Thoth distribution@thoth.pub 20260401T163708

urn:uuid:468c46f5-285c-446d-ac9f-f3d4f7d989ba 03 01 01 thoth-work-id urn:uuid:117baa46-7887-4a88-922b-5ceafc7c8114 01 thoth-publication-id urn:uuid:468c46f5-285c-446d-ac9f-f3d4f7d989ba 15 9781917341165 03 9781917341165 06 10.62637/cej75v68 00 BC 10 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0 01 01 Beyond the State Music in the Rural Creative Economy 1 A01 21 0000000263287825 Simon McKerrell Simon McKerrell 01 eng 20 Rural; creative economy; music; sustainability; Scotland 01 06 02 00 03 00 In a major new study of music, this book establishes a nuanced model of sustainability that re-imagines the relationship between music, place and capital in the rural creative economy. Based on detailed ethnographic research across the Highlands and Islands of Scotland, the author rethinks the importance of place-based innovation and people’s desire to participate in the arts to our understanding of economic, social and cultural sustainability in the rural creative economy. <break/> 30 00 In a major new study of music, this book establishes a nuanced model of sustainability that re-imagines the relationship between music, place and capital in the rural creative economy. Based on detailed ethnographic research across the Highlands and Islands of Scotland, the author rethinks the importance of place-based innovation and people’s desire to participate in the arts to our understanding of economic, social and cultural sustainability in the rural creative economy. <break/> 20 00 Open Access 01 00 03 02 https://books.sup.ac.uk/templates/images/book-default.png 01 URL https://www.sup.ac.uk/ Scottish Universities Press 01 Scottish Universities Press 01 Publisher's website: home page https://www.sup.ac.uk/ 02 Publisher's website: webpage for this title https://books.sup.ac.uk/sup/catalog/book/sup-9781917341196 02 01 20260507 Simon McKerell 02 WORLD 06 15 9781917341172 03 9781917341172 WORLD 09 Scottish Universities Press 02 Publisher's website: webpage for this product https://books.sup.ac.uk/sup/catalog/book/sup-9781917341196 10 08 20260507 01 urn:uuid:e19fc358-808c-4725-8c6e-c7089f60f237 03 01 01 thoth-work-id urn:uuid:117baa46-7887-4a88-922b-5ceafc7c8114 01 thoth-publication-id urn:uuid:e19fc358-808c-4725-8c6e-c7089f60f237 15 9781917341172 03 9781917341172 06 10.62637/cej75v68 00 BB 10 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0 01 01 Beyond the State Music in the Rural Creative Economy 1 A01 21 0000000263287825 Simon McKerrell Simon McKerrell 01 eng 20 Rural; creative economy; music; sustainability; Scotland 01 06 02 00 03 00 In a major new study of music, this book establishes a nuanced model of sustainability that re-imagines the relationship between music, place and capital in the rural creative economy. Based on detailed ethnographic research across the Highlands and Islands of Scotland, the author rethinks the importance of place-based innovation and people’s desire to participate in the arts to our understanding of economic, social and cultural sustainability in the rural creative economy. <break/> 30 00 In a major new study of music, this book establishes a nuanced model of sustainability that re-imagines the relationship between music, place and capital in the rural creative economy. Based on detailed ethnographic research across the Highlands and Islands of Scotland, the author rethinks the importance of place-based innovation and people’s desire to participate in the arts to our understanding of economic, social and cultural sustainability in the rural creative economy. <break/> 20 00 Open Access 01 00 03 02 https://books.sup.ac.uk/templates/images/book-default.png 01 URL https://www.sup.ac.uk/ Scottish Universities Press 01 Scottish Universities Press 01 Publisher's website: home page https://www.sup.ac.uk/ 02 Publisher's website: webpage for this title https://books.sup.ac.uk/sup/catalog/book/sup-9781917341196 02 01 20260507 Simon McKerell 02 WORLD 06 15 9781917341165 03 9781917341165 WORLD 09 Scottish Universities Press 02 Publisher's website: webpage for this product https://books.sup.ac.uk/sup/catalog/book/sup-9781917341196 10 08 20260507 01 urn:uuid:fa018751-b7f6-48e3-a64b-7dbaa245b201 03 01 01 thoth-work-id urn:uuid:bcfa11f4-b749-40a0-b91e-6b67b7c8e0b4 01 thoth-publication-id urn:uuid:fa018751-b7f6-48e3-a64b-7dbaa245b201 15 9781917341004 03 9781917341004 06 10.62637/sup.cmnz6231 00 BC 10 01 234 mm 01 23.4 cm 01 9.21 in 02 156 mm 02 15.6 cm 02 6.14 in 03 14 mm 03 1.4 cm 03 0.55 in 08 376 gr 08 13.263 oz Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ 01 01 Conversations with Tim Ingold Anthropology, education and life 1 A01 21 0000000167036137 Tim Ingold Tim Ingold Professor Emeritus of Social Anthropology 40 016476m91 University of Aberdeen Tim Ingold is Professor Emeritus of Social Anthropology at the University of Aberdeen. He has carried out fieldwork among Saami and Finnish people in Lapland, and has written on environment, technology and social organisation in the circumpolar North, on animals in human society and on human ecology and evolutionary theory. His more recent work explores environmental perception and skilled practice. Ingold’s current interests lie on the interface between anthropology, archaeology, art and architecture. His recent books include The Perception of the Environment (2000), Lines (2007), Being Alive (2011), Making (2013), The Life of Lines (2015), Anthropology and/as Education (2018), Anthropology: Why It Matters (2018), Correspondences (2020), Imagining for Real (2022) and The Rise and Fall of Generation Now (2024). Ingold is a Fellow of the British Academy and the Royal Society of Edinburgh. In 2022 he was made a CBE for services to Anthropology. 2 A01 21 0000000269996227 Robert Gibb Robert Gibb Teaches anthropology and sociology 40 00vtgdb53 University of Glasgow Robert Gibb teaches anthropology and sociology at the University of Glasgow. He has conducted anthropological research on the antiracist movement in France and on questions of translation and interpretation in the asylum process in France and Bulgaria. His most recent publications are ‘Metaphors and practices of translation in anglophone anthropology’ (Social Science Information, 2023) and ‘Re-Learning Hope: On Alienation, Theory and the “Death” of Universities’ (The Sociological Review, forthcoming). 06 Own website https://www.gla.ac.uk/schools/socialpolitical/staff/robertgibb/ 3 A01 21 0000000182437385 Philip Tonner Philip Tonner 40 00vtgdb53 University of Glasgow Philip Tonner is a Senior Lecturer in the School of Education at the University of Glasgow. He holds a PhD in Philosophy from the University of Glasgow (2006), a DPhil in Archaeology from the University of Oxford (2016) and a PGDE (2006) from the University of Strathclyde. His work explores themes at the intersection of philosophy, archaeology and education. He is the author of three books, Heidegger, Metaphysics and the Univocity of Being (Continuum 2010), Phenomenology Between Aesthetics and Idealism (Noesis Press 2015) and Dwelling: Heidegger, Archaeology, Mortality (Routledge 2018). 06 Own website https://www.gla.ac.uk/schools/education/staff/philiptonner/ 4 A01 21 0000000332159940 Diego Maria Malara Diego Malara Senior Lecturer in Social Anthropology at the School of Social and Political Sciences 40 00vtgdb53 University of Glasgow Diego Maria Malara is a Senior Lecturer in Social Anthropology at the School of Social and Political Sciences, University of Glasgow. He holds a PhD in Social Anthropology from the University of Edinburgh and has studied in Italy, Sweden and the UK. His research to date has focused on religion and politics in Ethiopia, specifically Ethiopian Orthodox Christianity. His publications explore themes including secrecy, kinship, healing, historicity, ethics, food, embodiment, religious pluralism and nationalism. He has recently edited special issues on ‘Lenience in Systems of Religious Meaning and Practices’ (Social Analysis) and ‘Ethnographies of Ethiopian Orthodox Christianity’ (Northeast African Studies), and co-authored a report entitled ‘Religion in Contemporary Ethiopia: History, Politics and Inter-religious Relations’ (Rift Valley Institute). 06 Own website https://www.gla.ac.uk/schools/socialpolitical/staff/diegomariamalara/ 01 eng 00 240 03 09 1 93 JHMC 10 SOC002010 93 PSXE 93 DNPB 20 Social Anthropology; Ethnography; Environment and perception; Education; Lines 01 06 02 00 Conversations with Tim Ingold offers a comprehensive and accessible introduction to the work of Tim Ingold, one of the leading anthropologists of our time. Presented as a series of interviews conducted by three anthropologists from the University of Glasgow over a period of two years, the book explores Ingold's key contributions to anthropolo 03 00 Conversations with Tim Ingold offers a comprehensive and accessible introduction to the work of Tim Ingold, one of the leading anthropologists of our time. Presented as a series of interviews conducted by three anthropologists from the University of Glasgow over a period of two years, the book explores Ingold's key contributions to anthropology and other disciplines. In his responses, Ingold describes the significant influences shaping his life and career, and addresses some of the criticisms that have been made of his ideas. Following an introductory chapter, the book consists of five edited and annotated interviews, each focusing on a specific theme: 'Life and Career,' 'Anthropology, Ethnography, Education and the University,' 'Environment, Perception and Skill,' 'Animals, Lines and Imagination,' and 'Looking Back and Forward.' Each chapter ends with a 'Further Reading' section, referencing Ingold's work and that of other scholars, to assist readers who want to follow up particular issues and debates. It concludes with an ‘Afterword’ authored by Ingold himself. 30 00 Conversations with Tim Ingold offers a comprehensive and accessible introduction to the work of Tim Ingold, one of the leading anthropologists of our time. Presented as a series of interviews conducted by three anthropologists from the University of Glasgow over a period of two years, the book explores Ingold's key contributions to anthropology and other disciplines. In his responses, Ingold describes the significant influences shaping his life and career, and addresses some of the criticisms that have been made of his ideas. Following an introductory chapter, the book consists of five edited and annotated interviews, each focusing on a specific theme: 'Life and Career,' 'Anthropology, Ethnography, Education and the University,' 'Environment, Perception and Skill,' 'Animals, Lines and Imagination,' and 'Looking Back and Forward.' Each chapter ends with a 'Further Reading' section, referencing Ingold's work and that of other scholars, to assist readers who want to follow up particular issues and debates. It concludes with an ‘Afterword’ authored by Ingold himself. 04 00 Notes on Authors -- Acknowledgements -- Introduction / Robert Gibb and Philip Tonner -- Conversation 1: Life and Career -- Conversation 2: Anthropology, Ethnography, Education, and the University -- Conversation 3: Environment, Perception, and Skill -- Conversation 4: Animals, Lines, and Imagination -- Conversation 5: Looking Back and Forward -- Afterword / Tim Ingold -- References -- Index 20 00 Open Access 01 00 03 02 https://images.squarespace-cdn.com/content/v1/628df820a8f890150d19db11/9e70f784-643d-46e2-b55c-db5188e293e0/Ingold_FC_Visual.jpg 01 URL https://www.sup.ac.uk/ Scottish Universities Press 01 Scottish Universities Press 01 Publisher's website: home page https://www.sup.ac.uk/ 02 Publisher's website: webpage for this title https://books.sup.ac.uk/sup/catalog/book/sup-9781917341028 Glasgow 04 01 20241022 Tim Ingold, Robert Gibb, Philip Tonner and Diego Maria Malara 02 WORLD 06 15 9781917341035 03 9781917341035 06 15 9781917341028 03 9781917341028 06 15 9781917341011 03 9781917341011 WORLD 09 Scottish Universities Press 02 Publisher's website: webpage for this product https://books.sup.ac.uk/sup/catalog/book/sup-9781917341028 20 08 20241022 02 30.00 GBP WORLD urn:uuid:820b13c2-724d-4a82-ac2e-f256dcbecf6e 03 01 01 thoth-work-id urn:uuid:bcfa11f4-b749-40a0-b91e-6b67b7c8e0b4 01 thoth-publication-id urn:uuid:820b13c2-724d-4a82-ac2e-f256dcbecf6e 15 9781917341035 03 9781917341035 06 10.62637/sup.cmnz6231 00 BB 10 01 234 mm 01 23.4 cm 01 9.21 in 02 156 mm 02 15.6 cm 02 6.14 in 03 17 mm 03 1.7 cm 03 0.67 in 08 549 gr 08 19.3654 oz Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ 01 01 Conversations with Tim Ingold Anthropology, education and life 1 A01 21 0000000167036137 Tim Ingold Tim Ingold Professor Emeritus of Social Anthropology 40 016476m91 University of Aberdeen Tim Ingold is Professor Emeritus of Social Anthropology at the University of Aberdeen. He has carried out fieldwork among Saami and Finnish people in Lapland, and has written on environment, technology and social organisation in the circumpolar North, on animals in human society and on human ecology and evolutionary theory. His more recent work explores environmental perception and skilled practice. Ingold’s current interests lie on the interface between anthropology, archaeology, art and architecture. His recent books include The Perception of the Environment (2000), Lines (2007), Being Alive (2011), Making (2013), The Life of Lines (2015), Anthropology and/as Education (2018), Anthropology: Why It Matters (2018), Correspondences (2020), Imagining for Real (2022) and The Rise and Fall of Generation Now (2024). Ingold is a Fellow of the British Academy and the Royal Society of Edinburgh. In 2022 he was made a CBE for services to Anthropology. 2 A01 21 0000000269996227 Robert Gibb Robert Gibb Teaches anthropology and sociology 40 00vtgdb53 University of Glasgow Robert Gibb teaches anthropology and sociology at the University of Glasgow. He has conducted anthropological research on the antiracist movement in France and on questions of translation and interpretation in the asylum process in France and Bulgaria. His most recent publications are ‘Metaphors and practices of translation in anglophone anthropology’ (Social Science Information, 2023) and ‘Re-Learning Hope: On Alienation, Theory and the “Death” of Universities’ (The Sociological Review, forthcoming). 06 Own website https://www.gla.ac.uk/schools/socialpolitical/staff/robertgibb/ 3 A01 21 0000000182437385 Philip Tonner Philip Tonner 40 00vtgdb53 University of Glasgow Philip Tonner is a Senior Lecturer in the School of Education at the University of Glasgow. He holds a PhD in Philosophy from the University of Glasgow (2006), a DPhil in Archaeology from the University of Oxford (2016) and a PGDE (2006) from the University of Strathclyde. His work explores themes at the intersection of philosophy, archaeology and education. He is the author of three books, Heidegger, Metaphysics and the Univocity of Being (Continuum 2010), Phenomenology Between Aesthetics and Idealism (Noesis Press 2015) and Dwelling: Heidegger, Archaeology, Mortality (Routledge 2018). 06 Own website https://www.gla.ac.uk/schools/education/staff/philiptonner/ 4 A01 21 0000000332159940 Diego Maria Malara Diego Malara Senior Lecturer in Social Anthropology at the School of Social and Political Sciences 40 00vtgdb53 University of Glasgow Diego Maria Malara is a Senior Lecturer in Social Anthropology at the School of Social and Political Sciences, University of Glasgow. He holds a PhD in Social Anthropology from the University of Edinburgh and has studied in Italy, Sweden and the UK. His research to date has focused on religion and politics in Ethiopia, specifically Ethiopian Orthodox Christianity. His publications explore themes including secrecy, kinship, healing, historicity, ethics, food, embodiment, religious pluralism and nationalism. He has recently edited special issues on ‘Lenience in Systems of Religious Meaning and Practices’ (Social Analysis) and ‘Ethnographies of Ethiopian Orthodox Christianity’ (Northeast African Studies), and co-authored a report entitled ‘Religion in Contemporary Ethiopia: History, Politics and Inter-religious Relations’ (Rift Valley Institute). 06 Own website https://www.gla.ac.uk/schools/socialpolitical/staff/diegomariamalara/ 01 eng 00 240 03 09 1 93 JHMC 10 SOC002010 93 PSXE 93 DNPB 20 Social Anthropology; Ethnography; Environment and perception; Education; Lines 01 06 02 00 Conversations with Tim Ingold offers a comprehensive and accessible introduction to the work of Tim Ingold, one of the leading anthropologists of our time. Presented as a series of interviews conducted by three anthropologists from the University of Glasgow over a period of two years, the book explores Ingold's key contributions to anthropolo 03 00 Conversations with Tim Ingold offers a comprehensive and accessible introduction to the work of Tim Ingold, one of the leading anthropologists of our time. Presented as a series of interviews conducted by three anthropologists from the University of Glasgow over a period of two years, the book explores Ingold's key contributions to anthropology and other disciplines. In his responses, Ingold describes the significant influences shaping his life and career, and addresses some of the criticisms that have been made of his ideas. Following an introductory chapter, the book consists of five edited and annotated interviews, each focusing on a specific theme: 'Life and Career,' 'Anthropology, Ethnography, Education and the University,' 'Environment, Perception and Skill,' 'Animals, Lines and Imagination,' and 'Looking Back and Forward.' Each chapter ends with a 'Further Reading' section, referencing Ingold's work and that of other scholars, to assist readers who want to follow up particular issues and debates. It concludes with an ‘Afterword’ authored by Ingold himself. 30 00 Conversations with Tim Ingold offers a comprehensive and accessible introduction to the work of Tim Ingold, one of the leading anthropologists of our time. Presented as a series of interviews conducted by three anthropologists from the University of Glasgow over a period of two years, the book explores Ingold's key contributions to anthropology and other disciplines. In his responses, Ingold describes the significant influences shaping his life and career, and addresses some of the criticisms that have been made of his ideas. Following an introductory chapter, the book consists of five edited and annotated interviews, each focusing on a specific theme: 'Life and Career,' 'Anthropology, Ethnography, Education and the University,' 'Environment, Perception and Skill,' 'Animals, Lines and Imagination,' and 'Looking Back and Forward.' Each chapter ends with a 'Further Reading' section, referencing Ingold's work and that of other scholars, to assist readers who want to follow up particular issues and debates. It concludes with an ‘Afterword’ authored by Ingold himself. 04 00 Notes on Authors -- Acknowledgements -- Introduction / Robert Gibb and Philip Tonner -- Conversation 1: Life and Career -- Conversation 2: Anthropology, Ethnography, Education, and the University -- Conversation 3: Environment, Perception, and Skill -- Conversation 4: Animals, Lines, and Imagination -- Conversation 5: Looking Back and Forward -- Afterword / Tim Ingold -- References -- Index 20 00 Open Access 01 00 03 02 https://images.squarespace-cdn.com/content/v1/628df820a8f890150d19db11/9e70f784-643d-46e2-b55c-db5188e293e0/Ingold_FC_Visual.jpg 01 URL https://www.sup.ac.uk/ Scottish Universities Press 01 Scottish Universities Press 01 Publisher's website: home page https://www.sup.ac.uk/ 02 Publisher's website: webpage for this title https://books.sup.ac.uk/sup/catalog/book/sup-9781917341028 Glasgow 04 01 20241022 Tim Ingold, Robert Gibb, Philip Tonner and Diego Maria Malara 02 WORLD 06 15 9781917341004 03 9781917341004 06 15 9781917341028 03 9781917341028 06 15 9781917341011 03 9781917341011 WORLD 09 Scottish Universities Press 02 Publisher's website: webpage for this product https://books.sup.ac.uk/sup/catalog/book/sup-9781917341028 20 08 20241022 02 50.00 GBP WORLD urn:uuid:0c9cfd16-4124-4830-a5f7-b2d379e0c245 03 01 01 thoth-work-id urn:uuid:bcfa11f4-b749-40a0-b91e-6b67b7c8e0b4 01 thoth-publication-id urn:uuid:0c9cfd16-4124-4830-a5f7-b2d379e0c245 15 9781917341028 03 9781917341028 06 10.62637/sup.cmnz6231 00 EB E107 10 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ 01 01 Conversations with Tim Ingold Anthropology, education and life 1 A01 21 0000000167036137 Tim Ingold Tim Ingold Professor Emeritus of Social Anthropology 40 016476m91 University of Aberdeen Tim Ingold is Professor Emeritus of Social Anthropology at the University of Aberdeen. He has carried out fieldwork among Saami and Finnish people in Lapland, and has written on environment, technology and social organisation in the circumpolar North, on animals in human society and on human ecology and evolutionary theory. His more recent work explores environmental perception and skilled practice. Ingold’s current interests lie on the interface between anthropology, archaeology, art and architecture. His recent books include The Perception of the Environment (2000), Lines (2007), Being Alive (2011), Making (2013), The Life of Lines (2015), Anthropology and/as Education (2018), Anthropology: Why It Matters (2018), Correspondences (2020), Imagining for Real (2022) and The Rise and Fall of Generation Now (2024). Ingold is a Fellow of the British Academy and the Royal Society of Edinburgh. In 2022 he was made a CBE for services to Anthropology. 2 A01 21 0000000269996227 Robert Gibb Robert Gibb Teaches anthropology and sociology 40 00vtgdb53 University of Glasgow Robert Gibb teaches anthropology and sociology at the University of Glasgow. He has conducted anthropological research on the antiracist movement in France and on questions of translation and interpretation in the asylum process in France and Bulgaria. His most recent publications are ‘Metaphors and practices of translation in anglophone anthropology’ (Social Science Information, 2023) and ‘Re-Learning Hope: On Alienation, Theory and the “Death” of Universities’ (The Sociological Review, forthcoming). 06 Own website https://www.gla.ac.uk/schools/socialpolitical/staff/robertgibb/ 3 A01 21 0000000182437385 Philip Tonner Philip Tonner 40 00vtgdb53 University of Glasgow Philip Tonner is a Senior Lecturer in the School of Education at the University of Glasgow. He holds a PhD in Philosophy from the University of Glasgow (2006), a DPhil in Archaeology from the University of Oxford (2016) and a PGDE (2006) from the University of Strathclyde. His work explores themes at the intersection of philosophy, archaeology and education. He is the author of three books, Heidegger, Metaphysics and the Univocity of Being (Continuum 2010), Phenomenology Between Aesthetics and Idealism (Noesis Press 2015) and Dwelling: Heidegger, Archaeology, Mortality (Routledge 2018). 06 Own website https://www.gla.ac.uk/schools/education/staff/philiptonner/ 4 A01 21 0000000332159940 Diego Maria Malara Diego Malara Senior Lecturer in Social Anthropology at the School of Social and Political Sciences 40 00vtgdb53 University of Glasgow Diego Maria Malara is a Senior Lecturer in Social Anthropology at the School of Social and Political Sciences, University of Glasgow. He holds a PhD in Social Anthropology from the University of Edinburgh and has studied in Italy, Sweden and the UK. His research to date has focused on religion and politics in Ethiopia, specifically Ethiopian Orthodox Christianity. His publications explore themes including secrecy, kinship, healing, historicity, ethics, food, embodiment, religious pluralism and nationalism. He has recently edited special issues on ‘Lenience in Systems of Religious Meaning and Practices’ (Social Analysis) and ‘Ethnographies of Ethiopian Orthodox Christianity’ (Northeast African Studies), and co-authored a report entitled ‘Religion in Contemporary Ethiopia: History, Politics and Inter-religious Relations’ (Rift Valley Institute). 06 Own website https://www.gla.ac.uk/schools/socialpolitical/staff/diegomariamalara/ 01 eng 00 240 03 09 1 93 JHMC 10 SOC002010 93 PSXE 93 DNPB 20 Social Anthropology; Ethnography; Environment and perception; Education; Lines 01 06 02 00 Conversations with Tim Ingold offers a comprehensive and accessible introduction to the work of Tim Ingold, one of the leading anthropologists of our time. Presented as a series of interviews conducted by three anthropologists from the University of Glasgow over a period of two years, the book explores Ingold's key contributions to anthropolo 03 00 Conversations with Tim Ingold offers a comprehensive and accessible introduction to the work of Tim Ingold, one of the leading anthropologists of our time. Presented as a series of interviews conducted by three anthropologists from the University of Glasgow over a period of two years, the book explores Ingold's key contributions to anthropology and other disciplines. In his responses, Ingold describes the significant influences shaping his life and career, and addresses some of the criticisms that have been made of his ideas. Following an introductory chapter, the book consists of five edited and annotated interviews, each focusing on a specific theme: 'Life and Career,' 'Anthropology, Ethnography, Education and the University,' 'Environment, Perception and Skill,' 'Animals, Lines and Imagination,' and 'Looking Back and Forward.' Each chapter ends with a 'Further Reading' section, referencing Ingold's work and that of other scholars, to assist readers who want to follow up particular issues and debates. It concludes with an ‘Afterword’ authored by Ingold himself. 30 00 Conversations with Tim Ingold offers a comprehensive and accessible introduction to the work of Tim Ingold, one of the leading anthropologists of our time. Presented as a series of interviews conducted by three anthropologists from the University of Glasgow over a period of two years, the book explores Ingold's key contributions to anthropology and other disciplines. In his responses, Ingold describes the significant influences shaping his life and career, and addresses some of the criticisms that have been made of his ideas. Following an introductory chapter, the book consists of five edited and annotated interviews, each focusing on a specific theme: 'Life and Career,' 'Anthropology, Ethnography, Education and the University,' 'Environment, Perception and Skill,' 'Animals, Lines and Imagination,' and 'Looking Back and Forward.' Each chapter ends with a 'Further Reading' section, referencing Ingold's work and that of other scholars, to assist readers who want to follow up particular issues and debates. It concludes with an ‘Afterword’ authored by Ingold himself. 04 00 Notes on Authors -- Acknowledgements -- Introduction / Robert Gibb and Philip Tonner -- Conversation 1: Life and Career -- Conversation 2: Anthropology, Ethnography, Education, and the University -- Conversation 3: Environment, Perception, and Skill -- Conversation 4: Animals, Lines, and Imagination -- Conversation 5: Looking Back and Forward -- Afterword / Tim Ingold -- References -- Index 20 00 Open Access 01 00 03 02 https://images.squarespace-cdn.com/content/v1/628df820a8f890150d19db11/9e70f784-643d-46e2-b55c-db5188e293e0/Ingold_FC_Visual.jpg 01 URL https://www.sup.ac.uk/ Scottish Universities Press 01 Scottish Universities Press 01 Publisher's website: home page https://www.sup.ac.uk/ 02 Publisher's website: webpage for this title https://books.sup.ac.uk/sup/catalog/book/sup-9781917341028 Glasgow 04 01 20241022 Tim Ingold, Robert Gibb, Philip Tonner and Diego Maria Malara 02 WORLD 06 15 9781917341004 03 9781917341004 06 15 9781917341035 03 9781917341035 06 15 9781917341011 03 9781917341011 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/pub/565/oa_monograph/book/134001 29 PROJECT_MUSE: download the title https://muse.jhu.edu/pub/565/oa_monograph/book/134001/pdf 20 08 20241022 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/94849 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/94849/9781917341028_OnlinePDF.pdf?sequence=1&isAllowed=y 20 08 20241022 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/148270 20 08 20241022 01 11 EBSCO_HOST 36 EBSCO_HOST: webpage for this product https://research.ebsco.com/linkprocessor/plink?id=590ba896-1f34-3df5-89bb-46071b2eb129 20 08 20241022 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/bcfa11f4-b749-40a0-b91e-6b67b7c8e0b4 29 INTERNET_ARCHIVE: download the title https://archive.org/download/bcfa11f4-b749-40a0-b91e-6b67b7c8e0b4/bcfa11f4-b749-40a0-b91e-6b67b7c8e0b4.pdf 20 08 20241022 01 09 Scottish Universities Press 02 Publisher's website: webpage for this product https://books.sup.ac.uk/sup/catalog/book/sup-9781917341028 29 Publisher's website: download the title https://books.sup.ac.uk/sup/catalog/download/sup-9781917341028/2/43?inline=1 20 08 20241022 01 urn:uuid:b6464bb7-e46b-4d61-9e4f-460a1de351fd 03 01 01 thoth-work-id urn:uuid:bcfa11f4-b749-40a0-b91e-6b67b7c8e0b4 01 thoth-publication-id urn:uuid:b6464bb7-e46b-4d61-9e4f-460a1de351fd 15 9781917341011 03 9781917341011 06 10.62637/sup.cmnz6231 00 EB E101 10 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ 01 01 Conversations with Tim Ingold Anthropology, education and life 1 A01 21 0000000167036137 Tim Ingold Tim Ingold Professor Emeritus of Social Anthropology 40 016476m91 University of Aberdeen Tim Ingold is Professor Emeritus of Social Anthropology at the University of Aberdeen. He has carried out fieldwork among Saami and Finnish people in Lapland, and has written on environment, technology and social organisation in the circumpolar North, on animals in human society and on human ecology and evolutionary theory. His more recent work explores environmental perception and skilled practice. Ingold’s current interests lie on the interface between anthropology, archaeology, art and architecture. His recent books include The Perception of the Environment (2000), Lines (2007), Being Alive (2011), Making (2013), The Life of Lines (2015), Anthropology and/as Education (2018), Anthropology: Why It Matters (2018), Correspondences (2020), Imagining for Real (2022) and The Rise and Fall of Generation Now (2024). Ingold is a Fellow of the British Academy and the Royal Society of Edinburgh. In 2022 he was made a CBE for services to Anthropology. 2 A01 21 0000000269996227 Robert Gibb Robert Gibb Teaches anthropology and sociology 40 00vtgdb53 University of Glasgow Robert Gibb teaches anthropology and sociology at the University of Glasgow. He has conducted anthropological research on the antiracist movement in France and on questions of translation and interpretation in the asylum process in France and Bulgaria. His most recent publications are ‘Metaphors and practices of translation in anglophone anthropology’ (Social Science Information, 2023) and ‘Re-Learning Hope: On Alienation, Theory and the “Death” of Universities’ (The Sociological Review, forthcoming). 06 Own website https://www.gla.ac.uk/schools/socialpolitical/staff/robertgibb/ 3 A01 21 0000000182437385 Philip Tonner Philip Tonner 40 00vtgdb53 University of Glasgow Philip Tonner is a Senior Lecturer in the School of Education at the University of Glasgow. He holds a PhD in Philosophy from the University of Glasgow (2006), a DPhil in Archaeology from the University of Oxford (2016) and a PGDE (2006) from the University of Strathclyde. His work explores themes at the intersection of philosophy, archaeology and education. He is the author of three books, Heidegger, Metaphysics and the Univocity of Being (Continuum 2010), Phenomenology Between Aesthetics and Idealism (Noesis Press 2015) and Dwelling: Heidegger, Archaeology, Mortality (Routledge 2018). 06 Own website https://www.gla.ac.uk/schools/education/staff/philiptonner/ 4 A01 21 0000000332159940 Diego Maria Malara Diego Malara Senior Lecturer in Social Anthropology at the School of Social and Political Sciences 40 00vtgdb53 University of Glasgow Diego Maria Malara is a Senior Lecturer in Social Anthropology at the School of Social and Political Sciences, University of Glasgow. He holds a PhD in Social Anthropology from the University of Edinburgh and has studied in Italy, Sweden and the UK. His research to date has focused on religion and politics in Ethiopia, specifically Ethiopian Orthodox Christianity. His publications explore themes including secrecy, kinship, healing, historicity, ethics, food, embodiment, religious pluralism and nationalism. He has recently edited special issues on ‘Lenience in Systems of Religious Meaning and Practices’ (Social Analysis) and ‘Ethnographies of Ethiopian Orthodox Christianity’ (Northeast African Studies), and co-authored a report entitled ‘Religion in Contemporary Ethiopia: History, Politics and Inter-religious Relations’ (Rift Valley Institute). 06 Own website https://www.gla.ac.uk/schools/socialpolitical/staff/diegomariamalara/ 01 eng 00 240 03 09 1 93 JHMC 10 SOC002010 93 PSXE 93 DNPB 20 Social Anthropology; Ethnography; Environment and perception; Education; Lines 01 06 02 00 Conversations with Tim Ingold offers a comprehensive and accessible introduction to the work of Tim Ingold, one of the leading anthropologists of our time. Presented as a series of interviews conducted by three anthropologists from the University of Glasgow over a period of two years, the book explores Ingold's key contributions to anthropolo 03 00 Conversations with Tim Ingold offers a comprehensive and accessible introduction to the work of Tim Ingold, one of the leading anthropologists of our time. Presented as a series of interviews conducted by three anthropologists from the University of Glasgow over a period of two years, the book explores Ingold's key contributions to anthropology and other disciplines. In his responses, Ingold describes the significant influences shaping his life and career, and addresses some of the criticisms that have been made of his ideas. Following an introductory chapter, the book consists of five edited and annotated interviews, each focusing on a specific theme: 'Life and Career,' 'Anthropology, Ethnography, Education and the University,' 'Environment, Perception and Skill,' 'Animals, Lines and Imagination,' and 'Looking Back and Forward.' Each chapter ends with a 'Further Reading' section, referencing Ingold's work and that of other scholars, to assist readers who want to follow up particular issues and debates. It concludes with an ‘Afterword’ authored by Ingold himself. 30 00 Conversations with Tim Ingold offers a comprehensive and accessible introduction to the work of Tim Ingold, one of the leading anthropologists of our time. Presented as a series of interviews conducted by three anthropologists from the University of Glasgow over a period of two years, the book explores Ingold's key contributions to anthropology and other disciplines. In his responses, Ingold describes the significant influences shaping his life and career, and addresses some of the criticisms that have been made of his ideas. Following an introductory chapter, the book consists of five edited and annotated interviews, each focusing on a specific theme: 'Life and Career,' 'Anthropology, Ethnography, Education and the University,' 'Environment, Perception and Skill,' 'Animals, Lines and Imagination,' and 'Looking Back and Forward.' Each chapter ends with a 'Further Reading' section, referencing Ingold's work and that of other scholars, to assist readers who want to follow up particular issues and debates. It concludes with an ‘Afterword’ authored by Ingold himself. 04 00 Notes on Authors -- Acknowledgements -- Introduction / Robert Gibb and Philip Tonner -- Conversation 1: Life and Career -- Conversation 2: Anthropology, Ethnography, Education, and the University -- Conversation 3: Environment, Perception, and Skill -- Conversation 4: Animals, Lines, and Imagination -- Conversation 5: Looking Back and Forward -- Afterword / Tim Ingold -- References -- Index 20 00 Open Access 01 00 03 02 https://images.squarespace-cdn.com/content/v1/628df820a8f890150d19db11/9e70f784-643d-46e2-b55c-db5188e293e0/Ingold_FC_Visual.jpg 01 URL https://www.sup.ac.uk/ Scottish Universities Press 01 Scottish Universities Press 01 Publisher's website: home page https://www.sup.ac.uk/ 02 Publisher's website: webpage for this title https://books.sup.ac.uk/sup/catalog/book/sup-9781917341028 Glasgow 04 01 20241022 Tim Ingold, Robert Gibb, Philip Tonner and Diego Maria Malara 02 WORLD 06 15 9781917341004 03 9781917341004 06 15 9781917341035 03 9781917341035 06 15 9781917341028 03 9781917341028 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/134001 29 PROJECT_MUSE: download the title https://muse.jhu.edu/book/134001/epub 20 08 20241022 01 09 Scottish Universities Press 02 Publisher's website: webpage for this product https://books.sup.ac.uk/sup/catalog/book/sup-9781917341028 29 Publisher's website: download the title https://books.sup.ac.uk/sup/catalog/view/sup-9781917341028/4/44 20 08 20241022 01 urn:uuid:74fb6219-4817-4954-8da7-ce96e584cf19 03 01 01 thoth-work-id urn:uuid:d5224ec4-7755-48d0-b7fd-bcb2ecf5ac9a 01 thoth-publication-id urn:uuid:74fb6219-4817-4954-8da7-ce96e584cf19 15 9781917341127 03 9781917341127 06 10.62637/sup.dasw4926 00 BC 10 01 234 mm 01 23.4 cm 01 9.21 in 02 156 mm 02 15.6 cm 02 6.14 in 03 19 mm 03 1.9 cm 03 0.75 in 08 518 gr 08 18.2719 oz Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ 01 01 Democratising spy watching Public oversight of intelligence-driven surveillance in Southern Africa 1 B01 21 0000000253368322 Jane Duncan Jane Duncan Jane Duncan is a Professor of Digital Society at the University of Glasgow, and she holds a British Academy Global Professorship at the same university. She is also a Visiting Professor at the University of Johannesburg. She is author of The rise of the securocrats (Jacana, 2014), Protest Nation (University of KwaZulu/ Natal Press, 2016), Stopping the spies (Wits University Press, 2018) and National security surveillance in southern Africa (Zed Books, 2022). 2 B01 21 0000000150643192 Allen Munoriyarwa Allen Munoriyarwa Allen Munoriyarwa is an Associate Professor of Journalism at Walter Sisulu University in South Africa, in the  Department of Marketing, Public Relations and Communication. His  research  interests are in surveillance, digital journalism, and media cultures, as well as digital surveillance. He has published widely in these areas.  He is the co-author of Digital Surveillance in Southern Africa: Policies, Politics and Practices (Palgrave Macmillan, 2022). 01 eng 00 380 03 09 3 93 JBFL 10 SOC063000 93 JPWG 10 POL066000 93 JPSH 10 SOC072000 10 POL035010 93 UBJ 93 1HFM 20 Surveillance; Southern Africa; Digital surveillance; intelligence oversight; public oversight; surveillance scandals; post-colonial democracies; communication studies; human rights 01 06 02 00 Time and again, the public have compensated for ineffective state oversight of digital surveillance by exposing intelligence agencies for spying on those who threaten the ruling status quo, rather than protecting public safety or national security. This book offers lessons for academics and activists by examining surveillance scandals across 03 00 Digitisation has provided intelligence agencies with the capabilities to conduct surveillance at an unprecedented scale. Using a range of digital surveillance technologies and practices, and unprecedented public-private collaborations, intelligence agencies have extended their ability to collect, store and analyse data for intelligence purposes. Effective oversight is required to limit the potential for abuse. However, across Southern Africa – where digital surveillance is expanding – official oversight institutions typically lack the power and resources to monitor and review surveillance capabilities in order to ensure that intelligence agencies behave effectively and lawfully. Consequently, oversight in these countries typically is conducted by the public, through, for instance, challenging unjustifiable secrecy, publicising abuses and organising campaigns to rein these agencies in.Through comparative case study research exploring lessons from key moments in the region, this volume explores public oversight of intelligence-driven digital surveillance in eight Southern African countries and examines cases where this oversight either succeeded, failed, or achieved mixed outcomes. Authored by researchers and journalists from the fields of law, communication and media studies, this book offers lessons for academics and activists, suggesting that a new model of public oversight of surveillance is possible, and, arguably, functions better than extant approaches to surveillance. It will be of global significance, as surveillance abuses are a worldwide problem, as is the problem of oversight failing to keep pace with expanding surveillance capabilities. 30 00 Digitisation has provided intelligence agencies with the capabilities to conduct surveillance at an unprecedented scale. Using a range of digital surveillance technologies and practices, and unprecedented public-private collaborations, intelligence agencies have extended their ability to collect, store and analyse data for intelligence purposes. Effective oversight is required to limit the potential for abuse. However, across Southern Africa – where digital surveillance is expanding – official oversight institutions typically lack the power and resources to monitor and review surveillance capabilities in order to ensure that intelligence agencies behave effectively and lawfully. Consequently, oversight in these countries typically is conducted by the public, through, for instance, challenging unjustifiable secrecy, publicising abuses and organising campaigns to rein these agencies in.Through comparative case study research exploring lessons from key moments in the region, this volume explores public oversight of intelligence-driven digital surveillance in eight Southern African countries and examines cases where this oversight either succeeded, failed, or achieved mixed outcomes. Authored by researchers and journalists from the fields of law, communication and media studies, this book offers lessons for academics and activists, suggesting that a new model of public oversight of surveillance is possible, and, arguably, functions better than extant approaches to surveillance. It will be of global significance, as surveillance abuses are a worldwide problem, as is the problem of oversight failing to keep pace with expanding surveillance capabilities. 04 00 Foreword Rafael Marques de Morais Acknowledgements Jane Duncan and Allen Munoriyarwa Chapter One: Making the case for public oversight of intelligence-driven surveillance: Key issues and core concepts Jane Duncan and Allen Munoriyarwa Chapter Two: Intelligence-driven digital surveillance and public oversight success in an anocracy: Angola and the 15+2 case Rui Verde Chapter Three: Popular agency oversight of digital surveillance of communications and personal data for intelligence purposes: The case of Botswana Tachilisa Badala Balule Chapter Four: Public control and digital surveillance: Understanding the role of civil society in the DRC Trésor Maheshe Musole Chapter Five: Factors influencing public oversight of digital surveillance for intelligence purposes: The case of Mauritius Sarah Chiumbu Chapter Six: Surveillance as a mechanism of political control in Mozambique: The structural environments for the failing of public oversight mechanisms Ernesto Nhanale and Borges Nhamirre Chapter Seven: The democratic subsidy in Namibia’s intelligence oversight mechanisms Frederico Links and Phillip Santos Chapter Eight: The challenges of sustaining public oversight: The rise and fall of anti-surveillance activism in South Africa Jane Duncan Chapter Nine: A civilian-driven model for surveillance oversight in Zimbabwe Allen Munoriyarwa Chapter Ten: Current trajectories and future challenges for public oversight Jane Duncan and Allen Munoriyarwa Index 20 00 Open Access 01 00 03 02 https://images.squarespace-cdn.com/content/628df820a8f890150d19db11/89045bf3-89f3-4998-b68d-c5316a5e05ff/Duncan_FC_Vis.jpg?content-type=image%2Fjpeg 1 03 06 10.62637/sup.dasw4926.1 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Making the case for public oversight of intelligence-driven surveillance Key issues and core concepts 1 A01 21 0000000253368322 Jane Duncan Jane Duncan 40 00vtgdb53 University of Glasgow Jane Duncan is a Professor of Digital Society at the University of Glasgow, and she holds a British Academy Global Professorship at the same university. She is also a Visiting Professor at the University of Johannesburg. She is author of The rise of the securocrats (Jacana, 2014), Protest Nation (University of KwaZulu/ Natal Press, 2016), Stopping the spies (Wits University Press, 2018) and National security surveillance in southern Africa (Zed Books, 2022). 