'4)>= 9-*=(43).9.438=4+=9-*.7=(43897:(9.43_=g(A*3?.*=,**,2+33,a=,1,8- This is a remarkable statement for being both progressive and conserva- tive at once. In the progressive sense, McKenzie naturalizes the expansion of textual scholarship’s circle of knowledge to encompass the digital, such 9-&9=9-*=24).Q*7=digital becomes redundant in digital textual studies. By his logic, to reject inquiry into digital artefacts is to reject the very essence of textual scholarship. But this vision of textual studies also conservatively extends the traditional concerns of print and manuscript bibliography to ).,.9&1= &79*+&(98`= <.9-= g(A*3?.*8=Q789= 9-4:,-98= 9*3).3,= 94<&7)= 9-*= *3:- meration of versions and the establishment of authority among them. Does digital textual scholarship then consist of applying existing )*8(7.59.;*=&3)=&3&1>9.(=2*9-4)8=94=).,.9&1=&79*+&(98
=\4=&3=*=9*39`=9-.8=(43- servative approach works, and the single most edifying example so far may '*=A.78(-*3'&:28=&79.(1*= W).9.3,=9-*=G39*7+&(*a=\*=9:&1=H9:).*8=&3)=X.789= V*3*7&9.43=W1*(9743.(=`'/*(98_14 Taking as his subject canonical electronic literature such as Michael Joyce’s &V*73443= A.78(-*3'&:2= )*V1>= &551.*8= &= g(V&33.&3= &<&7*3*88= 4+= '.'1.4,7&5-.(= (4)*8= .3= 7*&).3,= 9-*= 2&9*7.&1= nuances of born-digital objects. This mode of reading raises a question the Q*1)=.8=89.11=<470.3,=94=&38<*7a= <-&9=.+=&=9*=9:&1=8(-41&7`=<*118;*78*)=.3= theories of textual editing, were […] to be given the task of preserving the original text of &V*73443 in some stable and standardized electronic for- 2&9=+47=9-*=8&0*=4+=9-*=8(-41&71>=7*(47)
=J4<=<4:1)=4:7=8(-41&7=,4=&'4:9= .9
=A.78(-*3'&:2=,**,a=--_=\-.8=.8=9-*=0.3)=4+=6:*89.43=9-&9=8-4:1)=0**5= textual scholars awake at night, not to mention librarians, archivists, and literary scholars. \<4=<&>8=4+=&5574&(-.3,=9-*=&38<*7=*2*7,*a=Q789=9-74:,-=.39*757*9&- tion, by showing how interface elements such as icons and windows in dif- +*7*39=45*7&9.3,=8>89*28=&3)=;*78.438=2&>=&S*(9=-4<=<*=:3)*789&3)=9-*= <470b=&3)=8*(43)=9-74:,-=)*8(7.59.43`=&)).3,=94=4:7=;4(&':1&7>=9*728=8:(-= +.?= =-*3= .9= &55*&7*)= .3= ,**,`= 9-.8= &79.(1*= -&)= &= (&9&1>?.3,= *S*(9= 43= 2&3>= 9*=- tual scholars, especially those of the generation that had grown up with personal computers in the home. Its importance was recognized with the Society for Textual H(-41&78-.58=57*89.,.4:8=X7*)843=I4<*78=g*247.&1=R7.?*=.3=,**-_=\-*=.)*&8=57*- 8*39*)=.3=9-*=&79.(1*=<*7*=)*;*145*)=.3=A.78(-*3'&:2=,**2_ 104 Alan Galey as layer, version, release, object, state, instance, and copy. These terms bridge the formalized languages of programming and descriptive bibliography, two worlds that make remarkably similar investments in precise language and meaningful distinctions. The bibliographical edge to Kirschenbaum’s approach allows him to delve beneath the surfaces of digital artefacts, illu- 2.3&9.3,=9-*=+&(*98=4+=2&9*7.&1=(43897:(9.43=&3)=84V<&7*=)*8.,3=9-&9=2&3>= literary hypertext enthusiasts and cyberculturalists have tended to pass 4;*7=47= 2>89.+>=A.78(-*3'&:28=<47)=<.9-=<*&0`=4S89-*88-*1+=.39*757*- 9&9.438=4+=5489897:(9:7&1.89=9-*47>=,**,a=,/_=H*&7(-.3,=+47=&3=*=*251&7=4+= digital textual scholarship, Kirschenbaum’s article hearkens back to two recognizable strengths of the past century’s bibliographical tradition, one '*.3,=g(V&338=2&9*7.&1.89=-*72*3*:9.(8`=&3)=9-*=49-*7`=9-*=9*<=I.'1.4,- raphy’s rigour in accounting for the physical features of books.15 Yet for all its innovation, this early example of digital textual scholarship also relies upon a conservative view of scholarly editing as fundamentally 57*8*7;&9.43&1= ;= &3= :5)&9*)= ;*78.43= 4+= V7*,8=+3-,= ).(9:2= 9-&9= I4408= &7*=4+=;&1:*=.3=5745479.43=&8=9-*>=57*8*7;*=9-*=5&89=+3322+3-,a=+-0_=68= textual scholarship extends its scope to include digital artefacts, it must do so while itself changing from within. In seeking to avoid the weak ver- sion of poststructural criticism, with its ill-informed descriptions of digital texts as inherently unstable and non-physical, Kirschenbaum’s analysis 7.808=/*.843.3,=<-&9=<*=2.,-9=(&11=89743,=5489897:(9:7&1.82`=<-48*=.3R:- ence on textual studies has prompted resistance to the idea of stable origins, interest in texts as mediators of power and not just as bearers of aesthetic worth, questioning of the construction and uses of canons, and valuing of multiple authority as richness.16 If hypertext theory in the nineties failed to understand how digital texts work beneath the surface, the computing humanists who did understand tended to underestimate poststructural- .828=&'.).3,=.3R:*3(*_=H:8&3=J4(0*>`=+47=*=&251*`=2.8(-&7&(9*7.?*8=9-*= 7*1&9.438-.5='*9<**3=9*=9:&1=89:).*8=&3)=*1*(9743.(=*).9.3,a= 9-*=2&/47=).+- ference between a printed and an electronic edition is that a fairly standard and well-documented model has developed for a printed edition, but no 8:(-=9-.3,=*=.898=+47=&3=*1*(9743.(=*).9.43=,***a=+--_=W;*3=*.,-9=>*&78=1&9*7= this remains an insightful statement about electronic editions, but it over- 14408=9-*=574+4:3)=(-&3,*8=9-*=57.39= 24)*1=:3)*7<*39=.3=9-*=<&0*=4+=9-*=

+/?=\-*=&55*3).==94=A.78(-*3'&:28=&79.(1*`=9.91*)= \4<&7)8=H42*=R7.3(.51*8=4+= Computational Description’, is a deliberate echo of Fredson Bowers’s landmark +3.3='440`=Principles of Bibliographical Description. +0?=\-*=5-7&8*= 2:19.51*=&:9-47.9>=.8=7.(-3*88=(42*8=+742=g(^*4)=+32,a=.,+_ 4. The Human Presence in Digital Artefacts 105 New Bibliography’s dethroning through the eighties and nineties, which )7*<= +47(*= +742= 9-*= .3R:== 4+= 5489897:(9:7&1.89= 9-*47>= .3= 1.9*7&7>= 89:).*8_= 619-4:,-= 9*=9:&1= 8(-41&78-.5= 4V*3= 57*8*398= .98*1+= .3= &= (438*7;&9.;*= 1.,-9= as a conduit of tradition and guardian of cultural heritage, its own future depends upon recognizing, pace= V7*,`= 9-&9= &11= 7*(47)*)= 9*=98= &7*= &184= 4+= value in proportion as they provoke thought and change in the present.

-_=G39*7+&(*=&3)=9-*=H9&0*8=4+=;*8.,3

Long-term preservation of digital heritage begins with the design of reliable systems and procedures which will produce authentic and stable digital objects.

UNESCO Charter on the Preservation of Digital Heritage, article 5

Tensions between tools and materials in the digital humanities manifest themselves in both the design and analysis of digital artefacts. In particu- lar, the preservation imperative described above brings cultural pressures 94='*&7=:543=&11=9*=9:&1=8(-41&78-.5`=).,.9&1=&3)=49-*7<.8*`=8:(-=9-&9=V7*,= :8*8= 14&)*)= <47)8= <-*3= -*= 85*&08= 4+= '4408= &8= &= 57*(.4:8= .3-*7.9&3(*= +3222+3-,a=+-0_=;.,.9&1=9*=98=1&(0=9-*=8&2*=8>2'41.(=89&9:8=&8=)4(:2*398= like the Magna Carta, Shakespeare First Folio, or United States Declaration of Independence, each of which confers a sense of material origin upon master narratives. We can see tensions at work in some of these documents’ ).,.9&1=(4:39*75&798=43=9-*==*'`=85*(.Q(&11>='>=7*&).3,=9-*.7=@Z^8=+47=(43- 349&9.438=4+=89&'.1.9>=&3)=&:9-*39.(.9>_=J*7*=&7*=9<4=*=&251*8a

Universal Declaration of Human Rights www.un.org/Overview/rights.html

Canadian Charter of Rights and Freedoms laws.justice.gc.ca/en/charter/

In both cases, human-readability coincides with machine-readability in the +472=4+=9-*==*'=&))7*88`=<-.(-=.3=9:73=(43Q728=9-*=89&'.1.9>=4+=9-*=(439*39= of these foundational documents. Future stability of such digital artefacts is the concern of UNESCO’s Charter on Preservation of the Digital Herit- &,*`=<-.(-=89&9*8=9-&9= \-*=5:7548*=4+=57*8*7;.3,=9-*=).,.9&1=-*7.9&,*=.8=94= 106 Alan Galey ensure that it remains accessible to the public’ (article 2). But contrast that )4(:2*398=4<3=@Z^=<.9-=9-*=43*8=&'4;*a

UNESCO Charter on Preservation of the Digital Heritage 5479&1_:3*8(4_47,2(.2*32*;_5-58@Z^G;-+--01]@Z^;`-;` \`RG4]@Z^HW4\G`9-,*+_-921

