Approaching the use of digital technology in art history from a theoretical perspective.

Digital art history has often aligned itself with the practical concerns of digital technology and the responsibilities of art institutions and associated institutional roles such as collection managers, information specialists, curators, and conservators. This emphasis on practicalities and implementation, while undeniably important, has often left little room for critical examination of the broader implications of digital technology and computational methodologies in art history.

A long-standing concern of the field—and a major focal point of this book—is museum and collecting practices in the digital era. While there is a certain degree of continuity in the field, there are also important shifts and changes to address—namely, the widespread uptake of artificial intelligence tools and increased attention to both the broader historical and societal aspects of the use of digital repositories and tools. This anthology seeks to address the dearth of critical reflection by critically assessing specific case study examples and considering the political dimensions associated with large-scale digitization and the application of digital tools within museums and collection management.
 

Pain is immediate and searing but remains a deep mystery for sufferers, their physicians, and researchers. As neuroscientific research shows, even the immediate sensation of pain is shaped by psychological state and interpretation. At the same time, many individuals and cultures find meaning, particularly religious meaning, even in chronic and inexplicable pain.

This ambitious interdisciplinary book includes not only essays but also discussions among a wide range of specialists. Neuroscientists, psychiatrists, anthropologists, musicologists, and scholars of religion examine the ways that meditation, music, prayer, and ritual can mediate pain, offer a narrative that transcends the sufferer, and give public dignity to private agony. They discuss topics as disparate as the molecular basis of pain, the controversial status of gate control theory, the possible links between the relaxation response and meditative practices in Christianity and Buddhism, and the mediation of pain and intense emotion in music, dance, and ritual. The authors conclude by pondering the place of pain in understanding--or the human failure to understand--good and evil in history.

Surface Structure provides a complete and up-to-date exposition of a major variant of the Chomskian theory of language: the so-called Revised Extended Standard Theory. Robert Fiengo presents the theory in a clear and succinct way and shows how many of the leading ideas in the theory can be deepened and strengthened. It is Fiengo's central thesis that there is a syntactic level—surface structure—which constitutes the interface between syntactic, lexical, morphological and semantic components of the grammar. This thesis is defended across a broad range of problems in English grammar, resulting in a significant increase in the empirical coverage of the theory.

Although not a polemical work, Fiengo's book addresses many of the current controversies in linguistics and presents a rationale for guiding choices among competing theories. At a time when linguistic theories appear to be diverging in an explosive fashion, this lucid and current discussion is precisely what is needed.