2 A01 21 0000000150643192 Allen Munoriyarwa Allen Munoriyarwa 40 02svzjn28 Walter Sisulu University Allen Munoriyarwa is an Associate Professor of Journalism at Walter Sisulu University in South Africa, in the  Department of Marketing, Public Relations and Communication. His  research  interests are in surveillance, digital journalism, and media cultures, as well as digital surveillance. He has published widely in these areas.  He is the co-author of Digital Surveillance in Southern Africa: Policies, Politics and Practices (Palgrave Macmillan, 2022). 01 eng 03 00 This chapter deals with the core concepts engaged in this book and how they are understood, especially public oversight and how it can be distinguished from other forms of oversight. It also introduces the chapters in the volume. It examines the assumptions about democracy underpinning conventional oversight by formal oversight entities, as well as those underpinning the more radical and participatory forms made possible by public oversight. The chapter also sets the basis for the chapters focussing on the practices of the media and civil society organisations as a neglected but much needed dimension of oversight (Kniep et al, 2023, pg. 7). While being case study based, we explain how each chapter illuminates different elements of public oversight, and what it takes to build it, sustain it and make it effective. Doing so allows us to start developing a theoretical basis to predict conditions in which public oversight can succeed. The chapter also considers some of the methodological and ethical dilemmas in researching intelligence and surveillance in semi-authoritarian contexts. We also explain that the chapters are written by academics, civil society practitioners and journalists, and so there is a mix of more descriptive and theoretical approaches. However, overall, the volume tilts more to the critical paradigm, in that the researchers were motivated by a commitment to using their research to call the powerful to account, and in the process aimed to change how intelligence is organised to include a broader range of oversight actors as legitimate actors. 30 00 This chapter deals with the core concepts engaged in this book and how they are understood, especially public oversight and how it can be distinguished from other forms of oversight. It also introduces the chapters in the volume. It examines the assumptions about democracy underpinning conventional oversight by formal oversight entities, as well as those underpinning the more radical and participatory forms made possible by public oversight. The chapter also sets the basis for the chapters focussing on the practices of the media and civil society organisations as a neglected but much needed dimension of oversight (Kniep et al, 2023, pg. 7). While being case study based, we explain how each chapter illuminates different elements of public oversight, and what it takes to build it, sustain it and make it effective. Doing so allows us to start developing a theoretical basis to predict conditions in which public oversight can succeed. The chapter also considers some of the methodological and ethical dilemmas in researching intelligence and surveillance in semi-authoritarian contexts. We also explain that the chapters are written by academics, civil society practitioners and journalists, and so there is a mix of more descriptive and theoretical approaches. However, overall, the volume tilts more to the critical paradigm, in that the researchers were motivated by a commitment to using their research to call the powerful to account, and in the process aimed to change how intelligence is organised to include a broader range of oversight actors as legitimate actors. 20 00 Open Access Jane Duncan and Allen Munoriyarwa 2 03 06 10.62637/sup.dasw4926.2 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Intelligence-driven digital surveillance and public oversight success in an anocracy Angola and the 15+2 case 1 A01 21 0000000296465296 Rui Verde Rui Verde 40 052gg0110 University of Oxford 01 eng 03 00 Rui Verde holds a PhD in Law from the University of Newcastle, UK, and a law degree from Universidade Católica de Lisboa, Portugal. He serves as Chief Legal Adviser to Maka Angola, an organisation committed to promoting democracy, defending human rights and combating corruption in Angola. An expert on Angola’s legal landscape, especially in matters concerning corruption, the exercise and integrity of judicial authority, the dynamics of contemporary politics, and the evolving landscape of surveillance and digital rights – he has published extensively on these topics. At the University of Oxford, he developed a research project examining China’s influence in Angola and has completed a study on the role of the Israeli surveillance industry in the country. Currently a Research Associate at the African Studies Centre, University of Oxford, and Chercheur Associé at CEPED, Université Paris-Cité, he also founded the think-tank CEDESA, which is dedicated to advancing development in Southern Africa. 30 00 Rui Verde holds a PhD in Law from the University of Newcastle, UK, and a law degree from Universidade Católica de Lisboa, Portugal. He serves as Chief Legal Adviser to Maka Angola, an organisation committed to promoting democracy, defending human rights and combating corruption in Angola. An expert on Angola’s legal landscape, especially in matters concerning corruption, the exercise and integrity of judicial authority, the dynamics of contemporary politics, and the evolving landscape of surveillance and digital rights – he has published extensively on these topics. At the University of Oxford, he developed a research project examining China’s influence in Angola and has completed a study on the role of the Israeli surveillance industry in the country. Currently a Research Associate at the African Studies Centre, University of Oxford, and Chercheur Associé at CEPED, Université Paris-Cité, he also founded the think-tank CEDESA, which is dedicated to advancing development in Southern Africa. 20 00 Open Access Rui Verde 3 03 06 10.62637/sup.dasw4926.3 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Popular agency oversight of digital surveillance of communications and personal data for intelligence purposes The case of Botswana 1 A01 21 0009000930498421 Tachilisa Badala Balule Tachilisa Balule 40 01encsj80 University of Botswana Tachilisa Badala Balule is an Associate Professor of Law in the Department of Law, University of Botswana. He is currently the Deputy Dean in the Faculty of Social Sciences. He holds an LLB degree from the University of Botswana, and LLM and PhD degrees from the University of Edinburgh, Scotland. His PhD research was on regulation of the media. Dr Balule has published in the area of freedom of expression, including media freedom and access to information, and on aspects of electoral laws. He has delivered papers on freedom of expression, media law and access to information at national and international conferences. He has also written on digital surveillance, data protection and privacy in Botswana, and has completed a study recently on this topic. Earlier this year, his research on digital surveillance was cited by both sides of the house in a parliamentary debate on the Criminal Procedure and Evidence (Controlled Investigations) Bill, that led to the Government of Botswana making significant concessions to the Bill’s critics. 01 eng 03 00 Many threats to the stability of modern states manifest themselves in organised and covert activities. The nature of the threats to the security of a state often requires intelligence services to use covert and intrusive means to counter the threats. Some of the methods used by intelligence services may infringe upon civil liberties. It is, thus, imperative to have in place oversight mechanisms that will ensure that, in the performance of their mandate, intelligence services respect the rule of law and the fundamental rights and freedoms of the individual. This is especially important in democratic societies, where the respect for the rule of law and civil liberties are a sine qua non. The State of Botswana has since independence, embraced democratic rule and its intelligence services must respect the rule of law and the fundamental rights and freedoms of the individual in the performance of their mandate. In other words, the sector must be accountable, which implies, among others, that it should be subject to oversight in the performance of its functions. Traditionally, oversight on the intelligence sector is exercised by organs of government, being the executive, judiciary and legislature, and in some cases, statutory bodies. It has, however, been observed that in many countries around the world, the traditional oversight mechanisms are not effective leading to an oversight deficit. The State of Botswana is one of those where the traditional oversight mechanisms have proven to be inadequate and/or ineffective. The oversight deficit in the intelligence sector challenges us to explore other complimentary mechanisms. This chapter explores the potential and use of popular agency on the intelligence sector in Botswana. 30 00 Many threats to the stability of modern states manifest themselves in organised and covert activities. The nature of the threats to the security of a state often requires intelligence services to use covert and intrusive means to counter the threats. Some of the methods used by intelligence services may infringe upon civil liberties. It is, thus, imperative to have in place oversight mechanisms that will ensure that, in the performance of their mandate, intelligence services respect the rule of law and the fundamental rights and freedoms of the individual. This is especially important in democratic societies, where the respect for the rule of law and civil liberties are a sine qua non. The State of Botswana has since independence, embraced democratic rule and its intelligence services must respect the rule of law and the fundamental rights and freedoms of the individual in the performance of their mandate. In other words, the sector must be accountable, which implies, among others, that it should be subject to oversight in the performance of its functions. Traditionally, oversight on the intelligence sector is exercised by organs of government, being the executive, judiciary and legislature, and in some cases, statutory bodies. It has, however, been observed that in many countries around the world, the traditional oversight mechanisms are not effective leading to an oversight deficit. The State of Botswana is one of those where the traditional oversight mechanisms have proven to be inadequate and/or ineffective. The oversight deficit in the intelligence sector challenges us to explore other complimentary mechanisms. This chapter explores the potential and use of popular agency on the intelligence sector in Botswana. 20 00 Open Access Tachilisa Badala Balule 4 03 06 10.62637/sup.dasw4926.4 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Public control and digital surveillance Understanding the role of civil society in the DRC 1 A01 21 0000000255473011 Trésor Maheshe Musole Trésor Maheshe Musole 40 03cg80535 Université Catholique de Bukavu Trésor Maheshe Musole is a Professor of International Law at the Catholic University of Bukavu, eastern Democratic Republic of the Congo (DRC). His area of expertise is peace, human rights, security and migration in the Great Lakes region, as well as freedom of expression and the right to asylum. He has experience in the judicial and human-rights field, having worked as a member of the body of judicial defenders at the courts under the jurisdiction of the Court of Appeal of Bukavu, and is currently a lawyer at the bar of South Kivu in the DRC. He recently completed a study on digital surveillance and privacy in DRC: balancing national security and personal data protection. 01 eng 03 00 This chapter examines the role of civil society organizations (CSOs) in public control of digital surveillance. The presentation uses three case studies to explain the low level of CSO interest in electronic surveillance. The study suggests ways to engage CSOs in actions that limit the abuses of surveillance through their public control. From these three case studies, CSOs fail to reduce surveillance against political opponents and individuals. Faced with this situation, this chapter answers two questions: RQ1What are the factors behind the low level of interest among Congolese civil society in the issue of surveillance? RQ2 How can civil society actions limit the abuses of surveillance? By analysing these questions, the chapter clearly demonstrates how public surveillance can succeed and what inhibiting factors can cause it to fail. 30 00 This chapter examines the role of civil society organizations (CSOs) in public control of digital surveillance. The presentation uses three case studies to explain the low level of CSO interest in electronic surveillance. The study suggests ways to engage CSOs in actions that limit the abuses of surveillance through their public control. From these three case studies, CSOs fail to reduce surveillance against political opponents and individuals. Faced with this situation, this chapter answers two questions: RQ1What are the factors behind the low level of interest among Congolese civil society in the issue of surveillance? RQ2 How can civil society actions limit the abuses of surveillance? By analysing these questions, the chapter clearly demonstrates how public surveillance can succeed and what inhibiting factors can cause it to fail. 20 00 Open Access Trésor Maheshe Musole 5 03 06 10.62637/sup.dasw4926.5 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Factors influencing public oversight of digital surveillance for intelligence purposes The case of Mauritius 1 A01 21 0000000193498204 Sarah Chiumbu Sarah Chiumbu 40 04z6c2n17 University of Johannesburg Sarah Chiumbu is an Associate Professor of Communication at the University of Johannesburg, South Africa. Prior to this, she served as a Senior Research Specialist in the Human and Social Development Research Programme at the Human Sciences Research Council (HSRC). She also spent seven years at the University of the Witwatersrand as a senior lecturer in Media and Communication Studies. She holds a PhD and MA in media studies from the University of Oslo, Norway. Her research interests encompass media, democracy and citizenship, digital media, policy studies and social movements. 01 eng 03 00 This chapter focuses on arguably the most impressive example of public oversight discussed in this edited volume, and one that has reduced the scope for surveillance overreach on a more sustained basis as popular consciousness of the dangers remain embedded in the social fabric. In 2013, the Mauritian government introduced the smart identity (ID) card to replace the previous National ID Card through a public-private partnership with Singapore, with the stated aim of cleaning up duplication in databases, but with considerable surveillance potential as it provided the government with a massive database of population data. The smart card contained a microchip and biometric data, including fingerprints, facial recognition data and a digital photo, and the biometric information was meant to be stored in a central population database. The Smart ID card faced opposition from the public, activists and civil society organisations, who were concerned that the government could use this information for surveillance purposes or to track the activities of citizens. Civil society organisations and activists launched campaigns to oppose the smart ID card. These included online petitions, social media campaigns, and public protests. There were also legal challenges filed against the implementation of the biometric card. Due to the public outcry, the government suspended the project in 2015 and changes to the Smart ID card system to address the public’s concerns. This chapter examines the factors that influenced public oversight of the digital Smart ID policy and the decision by the government to update data protection laws. It utilises an innovative mixed-theory approach to understand the dynamics of public oversight in Mauritius. 30 00 This chapter focuses on arguably the most impressive example of public oversight discussed in this edited volume, and one that has reduced the scope for surveillance overreach on a more sustained basis as popular consciousness of the dangers remain embedded in the social fabric. In 2013, the Mauritian government introduced the smart identity (ID) card to replace the previous National ID Card through a public-private partnership with Singapore, with the stated aim of cleaning up duplication in databases, but with considerable surveillance potential as it provided the government with a massive database of population data. The smart card contained a microchip and biometric data, including fingerprints, facial recognition data and a digital photo, and the biometric information was meant to be stored in a central population database. The Smart ID card faced opposition from the public, activists and civil society organisations, who were concerned that the government could use this information for surveillance purposes or to track the activities of citizens. Civil society organisations and activists launched campaigns to oppose the smart ID card. These included online petitions, social media campaigns, and public protests. There were also legal challenges filed against the implementation of the biometric card. Due to the public outcry, the government suspended the project in 2015 and changes to the Smart ID card system to address the public’s concerns. This chapter examines the factors that influenced public oversight of the digital Smart ID policy and the decision by the government to update data protection laws. It utilises an innovative mixed-theory approach to understand the dynamics of public oversight in Mauritius. 20 00 Open Access Sarah Chiumbu 6 03 06 10.62637/sup.dasw4926.6 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Surveillance as a mechanism of political control in Mozambique The structural environments for the failing of public oversight mechanisms 1 A01 21 000900061559486X Ernesto Nhanale Ernesto Nhanale 40 00hw53j55 Escola Superior de Jornalismo Ernesto Nhanale is both an academic and a civil society activist, having served as the director of the Mozambique chapter of the Media Institute for Southern Africa for several years. He is also a Professor of Media and Journalism at Higher School of Journalism, an independent higher-education institution in Mozambique. He has undertaken extensive research work and produced publications in the area of political communication and journalism and is a co-founder of CEC – Centre of Interdisciplinary Studies of Communication. He recently completed a study on digital surveillance and authoritarianism in Mozambique. 2 A01 Borges Nhamirre Borges Nhamirre 40 00fd6f737 Institute for Security Studies Borges Nhamirre is a researcher on peace, security and governance at the Institute for Security Studies (ISS Africa). Prior to joining ISS in 2021, he served as a senior researcher and research coordinator at the Centre for Public Integrity in Maputo. He holds a Master’s degree in Security Studies with a specialisation in Maritime Security from Joaquim Chissano University in Maputo, and he is currently pursuing a PhD in History of Ethnicity and Conflict in Northern Mozambique at Queen’s University Belfast (QUB), Northern Ireland. He also lectures on Nationalism and Liberation Movements in 20th-century Africa at the School of History, Anthropology, Philosophy and Politics at QUB. 03 00 This chapter argues that Mozambican intelligence services have operated without effective oversight from either the other branches of the state, parliament, the judiciary or external audit bodies like civil society organisations and the media. The lack of proper oversight can be attributed to several factors, with the most significant being the political context of Mozambique’s authoritarian regime. This regime concentrates state power in the hands of the Head of State, who also serves as Commander-in-Chief of the Defence and Security Forces and utilises the intelligence services as a tool for popular surveillance.The historical context in which the intelligence services were formed and developed in Mozambique has also contributed greatly to defining their current profile. The current intelligence services in Mozambique inherited the practices of the fascist regime of the Portuguese colonial state, which ruled Mozambique before political independence in 1975, as well as the intelligence practices used by the Mozambique Liberation Front (FRELIMO) during the national liberation struggle. Furthermore, the establishment of the National Popular Security Service (SNASP) was the first intelligence service established when Mozambique gained its independence in 1975. Post-independence, Mozambique was under authoritarian one-party rule and in a context of civil war between FRELIMO and the Mozambican National Resistance (RENAMO). This greatly contributed to SNASP being a paramilitary service and used primarily to control perceived internal political threats by keeping watch on Mozambican citizens, who might support the rebel group, RENAMO. The current State Intelligence and Security Service (SISE) was created in 1991 in the context of establishing a multi-party democracy in Mozambique; however, it inherited anti-democratic practices from its predecessor, encompassing surveillance of citizens and non-accountability.This chapter demonstrates this through a case study of popular surveillance by the Mozambican intelligence services, through an order issued by the government for the compulsory registration of mobile phone Subscriber Identity Module (SIM) cards and argues that there was no oversight of the intelligent services’ actions in this regard, either by the state’s balancing powers (Parliament and the Judiciary) or by civil society and the media. The chapter is the result of documentary research relying mostly on Mozambique’s intelligence services, as well as historical documents combined with key-informant interviews (KII). 30 00 This chapter argues that Mozambican intelligence services have operated without effective oversight from either the other branches of the state, parliament, the judiciary or external audit bodies like civil society organisations and the media. The lack of proper oversight can be attributed to several factors, with the most significant being the political context of Mozambique’s authoritarian regime. This regime concentrates state power in the hands of the Head of State, who also serves as Commander-in-Chief of the Defence and Security Forces and utilises the intelligence services as a tool for popular surveillance.The historical context in which the intelligence services were formed and developed in Mozambique has also contributed greatly to defining their current profile. The current intelligence services in Mozambique inherited the practices of the fascist regime of the Portuguese colonial state, which ruled Mozambique before political independence in 1975, as well as the intelligence practices used by the Mozambique Liberation Front (FRELIMO) during the national liberation struggle. Furthermore, the establishment of the National Popular Security Service (SNASP) was the first intelligence service established when Mozambique gained its independence in 1975. Post-independence, Mozambique was under authoritarian one-party rule and in a context of civil war between FRELIMO and the Mozambican National Resistance (RENAMO). This greatly contributed to SNASP being a paramilitary service and used primarily to control perceived internal political threats by keeping watch on Mozambican citizens, who might support the rebel group, RENAMO. The current State Intelligence and Security Service (SISE) was created in 1991 in the context of establishing a multi-party democracy in Mozambique; however, it inherited anti-democratic practices from its predecessor, encompassing surveillance of citizens and non-accountability.This chapter demonstrates this through a case study of popular surveillance by the Mozambican intelligence services, through an order issued by the government for the compulsory registration of mobile phone Subscriber Identity Module (SIM) cards and argues that there was no oversight of the intelligent services’ actions in this regard, either by the state’s balancing powers (Parliament and the Judiciary) or by civil society and the media. The chapter is the result of documentary research relying mostly on Mozambique’s intelligence services, as well as historical documents combined with key-informant interviews (KII). 20 00 Open Access Ernesto Nhanale and Borges Nhamirre 7 03 06 10.62637/sup.dasw4926.7 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 The democratic subsidy in Namibia’s intelligence oversight mechanisms 1 A01 Frederico Links Frederico Links Frederico Links is a Namibian governance researcher and a journalist focussing on state-related governance issues. He has coordinated and contributed to projects at national, regional and international levels. He is the lead researcher for Namibia in the eight-country digital-surveillance research project funded by the British Academy, through the University of Glasgow. He also recently contributed to a study on cybersecurity and cybercrime laws and their impacts on media freedom and free expression across the SADC region. Aside from his journalism and research work, Links is also the founding and current chairperson of the Access to Information in Namibia (ACTION) Coalition of civil society and media organisations and social activists. The ACTION Coalition has been instrumental in successfully advocating for an access to information law in Namibia since 2012. Links is the author of a large number of articles, reports and book chapters. 2 A01 21 0000000287300596 Phillip Santos Phillip Santos 40 03gg1ey66 Namibia University of Science and Technology Phillip Santos teaches both undergraduate and postgraduate courses in the Department of Journalism and Media Technology at the Namibia University of Science and Technology and is Research Associate in the Department of Strategic Communication, University of Johannesburg. He also taught in the Department of Journalism and Media Studies at the National University of Science and Technology in Zimbabwe. He holds a PhD from Rhodes University in South Africa and co-edited the books Reading Justice Claims on Social Media: Perspectives from the Global South and Global Pandemics in the Media: An African Perspective. His research interests are in political and strategic communication; the mediation of science and health issues, social memory, gender, Justice and political struggle; the social and policy dimensions of new and broadcast Media, as well as the confluence between political Correctness, populism, post-truthism and democratic politics. 01 eng 03 00 Democratic societies require and thrive on a significant degree of openness, the rule of law and accountability of public officials and institutions, inter alia. In a democracy, powerful individuals and institutions are made accountable for their decisions and actions mainly through formal and informal oversight mechanisms. Formal oversight structures are embedded within a state’s infrastructure in terms of the law and are financially capacitated to make their operations possible. However, the secretive and sometimes invasive nature of intelligence operations often places them beyond the reach of effective formal oversight mechanisms, making the former a real potential threat to the democratic fabric of the societies they serve.It is in this context that the chapter uses the case of Namibia to analyse the dialectical relationship between formal and informal oversight practices on the country’s intelligence service and its operations. This is done by showing how the gravity of the gap in formal oversight mechanisms on intelligence services has triggered oversight interest and activity in the informal public sphere, the latter of which is a subsidy of Namibia’s democratic atmosphere and affordances. The chapter highlights the structural incapacities in formal oversight mechanisms over the operations of the Namibia Central Intelligence Service, showing how these are mitigated by informal social actors such as the news media, civil society and political activists, among others. Nonetheless, the chapter acknowledges the importance of formal oversight as it comes with punitive authority unlike informal oversight activities which may be limited in terms of both their effectiveness and capacity to make the NCIS’s administration and operations truly transparent and accountable. 30 00 Democratic societies require and thrive on a significant degree of openness, the rule of law and accountability of public officials and institutions, inter alia. In a democracy, powerful individuals and institutions are made accountable for their decisions and actions mainly through formal and informal oversight mechanisms. Formal oversight structures are embedded within a state’s infrastructure in terms of the law and are financially capacitated to make their operations possible. However, the secretive and sometimes invasive nature of intelligence operations often places them beyond the reach of effective formal oversight mechanisms, making the former a real potential threat to the democratic fabric of the societies they serve.It is in this context that the chapter uses the case of Namibia to analyse the dialectical relationship between formal and informal oversight practices on the country’s intelligence service and its operations. This is done by showing how the gravity of the gap in formal oversight mechanisms on intelligence services has triggered oversight interest and activity in the informal public sphere, the latter of which is a subsidy of Namibia’s democratic atmosphere and affordances. The chapter highlights the structural incapacities in formal oversight mechanisms over the operations of the Namibia Central Intelligence Service, showing how these are mitigated by informal social actors such as the news media, civil society and political activists, among others. Nonetheless, the chapter acknowledges the importance of formal oversight as it comes with punitive authority unlike informal oversight activities which may be limited in terms of both their effectiveness and capacity to make the NCIS’s administration and operations truly transparent and accountable. 20 00 Open Access Frederico Links and Phillip Santos 8 03 06 10.62637/sup.dasw4926.8 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 The challenges of sustaining public oversight The rise and fall of anti-surveillance activism in South Africa 1 A01 21 0000000253368322 Jane Duncan Jane Duncan 40 00vtgdb53 University of Glasgow Jane Duncan is a Professor of Digital Society at the University of Glasgow, and she holds a British Academy Global Professorship at the same university. She is also a Visiting Professor at the University of Johannesburg. She is author of The rise of the securocrats (Jacana, 2014), Protest Nation (University of KwaZulu/ Natal Press, 2016), Stopping the spies (Wits University Press, 2018) and National security surveillance in southern Africa (Zed Books, 2022). 01 eng 03 00 This chapter focuses on the rise and fall of anti-surveillance activism in South Africa, from 2010 to date, as a form of public oversight of intelligence-driven surveillance. In 2010, the government attempted to introduce a highly controversial Bill, the Protection of Information Bill (Protection of Information Bill 2010), which threatened to give South Africa’s civilian intelligence agency, the State Security Agency (SSA), the powers to overclassify huge swathes of government information and cloak it in a shroud of secrecy: hence, its critics dubbed it the ‘Secrecy Bill’ (News24, 2011). The campaign against the Bill extracted major concessions from the government. However, once Jacob Zuma was replaced by Cyril Ramaphosa as president, anti-surveillance activism shrunk, making it difficult to consolidate the democratic gains made during that period. At the same time, more contained forms of contention, using more well-established forms of claim-making, such as strategic litigation, has won ground. In 2021, the fight against abusive surveillance culminated in a major legal victory against the government won by the amaBhungane Centre for Investigative Journalism in the highest court in South Africa, the Constitutional Court. This chapter study examines the rise and fall of anti-surveillance activism in South Africa as a form of public oversight. It seeks to answer two main questions: what factors contributed to the rise and fall of the highly effective anti-surveillance activism during Zuma’s presidency, followed by the success of strategic litigation? What lessons are to be learned from this failure and success for emerging practices of public oversight of intelligence-driven surveillance? 30 00 This chapter focuses on the rise and fall of anti-surveillance activism in South Africa, from 2010 to date, as a form of public oversight of intelligence-driven surveillance. In 2010, the government attempted to introduce a highly controversial Bill, the Protection of Information Bill (Protection of Information Bill 2010), which threatened to give South Africa’s civilian intelligence agency, the State Security Agency (SSA), the powers to overclassify huge swathes of government information and cloak it in a shroud of secrecy: hence, its critics dubbed it the ‘Secrecy Bill’ (News24, 2011). The campaign against the Bill extracted major concessions from the government. However, once Jacob Zuma was replaced by Cyril Ramaphosa as president, anti-surveillance activism shrunk, making it difficult to consolidate the democratic gains made during that period. At the same time, more contained forms of contention, using more well-established forms of claim-making, such as strategic litigation, has won ground. In 2021, the fight against abusive surveillance culminated in a major legal victory against the government won by the amaBhungane Centre for Investigative Journalism in the highest court in South Africa, the Constitutional Court. This chapter study examines the rise and fall of anti-surveillance activism in South Africa as a form of public oversight. It seeks to answer two main questions: what factors contributed to the rise and fall of the highly effective anti-surveillance activism during Zuma’s presidency, followed by the success of strategic litigation? What lessons are to be learned from this failure and success for emerging practices of public oversight of intelligence-driven surveillance? 20 00 Open Access Jane Duncan 9 03 06 10.62637/sup.dasw4926.9 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 A civilian-driven model for surveillance oversight in Zimbabwe 1 A01 21 0000000150643192 Allen Munoriyarwa Allen Munoriyarwa 40 02svzjn28 Walter Sisulu University Allen Munoriyarwa is an Associate Professor of Journalism at Walter Sisulu University in South Africa, in the  Department of Marketing, Public Relations and Communication. His  research  interests are in surveillance, digital journalism, and media cultures, as well as digital surveillance. He has published widely in these areas.  He is the co-author of Digital Surveillance in Southern Africa: Policies, Politics and Practices (Palgrave Macmillan, 2022). 01 eng 03 00 In this chapter, I interrogate the efficacy of a civilian-driven surveillance oversight model that can potentially counter surveillance practice excesses that manifest in, among other practices, unregulated and unwarranted surveillance. I use the Zimbabwean case as a case in point for the deployment of such a model. Drawing data from critical (intelligence) surveillance incidents that happened in post-coup Zimbabwe, and on limited interviews with civic society actors, legislators and activists, this chapter seeks to answer two questions. Firstly, I answer the question: how did intelligence agencies, especially the Central Intelligence Organisation (CIO), become a political appendage of the ruling Zimbabwe African National Union Patriotic Front (ZANU PF) regime? And, lastly, what pathways exist to bolster collective civilian inclusion in surveillance regulation? In other words, I want to explore how an alternative (to existing surveillance regulation practices), civilian-driven model of digital surveillance can be achieved. The argument I make is that surveillance in semi-authoritarian regimes is becoming opaque than ever. There is a need to ‘activate’ civilians to be part of any future oversight practices if fundamental rights like the right to privacy are to be respected in contexts with no culture of such respect. The growing power and capabilities of intelligence institutions, their militarisation, and politicisation, in these contexts, mean that more than ever, there is a need to mobilise civilians to exercise robust oversight on intelligence agencies. 30 00 In this chapter, I interrogate the efficacy of a civilian-driven surveillance oversight model that can potentially counter surveillance practice excesses that manifest in, among other practices, unregulated and unwarranted surveillance. I use the Zimbabwean case as a case in point for the deployment of such a model. Drawing data from critical (intelligence) surveillance incidents that happened in post-coup Zimbabwe, and on limited interviews with civic society actors, legislators and activists, this chapter seeks to answer two questions. Firstly, I answer the question: how did intelligence agencies, especially the Central Intelligence Organisation (CIO), become a political appendage of the ruling Zimbabwe African National Union Patriotic Front (ZANU PF) regime? And, lastly, what pathways exist to bolster collective civilian inclusion in surveillance regulation? In other words, I want to explore how an alternative (to existing surveillance regulation practices), civilian-driven model of digital surveillance can be achieved. The argument I make is that surveillance in semi-authoritarian regimes is becoming opaque than ever. There is a need to ‘activate’ civilians to be part of any future oversight practices if fundamental rights like the right to privacy are to be respected in contexts with no culture of such respect. The growing power and capabilities of intelligence institutions, their militarisation, and politicisation, in these contexts, mean that more than ever, there is a need to mobilise civilians to exercise robust oversight on intelligence agencies. 20 00 Open Access Allen Munoriyarwa 10 03 06 10.62637/sup.dasw4926.10 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Current trajectories and future challenges for public oversight 1 A01 21 0000000253368322 Jane Duncan Jane Duncan 40 00vtgdb53 University of Glasgow Jane Duncan is a Professor of Digital Society at the University of Glasgow, and she holds a British Academy Global Professorship at the same university. She is also a Visiting Professor at the University of Johannesburg. She is author of The rise of the securocrats (Jacana, 2014), Protest Nation (University of KwaZulu/ Natal Press, 2016), Stopping the spies (Wits University Press, 2018) and National security surveillance in southern Africa (Zed Books, 2022). 2 A01 21 0000000150643192 Allen Munoriyarwa Allen Munoriyarwa 40 02svzjn28 Walter Sisulu University Allen Munoriyarwa is an Associate Professor of Journalism at Walter Sisulu University in South Africa, in the  Department of Marketing, Public Relations and Communication. His  research  interests are in surveillance, digital journalism, and media cultures, as well as digital surveillance. He has published widely in these areas.  He is the co-author of Digital Surveillance in Southern Africa: Policies, Politics and Practices (Palgrave Macmillan, 2022). 01 eng 03 00 In this concluding chapter, we assess the major findings from each of the chapters and return to the original question posed in the introduction, of how the public can perform more effective oversight digital surveillance for intelligence purposes. Each chapter presented case studies of moments when public oversight has been attempted, and either succeeded, or failed or achieved mixed outcomes. The chapters analysed moments when the public required intelligence agencies to explain and justify surveillance and change surveillance practices when they amounted to abuse (McCarthy and Fluck, 2016). Some of these cases involved intelligence and surveillance laws or state-sanctioned data processing systems that the public feared had surveillant potential. Others followed the well-recognised shock-driven approach to intelligence reform, where controversies around surveillance abuses came into the public domain through whistleblowing or the leaking of intelligence information, and these controversies galvanised public action of various kinds (Johnson, 2018, p.209-246). This chapter uses a summary of the main chapter findings to address key research questions and to develop a set of theoretical propositions about public oversight and the conditions under which it is likely to succeed. 30 00 In this concluding chapter, we assess the major findings from each of the chapters and return to the original question posed in the introduction, of how the public can perform more effective oversight digital surveillance for intelligence purposes. Each chapter presented case studies of moments when public oversight has been attempted, and either succeeded, or failed or achieved mixed outcomes. The chapters analysed moments when the public required intelligence agencies to explain and justify surveillance and change surveillance practices when they amounted to abuse (McCarthy and Fluck, 2016). Some of these cases involved intelligence and surveillance laws or state-sanctioned data processing systems that the public feared had surveillant potential. Others followed the well-recognised shock-driven approach to intelligence reform, where controversies around surveillance abuses came into the public domain through whistleblowing or the leaking of intelligence information, and these controversies galvanised public action of various kinds (Johnson, 2018, p.209-246). This chapter uses a summary of the main chapter findings to address key research questions and to develop a set of theoretical propositions about public oversight and the conditions under which it is likely to succeed. 20 00 Open Access Jane Duncan and Allen Munoriyarwa 01 URL https://www.sup.ac.uk/ Scottish Universities Press 01 Scottish Universities Press 01 Publisher's website: home page https://www.sup.ac.uk/ 02 Publisher's website: webpage for this title https://books.sup.ac.uk/sup/catalog/book/sup-9781917341158 16 40 0302b4677 32 10.13039/501100000286 British Academy 01 programname Global Professorship 01 grantnumber GP/400069 Edinburgh, Scotland 04 01 20260115 Jane Duncan and Allen Munoriyarwa 02 WORLD 06 15 9781917341134 03 9781917341134 06 15 9781917341158 03 9781917341158 06 15 9781917341141 03 9781917341141 WORLD 09 Scottish Universities Press 02 Publisher's website: webpage for this product https://books.sup.ac.uk/sup/catalog/book/sup-9781917341158 20 08 20260115 01 urn:uuid:c77fa32d-aab4-4fb2-b913-31e143a82ded 03 01 01 thoth-work-id urn:uuid:d5224ec4-7755-48d0-b7fd-bcb2ecf5ac9a 01 thoth-publication-id urn:uuid:c77fa32d-aab4-4fb2-b913-31e143a82ded 15 9781917341134 03 9781917341134 06 10.62637/sup.dasw4926 00 BB 10 01 234 mm 01 23.4 cm 01 9.21 in 02 156 mm 02 15.6 cm 02 6.14 in 03 21 mm 03 2.1 cm 03 0.83 in 08 692 gr 08 24.4096 oz Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ 01 01 Democratising spy watching Public oversight of intelligence-driven surveillance in Southern Africa 1 B01 21 0000000253368322 Jane Duncan Jane Duncan Jane Duncan is a Professor of Digital Society at the University of Glasgow, and she holds a British Academy Global Professorship at the same university. She is also a Visiting Professor at the University of Johannesburg. She is author of The rise of the securocrats (Jacana, 2014), Protest Nation (University of KwaZulu/ Natal Press, 2016), Stopping the spies (Wits University Press, 2018) and National security surveillance in southern Africa (Zed Books, 2022). 