619-4:,-=.9=.8=5488.'1*=94=Q3)=&=81.,-91>=8.251*7=@Z^=9-&9='7.3,8=:8=94=&=R;X= ;*78.43=4+=9-*=)4(:2*39=@9WH4`=,**-`=9-.8=:3<.*1)>=(-:30=4+=(4)*=.8= the closest thing we have to a stable address for the Charter in the native format of the Web. As a digital document, the Charter says one thing but )4*8=&349-*7`=(7*&9.3,=&=(4397&).(9.43='*9<**3=.98=(439*39=&3)=+472a=9-*= aspirations of cultural heritage pull in one direction while the design of the code pulls in another. These tensions become visible in digital objects through the double- ;.8.43=9-&9=(-&7&(9*7.?*8=9*=9:&1=8(-41&78-.5a=94=8**=&9=43(*='49-=9-*=8.,3.- fying surface and what lies beneath. By nature textual scholarship resists the fallacy of screen essentialism, the tendency to essentialize digital text &8= *&8.1>=*7&8&'1*=5.=*18=4+=1.,-9=R.(0*7.3,=43=9-*=8(7**3`=&8=g&7.*8^&:7*= Z>&3=)4*8=.3=43*=4+=9-*=(&343.(&1=&79.(1*8=4+=->5*79*=9=9-*47>=+333a=3/_= G3=A.78(-*3'&:28=)*Q3.9.43`=8(7**3=*88*39.&1.82=)*5*3)8=:543= 9-*='.&8= towards monitors and display devices in new media studies, where the ;&89=57*543)*7&3(*=4+=(7.9.(&1=&*39.43=-&8='**3=+4(:8*)=43=<-&9=-&55*38= 43=9-*=<.3)4<*)=5&3*8=4+=9-*=1440.3,=,1&88=,**.'a=3/_=\-*=9*72=(42*8= +742=9.(0=g439+4798=(7.9.6:*=4+=(*79&.3='.&8*8=.3=3*<=2*).&=89:).*8a= =-*3=8(-41&78=(438.)*7=*1*(9743.(=1.9*7&9:7*`=9-*=8(7**3=.8=4V*3=54797&>*)= &8=&3=*88*39.&1=&85*(9=4+=&11=(7*&9.;*=&3)=(422:3.(&9.;*=(425:9.3,=;=&=Q=- ture, perhaps even a basis, for new media. The screen is relatively new on the scene, however. Early interaction with computers happened largely on 5&5*7a=43=5&5*7=9&5*`=43=5:3(-(&7)8`=&3)=43=57.39=9*72.3&18=&3)=9*1*9>5*- writers, with their scroll-like supplies of continuous paper for printing out- 5:9=&3)=.35:9='49-_=g439+479=,**.a= 3_5_  Under such conditions there was a more consequential distinction between input and output processes than we generally experience with PCs, some- times involving a gap of days between the submission of input and the receipt of output from a large, shared mainframe. This is not to suggest that screens are unimportant, but rather that critics need to balance their &*39.43=94=(425:9*78=&8=4'/*(98=<.9-=&3=:3)*789&3).3,=4+=(425:9.3,=&8= process, in which the screen is but one layer of interface. To see the algo- 4. The Human Presence in Digital Artefacts +*1 rithm within the UNESCO document’s cumbersome URL is to understand the contextualizing system, just as the .(.*39.Q(=32*7.(&3 illustration makes a point of revealing the system that humans normally cannot see (at least without a wrecking ball). When reading digital artefacts, textual scholars might question the conventional wisdom that the only good interface is a transparent one. If textual scholars tend to position themselves at the threshold between the surfaces of texts and their mysterious depths — between Erasmus’s 82.1.3,= Q*1)8= &3)= 9-*= 9*<= o470=R:'1.(= ^.'7&7>8=':7.*)= 89&(08= ;= 9-*3= digital materials may lead them to new kinds of thresholds. As in bibliog- raphy, questions about preserving and reading digital artefacts lead inevi- tably to the topic of their design. Reading the human presence in a digital artefact requires knowledge of markup, encoding, and even programming, 7&.8.3,=9-*=574'1*2=4+=3*,49.&9.3,=2:19.51*=Q*1)8a=43=9-*=43*=-&3)`=9*=9:&1= scholarship (which some take to include book history, or at least to overlap 8:'89&39.&11>=<.9-=.9b=&3)=43=9-*=49-*7`=interface design as a catch-all term for a practice that brings together human-computer interaction, information design, usability studies, and programming. Textual scholarship’s close ties <.9-='440=-.8947>=8.,3.Q(&391>=(4251.(&9*=.98=7*1&9.438-.5=<.9-=)*8.,3=;= though such complexity can be productive. \-*=,7*&9*89=(43(*59:&1=).S*7*3(*='*9<**3='440=-.8947>=&3)=.39*7+&(*= design lies in their temporal orientations. If textual scholarship remains focused on the past, interface design is naturally oriented toward the future. Interface design is all about how things should be, how to improve the deliverable yet to be delivered. This temporal orientation manifests itself rhetorically. Design gurus like Jakob Neilsen and Bruce Tognaz- ?.3.=9*3)=94=.3943*=9-*.7=&);.(*=.3=9-*=.25*7&9.;*`=4V*3=8>39-*8.?.3,=;&89= &24:398=4+=)&9&=.394=R4<*7R4.39=':11*98_=X47=*=&251*`=9*.18*3=4S*78=9-*= 8*38.'1*= ).(9:2= 9-&9= W7747= 2*88&,*8= 8-4:1)= '*= *=57*88*)= .3= 51&.3= 1&3- guage (no codes), precisely indicate the problem, and constructively sug- gest a solution’.+1 In this sentence Neilson implicitly looks forward to a time <-*3=*7747=2*88&,*8=2&0*=8*38*`=<-*3=(7>59.(= .*.a=349=+4:3)=*77478=.3= web browsers no longer lead novice users to wonder if there were really &9=1*&89=.*-=49-*7=2.89&0*8=9-*>=(4:1)=-&;*=2&)*_=\-.8=47.*39&9.43=85&38= the continuum from professional to academic writing on design, including <470=9-&9=.8=349=4;*791>=5&79=4+=9-*= -4<894=,*37*_+2 +1?=q&04'=9*.18*3`= \*3=@8&'.1.9>=J*:7.89.(8`=@8*G9_(42=-5a22<<<_:8*.9_(4225&- 5*782-*:7.89.(2-*:7.89.(1.89_-921=,**/= &((*88*)=+32+*2,**2 _ +2?=X47=*=&251*`=8**=;.1143=,**.=&3)=&3>=4+=\:V*8='4408`=8:(-=&8=Visual Explana- +*2 Alan Galey I>=(4397&89`='440=-.8947>=.8=/:89=9-&9a=history. It looks back to how things were, even in the very recent past, and how they came to be as they are. To those ends, its chief products are narratives in the form of scholarly books and articles. Increasingly though, the term history of the book is expand- ing into history and future of the book, generally a positive development but by no means a straightforward one, since the future is not available for study in the same way as the past. The digital humanities’ most produc- 9.;*=7*85438*=94=9-.8=).T(:19>=-&8='**3=94=&80= <->=85*(:1&9*=<-*3=<*= (&3=574949>5*
b=9-&9=.8`=94=7*,&7)=9-*=+:9:7*=4+=9-*='440=&8=842*9-.3,=<*= create, not just observe and comment upon. \-.8=).S*7*3(*=.3=9*2547&1=).8548.9.438=)4*8`=-4<*;*7`=1*&)=94=97&)*8 4S8_=G+=97&).9.43&1=9*=9:&1=8(-41&78-.5=(&3=8**2=944=-.8947.(&1`=<.9-=.98=57*8- ervation imperative acting as a brake on any experimental tradition from within, then so too can interface design be accused of not being historical enough, sometimes uncritically assuming a synchronic view of readers and texts that ignores cultural, historical, and political contexts. This is not 94=8:,,*89=9-&9=)*8.,3=1&(08=&3=-.8947.(&1=).8(4:78*=4+=.98=4<3b=6:.9*=9-*= contrary. For example, the history of design is a core component of most )*,7**= 574,7&28= .3= 9-*= Q*1)`= &3)= W)<&7)= \:V*8='4408= 43= .3+472&9.43= design exemplify a breadth of historical and cultural materials that most textual scholars would admire. However, a substantial part of computer interface design has nonetheless developed in a way that disregards his- torical understanding as central to the knowledge it produces. Similarly, \:V*=-.28*1+=)7&<8=43=9-*=<470=4+='440=-.8947.&38=94=4S*7=-.8=.38.,-9+:1= 7*&).3,8=4+= ;.8:&1=(43+*(9.438=.3=8*;*39**39-8(*39:7>=W3,1.8-='4408=+331a= +,,8/`=+-.80`=&3)=63)7*<=;.1143='*,.38=&=(-&59*7=43=7*&)*7=89:).*8=<.9-= &3=*5.,7&5-=+742=I&(438=*88&>8=,**.a=-`=':9=3*.9-*7=7*&11>=(439*=9:&1.?*8= -.8=&7,:2*39=<.9-.3=9-*=85*(.Q(=(43(*738=4+=9-*=8*;*39**39-=(*39:7>`=9-*= way a literary critic or cultural historian would. History here is not even '&(0,74:3)`=1*9=&143*=(439*=9b=.9=.8=431>=&=84:7(*=4+=2&9*7.&18_==7.9.3,=1.0*= &=(:19:7&1=-.8947.&3=.8=349=\:V*8=347=;.11438=5:7548*`=8.3(*=9-*=*5.89*24- logical context for their approaches is not history but cognitive science, just as it is with the interface design coming from computer science. That is by no means a weakness — both of their works cited here are excellent intro- ):(9.438=94=9-*.7=945.(8=;=':9=.9=.8=&=).S*7*3(*=9-&9=2:89='*=&(034<1*),*)_ For digital textual scholars the problem is not that the humanities &3)= 84(.&1= 8(.*3(*8= &7*= ).S*7*39`= ':9= 9-&9= &= 58>(-414,.(&1= 47= -.8947.(&1= tions=+331_ 4. The Human Presence in Digital Artefacts +*3 perspective may present itself as the only valid one. This essay sides with the historical perspective mainly because it has been neglected in inter- face design, which looks instead to cognitive science for its epistemological +7&2*<470_=Z43&1)=;&>=8:,,*898=9-&9=9-*=47.,.3=4+=9-.8=97&)*84S='*9<**3= disciplines was the constitution of information studies in response to cor- porate and military needs in postwar America, resulting in <.11+:1= .,347&3(*= 4+= g&7=.89`= 3436:&39.9&9.;*`= 3438 57&(9.(&1`= &3)`= 1&7,*1>`= non-American analyses of information — analyses of information and soci- ety and culture have almost totally been given over to so-called informa- tion specialists and public policy planners, mainly from computer science, business and business schools, the government, and the quantitative social 8(.*3(*8_=;&>=,**+a=/ \-*=(438*6:*3(*=+47=7*1&9*)=Q*1)8=8:(-=&8=-:2&38(425:9*7=.39*7&(9.43=-&8= '**3=<-&9=;&>=(&118=&=574'1*2&9.(= +4(:8=43=6:&39.9&9.;*=2*9-4)8=4+=&3&1>- sis, a neglect of critical modes and vocabularies for analysis, a dependence on naive historiographical forms […], and a neglect of art and culture out- 8.)*= 4+= (43(*59.438= 4+= -.8947.(&1= 97&382.88.43= 9-&9= .8`= cultural heritage= ,**+a=/b=*25-&8.8=&))*)_=\:V*8=<470=)*V1>='7.),*8=9-*=(4,3.9.;*=&3)=9-*= 6:&1.9&9.;*`=':9=9-*=4;*7&11=).8(.51.3&7>=97&)*84S=;&>=)*8(7.'*8=2&>=<*11= account for blind spots such as the design of the UNESCO Charter as a digital artefact, as well as problems in other digital projects that lock their materials in a conceptual box labelled cultural heritage. Many of the literary texts which bear that label — Hamlet, Ulysses, The Canterbury Tales, The Prel- ude — have complex histories of transmission intertwined with interpretive concerns, and textual scholars may receive new kinds of illumination from 9-*=2&9*7.&1=-.8947.*8=4+=Q128`=&:).4=7*(47).3,8`=,7&5-.(=34;*18`=&3)=;.)*4= games. The humanities’ investment in the inner complexity of materials 574):(9.;*1>=(4251.(&9*8=9-*=9&80`=&8=g(V&33=)*8(7.'*8=.9`= 4+=7*8*).9.3,=;= of representing — in digital form the entirety of our received textual and )4(:2*39&7>= &7(-.;*= g(V&33= ,**+a= +3._= ;.,.9&1= 9*=9:&1= 8(-41&78= -&;*= found themselves charged with building a new humanities archive using someone else’s tools.+3

+3?=\-.8=8*39*3(*=5&7&5-7&8*8=g(;&>9*7=,**/_=g(V&33=2&0*8=&=8.2.1&7=&7,:2*39= .3=8*;*7&1=51&(*8b=8**=,**+a=+0381*`=,**.&a=.*38+*`=&3)=,**/&a=++._=X47=&3=&3&14,4:8= (7.9.6:*=4+=9-*=7*1&9*)=Q*1)=4+=&7(-.;&1=89:).*8`=8**=I749-2&3=+333a=0182_ 110 Alan Galey ._=Z*1.,.4:8=G88:*8a=X472=&3)=4439*39

