Fashion(ing)/Formation

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Notes

1 Alex Williams, ‘On the Tip of Creative Tongues’, New York Times, 2 October 2009 <http://www.nytimes.com/2009/10/04/fashion/04curate.html?pagewanted=all&_r=0> [accessed 30 January 2014]. URL no longer active.

2 See Anne Burdick and others, Digital_Humanities (Cambridge, MA: MIT Press, 2012), p. 10.

3 Kathleen Fitzpatrick, Planned Obsolescence: Publishing, Technology, and the Future of the Academy (New York: New York University Press, 2011), ch. 2, Kindle e-book.

4 Ibid., ch. 3.

5 I have in mind Galileo’s famous riposte to Andrea in Scene 14 of Life of Galileo: ‘Better stained than empty. Sounds realistic. Sounds like me. New science, new ethics.’ See Bertolt Brecht, Life of Galileo, trans. by John Willett, in Collected Plays: Five (London: Methuen Drama, 1995), p. 98.

6 Daniel J. Cohen, ‘The Social Contract of Scholarly Publishing’, in Debates in the Digital Humanities, ed. by Matthew K. Gold (Minneapolis: University of Minnesota Press, 2012), pp. 319–21 (p. 321); emphasis in original.

7 Ibid., p. 320. Cohen describes a conversation with his collaborator Roy Rosenzweig after they had finished a draft of their book, Digital History, characterizing the difference between the stack of manuscript and the final published book as ‘the last five percent’ of value added by the publisher. Ibid., p. 319. I discuss Cohen, Fitzpatrick, and the notion of curation in relation to the problematic encounter between performance studies and the digital humanities in W. B. Worthen, Shakespeare Performance Studies (Cambridge: Cambridge University Press, 2014).

8 Friedrich Kittler, Gramophone, Film, Typewriter, trans. and introduction by Geoffrey Winthrop-Young and Michael Wutz (Stanford: Stanford University Press, 1999), p. xxxix.