2 B01 21 0000000150643192 Allen Munoriyarwa Allen Munoriyarwa Allen Munoriyarwa is an Associate Professor of Journalism at Walter Sisulu University in South Africa, in the  Department of Marketing, Public Relations and Communication. His  research  interests are in surveillance, digital journalism, and media cultures, as well as digital surveillance. He has published widely in these areas.  He is the co-author of Digital Surveillance in Southern Africa: Policies, Politics and Practices (Palgrave Macmillan, 2022). 01 eng 00 380 03 09 3 93 JBFL 10 SOC063000 93 JPWG 10 POL066000 93 JPSH 10 SOC072000 10 POL035010 93 UBJ 93 1HFM 20 Surveillance; Southern Africa; Digital surveillance; intelligence oversight; public oversight; surveillance scandals; post-colonial democracies; communication studies; human rights 01 06 02 00 Time and again, the public have compensated for ineffective state oversight of digital surveillance by exposing intelligence agencies for spying on those who threaten the ruling status quo, rather than protecting public safety or national security. This book offers lessons for academics and activists by examining surveillance scandals across 03 00 Digitisation has provided intelligence agencies with the capabilities to conduct surveillance at an unprecedented scale. Using a range of digital surveillance technologies and practices, and unprecedented public-private collaborations, intelligence agencies have extended their ability to collect, store and analyse data for intelligence purposes. Effective oversight is required to limit the potential for abuse. However, across Southern Africa – where digital surveillance is expanding – official oversight institutions typically lack the power and resources to monitor and review surveillance capabilities in order to ensure that intelligence agencies behave effectively and lawfully. Consequently, oversight in these countries typically is conducted by the public, through, for instance, challenging unjustifiable secrecy, publicising abuses and organising campaigns to rein these agencies in.Through comparative case study research exploring lessons from key moments in the region, this volume explores public oversight of intelligence-driven digital surveillance in eight Southern African countries and examines cases where this oversight either succeeded, failed, or achieved mixed outcomes. Authored by researchers and journalists from the fields of law, communication and media studies, this book offers lessons for academics and activists, suggesting that a new model of public oversight of surveillance is possible, and, arguably, functions better than extant approaches to surveillance. It will be of global significance, as surveillance abuses are a worldwide problem, as is the problem of oversight failing to keep pace with expanding surveillance capabilities. 30 00 Digitisation has provided intelligence agencies with the capabilities to conduct surveillance at an unprecedented scale. Using a range of digital surveillance technologies and practices, and unprecedented public-private collaborations, intelligence agencies have extended their ability to collect, store and analyse data for intelligence purposes. Effective oversight is required to limit the potential for abuse. However, across Southern Africa – where digital surveillance is expanding – official oversight institutions typically lack the power and resources to monitor and review surveillance capabilities in order to ensure that intelligence agencies behave effectively and lawfully. Consequently, oversight in these countries typically is conducted by the public, through, for instance, challenging unjustifiable secrecy, publicising abuses and organising campaigns to rein these agencies in.Through comparative case study research exploring lessons from key moments in the region, this volume explores public oversight of intelligence-driven digital surveillance in eight Southern African countries and examines cases where this oversight either succeeded, failed, or achieved mixed outcomes. Authored by researchers and journalists from the fields of law, communication and media studies, this book offers lessons for academics and activists, suggesting that a new model of public oversight of surveillance is possible, and, arguably, functions better than extant approaches to surveillance. It will be of global significance, as surveillance abuses are a worldwide problem, as is the problem of oversight failing to keep pace with expanding surveillance capabilities. 04 00 Foreword Rafael Marques de Morais Acknowledgements Jane Duncan and Allen Munoriyarwa Chapter One: Making the case for public oversight of intelligence-driven surveillance: Key issues and core concepts Jane Duncan and Allen Munoriyarwa Chapter Two: Intelligence-driven digital surveillance and public oversight success in an anocracy: Angola and the 15+2 case Rui Verde Chapter Three: Popular agency oversight of digital surveillance of communications and personal data for intelligence purposes: The case of Botswana Tachilisa Badala Balule Chapter Four: Public control and digital surveillance: Understanding the role of civil society in the DRC Trésor Maheshe Musole Chapter Five: Factors influencing public oversight of digital surveillance for intelligence purposes: The case of Mauritius Sarah Chiumbu Chapter Six: Surveillance as a mechanism of political control in Mozambique: The structural environments for the failing of public oversight mechanisms Ernesto Nhanale and Borges Nhamirre Chapter Seven: The democratic subsidy in Namibia’s intelligence oversight mechanisms Frederico Links and Phillip Santos Chapter Eight: The challenges of sustaining public oversight: The rise and fall of anti-surveillance activism in South Africa Jane Duncan Chapter Nine: A civilian-driven model for surveillance oversight in Zimbabwe Allen Munoriyarwa Chapter Ten: Current trajectories and future challenges for public oversight Jane Duncan and Allen Munoriyarwa Index 20 00 Open Access 01 00 03 02 https://images.squarespace-cdn.com/content/628df820a8f890150d19db11/89045bf3-89f3-4998-b68d-c5316a5e05ff/Duncan_FC_Vis.jpg?content-type=image%2Fjpeg 1 03 06 10.62637/sup.dasw4926.1 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Making the case for public oversight of intelligence-driven surveillance Key issues and core concepts 1 A01 21 0000000253368322 Jane Duncan Jane Duncan 40 00vtgdb53 University of Glasgow Jane Duncan is a Professor of Digital Society at the University of Glasgow, and she holds a British Academy Global Professorship at the same university. She is also a Visiting Professor at the University of Johannesburg. She is author of The rise of the securocrats (Jacana, 2014), Protest Nation (University of KwaZulu/ Natal Press, 2016), Stopping the spies (Wits University Press, 2018) and National security surveillance in southern Africa (Zed Books, 2022). 2 A01 21 0000000150643192 Allen Munoriyarwa Allen Munoriyarwa 40 02svzjn28 Walter Sisulu University Allen Munoriyarwa is an Associate Professor of Journalism at Walter Sisulu University in South Africa, in the  Department of Marketing, Public Relations and Communication. His  research  interests are in surveillance, digital journalism, and media cultures, as well as digital surveillance. He has published widely in these areas.  He is the co-author of Digital Surveillance in Southern Africa: Policies, Politics and Practices (Palgrave Macmillan, 2022). 01 eng 03 00 This chapter deals with the core concepts engaged in this book and how they are understood, especially public oversight and how it can be distinguished from other forms of oversight. It also introduces the chapters in the volume. It examines the assumptions about democracy underpinning conventional oversight by formal oversight entities, as well as those underpinning the more radical and participatory forms made possible by public oversight. The chapter also sets the basis for the chapters focussing on the practices of the media and civil society organisations as a neglected but much needed dimension of oversight (Kniep et al, 2023, pg. 7). While being case study based, we explain how each chapter illuminates different elements of public oversight, and what it takes to build it, sustain it and make it effective. Doing so allows us to start developing a theoretical basis to predict conditions in which public oversight can succeed. The chapter also considers some of the methodological and ethical dilemmas in researching intelligence and surveillance in semi-authoritarian contexts. We also explain that the chapters are written by academics, civil society practitioners and journalists, and so there is a mix of more descriptive and theoretical approaches. However, overall, the volume tilts more to the critical paradigm, in that the researchers were motivated by a commitment to using their research to call the powerful to account, and in the process aimed to change how intelligence is organised to include a broader range of oversight actors as legitimate actors. 30 00 This chapter deals with the core concepts engaged in this book and how they are understood, especially public oversight and how it can be distinguished from other forms of oversight. It also introduces the chapters in the volume. It examines the assumptions about democracy underpinning conventional oversight by formal oversight entities, as well as those underpinning the more radical and participatory forms made possible by public oversight. The chapter also sets the basis for the chapters focussing on the practices of the media and civil society organisations as a neglected but much needed dimension of oversight (Kniep et al, 2023, pg. 7). While being case study based, we explain how each chapter illuminates different elements of public oversight, and what it takes to build it, sustain it and make it effective. Doing so allows us to start developing a theoretical basis to predict conditions in which public oversight can succeed. The chapter also considers some of the methodological and ethical dilemmas in researching intelligence and surveillance in semi-authoritarian contexts. We also explain that the chapters are written by academics, civil society practitioners and journalists, and so there is a mix of more descriptive and theoretical approaches. However, overall, the volume tilts more to the critical paradigm, in that the researchers were motivated by a commitment to using their research to call the powerful to account, and in the process aimed to change how intelligence is organised to include a broader range of oversight actors as legitimate actors. 20 00 Open Access Jane Duncan and Allen Munoriyarwa 2 03 06 10.62637/sup.dasw4926.2 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Intelligence-driven digital surveillance and public oversight success in an anocracy Angola and the 15+2 case 1 A01 21 0000000296465296 Rui Verde Rui Verde 40 052gg0110 University of Oxford 01 eng 03 00 Rui Verde holds a PhD in Law from the University of Newcastle, UK, and a law degree from Universidade Católica de Lisboa, Portugal. He serves as Chief Legal Adviser to Maka Angola, an organisation committed to promoting democracy, defending human rights and combating corruption in Angola. An expert on Angola’s legal landscape, especially in matters concerning corruption, the exercise and integrity of judicial authority, the dynamics of contemporary politics, and the evolving landscape of surveillance and digital rights – he has published extensively on these topics. At the University of Oxford, he developed a research project examining China’s influence in Angola and has completed a study on the role of the Israeli surveillance industry in the country. Currently a Research Associate at the African Studies Centre, University of Oxford, and Chercheur Associé at CEPED, Université Paris-Cité, he also founded the think-tank CEDESA, which is dedicated to advancing development in Southern Africa. 30 00 Rui Verde holds a PhD in Law from the University of Newcastle, UK, and a law degree from Universidade Católica de Lisboa, Portugal. He serves as Chief Legal Adviser to Maka Angola, an organisation committed to promoting democracy, defending human rights and combating corruption in Angola. An expert on Angola’s legal landscape, especially in matters concerning corruption, the exercise and integrity of judicial authority, the dynamics of contemporary politics, and the evolving landscape of surveillance and digital rights – he has published extensively on these topics. At the University of Oxford, he developed a research project examining China’s influence in Angola and has completed a study on the role of the Israeli surveillance industry in the country. Currently a Research Associate at the African Studies Centre, University of Oxford, and Chercheur Associé at CEPED, Université Paris-Cité, he also founded the think-tank CEDESA, which is dedicated to advancing development in Southern Africa. 20 00 Open Access Rui Verde 3 03 06 10.62637/sup.dasw4926.3 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Popular agency oversight of digital surveillance of communications and personal data for intelligence purposes The case of Botswana 1 A01 21 0009000930498421 Tachilisa Badala Balule Tachilisa Balule 40 01encsj80 University of Botswana Tachilisa Badala Balule is an Associate Professor of Law in the Department of Law, University of Botswana. He is currently the Deputy Dean in the Faculty of Social Sciences. He holds an LLB degree from the University of Botswana, and LLM and PhD degrees from the University of Edinburgh, Scotland. His PhD research was on regulation of the media. Dr Balule has published in the area of freedom of expression, including media freedom and access to information, and on aspects of electoral laws. He has delivered papers on freedom of expression, media law and access to information at national and international conferences. He has also written on digital surveillance, data protection and privacy in Botswana, and has completed a study recently on this topic. Earlier this year, his research on digital surveillance was cited by both sides of the house in a parliamentary debate on the Criminal Procedure and Evidence (Controlled Investigations) Bill, that led to the Government of Botswana making significant concessions to the Bill’s critics. 01 eng 03 00 Many threats to the stability of modern states manifest themselves in organised and covert activities. The nature of the threats to the security of a state often requires intelligence services to use covert and intrusive means to counter the threats. Some of the methods used by intelligence services may infringe upon civil liberties. It is, thus, imperative to have in place oversight mechanisms that will ensure that, in the performance of their mandate, intelligence services respect the rule of law and the fundamental rights and freedoms of the individual. This is especially important in democratic societies, where the respect for the rule of law and civil liberties are a sine qua non. The State of Botswana has since independence, embraced democratic rule and its intelligence services must respect the rule of law and the fundamental rights and freedoms of the individual in the performance of their mandate. In other words, the sector must be accountable, which implies, among others, that it should be subject to oversight in the performance of its functions. Traditionally, oversight on the intelligence sector is exercised by organs of government, being the executive, judiciary and legislature, and in some cases, statutory bodies. It has, however, been observed that in many countries around the world, the traditional oversight mechanisms are not effective leading to an oversight deficit. The State of Botswana is one of those where the traditional oversight mechanisms have proven to be inadequate and/or ineffective. The oversight deficit in the intelligence sector challenges us to explore other complimentary mechanisms. This chapter explores the potential and use of popular agency on the intelligence sector in Botswana. 30 00 Many threats to the stability of modern states manifest themselves in organised and covert activities. The nature of the threats to the security of a state often requires intelligence services to use covert and intrusive means to counter the threats. Some of the methods used by intelligence services may infringe upon civil liberties. It is, thus, imperative to have in place oversight mechanisms that will ensure that, in the performance of their mandate, intelligence services respect the rule of law and the fundamental rights and freedoms of the individual. This is especially important in democratic societies, where the respect for the rule of law and civil liberties are a sine qua non. The State of Botswana has since independence, embraced democratic rule and its intelligence services must respect the rule of law and the fundamental rights and freedoms of the individual in the performance of their mandate. In other words, the sector must be accountable, which implies, among others, that it should be subject to oversight in the performance of its functions. Traditionally, oversight on the intelligence sector is exercised by organs of government, being the executive, judiciary and legislature, and in some cases, statutory bodies. It has, however, been observed that in many countries around the world, the traditional oversight mechanisms are not effective leading to an oversight deficit. The State of Botswana is one of those where the traditional oversight mechanisms have proven to be inadequate and/or ineffective. The oversight deficit in the intelligence sector challenges us to explore other complimentary mechanisms. This chapter explores the potential and use of popular agency on the intelligence sector in Botswana. 20 00 Open Access Tachilisa Badala Balule 4 03 06 10.62637/sup.dasw4926.4 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Public control and digital surveillance Understanding the role of civil society in the DRC 1 A01 21 0000000255473011 Trésor Maheshe Musole Trésor Maheshe Musole 40 03cg80535 Université Catholique de Bukavu Trésor Maheshe Musole is a Professor of International Law at the Catholic University of Bukavu, eastern Democratic Republic of the Congo (DRC). His area of expertise is peace, human rights, security and migration in the Great Lakes region, as well as freedom of expression and the right to asylum. He has experience in the judicial and human-rights field, having worked as a member of the body of judicial defenders at the courts under the jurisdiction of the Court of Appeal of Bukavu, and is currently a lawyer at the bar of South Kivu in the DRC. He recently completed a study on digital surveillance and privacy in DRC: balancing national security and personal data protection. 01 eng 03 00 This chapter examines the role of civil society organizations (CSOs) in public control of digital surveillance. The presentation uses three case studies to explain the low level of CSO interest in electronic surveillance. The study suggests ways to engage CSOs in actions that limit the abuses of surveillance through their public control. From these three case studies, CSOs fail to reduce surveillance against political opponents and individuals. Faced with this situation, this chapter answers two questions: RQ1What are the factors behind the low level of interest among Congolese civil society in the issue of surveillance? RQ2 How can civil society actions limit the abuses of surveillance? By analysing these questions, the chapter clearly demonstrates how public surveillance can succeed and what inhibiting factors can cause it to fail. 30 00 This chapter examines the role of civil society organizations (CSOs) in public control of digital surveillance. The presentation uses three case studies to explain the low level of CSO interest in electronic surveillance. The study suggests ways to engage CSOs in actions that limit the abuses of surveillance through their public control. From these three case studies, CSOs fail to reduce surveillance against political opponents and individuals. Faced with this situation, this chapter answers two questions: RQ1What are the factors behind the low level of interest among Congolese civil society in the issue of surveillance? RQ2 How can civil society actions limit the abuses of surveillance? By analysing these questions, the chapter clearly demonstrates how public surveillance can succeed and what inhibiting factors can cause it to fail. 20 00 Open Access Trésor Maheshe Musole 5 03 06 10.62637/sup.dasw4926.5 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Factors influencing public oversight of digital surveillance for intelligence purposes The case of Mauritius 1 A01 21 0000000193498204 Sarah Chiumbu Sarah Chiumbu 40 04z6c2n17 University of Johannesburg Sarah Chiumbu is an Associate Professor of Communication at the University of Johannesburg, South Africa. Prior to this, she served as a Senior Research Specialist in the Human and Social Development Research Programme at the Human Sciences Research Council (HSRC). She also spent seven years at the University of the Witwatersrand as a senior lecturer in Media and Communication Studies. She holds a PhD and MA in media studies from the University of Oslo, Norway. Her research interests encompass media, democracy and citizenship, digital media, policy studies and social movements. 01 eng 03 00 This chapter focuses on arguably the most impressive example of public oversight discussed in this edited volume, and one that has reduced the scope for surveillance overreach on a more sustained basis as popular consciousness of the dangers remain embedded in the social fabric. In 2013, the Mauritian government introduced the smart identity (ID) card to replace the previous National ID Card through a public-private partnership with Singapore, with the stated aim of cleaning up duplication in databases, but with considerable surveillance potential as it provided the government with a massive database of population data. The smart card contained a microchip and biometric data, including fingerprints, facial recognition data and a digital photo, and the biometric information was meant to be stored in a central population database. The Smart ID card faced opposition from the public, activists and civil society organisations, who were concerned that the government could use this information for surveillance purposes or to track the activities of citizens. Civil society organisations and activists launched campaigns to oppose the smart ID card. These included online petitions, social media campaigns, and public protests. There were also legal challenges filed against the implementation of the biometric card. Due to the public outcry, the government suspended the project in 2015 and changes to the Smart ID card system to address the public’s concerns. This chapter examines the factors that influenced public oversight of the digital Smart ID policy and the decision by the government to update data protection laws. It utilises an innovative mixed-theory approach to understand the dynamics of public oversight in Mauritius. 30 00 This chapter focuses on arguably the most impressive example of public oversight discussed in this edited volume, and one that has reduced the scope for surveillance overreach on a more sustained basis as popular consciousness of the dangers remain embedded in the social fabric. In 2013, the Mauritian government introduced the smart identity (ID) card to replace the previous National ID Card through a public-private partnership with Singapore, with the stated aim of cleaning up duplication in databases, but with considerable surveillance potential as it provided the government with a massive database of population data. The smart card contained a microchip and biometric data, including fingerprints, facial recognition data and a digital photo, and the biometric information was meant to be stored in a central population database. The Smart ID card faced opposition from the public, activists and civil society organisations, who were concerned that the government could use this information for surveillance purposes or to track the activities of citizens. Civil society organisations and activists launched campaigns to oppose the smart ID card. These included online petitions, social media campaigns, and public protests. There were also legal challenges filed against the implementation of the biometric card. Due to the public outcry, the government suspended the project in 2015 and changes to the Smart ID card system to address the public’s concerns. This chapter examines the factors that influenced public oversight of the digital Smart ID policy and the decision by the government to update data protection laws. It utilises an innovative mixed-theory approach to understand the dynamics of public oversight in Mauritius. 20 00 Open Access Sarah Chiumbu 6 03 06 10.62637/sup.dasw4926.6 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Surveillance as a mechanism of political control in Mozambique The structural environments for the failing of public oversight mechanisms 1 A01 21 000900061559486X Ernesto Nhanale Ernesto Nhanale 40 00hw53j55 Escola Superior de Jornalismo Ernesto Nhanale is both an academic and a civil society activist, having served as the director of the Mozambique chapter of the Media Institute for Southern Africa for several years. He is also a Professor of Media and Journalism at Higher School of Journalism, an independent higher-education institution in Mozambique. He has undertaken extensive research work and produced publications in the area of political communication and journalism and is a co-founder of CEC – Centre of Interdisciplinary Studies of Communication. He recently completed a study on digital surveillance and authoritarianism in Mozambique. 2 A01 Borges Nhamirre Borges Nhamirre 40 00fd6f737 Institute for Security Studies Borges Nhamirre is a researcher on peace, security and governance at the Institute for Security Studies (ISS Africa). Prior to joining ISS in 2021, he served as a senior researcher and research coordinator at the Centre for Public Integrity in Maputo. He holds a Master’s degree in Security Studies with a specialisation in Maritime Security from Joaquim Chissano University in Maputo, and he is currently pursuing a PhD in History of Ethnicity and Conflict in Northern Mozambique at Queen’s University Belfast (QUB), Northern Ireland. He also lectures on Nationalism and Liberation Movements in 20th-century Africa at the School of History, Anthropology, Philosophy and Politics at QUB. 03 00 This chapter argues that Mozambican intelligence services have operated without effective oversight from either the other branches of the state, parliament, the judiciary or external audit bodies like civil society organisations and the media. The lack of proper oversight can be attributed to several factors, with the most significant being the political context of Mozambique’s authoritarian regime. This regime concentrates state power in the hands of the Head of State, who also serves as Commander-in-Chief of the Defence and Security Forces and utilises the intelligence services as a tool for popular surveillance.The historical context in which the intelligence services were formed and developed in Mozambique has also contributed greatly to defining their current profile. The current intelligence services in Mozambique inherited the practices of the fascist regime of the Portuguese colonial state, which ruled Mozambique before political independence in 1975, as well as the intelligence practices used by the Mozambique Liberation Front (FRELIMO) during the national liberation struggle. Furthermore, the establishment of the National Popular Security Service (SNASP) was the first intelligence service established when Mozambique gained its independence in 1975. Post-independence, Mozambique was under authoritarian one-party rule and in a context of civil war between FRELIMO and the Mozambican National Resistance (RENAMO). This greatly contributed to SNASP being a paramilitary service and used primarily to control perceived internal political threats by keeping watch on Mozambican citizens, who might support the rebel group, RENAMO. The current State Intelligence and Security Service (SISE) was created in 1991 in the context of establishing a multi-party democracy in Mozambique; however, it inherited anti-democratic practices from its predecessor, encompassing surveillance of citizens and non-accountability.This chapter demonstrates this through a case study of popular surveillance by the Mozambican intelligence services, through an order issued by the government for the compulsory registration of mobile phone Subscriber Identity Module (SIM) cards and argues that there was no oversight of the intelligent services’ actions in this regard, either by the state’s balancing powers (Parliament and the Judiciary) or by civil society and the media. The chapter is the result of documentary research relying mostly on Mozambique’s intelligence services, as well as historical documents combined with key-informant interviews (KII). 30 00 This chapter argues that Mozambican intelligence services have operated without effective oversight from either the other branches of the state, parliament, the judiciary or external audit bodies like civil society organisations and the media. The lack of proper oversight can be attributed to several factors, with the most significant being the political context of Mozambique’s authoritarian regime. This regime concentrates state power in the hands of the Head of State, who also serves as Commander-in-Chief of the Defence and Security Forces and utilises the intelligence services as a tool for popular surveillance.The historical context in which the intelligence services were formed and developed in Mozambique has also contributed greatly to defining their current profile. The current intelligence services in Mozambique inherited the practices of the fascist regime of the Portuguese colonial state, which ruled Mozambique before political independence in 1975, as well as the intelligence practices used by the Mozambique Liberation Front (FRELIMO) during the national liberation struggle. Furthermore, the establishment of the National Popular Security Service (SNASP) was the first intelligence service established when Mozambique gained its independence in 1975. Post-independence, Mozambique was under authoritarian one-party rule and in a context of civil war between FRELIMO and the Mozambican National Resistance (RENAMO). This greatly contributed to SNASP being a paramilitary service and used primarily to control perceived internal political threats by keeping watch on Mozambican citizens, who might support the rebel group, RENAMO. The current State Intelligence and Security Service (SISE) was created in 1991 in the context of establishing a multi-party democracy in Mozambique; however, it inherited anti-democratic practices from its predecessor, encompassing surveillance of citizens and non-accountability.This chapter demonstrates this through a case study of popular surveillance by the Mozambican intelligence services, through an order issued by the government for the compulsory registration of mobile phone Subscriber Identity Module (SIM) cards and argues that there was no oversight of the intelligent services’ actions in this regard, either by the state’s balancing powers (Parliament and the Judiciary) or by civil society and the media. The chapter is the result of documentary research relying mostly on Mozambique’s intelligence services, as well as historical documents combined with key-informant interviews (KII). 20 00 Open Access Ernesto Nhanale and Borges Nhamirre 7 03 06 10.62637/sup.dasw4926.7 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 The democratic subsidy in Namibia’s intelligence oversight mechanisms 1 A01 Frederico Links Frederico Links Frederico Links is a Namibian governance researcher and a journalist focussing on state-related governance issues. He has coordinated and contributed to projects at national, regional and international levels. He is the lead researcher for Namibia in the eight-country digital-surveillance research project funded by the British Academy, through the University of Glasgow. He also recently contributed to a study on cybersecurity and cybercrime laws and their impacts on media freedom and free expression across the SADC region. Aside from his journalism and research work, Links is also the founding and current chairperson of the Access to Information in Namibia (ACTION) Coalition of civil society and media organisations and social activists. The ACTION Coalition has been instrumental in successfully advocating for an access to information law in Namibia since 2012. Links is the author of a large number of articles, reports and book chapters. 2 A01 21 0000000287300596 Phillip Santos Phillip Santos 40 03gg1ey66 Namibia University of Science and Technology Phillip Santos teaches both undergraduate and postgraduate courses in the Department of Journalism and Media Technology at the Namibia University of Science and Technology and is Research Associate in the Department of Strategic Communication, University of Johannesburg. He also taught in the Department of Journalism and Media Studies at the National University of Science and Technology in Zimbabwe. He holds a PhD from Rhodes University in South Africa and co-edited the books Reading Justice Claims on Social Media: Perspectives from the Global South and Global Pandemics in the Media: An African Perspective. His research interests are in political and strategic communication; the mediation of science and health issues, social memory, gender, Justice and political struggle; the social and policy dimensions of new and broadcast Media, as well as the confluence between political Correctness, populism, post-truthism and democratic politics. 01 eng 03 00 Democratic societies require and thrive on a significant degree of openness, the rule of law and accountability of public officials and institutions, inter alia. In a democracy, powerful individuals and institutions are made accountable for their decisions and actions mainly through formal and informal oversight mechanisms. Formal oversight structures are embedded within a state’s infrastructure in terms of the law and are financially capacitated to make their operations possible. However, the secretive and sometimes invasive nature of intelligence operations often places them beyond the reach of effective formal oversight mechanisms, making the former a real potential threat to the democratic fabric of the societies they serve.It is in this context that the chapter uses the case of Namibia to analyse the dialectical relationship between formal and informal oversight practices on the country’s intelligence service and its operations. This is done by showing how the gravity of the gap in formal oversight mechanisms on intelligence services has triggered oversight interest and activity in the informal public sphere, the latter of which is a subsidy of Namibia’s democratic atmosphere and affordances. The chapter highlights the structural incapacities in formal oversight mechanisms over the operations of the Namibia Central Intelligence Service, showing how these are mitigated by informal social actors such as the news media, civil society and political activists, among others. Nonetheless, the chapter acknowledges the importance of formal oversight as it comes with punitive authority unlike informal oversight activities which may be limited in terms of both their effectiveness and capacity to make the NCIS’s administration and operations truly transparent and accountable. 30 00 Democratic societies require and thrive on a significant degree of openness, the rule of law and accountability of public officials and institutions, inter alia. In a democracy, powerful individuals and institutions are made accountable for their decisions and actions mainly through formal and informal oversight mechanisms. Formal oversight structures are embedded within a state’s infrastructure in terms of the law and are financially capacitated to make their operations possible. However, the secretive and sometimes invasive nature of intelligence operations often places them beyond the reach of effective formal oversight mechanisms, making the former a real potential threat to the democratic fabric of the societies they serve.It is in this context that the chapter uses the case of Namibia to analyse the dialectical relationship between formal and informal oversight practices on the country’s intelligence service and its operations. This is done by showing how the gravity of the gap in formal oversight mechanisms on intelligence services has triggered oversight interest and activity in the informal public sphere, the latter of which is a subsidy of Namibia’s democratic atmosphere and affordances. The chapter highlights the structural incapacities in formal oversight mechanisms over the operations of the Namibia Central Intelligence Service, showing how these are mitigated by informal social actors such as the news media, civil society and political activists, among others. Nonetheless, the chapter acknowledges the importance of formal oversight as it comes with punitive authority unlike informal oversight activities which may be limited in terms of both their effectiveness and capacity to make the NCIS’s administration and operations truly transparent and accountable. 20 00 Open Access Frederico Links and Phillip Santos 8 03 06 10.62637/sup.dasw4926.8 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 The challenges of sustaining public oversight The rise and fall of anti-surveillance activism in South Africa 1 A01 21 0000000253368322 Jane Duncan Jane Duncan 40 00vtgdb53 University of Glasgow Jane Duncan is a Professor of Digital Society at the University of Glasgow, and she holds a British Academy Global Professorship at the same university. She is also a Visiting Professor at the University of Johannesburg. She is author of The rise of the securocrats (Jacana, 2014), Protest Nation (University of KwaZulu/ Natal Press, 2016), Stopping the spies (Wits University Press, 2018) and National security surveillance in southern Africa (Zed Books, 2022). 01 eng 03 00 This chapter focuses on the rise and fall of anti-surveillance activism in South Africa, from 2010 to date, as a form of public oversight of intelligence-driven surveillance. In 2010, the government attempted to introduce a highly controversial Bill, the Protection of Information Bill (Protection of Information Bill 2010), which threatened to give South Africa’s civilian intelligence agency, the State Security Agency (SSA), the powers to overclassify huge swathes of government information and cloak it in a shroud of secrecy: hence, its critics dubbed it the ‘Secrecy Bill’ (News24, 2011). The campaign against the Bill extracted major concessions from the government. However, once Jacob Zuma was replaced by Cyril Ramaphosa as president, anti-surveillance activism shrunk, making it difficult to consolidate the democratic gains made during that period. At the same time, more contained forms of contention, using more well-established forms of claim-making, such as strategic litigation, has won ground. In 2021, the fight against abusive surveillance culminated in a major legal victory against the government won by the amaBhungane Centre for Investigative Journalism in the highest court in South Africa, the Constitutional Court. This chapter study examines the rise and fall of anti-surveillance activism in South Africa as a form of public oversight. It seeks to answer two main questions: what factors contributed to the rise and fall of the highly effective anti-surveillance activism during Zuma’s presidency, followed by the success of strategic litigation? What lessons are to be learned from this failure and success for emerging practices of public oversight of intelligence-driven surveillance? 30 00 This chapter focuses on the rise and fall of anti-surveillance activism in South Africa, from 2010 to date, as a form of public oversight of intelligence-driven surveillance. In 2010, the government attempted to introduce a highly controversial Bill, the Protection of Information Bill (Protection of Information Bill 2010), which threatened to give South Africa’s civilian intelligence agency, the State Security Agency (SSA), the powers to overclassify huge swathes of government information and cloak it in a shroud of secrecy: hence, its critics dubbed it the ‘Secrecy Bill’ (News24, 2011). The campaign against the Bill extracted major concessions from the government. However, once Jacob Zuma was replaced by Cyril Ramaphosa as president, anti-surveillance activism shrunk, making it difficult to consolidate the democratic gains made during that period. At the same time, more contained forms of contention, using more well-established forms of claim-making, such as strategic litigation, has won ground. In 2021, the fight against abusive surveillance culminated in a major legal victory against the government won by the amaBhungane Centre for Investigative Journalism in the highest court in South Africa, the Constitutional Court. This chapter study examines the rise and fall of anti-surveillance activism in South Africa as a form of public oversight. It seeks to answer two main questions: what factors contributed to the rise and fall of the highly effective anti-surveillance activism during Zuma’s presidency, followed by the success of strategic litigation? What lessons are to be learned from this failure and success for emerging practices of public oversight of intelligence-driven surveillance? 20 00 Open Access Jane Duncan 9 03 06 10.62637/sup.dasw4926.9 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 A civilian-driven model for surveillance oversight in Zimbabwe 1 A01 21 0000000150643192 Allen Munoriyarwa Allen Munoriyarwa 40 02svzjn28 Walter Sisulu University Allen Munoriyarwa is an Associate Professor of Journalism at Walter Sisulu University in South Africa, in the  Department of Marketing, Public Relations and Communication. His  research  interests are in surveillance, digital journalism, and media cultures, as well as digital surveillance. He has published widely in these areas.  He is the co-author of Digital Surveillance in Southern Africa: Policies, Politics and Practices (Palgrave Macmillan, 2022). 01 eng 03 00 In this chapter, I interrogate the efficacy of a civilian-driven surveillance oversight model that can potentially counter surveillance practice excesses that manifest in, among other practices, unregulated and unwarranted surveillance. I use the Zimbabwean case as a case in point for the deployment of such a model. Drawing data from critical (intelligence) surveillance incidents that happened in post-coup Zimbabwe, and on limited interviews with civic society actors, legislators and activists, this chapter seeks to answer two questions. Firstly, I answer the question: how did intelligence agencies, especially the Central Intelligence Organisation (CIO), become a political appendage of the ruling Zimbabwe African National Union Patriotic Front (ZANU PF) regime? And, lastly, what pathways exist to bolster collective civilian inclusion in surveillance regulation? In other words, I want to explore how an alternative (to existing surveillance regulation practices), civilian-driven model of digital surveillance can be achieved. The argument I make is that surveillance in semi-authoritarian regimes is becoming opaque than ever. There is a need to ‘activate’ civilians to be part of any future oversight practices if fundamental rights like the right to privacy are to be respected in contexts with no culture of such respect. The growing power and capabilities of intelligence institutions, their militarisation, and politicisation, in these contexts, mean that more than ever, there is a need to mobilise civilians to exercise robust oversight on intelligence agencies. 