The sonnets of Shakespeare remain the sonnets of Shakespeare even in the 2489=&'42.3&'1*=*).9.43_=947=(&3=9-*=Q3*89=57.39.3,=.2574;*=9-*.7=6:&1.9>_ Aldous Huxley, Introduction to Printing of To-Day=+3,2a=+= With a few exceptions, accounts of the intellectual and institutional trans- +472&9.438=4+=9-*=).,.9&1=-:2&3.9.*8=4V*3=4;*71440=9-*=9*38.43=9-&9=7*8:198= +742=:8.3,=49-*7=).8(.51.3*8=94418a=5:11.3,=.3=43*=).7*(9.43`=(425:9&9.43&1= practices mandate the abstraction of content from the details of its presen- 9&9.43b=5:11.3,=.3=9-*=49-*7=).7*(9.43`=1.9*7&7>=89:).*8=34<=;&1:*8=9-48*=;*7>= presentational details as integral to the interpretation of texts. Many of the 84V<&7*= 94418= (425:9.3,= -:2&3.898= :8*= 94)&>= *2'4)>= 9-*= )*8.,3= 57.3- ciple of treating form and content as not only distinguishable (as literary critics do in order to talk about them), but also as divisible into components 1.0*=zg^=*z9*38.'1*=g&70:5=^&3,:&,*=Q1*8=&3)=89>1*8-**98_=H:(-=2&9- 9*78=7*&(-='*>43)=57&,2&9.(8b=&8=61&3=^.:=&7,:*8`=9-*= (&7).3&1=3**)8=4+= transformability, autonomous mobility, and automation resolve at a more ,*3*7&1= 1*;*1= .394= <-&9= 2&>= '*= .)*39.Q*)= &8= & = ,4;*73.3,= ideology= c a= the separation of content from material instantiation or formal presenta- 9.43=,**.a=/2b=*25-&8.8=(-&3,*)=+742=47.,.3&1_=^.:=3&2*8=9-.8= ,4;*73.3,= ideology’ transcendental data, in which the separability of data from their 57*8*39&9.43= ;.&= 9*(-3414,.*8= 1.0*= zg^= 2*&38= 9-&9= 4:7= .39*7+&(*8= 94)&>= are ever more transparently just […] skins or, put technically, templates, schemas, style sheets, and so on, designed to be extricable [from content]’ ,**.a= 0,b= *25-&8.8= .3= 47.,.3&1_= \-.8= .)*414,.(&1= +472&9.43`= <-*3= 2&3.- fested in pragmatic terms, confronts digital textual scholars with the kind 4+=).1*22&=034<3=&8=&= 7*1.,.4:8=.88:*=.3=574,7&22.3,=/&7,43a=.8=.9=)*8.7- able, let alone possible, to divide the content of a text from its material form +47=9-*=5:7548*8=4+=2&(-.3*87*&)&'.1.9>=&3)=1&7,*88(&1*=(425:9&9.43
20 G9=2&>='*=-*15+:1=94=(438.)*7=Q789=&=7*1&9*)=6:*89.43a=-4<=).)=9-.8=574'- 1*2=4;*79&0*=).,.9&1=9*=9:&1=8(-41&78-.5
=\-*=&38<*7=1.*8=.3=-4<=9-*=9-*4- retical and practical conversations about digital texts have unfolded in the humanities. The topic of interface arose late in the critical discourse, arriv- .3,=431>=&V*7=49-*78=1.0*=->5*79*=9=&3)=2:19.81.3*&7=3&77&9.;*=-&)=&88*79*)= 9-*.7=(*397&1.9>_=6=(&8*=.3=54.39=.8=9-*=Q3&1=5&7&,7&5-=4+=g(V&338=.3R:*3- 9.&1= Z&9.43&1*=4+=J>5*79*=9=,**+`=.98*1+=&=,*89:7*='&(0=94=V7*,8= Z&9.43&1*= ,*?=`3=7*1.,.4:8=.88:*=&3)=7*1&9*)=9*728`=8**=9-*=Jargon Lexicon`=-5a22<<<_/&7,43_ 3*92/&7,43Q1*2727*1.,.4:8.88:*8_-921= &((*88*)=+32+*2,**2 _ 4. The Human Presence in Digital Artefacts 111 4+=445>=\*=9_=G3=-.8=(43(1:8.43`=g(V&33=54.398=94=842*9-.3,=2.88.3,a= 9-.8=).8(:88.43=4+=9-*=)*(*39*7*)=9*=9=-&8=1*V=4:9=4+=&((4:39=9-*=&(9:&1=.251*- 2*39&9.43=4+=9-*=9-*47*9.(&1=)*8.,3_=G9=-&8=1*V=4:9=4+=9-*=&((4:39=9-*=user interface that organizes and delivers the logical design of the archive to spe- (.Q(=5*78438_= c =6=2&/47=5&79=4+=4:7=+:9:7*=<470=<.9-=9-*8*=3*<=*1*(9743.(= environments will be the search for ways to implement, at the interface level, the full dynamic — and decentering — capabilities of these new tools. g(V&33=2001a=1.b=*25-&8.8=.3=47.,.3&1 This frank admission is belated in more ways than one, since the paragraph *=.898=431>=.3=9-*=1&9*89=5:'1.8-*)=;*78.43=4+=g(V&338= Z&9.43&1*=.3=Radiant Textuality (2001), not in the earlier versions published in the journal TEXT +330&=&3)=9-*='440=(411*(9.43=Electronic Text: Investigations in Method and Theory +331_=\-*=9*=9:&1=-.8947>=4+=g(V&338=4<3= Z&9.43&1*`=43*=4+=9-*= 2489=.3R:*39.&1=(7.9.(&1=*=&2.3&9.438=4+=->5*79*=9`=9-:8=89&3)8=&8=&=8>3*(- doche for the critical discourse as a whole. 94=1*88=8.,3.Q(&39`=-4<*;*7`=.8=9-&9=g(V&33=*3)8=43=9-*=<47)= 94418`=&= term that marks the borderline between the older hypertext theory and 3*<*7= ).,.9&1= -:2&3.9.*8_= J>5*79*=9= 9-*47.898= 4'8*7;*= 9-*= *S*(98= 4+= ).,- .9&1=9*(-3414,.*8b=).,.9&1=-:2&3.898=&(9.;*1>=)*;*145=9-*2`=*2'4)>.3,=9-*= design ethos of thinking through making_=H42*`=1.0*=g(V&33`=)4='49-_=o*9= the no-nonsense pragmatism of digital humanists has not insulated them from repeating the mistakes of their predecessors. The late arrival of inter- face to the theoretical conversation has replicated itself in the lateness of interface design tools native to the humanities. 619-4:,-= 9-*= '*1&9*)3*88= 4+= .39*7+&(*= -&8= 349= 7*(*.;*)= ):*= &*39.43`= neither has it gone unremarked.21 Kirschenbaum notes two dangers of )*+*77*)=.39*7+&(*=)*8.,3=.3=&=).,.9&1=-:2&3.9.*8=574/*(9a=Q789`=9-&9=&=-&89>`= :3)*787*84:7(*)=)*8.,3=5-&8*=.8=).85745479.43&9*=94=9-*=.3R:*3(*=4+=9-&9= )*8.,3=.3=9-*=7*&)*78=*=5*7.*3(*b=&3)=8*(43)`=9-&9=)*+*77.3,=9-*=.39*7+&(*= &88:2*8=(439*39=.8=).89.3(9=+742`=&3)=57*(*)*8`=+472=,**.&a=/,.8/_=R7*8- *391>`=9-*=Q789=4+=9-*8*=9<4=)&3,*78=.8=).2.3.8-.3,=&8=9*=9:&1=574/*(98=1.0*= digital scholarly editions incorporate the lessons of usability studies from Q*1)8=1.0*=-:2&38(425:9*7=.39*7&(9.43=J4G_22 The more insidious danger ,+?=X47=*=&251*`=g(V&33='7.3,8=:5=.39*7+&(*=&8=&=<&>=4+=,74:3).3,=&=7*(*39=*=- (-&3,*= &'4:9= )&9&'&8*8= &3)= &7(-.;*8= ,**1a= +/22_= X742= <.9-.3= &7(-.;&1= 89:).*8`= J*)89742=,**,=4S*78=43*=4+=9-*='*89=*=5147&9.438=4+=9-*=1.308='*9<**3=.39*7+&(*8`= archives, and digital resources. ,,?=63=*=&251*=.8=9-*=W1*(9743.(=9*<=m&7.47:2=H-&0*85*&7*=)*8(7.'*)=.3==*7- 89.3*= ,**2`= <-48*= 574949>5*= .39*7+&(*= <&8= 9-*= 8:'/*(9= 4+= &= A.11&2= \7:898+:3)*)= :8&'.1.9>=89:)>=.3=,**182=g447*`=V&1*>`=&3)=Z:*(0*7=,**2_=H**=&184=9-*=`71&3)4= 112 Alan Galey is the methodological creep toward the separation of form and content, which runs counter to the humanist tendency to see the two as distinguish- &'1*=':9=+:3)&2*39&11>=.3).;.8.'1*_=X47=*=&251*`=g(V&33=54.398=94=H9*;*3= DeRose’s proposition that a book is the same regardless of variables such as +472&9=6:&794=;*78:8=4(9&;4=&3)=+439=V&7&243)=,.854.39=;*78:8=\.2*8= +,854.39a= H4=+&7=&8=G=(&3=8**`=3*&71>=&11=9-*=1*&).3,=)*8.,3=24)*18=+47=9-*= scholarly treatment of imaginative works operate from a naive distinction '*9<**3= &= 9*=98= +472= &3)= (439*39= g(V&33= ,**+a= +2/_,- Kirschen- '&:2=*1&'47&9*8=43=<->=g(V&338=<47)= 3&;*=2.,-9='*=<&77&39*)a 9-*=<*.,-9=4+=*89&'1.8-*)=<.8)42=.3=&=Q*1)=1.0*=.39*7+&(*=)*8.,3=7*898=43= a fundamental disconnect with the prevailing intellectual assumptions of 2489=-:2&3.898=;=9-&9=&3= .39*7+&(*`=<-*9-*7=9-*=<.3)4<8=&3)=.(438=4+=&= website or the placement of a poem on a page, can somehow be ontologically )*(4:51*)=+742=<-&9*;*7= (439*39=.9=-&55*38=94=*2'4)>_=A.78(-*3'&:2= ,**.&a=/,. J4<*;*7`= <-&9= g(V&33= &3)= A.78(-*3'&:2= )*8(7.'*= -*7*= .8= 349= 2*7*1>= 1448*=9-.30.3,=43=9-*=5&79=4+=)*8.,3*78`=347=&=2&*7=4+=(7.9.(&1=.3&*39.43= 94=).8(.51.3*885*(.Q(=9-*47*9.(&1=).8(4:78*8`=':9=&='&8.(=(43R.(9=4+=;&1:*8= between the text-oriented humanities and other, data-oriented disciplines. g*9-4)414,>=7*R*(98=*5.89*2414,>`=&3)=94418=(&3=.3;.8.'1>=.25479=&88:25- 9.438=+742=49-*7=Q*1)8=.394=9-*=-:2&3.9.*8_ =-&9= 2&0*8= 9-*= 7*1.,.4:8= .88:*= 4+= +472= &3)= (439*39= 84= +7&:,-9= .8= that non-textual scholars like DeRose have only been repeating what had become conventional wisdom in their knowledge domains.24 That con-

R74/*(98=:8&'.1.9>=7*8*&7(-=.3=I74<3=*9=&1_=,**0a=+18,+_ ,-?=g(V&33=(.9*8=;*Z48*=.3=&=57*8*39&9.43=9.91*)= =H97:(9:7*)=G3+472&9.43a=9&;.- ,&9.43`=6((*88`= &3)= 4439741`= = ,.;*3= &9= &= +33/= (43+*7*3(*= &3)= &;&.1&'1*= &9= -5a22 8:38.9*_'*70*1*>_*):2X.3).3,6.)82W6;2)*748*_-921= &((*88*)= +22+*2,**2 _= X47= &= 247*=9-474:,-=*=51&3&9.43=4+=;*Z48*8=548.9.43`=8**=;*Z48*=*9=&1_=+33*`=43*=4+=9-*= 45*3.3,=8&1;48=.3=9-*=`J4`=)*'&9*=8**=349*=,-='*14<_ ,.?=H5*(.Q(&11>`=;*Z48*=.3;40*8=9-*=.)*&=9-&9=&11=9*=98=-&;*=&3=*88*39.&1=897:(9:7*= in the form of an Ordered Hierarchy of Content Objects (OHCO), a tree structure of non-overlapping nodes that conveniently matches the structure of all XML docu- ments. The debate over the OHCO theory of text divided critics along the ques- tion of the materiality of texts — though some participants might characterize the )*'&9*=).S*7*391>=;=<.9-=;*Z48*`=611*3=Z*3*&7`=&3)=9-*.7=(48&:9-478=43=9-*=5748 `J4`=8.)*`=&3)=45548.3,=9-*2=g(V&33`=J&>1*8`=&3)=49-*78=<.9-=1.308=94=9*=9:&1= scholarship. From a textual studies perspective, the OHCO thesis lost in theory but <43=.3=57&(9.(*_=\-*=2&9*7.&1.89=-*72*3*:9.(8=&3)=2*).&885*(.Q(=&3&1>8.8=4+=g(- V&33=&3)=J&>1*8`=7*85*(9.;*1>`=-&;*=1489=34=,74:3)=.3=1.9*7&7>=&3)=9*=9:&1=89:).*8`= but the OHCO model is everywhere in our digital tools, from the structure of XML documents, to the historical core of the TEI guidelines (see -5a22<<<_9*.8(_47,2 4. The Human Presence in Digital Artefacts ++- ventional wisdom has made its way into the humanities, for example in James Cummings’s explanation of XML’s usefulness to the Records of Early W3,1.8-= ;7&2&= 574/*(9a= \-*= .3(7*&8.3,= 8*5&7&9.43= 4+= (439*39= +742= 57*8- *39&9.43&1=&85*(98=-&8='**3=+:3)&2*39&1=+47=9-*=.39*745*7&'.1.9>=&3)=R*=- .'.1.9>=9-&9=2&0*8=zg^=84=;&1:&'1*=,**0a=+2+_=I:9=-4<=)4=<*=)*9*72.3*= ;&1:*
= R7&(9.(&11>`= 8:(-= 8*5&7&9.43= .8= &= <*1(42*= (43;*3.*3(*b= .39*11*(9:- ally, its value is suspect since it impairs textual scholars’ ability to use text encoding to model the complexity latent in their materials. Although Cum- mings accurately describes XML’s advantages over HTML for the encoding of born-digital documents like academic articles, his description becomes deeply problematic when applied to the encoding of non-digital materi- als like manuscript poems (he takes many of his examples from Chaucer). Cummings’s explanation overlooks the crucial distinction between pre- scribing presentational details and recording them — a non-trivial distinc- 9.43=.3=9*=9:&1=8(-41&78-.5`=<-.(-=8*&7(-*8=+47=9-*=-:2&3=97&(*8=1*V=:543= material artefacts.25 The seductiveness of form-content abstraction derives from its ability to simplify the task of encoding, even for those trained to appreciate com- 51*=.9>=.3=9*=98_==*=(&3=8**=9-*=).S*7*39=9*2547&1=47.*39&9.438=4+=)*8.,3= and book history mirrored here, as the conventional wisdom governing the design of new digital documents extends, anachronistically, to the read- ing of textual materials from the past. Cummings and DeRose represent a tradition which, in the spirit of the Huxley epigraph above, regards content as literally that — meaning contained in the language of a text. (Tom Davis, .3=&=943,:*8.38(-**0=5&7&5-7&8*=4+=A&71=R455*7`=9*728=9-.8=&.9:)*=94<&7)= .3+472&9.43=&8=9-*= ':(0*9=9-*47>=4+=(422:3.(&9.43= +332a=+*0 _26 On the other side of the doctrinal divide, McKenzie’s simple dictum stands in con- 97&89a= +4728=*S*(9=2*&3.3,=+3332+32/a=+-_,1

