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In recent years, popular media has inundated audiences with sensationalized headlines recounting data breaches, new forms of surveillance and other dangers of our digital age. Despite their regularity, such accounts treat each case as unprecedented and unique. This book proposes a radical rethinking of the history, present and future of our relations with the digital, spatial technologies that increasingly mediate our everyday lives.

From smartphones to surveillance cameras, to navigational satellites, these new technologies offer visions of integrated, smooth and efficient societies, even as they directly conflict with the ways users experience them. Recognizing the potential for both control and liberation, the authors argue against both acquiescence to and rejection of these technologies.

Through intentional use of the very systems that monitor them, activists from Charlottesville to Hong Kong are subverting, resisting and repurposing geographic technologies. Using examples as varied as writings on the first telephones to the experiences of a feminist collective for migrant women in Spain, the authors present a revolution of everyday technologies. In the face of the seemingly inevitable circumstances, these technologies allow us to create new spaces of affinity, and a new politics of change.

Encompassing new technologies, research methods, and opportunities for collaborative scholarship and open-source peer review, as well as innovative ways of sharing knowledge and teaching, the digital humanities promises to transform the liberal arts—and perhaps the university itself. Indeed, at a time when many academic institutions are facing austerity budgets, digital humanities programs have been able to hire new faculty, establish new centers and initiatives, and attract multimillion-dollar grants.

Clearly the digital humanities has reached a significant moment in its brief history. But what sort of moment is it? Debates in the Digital Humanities brings together leading figures in the field to explore its theories, methods, and practices and to clarify its multiple possibilities and tensions. From defining what a digital humanist is and determining whether the field has (or needs) theoretical grounding, to discussions of coding as scholarship and trends in data-driven research, this cutting-edge volume delineates the current state of the digital humanities and envisions potential futures and challenges. At the same time, several essays aim pointed critiques at the field for its lack of attention to race, gender, class, and sexuality; the inadequate level of diversity among its practitioners; its absence of political commitment; and its preference for research over teaching.

Together, the essays in Debates in the Digital Humanities—which will be published both as a printed book and later as an ongoing, open-access website—suggest that the digital humanities is uniquely positioned to contribute to the revival of the humanities and academic life.

Contributors: Bryan Alexander, National Institute for Technology in Liberal Education; Rafael Alvarado, U of Virginia; Jamie “Skye” Bianco, U of Pittsburgh; Ian Bogost, Georgia Institute of Technology; Stephen Brier, CUNY Graduate Center; Daniel J. Cohen, George Mason U; Cathy N. Davidson, Duke U; Rebecca Frost Davis, National Institute for Technology in Liberal Education; Johanna Drucker, U of California, Los Angeles; Amy E. Earhart, Texas A&M U; Charlie Edwards; Kathleen Fitzpatrick, Pomona College; Julia Flanders, Brown U; Neil Fraistat, U of Maryland; Paul Fyfe, Florida State U; Michael Gavin, Rice U; David Greetham, CUNY Graduate Center; Jim Groom, U of Mary Washington; Gary Hall, Coventry U, UK; Mills Kelly, George Mason U; Matthew Kirschenbaum, U of Maryland; Alan Liu, U of California, Santa Barbara; Elizabeth Losh, U of California, San Diego; Lev Manovich, U of California, San Diego; Willard McCarty, King’s College London; Tara McPherson, U of Southern California; Bethany Nowviskie, U of Virginia; Trevor Owens, Library of Congress; William Pannapacker, Hope College; Dave Parry, U of Texas at Dallas; Stephen Ramsay, U of Nebraska, Lincoln; Alexander Reid, SUNY at Buffalo; Geoffrey Rockwell, Canadian Institute for Research Computing in the Arts; Mark L. Sample, George Mason U; Tom Scheinfeldt, George Mason U; Kathleen Marie Smith; Lisa Spiro, National Institute for Technology in Liberal Education; Patrik Svensson, Umeå U; Luke Waltzer, Baruch College; Matthew Wilkens, U of Notre Dame; George H. Williams, U of South Carolina Upstate; Michael Witmore, Folger Shakespeare Library.

A bold new theory of cyberwar argues that militarized hacking is best understood as a form of deconstruction

From shadowy attempts to steal state secrets to the explosive destruction of Iranian centrifuges, cyberwar has been a vital part of statecraft for nearly thirty years. But although computer-based warfare has been with us for decades, it has changed dramatically since its emergence in the 1990s, and the pace of change is accelerating.

In Deconstruction Machines, Justin Joque inquires into the fundamental nature of cyberwar through a detailed investigation of what happens at the crisis points when cybersecurity systems break down and reveal their internal contradictions. He concludes that cyberwar is best envisioned as a series of networks whose constantly shifting connections shape its very possibilities. He ultimately envisions cyberwar as a form of writing, advancing the innovative thesis that cyber attacks should be seen as a militarized form of deconstruction in which computer programs are systems that operate within the broader world of texts. 