30 00 In this chapter, I interrogate the efficacy of a civilian-driven surveillance oversight model that can potentially counter surveillance practice excesses that manifest in, among other practices, unregulated and unwarranted surveillance. I use the Zimbabwean case as a case in point for the deployment of such a model. Drawing data from critical (intelligence) surveillance incidents that happened in post-coup Zimbabwe, and on limited interviews with civic society actors, legislators and activists, this chapter seeks to answer two questions. Firstly, I answer the question: how did intelligence agencies, especially the Central Intelligence Organisation (CIO), become a political appendage of the ruling Zimbabwe African National Union Patriotic Front (ZANU PF) regime? And, lastly, what pathways exist to bolster collective civilian inclusion in surveillance regulation? In other words, I want to explore how an alternative (to existing surveillance regulation practices), civilian-driven model of digital surveillance can be achieved. The argument I make is that surveillance in semi-authoritarian regimes is becoming opaque than ever. There is a need to ‘activate’ civilians to be part of any future oversight practices if fundamental rights like the right to privacy are to be respected in contexts with no culture of such respect. The growing power and capabilities of intelligence institutions, their militarisation, and politicisation, in these contexts, mean that more than ever, there is a need to mobilise civilians to exercise robust oversight on intelligence agencies. 20 00 Open Access Allen Munoriyarwa 10 03 06 10.62637/sup.dasw4926.10 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Current trajectories and future challenges for public oversight 1 A01 21 0000000253368322 Jane Duncan Jane Duncan 40 00vtgdb53 University of Glasgow Jane Duncan is a Professor of Digital Society at the University of Glasgow, and she holds a British Academy Global Professorship at the same university. She is also a Visiting Professor at the University of Johannesburg. She is author of The rise of the securocrats (Jacana, 2014), Protest Nation (University of KwaZulu/ Natal Press, 2016), Stopping the spies (Wits University Press, 2018) and National security surveillance in southern Africa (Zed Books, 2022). 2 A01 21 0000000150643192 Allen Munoriyarwa Allen Munoriyarwa 40 02svzjn28 Walter Sisulu University Allen Munoriyarwa is an Associate Professor of Journalism at Walter Sisulu University in South Africa, in the  Department of Marketing, Public Relations and Communication. His  research  interests are in surveillance, digital journalism, and media cultures, as well as digital surveillance. He has published widely in these areas.  He is the co-author of Digital Surveillance in Southern Africa: Policies, Politics and Practices (Palgrave Macmillan, 2022). 01 eng 03 00 In this concluding chapter, we assess the major findings from each of the chapters and return to the original question posed in the introduction, of how the public can perform more effective oversight digital surveillance for intelligence purposes. Each chapter presented case studies of moments when public oversight has been attempted, and either succeeded, or failed or achieved mixed outcomes. The chapters analysed moments when the public required intelligence agencies to explain and justify surveillance and change surveillance practices when they amounted to abuse (McCarthy and Fluck, 2016). Some of these cases involved intelligence and surveillance laws or state-sanctioned data processing systems that the public feared had surveillant potential. Others followed the well-recognised shock-driven approach to intelligence reform, where controversies around surveillance abuses came into the public domain through whistleblowing or the leaking of intelligence information, and these controversies galvanised public action of various kinds (Johnson, 2018, p.209-246). This chapter uses a summary of the main chapter findings to address key research questions and to develop a set of theoretical propositions about public oversight and the conditions under which it is likely to succeed. 30 00 In this concluding chapter, we assess the major findings from each of the chapters and return to the original question posed in the introduction, of how the public can perform more effective oversight digital surveillance for intelligence purposes. Each chapter presented case studies of moments when public oversight has been attempted, and either succeeded, or failed or achieved mixed outcomes. The chapters analysed moments when the public required intelligence agencies to explain and justify surveillance and change surveillance practices when they amounted to abuse (McCarthy and Fluck, 2016). Some of these cases involved intelligence and surveillance laws or state-sanctioned data processing systems that the public feared had surveillant potential. Others followed the well-recognised shock-driven approach to intelligence reform, where controversies around surveillance abuses came into the public domain through whistleblowing or the leaking of intelligence information, and these controversies galvanised public action of various kinds (Johnson, 2018, p.209-246). This chapter uses a summary of the main chapter findings to address key research questions and to develop a set of theoretical propositions about public oversight and the conditions under which it is likely to succeed. 20 00 Open Access Jane Duncan and Allen Munoriyarwa 01 URL https://www.sup.ac.uk/ Scottish Universities Press 01 Scottish Universities Press 01 Publisher's website: home page https://www.sup.ac.uk/ 02 Publisher's website: webpage for this title https://books.sup.ac.uk/sup/catalog/book/sup-9781917341158 16 40 0302b4677 32 10.13039/501100000286 British Academy 01 programname Global Professorship 01 grantnumber GP/400069 Edinburgh, Scotland 04 01 20260115 Jane Duncan and Allen Munoriyarwa 02 WORLD 06 15 9781917341127 03 9781917341127 06 15 9781917341158 03 9781917341158 06 15 9781917341141 03 9781917341141 WORLD 09 Scottish Universities Press 02 Publisher's website: webpage for this product https://books.sup.ac.uk/sup/catalog/book/sup-9781917341158 20 08 20260115 01 urn:uuid:3e8254a9-7299-4e15-b08a-dcb5ebf71c07 03 01 01 thoth-work-id urn:uuid:d5224ec4-7755-48d0-b7fd-bcb2ecf5ac9a 01 thoth-publication-id urn:uuid:3e8254a9-7299-4e15-b08a-dcb5ebf71c07 15 9781917341158 03 9781917341158 06 10.62637/sup.dasw4926 00 EB E107 10 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ 01 01 Democratising spy watching Public oversight of intelligence-driven surveillance in Southern Africa 1 B01 21 0000000253368322 Jane Duncan Jane Duncan Jane Duncan is a Professor of Digital Society at the University of Glasgow, and she holds a British Academy Global Professorship at the same university. She is also a Visiting Professor at the University of Johannesburg. She is author of The rise of the securocrats (Jacana, 2014), Protest Nation (University of KwaZulu/ Natal Press, 2016), Stopping the spies (Wits University Press, 2018) and National security surveillance in southern Africa (Zed Books, 2022). 2 B01 21 0000000150643192 Allen Munoriyarwa Allen Munoriyarwa Allen Munoriyarwa is an Associate Professor of Journalism at Walter Sisulu University in South Africa, in the  Department of Marketing, Public Relations and Communication. His  research  interests are in surveillance, digital journalism, and media cultures, as well as digital surveillance. He has published widely in these areas.  He is the co-author of Digital Surveillance in Southern Africa: Policies, Politics and Practices (Palgrave Macmillan, 2022). 01 eng 00 380 03 09 3 93 JBFL 10 SOC063000 93 JPWG 10 POL066000 93 JPSH 10 SOC072000 10 POL035010 93 UBJ 93 1HFM 20 Surveillance; Southern Africa; Digital surveillance; intelligence oversight; public oversight; surveillance scandals; post-colonial democracies; communication studies; human rights 01 06 02 00 Time and again, the public have compensated for ineffective state oversight of digital surveillance by exposing intelligence agencies for spying on those who threaten the ruling status quo, rather than protecting public safety or national security. This book offers lessons for academics and activists by examining surveillance scandals across 03 00 Digitisation has provided intelligence agencies with the capabilities to conduct surveillance at an unprecedented scale. Using a range of digital surveillance technologies and practices, and unprecedented public-private collaborations, intelligence agencies have extended their ability to collect, store and analyse data for intelligence purposes. Effective oversight is required to limit the potential for abuse. However, across Southern Africa – where digital surveillance is expanding – official oversight institutions typically lack the power and resources to monitor and review surveillance capabilities in order to ensure that intelligence agencies behave effectively and lawfully. Consequently, oversight in these countries typically is conducted by the public, through, for instance, challenging unjustifiable secrecy, publicising abuses and organising campaigns to rein these agencies in.Through comparative case study research exploring lessons from key moments in the region, this volume explores public oversight of intelligence-driven digital surveillance in eight Southern African countries and examines cases where this oversight either succeeded, failed, or achieved mixed outcomes. Authored by researchers and journalists from the fields of law, communication and media studies, this book offers lessons for academics and activists, suggesting that a new model of public oversight of surveillance is possible, and, arguably, functions better than extant approaches to surveillance. It will be of global significance, as surveillance abuses are a worldwide problem, as is the problem of oversight failing to keep pace with expanding surveillance capabilities. 30 00 Digitisation has provided intelligence agencies with the capabilities to conduct surveillance at an unprecedented scale. Using a range of digital surveillance technologies and practices, and unprecedented public-private collaborations, intelligence agencies have extended their ability to collect, store and analyse data for intelligence purposes. Effective oversight is required to limit the potential for abuse. However, across Southern Africa – where digital surveillance is expanding – official oversight institutions typically lack the power and resources to monitor and review surveillance capabilities in order to ensure that intelligence agencies behave effectively and lawfully. Consequently, oversight in these countries typically is conducted by the public, through, for instance, challenging unjustifiable secrecy, publicising abuses and organising campaigns to rein these agencies in.Through comparative case study research exploring lessons from key moments in the region, this volume explores public oversight of intelligence-driven digital surveillance in eight Southern African countries and examines cases where this oversight either succeeded, failed, or achieved mixed outcomes. Authored by researchers and journalists from the fields of law, communication and media studies, this book offers lessons for academics and activists, suggesting that a new model of public oversight of surveillance is possible, and, arguably, functions better than extant approaches to surveillance. It will be of global significance, as surveillance abuses are a worldwide problem, as is the problem of oversight failing to keep pace with expanding surveillance capabilities. 04 00 Foreword Rafael Marques de Morais Acknowledgements Jane Duncan and Allen Munoriyarwa Chapter One: Making the case for public oversight of intelligence-driven surveillance: Key issues and core concepts Jane Duncan and Allen Munoriyarwa Chapter Two: Intelligence-driven digital surveillance and public oversight success in an anocracy: Angola and the 15+2 case Rui Verde Chapter Three: Popular agency oversight of digital surveillance of communications and personal data for intelligence purposes: The case of Botswana Tachilisa Badala Balule Chapter Four: Public control and digital surveillance: Understanding the role of civil society in the DRC Trésor Maheshe Musole Chapter Five: Factors influencing public oversight of digital surveillance for intelligence purposes: The case of Mauritius Sarah Chiumbu Chapter Six: Surveillance as a mechanism of political control in Mozambique: The structural environments for the failing of public oversight mechanisms Ernesto Nhanale and Borges Nhamirre Chapter Seven: The democratic subsidy in Namibia’s intelligence oversight mechanisms Frederico Links and Phillip Santos Chapter Eight: The challenges of sustaining public oversight: The rise and fall of anti-surveillance activism in South Africa Jane Duncan Chapter Nine: A civilian-driven model for surveillance oversight in Zimbabwe Allen Munoriyarwa Chapter Ten: Current trajectories and future challenges for public oversight Jane Duncan and Allen Munoriyarwa Index 20 00 Open Access 01 00 03 02 https://images.squarespace-cdn.com/content/628df820a8f890150d19db11/89045bf3-89f3-4998-b68d-c5316a5e05ff/Duncan_FC_Vis.jpg?content-type=image%2Fjpeg 1 03 06 10.62637/sup.dasw4926.1 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Making the case for public oversight of intelligence-driven surveillance Key issues and core concepts 1 A01 21 0000000253368322 Jane Duncan Jane Duncan 40 00vtgdb53 University of Glasgow Jane Duncan is a Professor of Digital Society at the University of Glasgow, and she holds a British Academy Global Professorship at the same university. She is also a Visiting Professor at the University of Johannesburg. She is author of The rise of the securocrats (Jacana, 2014), Protest Nation (University of KwaZulu/ Natal Press, 2016), Stopping the spies (Wits University Press, 2018) and National security surveillance in southern Africa (Zed Books, 2022). 2 A01 21 0000000150643192 Allen Munoriyarwa Allen Munoriyarwa 40 02svzjn28 Walter Sisulu University Allen Munoriyarwa is an Associate Professor of Journalism at Walter Sisulu University in South Africa, in the  Department of Marketing, Public Relations and Communication. His  research  interests are in surveillance, digital journalism, and media cultures, as well as digital surveillance. He has published widely in these areas.  He is the co-author of Digital Surveillance in Southern Africa: Policies, Politics and Practices (Palgrave Macmillan, 2022). 01 eng 03 00 This chapter deals with the core concepts engaged in this book and how they are understood, especially public oversight and how it can be distinguished from other forms of oversight. It also introduces the chapters in the volume. It examines the assumptions about democracy underpinning conventional oversight by formal oversight entities, as well as those underpinning the more radical and participatory forms made possible by public oversight. The chapter also sets the basis for the chapters focussing on the practices of the media and civil society organisations as a neglected but much needed dimension of oversight (Kniep et al, 2023, pg. 7). While being case study based, we explain how each chapter illuminates different elements of public oversight, and what it takes to build it, sustain it and make it effective. Doing so allows us to start developing a theoretical basis to predict conditions in which public oversight can succeed. The chapter also considers some of the methodological and ethical dilemmas in researching intelligence and surveillance in semi-authoritarian contexts. We also explain that the chapters are written by academics, civil society practitioners and journalists, and so there is a mix of more descriptive and theoretical approaches. However, overall, the volume tilts more to the critical paradigm, in that the researchers were motivated by a commitment to using their research to call the powerful to account, and in the process aimed to change how intelligence is organised to include a broader range of oversight actors as legitimate actors. 30 00 This chapter deals with the core concepts engaged in this book and how they are understood, especially public oversight and how it can be distinguished from other forms of oversight. It also introduces the chapters in the volume. It examines the assumptions about democracy underpinning conventional oversight by formal oversight entities, as well as those underpinning the more radical and participatory forms made possible by public oversight. The chapter also sets the basis for the chapters focussing on the practices of the media and civil society organisations as a neglected but much needed dimension of oversight (Kniep et al, 2023, pg. 7). While being case study based, we explain how each chapter illuminates different elements of public oversight, and what it takes to build it, sustain it and make it effective. Doing so allows us to start developing a theoretical basis to predict conditions in which public oversight can succeed. The chapter also considers some of the methodological and ethical dilemmas in researching intelligence and surveillance in semi-authoritarian contexts. We also explain that the chapters are written by academics, civil society practitioners and journalists, and so there is a mix of more descriptive and theoretical approaches. However, overall, the volume tilts more to the critical paradigm, in that the researchers were motivated by a commitment to using their research to call the powerful to account, and in the process aimed to change how intelligence is organised to include a broader range of oversight actors as legitimate actors. 20 00 Open Access Jane Duncan and Allen Munoriyarwa 2 03 06 10.62637/sup.dasw4926.2 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Intelligence-driven digital surveillance and public oversight success in an anocracy Angola and the 15+2 case 1 A01 21 0000000296465296 Rui Verde Rui Verde 40 052gg0110 University of Oxford 01 eng 03 00 Rui Verde holds a PhD in Law from the University of Newcastle, UK, and a law degree from Universidade Católica de Lisboa, Portugal. He serves as Chief Legal Adviser to Maka Angola, an organisation committed to promoting democracy, defending human rights and combating corruption in Angola. An expert on Angola’s legal landscape, especially in matters concerning corruption, the exercise and integrity of judicial authority, the dynamics of contemporary politics, and the evolving landscape of surveillance and digital rights – he has published extensively on these topics. At the University of Oxford, he developed a research project examining China’s influence in Angola and has completed a study on the role of the Israeli surveillance industry in the country. Currently a Research Associate at the African Studies Centre, University of Oxford, and Chercheur Associé at CEPED, Université Paris-Cité, he also founded the think-tank CEDESA, which is dedicated to advancing development in Southern Africa. 30 00 Rui Verde holds a PhD in Law from the University of Newcastle, UK, and a law degree from Universidade Católica de Lisboa, Portugal. He serves as Chief Legal Adviser to Maka Angola, an organisation committed to promoting democracy, defending human rights and combating corruption in Angola. An expert on Angola’s legal landscape, especially in matters concerning corruption, the exercise and integrity of judicial authority, the dynamics of contemporary politics, and the evolving landscape of surveillance and digital rights – he has published extensively on these topics. At the University of Oxford, he developed a research project examining China’s influence in Angola and has completed a study on the role of the Israeli surveillance industry in the country. Currently a Research Associate at the African Studies Centre, University of Oxford, and Chercheur Associé at CEPED, Université Paris-Cité, he also founded the think-tank CEDESA, which is dedicated to advancing development in Southern Africa. 20 00 Open Access Rui Verde 3 03 06 10.62637/sup.dasw4926.3 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Popular agency oversight of digital surveillance of communications and personal data for intelligence purposes The case of Botswana 1 A01 21 0009000930498421 Tachilisa Badala Balule Tachilisa Balule 40 01encsj80 University of Botswana Tachilisa Badala Balule is an Associate Professor of Law in the Department of Law, University of Botswana. He is currently the Deputy Dean in the Faculty of Social Sciences. He holds an LLB degree from the University of Botswana, and LLM and PhD degrees from the University of Edinburgh, Scotland. His PhD research was on regulation of the media. Dr Balule has published in the area of freedom of expression, including media freedom and access to information, and on aspects of electoral laws. He has delivered papers on freedom of expression, media law and access to information at national and international conferences. He has also written on digital surveillance, data protection and privacy in Botswana, and has completed a study recently on this topic. Earlier this year, his research on digital surveillance was cited by both sides of the house in a parliamentary debate on the Criminal Procedure and Evidence (Controlled Investigations) Bill, that led to the Government of Botswana making significant concessions to the Bill’s critics. 01 eng 03 00 Many threats to the stability of modern states manifest themselves in organised and covert activities. The nature of the threats to the security of a state often requires intelligence services to use covert and intrusive means to counter the threats. Some of the methods used by intelligence services may infringe upon civil liberties. It is, thus, imperative to have in place oversight mechanisms that will ensure that, in the performance of their mandate, intelligence services respect the rule of law and the fundamental rights and freedoms of the individual. This is especially important in democratic societies, where the respect for the rule of law and civil liberties are a sine qua non. The State of Botswana has since independence, embraced democratic rule and its intelligence services must respect the rule of law and the fundamental rights and freedoms of the individual in the performance of their mandate. In other words, the sector must be accountable, which implies, among others, that it should be subject to oversight in the performance of its functions. Traditionally, oversight on the intelligence sector is exercised by organs of government, being the executive, judiciary and legislature, and in some cases, statutory bodies. It has, however, been observed that in many countries around the world, the traditional oversight mechanisms are not effective leading to an oversight deficit. The State of Botswana is one of those where the traditional oversight mechanisms have proven to be inadequate and/or ineffective. The oversight deficit in the intelligence sector challenges us to explore other complimentary mechanisms. This chapter explores the potential and use of popular agency on the intelligence sector in Botswana. 30 00 Many threats to the stability of modern states manifest themselves in organised and covert activities. The nature of the threats to the security of a state often requires intelligence services to use covert and intrusive means to counter the threats. Some of the methods used by intelligence services may infringe upon civil liberties. It is, thus, imperative to have in place oversight mechanisms that will ensure that, in the performance of their mandate, intelligence services respect the rule of law and the fundamental rights and freedoms of the individual. This is especially important in democratic societies, where the respect for the rule of law and civil liberties are a sine qua non. The State of Botswana has since independence, embraced democratic rule and its intelligence services must respect the rule of law and the fundamental rights and freedoms of the individual in the performance of their mandate. In other words, the sector must be accountable, which implies, among others, that it should be subject to oversight in the performance of its functions. Traditionally, oversight on the intelligence sector is exercised by organs of government, being the executive, judiciary and legislature, and in some cases, statutory bodies. It has, however, been observed that in many countries around the world, the traditional oversight mechanisms are not effective leading to an oversight deficit. The State of Botswana is one of those where the traditional oversight mechanisms have proven to be inadequate and/or ineffective. The oversight deficit in the intelligence sector challenges us to explore other complimentary mechanisms. This chapter explores the potential and use of popular agency on the intelligence sector in Botswana. 20 00 Open Access Tachilisa Badala Balule 4 03 06 10.62637/sup.dasw4926.4 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Public control and digital surveillance Understanding the role of civil society in the DRC 1 A01 21 0000000255473011 Trésor Maheshe Musole Trésor Maheshe Musole 40 03cg80535 Université Catholique de Bukavu Trésor Maheshe Musole is a Professor of International Law at the Catholic University of Bukavu, eastern Democratic Republic of the Congo (DRC). His area of expertise is peace, human rights, security and migration in the Great Lakes region, as well as freedom of expression and the right to asylum. He has experience in the judicial and human-rights field, having worked as a member of the body of judicial defenders at the courts under the jurisdiction of the Court of Appeal of Bukavu, and is currently a lawyer at the bar of South Kivu in the DRC. He recently completed a study on digital surveillance and privacy in DRC: balancing national security and personal data protection. 01 eng 03 00 This chapter examines the role of civil society organizations (CSOs) in public control of digital surveillance. The presentation uses three case studies to explain the low level of CSO interest in electronic surveillance. The study suggests ways to engage CSOs in actions that limit the abuses of surveillance through their public control. From these three case studies, CSOs fail to reduce surveillance against political opponents and individuals. Faced with this situation, this chapter answers two questions: RQ1What are the factors behind the low level of interest among Congolese civil society in the issue of surveillance? RQ2 How can civil society actions limit the abuses of surveillance? By analysing these questions, the chapter clearly demonstrates how public surveillance can succeed and what inhibiting factors can cause it to fail. 30 00 This chapter examines the role of civil society organizations (CSOs) in public control of digital surveillance. The presentation uses three case studies to explain the low level of CSO interest in electronic surveillance. The study suggests ways to engage CSOs in actions that limit the abuses of surveillance through their public control. From these three case studies, CSOs fail to reduce surveillance against political opponents and individuals. Faced with this situation, this chapter answers two questions: RQ1What are the factors behind the low level of interest among Congolese civil society in the issue of surveillance? RQ2 How can civil society actions limit the abuses of surveillance? By analysing these questions, the chapter clearly demonstrates how public surveillance can succeed and what inhibiting factors can cause it to fail. 20 00 Open Access Trésor Maheshe Musole 5 03 06 10.62637/sup.dasw4926.5 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Factors influencing public oversight of digital surveillance for intelligence purposes The case of Mauritius 1 A01 21 0000000193498204 Sarah Chiumbu Sarah Chiumbu 40 04z6c2n17 University of Johannesburg Sarah Chiumbu is an Associate Professor of Communication at the University of Johannesburg, South Africa. Prior to this, she served as a Senior Research Specialist in the Human and Social Development Research Programme at the Human Sciences Research Council (HSRC). She also spent seven years at the University of the Witwatersrand as a senior lecturer in Media and Communication Studies. She holds a PhD and MA in media studies from the University of Oslo, Norway. Her research interests encompass media, democracy and citizenship, digital media, policy studies and social movements. 01 eng 03 00 This chapter focuses on arguably the most impressive example of public oversight discussed in this edited volume, and one that has reduced the scope for surveillance overreach on a more sustained basis as popular consciousness of the dangers remain embedded in the social fabric. In 2013, the Mauritian government introduced the smart identity (ID) card to replace the previous National ID Card through a public-private partnership with Singapore, with the stated aim of cleaning up duplication in databases, but with considerable surveillance potential as it provided the government with a massive database of population data. The smart card contained a microchip and biometric data, including fingerprints, facial recognition data and a digital photo, and the biometric information was meant to be stored in a central population database. The Smart ID card faced opposition from the public, activists and civil society organisations, who were concerned that the government could use this information for surveillance purposes or to track the activities of citizens. Civil society organisations and activists launched campaigns to oppose the smart ID card. These included online petitions, social media campaigns, and public protests. There were also legal challenges filed against the implementation of the biometric card. Due to the public outcry, the government suspended the project in 2015 and changes to the Smart ID card system to address the public’s concerns. This chapter examines the factors that influenced public oversight of the digital Smart ID policy and the decision by the government to update data protection laws. It utilises an innovative mixed-theory approach to understand the dynamics of public oversight in Mauritius. 30 00 This chapter focuses on arguably the most impressive example of public oversight discussed in this edited volume, and one that has reduced the scope for surveillance overreach on a more sustained basis as popular consciousness of the dangers remain embedded in the social fabric. In 2013, the Mauritian government introduced the smart identity (ID) card to replace the previous National ID Card through a public-private partnership with Singapore, with the stated aim of cleaning up duplication in databases, but with considerable surveillance potential as it provided the government with a massive database of population data. The smart card contained a microchip and biometric data, including fingerprints, facial recognition data and a digital photo, and the biometric information was meant to be stored in a central population database. The Smart ID card faced opposition from the public, activists and civil society organisations, who were concerned that the government could use this information for surveillance purposes or to track the activities of citizens. Civil society organisations and activists launched campaigns to oppose the smart ID card. These included online petitions, social media campaigns, and public protests. There were also legal challenges filed against the implementation of the biometric card. Due to the public outcry, the government suspended the project in 2015 and changes to the Smart ID card system to address the public’s concerns. This chapter examines the factors that influenced public oversight of the digital Smart ID policy and the decision by the government to update data protection laws. It utilises an innovative mixed-theory approach to understand the dynamics of public oversight in Mauritius. 20 00 Open Access Sarah Chiumbu 6 03 06 10.62637/sup.dasw4926.6 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Surveillance as a mechanism of political control in Mozambique The structural environments for the failing of public oversight mechanisms 1 A01 21 000900061559486X Ernesto Nhanale Ernesto Nhanale 40 00hw53j55 Escola Superior de Jornalismo Ernesto Nhanale is both an academic and a civil society activist, having served as the director of the Mozambique chapter of the Media Institute for Southern Africa for several years. He is also a Professor of Media and Journalism at Higher School of Journalism, an independent higher-education institution in Mozambique. He has undertaken extensive research work and produced publications in the area of political communication and journalism and is a co-founder of CEC – Centre of Interdisciplinary Studies of Communication. He recently completed a study on digital surveillance and authoritarianism in Mozambique. 2 A01 Borges Nhamirre Borges Nhamirre 40 00fd6f737 Institute for Security Studies Borges Nhamirre is a researcher on peace, security and governance at the Institute for Security Studies (ISS Africa). Prior to joining ISS in 2021, he served as a senior researcher and research coordinator at the Centre for Public Integrity in Maputo. He holds a Master’s degree in Security Studies with a specialisation in Maritime Security from Joaquim Chissano University in Maputo, and he is currently pursuing a PhD in History of Ethnicity and Conflict in Northern Mozambique at Queen’s University Belfast (QUB), Northern Ireland. He also lectures on Nationalism and Liberation Movements in 20th-century Africa at the School of History, Anthropology, Philosophy and Politics at QUB. 03 00 This chapter argues that Mozambican intelligence services have operated without effective oversight from either the other branches of the state, parliament, the judiciary or external audit bodies like civil society organisations and the media. The lack of proper oversight can be attributed to several factors, with the most significant being the political context of Mozambique’s authoritarian regime. This regime concentrates state power in the hands of the Head of State, who also serves as Commander-in-Chief of the Defence and Security Forces and utilises the intelligence services as a tool for popular surveillance.The historical context in which the intelligence services were formed and developed in Mozambique has also contributed greatly to defining their current profile. The current intelligence services in Mozambique inherited the practices of the fascist regime of the Portuguese colonial state, which ruled Mozambique before political independence in 1975, as well as the intelligence practices used by the Mozambique Liberation Front (FRELIMO) during the national liberation struggle. Furthermore, the establishment of the National Popular Security Service (SNASP) was the first intelligence service established when Mozambique gained its independence in 1975. Post-independence, Mozambique was under authoritarian one-party rule and in a context of civil war between FRELIMO and the Mozambican National Resistance (RENAMO). This greatly contributed to SNASP being a paramilitary service and used primarily to control perceived internal political threats by keeping watch on Mozambican citizens, who might support the rebel group, RENAMO. The current State Intelligence and Security Service (SISE) was created in 1991 in the context of establishing a multi-party democracy in Mozambique; however, it inherited anti-democratic practices from its predecessor, encompassing surveillance of citizens and non-accountability.This chapter demonstrates this through a case study of popular surveillance by the Mozambican intelligence services, through an order issued by the government for the compulsory registration of mobile phone Subscriber Identity Module (SIM) cards and argues that there was no oversight of the intelligent services’ actions in this regard, either by the state’s balancing powers (Parliament and the Judiciary) or by civil society and the media. The chapter is the result of documentary research relying mostly on Mozambique’s intelligence services, as well as historical documents combined with key-informant interviews (KII). 30 00 This chapter argues that Mozambican intelligence services have operated without effective oversight from either the other branches of the state, parliament, the judiciary or external audit bodies like civil society organisations and the media. The lack of proper oversight can be attributed to several factors, with the most significant being the political context of Mozambique’s authoritarian regime. This regime concentrates state power in the hands of the Head of State, who also serves as Commander-in-Chief of the Defence and Security Forces and utilises the intelligence services as a tool for popular surveillance.The historical context in which the intelligence services were formed and developed in Mozambique has also contributed greatly to defining their current profile. The current intelligence services in Mozambique inherited the practices of the fascist regime of the Portuguese colonial state, which ruled Mozambique before political independence in 1975, as well as the intelligence practices used by the Mozambique Liberation Front (FRELIMO) during the national liberation struggle. Furthermore, the establishment of the National Popular Security Service (SNASP) was the first intelligence service established when Mozambique gained its independence in 1975. Post-independence, Mozambique was under authoritarian one-party rule and in a context of civil war between FRELIMO and the Mozambican National Resistance (RENAMO). This greatly contributed to SNASP being a paramilitary service and used primarily to control perceived internal political threats by keeping watch on Mozambican citizens, who might support the rebel group, RENAMO. The current State Intelligence and Security Service (SISE) was created in 1991 in the context of establishing a multi-party democracy in Mozambique; however, it inherited anti-democratic practices from its predecessor, encompassing surveillance of citizens and non-accountability.This chapter demonstrates this through a case study of popular surveillance by the Mozambican intelligence services, through an order issued by the government for the compulsory registration of mobile phone Subscriber Identity Module (SIM) cards and argues that there was no oversight of the intelligent services’ actions in this regard, either by the state’s balancing powers (Parliament and the Judiciary) or by civil society and the media. The chapter is the result of documentary research relying mostly on Mozambique’s intelligence services, as well as historical documents combined with key-informant interviews (KII). 20 00 Open Access Ernesto Nhanale and Borges Nhamirre 7 03 06 10.62637/sup.dasw4926.7 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 The democratic subsidy in Namibia’s intelligence oversight mechanisms 1 A01 Frederico Links Frederico Links Frederico Links is a Namibian governance researcher and a journalist focussing on state-related governance issues. He has coordinated and contributed to projects at national, regional and international levels. He is the lead researcher for Namibia in the eight-country digital-surveillance research project funded by the British Academy, through the University of Glasgow. He also recently contributed to a study on cybersecurity and cybercrime laws and their impacts on media freedom and free expression across the SADC region. Aside from his journalism and research work, Links is also the founding and current chairperson of the Access to Information in Namibia (ACTION) Coalition of civil society and media organisations and social activists. The ACTION Coalition has been instrumental in successfully advocating for an access to information law in Namibia since 2012. Links is the author of a large number of articles, reports and book chapters. 2 A01 21 0000000287300596 Phillip Santos Phillip Santos 40 03gg1ey66 Namibia University of Science and Technology Phillip Santos teaches both undergraduate and postgraduate courses in the Department of Journalism and Media Technology at the Namibia University of Science and Technology and is Research Associate in the Department of Strategic Communication, University of Johannesburg. He also taught in the Department of Journalism and Media Studies at the National University of Science and Technology in Zimbabwe. He holds a PhD from Rhodes University in South Africa and co-edited the books Reading Justice Claims on Social Media: Perspectives from the Global South and Global Pandemics in the Media: An African Perspective. His research interests are in political and strategic communication; the mediation of science and health issues, social memory, gender, Justice and political struggle; the social and policy dimensions of new and broadcast Media, as well as the confluence between political Correctness, populism, post-truthism and democratic politics. 01 eng 03 00 Democratic societies require and thrive on a significant degree of openness, the rule of law and accountability of public officials and institutions, inter alia. In a democracy, powerful individuals and institutions are made accountable for their decisions and actions mainly through formal and informal oversight mechanisms. Formal oversight structures are embedded within a state’s infrastructure in terms of the law and are financially capacitated to make their operations possible. However, the secretive and sometimes invasive nature of intelligence operations often places them beyond the reach of effective formal oversight mechanisms, making the former a real potential threat to the democratic fabric of the societies they serve.It is in this context that the chapter uses the case of Namibia to analyse the dialectical relationship between formal and informal oversight practices on the country’s intelligence service and its operations. This is done by showing how the gravity of the gap in formal oversight mechanisms on intelligence services has triggered oversight interest and activity in the informal public sphere, the latter of which is a subsidy of Namibia’s democratic atmosphere and affordances. The chapter highlights the structural incapacities in formal oversight mechanisms over the operations of the Namibia Central Intelligence Service, showing how these are mitigated by informal social actors such as the news media, civil society and political activists, among others. Nonetheless, the chapter acknowledges the importance of formal oversight as it comes with punitive authority unlike informal oversight activities which may be limited in terms of both their effectiveness and capacity to make the NCIS’s administration and operations truly transparent and accountable. 30 00 Democratic societies require and thrive on a significant degree of openness, the rule of law and accountability of public officials and institutions, inter alia. In a democracy, powerful individuals and institutions are made accountable for their decisions and actions mainly through formal and informal oversight mechanisms. Formal oversight structures are embedded within a state’s infrastructure in terms of the law and are financially capacitated to make their operations possible. However, the secretive and sometimes invasive nature of intelligence operations often places them beyond the reach of effective formal oversight mechanisms, making the former a real potential threat to the democratic fabric of the societies they serve.It is in this context that the chapter uses the case of Namibia to analyse the dialectical relationship between formal and informal oversight practices on the country’s intelligence service and its operations. This is done by showing how the gravity of the gap in formal oversight mechanisms on intelligence services has triggered oversight interest and activity in the informal public sphere, the latter of which is a subsidy of Namibia’s democratic atmosphere and affordances. The chapter highlights the structural incapacities in formal oversight mechanisms over the operations of the Namibia Central Intelligence Service, showing how these are mitigated by informal social actors such as the news media, civil society and political activists, among others. Nonetheless, the chapter acknowledges the importance of formal oversight as it comes with punitive authority unlike informal oversight activities which may be limited in terms of both their effectiveness and capacity to make the NCIS’s administration and operations truly transparent and accountable. 