V:.)*1.3*82 [accessed 11/2/2010]), to the Document Object Model that underpins browsers and other Web technologies. See Schreibman 2002 for a balanced over- ;.*<=4+=9-*=548.9.438b=+47=0*>=*397.*8=.3=9-*=)*'&9*`=8**=;*Z48*=*9=&1_=+33*b=Z*3*&7= +331b=Z*3*&7`=g(V&33`=&3)=J4(0*>=+333b=g(V&33=,**+`=&8=(.9*)=*18*<-*7*=-*7*b= J&>1*88=(-&59*7=43= \7&381&9.3,=g*).&=,**/b=&3)=Z4'.3843=,**3&_ ,/?=R*9*7=Z4'.3843`=+47=*=&251*`=&7,:*8=+47=9-*=;&1:*=4+=*3(4).3,=9-*=2.3:9*89=)*- 9&.18=4+=57*8*39&9.43&1=.3+472&9.43=.3=4-&:(*78=2&3:8(7.598=+330&_=\-*=574'1*2= .8=349=9-&9=4:22.3,8=.8=:3&<&7*=4+=*).947.&1=9-*47>b=*;.)*3(*=94=9-*=(4397&7>=2&>= '*=+4:3)=.3=4:22.3,8=,**1_ ,0?=\-*=-.8947>=4+=9-*=9*72=information=.8=&184=7*1*;&39=-*7*b=8**=9:3'*7,=+330=&3)= 4&5:774=&3)=J/ 71&3)=,**-_=X47=&=).8(:88.43=4+=9-*=(43(*59=4+=.3+472&9.43=<.9-.3= 9-*=(439*=9=4+=9-*47.?.3,=94418`=8**=g(4&79>=,**,a=-2,8-=&3)=,**/a=++*_ ,1?=68=.+=94=574;*=g(A*3?.*8=54.39='>=&((.)*39`=&=7*(*39='440=-.8947>=&39-414,>= 114 Alan Galey Paradoxically, the digital humanities have produced valuable practical venues for thinking through such religious issues (for example, the Text Encoding Initiative), but also communities of practice whose theoretical &88:259.438= &7*= 34<= ).T(:19= 94= ).814),*= +47= *=&251*`= &,&.3`= 9-*= \*=9= Encoding Initiative).,2=g(V&338=(148.3,=&7,:2*39=&'4:9=.39*7+&(*=.3=9-*= Z&9.43&1*=,**+`=-4<*;*7='*1&9*)`=<&8=&11=9-*=247*=;&1:&'1*=+47=54.39.3,= &=<&>=4:9=4+=->5*79*=9=9-*47>8=(148*)=(.7(1*=4+=8*1+8(43Q72&9.43_=G3=7*974- spect, hypertext theory now seems like a part of the conversation about digital textuality that mistook itself for the whole conversation, but the dig- ital humanities’ practical orientation should not mean a dismissal of theory. \-*=.251*2*39&9.43=4+=9-*=9-*47*9.(&1=)*8.,3`=&8=g(V&33=,**+a=1.=(&118= it, has become no less a moment of theoria for the digital humanities, in the 8*38*= 4+= J&388V*47,= V&)&2*78=).89.3(9.43= 4+= theoria as more than pas- 8.;*=4'8*7;&9.43a= G9=)4*8=349=2*&3=&=2*7*=8**.3,=9-&9=*89&'1.8-*8=<-&9=.8= present or stores up information. […] Theoria is not so much the individual momentary act as a way of comporting oneself, a position and condition. G9=.8='*.3,=57*8*39=.3=9-*=14;*1>=)4:'1*=8*38*=9-&9=2*&38=9-*=5*7843=.8= not only present but completely present’, as when one is present in an &:).*3(*=9-&9=.8=+:11>= *3,7488*)=.3=9-*.7=5&79.(.5&9.43=&8=8:(-=&3)=+:11>= &<&7*=4+=*&(-=49-*7=+332a=-+_=G3=9-.8=8*38*=4+=theoria and presence as syno- nyms, the modelling of human presence in interface design becomes not just the implementation of a theory, but an act of theoria that enables one to think through these complex relationships. Textual scholarship has long *=*251.Q*)=9-.8=5-.14845->`=&8=.3=I*73&7)=4*76:.,1.3.8=5.9->=+472:1&9.43`= *;*7>=*).9.43=.8=&=9-*47>=+333a=13_=@3+479:3&9*1>`=-:2&3.9.*8=(425:9.3,= practice has bypassed such moments of theoria in its tendency to think of interface design and text encoding as separate activities, each happening at opposite ends of the research plan. As Kirschenbaum points out, interface )*8.,3=944=4V*3=(42*8=&8=&3=&V*79-4:,-9`=1&9*=.3=9-*=574/*(9=8(-*):1*=&8= time and resources run out.,3 The deferral of interface thus represents not 84=2:(-=<470=1*V=:3)43*=&8=&=2.88*)=455479:3.9>=94=&79.(:1&9*=<-&98=&9= stake in how the humanities understand texts.

subtly changes the meaning of this statement by altering its orthographical form to +4728=&S*(9=2*&3.3,b=8**=X.30*189*.3=&3)=g(41**7>=,**0a=-0_ ,2?=X47=).8(:88.438=4+=9-*=897:(9:7&1=.2548.9.438=4+=9-*=\WG=9&,8*9`=<.9-=5&79.(:1&7= 7*+*7*3(*=94=9-*=842*9.2*88;*=.3,=0+<1=+472*8<470=9&,`=8**=^&3(&8-.7*=+330a=+,-8 .`=&3)=I/*11&3)=,***a=,.80_ ,3?=H**=A.78(-*3'&:2=,**.&a=/,.8/_ 4. The Human Presence in Digital Artefacts 115 5. Serving the Particular

[T]he universal in the humanities is in the service of the particular. A_=639-43>=655.&-`= J:2&3*`=611=\44=J:2&3*=,**/a=., The search for human presence in digital artefacts is also the search for the humanities’ place in digital scholarship. Both searches are underway even as the design of digital tools is moving in one direction while the theo- ries of textual scholarship are moving in another. Digital humanists caught between the tensions described in this essay should be wary of two species 4+=9-*=8&2*=*88*39.&1.89=+&11&(>a=43*`=5*75*9:&9*)='>=9-*47.898=<.9-=431>=&= 8(7**38)**5=:3)*789&3).3,=4+=9*(-3.(&1=2&*78`=&88*798=9-&9=).,.9&1=9*=98= &7*=.3-*7*391>=:389&'1*=574):(9.;*1>=47=49-*7<.8*b=9-*=49-*7`=5*75*9:&9*)= by computing practitioners who neglect theory, asserts that that the only aspects of texts worth knowing are those which may be modelled digitally. Screen essentialism thus has its counterpart in computational essentialism, and digital textual scholars must somehow navigate between the two. The challenge is to design interface tools that do not force business or (social) science models upon humanists. This step involves developing traditions of programming native to the humanities, and recognizing that program- ming and computer science are not the same thing.-* A further challenge is to determine how designing and prototyping, as keystones of the experi- mental tradition within the digital humanities, should relate to the archival and historical strengths of textual scholarship. To put all this another way, what does the conjunction and signify in a term like history and future of the book
=G8=.9=2*7*1>=&=-&89>=851.(*='*9<**3= ).8(.51.3*8`=47=&3=*=5&38.43=4+=&3=*89&'1.8-*)=Q*1)=.394=3*<=9*77.947>
=G3= the most optimistic light, the and=7*57*8*398=9-*=.25*7&9.;*=94=Q3)=&=8>3- thesis between reading historical artefacts and designing for the future. Although interface is by no means the only important aspect of digital tex- tuality, it is the area where such a synthesis is most needed. The response of textual studies should therefore be more strategic than simply pointing out when computing practitioners do not understand humanities materi- als. For a text encoder working under a computer science model to treat data as extricable from their presentation is consistent with best practice. For a literary scholar to treat texts as inextricable from their presentation

-*?=`3=9-*=.25479&3(*=4+=)*(4:51.3,=574,7&22.3,=+742=(425:9*7=8(.*3(*=.3=9-*= ).,.9&1=-:2&3.9.*8`=8**=47&3*=*9=&1_=,**1a=/.b=+47=&=5*)&,4,.(&1=5*785*(9.;*=43=574- ,7&22.3,=.3=9-*=-:2&3.9.*8`=8**=Z4(0<*11=,**-_ 116 Alan Galey is also consistent with best practice. This is the methodological crux facing digital textual scholars of the present and future. The solution lies partly in rearticulating a simple but fundamental idea 94=&11=8.)*8a=*;*3=&8=<*=)*8.,3=3*<=).,.9&1=&79*+&(98`=<*=&7*=89.11=1*&73.3,= how books work, as well as manuscripts and other textual materials. By looking for something more than the authorial genius loci in texts, McKen- zie introduced new ways to answer the question of what is at stake in 9*=9:&1=8(-41&78-.58=8*&7(-=+47= 9-*=-:2&3=57*8*3(*=.3=&3>=7*(47)*)=9*=9= +3332+32/a=,3_=\-*=5-7&8*=human presence implies no less complexity than any recorded text, and digital artefacts, like any other kind, bear traces of the social worlds they occupy, not just of their creators. Just as Kirschenbaum rightly questions the easy binary that produces digital texts as unstable, so must we also be vigilant against the myth that, with the rise of digital technology, the human record is now moving from a period of fundamen- tal stability to one of instability. As print- and manuscript-oriented textual scholars have long argued, past textual forms were never so immutable to begin with.-+ Textual scholarship may be the contrarian voice within the digital humanities, resisting those progress narratives which, in order to justify investments in tool-building, make texts computationally tractable '>=8&(7.Q(.3,=9-*.7=(4251*=.9>=43=9-*=&19&7=4+=*=5*).*3(>_=\-*=8*7.4:8=89:)>= 4+=).,.9&1=&79*+&(98=)4*8=349=7*51&(*=9-&9=4+=57*8).,.9&1=2&9*7.&18b=7&9-*7`=9-*= two must progress together or not at all. Z*&)*78=4+=9-*=g&>=,19-`=+3++=.88:*=4+=.(.*39.Q(=32*7.(&3 were shown &=Q,:7*=4+=9-*=9*<=o470=R:'1.(=^.'7&7>=9-&9=7*;*&1*)=94=9-*2=9-*=9*=9:&1= )*59-8='*3*&9-=9-*.7=+**9_=G3=9-*=8&2*=,*89:7*`=9-*=Q,:7*=&88*79*)=&=8*38*=4+= mastery over the space of the archive, rationalizing it by means both of the retrieval mechanism and of the image’s power to depict it. Digital human- ists today are presented with similar representational systems promis- .3,=&=8.2.1&7=2&89*7>_= =-&9=)4=>4:=)4=<.9-=&=2.11.43='4408
=7*2&.38=&= worthwhile question, but only if we remember that the humanities’ great advantage is the power to produce new knowledge using only a few books — sometimes even one text. That uniquely powerful economy of scale )*Q3*8=<-&9=655.&-=(&118=9-*=-:2&3.9.*8= )**51>=.).4,7&5-.(=(-&7&(9*7a= ).8(4;*7>=(42*8=+742= &=5&79.(:1&7=54*2`=&=5&79.(:1&7=5&.39.3,`=&=5&79.(:1&7= 843&9&=,**/a=.,_-, For digital tools and methods to share in that distinctly qualitative power, they must be able to serve the particulars of texts with- -+?=X47=*=&251*`=8**=9-*=7*(*39=)*'&9*='*9<**3=W1.?&'*9-=W.8*389*.3=&3)=6)7.&3= Johns in American Historical Review`=2*).&9*)='>=639-43>=V7&V43=V7&V43=,**,_ -,?=`3=9-*=9*72=idiographic as opposed to nomothetic`=8**=349*=3=&'4;*_== 4. The Human Presence in Digital Artefacts ++1 4:9=8&(7.Q(.3,=9-*2=94=9-*=*=.,*3(.*8=4+=9-*=:3.;*78&1_=\-*=).,.9&1=-:2&3.- 9.*8=34<=+&(*=&=5&7&)4=.(&1=(-&11*3,*a='*.3,=).,.9&1=(42*8=3&9:7&11>b=.98=9-*= humanities we have to earn.

