The Strehlow Archive is one of Australia's most important collections of film, sound, archival records and museum objects relating to the ceremonial life of Aboriginal people. The aim of this book is to provide a significant study of the relationship of archives to contemporary forms of digital mediation. The volume introduces a specific archive, the Strehlow Collection, and tracks the ways in which its materials and research dissemination practices are influenced by media forms we now identify with the emergence of digital technology.

The authors of this book ask how digital research tools are changing the ways in which practicing editors historicize Shakespeare's language. Scholars now encounter, interpret, and disseminate Shakespeare's language through an increasing variety of digital resources, including online editions such as the Internet Shakespeare Editions (ISE), searchable lexical corpora such as the Early English Books Online-Text Creation Partnership (EEBO-TCP) or the Lexicons of Early Modern English (LEME) collections, high-quality digital facsimiles such as the Folger Shakespeare Library's Digital Image Collection, text visualization tools such as Voyant, apps for reading and editing on mobile devices, and more. What new insights do these tools offer about the ways Shakespeare's words made meaning in their own time? What kinds of historical or historicizing arguments can digital editions make about Shakespeare's language? A growing body of work in the digital humanities allows textual critics to explore new approaches to editing in digital environments, and enables language historians to ask and answer new questions about Shakespeare's words. The authors in this unique book explicitly bring together the two fields of textual criticism and language history in an exploration of the ways in which new tools are expanding our understanding of Early Modern English.

This varied collection delves into illuminating examples of Digital Humanities research and practice currently being undertaken by academics in India and Australia, and seeks to understand the shared challenges as well as the points of similarity and difference between them. From the influence of Netflix on International Relations to contemporary digital adaptations of Mary Shelley’s Frankenstein, via detours into erobotics (empathic robots) and the cultural specificity of online dating, these essays convey the distinctive breadth and imagination of research in this field. Digital Humanities is a relatively new discipline in the India Rim, and this novelty has created space for innovative research ideas, as well as the use of traditional methodologies and software in different ways within these unique cultural spaces that could potentially influence how Digital Humanities is conceptualised internationally. For example, drawing on Indian classical logic leads to novel designs and applications of computation. This lively volume offers a fresh look at the Digital Humanities and an important overview of the work taking place in a region other than the Western countries that typically dominate the field. It has much to offer both experienced researchers and those new to the Digital Humanities.

The book is current and interdisciplinary, engaging with recent developments around this topic and including perspectives from sciences, arts, and humanities. It will be a welcome contribution to studies of the Anthropocene as well as studies of research methods and practices. —Sam Mickey, University of S. Francisco Educational institutions play an instrumental role in social and political change, and are responsible for the environmental and social ethics of their institutional practices. The essays in this volume critically examine scholarly research practices in the age of the Anthropocene, and ask what accountability educators and researchers have in ‘righting’ their relationship to the environment. The volume further calls attention to the geographical, financial, legal and political barriers that might limit scholarly dialogue by excluding researchers from participating in traditional modes of scholarly conversation. As such, Right Research is a bold invitation to the academic community to rigorous self-reflection on what their research looks like, how it is conducted, and how it might be developed so as to increase accessibility and sustainability, and decrease carbon footprint. The volume follows a three-part structure that bridges conceptual and practical concerns: the first section challenges our assumptions about how sustainability is defined, measured and practiced; the second section showcases artist-researchers whose work engages with the impact of humans on our environment; while the third section investigates how academic spaces can model eco-conscious behaviour. This timely volume responds to an increased demand for environmentally sustainable research, and is outstanding not only in its interdisciplinarity, but its embrace of non-traditional formats, spanning academic articles, creative acts, personal reflections and dialogues. Right Research will be a valuable resource for educators and researchers interested in developing and hybridizing their scholarly communication formats in the face of the current climate crisis.

New Directions in Mobile Media and Performance explores various performative projects and forms of expression that have emerged since the onset of the smartphone. It focuses mainly on new concepts and developments that have emerged in mobile media performance. It showcases the intimate and phenomenological mobile aesthetic that has been unfolding within networked performance and media art projects for over a decade and a half. This aesthetic utilises the potential and affordances with each iteration and update of modern smartphones. Themes of embodiment, presence, liveness and connection through mobile, networked, and remote technology are revisited in the context of HD mobile cameras, selfies and live video streaming from the phone, as well as the impact of peer production, opensource and Maker culture on mobile media performance practices. It explores the surge in development of wearable devices in performance, as well as how the ‘quantified-self movement’ has affected performance works. It deals with concepts and developments in intermedial performance that incorporate mobile and wearable devices, especially from the artist’s, designer’s or dramaturge’s perspective as the creator and their creative process, working with technology as a collaborator, not just a tool or guide. The book demonstrates how artists have repurposed the device – transforming it from merely a communication device, using voice and text only – to become a new collaborative medium, a full visual, synaesthetic, interactive and performative tool of deeper expression and social change. It discusses seminal works and the evolution of the medium, within intermedial digital art and performance practices as medium for artistic expression, creative process and staged performances. It focuses on projects and artists who have pushed mobile media performance beyond the conventional blackbox. Emerging visual, digital, interactive, tactile, gestural and theatrical or performance projects that incorporate mobile or wearable devices, used as vehicles for more challenging, experimental, experiential and immersive performative artworks are highlighted. The book also contextualises Baker’s own media research and performance practice within the larger landscape with the field. It is bookended with interviews with the artists themselves on their creative process and intentions. It is the outcome of three years of research of artistic works around the world, interviews, in-person viewings of performances, as well as incorporating and reflecting on her own ongoing practice and projects in context.

A History of Place in the Digital Age explores the history and impact of Geographic Information Systems (GIS) and related digital mapping technologies in humanities research. Providing a historical and methodological discussion of place in the most important primary materials which make up the human record, including text and artefacts, the book explains how these materials frame, form and communicate location in the age of the internet. This leads in to a discussion of how the World Wide Web distorts and skews place, amplifying some voices and reducing others. Drawing on several connected case studies from the early modern period to the present day, the spatial writings of early modern antiquarians are explored, as are the roots of approaches to place in archaeology and philosophy. This forms the basis for a review of place online, through the complex history of the invention of the internet, in to the age of the interactive web and social media. By doing so, the book explores the key themes of spatial power and representation which these technologies frame. A History of Place in the Digital Age will be of interest to scholars, students and practitioners in a variety of humanities disciplines with an interest in understanding how technology can help them undertake research on spatial themes. It will be of interest as primary work to historians of technology, media and communications.

How does coding change the way we think about architecture? This question opens up an important research perspective. In this book, Miro Roman and his AI Alice_ch3n81 develop a playful scenario in which they propose coding as the new literacy of information. They convey knowledge in the form of a project model that links the fields of architecture and information through two interwoven narrative strands in an “infinite flow” of real books. Focusing on the intersection of information technology and architectural formulation, the authors create an evolving intellectual reflection on digital architecture and computer science.