Throughout, Joque addresses hot-button subjects such as technological social control and cyber-resistance entities like Anonymous and Wikileaks while also providing a rich, detailed history of cyberwar. Deconstruction Machines provides a necessary new interpretation of deconstruction and timely analysis of media, war, and technology. 

Design Integrations calls for an innovative rethinking of design education, one that recognizes the changing modes of design and the shifting forms of user experience. The contributors urge new methods of approach that focus on interdisciplinary collaboration between the academic and business worlds. These essays, among the first to focus on the future of design, often in-depth explorations of inter-institutional projects, cross-cultural learning experiences, and a multinational healthcare project. Design Integrations will be of interest to design teachers and practitioners alike.

Provocative yet sober, Digital Critical Editions examines how transitioning from print to a digital milieu deeply affects how scholars deal with the work of editing critical texts. On one hand, forces like changing technology and evolving reader expectations lead to the development of specific editorial products, while on the other hand, they threaten traditional forms of knowledge and methods of textual scholarship.

Using the experiences of philologists, text critics, text encoders, scientific editors, and media analysts, Digital Critical Editions ranges from philology in ancient Alexandria to the vision of user-supported online critical editing, from peer-directed texts distributed to a few to community-edited products shaped by the many. The authors discuss the production and accessibility of documents, the emergence of tools used in scholarly work, new editing regimes, and how the readers' expectations evolve as they navigate digital texts. The goal: exploring questions such as, What kind of text is produced? Why is it produced in this particular way?

Digital Critical Editions provides digital editors, researchers, readers, and technological actors with insights for addressing disruptions that arise from the clash of traditional and digital cultures, while also offering a practical roadmap for processing traditional texts and collections with today's state-of-the-art editing and research techniques thus addressing readers' new emerging reading habits.

In the nineties, neoliberalism simultaneously provided the context for the Internet’s rapid uptake in the United States and discouraged public conversations about racial politics. At the same time many scholars lauded the widespread use of text-driven interfaces as a solution to the problem of racial intolerance. Today’s online world is witnessing text-driven interfaces such as e-mail and instant messaging giving way to far more visually intensive and commercially driven media forms that not only reveal but showcase people’s racial, ethnic, and gender identity.

Lisa Nakamura, a leading scholar in the examination of race in digital media, uses case studies of popular yet rarely examined uses of the Internet such as pregnancy Web sites, instant messaging, and online petitions and quizzes to look at the emergence of race-, ethnic-, and gender-identified visual cultures.

While popular media such as Hollywood cinema continue to depict nonwhite nonmales as passive audiences or consumers of digital media rather than as producers, Nakamura argues the contrary—with examples ranging from Jennifer Lopez music videos; films including the Matrix trilogy, Gattaca, and Minority Report; and online joke sites—that users of color and women use the Internet to vigorously articulate their own types of virtual community, avatar bodies, and racial politics.

Lisa Nakamura is associate professor of speech communication and Asian American studies at the University of Illinois, Urbana-Champaign. She is the author of Cybertypes: Race, Ethnicity, and Identity on the Internet and coeditor, with Beth Kolko and Gilbert Rodman, of Race in Cyberspace.

An urgent examination of the threat posed to social media by user disconnection, and the measures websites will take to prevent it

No matter how pervasive and powerful social media websites become, users always have the option of disconnecting—right? Not exactly, as Tero Karppi reveals in this disquieting book. Pointing out that platforms like Facebook see disconnection as an existential threat—and have undertaken wide-ranging efforts to eliminate it—Karppi argues that users’ ability to control their digital lives is gradually dissipating. 

Taking a nonhumancentric approach, Karppi explores how modern social media platforms produce and position users within a system of coded relations and mechanisms of power. For Facebook, disconnection is an intense affective force. It is a problem of how to keep users engaged with the platform, but also one of keeping value, attention, and desires within the system. Karppi uses Facebook’s financial documents as a map to navigate how the platform sees its users. Facebook’s plans to connect the entire globe through satellites and drones illustrates the material webs woven to keep us connected. Karppi analyzes how Facebook’s interface limits the opportunity to opt-out—even continuing to engage users after their physical death. Showing how users have fought to take back their digital lives, Karppi chronicles responses like Web2.0 Suicide Machine, an art project dedicated to committing digital suicide. 

For Karppi, understanding social media connectivity comes from unbinding the bonds that stop people from leaving these platforms. Disconnection brings us to the limit of user policies, algorithmic control, and platform politics. Ultimately, Karppi’s focus on the difficulty of disconnection, rather than the ease of connection, reveals how social media has come to dominate human relations.