Does Project Muse help or harm scholarship by refusing to list freely available journals? On the role of the aggregatorPosted: June 13, 2012
Yesterday, I posted an essay reflecting on the stratification of content development and delivery processes in the music, commercial publishing, and scholarly and scientific publishing industries (Won’t Get Fooled Again).
At the end of the piece, I discussed the developing role of aggregators at the distribution and marketing end of the process. While there is no equivalent to iTunes in the scholarly publishing world, the aggregators fill a similar function to a certain extent with the institutional customers (particularly libraries) that are responsible for most of the purchases in this area.
The Doomsday Machine, or, “If you build it, will they still come ten years from now?”: What Medievalists working in digital media can do to ensure the longevity of their researchPosted: December 15, 2006 It is, perhaps, the first urban myth of humanities computing: the Case of the Unreadable Doomsday Machine. In 1986, in celebration of the 900th anniversary of William the Conqueror’s original survey of his British territories, the British Broadcasting Corporation (BBC) commissioned a mammoth 2.5 million electronic successor to the Domesday Book. Stored on two 12 inch video laser discs and containing thousands of photographs, maps, texts, and moving images, the Domesday Project was intended to provide a high-tech picture of life in late 20th century Great Britain. The project’s content was reproduced in an innovative early virtual reality environment and engineered using some of the most advanced technology of its day, including specially designed computers, software, and laser disc readers (Finney 1986). Read the rest of this entry »
First posted December 15, 2006 http://people.uleth.ca/~daniel.odonnell/Research/disciplinary-impact-and-technological-obsolescence-in-digital-medieval-studies. Published in The Blackwell Companion to the Digital Humanities, ed. Susan Schriebman and Ray Siemens. 2007.
In May 2004, I attended a lecture by Elizabeth Solopova at a workshop at the University of Calgary on the past and present of digital editions of medieval works1. The lecture looked at various approaches to the digitisation of medieval literary texts and discussed a representative sample of the most significant digital editions of English medieval works then available: the Wife of Bath’s Prologue from the Canterbury Tales Project (Robinson and Blake 1996), Murray McGillivray’s Book of the Duchess (McGillivray 1997), Kevin Kiernan’s Electronic Beowulf (Kiernan 1999), and the first volume of the Piers Plowman Electronic Archive (Adams et al. 2000). Solopova herself is an experienced digital scholar and the editions she was discussing had been produced by several of the most prominent digital editors then active. The result was a master class in humanities computing: an in-depth look at mark-up, imaging, navigation and interface design, and editorial practice in four exemplary editions.