20 00 Open Access Frederico Links and Phillip Santos 8 03 06 10.62637/sup.dasw4926.8 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 The challenges of sustaining public oversight The rise and fall of anti-surveillance activism in South Africa 1 A01 21 0000000253368322 Jane Duncan Jane Duncan 40 00vtgdb53 University of Glasgow Jane Duncan is a Professor of Digital Society at the University of Glasgow, and she holds a British Academy Global Professorship at the same university. She is also a Visiting Professor at the University of Johannesburg. She is author of The rise of the securocrats (Jacana, 2014), Protest Nation (University of KwaZulu/ Natal Press, 2016), Stopping the spies (Wits University Press, 2018) and National security surveillance in southern Africa (Zed Books, 2022). 01 eng 03 00 This chapter focuses on the rise and fall of anti-surveillance activism in South Africa, from 2010 to date, as a form of public oversight of intelligence-driven surveillance. In 2010, the government attempted to introduce a highly controversial Bill, the Protection of Information Bill (Protection of Information Bill 2010), which threatened to give South Africa’s civilian intelligence agency, the State Security Agency (SSA), the powers to overclassify huge swathes of government information and cloak it in a shroud of secrecy: hence, its critics dubbed it the ‘Secrecy Bill’ (News24, 2011). The campaign against the Bill extracted major concessions from the government. However, once Jacob Zuma was replaced by Cyril Ramaphosa as president, anti-surveillance activism shrunk, making it difficult to consolidate the democratic gains made during that period. At the same time, more contained forms of contention, using more well-established forms of claim-making, such as strategic litigation, has won ground. In 2021, the fight against abusive surveillance culminated in a major legal victory against the government won by the amaBhungane Centre for Investigative Journalism in the highest court in South Africa, the Constitutional Court. This chapter study examines the rise and fall of anti-surveillance activism in South Africa as a form of public oversight. It seeks to answer two main questions: what factors contributed to the rise and fall of the highly effective anti-surveillance activism during Zuma’s presidency, followed by the success of strategic litigation? What lessons are to be learned from this failure and success for emerging practices of public oversight of intelligence-driven surveillance? 30 00 This chapter focuses on the rise and fall of anti-surveillance activism in South Africa, from 2010 to date, as a form of public oversight of intelligence-driven surveillance. In 2010, the government attempted to introduce a highly controversial Bill, the Protection of Information Bill (Protection of Information Bill 2010), which threatened to give South Africa’s civilian intelligence agency, the State Security Agency (SSA), the powers to overclassify huge swathes of government information and cloak it in a shroud of secrecy: hence, its critics dubbed it the ‘Secrecy Bill’ (News24, 2011). The campaign against the Bill extracted major concessions from the government. However, once Jacob Zuma was replaced by Cyril Ramaphosa as president, anti-surveillance activism shrunk, making it difficult to consolidate the democratic gains made during that period. At the same time, more contained forms of contention, using more well-established forms of claim-making, such as strategic litigation, has won ground. In 2021, the fight against abusive surveillance culminated in a major legal victory against the government won by the amaBhungane Centre for Investigative Journalism in the highest court in South Africa, the Constitutional Court. This chapter study examines the rise and fall of anti-surveillance activism in South Africa as a form of public oversight. It seeks to answer two main questions: what factors contributed to the rise and fall of the highly effective anti-surveillance activism during Zuma’s presidency, followed by the success of strategic litigation? What lessons are to be learned from this failure and success for emerging practices of public oversight of intelligence-driven surveillance? 20 00 Open Access Jane Duncan 9 03 06 10.62637/sup.dasw4926.9 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 A civilian-driven model for surveillance oversight in Zimbabwe 1 A01 21 0000000150643192 Allen Munoriyarwa Allen Munoriyarwa 40 02svzjn28 Walter Sisulu University Allen Munoriyarwa is an Associate Professor of Journalism at Walter Sisulu University in South Africa, in the  Department of Marketing, Public Relations and Communication. His  research  interests are in surveillance, digital journalism, and media cultures, as well as digital surveillance. He has published widely in these areas.  He is the co-author of Digital Surveillance in Southern Africa: Policies, Politics and Practices (Palgrave Macmillan, 2022). 01 eng 03 00 In this chapter, I interrogate the efficacy of a civilian-driven surveillance oversight model that can potentially counter surveillance practice excesses that manifest in, among other practices, unregulated and unwarranted surveillance. I use the Zimbabwean case as a case in point for the deployment of such a model. Drawing data from critical (intelligence) surveillance incidents that happened in post-coup Zimbabwe, and on limited interviews with civic society actors, legislators and activists, this chapter seeks to answer two questions. Firstly, I answer the question: how did intelligence agencies, especially the Central Intelligence Organisation (CIO), become a political appendage of the ruling Zimbabwe African National Union Patriotic Front (ZANU PF) regime? And, lastly, what pathways exist to bolster collective civilian inclusion in surveillance regulation? In other words, I want to explore how an alternative (to existing surveillance regulation practices), civilian-driven model of digital surveillance can be achieved. The argument I make is that surveillance in semi-authoritarian regimes is becoming opaque than ever. There is a need to ‘activate’ civilians to be part of any future oversight practices if fundamental rights like the right to privacy are to be respected in contexts with no culture of such respect. The growing power and capabilities of intelligence institutions, their militarisation, and politicisation, in these contexts, mean that more than ever, there is a need to mobilise civilians to exercise robust oversight on intelligence agencies. 30 00 In this chapter, I interrogate the efficacy of a civilian-driven surveillance oversight model that can potentially counter surveillance practice excesses that manifest in, among other practices, unregulated and unwarranted surveillance. I use the Zimbabwean case as a case in point for the deployment of such a model. Drawing data from critical (intelligence) surveillance incidents that happened in post-coup Zimbabwe, and on limited interviews with civic society actors, legislators and activists, this chapter seeks to answer two questions. Firstly, I answer the question: how did intelligence agencies, especially the Central Intelligence Organisation (CIO), become a political appendage of the ruling Zimbabwe African National Union Patriotic Front (ZANU PF) regime? And, lastly, what pathways exist to bolster collective civilian inclusion in surveillance regulation? In other words, I want to explore how an alternative (to existing surveillance regulation practices), civilian-driven model of digital surveillance can be achieved. The argument I make is that surveillance in semi-authoritarian regimes is becoming opaque than ever. There is a need to ‘activate’ civilians to be part of any future oversight practices if fundamental rights like the right to privacy are to be respected in contexts with no culture of such respect. The growing power and capabilities of intelligence institutions, their militarisation, and politicisation, in these contexts, mean that more than ever, there is a need to mobilise civilians to exercise robust oversight on intelligence agencies. 20 00 Open Access Allen Munoriyarwa 10 03 06 10.62637/sup.dasw4926.10 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Current trajectories and future challenges for public oversight 1 A01 21 0000000253368322 Jane Duncan Jane Duncan 40 00vtgdb53 University of Glasgow Jane Duncan is a Professor of Digital Society at the University of Glasgow, and she holds a British Academy Global Professorship at the same university. She is also a Visiting Professor at the University of Johannesburg. She is author of The rise of the securocrats (Jacana, 2014), Protest Nation (University of KwaZulu/ Natal Press, 2016), Stopping the spies (Wits University Press, 2018) and National security surveillance in southern Africa (Zed Books, 2022). 2 A01 21 0000000150643192 Allen Munoriyarwa Allen Munoriyarwa 40 02svzjn28 Walter Sisulu University Allen Munoriyarwa is an Associate Professor of Journalism at Walter Sisulu University in South Africa, in the  Department of Marketing, Public Relations and Communication. His  research  interests are in surveillance, digital journalism, and media cultures, as well as digital surveillance. He has published widely in these areas.  He is the co-author of Digital Surveillance in Southern Africa: Policies, Politics and Practices (Palgrave Macmillan, 2022). 01 eng 03 00 In this concluding chapter, we assess the major findings from each of the chapters and return to the original question posed in the introduction, of how the public can perform more effective oversight digital surveillance for intelligence purposes. Each chapter presented case studies of moments when public oversight has been attempted, and either succeeded, or failed or achieved mixed outcomes. The chapters analysed moments when the public required intelligence agencies to explain and justify surveillance and change surveillance practices when they amounted to abuse (McCarthy and Fluck, 2016). Some of these cases involved intelligence and surveillance laws or state-sanctioned data processing systems that the public feared had surveillant potential. Others followed the well-recognised shock-driven approach to intelligence reform, where controversies around surveillance abuses came into the public domain through whistleblowing or the leaking of intelligence information, and these controversies galvanised public action of various kinds (Johnson, 2018, p.209-246). This chapter uses a summary of the main chapter findings to address key research questions and to develop a set of theoretical propositions about public oversight and the conditions under which it is likely to succeed. 30 00 In this concluding chapter, we assess the major findings from each of the chapters and return to the original question posed in the introduction, of how the public can perform more effective oversight digital surveillance for intelligence purposes. Each chapter presented case studies of moments when public oversight has been attempted, and either succeeded, or failed or achieved mixed outcomes. The chapters analysed moments when the public required intelligence agencies to explain and justify surveillance and change surveillance practices when they amounted to abuse (McCarthy and Fluck, 2016). Some of these cases involved intelligence and surveillance laws or state-sanctioned data processing systems that the public feared had surveillant potential. Others followed the well-recognised shock-driven approach to intelligence reform, where controversies around surveillance abuses came into the public domain through whistleblowing or the leaking of intelligence information, and these controversies galvanised public action of various kinds (Johnson, 2018, p.209-246). This chapter uses a summary of the main chapter findings to address key research questions and to develop a set of theoretical propositions about public oversight and the conditions under which it is likely to succeed. 20 00 Open Access Jane Duncan and Allen Munoriyarwa 01 URL https://www.sup.ac.uk/ Scottish Universities Press 01 Scottish Universities Press 01 Publisher's website: home page https://www.sup.ac.uk/ 02 Publisher's website: webpage for this title https://books.sup.ac.uk/sup/catalog/book/sup-9781917341158 16 40 0302b4677 32 10.13039/501100000286 British Academy 01 programname Global Professorship 01 grantnumber GP/400069 Edinburgh, Scotland 04 01 20260115 Jane Duncan and Allen Munoriyarwa 02 WORLD 06 15 9781917341127 03 9781917341127 06 15 9781917341134 03 9781917341134 06 15 9781917341141 03 9781917341141 WORLD 09 Scottish Universities Press 02 Publisher's website: webpage for this product https://books.sup.ac.uk/sup/catalog/book/sup-9781917341158 20 08 20260115 01 urn:uuid:f0e4e16b-f8bd-4f78-9088-1f315761e5f0 03 01 01 thoth-work-id urn:uuid:d5224ec4-7755-48d0-b7fd-bcb2ecf5ac9a 01 thoth-publication-id urn:uuid:f0e4e16b-f8bd-4f78-9088-1f315761e5f0 15 9781917341141 03 9781917341141 06 10.62637/sup.dasw4926 00 EB E101 10 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ 01 01 Democratising spy watching Public oversight of intelligence-driven surveillance in Southern Africa 1 B01 21 0000000253368322 Jane Duncan Jane Duncan Jane Duncan is a Professor of Digital Society at the University of Glasgow, and she holds a British Academy Global Professorship at the same university. She is also a Visiting Professor at the University of Johannesburg. She is author of The rise of the securocrats (Jacana, 2014), Protest Nation (University of KwaZulu/ Natal Press, 2016), Stopping the spies (Wits University Press, 2018) and National security surveillance in southern Africa (Zed Books, 2022). 2 B01 21 0000000150643192 Allen Munoriyarwa Allen Munoriyarwa Allen Munoriyarwa is an Associate Professor of Journalism at Walter Sisulu University in South Africa, in the  Department of Marketing, Public Relations and Communication. His  research  interests are in surveillance, digital journalism, and media cultures, as well as digital surveillance. He has published widely in these areas.  He is the co-author of Digital Surveillance in Southern Africa: Policies, Politics and Practices (Palgrave Macmillan, 2022). 01 eng 00 380 03 09 3 93 JBFL 10 SOC063000 93 JPWG 10 POL066000 93 JPSH 10 SOC072000 10 POL035010 93 UBJ 93 1HFM 20 Surveillance; Southern Africa; Digital surveillance; intelligence oversight; public oversight; surveillance scandals; post-colonial democracies; communication studies; human rights 01 06 02 00 Time and again, the public have compensated for ineffective state oversight of digital surveillance by exposing intelligence agencies for spying on those who threaten the ruling status quo, rather than protecting public safety or national security. This book offers lessons for academics and activists by examining surveillance scandals across 03 00 Digitisation has provided intelligence agencies with the capabilities to conduct surveillance at an unprecedented scale. Using a range of digital surveillance technologies and practices, and unprecedented public-private collaborations, intelligence agencies have extended their ability to collect, store and analyse data for intelligence purposes. Effective oversight is required to limit the potential for abuse. However, across Southern Africa – where digital surveillance is expanding – official oversight institutions typically lack the power and resources to monitor and review surveillance capabilities in order to ensure that intelligence agencies behave effectively and lawfully. Consequently, oversight in these countries typically is conducted by the public, through, for instance, challenging unjustifiable secrecy, publicising abuses and organising campaigns to rein these agencies in.Through comparative case study research exploring lessons from key moments in the region, this volume explores public oversight of intelligence-driven digital surveillance in eight Southern African countries and examines cases where this oversight either succeeded, failed, or achieved mixed outcomes. Authored by researchers and journalists from the fields of law, communication and media studies, this book offers lessons for academics and activists, suggesting that a new model of public oversight of surveillance is possible, and, arguably, functions better than extant approaches to surveillance. It will be of global significance, as surveillance abuses are a worldwide problem, as is the problem of oversight failing to keep pace with expanding surveillance capabilities. 30 00 Digitisation has provided intelligence agencies with the capabilities to conduct surveillance at an unprecedented scale. Using a range of digital surveillance technologies and practices, and unprecedented public-private collaborations, intelligence agencies have extended their ability to collect, store and analyse data for intelligence purposes. Effective oversight is required to limit the potential for abuse. However, across Southern Africa – where digital surveillance is expanding – official oversight institutions typically lack the power and resources to monitor and review surveillance capabilities in order to ensure that intelligence agencies behave effectively and lawfully. Consequently, oversight in these countries typically is conducted by the public, through, for instance, challenging unjustifiable secrecy, publicising abuses and organising campaigns to rein these agencies in.Through comparative case study research exploring lessons from key moments in the region, this volume explores public oversight of intelligence-driven digital surveillance in eight Southern African countries and examines cases where this oversight either succeeded, failed, or achieved mixed outcomes. Authored by researchers and journalists from the fields of law, communication and media studies, this book offers lessons for academics and activists, suggesting that a new model of public oversight of surveillance is possible, and, arguably, functions better than extant approaches to surveillance. It will be of global significance, as surveillance abuses are a worldwide problem, as is the problem of oversight failing to keep pace with expanding surveillance capabilities. 04 00 Foreword Rafael Marques de Morais Acknowledgements Jane Duncan and Allen Munoriyarwa Chapter One: Making the case for public oversight of intelligence-driven surveillance: Key issues and core concepts Jane Duncan and Allen Munoriyarwa Chapter Two: Intelligence-driven digital surveillance and public oversight success in an anocracy: Angola and the 15+2 case Rui Verde Chapter Three: Popular agency oversight of digital surveillance of communications and personal data for intelligence purposes: The case of Botswana Tachilisa Badala Balule Chapter Four: Public control and digital surveillance: Understanding the role of civil society in the DRC Trésor Maheshe Musole Chapter Five: Factors influencing public oversight of digital surveillance for intelligence purposes: The case of Mauritius Sarah Chiumbu Chapter Six: Surveillance as a mechanism of political control in Mozambique: The structural environments for the failing of public oversight mechanisms Ernesto Nhanale and Borges Nhamirre Chapter Seven: The democratic subsidy in Namibia’s intelligence oversight mechanisms Frederico Links and Phillip Santos Chapter Eight: The challenges of sustaining public oversight: The rise and fall of anti-surveillance activism in South Africa Jane Duncan Chapter Nine: A civilian-driven model for surveillance oversight in Zimbabwe Allen Munoriyarwa Chapter Ten: Current trajectories and future challenges for public oversight Jane Duncan and Allen Munoriyarwa Index 20 00 Open Access 01 00 03 02 https://images.squarespace-cdn.com/content/628df820a8f890150d19db11/89045bf3-89f3-4998-b68d-c5316a5e05ff/Duncan_FC_Vis.jpg?content-type=image%2Fjpeg 1 03 06 10.62637/sup.dasw4926.1 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Making the case for public oversight of intelligence-driven surveillance Key issues and core concepts 1 A01 21 0000000253368322 Jane Duncan Jane Duncan 40 00vtgdb53 University of Glasgow Jane Duncan is a Professor of Digital Society at the University of Glasgow, and she holds a British Academy Global Professorship at the same university. She is also a Visiting Professor at the University of Johannesburg. She is author of The rise of the securocrats (Jacana, 2014), Protest Nation (University of KwaZulu/ Natal Press, 2016), Stopping the spies (Wits University Press, 2018) and National security surveillance in southern Africa (Zed Books, 2022). 2 A01 21 0000000150643192 Allen Munoriyarwa Allen Munoriyarwa 40 02svzjn28 Walter Sisulu University Allen Munoriyarwa is an Associate Professor of Journalism at Walter Sisulu University in South Africa, in the  Department of Marketing, Public Relations and Communication. His  research  interests are in surveillance, digital journalism, and media cultures, as well as digital surveillance. He has published widely in these areas.  He is the co-author of Digital Surveillance in Southern Africa: Policies, Politics and Practices (Palgrave Macmillan, 2022). 01 eng 03 00 This chapter deals with the core concepts engaged in this book and how they are understood, especially public oversight and how it can be distinguished from other forms of oversight. It also introduces the chapters in the volume. It examines the assumptions about democracy underpinning conventional oversight by formal oversight entities, as well as those underpinning the more radical and participatory forms made possible by public oversight. The chapter also sets the basis for the chapters focussing on the practices of the media and civil society organisations as a neglected but much needed dimension of oversight (Kniep et al, 2023, pg. 7). While being case study based, we explain how each chapter illuminates different elements of public oversight, and what it takes to build it, sustain it and make it effective. Doing so allows us to start developing a theoretical basis to predict conditions in which public oversight can succeed. The chapter also considers some of the methodological and ethical dilemmas in researching intelligence and surveillance in semi-authoritarian contexts. We also explain that the chapters are written by academics, civil society practitioners and journalists, and so there is a mix of more descriptive and theoretical approaches. However, overall, the volume tilts more to the critical paradigm, in that the researchers were motivated by a commitment to using their research to call the powerful to account, and in the process aimed to change how intelligence is organised to include a broader range of oversight actors as legitimate actors. 30 00 This chapter deals with the core concepts engaged in this book and how they are understood, especially public oversight and how it can be distinguished from other forms of oversight. It also introduces the chapters in the volume. It examines the assumptions about democracy underpinning conventional oversight by formal oversight entities, as well as those underpinning the more radical and participatory forms made possible by public oversight. The chapter also sets the basis for the chapters focussing on the practices of the media and civil society organisations as a neglected but much needed dimension of oversight (Kniep et al, 2023, pg. 7). While being case study based, we explain how each chapter illuminates different elements of public oversight, and what it takes to build it, sustain it and make it effective. Doing so allows us to start developing a theoretical basis to predict conditions in which public oversight can succeed. The chapter also considers some of the methodological and ethical dilemmas in researching intelligence and surveillance in semi-authoritarian contexts. We also explain that the chapters are written by academics, civil society practitioners and journalists, and so there is a mix of more descriptive and theoretical approaches. However, overall, the volume tilts more to the critical paradigm, in that the researchers were motivated by a commitment to using their research to call the powerful to account, and in the process aimed to change how intelligence is organised to include a broader range of oversight actors as legitimate actors. 20 00 Open Access Jane Duncan and Allen Munoriyarwa 2 03 06 10.62637/sup.dasw4926.2 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Intelligence-driven digital surveillance and public oversight success in an anocracy Angola and the 15+2 case 1 A01 21 0000000296465296 Rui Verde Rui Verde 40 052gg0110 University of Oxford 01 eng 03 00 Rui Verde holds a PhD in Law from the University of Newcastle, UK, and a law degree from Universidade Católica de Lisboa, Portugal. He serves as Chief Legal Adviser to Maka Angola, an organisation committed to promoting democracy, defending human rights and combating corruption in Angola. An expert on Angola’s legal landscape, especially in matters concerning corruption, the exercise and integrity of judicial authority, the dynamics of contemporary politics, and the evolving landscape of surveillance and digital rights – he has published extensively on these topics. At the University of Oxford, he developed a research project examining China’s influence in Angola and has completed a study on the role of the Israeli surveillance industry in the country. Currently a Research Associate at the African Studies Centre, University of Oxford, and Chercheur Associé at CEPED, Université Paris-Cité, he also founded the think-tank CEDESA, which is dedicated to advancing development in Southern Africa. 30 00 Rui Verde holds a PhD in Law from the University of Newcastle, UK, and a law degree from Universidade Católica de Lisboa, Portugal. He serves as Chief Legal Adviser to Maka Angola, an organisation committed to promoting democracy, defending human rights and combating corruption in Angola. An expert on Angola’s legal landscape, especially in matters concerning corruption, the exercise and integrity of judicial authority, the dynamics of contemporary politics, and the evolving landscape of surveillance and digital rights – he has published extensively on these topics. At the University of Oxford, he developed a research project examining China’s influence in Angola and has completed a study on the role of the Israeli surveillance industry in the country. Currently a Research Associate at the African Studies Centre, University of Oxford, and Chercheur Associé at CEPED, Université Paris-Cité, he also founded the think-tank CEDESA, which is dedicated to advancing development in Southern Africa. 20 00 Open Access Rui Verde 3 03 06 10.62637/sup.dasw4926.3 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Popular agency oversight of digital surveillance of communications and personal data for intelligence purposes The case of Botswana 1 A01 21 0009000930498421 Tachilisa Badala Balule Tachilisa Balule 40 01encsj80 University of Botswana Tachilisa Badala Balule is an Associate Professor of Law in the Department of Law, University of Botswana. He is currently the Deputy Dean in the Faculty of Social Sciences. He holds an LLB degree from the University of Botswana, and LLM and PhD degrees from the University of Edinburgh, Scotland. His PhD research was on regulation of the media. Dr Balule has published in the area of freedom of expression, including media freedom and access to information, and on aspects of electoral laws. He has delivered papers on freedom of expression, media law and access to information at national and international conferences. He has also written on digital surveillance, data protection and privacy in Botswana, and has completed a study recently on this topic. Earlier this year, his research on digital surveillance was cited by both sides of the house in a parliamentary debate on the Criminal Procedure and Evidence (Controlled Investigations) Bill, that led to the Government of Botswana making significant concessions to the Bill’s critics. 01 eng 03 00 Many threats to the stability of modern states manifest themselves in organised and covert activities. The nature of the threats to the security of a state often requires intelligence services to use covert and intrusive means to counter the threats. Some of the methods used by intelligence services may infringe upon civil liberties. It is, thus, imperative to have in place oversight mechanisms that will ensure that, in the performance of their mandate, intelligence services respect the rule of law and the fundamental rights and freedoms of the individual. This is especially important in democratic societies, where the respect for the rule of law and civil liberties are a sine qua non. The State of Botswana has since independence, embraced democratic rule and its intelligence services must respect the rule of law and the fundamental rights and freedoms of the individual in the performance of their mandate. In other words, the sector must be accountable, which implies, among others, that it should be subject to oversight in the performance of its functions. Traditionally, oversight on the intelligence sector is exercised by organs of government, being the executive, judiciary and legislature, and in some cases, statutory bodies. It has, however, been observed that in many countries around the world, the traditional oversight mechanisms are not effective leading to an oversight deficit. The State of Botswana is one of those where the traditional oversight mechanisms have proven to be inadequate and/or ineffective. The oversight deficit in the intelligence sector challenges us to explore other complimentary mechanisms. This chapter explores the potential and use of popular agency on the intelligence sector in Botswana. 30 00 Many threats to the stability of modern states manifest themselves in organised and covert activities. The nature of the threats to the security of a state often requires intelligence services to use covert and intrusive means to counter the threats. Some of the methods used by intelligence services may infringe upon civil liberties. It is, thus, imperative to have in place oversight mechanisms that will ensure that, in the performance of their mandate, intelligence services respect the rule of law and the fundamental rights and freedoms of the individual. This is especially important in democratic societies, where the respect for the rule of law and civil liberties are a sine qua non. The State of Botswana has since independence, embraced democratic rule and its intelligence services must respect the rule of law and the fundamental rights and freedoms of the individual in the performance of their mandate. In other words, the sector must be accountable, which implies, among others, that it should be subject to oversight in the performance of its functions. Traditionally, oversight on the intelligence sector is exercised by organs of government, being the executive, judiciary and legislature, and in some cases, statutory bodies. It has, however, been observed that in many countries around the world, the traditional oversight mechanisms are not effective leading to an oversight deficit. The State of Botswana is one of those where the traditional oversight mechanisms have proven to be inadequate and/or ineffective. The oversight deficit in the intelligence sector challenges us to explore other complimentary mechanisms. This chapter explores the potential and use of popular agency on the intelligence sector in Botswana. 20 00 Open Access Tachilisa Badala Balule 4 03 06 10.62637/sup.dasw4926.4 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Public control and digital surveillance Understanding the role of civil society in the DRC 1 A01 21 0000000255473011 Trésor Maheshe Musole Trésor Maheshe Musole 40 03cg80535 Université Catholique de Bukavu Trésor Maheshe Musole is a Professor of International Law at the Catholic University of Bukavu, eastern Democratic Republic of the Congo (DRC). His area of expertise is peace, human rights, security and migration in the Great Lakes region, as well as freedom of expression and the right to asylum. He has experience in the judicial and human-rights field, having worked as a member of the body of judicial defenders at the courts under the jurisdiction of the Court of Appeal of Bukavu, and is currently a lawyer at the bar of South Kivu in the DRC. He recently completed a study on digital surveillance and privacy in DRC: balancing national security and personal data protection. 01 eng 03 00 This chapter examines the role of civil society organizations (CSOs) in public control of digital surveillance. The presentation uses three case studies to explain the low level of CSO interest in electronic surveillance. The study suggests ways to engage CSOs in actions that limit the abuses of surveillance through their public control. From these three case studies, CSOs fail to reduce surveillance against political opponents and individuals. Faced with this situation, this chapter answers two questions: RQ1What are the factors behind the low level of interest among Congolese civil society in the issue of surveillance? RQ2 How can civil society actions limit the abuses of surveillance? By analysing these questions, the chapter clearly demonstrates how public surveillance can succeed and what inhibiting factors can cause it to fail. 30 00 This chapter examines the role of civil society organizations (CSOs) in public control of digital surveillance. The presentation uses three case studies to explain the low level of CSO interest in electronic surveillance. The study suggests ways to engage CSOs in actions that limit the abuses of surveillance through their public control. From these three case studies, CSOs fail to reduce surveillance against political opponents and individuals. Faced with this situation, this chapter answers two questions: RQ1What are the factors behind the low level of interest among Congolese civil society in the issue of surveillance? RQ2 How can civil society actions limit the abuses of surveillance? By analysing these questions, the chapter clearly demonstrates how public surveillance can succeed and what inhibiting factors can cause it to fail. 20 00 Open Access Trésor Maheshe Musole 5 03 06 10.62637/sup.dasw4926.5 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Factors influencing public oversight of digital surveillance for intelligence purposes The case of Mauritius 1 A01 21 0000000193498204 Sarah Chiumbu Sarah Chiumbu 40 04z6c2n17 University of Johannesburg Sarah Chiumbu is an Associate Professor of Communication at the University of Johannesburg, South Africa. Prior to this, she served as a Senior Research Specialist in the Human and Social Development Research Programme at the Human Sciences Research Council (HSRC). She also spent seven years at the University of the Witwatersrand as a senior lecturer in Media and Communication Studies. She holds a PhD and MA in media studies from the University of Oslo, Norway. Her research interests encompass media, democracy and citizenship, digital media, policy studies and social movements. 01 eng 03 00 This chapter focuses on arguably the most impressive example of public oversight discussed in this edited volume, and one that has reduced the scope for surveillance overreach on a more sustained basis as popular consciousness of the dangers remain embedded in the social fabric. In 2013, the Mauritian government introduced the smart identity (ID) card to replace the previous National ID Card through a public-private partnership with Singapore, with the stated aim of cleaning up duplication in databases, but with considerable surveillance potential as it provided the government with a massive database of population data. The smart card contained a microchip and biometric data, including fingerprints, facial recognition data and a digital photo, and the biometric information was meant to be stored in a central population database. The Smart ID card faced opposition from the public, activists and civil society organisations, who were concerned that the government could use this information for surveillance purposes or to track the activities of citizens. Civil society organisations and activists launched campaigns to oppose the smart ID card. These included online petitions, social media campaigns, and public protests. There were also legal challenges filed against the implementation of the biometric card. Due to the public outcry, the government suspended the project in 2015 and changes to the Smart ID card system to address the public’s concerns. This chapter examines the factors that influenced public oversight of the digital Smart ID policy and the decision by the government to update data protection laws. It utilises an innovative mixed-theory approach to understand the dynamics of public oversight in Mauritius. 30 00 This chapter focuses on arguably the most impressive example of public oversight discussed in this edited volume, and one that has reduced the scope for surveillance overreach on a more sustained basis as popular consciousness of the dangers remain embedded in the social fabric. In 2013, the Mauritian government introduced the smart identity (ID) card to replace the previous National ID Card through a public-private partnership with Singapore, with the stated aim of cleaning up duplication in databases, but with considerable surveillance potential as it provided the government with a massive database of population data. The smart card contained a microchip and biometric data, including fingerprints, facial recognition data and a digital photo, and the biometric information was meant to be stored in a central population database. The Smart ID card faced opposition from the public, activists and civil society organisations, who were concerned that the government could use this information for surveillance purposes or to track the activities of citizens. Civil society organisations and activists launched campaigns to oppose the smart ID card. These included online petitions, social media campaigns, and public protests. There were also legal challenges filed against the implementation of the biometric card. Due to the public outcry, the government suspended the project in 2015 and changes to the Smart ID card system to address the public’s concerns. This chapter examines the factors that influenced public oversight of the digital Smart ID policy and the decision by the government to update data protection laws. It utilises an innovative mixed-theory approach to understand the dynamics of public oversight in Mauritius. 20 00 Open Access Sarah Chiumbu 6 03 06 10.62637/sup.dasw4926.6 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Surveillance as a mechanism of political control in Mozambique The structural environments for the failing of public oversight mechanisms 1 A01 21 000900061559486X Ernesto Nhanale Ernesto Nhanale 40 00hw53j55 Escola Superior de Jornalismo Ernesto Nhanale is both an academic and a civil society activist, having served as the director of the Mozambique chapter of the Media Institute for Southern Africa for several years. He is also a Professor of Media and Journalism at Higher School of Journalism, an independent higher-education institution in Mozambique. He has undertaken extensive research work and produced publications in the area of political communication and journalism and is a co-founder of CEC – Centre of Interdisciplinary Studies of Communication. He recently completed a study on digital surveillance and authoritarianism in Mozambique. 2 A01 Borges Nhamirre Borges Nhamirre 40 00fd6f737 Institute for Security Studies Borges Nhamirre is a researcher on peace, security and governance at the Institute for Security Studies (ISS Africa). Prior to joining ISS in 2021, he served as a senior researcher and research coordinator at the Centre for Public Integrity in Maputo. He holds a Master’s degree in Security Studies with a specialisation in Maritime Security from Joaquim Chissano University in Maputo, and he is currently pursuing a PhD in History of Ethnicity and Conflict in Northern Mozambique at Queen’s University Belfast (QUB), Northern Ireland. He also lectures on Nationalism and Liberation Movements in 20th-century Africa at the School of History, Anthropology, Philosophy and Politics at QUB. 03 00 This chapter argues that Mozambican intelligence services have operated without effective oversight from either the other branches of the state, parliament, the judiciary or external audit bodies like civil society organisations and the media. The lack of proper oversight can be attributed to several factors, with the most significant being the political context of Mozambique’s authoritarian regime. This regime concentrates state power in the hands of the Head of State, who also serves as Commander-in-Chief of the Defence and Security Forces and utilises the intelligence services as a tool for popular surveillance.The historical context in which the intelligence services were formed and developed in Mozambique has also contributed greatly to defining their current profile. The current intelligence services in Mozambique inherited the practices of the fascist regime of the Portuguese colonial state, which ruled Mozambique before political independence in 1975, as well as the intelligence practices used by the Mozambique Liberation Front (FRELIMO) during the national liberation struggle. Furthermore, the establishment of the National Popular Security Service (SNASP) was the first intelligence service established when Mozambique gained its independence in 1975. Post-independence, Mozambique was under authoritarian one-party rule and in a context of civil war between FRELIMO and the Mozambican National Resistance (RENAMO). This greatly contributed to SNASP being a paramilitary service and used primarily to control perceived internal political threats by keeping watch on Mozambican citizens, who might support the rebel group, RENAMO. The current State Intelligence and Security Service (SISE) was created in 1991 in the context of establishing a multi-party democracy in Mozambique; however, it inherited anti-democratic practices from its predecessor, encompassing surveillance of citizens and non-accountability.This chapter demonstrates this through a case study of popular surveillance by the Mozambican intelligence services, through an order issued by the government for the compulsory registration of mobile phone Subscriber Identity Module (SIM) cards and argues that there was no oversight of the intelligent services’ actions in this regard, either by the state’s balancing powers (Parliament and the Judiciary) or by civil society and the media. The chapter is the result of documentary research relying mostly on Mozambique’s intelligence services, as well as historical documents combined with key-informant interviews (KII). 