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=Memory=+,_0a= 1-,8.1_ V44),1&88`=J_=,**+_=Boston Diagnostic Aphasia Examination: Stimulus Cards- Short Form. V7&'*7`= H9*+&3_= +332_= M*7= 3:9479*=9= .3= )*7= -.8947.8N807.9.8N*3= 3:8,&'*_= Ansätze zu einer Theorie der Textkritik_=I*73a=R*9*7=^&3,_ V7&V43`=639-43>_=,**,_= J4<=Z*;41:9.43&7>==&8=9-*=R7.39=Z*;41:9.43
_= American Historical Review=+*1_+a=2.821_ V7**9-&2`=;&;.)_=+33+_= \*=9:&1 =47.9.(.82=&3)=;*(43897:(9.43_=Studies in Bibliography=..a=+8-*_ <=+333_=Theories of the Text_=^43)43a=`=+47)=@3.;*78.9>=R7*88_ <= ,**1_= W1*(9743.(= \*=9:&1= W).9.3,= Z*;.*<= 4+= I&73&7)= ^4:`= A&9-*7.3*= O’Brien O’Keefe, and John Unsworth, eds., Electronic Textual Editing, 9*<= o470a= g4)*73= ^&3,:&,*= 6884(.&9.43= 4+= 62*7.(&`= ,**0`= Textual Cultures=,_,a=+--8-0_ V7*,`==_==_=+3/*:/+_= \-*=Z&9.43&1*=4+=445>8\*=9_=Studies in Bibliography -a=+38-0_ <=+3322+3-,_= I.'1.4,7&5->=;=63=65414,.&_=G3=Sir Walter Wilson Greg: A Collection of His Writings_=W)_=q48*5-=Z48*3'1:2_=+-/8/1_=^&3-&2=g;a= Scarecrow Press. V74)*3`= g.(-&*1_= +311813= V*3_= *)_`= &3)= J&38= =&19*7= V&'1*7`= ;&;.)= Hayman, A. Walton Litz, and Danis Rose eds. The James Joyce 67(-.;*_= X&(8.2.1*= *)_= 4+= q&2*8= q4>(*8= 2&3:8(7.598 = 0-= ;418_= 9*<= o470a=V&71&3)`=+312_ ,,2 Text and Genre in Reconstruction <=+332_= R*751*==.3=9-*=R*3;&3)=9-*=R.=*18a=Z*R*(9.438=43=9-*=q&2*8=q4>(*= 67(-.;*`=J&38==&19*7=V&'1*78=Ulysses`=&3)= q&2*8=q4>(*=.3=J>5*72*).&_= Journal of Modern Literature=,,_,==.39*7a=,,/8-+_ J&(0.3,`= G&3_= +33*_= The Taming of Chance.= G)*&8= .3= 4439*=9_= 4&2'7.),*a= Cambridge University Press. J&))43=g_=,**-_=The Curious Incident of the Dog in the Night-time_=^43)43a= Jonathan Cape. J&22.3,`=Z_==_=+32*_= \-*=@37*&843&'1*=WS*(9.;*3*88=4+=g&9-*2&9.(8_= American Mathematical Monthly=21_,=X*'7:&7>a=2+83*_ J&798:.0*7`=Z4'*79=q_`=Z4*1.*3=I&89.&&38*`=61'*79=R4892&=&3)=X7&30==_3*3`= eds. 2005. Phonological Encoding and Monitoring in Normal and Pathological Speech.=J4;*=&3)=9*<=o470a=R8>(-414,>=R7*88_ J&>1*8`= 9_= A&9-*7.3*_= +333_= How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics. 4-.(&,4a=@3.;*78.9>=4+=4-.(&,4=R7*88_ <=,**+_= =-&9=4>'*79*=9=\-*47>=4&39=;4_=Electronic Book Review, posted +/=X*'7:&7>=,**+`=24).Q*)=2=g&7(-=,**-=&9=<<<_*1*(9743.('4407*;.*<_ com [accessed 21 April 2004]. <=,**,_=Writing Machines. 4&2'7.),*`=g6a=gG\=R7*88_ <= ,**-_= \7&381&9.3,= g*).&a= =->= =*= H-4:1)= Z*9-.30= \*=9:&1.9>_= Yale Journal of Criticism=+0a=,0-83*_ <= ,**._= R7.39= .8= X1&9`= 44)*= .8= ;**5a= \-*= G25479&3(*= 4+= g*).&8H5*(.Q(= Analysis’. Poetics Today=,/_+a=0183*_ <=,**/_= \7&381&9.3,=g*).&_=G3=My Mother Was a Computer: Digital Subjects and Literary Texts_=238++0_=4-.(&,4a=@3.;*78.9>=4+=4-.(&,4=R7*88_ J&><&7)`=9_=,**0_= J:2&3.9.*8=4425:9.3,_=Ecdotica=-a=,1+81-_ J*&71*`=94&-_=,**1_= H*39*3(*=&3)==47)=^*3,9-_=-5a22-*&71*_3&-44_3*92 Academic/Maths/Sentence.html= &((*88*)=3=X*'7:&7>=,*+* _ J*''`=;_`_=,**,2+3.3_=The Organisation of Behaviour: A Neuropsychological Theory_=R-.1&)*15-.&=R6a=^&<7*3(*=W71'&:2=6884(.&9*8_ J*)89742`= g&7,&7*9_= ,**,_= 67(-.;*8`= g*247>`= &3)= G39*7+&(*8= <.9-= 9-*= Past’. Archival Science=,a=,+8.-_ J4(0*>`=H:8&3_=+330_= 47*&9.3,=&3)[email protected],=W1*(9743.(=W).9.438_=G3=X.33*7&3= +330a=+8,,_= <= ,***_= Electronic Texts in the Humanities: Principles and Practice_= ^43)43a= Oxford University Press. Works Cited ,,3 J412*8`=;&;.)_=+33._= 6:9-478-.5=67.':9.43_=Computers and the Humanities ,2a=218+*0_= J44;*7`= ;&;.)_= ,**._= \*89.3,= I:774<88=;*19&_= Literary and Linguistic Computing=+3a=./-81/_ <= ,**/_= J4986.7= \*=9:&1.9>a= ^.9*7&9:7*= &V*7= q*742*= g(V&33_= Text and Technology=+.a=1+8+*-_ <=,**1_= \-*=W3)=4+=9-*=G77*1*;&39=\*=9a=W1*(9743.(=\*=98`=^.3,:.89.(8=&3)= Literary Theory’. Digital Humanities Quarterly 1.2. digitalhumanities. 47,2)-62= &((*88*)=3=X*'7:&7>=,*+* _ J:.)4'74`=m.3(*39*_=+3,/_= W1=47*&(.43.824_=www.vicentehuidobro.uchile. (122&3.Q*894+_-92= &((*88*)=3=X*'7:&7>=,*+* _ <= +3,/_= Manifestes: manifeste, manifest, manifes, manife, mani, man, ma, m. R&7.8a=W).9.438=)*=1&=7*;:*=243).&1*_ J:=1*>`=61)4:8_= +3,2_= G3974):(9.43_= G3= Printing of To-day: An Illustrated Survey of Post-war Typography in Europe and the United States, by Oliver H.243=&3)=q:1.:8=Z4)*3'*7,_=+8+/_=^43)43a=R*9*7=;&;.*8_ q&2*8`=J*37>_=+310_=The American_=\-*=;*78.43=4+=+211=7*;.8*)=.3=&:94,7&5-= &3)=9>5*8(7.59=+47=9-*=9*<=o470=W).9.43=4+=+3*1_=Z*574):(*)=.3=+&(8.2.1*= from the original in the Houghton Library, Harvard University, with an .3974):(9.43='>=Z4)3*>=V_=;*33.8_=^43)43`=H(41&7=R7*88_= q4-&33*88*3`= A_= &3)= \_= 947)*389&2_= +33/_= Culture and Value: Philosophy and the Cultural Sciences_=A.7(-'*7,=&2==*(-8*1a=\-*=6:897.&3=^:)<.,= =.,*389*.3=H4(.*9>_ A&718843`=^.3&=&3)=^.3&=g&12_=,**._= Z*;41:9.43=47=Z*2*).&9.43
=6=H9:)>= of Electronic Scholarly Editions on the Web’. Human IT=1_+a=+8.0_=www. -'_8*2'-82.9-2+8121012_5)+= &((*88*)=2=X*'7:&7>=,*+* _ A&>`=g&79.3_=+301_= H9&3)&7)8=+47=W3(4).3,=;&9&=.3=&=9&9:7&1=^&3,:&,*_= Computers and the Humanities=+_/a=+1*811_ A*114,,`= Z43&1)= \_= ,**._= =470.3,= g*247>= 442543*398= .3= =7.*3= H*39*3(*=V*3*7&9.43_=The American Journal of Psychology ++1_-a=-.+80+_ Kincaid, J. Peter, Robert P. Fishburne, Jr., Richard L. Rogers and Brad S. 4-.8842_=+31/_=Derivation of New Readability Formulas for Navy Enlisted Personnel.=g.11.3,943`=\9a=4-.*+=4+=9&;&1=\7&.3.3,_ A.398(-`==&19*7_=+332_=Comprehension: A Paradigm for Cognition_=4&2'7.),*a= Cambridge University Press. ,-* Text and Genre in Reconstruction A.78(-*3'&:2`=g&-*<=V_=,**+_= g&9*7.&1.9>=&3)=g&*7=&3)=H9:Sa==-&9= Electronic Texts Are Made Of’. Electronic Book Review, posted 1 October ,**+`= 24).Q*)= -*= 94;*2'*7= ,**-= &9= www.electronicbookreview.com [accessed 21 April 2004]. <= ,**,_= W).9.3,= 9-*= G39*7+&(*a= \*=9:&1= H9:).*8= &3)= X.789= V*3*7&9.43= Electronic Objects’. TEXT: An Interdisciplinary Annual of Textual Studies +.a=+/8/+_ <= ,**.&_= H4= 9-*= 441478= 44;*7= 9-*= =.7*8a= G39*7+&(*`= 6*89-*9.(8= &3)= @8&'.1.9>_=G3=H(-7*.'2&33`=H.*2*38=&3)=@38<479-=,**.a=/,-8.,_= <= ,**.'_= W=97*2*= G38(7.59.43a= \4<&7)8= &= V7&22&9414,>= 4+= 9-*= J&7)= Drive’. TEXT Technology=+-_,a=3+8+,/_ <=,**2_=Mechanisms: New Media and the Forensic Imagination. I48943a=gG\= Press. ^&3(&8-.7*`= G&3_= +323_= =470.3,= <.9-= \*=98_= R&5*7_= GIg= 6(&)*2.(= 4425:9.3,=443+*7*3(*`=63&-*.2`=,-=q:3*= :35:'1.8-*)=5&5*7 _ <=+330_= W).9.3,=W3,1.8-=Z*3&.88&3(*=W1*(9743.(=\*=98_=G3=X.33*7&3=+330a= ++18.-_= <= +333_= R74'.3,= H-&0*85*&7*8= G).41*(9= .3= Troilus and Cressida= G_-_+8,3_= University of Toronto Quarterly=02_-a=1,2801_ <=,**.&_= 44,3.9.;*=H9>1.89.(8=&3)=9-*=^.9*7&7>=G2&,.3&9.43_=G3=H(-7*.'2&3`= H.*2*38=&3)=@38<479-=,**.a=-318.+._=`=+47)a=I1&(0<*11_ <=,**.'_= 4>'*79*=9:&1.9>_=TEXT Technology ,a=+8+2= ^&3(*`=V_9_`==&3)==_=\_==.11.&28=+301`= 6=V*3*7&1=\-*47>=4+=41&88.Q(&947>= Sorting Strategies, I. Hierarchical Systems,’ Computer Journal`=3a=-1-82* ^&8-1*>`=A&71=H_=+3/2_= 4*7*'7&1=`7,&3.?&9.43=&3)=I*-&;.47=.3=9-*=I7&.3=&3)= Human Behavior’. Proceedings of the Association for Research in Nervous and Mental Diseases=-0a=+8+2_ ^&81*`=R*9*7_=+31+2+30/_=The World We Have Lost. 2nd=*)3_=^43)43a=g*9-:*3_ ^&:+*7`= Z4,*7_= +323_= W).9.43= (7.9.6:*= 8>3459.6:*= 8:7= S(7&3a= 1*=&251*= )*8= Maximes de La Rochefoucauld’. In B*8=S).9.438=(7.9.6:*8_=F74'1T2*8=9*(-3.6:*8= et éditoriaux`=*)_=9.3&=4&9&(-_=++/8,/_=R&7.8a=@3.;*78.9S=)*=I*8&3O43_= ^&;&,3.34`=q4-3_=+330_= Z*&).3,`=H(-41&78-.5=&3)=J>5*79*=9=W).9.438_=Text: Transactions of the Society for Textual Scholarship=2a=+*38,._=Z*5:'_=The Journal of Electronic Publishing=-2+=+331=6:4)_1.'_:2.(-_*):2(,.2929*=929*=98.)=
