Enhanced descriptions from Syndetics:

Confronting the digital revolution in academia, this book examines the application of new computational techniques and visualisation technologies in the Arts & Humanities. Uniting differing perspectives, leading and emerging scholars discuss the theoretical and practical challenges that computation raises for these disciplines.

Table of contents provided by Syndetics

• Acknowledgements
• Introduction: Understanding the Digital Humanities
• An Interpretation of Digital Humanities
• How We Think: Transforming Power and Digital Technologies
• Digital Methods: Five Challenges
• Archives in Media Theory: Material Media Archaeology and Digital Humanities
• Canonicalism and the Computational Turn
• The Esthetics of Hidden Things
• The Meaning and the Mining of Legal Texts
• Have the Humanities Always been Digital? For an Understanding of the 'Digital Humanities' in the Context of Originary Technicity
• Present, Not Voting: Digital Humanities in the Panopticon
• Analysis Tool or Research Methodology: Is There an Epistemology for Patterns?
• Do Computers Dream of Cinema? Film Data for Computer Analysis and Visualization
• The Feminist Critique: Mapping Controversy in Wikipedia
• How to See One Million Images? A Computational Methodology for Visual Culture and Media Research
• Cultures of Formalization: Towards an Encounter Between Humanities and Computing
• Trans-disciplinarity and Digital Humanity: Lessons Learned from Developing Text Mining Tools for Textual Analysis
• Index

Reviews provided by Syndetics

CHOICE Review

Berry (Univ. of Swansea, UK) anthologizes these essays from a mix of established and upcoming international scholars who have interrogated current practices in the "digital humanities" (DH) and attempted to conceptualize two waves--quantitative and qualitative--in this emerging discipline. The essayists, far from being reductive, reveal a self-conscious, complex approach to this evolving field while they raise questions as to what DH actually is. Usefully, they also speculate on possible futures for DH's next "wave," and some call for increased attention to software code and coding practice. Ironically, the book features a number of careless typos, and it oddly chooses to explore a dynamic digital field through the static nature of printed essays--paradoxically reflecting on new humanities methods while using traditional ones. This decision differentiates Berry's book from a number of similar titles that have been offered as open-access e-books, e.g., A Companion to Digital Humanities (2004), by Schreibman et al., and Digital Humanities (2012), by Burdick et al. More robust experiments exist, such as the perpetually evolving online anthology Literary Studies in the Digital Age, on the MLA Commons website at http://dlsanthology.commons.mla.org/. Overall, this collection adds to current DH conversations and offers some thought-provoking observations, albeit less accessibly and dynamically. Summing Up: Recommended. All students and faculty. J. A. Saklofske Acadia University