30 00 This chapter argues that Mozambican intelligence services have operated without effective oversight from either the other branches of the state, parliament, the judiciary or external audit bodies like civil society organisations and the media. The lack of proper oversight can be attributed to several factors, with the most significant being the political context of Mozambique’s authoritarian regime. This regime concentrates state power in the hands of the Head of State, who also serves as Commander-in-Chief of the Defence and Security Forces and utilises the intelligence services as a tool for popular surveillance.The historical context in which the intelligence services were formed and developed in Mozambique has also contributed greatly to defining their current profile. The current intelligence services in Mozambique inherited the practices of the fascist regime of the Portuguese colonial state, which ruled Mozambique before political independence in 1975, as well as the intelligence practices used by the Mozambique Liberation Front (FRELIMO) during the national liberation struggle. Furthermore, the establishment of the National Popular Security Service (SNASP) was the first intelligence service established when Mozambique gained its independence in 1975. Post-independence, Mozambique was under authoritarian one-party rule and in a context of civil war between FRELIMO and the Mozambican National Resistance (RENAMO). This greatly contributed to SNASP being a paramilitary service and used primarily to control perceived internal political threats by keeping watch on Mozambican citizens, who might support the rebel group, RENAMO. The current State Intelligence and Security Service (SISE) was created in 1991 in the context of establishing a multi-party democracy in Mozambique; however, it inherited anti-democratic practices from its predecessor, encompassing surveillance of citizens and non-accountability.This chapter demonstrates this through a case study of popular surveillance by the Mozambican intelligence services, through an order issued by the government for the compulsory registration of mobile phone Subscriber Identity Module (SIM) cards and argues that there was no oversight of the intelligent services’ actions in this regard, either by the state’s balancing powers (Parliament and the Judiciary) or by civil society and the media. The chapter is the result of documentary research relying mostly on Mozambique’s intelligence services, as well as historical documents combined with key-informant interviews (KII). 20 00 Open Access Ernesto Nhanale and Borges Nhamirre 7 03 06 10.62637/sup.dasw4926.7 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 The democratic subsidy in Namibia’s intelligence oversight mechanisms 1 A01 Frederico Links Frederico Links Frederico Links is a Namibian governance researcher and a journalist focussing on state-related governance issues. He has coordinated and contributed to projects at national, regional and international levels. He is the lead researcher for Namibia in the eight-country digital-surveillance research project funded by the British Academy, through the University of Glasgow. He also recently contributed to a study on cybersecurity and cybercrime laws and their impacts on media freedom and free expression across the SADC region. Aside from his journalism and research work, Links is also the founding and current chairperson of the Access to Information in Namibia (ACTION) Coalition of civil society and media organisations and social activists. The ACTION Coalition has been instrumental in successfully advocating for an access to information law in Namibia since 2012. Links is the author of a large number of articles, reports and book chapters. 2 A01 21 0000000287300596 Phillip Santos Phillip Santos 40 03gg1ey66 Namibia University of Science and Technology Phillip Santos teaches both undergraduate and postgraduate courses in the Department of Journalism and Media Technology at the Namibia University of Science and Technology and is Research Associate in the Department of Strategic Communication, University of Johannesburg. He also taught in the Department of Journalism and Media Studies at the National University of Science and Technology in Zimbabwe. He holds a PhD from Rhodes University in South Africa and co-edited the books Reading Justice Claims on Social Media: Perspectives from the Global South and Global Pandemics in the Media: An African Perspective. His research interests are in political and strategic communication; the mediation of science and health issues, social memory, gender, Justice and political struggle; the social and policy dimensions of new and broadcast Media, as well as the confluence between political Correctness, populism, post-truthism and democratic politics. 01 eng 03 00 Democratic societies require and thrive on a significant degree of openness, the rule of law and accountability of public officials and institutions, inter alia. In a democracy, powerful individuals and institutions are made accountable for their decisions and actions mainly through formal and informal oversight mechanisms. Formal oversight structures are embedded within a state’s infrastructure in terms of the law and are financially capacitated to make their operations possible. However, the secretive and sometimes invasive nature of intelligence operations often places them beyond the reach of effective formal oversight mechanisms, making the former a real potential threat to the democratic fabric of the societies they serve.It is in this context that the chapter uses the case of Namibia to analyse the dialectical relationship between formal and informal oversight practices on the country’s intelligence service and its operations. This is done by showing how the gravity of the gap in formal oversight mechanisms on intelligence services has triggered oversight interest and activity in the informal public sphere, the latter of which is a subsidy of Namibia’s democratic atmosphere and affordances. The chapter highlights the structural incapacities in formal oversight mechanisms over the operations of the Namibia Central Intelligence Service, showing how these are mitigated by informal social actors such as the news media, civil society and political activists, among others. Nonetheless, the chapter acknowledges the importance of formal oversight as it comes with punitive authority unlike informal oversight activities which may be limited in terms of both their effectiveness and capacity to make the NCIS’s administration and operations truly transparent and accountable. 30 00 Democratic societies require and thrive on a significant degree of openness, the rule of law and accountability of public officials and institutions, inter alia. In a democracy, powerful individuals and institutions are made accountable for their decisions and actions mainly through formal and informal oversight mechanisms. Formal oversight structures are embedded within a state’s infrastructure in terms of the law and are financially capacitated to make their operations possible. However, the secretive and sometimes invasive nature of intelligence operations often places them beyond the reach of effective formal oversight mechanisms, making the former a real potential threat to the democratic fabric of the societies they serve.It is in this context that the chapter uses the case of Namibia to analyse the dialectical relationship between formal and informal oversight practices on the country’s intelligence service and its operations. This is done by showing how the gravity of the gap in formal oversight mechanisms on intelligence services has triggered oversight interest and activity in the informal public sphere, the latter of which is a subsidy of Namibia’s democratic atmosphere and affordances. The chapter highlights the structural incapacities in formal oversight mechanisms over the operations of the Namibia Central Intelligence Service, showing how these are mitigated by informal social actors such as the news media, civil society and political activists, among others. Nonetheless, the chapter acknowledges the importance of formal oversight as it comes with punitive authority unlike informal oversight activities which may be limited in terms of both their effectiveness and capacity to make the NCIS’s administration and operations truly transparent and accountable. 20 00 Open Access Frederico Links and Phillip Santos 8 03 06 10.62637/sup.dasw4926.8 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 The challenges of sustaining public oversight The rise and fall of anti-surveillance activism in South Africa 1 A01 21 0000000253368322 Jane Duncan Jane Duncan 40 00vtgdb53 University of Glasgow Jane Duncan is a Professor of Digital Society at the University of Glasgow, and she holds a British Academy Global Professorship at the same university. She is also a Visiting Professor at the University of Johannesburg. She is author of The rise of the securocrats (Jacana, 2014), Protest Nation (University of KwaZulu/ Natal Press, 2016), Stopping the spies (Wits University Press, 2018) and National security surveillance in southern Africa (Zed Books, 2022). 01 eng 03 00 This chapter focuses on the rise and fall of anti-surveillance activism in South Africa, from 2010 to date, as a form of public oversight of intelligence-driven surveillance. In 2010, the government attempted to introduce a highly controversial Bill, the Protection of Information Bill (Protection of Information Bill 2010), which threatened to give South Africa’s civilian intelligence agency, the State Security Agency (SSA), the powers to overclassify huge swathes of government information and cloak it in a shroud of secrecy: hence, its critics dubbed it the ‘Secrecy Bill’ (News24, 2011). The campaign against the Bill extracted major concessions from the government. However, once Jacob Zuma was replaced by Cyril Ramaphosa as president, anti-surveillance activism shrunk, making it difficult to consolidate the democratic gains made during that period. At the same time, more contained forms of contention, using more well-established forms of claim-making, such as strategic litigation, has won ground. In 2021, the fight against abusive surveillance culminated in a major legal victory against the government won by the amaBhungane Centre for Investigative Journalism in the highest court in South Africa, the Constitutional Court. This chapter study examines the rise and fall of anti-surveillance activism in South Africa as a form of public oversight. It seeks to answer two main questions: what factors contributed to the rise and fall of the highly effective anti-surveillance activism during Zuma’s presidency, followed by the success of strategic litigation? What lessons are to be learned from this failure and success for emerging practices of public oversight of intelligence-driven surveillance? 30 00 This chapter focuses on the rise and fall of anti-surveillance activism in South Africa, from 2010 to date, as a form of public oversight of intelligence-driven surveillance. In 2010, the government attempted to introduce a highly controversial Bill, the Protection of Information Bill (Protection of Information Bill 2010), which threatened to give South Africa’s civilian intelligence agency, the State Security Agency (SSA), the powers to overclassify huge swathes of government information and cloak it in a shroud of secrecy: hence, its critics dubbed it the ‘Secrecy Bill’ (News24, 2011). The campaign against the Bill extracted major concessions from the government. However, once Jacob Zuma was replaced by Cyril Ramaphosa as president, anti-surveillance activism shrunk, making it difficult to consolidate the democratic gains made during that period. At the same time, more contained forms of contention, using more well-established forms of claim-making, such as strategic litigation, has won ground. In 2021, the fight against abusive surveillance culminated in a major legal victory against the government won by the amaBhungane Centre for Investigative Journalism in the highest court in South Africa, the Constitutional Court. This chapter study examines the rise and fall of anti-surveillance activism in South Africa as a form of public oversight. It seeks to answer two main questions: what factors contributed to the rise and fall of the highly effective anti-surveillance activism during Zuma’s presidency, followed by the success of strategic litigation? What lessons are to be learned from this failure and success for emerging practices of public oversight of intelligence-driven surveillance? 20 00 Open Access Jane Duncan 9 03 06 10.62637/sup.dasw4926.9 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 A civilian-driven model for surveillance oversight in Zimbabwe 1 A01 21 0000000150643192 Allen Munoriyarwa Allen Munoriyarwa 40 02svzjn28 Walter Sisulu University Allen Munoriyarwa is an Associate Professor of Journalism at Walter Sisulu University in South Africa, in the  Department of Marketing, Public Relations and Communication. His  research  interests are in surveillance, digital journalism, and media cultures, as well as digital surveillance. He has published widely in these areas.  He is the co-author of Digital Surveillance in Southern Africa: Policies, Politics and Practices (Palgrave Macmillan, 2022). 01 eng 03 00 In this chapter, I interrogate the efficacy of a civilian-driven surveillance oversight model that can potentially counter surveillance practice excesses that manifest in, among other practices, unregulated and unwarranted surveillance. I use the Zimbabwean case as a case in point for the deployment of such a model. Drawing data from critical (intelligence) surveillance incidents that happened in post-coup Zimbabwe, and on limited interviews with civic society actors, legislators and activists, this chapter seeks to answer two questions. Firstly, I answer the question: how did intelligence agencies, especially the Central Intelligence Organisation (CIO), become a political appendage of the ruling Zimbabwe African National Union Patriotic Front (ZANU PF) regime? And, lastly, what pathways exist to bolster collective civilian inclusion in surveillance regulation? In other words, I want to explore how an alternative (to existing surveillance regulation practices), civilian-driven model of digital surveillance can be achieved. The argument I make is that surveillance in semi-authoritarian regimes is becoming opaque than ever. There is a need to ‘activate’ civilians to be part of any future oversight practices if fundamental rights like the right to privacy are to be respected in contexts with no culture of such respect. The growing power and capabilities of intelligence institutions, their militarisation, and politicisation, in these contexts, mean that more than ever, there is a need to mobilise civilians to exercise robust oversight on intelligence agencies. 30 00 In this chapter, I interrogate the efficacy of a civilian-driven surveillance oversight model that can potentially counter surveillance practice excesses that manifest in, among other practices, unregulated and unwarranted surveillance. I use the Zimbabwean case as a case in point for the deployment of such a model. Drawing data from critical (intelligence) surveillance incidents that happened in post-coup Zimbabwe, and on limited interviews with civic society actors, legislators and activists, this chapter seeks to answer two questions. Firstly, I answer the question: how did intelligence agencies, especially the Central Intelligence Organisation (CIO), become a political appendage of the ruling Zimbabwe African National Union Patriotic Front (ZANU PF) regime? And, lastly, what pathways exist to bolster collective civilian inclusion in surveillance regulation? In other words, I want to explore how an alternative (to existing surveillance regulation practices), civilian-driven model of digital surveillance can be achieved. The argument I make is that surveillance in semi-authoritarian regimes is becoming opaque than ever. There is a need to ‘activate’ civilians to be part of any future oversight practices if fundamental rights like the right to privacy are to be respected in contexts with no culture of such respect. The growing power and capabilities of intelligence institutions, their militarisation, and politicisation, in these contexts, mean that more than ever, there is a need to mobilise civilians to exercise robust oversight on intelligence agencies. 20 00 Open Access Allen Munoriyarwa 10 03 06 10.62637/sup.dasw4926.10 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Current trajectories and future challenges for public oversight 1 A01 21 0000000253368322 Jane Duncan Jane Duncan 40 00vtgdb53 University of Glasgow Jane Duncan is a Professor of Digital Society at the University of Glasgow, and she holds a British Academy Global Professorship at the same university. She is also a Visiting Professor at the University of Johannesburg. She is author of The rise of the securocrats (Jacana, 2014), Protest Nation (University of KwaZulu/ Natal Press, 2016), Stopping the spies (Wits University Press, 2018) and National security surveillance in southern Africa (Zed Books, 2022). 2 A01 21 0000000150643192 Allen Munoriyarwa Allen Munoriyarwa 40 02svzjn28 Walter Sisulu University Allen Munoriyarwa is an Associate Professor of Journalism at Walter Sisulu University in South Africa, in the  Department of Marketing, Public Relations and Communication. His  research  interests are in surveillance, digital journalism, and media cultures, as well as digital surveillance. He has published widely in these areas.  He is the co-author of Digital Surveillance in Southern Africa: Policies, Politics and Practices (Palgrave Macmillan, 2022). 01 eng 03 00 In this concluding chapter, we assess the major findings from each of the chapters and return to the original question posed in the introduction, of how the public can perform more effective oversight digital surveillance for intelligence purposes. Each chapter presented case studies of moments when public oversight has been attempted, and either succeeded, or failed or achieved mixed outcomes. The chapters analysed moments when the public required intelligence agencies to explain and justify surveillance and change surveillance practices when they amounted to abuse (McCarthy and Fluck, 2016). Some of these cases involved intelligence and surveillance laws or state-sanctioned data processing systems that the public feared had surveillant potential. Others followed the well-recognised shock-driven approach to intelligence reform, where controversies around surveillance abuses came into the public domain through whistleblowing or the leaking of intelligence information, and these controversies galvanised public action of various kinds (Johnson, 2018, p.209-246). This chapter uses a summary of the main chapter findings to address key research questions and to develop a set of theoretical propositions about public oversight and the conditions under which it is likely to succeed. 30 00 In this concluding chapter, we assess the major findings from each of the chapters and return to the original question posed in the introduction, of how the public can perform more effective oversight digital surveillance for intelligence purposes. Each chapter presented case studies of moments when public oversight has been attempted, and either succeeded, or failed or achieved mixed outcomes. The chapters analysed moments when the public required intelligence agencies to explain and justify surveillance and change surveillance practices when they amounted to abuse (McCarthy and Fluck, 2016). Some of these cases involved intelligence and surveillance laws or state-sanctioned data processing systems that the public feared had surveillant potential. Others followed the well-recognised shock-driven approach to intelligence reform, where controversies around surveillance abuses came into the public domain through whistleblowing or the leaking of intelligence information, and these controversies galvanised public action of various kinds (Johnson, 2018, p.209-246). This chapter uses a summary of the main chapter findings to address key research questions and to develop a set of theoretical propositions about public oversight and the conditions under which it is likely to succeed. 20 00 Open Access Jane Duncan and Allen Munoriyarwa 01 URL https://www.sup.ac.uk/ Scottish Universities Press 01 Scottish Universities Press 01 Publisher's website: home page https://www.sup.ac.uk/ 02 Publisher's website: webpage for this title https://books.sup.ac.uk/sup/catalog/book/sup-9781917341158 16 40 0302b4677 32 10.13039/501100000286 British Academy 01 programname Global Professorship 01 grantnumber GP/400069 Edinburgh, Scotland 04 01 20260115 Jane Duncan and Allen Munoriyarwa 02 WORLD 06 15 9781917341127 03 9781917341127 06 15 9781917341134 03 9781917341134 06 15 9781917341158 03 9781917341158 WORLD 09 Scottish Universities Press 02 Publisher's website: webpage for this product https://books.sup.ac.uk/sup/catalog/book/sup-9781917341158 20 08 20260115 01 urn:uuid:5709938e-e818-4a89-bdda-0e86dfbee569 03 01 01 thoth-work-id urn:uuid:d99764cf-2d40-4722-8cea-ff791e822633 01 thoth-publication-id urn:uuid:5709938e-e818-4a89-bdda-0e86dfbee569 15 9781917341042 03 9781917341042 06 10.62637/sup.GHST9020 00 BC 10 01 234 mm 01 23.4 cm 01 9.21 in 02 156 mm 02 15.6 cm 02 6.14 in 03 25 mm 03 2.5 cm 03 0.98 in 08 625 gr 08 22.0462 oz Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ 01 01 Digital editing and publishing in the twenty-first century 1 B01 21 0000000242149933 James O'Sullivan James O'Sullivan 40 03265fv13 University College Cork James O’Sullivan lectures in the Department of Digital Humanities at University College Cork, where he is Director of Research for the School of English and Digital Humanities, as well as a member of the Research and Innovation Committee for the College Arts, Celtic Studies and Social Sciences. He is a member of the board of the Future Humanities Institute, for which he leads the Digital Cultures, New Media, and Cultural Analytics research cluster. He is the author of 'Towards a Digital Poetics' (Palgrave Macmillan 2019). James has edited several collections of scholarly essays, including 'The Bloomsbury Handbook to the Digital Humanities' (Bloomsbury 2023) and 'Technology in Irish Literature and Culture' (Cambridge University Press 2023). He is the Principal Investigator (Ireland) on 'C21 Editions: Editing and Publishing in the Digital Age', funded under the UK-Ireland Collaboration in the Digital Humanities. See www.jamesosullivan.org for more on his work. 2 B01 21 0000000221323410 Michael Pidd Michael Pidd 40 05krs5044 University of Sheffield Michael Pidd is Director of the Digital Humanities Institute at the University of Sheffield. He has nearly 30 years of experience in developing, managing and delivering large collaborative research projects and technology R&D in the humanities and heritage subject domains. During that time the DHI has been the technical partner in over 120 national and international projects with over 100 clients. He is the Principal Investigator (UK) on 'C21 Editions: Editing and Publishing in the Digital Age', funded under the UK-Ireland Collaboration in the Digital Humanities. Michael was Principal Investigator on the following projects: 'Connecting Shakespeare' (HEIF), Dewdrop (Jisc), 'Reinventing Local Public Libraries' (HEIF), and 'Manuscripts Online' (Jisc); as well as Co-Investigator on 'Intoxicants and Early Modernity' (ESRC/AHRC), 'Linguistic DNA' (AHRC), 'Beyond the Multiplex' (AHRC) and 'Ways of Being in the Digital Age' (ESRC). He has been the technical lead on a wide number of projects, such as 'Digital Panopticon' (AHRC). 3 B01 21 000000024441450X Sophie Whittle Sophie Whittle 40 05krs5044 University of Sheffield Sophie Whittle is a Research Associate on 'C21 Editions: Editing and Publishing in the Digital Age' project, responsible for developing a prototype online teaching edition of Geoffrey Chaucer’s Pardoner’s Prologue and Tale using machine assisted methods. Sophie has taught on modules in the history of English, historical pragmatics, research methods and syntax. She has co-ordinated interdisciplinary workshops on centring anti-racist research in the linguistics curric-ulum, inviting speakers from across the globe to present their research on the pragmatics of postcolonial communities, language and culture sharing and human rights, and has since become a member of the Linguistic Association of Great Britain’s racial justice subcommittee. She is also an organiser at the Sheffield Feminist Archive, and has recently contributed to the creation of a digital archive named 'Women in Lockdown', a project that houses women’s stories and experiences of the pandemic via oral history, testimony, diary entries and artwork submissions. 4 B01 21 0000000227942116 Bridgette Wessels Bridgette Wessels 40 00vtgdb53 University of Glasgow Bridgette Wessels is Professor of Sociology and Social Inequalities at the University of Glasgow, UK. Her research focuses on the development and use of digital technology and services in social and cultural life. This includes digital services and communication in the public sphere, everyday life and civic life, social and digital inequalities, as well as specific areas such as telehealth, mobile communication and privacy in digital communication. She is co-lead of the ESRC’s Productivity Institute’s Scottish Forum, as well as a founding member of the Digital Technology and Social Change hub of the European University Alliance CIVIS network. She has a strong track record of research funding from UKRI and the EU, as well as other research foundations. Bridgette is a Co-Investigator on 'C21 Editions: Editing and Publishing in the Digital Age', funded under the UK-Ireland Collaboration in the Digital Humanities. 5 B01 21 0000000349255197 Michael Kurzmeier Michael Kurzmeier Humanities Institute, University College Dublin Michael Kurzmeier is Postdoctoral Research Fellow on the 'C21 Editions: Editing and Publishing in the Digital Age' project. His work revolves around the intersections of technology and society. His IRC-funded PhD thesis, 'Political Expression in Web Defacements', investigated political expression through hacking and introduces novel methods for retrieval and analysis of this special kind of archived web material. Michael is a chair of the research methods work group at the Aarhus-led Web ARChive studies network, researching web domains and events (WARCnet), as well as one of the founders of the Engaging with Web Archives (EWA) conference, Ireland’s first dedicated web archiving conference. 6 B01 21 0000000215509761 Órla Murphy Órla Murphy 40 03265fv13 University College Cork Órla Murphy is Head of the School of English and Digital Humanities, University College Cork. Her EU international leadership as service roles include National Co-ordinator of the Digital Research Infrastructure for the Arts and Humanities, National Representative and vice chair on the Scientific Committee of CoST-EU, Cooperation in Science and Technology and National Representative on the Social Science and Humanities Strategy Working Group of the European Strategy Forum on Research Infrastructures. Nationally, she is a board member of the Digital Repository of Ireland and co-chair of The Arts and Culture in Education Research Repository. Órla is a Co-Investigator on 'C21 Editions: Editing and Publishing in the Digital Age', funded under the UK-Ireland Collaboration in the Digital Humanities. 01 eng 00 448 03 09 14 10 COM014000 93 UXA 93 DSB 10 LIT000000 20 digital scholarly editing; digital publishing; digital editing; digital editions; digital humanities; communications; textual scholarship; literary studies; digital literary studies 01 06 02 00 The craft of scholarly editing is once more facing into a time of upheaval. The increasingly digital nature of cultural and knowledge production means that textual scholars, editors, and publishers need to further reimagine the collective craft of edition making. This twenty chapter volume contributes to such reimagining by offering a series 03 00 Despite recent calls to explore the full potential of digital text, digital scholarly editing and publishing remain rooted in the cultural and structural logics of print. This volume provides a wide range of perspectives on the current state and future of the field in an effort to further that dialogue, and to encourage continued exploration of how we make and share knowledge and meaning in the digital age. Digital editing and publishing in the twenty-first century brings together twenty chapters that cover practical design processes and conceptual approaches to editing born-digital material. The collection also engages with timely, important, and often-neglected topics, including accessibility, artificial intelligence, queer approaches to editing, and the data edition. By recognising the valuable insights and knowledge that can be gained from scholarly digital editions and by understanding the opportunities of their creative use, this volume emphasises how they can be made more widely available and relevant in various contexts beyond academia. 30 00 Despite recent calls to explore the full potential of digital text, digital scholarly editing and publishing remain rooted in the cultural and structural logics of print. This volume provides a wide range of perspectives on the current state and future of the field in an effort to further that dialogue, and to encourage continued exploration of how we make and share knowledge and meaning in the digital age. Digital editing and publishing in the twenty-first century brings together twenty chapters that cover practical design processes and conceptual approaches to editing born-digital material. The collection also engages with timely, important, and often-neglected topics, including accessibility, artificial intelligence, queer approaches to editing, and the data edition. By recognising the valuable insights and knowledge that can be gained from scholarly digital editions and by understanding the opportunities of their creative use, this volume emphasises how they can be made more widely available and relevant in various contexts beyond academia. 20 00 Open Access 01 00 03 02 https://books.sup.ac.uk/public/presses/1/submission_4_4_coverImage_en.jpg 1 03 06 10.62637/sup.GHST9020.i Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Introduction Digital editing and publishing in the twenty-first century 1 A01 21 0000000242149933 James O'Sullivan James O'Sullivan 40 03265fv13 University College Cork James O’Sullivan lectures in the Department of Digital Humanities at University College Cork, where he is Director of Research for the School of English & Digital Humanities, as well as a member of the Research & Innovation Committee for the College of Arts, Celtic Studies & Social Sciences. He is a member of the board of the Future Humanities Institute, for which he leads the Digital Cultures, New Media, & Cultural Analytics research cluster. He is the author of 'Towards a Digital Poetics' (Palgrave Macmillan 2019). James has edited several collections of scholarly essays, including 'The Bloomsbury Handbook to the Digital Humanities' (Bloomsbury 2023) and 'Technology in Irish Literature and Culture' (Cambridge University Press 2023). He is the Principal Investigator (Ireland) on 'C21 Editions: Editing and Publishing in the Digital Age', funded under the UK-Ireland Collaboration in the Digital Humanities. See www.jamesosullivan.org for more on his work. 01 eng 20 00 Open Access James O'Sullivan 2 03 06 10.62637/sup.GHST9020.1 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 ‘The past went that-a-way’ editing in the rearview mirror? 1 A01 21 0000000164741068 Andrew Prescott Andrew Prescott 40 00vtgdb53 University of Glasgow Andrew Prescott is Honorary Senior Research Fellow in the School of Critical Studies at the University of Glasgow. He was formerly Professor of Digital Humanities at the University of Glasgow and was from 2012 to 2019 AHRC Theme Leader Fellow for the AHRC ‘Digital Transformations’ theme. From 1979 to 2000 he was a curator of manuscripts at the British Library, where he worked on the Electronic Beowulf project. He has also worked in libraries and digital humanities units at the University of Sheffield, King’s College London and University of Wales Lampeter. 01 eng 03 00 Marshall McLuhan used the metaphor of the rearview mirror to describe one of the most common reactions to new technology. McLuhan argued that, confronted with technological innovation, we fall back on our past engagements with technology and ignore its new potential. In some ways, digital editing can be seen as one of the great success stories of the World Wide Web, but too often our understanding and implementation of the idea of an edition is shaped by our print experiences. We carry over practices which were shaped by the structure, cost and logistics of print production. Moreover, just as McLuhan suggested that we ignore what is heading towards the windscreen while we focus on the rearview mirror, our preoccupation with translating print practice into a digital environment means that we forget about the immense and increasingly pressing issues presented by the growth of born-digital information. The type of editorial methods derived from print practice will not cope with the vast scale of born-digital data or take full advantage of the metadata and other information associated with it. These issues are considered with references to such cases as email archives, social media and Wikileaks data. 30 00 Marshall McLuhan used the metaphor of the rearview mirror to describe one of the most common reactions to new technology. McLuhan argued that, confronted with technological innovation, we fall back on our past engagements with technology and ignore its new potential. In some ways, digital editing can be seen as one of the great success stories of the World Wide Web, but too often our understanding and implementation of the idea of an edition is shaped by our print experiences. We carry over practices which were shaped by the structure, cost and logistics of print production. Moreover, just as McLuhan suggested that we ignore what is heading towards the windscreen while we focus on the rearview mirror, our preoccupation with translating print practice into a digital environment means that we forget about the immense and increasingly pressing issues presented by the growth of born-digital information. The type of editorial methods derived from print practice will not cope with the vast scale of born-digital data or take full advantage of the metadata and other information associated with it. These issues are considered with references to such cases as email archives, social media and Wikileaks data. 20 00 Open Access Andrew Prescott 3 03 06 10.62637/sup.GHST9020.2 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Who are we editing for? How digital publication changes the role of the scholarly edition 1 A01 21 0000000163183762 Cathy Moran Hajo Cathy Moran Hajo 40 03s2x9d90 Ramapo College Cathy Moran Hajo is the editor of the Jane Addams Papers Project at Ramapo College of New Jersey. She holds a PhD in History and a certificate in archival management from New York University. Before taking on the Addams Papers, she worked for over 25 years as the Associate Editor and Assistant Director of The Margaret Sanger Papers at New York University, helping edit the 'Margaret Sanger Papers Microfilm Edition', the 'Selected Papers of Margaret Sanger' and two digital publications. She is the author of 'Birth Control on Main Street: Organizing Clinics in the United States, 1916–1939' (2010). She has taught graduate courses in Digital History at NYU and William Paterson University, and co-taught workshops on digital editions at the Digital Humanities Summer Institute and the one-week Institute for Editing Historical Documents. She currently develops online course materials for eLaboratories on editing and digital history. She was the President of the Association for Documentary Editing from 2008 to 2009 and is a board member and archival director for the Mahwah Museum. 01 eng 03 00 Digital publication has changed the way that I think about scholarly editing, and it has done so largely in thinking about our audience. Having started my editing career working on a microfilm edition, then a four-volume print edition, and a small TEI-based digital edition with the Margaret Sanger Papers, I had a chance to start fresh in 2015 when I took over as editor of the long-running Jane Addams Papers. This was a project that had already published a large microfilm edition and index in the 1980s, and half of its planned six-volume print edition. Providing wide access to documents has always been my primary goal as an editor and as the tools have changed, it seems that the nature of our editions must change along with them. When we primarily published in book form and microfilm form, the focus was on scholars at the research institutions who purchased those products. As digital publication began to spread, paywalls for scholarly journals and some scholarly editions kept our audience in that same traditional grouping. But what happens when you open the edition up, and build it as a freely accessible website? How does the broadening of our audience change the way we edit our texts and the kinds of context we provide for our users? Should it? How does a broad general audience change the way that we transcribe documents, how should it impact the annotation policies that we apply to them? Our experiences with the Jane Addams Papers Digital Edition have shown us that digital editions reach far broader and far younger audiences than we expected. We anticipated that college students would make great use of the edition, as well as scholars and the general public. And they have. But we learned that teachers and students in K-12 are an untapped audience for scholarly editions, if only we meet them halfway. For us, that meant designing thematic guides to help students and their teachers use the digital edition for National History Day Projects, writing some lesson plans for middle-school teachers, and developing AP History assignments that use the Addams Papers to explore American history. The guides, teacher resources, and the documents they suggest are the most popular pages on our site, month after month, year after year. They tap into something that the searchable digital edition cannot do. Opening our editions up to the whole world via digital publication creates challenges and opportunities for editors. We have to think through how to make our documents accessible not just in terms of open access, but also in making them understandable to scholars, teachers, students, and the general public. 30 00 Digital publication has changed the way that I think about scholarly editing, and it has done so largely in thinking about our audience. Having started my editing career working on a microfilm edition, then a four-volume print edition, and a small TEI-based digital edition with the Margaret Sanger Papers, I had a chance to start fresh in 2015 when I took over as editor of the long-running Jane Addams Papers. This was a project that had already published a large microfilm edition and index in the 1980s, and half of its planned six-volume print edition. Providing wide access to documents has always been my primary goal as an editor and as the tools have changed, it seems that the nature of our editions must change along with them. When we primarily published in book form and microfilm form, the focus was on scholars at the research institutions who purchased those products. As digital publication began to spread, paywalls for scholarly journals and some scholarly editions kept our audience in that same traditional grouping. But what happens when you open the edition up, and build it as a freely accessible website? How does the broadening of our audience change the way we edit our texts and the kinds of context we provide for our users? Should it? How does a broad general audience change the way that we transcribe documents, how should it impact the annotation policies that we apply to them? Our experiences with the Jane Addams Papers Digital Edition have shown us that digital editions reach far broader and far younger audiences than we expected. We anticipated that college students would make great use of the edition, as well as scholars and the general public. And they have. But we learned that teachers and students in K-12 are an untapped audience for scholarly editions, if only we meet them halfway. For us, that meant designing thematic guides to help students and their teachers use the digital edition for National History Day Projects, writing some lesson plans for middle-school teachers, and developing AP History assignments that use the Addams Papers to explore American history. The guides, teacher resources, and the documents they suggest are the most popular pages on our site, month after month, year after year. They tap into something that the searchable digital edition cannot do. Opening our editions up to the whole world via digital publication creates challenges and opportunities for editors. We have to think through how to make our documents accessible not just in terms of open access, but also in making them understandable to scholars, teachers, students, and the general public. 20 00 Open Access Cathy Moran Hajo 4 03 06 10.62637/sup.GHST9020.3 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Digital scholarly editing and the crisis of knowledge technology 1 A01 21 0000000246724149 Helen Abbott Helen Abbott 40 03angcq70 University of Birmingham Helen Abbott is Professor of Modern Languages, specialising in nineteenth-century French poetry and music. Her research explores ways of writing about word–music relationships in poetic language, in critical theories, and using digital methodologies. Her particular focus is the work of (post-)romantic and symbolist poets, including Gautier, Baudelaire, Verlaine, Rimbaud, Villiers de l’Isle-Adam, andMallarmé. 2 A01 21 0000000178506886 Michelle Doran Michelle Doran 40 034d7ma87 Digital Repository of Ireland Dr Michelle Doran is Ireland’s National Open Research Coordinator. In this role, she coordinates the activities of the National Open Research Forum (NORF) and guides the delivery of Ireland’s National Action Plan for Open Research 2022–2030. She is a member of the Council for National Open Science Coordination (CoNOSC), represents Ireland as the National Point of Reference (NPR) for the Informal Commission Expert Group on Scientific Information and sits on the IReL Advisory Committee. Michelle’s background is in humanities research, programme management and digital humanities research projects. From 2020 to 2022 she served as Irish Principal Investigator of the UK–Ireland Digital Humanities Network. 3 A01 21 0000000199911637 Jennifer Edmond Jennifer Edmond 40 02tyrky19 Trinity College Dublin Jennifer Edmond is Professor in Digital Humanities at Trinity College Dublin, where she is co-director of the Trinity Center for Digital Humanities, Director of the MPhil in Digital Humanities and Culture and a funded Investigator of the SFI ADAPT Centre. Outside of Trinity, Jennifer served from 2017 to 2022 as a Member, and later President, of the Board of Directors of the pan-European research infrastructure for the arts and humanities, DARIAH-EU. She sits on numerous Scientific Advisory Committees, including the Governing Board of the European Association for Social Sciences and Humanities (2022–24) and the European Commission’s Open Science Policy Platform (OSPP, 2016–20). Over the course of the past 10 years, Jennifer has coordinated transnational, local or field-specific teams in a large number of significant inter- and transdisciplinary funded research projects, worth a total of almost €9m, including CENDARI (FP7), Europeana Cloud (FP7), NeDiMAH (ESF), PARTHENOS (H2020), KPLEX (H2020), PROVIDE-DH (CHIST-ERA/IRC) and the SPECTRESS network. 4 A01 21 0000000160779245 Rebecca Mitchell Rebecca Mitchell 40 03angcq70 University of Birmingham Rebecca Mitchell is Professor of Victorian Literature and Culture at the University of Birmingham (UK). She has published widely on Victorian fashion, print culture, realism, George Meredith and Oscar Wilde. Her work related to textual editing includes the anniversary edition of Meredith’s Modern Love and Poems of the English Roadside, co-edited with Criscillia Benford (Yale, 2012) and an unpublished manuscript of Wilde’s seminal essay, ‘The Decay of Lying’ (co-authored with Joseph Bristow, Review of English Studies, 2018); she is currently co-editing the final volumes of the Oxford English Texts edition of The Complete Works of Oscar Wilde. Other books on Victorian literature and culture include Victorian Lessons in Empathy and Difference (Ohio State UP, 2011); Oscar Wilde’s Chatterton: Literary History, Romanticism, and the Art of Forgery, co-authored with Joseph Bristow (Yale, 2015) and Fashioning the Victorians: A Critical Sourcebook (Bloomsbury, 2018). 