(-/ *5b;.*<-9*=9b7,3-2&.3b.)34----0./+_***-_++,= &((*88*)=2=X*'7:&7>=,*+* _ Works Cited ,-+ ^*'7&;*`= q*&38^4:.8_= +321_= Z4:,-= ;7&V8a=6= 4-&11*3,*= 94= @3.+472.9>= .3= Editing’. Text: Transactions of the Society for Textual Scholarship`=-a=+-/8.,_ <= +322_= ^S(7.9:7*= .39*77425:*a= 6:*16:*8= 574'1T2*8= 9-*47.6:*8_= G3= Les S).9.438=(7.9.6:*8_=F74'1T2*8=9*(-3.6:*8=*9=S).947.&:=, ed. Nina Catach. 126- .,_=R&7.8a=@3.;*78.9S=)*=I*8&3O43_= <= +33+_= ^->5*79*=9*= *9= 1&;&3989*=9*_= G3= LINX. Texte et ordinateur: les mutations du lire-écrire`= *)_= q&(6:*8=63.8= &3)= q_8^_= ^*'7&;*_= +*+8+1_= ^&= V&7*33*844142'*8a=‰).9.438=)*=1W85&(*=W:745S*3_= <=+33._= ^->5*79*=9*=*9=1&;&3989*=9*_=G3=Les sentiers de la création, ed. Maria Teresa V.&;*7.=&3)=612:9-=V7S8.1143_=+1+823_=Z*,,.4=W2.1.&a=W).?.43.=;.&'&8.8_= ^*7*7`=H*9-_=,**,_= g>=4&8&:'43a=\-*=94;*1=4+=H(-41&78-.5=&3)=m.(947.&3= Philology’. In Error and the Academic Self: The Scholarly Imagination, Medieval to Modern_=+*-81._=9*<=o470a=441:2'.&=@3.;*78.9>=R7*88_= ^*;*19`==.11*2=q_=g_=+323_=Speaking: From Intention to Articulation. Cambridge, g6a=gG\=R7*88_ <=67).=Z4*14+8=&3)=639/*=H_=g*>*7_=+333_= 6=\-*47>=4+=^*=.(&1=6((*88=.3= Speech Production’. Behavioral and Brain Sciences=,,a=+81/_ Lieberman, Philip. 2000. Human Language and Our Reptilian Brain: The Subcortical Bases of Speech, Syntax, and Thought_=4&2'7.),*`=g6a=J&7;&7)= University Press. ^.:`= 61&3_= ,**._= \7&38(*3)*39&1= ;&9&a= \4<&7)8= &= 4:19:7&1= J.8947>= &3)= Aesthetics of the New Encoded Discourse’. Critical Inquiry=-+a=.382._ ^4,&3`=V*47,*`=;&;.)=\_=I&73&7)=&3)=Z4'*79=V_=47&<+47)_=+320_= 4425:9*78 I&8*)= R:'1.(&9.43= 4+= 47.9.(&1= W).9.438= H42*= V*3*7&1= 4438.)*7&9.438= and a Prototype’. In Computers and the Humanities. Today’s Research Tomorrow’s Teaching. Conference Pre-Prints,= *)_= G&3= ^&3(&8-.7*_= -+28,0_= \474394a=@3.;*78.9>=4+=\474394_= ^47)`=q4-3=I_=+313_= H42*=H41;*)=&3)=H42*=@3841;*)=R74'1*28=.3=R7484)>_= Style`=+-_.a=-++8--_= Love, Harold. 2002. 37.':9.3,= 3:9-478-.5_= 4&2'7.),*a= 4&2'7.),*= University Press. g&,:.7*`=^&:7.*=W_=+330_=Shakespearean Suspect Texts: The ‘Bad’ Quartos and Their Contexts_=4&2'7.),*a=4&2'7.),*=@3.;*78.9>=R7*88_ g&3.(&8`=R*9*7=\_=+332_= H4(.&1=H(.*3(*`=J.8947>=4+=R-.14845->_=G3=Routledge Encyclopedia of Philosophy Online`=*)_=W_=47&.,_=^43)43a=Z4:91*),*_=<<<_ 7*5_74:91*),*_(422= &((*88*)=2=X*'7:&7>=,*+* _ ,-, Text and Genre in Reconstruction g&33.3,`= 4-7.8945-*7= ;_= &3)= J.37.(-= H(-39?*_= +333_= Foundations of Statistical Natural Language Processing_=4&2'7.),*`=g6a=gG\=R7*88_ Manovich, Lev. 2001. The Language of New Media_=4&2'7.),*`=g6a=gG\=R7*88_ g&7&39?`= W3.)= q_= +322_= J>549*=9*8= *9= ->5*79*=9*8_= ‰9:)*= ,S3S9.6:*= *9= ,*3*.*33*= )*8= &;&3989*=9*8= *9= ):= 9*=9*= R74:89.*38_= Texte. Revue de (7.9.6:*=*9=)*=9-S47.*=1.S7&.7*=1a=+,38/+_ g&77`=;_=+32,_=Vision_=9*<=o470a=X7**2&3_ g&79*38`=V:39*7_=+33/&_= ;*443897:(9.3,=9-*=\*=9='>=W).9.3,a=Z*R*(9.438= 43=9-*=Z*(*59.43&1=H.,3.Q(&3(*=4+=\*=9:&1=655&7&9:8*8_=G3=Contemporary German Editorial Theory`=*)_=J&38==&19*7=V&'1*7`=V*47,*=I47389*.3=&3)= V.11.&3=I471&3)=R.*7(*_=+,/8/,_=633=67'47a=@3.;*78.9>=4+=g.(-.,&3=R7*88_ <= +33/'_= =-&9= .8= &= \*=9
= 6*2598= &9= ;*Q3.3,= &= 4*397&1= 443(*59= .3= Editorial Theory’. In Contemporary German Editorial Theory, ed. Hans =&19*7= V&'1*7`= V*47,*= I47389*.3= &3)= V.11.&3= I471&3)= R.*7(*_= ,*38-+_= 633=67'47a=@3.;*78.9>=4+=g.(-.,&3=R7*88_ g&8&3.`=R*8.=Z_=+33*_=Norbert Wiener 1894-1964_=I&8*1a=I.70-C:8*7_ g&89*72&3`=g&7,&7*9_=+30,_= \-*=G39*11*(98=9*<=W>*_=G3=Freeing the Mind. 379.(1*8= &3)= B**78= +742= ?-*= ?.2*8= B.9*7&7>= .:551*2*39= M:7.3,= S&7(-8 June 1962_=-28.._=^43)43a=\-*=\.2*8=R:'1.8-.3,=4425&3>_ g(4&79>`= =.11&7)_= ,**,_= 6= 9*9<470= <.9-= &= \-4:8&3)= W397&3(*8a= 4422*39&7>= .3= &3= W1*(9743.(=6,*
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=\-*=61+7*)=A47?>'80.= g*247.&1=^*(9:7*=+30*_=G3=Embodiments of Mind.=4&2'7.),*=g6a=gG\= R7*88_=<<<_,*3*7&18*2&39.(8_47,2= &((*88*)=+1=657.1=,**3 `=R74,7&28= & Publications, Programs, Korzybski Memorial Lectures. Works Cited ,-- g(;&>9*7`=g&70_=,**/_= G3=R7&.8*=4+=R74(*):7&1=g&70:5a=H42*=\-4:,-98= on the Encoding and Rendering of Texts’. Consortium for Computers in the Humanities / Consortium pour ordinateurs en sciences humaines (COCH-COSH) Annual Conference, CFHSS Congress, University of Western Ontario, London, Ontario. g(;*724`=633*_=+330_=Samuel Johnson: Dictionary of the English Language on CD-ROM_=4&2'7.),*a=4&2'7.),*=@3.;*78.9>=R7*88_ g(V&33`=q*742*=q_=+32-_=A Critique of Modern Textual Criticism_=4-&714*8;.11*= &3)=^43)43a=\-*=@3.;*78.9>=R7*88=4+=m.7,.3.&_ <=+33+_=The Textual Condition_=R7.3(*943a=R7.3(*943=@3.;*78.9>=R7*88_ <=+33._= \-*=44251*9*==7.9.3,8=&3)=R.(9:7*8=4+=;&39*=V&'7.*1=Z488*.a=6= Hypermedia Research Archive’. Text: Transactions of the Society of Textual Scholarship=1a=3/8+*/_ <= +33/_= \-*= Z&9.43&1*= 4+= J>5*79*=9_= <<<,_.&9-_;.7,.3.&_*):25:'1.(2 //2,+27&9.43&1*_-921`= )&9*)= 0= g&>= +33/= &((*88*)= 2= X*'7:&7>= ,*+* _= Z*5:'1.8-*)=&8=(-&59*7=9<4=4+=g(V&33=,**+_ <=+330&_= \-*=Z&9.43&1*=4+=J>5*7\*=9_=TEXT: An Interdisciplinary Annual of Textual Studies=3a=++8-,_ <= +330'_= G2&,.3.3,= =-&9= o4:= ;439= A34=,**3 _ <= +331_= \-*= Z&9.43&1*= 4+= J>5*79*=9_= G3= Electronic Text: Investigations in Method and Theory`=*)_=A&9-7>3=H:9-*71&3)_=+38.0_=`=+47)a=41&7*3)43= Press. <=,**+_=T&).&39=?*=9:&1.9>_=B.9*7&9:7*=&V*7=9-*=9471)=9.)*=9*'_=9*<=o470a= Palgrave Macmillan. <=,**.&_= 6=949*=43=9-*=4:77*39=H9&9*=4+=J:2&3.9.*8=H(-41&78-.5_=Critical Inquiry=-*a=.*38+-_ <= ,**.'_= g&70.3,= \*=98= 4+= g&3>= ;.2*38.438_= G3= H(-7*.'2&3`= H.*2*38= &3)=@38<479-=,**.a=+328,+1_ <= ,**/&_= G3+472&9.43= \*(-3414,>= &3)= 9-*= \74:'1*)= J:2&3.9.*8_= TEXT Technology=+._,a=+*/8,+_ <= ,**/'_= ?-*= :4251*9*= 97.9.3,8= &3)= F.(9:7*8= 4+= M&39*= U&'7.*1= T488*.= 3= Hypermedia Research Archive. <<<_7488*.&7(-.;*_47,2= &((*88*)= +3= q&3:&7>=,**3 _ ,-. Text and Genre in Reconstruction <=,**1_= ;&9&'&8*`=G39*7+&(*`=&3)=67(-.;&1=X*;*7_=PMLA=+,,_/a=+/2283,_ g(V:70`= J_= &3)= q_= g&(;43&1)_= +310_= J*&7.3,= ^.58= &3)= H**.3,= m4.(*8_= Nature= ,0-a= 1.08.2_= H**= \-*= g(V:70= WS*(9_= www.faculty.ucr. *):25748*3'1:2mHg(V:70_-921= &((*88*)=2=X*'7:&7>=,*+* _= g(A*3?.*`= +3332+32/_= Bibliography and the Sociology of Texts_= 4&2'7.),*a= Cambridge University Press. <=,**,2+33,_= =-&98=R&89=.8=R7414,:*a=\-*=I.'1.4,7&5-.(&1=H4(.*9>=&3)= the History of the Book’. In Making Meaning: ‘Printers of the Mind’ and Other Essays`= *)_= R*9*7= ;_= g(;43&1)= &3)= g.(-&*1= X_= H:&7*?_= ,/381/_= I48943a=@3.;*78.9>=4+=g&88&(-:8*8=R7*88_= g(^*4)`= Z&3)&11= &8= Z&3)42= 414:) _= +32,_= \-*= g&77.&,*= 4+= V44)= &3)= Bad Quartos’. Shakespeare Quarterly=--_.a=.,+8-+_ g*)&<&7`= R*9*7_= +32,_= J>549-*8.8= &3)= G2&,.3&9.43_= G3= Pluto’s Republic. `=+47)a=`=+47)=@3.;*78.9>=R7*88_ g.1.(`=^4:.8=\_=+300_= \-*=9*=9=H9*5_=Computers and the Humanities=+_+a=-80_= g.11*7`=I_=^_=&3)=4_=W_=J4:_=,**._= R4797&.98=4+=679.898a=W2*7,*3(*=4+=m.8:&1= Creativity in Dementia’. Archives of Neurology=0+a=2.,8.._ g.11*7`=V*47,*=6_=+3/0_= \-*=g&,.(&1=9:2'*7=H*;*3`=R1:8=47=g.3:8=\<4a= Some Limits on our Capacity for Processing Information’. Psychological Review=0-a=23831_= Modiano, R., L. F. Searle and P. Shillingsburg, eds. 2004. Voice, Text, Hypertext: Emerging Practices in Textual Studies_=H*&1*a=@3.;*78.9>=4+==&8-.3,943=R7*88_ g439+479`= 9.(0_= ,**._= 4439.3:4:8= R&5*7a= \-*= W&71>= g&9*7.&1.9>= &3)= Workings of Electronic Literature’. The Modern Language Association 633:&1= 443;*39.43`= R-.1&)*15-.&`= ,2= ;*(*2'*7= ,**.`= 3.(02_(422 <7.9.3,2*88&>82(439.3:4:85&5*721&_-921= &((*88*)=2=X*'7:&7>=,*+* _ g447*`= 4-7.8945-*7`= 61&3= V&1*>`= &3)= H9&3= Z:*(0*7= ,**2_= Z*,.89*78= 4+= @8&,*a=Z*8:198=+742=@8&'.1.9>=\*89.3,=4+=9-*=W1*(9743.(=9*<=m&7.47:2= Shakespeare.’ Paper presented at the Society for Digital Humanities/ H4(.S9S=54:7=1S9:)*=)*8=2S).&8=.39*7&(9.+8=&33:&1=(43+*7*3(*=&9=9-*=,**2= Congress of the Social Sciences and Humanities, University of British 441:2'.&_=q:3*=,8-`=,**2_ g47*.`=X7&3(4_=,***_= 443/*(9:7*8=43==471)=^.9*7&9:7*_=V*<=B*V=T*;.*< +a=/.802_ <=,**/_=Graphs, Maps, Trees: Abstract Models for a Literary History_=^43)43a=m*784_ Works Cited ,-/ g:7)4(-`=q*&3=G7.8_=+3/._=Under the Net.=^43)43a=4-&4=&3)==.3):8_ <=+312_ The Sea, The Sea_=^43)43a=4-&4=&3)==.3):8_ <=+32*_=Nuns and Soldiers_=^43)43a=4-&4=&3)==.3):8_= <=+32-_=The Philosopher’s Pupil_=^43)43a=4-&4=&3)==.3):8_ <=+322_=The Book and the Brotherhood_=^43)43a=4-&4=&3)==.3):8_ <=+33*_=The Message to the Planet_=^43)43a=4-&4=&3)==.3):8_= <=+33._=The Green Knight_=^43)43_=4-&4=&3)==.3):8_ <=+33/_=Jackson’s Dilemma_=^43)43a=4-&4=&3)==.3):8_ g>8&0`=W)<&7)=;_=+300_=Speech Pathology and Feedback Theory_=H57.3,Q*1)= G^a=4-&71*8=4_=\-42&8_ 9&,*1`= 61*=&3)*7= &3)= 4-7.8945-*7= H_= =44)_= ,**/_= G39*7;*39.438a= Toward a New Model of Renaissance Anachronism’. Art Bulletin 21_-a=.*-8+/_ 9*1843`=\-*4)47=J_=+321_=Literary Machines. South Bend IN. <= ,**-_= 6= X.1*= H97:(9:7*= +47= 9-*= 44251*=`= 9-*= 4-&3,.3,`= &3)= 9-*= Indeterminate’. In The New Media Reader, ed. Noah Wardrip-Fruin and 9.(0=g439+479_=+-.8./_=4&2'7.),*=g6a=gG\=R7*88_=`7.,.3&1=5:'1.(&9.43= in Association for Computing Machinery: Proceedings of the 20th National Conference`=+30/`=*)_=^*<.8==.33*7`=2.8+**_ 9*891*`= W'*7-&7)`= A:79= 61&3)= *9= &1_= +33-_= Novum Testamentum Graece. H9:,&79a=;*:98(-*=I.'*1,*8*118(-&V_ 9:3'*7,`=V*4S7*>_=+330_= X&7*<*11=94=9-*=G3+472&9.43=6,*_=G3=The Future of the Book`=*)_=V*4S7*>=9:3'*7,_=+*-8-2_=I*70*1*>=46a=@3.;*78.9>=4+= California Press. `-2`= \_= V_`= J_= g:11*7`= q_= I7&&0= &3)= q_= I4-1_= +33/_= 4148*82*8-*)= R7*;&1*3(*=Z&9*8=4+=;.S*7*39=H9&,*8=&8=&=\441=94=@3(4;*7=9-*=Z&9*=4+= 61?-*.2*78= ;.8*&8*87*1&9*)= 9*:74Q'7.11&7>= 4-&3,*8_= Neuroscience 0.a=,*38+1_ `7*`= W85*3= H_= +333_= W1*09743.80= 5:'1.8*7.3,a= +4780/*11.,*= :9,&;*+472*7= og forholdet til grunntekst(er) of endelig(e) tekst(er)’ in Vid Texternas Vägskäl. Textkritiska uppsatser`=*)_=^&78=I:72&3=&3)=I&7'74=H9F-1*=H/3*11_= +-28.._=H94(0-412a=H;*380&=m.*7-*988&2+:3)*9_= <=,**._= g430*>=I:8.3*88=:=47==-&9=.8=&3=W).9.43
=Literary and Linguistic Computing=+3_+a=-/8.-_ ,-0 Text and Genre in Reconstruction ``==.1-*12_=+322_= H4V<&7*=Z*6:.7*2*398=+47=4425:9*786.)*)=47.9.(&1= Editing’. In Editing, Publishing and Computer Technology: Papers given at the Twentieth Annual Conference on Editorial Problems, ed. S. Butler and =_R_=H943*2&3_=2+8+*-_=9*<=o470a=6gH=R7*88_= `=+47)= @3.;*78.9>= R7*88_= ,**1_= I**7= <7.9.3,_= 680`=+47)_(42`= <<<_ &804=+47)_(422'**7<7.9.3,251&.3*3,1.8-28*39*3(*1*3,9-2= &((*88*)= 2= February 2010]. R *,:*8 `= X 7&301.3 = q_= +30/_= W).947.&1a= 4425:9*7= Z*8*&7(-= .3= 9-*= Humanities’. The Journal of Higher Education=-0_,=X*'7:&7>a=+*/8*2_ R*9*7843`=^_=Z_=&3)=g_=q_=R*9*7843_=+3/3_= H-47989*72=Z*9*39.43=4+=G3).;.):&1= m*7'&1=G9*28_=Journal of Experimental Psychology=/2a=+3-:32_ R.(-1*7`=6_=+33/_= \7&38(7.59.438`=\*=98=&3)=G39*757*9&9.43_=G3=q4-&33*88*3= &3)=947)*389&2=+33/a=03*83/_ <= &3)= V_= ^&3*89*)9_= ,**1_= J:2&3.89.80= +47803.3,= 4,= 5:'1.8*7.3,= .= *3= ).,.9&1=0439*089a=W:745*.80*=Q1484Q2.1/ *7=97*00*7=;*081*7=5F=8*2&39.80= metadata-tagging’. Human IT=3_,a=,38/+`=*9/&389_-'_8*2'-82.9-22,832&5,1_ 5)+=&'897&(9=.3=W3,1.8-= &((*88*)=2=X*'7:&7>=,*+* _ R.*7(*`= q4-3= Z_= +32*2+30+_= An Introduction to Information Theory: Symbols, Signals & Noise_=Z*;_=*)3_=9*<=o470a=;4;*7_ R.30*7`=H9*;*3_=+33._=The Language Instinct: How the Mind Creates Language. 9*<=o470a=J&75*74411.38_ R1&(-9&`=I4)4_=+333_= G3=I*9<**3=9-*=Z4>&1==&>=4+=R-.1414,>=&3)=`((:19= H(.*3(*a=H42*=Z*2&708=6'4:9=V*72&3=;.8(:88.43=43=\*=9=44389.9:9.43= in the Last Ten Years’. TEXT=+,a=-+8.1_ R41&3>.`= g.(-&*1_= +303_= Knowing and Being_= W)_= g&7/47.*= V7*3*_= 4-.(&,4a= University of Chicago Press. Poore, Quintin E., Lisa J. Rapport, Darren R. Fuerst and Pamela Keenan. ,**0_= =47)=^.89=V*3*7&9.43=R*7+472&3(*=.3=61?-*.2*78=;.8*&8*=&3)= m&8(:1&7=;*2*39.&_=Aging, Neuropsychology and Cognition=+-_+=g&7(-a= 2083._ R455*7`=Z_=A_=&3)=q_=4_=W((1*8_=+311_=The Self and its Brain.=9*<=o470a=H57.3,*78 m*71&,_ R4714(0`= J_= +33/_= =->= 4&39= 47.9.(8= Z*;*&1= =-*9-*7= &= I440= .8= =479-= Z*&).3,
=The Sunday Times, 22 October. R483*7`=g.(-&*1=G_=&3)=g&7(:8=W_=Z&.(-1*_=+33._=Images of Mind_=9*<=o470a= H(.*39.Q(=62*7.(&3_= Works Cited ,-1 R4*7`= Z48&33*= V_= +32/_= Z*&843&'1*= 4425:9*78&88.89*)= Z*8*&7(-= 43= ^.9*7&7>=\*=98a=\-*=R74'1*2=4+=g*88>=;&9&=H*98 _=G3=B&=(7.9.6:*=1.S7&.7*= et l’ordinateur - Literary Criticism and the Computer, ed. Bernard Derval &3)=g.(-*1=^*34'1*_=3/8++*_=g4397S&1a=;*7;&1=&3)=^*34'1*_== Z&'.34;.9?`= ^&:7*3= &3)= 6'7&-&2= V*.1_= ,**._= G3974):(9.43_= G3= Memory Bytes: History, Technology, and Digital Culture, ed. Lauren Rabinovitz and 6'7&-&2=V*.1_=+8+3_=;:7-&2=94a=;:0*=@3.;*78.9>=R7*88_= Z**)`=4-&714*=g_=&3)=9&9-&3.*1=G_=;:71&(-_=+332_= 949*=43=G3+472&9.43= Transfer Rates in Human Communication’. Presence=1_/=`(94'*7a=/*38 +2_ Z*3*&7`= 6_= +331_= `:9= 4+= R7&=.8a= \-7**= g*9&\-*47.*8= 4+= \*=9:&1.9>_= G3= H:9-*71&3)=+331a=+*18,0_ <=q*742*=g(V&33=&3)=H:8&3=J4(0*>_=+333_=What is Text?: A Debate on the Philosophical and Epistemological Nature of Text in the Light of Humanities Computing Research`= R48.9.43= 5&5*78= 47.,.3&11>= 57*8*39*)= &9= 9-*= +333= 64J26^^4= 443+*7*3(*_= <<<_-:2&3.9.*8_:&1'*79&_(&2H:8&3J4(0*>2 &(-&11(33_-92= &((*88*)=2=X*'7:&7>=,*+* _ Z.(-&7)8`=G_=6_=+3,._=Principles of Literary Criticism. International Library of R8>(-414,>`=R-.14845->=&3)=H(.*39.Q(=g*9-4)_=^43)43a=A_=R&:1`=\7*3(-`= Trubner & Company, Ltd. Z.(-&7)8`=\-42&8_=+33-_=The Imperial Archive: Knowledge and the Fantasy of Empire_=^43)43a=m*784_ Z4'*798`=J*1*3=G_=+3/3_= H9_=6:,:89.3*=.3=H9_=q*742*8=H9:)>a=4&75&((.48= Painting and Its Legendary Source’. Art Bulletin=.+a=,2-831_ Robinson, Peter, ed. <=+33._= 4411&9.43`=\*=9:&1=47.9.(.82`=R:'1.(&9.43`=&3)=9-*=4425:9*7_=Text: Transactions of the Society for Textual Scholarship=1a=1183._ <=+330&_= G8=\-*7*=&=\*=9=.3=\-*8*=m&7.&398
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= In ALLC-ACH ‘96 Abstracts. University of Bergen June 25-29 1996_= 2+8,_= I*7,*3a=@3.;*78.9>=4+=I*7,*3_ <=+330(_=The Wife of Bath’s Prologue on CD-ROM_=4&2'7.),*a=4&2'7.),*= University Press. <=,***_= \-*=`3*=\*=9=&3)=9-*=g&3>=\*=98_=Literary and Linguistic Computing +/2+a=/8+._ ,-2 Text and Genre in Reconstruction <= ,**,_= =-&9= .8= &= 47.9.(&1= ;.,.9&1= W).9.43
= Variants. The Journal of the European Society for Textual Scholarship=+a=.-80,_ <= ,**-&_= =-*7*= =*= 67*= <.9-= W1*(9743.(= H(-41&71>= W).9.438`= &3)= Where We Want to Be’. In Jahrbuch für Computerphilologie /a= +,/8.0. (425:9*75-.1414,.*_:3.82:*3(-*3_)*2/,*-274'.3843_-921= &((*88*)= +3= q&3:&7>=,**3 _ <=,**-'_= \-*=J.8947>`=;.8(4;*7.*8=&3)=6.28=4+=9-*=4&39*7':7>=\&1*8=R74/*(9_= The Chaucer Review=-2_,a=+,08-3_=R7*57.39=&9=www.canterburytalesproject. org/pubs/PR-ChauRev.pdf= &((*88*)=+3=q&3:&7>=,**3 _ <= ,**._= = =-*7*= =*= 67*= <.9-= W1*(9743.(= H(-41&71>= W).9.438`= &3)= =-*7*= =*= =&39= 94= I*_= G3= Jahrbuch für Computerphilologie /_= +,-8 +.-`= computerphilologie.uni-muenchen.de/ejournal.html= &((*88*)= 2= February 2010]. <=,**1&_= W1*(9743.(=W).9.438==-.(-==*=J&;*=g&)*=&3)==-.(-==*==&39= to Make’. In Digital Philology and Medieval Texts, ed. Arianna Ciula and X7&3(*8(4=H9*11&_=+8+,_=R.8&a=R&(.3.=W).947*_= <=,**1'_= 4:77*39=;.7*(9.438=.3=9-*=g&0.3,=4+=;.,.9&1=W).9.438a=\4<&7)8= Interactive Editions’. Ecdotica=.a=+1083+_ <=,**1(_= 6=H5*(.Q(&9.43=94<&7)8=;.897.':9*)=W).9.438=,_+_=;7&V=&9=<<<_.98**_ '-&2_&(_:02;.897.':9*)W).9.4382@\;,+_5)+= &((*88*)=+3=q&3:&7>=,**3 _ <= ,**2_= ;4(:2*39.3,= \*=98= &3)= \*=9= H4:7(*8= +47= W=548:7*= &3)= Retrieval’. Working paper at vmr.bham.ac.uk/media/vmrdocuments/ &7(-.9*(9+472&1*3+**2_5)+= &((*88*)=2=X*'7:&7>=,*+* _ <=,**3_= =-&9=\*=9=Z*&11>=.8=949`=&3)==->=W).9478=J&;*=94=^*&73=94=H<.2_= Literary and Linguistic Computing ,._+a=.+8/,_ <=&3)=g&7.1>3=;**,&3_=+33._= \-*=W1*(9743.(=W).9.43_=G3=;_=V_=H(7&,,=&3)= P. E. Szarmach (eds.) Editing Old English Texts_= =44)'7.),*`= H:S410a= Boydell and Brewer. Z4'.38438Z.*,1*7`=V7*,47>=&3)=I7.),*9_=,**._=Cognitive Psychology: Applying the Science of the Mind. I48943a=R*&7843_= Z4(0<*11`=V*4S7*>_=,**-_= V7&):&9*=W):(&9.43=.3=J:2&3.9.*8=4425:9.3,_= Computers and the Humanities=-1a=,.-8.._ Z48*`= ;&3.8= Z48*`= *)_= +331_= Ulysses: A Reader’s Edition_= ^43)43a= R.(&)47= Press. Z48*3'&(-=X4:3)&9.43`=R-.1.5=J_=&3)=6_=H_==_=+31/_=Ulysses: A Facsimile of the Manuscript_=-=m418_=9*<=o470a=`(9&,43=I4408`=+31/_ Works Cited ,-3 Z488`= ;43&1)= q7_= +32+_= 6.)8= +47= W).9.3,= =&1)*3_= Computers and the Humanities=+/_-a=+//80,_ Z:)2&3`=q48*5-_=+332_= \-*=H9&9*=4+=6:9-478-.5=67.':9.43=H9:).*8a=H42*= Problems and Solutions’. Computers and the Humanities=-+a=-/+80/_ Z:)2&3`= q48*5-_= ,***_= 9438\7&).9.43&1=6:9-478-.5=67.':9.43= H9:).*8a= G,3.8=X&9::8=47=Z48*&=H943*