5 A01 21 0000000195260718 Aengus Ward Aengus Ward 40 03angcq70 University of Birmingham Aengus Ward is Professor of Medieval Iberian Studies at the University of Birmingham. A specialist in medieval historiography, he is the editor of the Estoria de Espanna Digital – the first major digital critical edition of a work of medieval Castilian prose, as well as numerous other works on the theory and practice of editing, medieval historiography and manuscript studies. 01 eng 03 00 The affordances of the digital age have precipitated a crisis of authority. Whom do we trust? How do we prove ourselves trustworthy? The heuristics of authority, in particular at the information filtering and presentation layers, can be co-opted by actors able to manipulate them, and us. At the same time, social tolerance for uncertainty and complexity is low, to the extent that removing them has become a key success metric within both backend systems and user interface design. This rapid shifting of knowledge technologies, in particular as regards the manner in which sources convey their authority in the transition from their affordances as analogue to digital media (where unfiltered source availability is high and the visual languages of authority, from web design to ‘deep fakes,’ are easily appropriated), is an incomplete process that has muddied our ability to judge he signals of trustworthiness and credibility. These are problems democratic societies are struggling with on a fundamental level. Unfortunately, however, too often the solutions being proposed emerge from the same culture of software development that created the problems in the first place: as Pasquale describes it, ‘...authority is increasingly expressed algorithmically ... Silicon Valley and Wall Street tend to treat recommendations as purely technical problems. The values and prerogatives that the encoded rules enact are hidden within black boxes’ (Pasquale, 2015). Hiding the ‘encoded rules’ informing knowledge creation within ‘black boxes’ is precisely the kind of process the work of scholarly editors, in particular digital scholarly editors, has evolved over decades to avoid. Instead, this is an expertise that documents the complexities resulting from the work of filtering accounts, establishing authority, managing uncertainty, and documenting provenance. The clear link between the problems of information overload and technological overreach and the affordances of digital scholarly editorial expertise to “situate knowledges” (Haraway, 1988) is yet to be systematically explored, however. This chapter proposes a framework for negotiating trust and authority that exploits the affordances of digital scholarly editing by privileging the iterative rather than the definitive (McGann, 1996; Schreibman, 2013; Sahle, 2016; Broyles, 2020), the process rather than the product (Siemens et al., 2012; Pierazzo, 2014; Sahle, 2016; Doran, 2021), and the active, even radical role, of the editor, transparently acting as an active collaborator in the sensemaking process, rather than an ‘invisible hand’ (Siemens et al., 2012). It will draw together the long tradition of digital scholarly editing with the emerging subfield of critical digital humanities (see Hall, 2011; Liu, 2012; Berry, 2019) and address in particular the two key points of a) how we can explore and expand the current norms within analogue, digital and indeed hybrid scholarly editing processes toward a model that emphasises the constructed and consensual nature of knowledge, embraces the uncertainty, complexity and contextual dependency of cultural materials and makes knowledge claims and decision-making processes transparent; and b) how this model can be documented and expanded to become applicable in other kinds of human, machine and hybrid knowledge-making processes, in particular systems wielding algorithmic authority. References Berry, D. (2019) “Critical Digital Humanities.” Conditio Humana - Technology, Ai and Ethics (blog), January 29, 2019.Broyles, P.A. (2020) “Digital Editions and Version Numbering.” DHQ 14, no. 2, 2020. Doran, M. (2021) “Reflections on Digital Editions: From Humanities Computing to Digital Humanities, the Influence of Web 2.0 and the Impact of the Editorial Process.” Variants., 2021. Haraway, D. (1988) “Situated Knowledges, The Science Question in Feminism and the Privilege of Partial Perspective. Feminist Studies, vol 14.3, pp. 589-599. Hall, G. (2011) “The Digital Humanities Beyond Computing: A Postscript.” Culture Machine, 2011, 11. Liu, A. (2012) “Where Is Cultural Criticism in the Digital Humanities?” in Debates in the Digital Humanities. McGann, J. (1996) “Radiant Textuality.” Victorian Studies 39, no. 3 (Spring 1996): 379-390. Pasquale, F. (2015) The Black Box Society. Cambridge, Massachusetts: Harvard University Press.Pierazzo, E. (2014) “Digital Documentary Editions and the Others.” Scholarly Editing 35 Sahle, P. (2016) “What is a Scholarly Digital Edition?” Digital Scholarly Editing Theories and Practices, ed. M. J. Driscoll and E. Pierazzo. Open Book Publishers, 19-39. Schreibman, S. (2013) “Digital Scholarly Editing.” Literary Studies in the Digital Age MLA. Siemens, R. et al. (2012) “Towards Modeling the Social Edition.” Literary and Linguistic Computing 27, no. 4,445-461. 30 00 The affordances of the digital age have precipitated a crisis of authority. Whom do we trust? How do we prove ourselves trustworthy? The heuristics of authority, in particular at the information filtering and presentation layers, can be co-opted by actors able to manipulate them, and us. At the same time, social tolerance for uncertainty and complexity is low, to the extent that removing them has become a key success metric within both backend systems and user interface design. This rapid shifting of knowledge technologies, in particular as regards the manner in which sources convey their authority in the transition from their affordances as analogue to digital media (where unfiltered source availability is high and the visual languages of authority, from web design to ‘deep fakes,’ are easily appropriated), is an incomplete process that has muddied our ability to judge he signals of trustworthiness and credibility. These are problems democratic societies are struggling with on a fundamental level. Unfortunately, however, too often the solutions being proposed emerge from the same culture of software development that created the problems in the first place: as Pasquale describes it, ‘...authority is increasingly expressed algorithmically ... Silicon Valley and Wall Street tend to treat recommendations as purely technical problems. The values and prerogatives that the encoded rules enact are hidden within black boxes’ (Pasquale, 2015). Hiding the ‘encoded rules’ informing knowledge creation within ‘black boxes’ is precisely the kind of process the work of scholarly editors, in particular digital scholarly editors, has evolved over decades to avoid. Instead, this is an expertise that documents the complexities resulting from the work of filtering accounts, establishing authority, managing uncertainty, and documenting provenance. The clear link between the problems of information overload and technological overreach and the affordances of digital scholarly editorial expertise to “situate knowledges” (Haraway, 1988) is yet to be systematically explored, however. This chapter proposes a framework for negotiating trust and authority that exploits the affordances of digital scholarly editing by privileging the iterative rather than the definitive (McGann, 1996; Schreibman, 2013; Sahle, 2016; Broyles, 2020), the process rather than the product (Siemens et al., 2012; Pierazzo, 2014; Sahle, 2016; Doran, 2021), and the active, even radical role, of the editor, transparently acting as an active collaborator in the sensemaking process, rather than an ‘invisible hand’ (Siemens et al., 2012). It will draw together the long tradition of digital scholarly editing with the emerging subfield of critical digital humanities (see Hall, 2011; Liu, 2012; Berry, 2019) and address in particular the two key points of a) how we can explore and expand the current norms within analogue, digital and indeed hybrid scholarly editing processes toward a model that emphasises the constructed and consensual nature of knowledge, embraces the uncertainty, complexity and contextual dependency of cultural materials and makes knowledge claims and decision-making processes transparent; and b) how this model can be documented and expanded to become applicable in other kinds of human, machine and hybrid knowledge-making processes, in particular systems wielding algorithmic authority. References Berry, D. (2019) “Critical Digital Humanities.” Conditio Humana - Technology, Ai and Ethics (blog), January 29, 2019.Broyles, P.A. (2020) “Digital Editions and Version Numbering.” DHQ 14, no. 2, 2020. Doran, M. (2021) “Reflections on Digital Editions: From Humanities Computing to Digital Humanities, the Influence of Web 2.0 and the Impact of the Editorial Process.” Variants., 2021. Haraway, D. (1988) “Situated Knowledges, The Science Question in Feminism and the Privilege of Partial Perspective. Feminist Studies, vol 14.3, pp. 589-599. Hall, G. (2011) “The Digital Humanities Beyond Computing: A Postscript.” Culture Machine, 2011, 11. Liu, A. (2012) “Where Is Cultural Criticism in the Digital Humanities?” in Debates in the Digital Humanities. McGann, J. (1996) “Radiant Textuality.” Victorian Studies 39, no. 3 (Spring 1996): 379-390. Pasquale, F. (2015) The Black Box Society. Cambridge, Massachusetts: Harvard University Press.Pierazzo, E. (2014) “Digital Documentary Editions and the Others.” Scholarly Editing 35 Sahle, P. (2016) “What is a Scholarly Digital Edition?” Digital Scholarly Editing Theories and Practices, ed. M. J. Driscoll and E. Pierazzo. Open Book Publishers, 19-39. Schreibman, S. (2013) “Digital Scholarly Editing.” Literary Studies in the Digital Age MLA. Siemens, R. et al. (2012) “Towards Modeling the Social Edition.” Literary and Linguistic Computing 27, no. 4,445-461. 20 00 Open Access Helen Abbott, Michelle Doran, Jennifer Edmond, Rebecca Mitchell and Aengus Ward 5 03 06 10.62637/sup.GHST9020.4 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Against infrastructure global approaches to digital scholarly editing 1 A01 21 000000033094139X Raffaele Viglianti Raffaele Viglianti 40 01r0c1p88 University of Maryland Raffaele Viglianti is a Research Programmer at MITH. He holds a PhD in Digital Musicology from the Department of Digital Humanities at King’s College London, where he also contributed to several major digitisation and text encoding projects. Raff’s research is grounded in digital humanities and textual scholarship, where ‘text’ includes musical notation. More specifically, he seeks to advance textual scholarship by finding new and efficient practices to coherently and digitally model and edit (publish or make available) text and music notation sources as digital scholarly resources. In adopting and developing new research methods, he deliberately takes a multicultural perspective by engaging with multilingual content, facing the diverse realities of the constraints in accessing and creating digital scholarly content, and by adopting a global approach to teaching and learning. Raff is currently an elected member of the Text Encoding Initiative technical council and the Technical Editor of the Scholarly Editing journal. 2 A01 21 0000000289975415 Gimena del Rio Riande Gimena del Rio Riande 40 03cqe8w59 National Scientific and Technical Research Council Gimena del Rio Riande is Researcher at the Instituto de Investigaciones Bibliográficas y Crítica Textual of the National Scientific and Technical Research Council (CONICET, Buenos Aires, Argentina) and Professor at the University of Buenos Aires and Universidad del Salvador. She holds an MA and PhD in Romance Philology (Universidad Complutense de Madrid), and her main academic interests deal with Digital Scholarly Editing, Digital Humanities, and Open Research Practices in the Humanities. She serves as Ambassador of the Directory of Open Access Journals (DOAJ) in Latin America, coordinates the Laboratorio de Humanidades Digitales (HD LAB, CONICET) and edits the first Hispanic Digital Humanities journal, the Revista de Humanidades Digitales (RHD). She also serves as president at Asociación Argentina de Humanidades Digitales (AAHD) and member of the Board of Directors of the Text Encoding Initiative (TEI). 01 eng 03 00 Digital scholarly editions are one of the oldest forms of output of digital humanities research projects, and arguably one of the most prolific. Like all digital humanities projects that result in the creation of digital output—typically a website—digital editions are not immune to what Smithies et al. call the 'digital entropy of software and digital infrastructure'. This has a cost that grows with the complexity of the system needed to publish digital editions and this cost is often not only financial; it may also include the ability to access institutional or public infrastructure. The principles of minimal computing have informed new ways of undertaking digital humanities work, focused on use of open technologies and ownership of data and code. The latter in particular entails independence from institutional infrastructure and the network of surveillance that is a feature of many commercial platforms of the modern web. This chapter discusses the current extent of minimal computing as an influence on digital editing, and which aspects of the concept have taken stronger root. Specifically, we will consider how, when applied to digital publishing, minimal computing principles intersect with a recent resurgence of static websites and related technologies. Deriving static sites from an end-of-life project is the clear choice when access to infrastructure becomes limited. What would it take to adopt them from the start to avoid infrastructural constraints? Through this discussion, the chapter articulates the need for a low-infrastructure future of the "global” digital edition. 30 00 Digital scholarly editions are one of the oldest forms of output of digital humanities research projects, and arguably one of the most prolific. Like all digital humanities projects that result in the creation of digital output—typically a website—digital editions are not immune to what Smithies et al. call the 'digital entropy of software and digital infrastructure'. This has a cost that grows with the complexity of the system needed to publish digital editions and this cost is often not only financial; it may also include the ability to access institutional or public infrastructure. The principles of minimal computing have informed new ways of undertaking digital humanities work, focused on use of open technologies and ownership of data and code. The latter in particular entails independence from institutional infrastructure and the network of surveillance that is a feature of many commercial platforms of the modern web. This chapter discusses the current extent of minimal computing as an influence on digital editing, and which aspects of the concept have taken stronger root. Specifically, we will consider how, when applied to digital publishing, minimal computing principles intersect with a recent resurgence of static websites and related technologies. Deriving static sites from an end-of-life project is the clear choice when access to infrastructure becomes limited. What would it take to adopt them from the start to avoid infrastructural constraints? Through this discussion, the chapter articulates the need for a low-infrastructure future of the "global” digital edition. 20 00 Open Access Raffaele Viglianti and Gimena del Rio Riande 6 03 06 10.62637/sup.GHST9020.5 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Building accessibility platforms and methods for the development of digital editions and projects 1 A01 Erica Cavanaugh Erica Cavanaugh 40 0153tk833 University of Virginia Erica F. Cavanaugh is Project Developer at the Center for Digital Editing and a Research Editor at the Washington Papers. Since 2013, Cavanaugh has assisted with all aspects of technical and editorial work on the digital editions of the Washington Papers, including the Papers of George Washington Digital Edition and the George Washington Financial Papers Project. She is also responsible for the development of several Drupal-based content management systems, ranging from complex editorial production and publication platforms to exhibit-focused projects concentrated on metadata collection, searchability, and display. She also has experience working with XML, CSS, HTML, PHP, and JavaScript. She has taught courses at the University of Victoria’s Digital Humanities Summer Institute and serves on the advisory board for Scholarly Editing: The Annual of the Association for Documentary Editing. Over the last few years, Cavanaugh has worked with the technical team of the University of Virginia Digital Publishing Cooperative to develop a Drupal-based module for scholarly editions. 2 A01 21 0000000272276052 Jennifer Stertzer Jennifer Stertzer 40 0153tk833 University of Virginia Jennifer E. Stertzer is Director of the Center for Digital Editing and Director of the Washington Papers. With the Papers of George Washington since 2000, Stertzer has served as project manager of the Papers of George Washington Digital Edition, overseeing the conversion of legacy print volumes into a digital edition, developed Word-to-XML workflows and is editor of the Papers of George Washington Financial Papers project. At the CDE, Stertzer consults on project conceptualisation, technical solutions, workflow, editorial methodologies and engagement strategies. She teaches Conceptualising and Creating Digital Editions at the University of Victoria’s Digital Humanities Summer Institute, serves on the faculty of the Institute for the Editing of Historical Documents, and is past president of the Association for Documentary Editing. For the past few years, Stertzer has led the University of Virginia Digital Publishing Cooperative as they work to create a Drupal-based module for scholarly editions. 01 eng 03 00 This chapter discusses the work of the University of Virginia Digital Publishing Cooperative, a grant-funded project with the goal of building the necessary infrastructure to facilitate and support the conceptualization, development, publication, discovery, preservation, and sustainability of digital editions and projects. Major components of this work include evaluating the potential communities of users, understanding how intended audiences might use editions, and how these things affect editorial decisions and publication goals. Most current editorial projects, including those that have a print existence, are working towards creating digital editions as well as other types of digital outputs. The digital edition—a collection of historical documents that have been transcribed and edited following a consistent, transparent, and well-informed editorial methodology, and then published online—achieves the primary goal of a scholarly edition: to make historical documents accessible, both textually and intellectually. Additionally, some editors may wish to present their findings in ways we call digital derivatives. These can include early access to their document catalogs, initial transcriptions, or metadata (document, person, place), as well as blog posts, articles, data visualizations, presentations, and so on. These digital derivatives can make available the outputs of editorial work throughout the process, thereby making historical and intellectual content accessible before, during, and after an edition’s scholarly editing and publication. The term digital projects describes the web environment in which most digital editions and their derivatives exist. These ecosystems assemble the range of intellectual content created by a project, including blog posts, articles, data visualizations, timelines, presentations, and so on that can be available alongside more traditional outputs. These opportunities provide editors with a variety of approaches to make content accessible and intelligible, and appeal to large, diverse audiences. Another component of the work of the UVA-DPC has been to develop a platform that enables editors to easily build digital editions while also allowing them to create and integrate various digital derivatives, thus reducing a major technological barrier and providing a way for more projects to publish digitally. Furthermore, this editorial platform includes both built-in standardized metadata (encouraging interoperability, reusability, and sustainability) as well as the flexibility to capture project-specific information, ensuring editors can develop content-driven components. End users of the UVA-DPC digital projects could range from scholars who are interested in transcriptions, annotations, and indexes presented in ways that align with traditional print edition to audiences who might be more comfortable exploring content by means of data visualizations and image-based icons. These users could also be those interested in large datasets from multiple projects for the purposes of deep textual and data analysis. At the core, however, is a platform that contains well-structured content that enables variety in publication outputs. 30 00 This chapter discusses the work of the University of Virginia Digital Publishing Cooperative, a grant-funded project with the goal of building the necessary infrastructure to facilitate and support the conceptualization, development, publication, discovery, preservation, and sustainability of digital editions and projects. Major components of this work include evaluating the potential communities of users, understanding how intended audiences might use editions, and how these things affect editorial decisions and publication goals. Most current editorial projects, including those that have a print existence, are working towards creating digital editions as well as other types of digital outputs. The digital edition—a collection of historical documents that have been transcribed and edited following a consistent, transparent, and well-informed editorial methodology, and then published online—achieves the primary goal of a scholarly edition: to make historical documents accessible, both textually and intellectually. Additionally, some editors may wish to present their findings in ways we call digital derivatives. These can include early access to their document catalogs, initial transcriptions, or metadata (document, person, place), as well as blog posts, articles, data visualizations, presentations, and so on. These digital derivatives can make available the outputs of editorial work throughout the process, thereby making historical and intellectual content accessible before, during, and after an edition’s scholarly editing and publication. The term digital projects describes the web environment in which most digital editions and their derivatives exist. These ecosystems assemble the range of intellectual content created by a project, including blog posts, articles, data visualizations, timelines, presentations, and so on that can be available alongside more traditional outputs. These opportunities provide editors with a variety of approaches to make content accessible and intelligible, and appeal to large, diverse audiences. Another component of the work of the UVA-DPC has been to develop a platform that enables editors to easily build digital editions while also allowing them to create and integrate various digital derivatives, thus reducing a major technological barrier and providing a way for more projects to publish digitally. Furthermore, this editorial platform includes both built-in standardized metadata (encouraging interoperability, reusability, and sustainability) as well as the flexibility to capture project-specific information, ensuring editors can develop content-driven components. End users of the UVA-DPC digital projects could range from scholars who are interested in transcriptions, annotations, and indexes presented in ways that align with traditional print edition to audiences who might be more comfortable exploring content by means of data visualizations and image-based icons. These users could also be those interested in large datasets from multiple projects for the purposes of deep textual and data analysis. At the core, however, is a platform that contains well-structured content that enables variety in publication outputs. 20 00 Open Access Erica Cavanaugh and Jennifer Stertzer 7 03 06 10.62637/sup.GHST9020.6 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Browse, search and serendipity building approachable digital editions 1 A01 Alison Chapman Alison Chapman 40 04s5mat29 University of Victoria Alison Chapman is a Fellow of the Royal Society of Canada and Professor of English at the University of Victoria, Canada, where she specialises in nineteenth-century literature and culture and digital humanities. She is the author of Networking the Nation: British and American Women Poets and Italy, 1840–1870 (2015) and The Afterlife of Christina Rossetti (2000), the co-author of A Rossetti Family Chronology (2007), and the editor or co-editor of several collections of essays, including A Companion to Victorian Poetry (2002) and Victorian Women Poets (2000). Currently she is the Principal Investigator of the SSHRC-funded Digital Victorian Periodical Poetry Project (dvpp.uvic.ca). 2 A01 21 0000000239441116 Martin Holmes Martin Holmes 40 04s5mat29 University of Victoria Martin Holmes is a programmer in the University of Victoria Humanities Computing and Media Centre specialising in XML technologies and digital editions. He is the lead programmer on several large digital edition projects including the Map of Early Modern London (MoEML, mapoflondon.uvic.ca) and Digital Victorian Periodical Poetry (dvpp.uvic.ca) and is part of the Project Endings team (endings.uvic.ca). He served on the TEI Technical Council from 2010 to 2015 and was managing editor of the Journal of the Text Encoding Initiative from 2013 to 2015. 3 A01 21 000900002629368X Kaitlyn Fralick Kaitlyn Fralick 40 04s5mat29 University of Victoria Kaitlyn Fralick is a PhD candidate in the Department of English Language and Literature at Queen’s University in Ontario, Canada. She has worked as a graduate research assistant on the Digital Victorian Periodical Poetry Project (DVPP) since 2018, and she has performed various roles for the project, such as metadata indexer, markup editor and researcher. To date, she has contributed more than 1,000 encoded poems to DVPP. Kaitlyn’s research and teaching interests are rooted in nineteenth-century literature and culture, the Victorian periodical press and the digital humanities. She completed her MA in English (with a concentration on nineteenth-century studies) at the University of Victoria and her Hons. BA in English (with distinction) at Toronto Metropolitan University (formerly Ryerson University). 4 A01 21 0000000176361580 Kailey Fukushima Kailey Fukushima 40 028d12s45 University Canada West Kailey Fukushima is an information professional based in Vancouver, Canada. She holds a Master of Archival Studies and a Master of Library and Information Studies (University of British Columbia, 2023), as well as a Master of Arts in English (University of Victoria, 2020). Kailey’s primary research interests include digitisation and digital collections development, digital humanities research, scholarly communications and user-centred design. She currently works for InterPARES Trust AI, where she contributes to a study on the potential role(s) for artificial intelligence in the digitisation of archives and documentary heritage materials. 5 A01 21 0000000170117042 Narges Montakhabi Bakhtvar Narges Montakhabi Bakhtvar 40 04s5mat29 University of Victoria Narges Montakhabi Bakhtvar is a doctoral candidate in Theatre Studies at the University of Victoria, Canada. Holding another PhD in English Language and Literature, her research scope covers comparative literature, contemporary Canadian theatre, politics of gender and diasporic subjectivity. Currently, she is working on how different political inscriptions on the body, including the dichotomy between body-at-home and body-in-exile, are captured in the plays by Middle Eastern Canadian playwrights. She is the author of ‘The Body/theatre-in-Pain: (Im)possibility of Wellness in Lisa Kron’s Well’ (Critical Stages/Scènes critiques 2023), ‘The Body in Pain and Pleasure: The Phenomenology of Embodiment in Rosa Jamali’s Poetry’ (Journal of Middle East Women’s Studies 2023), ‘The Theatre of the Oppressed in Tehran: Dilemma of Ethics and Engagement’ (Canadian Theatre Review 2022) and ‘Politics of Evasion and Tales of Abjection: Postmodern Demythologization in Angela Carter and Ghazaleh Alizadeh’ (CLCWeb: Comparative Literature and Culture 2020). 6 A01 Sonja Pinto Sonja Pinto 40 04s5mat29 University of Victoria Sonja Pinto is a University of Victoria alumnus who holds a BA and an MA in English Literature. She has worked on the Digital Victorian Periodical Poetry Project for five years, having joined as a Research Assistant in September 2018. Their research interests include Victorian fiction and poetry, narratology, trauma studies, and gender and sexuality. During their time with DVPP, Sonja has worked as both an indexer and encoder. 01 eng 03 00 Large digital document collections ideally provide multiple routes into data imagined for different users and different use-cases: thematic and hierarchical (drill-down) browsability for casual users, and precisely-targeted complex search functionality to answer granular queries and generate subcollections for specific research purposes. Responding to recent critical work on digital editions and periodical print surrogates (e.g. Mussell 2012, 2016; Gooding), and on the visual interface as a form of graphic knowledge (Drucker), this chapter will examine the challenges in building a big tent digital project that anticipates users’ needs.  The Digital Victorian Periodical Poetry Project (DVPP) has a particular interest in responding to this challenge, which is complicated by the nature of its own collection. The project’s methodological principles are based on poetry’s place on the  periodical page, from the inclusion of periodical poem page scans (facsimile browser, poem page rendering), to the indexing protocols (designed around how contemporary periodical readers would understand poems and their illustrations), to encoding a representative sample of poems based on decadal years from 1820 to 1900 (including material as well as poetic features). But our approach to the front end application (facsimile browser, poem page rendering, index of poems and personography, digital edition, advanced search pages) is based around offering the user multiple ways to search and find material that moves away from the poem’s embedded periodical print origins, and even the conceptual and functional principles of the codex, to allow for complex and serendipitous discovery. The challenge of this digital project is to relate the project’s indexing and encoding principles to users’ anticipated research, particularly given the relationship between the index (c.15,500 poems across 21 long Victorian periodicals), personography (c.4,000 records for poets, illustrators and translators), and the TEI XML- encoded poem sample (c.2,000 poems and c. 11,000 lines of poetry). This chapter examines relationships between the underlying metadata and text-encoding, as well as the affordances DVPP will eventually offer the end-user. We conclude by offering guidelines based on building search interfaces that are useful to researchers. Firstly, we address practical problems. Enlarging project features can make interfaces potentially confusing, and expanding interdependencies can also produce incompatible features. Workflow is crucial: user discoverability is contingent on encoding, and yet predicting search parameters is contingent on a good understanding of data that only emerges as the project advances. We suggest a workflow where metadata structures and labels can be trivially revised, with the search and browse interfaces automatically adapted to such changes. Secondly, we turn to the conceptual imagining of the anticipated user, by comparing DVPP with cognate digital editions and commercial indexes and digital surrogates (such as those owned by ProQuest), to ask how digital editions can guide users to engage critically and actively with multiple methods of browse, search, and serendipitous discovery, rather than approaching search functionality as simply a means to an end. 30 00 Large digital document collections ideally provide multiple routes into data imagined for different users and different use-cases: thematic and hierarchical (drill-down) browsability for casual users, and precisely-targeted complex search functionality to answer granular queries and generate subcollections for specific research purposes. Responding to recent critical work on digital editions and periodical print surrogates (e.g. Mussell 2012, 2016; Gooding), and on the visual interface as a form of graphic knowledge (Drucker), this chapter will examine the challenges in building a big tent digital project that anticipates users’ needs.  The Digital Victorian Periodical Poetry Project (DVPP) has a particular interest in responding to this challenge, which is complicated by the nature of its own collection. The project’s methodological principles are based on poetry’s place on the  periodical page, from the inclusion of periodical poem page scans (facsimile browser, poem page rendering), to the indexing protocols (designed around how contemporary periodical readers would understand poems and their illustrations), to encoding a representative sample of poems based on decadal years from 1820 to 1900 (including material as well as poetic features). But our approach to the front end application (facsimile browser, poem page rendering, index of poems and personography, digital edition, advanced search pages) is based around offering the user multiple ways to search and find material that moves away from the poem’s embedded periodical print origins, and even the conceptual and functional principles of the codex, to allow for complex and serendipitous discovery. The challenge of this digital project is to relate the project’s indexing and encoding principles to users’ anticipated research, particularly given the relationship between the index (c.15,500 poems across 21 long Victorian periodicals), personography (c.4,000 records for poets, illustrators and translators), and the TEI XML- encoded poem sample (c.2,000 poems and c. 11,000 lines of poetry). This chapter examines relationships between the underlying metadata and text-encoding, as well as the affordances DVPP will eventually offer the end-user. We conclude by offering guidelines based on building search interfaces that are useful to researchers. Firstly, we address practical problems. Enlarging project features can make interfaces potentially confusing, and expanding interdependencies can also produce incompatible features. Workflow is crucial: user discoverability is contingent on encoding, and yet predicting search parameters is contingent on a good understanding of data that only emerges as the project advances. We suggest a workflow where metadata structures and labels can be trivially revised, with the search and browse interfaces automatically adapted to such changes. Secondly, we turn to the conceptual imagining of the anticipated user, by comparing DVPP with cognate digital editions and commercial indexes and digital surrogates (such as those owned by ProQuest), to ask how digital editions can guide users to engage critically and actively with multiple methods of browse, search, and serendipitous discovery, rather than approaching search functionality as simply a means to an end. 20 00 Open Access Alison Chapman, Martin Holmes, Kaitlyn Fralick, Kailey Fukushima, Narges Montakhabi and Sonja Pinto 8 03 06 10.62637/sup.GHST9020.7 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Predicting the future of digital scholarly editions in the context of FAIR data principles 1 A01 21 0000000277581662 Bartłomiej Szleszyński Bartłomiej Szleszyński 40 02q0p6x28 Institute of Literary Research Bartłomiej Szleszyński is Professor at the Institute of Literary Research, Polish Academy of Sciences; Head of the Department of Digital Scholarly Editions and Monographs responsible for creating and operating New Panorama of Polish Literature (NPLP.PL), a platform publishing digital scholarly collections, and TEI Panorama (TEI.NPLP.PL), a platform for scholarly digital editions; and Deputy Director of the Digital Humanities Centre. His main research interests are literature of the second half of the nineteenth century, colonial discourse in nineteenth-century Polish culture, literary Sarmatism, digital literary studies and scholarly digital editions. 2 A01 21 0000000157786006 Agnieszka Szulińska Agnieszka Szulińska 40 02q0p6x28 Institute of Literary Research Agnieszka Szulińska (née Kochańska, b. 1989) graduated from Cardinal Stefan Wyszyński University in Warsaw with an MA degree in Polish Philology (specialisation in scholarly editing). She prepares a PhD thesis about digital scholarly editing of literary texts in Poland, based on digital projects such as Poetry Group Skamander’s Correspondence or Early Novels of Eliza Orzeszkowa. A member of New Panorama of the Polish Literature team and the Digital Humanities Centre at the Institute of Literary Research of the Polish Academy of Sciences. Apart from scholarly editing, her research areas include testing tools and platforms used in SSH scholarly communication, and video games. All important links here: https:// linktr.ee/agnieszkaszulinska. 3 A01 21 0000000223774565 Marta Błaszczyńska Marta Błaszczyńska 40 02q0p6x28 Institute of Literary Research Marta Błaszczyńska defended her PhD thesis in social sciences at the Institute of Philosophy and Sociology of the Polish Academy of Sciences in Warsaw. Between 2019 and 2023 she worked at the Digital Humanities Centre at the Institute of Literary Research of the Polish Academy of Sciences. There she developed her skills and expertise in open science, qualitative research methods and data management. Marta co-created the Innovation Lab, part of OPERAS, Research Infrastructure supporting open scholarly communication in the social sciences and humanities (SSH) in the European Research Area. Currently she works in the private sector within the field of fraud management. 03 00 Scholarly editing, understood by researchers working in the field of literary studies as providing the best versions of works along with explanatory and contextual layers, has been operating in the digital space for some time now. We are still searching for optimal ways to utilize its advantages. In parallel, there is a growing research reflection on the issue of data in digital humanities projects and ways to create, curate, and share it. The proposed paper, based on the experience of creating numerous digital scholarly editions (DSEs) and analyzing the issue of research data, addresses the following questions: 1) what the digital future of scholarly editing in literary studies might look like (also outside the circle of professional researchers), 2) how scholarly digital editions can be presented as datasets, 3) in what ways reflection on data can contribute to the broad utility of scholarly digital editions in literary studies. Apart from exploring some good practices employed by the TEI New Panorama of Polish Literature (NPLP) platform we also contemplate the data-related issues that remain to be addressed by the DSE community and the challenges that we might face while tackling them. Answering Joris van Zundert’s warning not to drive digital editing to a state of “a mere medium shift”, we propose to view DSEss as data on various levels, which is deeply anchored in the specificity of a digital humanist project. Having FAIR data principles in mind, we would like to expand this approach on several cases from the TEI NPLP platform, including i.a. 19th century novels, 20th-century correspondence of Polish poets, and contemporary Polish dramas.  For findability, a good example is the data layer related to entity descriptions (e.g., people, places, organizations) - in the editions on the TEI.NPLP.PL platform, we can search and compile all occurrences of entities and how they are referred to in the text. The principle of “accessibility” will be focused on the necessity of creating an account to use more advanced features in DSEs. We will reflect on when it is useful and when it might be skipped to provide rapid access to the content and the data.  The most challenging principles are “interoperability” and “reusability”. Much desired by many scholars, They are the goal of data curation and sharing initiatives, while at the same time they will enable the use of digital scholarly editions in numerous other scholarly projects beyond the specific discipline and, potentially, beyond the circle of professional researchers. In our text, we would like to present future opportunities and challenges of digital scientific editions in general and of the different data layers, DSE-s in particular. 30 00 Scholarly editing, understood by researchers working in the field of literary studies as providing the best versions of works along with explanatory and contextual layers, has been operating in the digital space for some time now. We are still searching for optimal ways to utilize its advantages. In parallel, there is a growing research reflection on the issue of data in digital humanities projects and ways to create, curate, and share it. The proposed paper, based on the experience of creating numerous digital scholarly editions (DSEs) and analyzing the issue of research data, addresses the following questions: 1) what the digital future of scholarly editing in literary studies might look like (also outside the circle of professional researchers), 2) how scholarly digital editions can be presented as datasets, 3) in what ways reflection on data can contribute to the broad utility of scholarly digital editions in literary studies. Apart from exploring some good practices employed by the TEI New Panorama of Polish Literature (NPLP) platform we also contemplate the data-related issues that remain to be addressed by the DSE community and the challenges that we might face while tackling them. Answering Joris van Zundert’s warning not to drive digital editing to a state of “a mere medium shift”, we propose to view DSEss as data on various levels, which is deeply anchored in the specificity of a digital humanist project. Having FAIR data principles in mind, we would like to expand this approach on several cases from the TEI NPLP platform, including i.a. 19th century novels, 20th-century correspondence of Polish poets, and contemporary Polish dramas.  For findability, a good example is the data layer related to entity descriptions (e.g., people, places, organizations) - in the editions on the TEI.NPLP.PL platform, we can search and compile all occurrences of entities and how they are referred to in the text. The principle of “accessibility” will be focused on the necessity of creating an account to use more advanced features in DSEs. We will reflect on when it is useful and when it might be skipped to provide rapid access to the content and the data.  The most challenging principles are “interoperability” and “reusability”. Much desired by many scholars, They are the goal of data curation and sharing initiatives, while at the same time they will enable the use of digital scholarly editions in numerous other scholarly projects beyond the specific discipline and, potentially, beyond the circle of professional researchers. In our text, we would like to present future opportunities and challenges of digital scientific editions in general and of the different data layers, DSE-s in particular. 