=BSANZ Bulletin [Bibliographical Society 4+=6:897&1.&=&3)=9*<=*&1&3)=I:11*9.3 =,.a=+0-810_ Z>&3`= g&7.*8^&:7*_= +333_= 4>'*785&(*`= m.79:&1.9>`= &3)= 9-*= \*=9_= G3= Cyberspace Textuality: Computer Technology and Literary Theory, ed. Marie- ^&:7*=Z>&3_=128+*1_=I1442.3,943a=G3).&3&=@3.;*78.9>=R7*88_= Sabor, Peter. 2004. Introduction to The History of Ophelia, by Sarah Fielding. R*9*7'474:,-=`39&7.4a=I74&);.*<_= H&3948`= R&:14= q_= &3)=61'*79= 9_= I&)7*_= +33._= 6:942&9.(=4-:30= ;*9*(9.43= .3=J:2&384425:9*7=G39*7&(9.43_=03811_=Proceedings of the Workshop on Advanced Visual Interfaces`=I&7.`=G9&1>`=+8.=q:3*=+33._=9*<=o470a=6884(.&9.43= +47=4425:9.3,=g&(-.3*7>_=<<<_&(2_47,= &((*88*)=1=X*'7:&7>=,*+* _ H(-7*.'2&3`= H:8&3_= ,**,_= 4425:9*78g*).&9*)= \*=98= &3)= \*=9:&1.9>a= Theory and Practice’. Computers and the Humanities=-0a=,2-83-_ <= ,**-_= 9*=9= V*3*7&9.43= H9:)*39= Z*84:7(*8a= 6= H5*(:1&9.;*= R7.2*7_= Electronic Book Review`=5489*)=2=94;*2'*7=,**-`=24).Q*)=+-=94;*2'*7= ,**-_=www.electronicbookreview.com= &((*88*)=2=X*'7:&7>=,*+* _ <= Z&>= H.*2*38= &3)= q4-3= @38<479-`= *)8_= ,**._= A Companion to Digital Humanities_=`=+47)a=I1&(0<*11_ H*&71*`= q4-3_= +32*_= g.3)8`= I7&.38= &3)= R74,7&28_= Behavioral and Brain Sciences=-_-a=.+18/1_ H-&0*85*&7*`==.11.&2=&3)=49-*78_=+3+*_=The Book of Sir Thomas More, Harleian MSS. 7368, c. 1590-96. Tudor Facsimile Texts, Folio series [London]. H-&3343`= 4_= W_= +3.2_= 6= g&9-*2&9.(&1= \-*47>= 4+= 4422:3.(&9.43_=The Bell System Technical Journal`=q:1>8`(94'*7`=,1a=-138.,-`=0,-8/0_==(2_'*1181&'8_(422 (22282<-&928-&3343)&>28-&3343+3.2_5)+= &((*88*)=2=X*'7:&7>=,*+* _= H-.11.3,8':7,`=g.7.&2=q_=+32-_= Z*1>.3,=43=9-*==*.7)a=;&3,*78=.3=W).9.3,= by Computer’. In Sixth International Conference on Computers and the Humanities`=*)_=H&7&-=A_=I:7943=&3)=;4:,1&8=;_=H-479_=0/.8/2_=Z4(0;.11*`= g&7>1&3)a=4425:9*7=H(.*3(*=R7*88_= H-.11.3,8':7,`= R*9*7= ^_= +32*_= \-*= 4425:9*7= &8= Z*8*&7(-= 688.89&39= .3= Scholarly Editing’. B.9*7&7>=T*8*&7(-=V*<81**7=/2+a=-+8./_ 240 Text and Genre in Reconstruction <= +33-_= V*3*7&1= R7.3(.51*8= +47= W1*(9743.(= H(-41&71>= W).9.438_= sunsite. berkeley.edu/MLA/principles.html &((*88*)=+3=q&3:&7>=,**3 _ <= +330&_= Scholarly Editing in the Computer Age. Theory and Practice. Third Edition_=633=67'47a=@3.;*78.9>=4+=g.(-.,&3=R7*88_ <= +330'_= R7.3(.51*8= +47= W1*(9743.(= 67(-.;*8`= H(-41&71>= W).9.438`= &3)= \:947.&18_=G3=X.33*7&3=+330a=,-8-/_ <= ,**/_= R7&(9.(&1= W).9.438= 4+= ^.9*7&7>= \*=98_= Variants. The Journal of the European Society for Textual Scholarship=.a=,38//_ <=,**0&_= \-*=;&30=4*11&7=4+=W1*(9743.(=\*=98_=G3=From Gutenberg to Google: Electronic Representations of Literary Texts. +-28/*_=4&2'7.),*a=4&2'7.),*= University Press. <=,**0'_=From Gutenberg to Google: Electronic Representations of Literary Texts. 4&2'7.),*a=4&2'7.),*=@3.;*78.9>=R7*88_ <= ,**3_= J4<= ^.9*7&7>= =4708= W=.89a= 443;*3.*39= H(-41&71>= W).9.438_= G3= H5*(.&1= 41:89*7a= ;.,.9&1= \*=9:&1= H9:).*8a= R&89`= R7*8*39= &3)= X:9:7*`= ed. Amy Earhart and Maura Ives. Digital Humanities Quarterly= -_-_= ).,.9&1-:2&3.9.*8_47,2)-62;412-2-2****/.2****/._-921= &((*88*)= 1= February 2010]. H.*2*38`= Z&>= V_= +330_= \-*= 9*<= H(-41&71>= W).9.43= .3= 9-*= 6(&)*2.(= Marketplace’. Text Technology=0_+a=-/8/*_ <= ,**+_= @3*).9.3,= &3)= 9438W).9.438_= 33,1.&= 8= X*.98N7.V= +37= *3,1.8N*= Philologie= ++3_-a= .,-8//_= Z*57.39`= <.9-= &)).9.43&1= .3974):(9.43`= 4+= H-&0*85*&7*&3=655&7&9:8
=W=51.(.9=\*=9:&1=H97:(9:7*8=&3)=9-*=G251.(.9= Navigation of Accumulated Knowledge’. TEXT: An Interdisciplinary Annual of Textual Studies,=+.=,**,a=,*38.*_=W1*(9743.(=57*857.39=5:'1.8-*)= in Surfaces`= 22+*0a= +8-._= <<<_5:2_:24397*&1_(&27*;:*828:7+&(*82;4122 8.*2*38_5)+= &((*88*)=2=X*'7:&7>=,*+* _ <=,**/_= \*=9=63&1>8.8=&3)=9-*=;>3&2.(=W).9.43
=6==470.3,=R&5*7`=I7.*R>= Articulating Some Concerns with an Algorithmic Approach to the Electronic Scholarly Edition’. Text Technology=+._+a=3+82=9*=*(-3414,>_ 2(2&89*7_(&25)+2;41+.+*3_5)+= &((*88*)=2=X*'7:&7>=,*+* _ <=&3)=H:8&3=H(-7*.'2&3`=*)8_=,**1_=A Companion to Digital Literary Studies. `=+47)a=I1&(0<*11_ H.,:7)`=I*3,9`=g&98=W*,8`14+8843=&3)=q4489=;&3==*_*7_=,**._= =47)=^*3,9-`= H*39*3(*=^*3,9-=&3)=X7*6:*3(>=:=.5+=Z*;.8.9*)_ Studia Linguistica=/2_+= 657.1a=-18/,_ Works Cited 241 Solopova, Elizabeth, ed. 2000. The General Prologue on CD-ROM_=4&2'7.),*a= Cambridge University Press. H5:7,*43`=4&741.3*_=+3-*_= \-*=G2&,*7>=.3=9-*=H.7=\-42&8=g47*=X7&,2*39_= Review of English Studies 0a=,/181*_ H6:.7*`=^&77>=Z_=+321_=Memory and Brain_=`=+47)a=`=+47)=@3.;*78.9>=R7*88_ Stubbs, Estelle, ed. 2001. The Hengwrt Chaucer Digital Facsimile,=^*.(*89*7a= Scholarly Digital Editions. H:9-*71&3)`=A&9-7>3`=*)_=+331_=Electronic Text: Investigations in Method and Theory_=`=+47)a=41&7*3)43=R7*88_ H<*11*7`= q4-3_= +322_= 44,3.9.;*= ^4&)= ):7.3,= R74'1*2= H41;.3,a= WS*(98= 43= Learning’. Cognitive Science=+,a=,/182/_ H<*11*7`=q4-3_=,**0_= 4422*39&7>a=\-*==470*)=W=&251*=WS*(9=&3)=J:2&3= Cognition’. Learning and Instruction=+0a=+0/803_ \&38*11*`= V_= \-42&8_= +323_= Z*574):(9.438= &3)= H(-41&78-.5_= Studies in Bibliography=.,a=,/8/._ <= +323_= The Rationale of Textual Criticism_= R-.1&)*15-.&a= @3.;*78.9>= 4+= Pennsylvania Press. <=+33*_= \*=9:&1=47.9.(.82=&3)=;*(43897:(9.43_=Studies in Bibliography=.-a= +8--_ <=+33+_= \*=9:&1=47.9.(.82=&3)=^.9*7&7>=H4(.414,>_=Studies in Bibliography ..a=2.8+.._ <=+33/&_= \-*=m&7.*9.*8=4+=H(-41&71>=W).9.3,_=G3=Scholarly Editing. A Guide to Research`=*)_=;_4_=V7**9-&2_=38-,_=9*<=o470a=\-*=g4)*73=^&3,:&,*= Association of America. <=+33/'_= 47.9.(&1=W).9.438`=J>5*79*=98`=&3)=V*3*9.(=47.9.(.82_=The Romanic Review=20_-a=/2+83-_ <=,**0_= X47*<47)_=G3=I:73&7)`=`A**S*=&3)=@38<479-=,**0a=+80_=www. 9*.8(_47,26'4:9267(-.;*3*<2W\W2R7*;.*<29&38*11*_=21= = &((*88*)= 2= February 2010]. \&>147`= V&7>_= +322_= \-*= Z-*947.(= 4+= \*=9:&1= 47.9.(.82_= TEXT: An Interdisciplinary Annual of Textual Studies .a=-38/1_ \-&11*7`= g&3+7*)_= +330_= \*=9= &8= ;&9&= \>5*_= G3= ALLC-ACH ‘96 Abstracts. University of Bergen June 25-29 1996_=,/,8/._=I*7,*3a=@3.;*78.9>=4+=I*7,*3_ \4))`= Z_= ,**+_= Z*&1.82= ;.8&;4<*)a= ;.8(4:78*8= 4+= g*247>= &3)= J.,-= G3(&73&9.438=.3=q&(08438=;.1*22&_=Modern Fiction Studies=.1a=01.83/_ 242 Text and Genre in Reconstruction \:V*`=W)<&7)_=+331_=Visual Explanations: Images and Quantities, Evidence and Narrative.=4-*8-.7*=4\a=V7&5-.(8=R7*88_ \:7.3,`=6_=g_=+3/*_= 4425:9.3,=g&(-.3*7>=&3)=G39*11.,*3(*_=Mind=/3_,-0a= .--80*_ @9WH4`= @3.9*)= 9&9.438= W):(&9.43&1`= H(.*39.Q(`= &3)= 4:19:7&1= `7,&3.?&9.43_= ,**-_= Charter on the Preservation of the Digital Heritage. 5479&1_:3*8(4_47,2(.2*32+.1*82+--012+*1**++/3++4-&79*7*3_5)+2 4-&79*7*3_5)+= &((*88*)=2=X*'7:&7>=,*+* _ ;&3=)*7==**1`=6)7.&&3_=,**/_= I.'1.4,7&5->=+47=9-*=9*<=g*).&_=Quærendo -/_+8,a=308+02_ m&3-4:*`= W)<&7)_= ,**0_= R748*= X.(9.43= &3)= g4)*73= g&3:8(7.598_= Limitations and Possibilities of Text-encoding for Electronic Editions’. G3=I:73&7)`=`A**S*=&3)=@38<479-=,**0a=+0+82*_=www.tei-c.org/About/ 67(-.;*3*<2W\W2R7*;.*<2;&3-4:*_=21= &((*88*)=2=X*'7:&7>=,*+* _ m.,1.4((4`=V_=+331_= V7&22&9.(&1=V*3)*7=.8=43=9-*=\.5=4+=G9&1.&3=\43,:*8_= Psychological Science=2a+._ m.3(*39.`= =&19*7= V_= +33*_= What Engineers Know and How they Know It: Analytical Studies from Aeronautical History_= I&19.247*a= q4-38= J450.38= University Press. =*39*78)47+`=A&71=R_=,**0_= `3=Momtanish=G3-:2&3.9>=.3=H.7=\-42&8= g47*_=Studies in Philology=+*-a=+1282/_ =*789.3*`= R&:1_= ,**2_= R&89= .8= R7414,:*a= W1*(9743.(= 9*<= m&7.47:2= Shakespeare’. Shakespeare ._-a=,,.8-0_ =-.1*8*&`= I_= =_= ,**,_= X&18*= g*247>= &3)= 9-*= ;.8(7*5&3(>8&7.':9.43= J>549-*8.8a=\-*=R74949>5*8+&2.1.&7.9>=G11:8.43_=Journal of Experimental Psychologya=General=+-+a=308++/_ =.*3*7`=947'*79_=+3/*2+301_=The Human Use of Human Beings: Cybernetics and Society_=9*<=o470a=J*&789_ <=+3/0_=I Am a Mathematician: The Later Life of a Prodigy_=V&7)*3=4.9>=9oa= Doubleday. <=+30+2+3.2_=Cybernetics or Control and Communication in the Animal and the Machine_=,3)_=*)3_=4&2'7.),*`=g6a=gG\=R7*88_ =.,3*7`=W:,*3*=R_=+30*_= \-*=@37*&843&'1*=WS*(9.;*3*88=4+=g&9-*2&9.(8= in the Natural Sciences’. Richard Courant Lecture in Mathematical Sciences. Communications on Pure and Applied Mathematics=+-_**+8+.a=+8+._ Works Cited ,.- =.1843`=6_=9_=,**-_=Iris Murdoch as I Knew Her_=^43)43a=J:9(-.3843_ =.3)*1'&3)`= =.1-*12_= +3322+23._= J.8947>= &3)= 9&9:7&1= H(.*3(*_= \7&38_= James T. Lamiell. Theory and Psychology=2_+a=/8,,_ =44)`=61'*79=I_=+3//_=A Textbook of Sound. -7)=*)3_=9*<=o470=g&(2.11&3_ =..,`=H:8&3_=+312_= \-*=4425:9*7=&3)=9-*=443(*59=4+=\*=9_=Computers and the Humanities=++a=,++8+/_ =441+`=m.7,.3.&_=+310_=?-*=9&;*8a=?-*=?<4=Z414,7&5-=M7&V8_=W)_=q_==_=V7&-&2_= ^43)43a=\-*=J4,&79-=R7*88_ =441+`=m.7,.3.&_=,**0_=The Waves_=G397_='>=633_=g411>=J.9*b=*)_=g&70=J:88*>_= `71&3)4a=J&7;*89=2=J&7(4:79_ o&9*8`=X7&3(*8=6_=+300_=The Art of Memory_=4-.(&,4a=@3.;*78.9>=4+=4-.(&,4= Press. *0.`=H*2.7_=,**0_= \-*=9*:7414,>=4+=62'.,:.9>_=The Artful Mind: Cognitive Science and the Riddle of Human Creativit>`= *)_= g&70= \:73*7_= ,./81*_= `=+47)a=`=+47)=@3.;*78.9>=R7*88_=