20 00 Open Access Bartłomiej Szleszyński, Agnieszka Szulińska and Marta Błaszczyńska 9 03 06 10.62637/sup.GHST9020.8 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Re-using data from editions 1 A01 21 0000000245222833 Elena Spadini Elena Spadini 40 02s6k3f65 University of Basel Elena Spadini is an associated researcher at the University of Bern and a research navigator at the University of Basel, where she supports digital humanities and in particular scholarly editing projects. Her background is in romance philology and her research interests span from medieval manuscripts to born-digital literary sources. She is currently in charge of the digital component of the project «Gustave Roud. OEuvres complètes», and is editor of the RIDE issues on software reviews. She has published on various aspects of digital philology, such as automatic collation, semantic web and data modelling. 2 A01 21 0000000265301328 José Luis Losada Palenzuela José Luis Losada Palenzuela 40 02s6k3f65 University of Basel José Luis Losada Palenzuela is Assistant Professor at the University of Wrocław and Research Data Specialist at the University of Basel. He earned his PhD with a study of Schopenhauer’s translation of works by Baltasar Gracián, a Baroque moralist and writer. Recently, his research has centred on Spanish 17th-century Literature, Comparative Literature and Digital Methods. His scholarly contributions include a monograph, several research articles and a digital edition on Schopenhauer’s marginalia. 01 eng 03 00 The centrality of data is one of the key features of digital editions and digital scholarly resources in general. Data-driven philology involves practices that are new to textual criticism and can overcome the print paradigm, including data visualisation, data processing, and data reuse. In this paper we focus on the latter: data reuse. We provide a panorama of use cases for editions, highlighting the potential and current limitations of data reuse. Examples include the reuse of edition data in dictionaries and gazetteers, and reuse in the context of distant reading studies, particularly for intertextuality detection. The role of authority records in reusing data is also analysed. In the conclusions, we emphasise that data reuse is fundamental to strengthening the central position of scholarly editions at the crossroads of many research fields. 30 00 The centrality of data is one of the key features of digital editions and digital scholarly resources in general. Data-driven philology involves practices that are new to textual criticism and can overcome the print paradigm, including data visualisation, data processing, and data reuse. In this paper we focus on the latter: data reuse. We provide a panorama of use cases for editions, highlighting the potential and current limitations of data reuse. Examples include the reuse of edition data in dictionaries and gazetteers, and reuse in the context of distant reading studies, particularly for intertextuality detection. The role of authority records in reusing data is also analysed. In the conclusions, we emphasise that data reuse is fundamental to strengthening the central position of scholarly editions at the crossroads of many research fields. 20 00 Open Access Elena Spadini and José Luis Losada Palenzuela 10 03 06 10.62637/sup.GHST9020.9 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Making digital scholarly editions based on Domain Specific Languages 1 A01 21 000900094361345X Simone Zenzaro Simone Zenzaro 40 028g3pe33 Institute for Computational Linguistics “A. Zampolli” Simone Zenzaro is a fixed-term researcher at the Institute of Computational Linguistics ‘A. Zampolli’ (CNR-ILC). He earned a PhD in Computer Science from the University of Pisa with a thesis on modularity aspects in formal methods, particularly related to Abstract State Machines. Currently, he is working on the ERC AdG 885222-GreekSchools project in digital papyrology, focusing on methods for recovering missing text in ancient Greek and tools to support collaborative and cooperative editing of Philodemus of Gadara’s ‘Rassegnadeifilosofi’ (Syntaxis). He has previously worked at the University of Lausanne on the digital edition of the Byzantine manuscript of the Iliad Genavensisgraecus 44 within the project ‘Le devenir numérique d’un texte fondateur.’ He has also worked at the Scuola Normale Superiore on developing digital edition tools for Arabic manuscripts as part of the ERC project ‘Philosophy on the Border of Civilizations and Intellectual Endeavours’. His interests revolve around applying formal methods to Digital Humanities through the definition of models, services and tools for the field of philology. 2 A01 21 0000000278107735 Federico Boschetti Federico Boschetti 40 028g3pe33 Institute for Computational Linguistics “A. Zampolli” Federico Boschetti graduated with a degree in Classics from the University ‘Ca’ Foscari’ of Venice in 1998. He earned his PhD in Classical Philology through a joint programme between the University of Trento and the University of Lille III in 2005. His thesis was titled ‘Essay on Computer-Assisted Linguistic and Stylistic Analyses of Aeschylus’ Persae’. He also obtained a PhD in Cognitive and Brain Sciences with a focus on Language, Interaction and Computation from the University of Trento in 2010. His thesis for this degree was ‘A Corpus-Based Approach to Philological Issues’. Since 2011, Federico has been a researcher at the Institute of Computational Linguistics ‘A. Zampolli’ at the CNR of Pisa. His primary research interests include Digital Philology, Collaborative and Cooperative Philology, Historical OCR, and Distributional Semantics applied to ancient texts. 3 A01 21 0000000248676304 Angelo Mario Del Grosso Angelo Mario Del Grosso 40 028g3pe33 Institute for Computational Linguistics “A. Zampolli” Angelo Mario del Grosso is a researcher at the Institute of Computational Linguistics, ‘Antonio Zampolli’, within the Italian National Research Council of Pisa (CNR-ILC). He holds a degree in Computer Engineering from the University of Pisa and earned his PhD in Information Engineering in 2015. Del Grosso’s research focus lies within the field of Digital Humanities (DH), with a specific emphasis on creating Digital Scholarly Editions and applying computational analysis to historical-literary textual resources. He has published extensively within the DH field and actively contributes to various national and international research initiatives. His involvements include projects such as the ‘GreekIntoArabic ERC project’, ‘Saussure’s Manuscripts PRIN project’, ‘Italian Translation of Babylonian Talmud’, ‘Digital Edition of Bellini’s Letters’ and others. He is a member of the AIUCD board (Italian Association for DH-Associazione per l’InformaticaUmanistica e la Cultura Digitale) and actively participates in the scientific boards of DH journals and conferences. Currently, he serves as the coordinator for the CNR-ILC unit in the ERC project 885222-GreekSchools, a project dedicated to editing Greek texts preserved in the carbonised papyri of Herculaneum. Additionally, he is a visiting scholar at the VeDPH Center of Excellence at Ca’ Foscari University in Venice and teaches Text Encoding at the University of Pisa. 01 eng 20 00 Open Access Simone Zenzaro, Federico Boschetti and Angelo Mario Del Grosso 11 03 06 10.62637/sup.GHST9020.10 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Digital editing and publishing in the twenty-first century as a cooperative for small-scale editions 1 A01 Juniper Johnson Juniper Johnson 40 04t5xt781 Northeastern University Juniper Johnson is a PhD candidate in the English Department at Northeastern University with graduate certificates in Women, Gender, and Sexuality Studies and Digital Humanities. Their dissertation project, ‘Organizing Bodies of Knowledge: Classification and Sexuality in Nineteenth-Century Medical and Literary Discourse’, explores the history of non-normative bodies and sexualities in archival materials by combining computational text analysis and critical genealogy. They also specialise in digital pedagogy and research, having worked with the Digital Integration Teaching Initiative at the NULab for Texts, Maps and Networks, the Primary Source Cooperative with the Massachusetts Historical Society, the Early Carribean Digital Archive, the Early Black Boston Digital Almanac and the Homosaurus (an international LGBTQ+ linked data vocabulary). 2 A01 21 0000000229776481 Serenity Sutherland Serenity Sutherland 40 01597g643 State University of New York at Oswego Serenity Sutherland is Associate Professor of Communication Studies at SUNY Oswego. She has a PhD in History and a graduate certificate in Women’s and Gender Studies from the University of Rochester. Her research interests include the history of women in science and technology, the digital humanities, scholarly editing and media studies. Currently, she is working on publishing a biography of chemist Ellen Swallow Richards (1842–1911). She is the current editor of the Ellen Swallow Richards papers, which is a member of the Primary Source Cooperative at the Massachusetts Historical Society, funded by the NHPRC and the Andrew W. Mellon Foundation. She is also the co-author of the digital project Visualizing Women in Science and Technology at the American Philosophical Society, a network portrayal of women’s work in science. A select list of venues where her publications can be found includes Scholarly Editing, the Debates in the Digital Humanities series and Interdisciplinary Digital Engagement in Arts & Humanities. 3 A01 Neal Millikan Neal Millikan 40 00y5f4k61 Massachusetts Historical Society Neal Millikan is the Series Editor for Digital Editions for the Adams Papers editorial project at the Massachusetts Historical Society (MHS). She was project manager on the John Quincy Adams Digital Diary, part of the Mellon-sponsored Primary Source Cooperative at the MHS. Millikan holds a PhD in history and a master’s degree in Library and Information Science from the University of South Carolina and is also a graduate of North Carolina State University, where she earned master’s degrees in History and Public History. 4 A01 Ondine Le Blanc Ondine Le Blanc 40 00y5f4k61 Massachusetts Historical Society Ondine Le Blanc is Ford Editor of Publications at the Massachusetts Historical Society. She holds a BA from Mount Holyoke College and a PhD from the University of Michigan. At the MHS since 1997, Le Blanc has helped to publish a variety of documentary editions, including letters, diaries and journals, notebooks and memoirs, as well as other kinds of publications. She was project manager for the creation of the Adams Papers Digital Edition, overseeing the conversion of 35 printed volumes into a consolidated TEI-compliant online edition. Le Blanc served on the faculty of the Institute for the Editing of Historical Documents, hosted by the Association for Documentary Editing, from 2014 to 2017. She now serves as principal investigator for the Mellon-NHPRC grant funding the implementation of the Primary Source Cooperative. 01 eng 03 00 How might small-scale digital editions succeed in the future, and how is that future tied to the field of scholarly editing? The inclusion of more small digital editions has the potential to add numerous voices and perspectives to already existing digital and print editions that tend to center on figures of national recognition. While these larger projects offer glimpses into social issues and individual stories beyond the recognizable names they focus on, they have historically been projects of white, English-speaking men. Larger projects have also been expensive to maintain and operate. Recognizing these twin realities and histories of publishing scholarly editions, the authors of this chapter have been working to transform the potential of editions through the approach of cooperative digital publishing. With support from the NHPRC and Andrew W. Mellon Foundation, four digital editions, the John Quincy Adams (JQA) Digital Diary, the Ellen Swallow Richards Papers, the Catharine Maria Sedgwick Online Letters (CMSOL), and the Papers of Roger Brooke Taney along with the institutional support of the Massachusetts Historical Society and Northeastern University, have been in the process of building and creating a digital publishing cooperative. This essay will describe what cooperative publishing is and how it is transformational to the making of an edition. The essay will argue that the power of cooperative publishing is three-fold: 1) the sharing of resources, both financial and structural; 2) the collaboration of content expertise across a wide range of functions and topics; and 3) the support of a community striving for the same goal. The goal of the Primary Source Cooperative is to provide a platform, designed by consensus, to assist small editions led by scholars who might not otherwise have a portal for online publishing that is affordable and supportive. For each individual project, the Cooperative is a platform from which to receive input and guidance from other editors when questions of process or encoding arise, acting in lieu of staff who serve as internal sounding boards at larger projects. Uniting these four editions under one digital publishing platform will allow for federated searching by users that would never be possible if these projects were siloed on individual websites. When data from these four projects are combined, the resulting digital edition cooperative will provide free <break/>cross-searchable and chronologically-navigable access for its target user community, which moves beyond the traditional academic audience toward inclusion of students and educators at the middle school, high school, and undergraduate level.The interdisciplinary nature of the Cooperative—with editors from the fields of communication studies, history, literature, political science, and women’s and gender studies—translates to a wide scholarly audience, the needs of which are met by the adherence of the cluster to accepted best practices of documentary editing. Beyond the scholarly community, however, the Cooperative is committed to engaging a broader public in reading and using primary historical sources. Thus, the editions produced by the cluster would be precise enough (regarding standard editorial apparatus) for use by scholars but also accessible (via search features) for the K-12 community and the general public. 30 00 How might small-scale digital editions succeed in the future, and how is that future tied to the field of scholarly editing? The inclusion of more small digital editions has the potential to add numerous voices and perspectives to already existing digital and print editions that tend to center on figures of national recognition. While these larger projects offer glimpses into social issues and individual stories beyond the recognizable names they focus on, they have historically been projects of white, English-speaking men. Larger projects have also been expensive to maintain and operate. Recognizing these twin realities and histories of publishing scholarly editions, the authors of this chapter have been working to transform the potential of editions through the approach of cooperative digital publishing. With support from the NHPRC and Andrew W. Mellon Foundation, four digital editions, the John Quincy Adams (JQA) Digital Diary, the Ellen Swallow Richards Papers, the Catharine Maria Sedgwick Online Letters (CMSOL), and the Papers of Roger Brooke Taney along with the institutional support of the Massachusetts Historical Society and Northeastern University, have been in the process of building and creating a digital publishing cooperative. This essay will describe what cooperative publishing is and how it is transformational to the making of an edition. The essay will argue that the power of cooperative publishing is three-fold: 1) the sharing of resources, both financial and structural; 2) the collaboration of content expertise across a wide range of functions and topics; and 3) the support of a community striving for the same goal. The goal of the Primary Source Cooperative is to provide a platform, designed by consensus, to assist small editions led by scholars who might not otherwise have a portal for online publishing that is affordable and supportive. For each individual project, the Cooperative is a platform from which to receive input and guidance from other editors when questions of process or encoding arise, acting in lieu of staff who serve as internal sounding boards at larger projects. Uniting these four editions under one digital publishing platform will allow for federated searching by users that would never be possible if these projects were siloed on individual websites. When data from these four projects are combined, the resulting digital edition cooperative will provide free <break/>cross-searchable and chronologically-navigable access for its target user community, which moves beyond the traditional academic audience toward inclusion of students and educators at the middle school, high school, and undergraduate level.The interdisciplinary nature of the Cooperative—with editors from the fields of communication studies, history, literature, political science, and women’s and gender studies—translates to a wide scholarly audience, the needs of which are met by the adherence of the cluster to accepted best practices of documentary editing. Beyond the scholarly community, however, the Cooperative is committed to engaging a broader public in reading and using primary historical sources. Thus, the editions produced by the cluster would be precise enough (regarding standard editorial apparatus) for use by scholars but also accessible (via search features) for the K-12 community and the general public. 20 00 Open Access Juniper Johnson, Serenity Sutherland, Neal Millikan and Ondine Le Blanc 12 03 06 10.62637/sup.GHST9020.11 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 The scholarly data edition publishing big data in the twenty-first century 1 A01 21 0000000243011581 Gábor Mihály Tóth Gábor Mihály Tóth 40 036x5ad56 University of Luxembourg Gábor Mihály Tóth was born in Hungary. After studying philosophy and medieval studies in Budapest, he moved to England. In 2014 he completed a PhD in early modern history at the University of Oxford, Balliol College. Following his doctoral studies, he was an assistant professor in digital humanities at the University of Passau in Germany. He was a visiting researcher at Yale University and then at the University of Southern California. At the moment, he is a research associate at the University of Luxembourg’s Center for Contemporary and Digital History (C2DH). His research focuses on the application of data science to study and publish historical sources. Specifically, he has two research areas: information culture in early modern Europe and collective memory of genocide survivors. His chapter in this volume was inspired by his digital monograph, In Search of the Drowned: Testimonies and Testimonial Fragments of the Holocaust (Yale Fortunoff Archive, 2021, lts.fortunoff.library.yale.edu). In 2023 he was awarded the Richard Deswarte Prize in Digital History by the Digital History Seminary of the Institute of Historical Research, University of London. 01 eng 03 00 In the last decade, big textual datasets in the humanities have become increasingly more available in the form of raw data. The challenges these datasets raise are twofold. On the one hand, most humanities scholars are not equipped with skills in text and data mining. This remains a barrier to study big data in the humanities. On the other hand, the traditional genre of digital edition is not suitable for publishing and unlocking big data; similarly to printed editions, digital editions often attempt to create highly curated, almost perfect, surrogates of texts with critical accuracy. However, in the context of big data, traditional critical accuracy is not attainable; it is impossible for an editorial team to apply this principle when working with a corpus of tens of millions of words. The principle of critical examination of texts as defined by previous scholarship is equally unattainable with big data. In short, many of the editorial principles and techniques used to produce analogue and digital editions can hardly be applied when creating an edition featuring truly big data. Hence, in this chapter, I argue that to make big data available and explorable for the scholarly community, we need a new genre: the scholarly data edition. Throughout the chapter I elaborate the concept of scholarly data edition by outlining the editorial responsibilities and standards that it involves. 30 00 In the last decade, big textual datasets in the humanities have become increasingly more available in the form of raw data. The challenges these datasets raise are twofold. On the one hand, most humanities scholars are not equipped with skills in text and data mining. This remains a barrier to study big data in the humanities. On the other hand, the traditional genre of digital edition is not suitable for publishing and unlocking big data; similarly to printed editions, digital editions often attempt to create highly curated, almost perfect, surrogates of texts with critical accuracy. However, in the context of big data, traditional critical accuracy is not attainable; it is impossible for an editorial team to apply this principle when working with a corpus of tens of millions of words. The principle of critical examination of texts as defined by previous scholarship is equally unattainable with big data. In short, many of the editorial principles and techniques used to produce analogue and digital editions can hardly be applied when creating an edition featuring truly big data. Hence, in this chapter, I argue that to make big data available and explorable for the scholarly community, we need a new genre: the scholarly data edition. Throughout the chapter I elaborate the concept of scholarly data edition by outlining the editorial responsibilities and standards that it involves. 20 00 Open Access Gábor Mihály Tóth 13 03 06 10.62637/sup.GHST9020.12 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Close and distant reading in explorative editions distributed cognition and interactive visualisations 1 A01 21 0000000273993539 Peter Boot Peter Boot 40 043c0p156 Royal Netherlands Academy of Arts and Sciences Peter Boot studied Mathematics and Dutch Language and Literature. He wrote his thesis about annotation in scholarly digital collections (Mesotext. Digitised Emblems, Modelled Annotations and Humanities Scholarship. Amsterdam 2009). Boot works at the Huygens Institute for the History and Culture of the Netherlands in Amsterdam. In most of his career, his position has been between that of an intermediary between scholars and developers. Among other projects, he worked on digital editions of emblem books, medieval miscellanies, the letters of Vincent van Gogh, the manuscripts of Anne Frank and papers of Piet Mondrian. With Evina Stein, he published an edition of glosses to Isidore’s Etymologies that incorporates live network visualisations (https://db.innovatingknowledge. nl/edition/). Boot is also active in the field of computational literary studies, where he has a special interest in the phenomenon of online book discussion, as exemplified on sites such as Goodreads and in reviews on booksellers’ sites. 01 eng 03 00 The distant reading paradigm has taught us that transformations of textual material, be they in statistical or visual form, can be very informative about trends and patterns in text collections. However, current digital editions often fall short of exploiting this computational potential for text representation, analysis, and interaction. This paper argues that digital scholarly editions can transcend the limitations of print and print-inspired digital formats and become what I call "explorative editions." I draw on the work of Eugene Lyman about the role of distributed cognition in the design of scholarly tools and that of Shane McGarry about interactive tools creating the possibility for immersion in the edition through properly contextualised goal-directed activity. The paper advocates the integration of interactive visualizations in digital editions. This can transform digital editions into cognitive artifacts that enhance the user's exploration and understanding of the edited material. The paper proposes five criteria for these explorative editions, emphasizing the inclusion of visual representations, manipulable features, top-down and bottom-up navigational structures, co-extensiveness with the edited items, and minimization of user effort. Finally, I challenge the scholarly community to develop a scholarly edition that meets these criteria, offering a reward for the first project to accomplish this. 30 00 The distant reading paradigm has taught us that transformations of textual material, be they in statistical or visual form, can be very informative about trends and patterns in text collections. However, current digital editions often fall short of exploiting this computational potential for text representation, analysis, and interaction. This paper argues that digital scholarly editions can transcend the limitations of print and print-inspired digital formats and become what I call "explorative editions." I draw on the work of Eugene Lyman about the role of distributed cognition in the design of scholarly tools and that of Shane McGarry about interactive tools creating the possibility for immersion in the edition through properly contextualised goal-directed activity. The paper advocates the integration of interactive visualizations in digital editions. This can transform digital editions into cognitive artifacts that enhance the user's exploration and understanding of the edited material. The paper proposes five criteria for these explorative editions, emphasizing the inclusion of visual representations, manipulable features, top-down and bottom-up navigational structures, co-extensiveness with the edited items, and minimization of user effort. Finally, I challenge the scholarly community to develop a scholarly edition that meets these criteria, offering a reward for the first project to accomplish this. 20 00 Open Access Peter Boot 14 03 06 10.62637/sup.GHST9020.13 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Conviviality and standards open access publishing after AI 1 A01 Will Luers Will Luers 40 00g2fk805 Washington State University Vancouver Will Luers is a digital artist, writer and educator. His artwork and collaborations have garnered international recognition and been featured in festivals and conferences such as the Electronic Literature Organization, FILE (Brazil) and ISEA. Novelling, a generative work made in collaboration with poet Hazel Smith and sound artist Roger Dean, won the 2018 Robert Coover Award for Electronic Literature. Luers teaches web development, digital cinema and multimodal publishing in the Creative Media & Digital Culture program at Washington State University, Vancouver. He is the founder of the international online journal, The Digital Review, and is also the current Managing Editor at the electronic book review. 01 eng 03 00 As new areas of academic research proliferate (and cross-pollinate), scholarly digital publishing makes it possible to grow online networks around research interests without relying on the slow, gate-keeping procedures of traditional print publishing. In this way, advances in digital technology continue to offer scholars a wider readership and more meaningful peer networks, but these benefits come at a cost. Without a reliable economic model, the labor of peer-reviewing, editing, formatting, distributing and marketing scholarly writing and research is, in many cases, taken on by the scholars themselves. Digital tools make publishing workflows considerably more efficient and faster, but the unpaid labor involved is still a hindrance to any sustainable models for publishing scholarly work. Automation is often framed as a tool to increase productivity and efficiency by diminishing the role of fallible humans in a technical process. In the case of digital editing, the automation of grammar and spell check is labor saved for a deeper and more attentive reading of a text, where more subtle errors might lie in the author’s very argument. AI publishing technologies promise to improve not only editing texts, but detecting plagiarism, checking sources, seeking out peer reviewers, converting files, formatting for multiple platforms, marketing on social media and analyzing metrics. What remains of scholarly digital publishing as an activity when AI and Machine Learning tools absorb the considerable technical labor involved? Scholars (as researchers, writers, editors, and publishers) might be freed to concentrate on ideas themselves. By removing technical barriers and potential friction in publishing workflows, AI and ML might make way for a greater flow among scholars in the evaluation and dissemination of research and theories. AI might make scholarly digital publishing more convivial. Ivan Illich, in his Tools for Conviviality</italic>, considers a convivial society as one in which individuals have the means, tools, incentives and desire for collaboration. Conviviality escapes a rigid hierarchical and standardized process and seeks out diverse and innovative voices because it is sustained by individuals who choose to be a part of something that is at once self-serving and for the greater good. Scholarly digital publishing, especially open-access publishing, is already modelling this kind of shared labour in the service of both the individual scholars seeking to publish their work and the fields of research made up of a community of peers. While there are concerns with any new AI technology, especially the human biases embedded in algorithms, AI tools targeted for repetitive publishing tasks can open an opportunity to shape a renaissance in convivial scholarly publishing that sacrifices neither academic standards nor individual innovation and creativity. 30 00 As new areas of academic research proliferate (and cross-pollinate), scholarly digital publishing makes it possible to grow online networks around research interests without relying on the slow, gate-keeping procedures of traditional print publishing. In this way, advances in digital technology continue to offer scholars a wider readership and more meaningful peer networks, but these benefits come at a cost. Without a reliable economic model, the labor of peer-reviewing, editing, formatting, distributing and marketing scholarly writing and research is, in many cases, taken on by the scholars themselves. Digital tools make publishing workflows considerably more efficient and faster, but the unpaid labor involved is still a hindrance to any sustainable models for publishing scholarly work. Automation is often framed as a tool to increase productivity and efficiency by diminishing the role of fallible humans in a technical process. In the case of digital editing, the automation of grammar and spell check is labor saved for a deeper and more attentive reading of a text, where more subtle errors might lie in the author’s very argument. AI publishing technologies promise to improve not only editing texts, but detecting plagiarism, checking sources, seeking out peer reviewers, converting files, formatting for multiple platforms, marketing on social media and analyzing metrics. What remains of scholarly digital publishing as an activity when AI and Machine Learning tools absorb the considerable technical labor involved? Scholars (as researchers, writers, editors, and publishers) might be freed to concentrate on ideas themselves. By removing technical barriers and potential friction in publishing workflows, AI and ML might make way for a greater flow among scholars in the evaluation and dissemination of research and theories. AI might make scholarly digital publishing more convivial. Ivan Illich, in his Tools for Conviviality</italic>, considers a convivial society as one in which individuals have the means, tools, incentives and desire for collaboration. Conviviality escapes a rigid hierarchical and standardized process and seeks out diverse and innovative voices because it is sustained by individuals who choose to be a part of something that is at once self-serving and for the greater good. Scholarly digital publishing, especially open-access publishing, is already modelling this kind of shared labour in the service of both the individual scholars seeking to publish their work and the fields of research made up of a community of peers. While there are concerns with any new AI technology, especially the human biases embedded in algorithms, AI tools targeted for repetitive publishing tasks can open an opportunity to shape a renaissance in convivial scholarly publishing that sacrifices neither academic standards nor individual innovation and creativity. 20 00 Open Access Will Luers 15 03 06 10.62637/sup.GHST9020.14 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Beyond representation some thoughts on creative-critical digital editing 1 A01 21 0000000164108692 Christopher Ohge Christopher Ohge 40 039594g80 School of Advanced Study Christopher Ohge is Senior Lecturer in Digital Approaches to Literature at the University of London’s School of Advanced Study. He serves as the Associate Director of the Herman Melville Electronic Library and an Associate Editor of Melville’s Marginalia Online, where he has worked on digital editions of Melville’s Billy Budd, Sailor, and of Melville’s Marginalia in Arthur Schopenhauer. He was formerly an Associate Editor of the Mark Twain Papers at the University of California, Berkeley, where his editorial credits included the third and final volume of the Autobiography of Mark Twain, several digital texts on the Mark Twain Project Online, and the forthcoming edition of The Innocents Abroad. The author of the book Publishing Scholarly Editions: Archives, Computing, and Experience (2021), he has also published widely on nineteenth-century literature, textual scholarship and digital methods in leading journals and edited collections. In 2023 he received a fellowship from the National Endowment for the Humanities (USA) and the Mellon Foundation to complete a digital edition of Mary Anne Rawson’s anti-slavery anthology The Bow in the Cloud (1834). 01 eng 03 00 Creative-critical digital editing aims to be a pragmatic complement to the dominant ‘depth’ models of traditional scholarly editing that attempt to offer the ‘correct’ description, representation, or data model of a work within the space of a book or document. A pan-relational, creative-critical editorial approach to publishing instead focuses on a different kind of depth that connects texts to new contexts and literary experiences with new technological tools. Pan-relational editing creates new connections by creating new descriptions and visualisations of texts which are tethered to whatever purposes are needed for a given situation or audience ‘to make them serve our purposes better’, as the philosopher Richard Rorty put it. A creative-critical framework offers the best way to ‘cope’ with the varieties of potential experiences in the textual situation. This mode of thinking resists privileged print-based editorial theories as much as it resists technological determinism because it moves beyond the dominant mode of representing documents or texts as the primary output and instead puts the focus on curating textual data. Textual editing and digital publishing could combine with ‘creative criticism’ to be ongoing and incomplete, partaking of a process of close reading and distant analysis, learning and unlearning, and redescriptions of textual criticism that are embedded in the creative process and other aesthetic experiences. What digital publishing can ideally do, then, is to give space to competing and alternative discourses of the same text and to facilitate connections to other aesthetic contexts. The most promising ways to accomplish this goal would be, in the short term, to give users better designs and tools for engaging in the creative processes inherent in editorial projects. In the long term, an atomic database approach would allow creative play with any textual element, achieving that ideal of a digital edition as a ‘multi-dimensional space of possibilities’. 30 00 Creative-critical digital editing aims to be a pragmatic complement to the dominant ‘depth’ models of traditional scholarly editing that attempt to offer the ‘correct’ description, representation, or data model of a work within the space of a book or document. A pan-relational, creative-critical editorial approach to publishing instead focuses on a different kind of depth that connects texts to new contexts and literary experiences with new technological tools. Pan-relational editing creates new connections by creating new descriptions and visualisations of texts which are tethered to whatever purposes are needed for a given situation or audience ‘to make them serve our purposes better’, as the philosopher Richard Rorty put it. A creative-critical framework offers the best way to ‘cope’ with the varieties of potential experiences in the textual situation. This mode of thinking resists privileged print-based editorial theories as much as it resists technological determinism because it moves beyond the dominant mode of representing documents or texts as the primary output and instead puts the focus on curating textual data. Textual editing and digital publishing could combine with ‘creative criticism’ to be ongoing and incomplete, partaking of a process of close reading and distant analysis, learning and unlearning, and redescriptions of textual criticism that are embedded in the creative process and other aesthetic experiences. What digital publishing can ideally do, then, is to give space to competing and alternative discourses of the same text and to facilitate connections to other aesthetic contexts. The most promising ways to accomplish this goal would be, in the short term, to give users better designs and tools for engaging in the creative processes inherent in editorial projects. In the long term, an atomic database approach would allow creative play with any textual element, achieving that ideal of a digital edition as a ‘multi-dimensional space of possibilities’. 20 00 Open Access Christopher Oghe 16 03 06 10.62637/sup.GHST9020.15 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Re-encoding dominance queer approaches to TEI markup 1 A01 Filipa Calado Filipa Calado 40 007m3p006 Pratt Institute Filipa Calado is an Assistant Professor of Information Studies at The Pratt Institute, School of Information. As a self-taught programmer with a PhD in English Literature, she is interested in literary and computer languages, and how they are used to express sex, gender, and sexuality. She examines how technological constraints on language can be re-worked toward unexpected but productive usages. Most recently, she experiments with machine learning to study discourses of transphobia in the US. She has written about her work in Open Library of Humanities Journal and The Journal of Interactive Technology and Pedagogy. Her coding projects and teaching materials are published on her GitHub profile, with username gofilipa. 03 00 This paper considers the potential alignment between a rigidly structured and constraining editorial format, the TEI, and a strategically nebulous collection of identities and politics expressed by the designation of queer. It proposes how editorial practices with the TEI might draw from Queer of Color Critique and Black Feminist Studies to engage modes of resistance against dominance structures. Here, the critique of Queer Studies’ capitulation to majoritarian and neoliberal politics inspires methods for reworking the structuring forces within both the TEI markup language and textual editing practices more broadly. By narrating between the gaps and silences in the record, these methods emphasize marginalized identities and positions within dominance structures. This examination closes by highlighting examples of current projects that deploy collaborative and minimalist practices to challenge the structuring modes of textual editing and the TEI. 30 00 This paper considers the potential alignment between a rigidly structured and constraining editorial format, the TEI, and a strategically nebulous collection of identities and politics expressed by the designation of queer. It proposes how editorial practices with the TEI might draw from Queer of Color Critique and Black Feminist Studies to engage modes of resistance against dominance structures. Here, the critique of Queer Studies’ capitulation to majoritarian and neoliberal politics inspires methods for reworking the structuring forces within both the TEI markup language and textual editing practices more broadly. By narrating between the gaps and silences in the record, these methods emphasize marginalized identities and positions within dominance structures. This examination closes by highlighting examples of current projects that deploy collaborative and minimalist practices to challenge the structuring modes of textual editing and the TEI. 20 00 Open Access Filipa Calado 17 03 06 10.62637/sup.GHST9020.16 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 The ludic edition playful futures for digital scholarly editing 1 A01 21 0000000227526729 Jason Boyd Jason Boyd 40 05g13zd79 Toronto Metropolitan University Jason Boyd is an Associate Professor in the Department of English and the Director of the Centre for Digital Humanities at Toronto Metropolitan University (TMU), in Toronto, Canada. Prior to joining TMU, he was a Senior Research Associate at the international research project, Records of Early English Drama (REED), based at the University of Toronto. In that role, he was a key part of the team that created the Fortune Theatre Records Prototype Digital Edition, acting as the TEI Editor and co-author of the project’s White Paper. His research also explores the digital editing of biographical texts (particularly texts relating to Oscar Wilde). His teaching and research interests largely focus on exploring the creative and critical uses of digital media in a literary context (for example, the Stories in Play Initiative: https://storiesinplay.com/) and queer digital humanities. Relevant recent research includes ‘The Playing’s the Thing: Diversifying Digital Shakespeare Through Ludic Adaptation’ (Digital Studies/Le champ numérique, volume 13, issue 3, 2023), ‘Poetry as Code as Interactive Fiction: Engaging Multiple Text-Based Literacies in Scarlet Portrait Parlor’ (Digital Humanities Quarterly volume 17, number 2, 2023); and (co-authored with Bo Ruberg) ‘Queer Digital Humanities’ (The Bloomsbury Handbook to the Digital Humanities, 2022). 01 eng 03 00 The practice of creating scholarly digital editions of literary texts has now a substantial body of examples of and scholarship about the problems and possibilities (and various methodologies) of digital editing. A sophisticated example can be found at Digital Thoreau (https://digitalthoreau.org/). This includes Walden: A Fluid Text Edition, which, using the Versioning Machine tool (http://v-machine.org/), enables comparison of seven drafts and a published edition of Henry David Thoreau’s 1854 book (all encoded in the Text Encoding Initiative’s XML-based markup). Digital Thoreau also includes The Readers’ Thoreau, an online edition of Walden that enables users to socially annotate the text at the paragraph level, using a WordPress plug-in, CommentPress. These two editions of Walden perhaps go some way to respond to Joris van Zundert’s 2016 call on digital editors and editions to “implement a form of hypertext that truly represents textual fluidity and text relations in a scholarly viable and computational tractable manner.” Van Zundert’s concern is that the digital scholarly edition will otherwise amount to little more than “a mere medium shift” that will “limit [the digital scholarly edition’s] expressiveness to that of print text, and…fail to explore the computational potential for digital text representation, analysis and interaction.” Yet van Zundert’s seemingly radical call, which expresses the desire to move away from the structures and logics of print, still closely adheres to a print-delimited idea of text (“hypertext,” “textual fluidity and text relations,” “digital text representation, analysis and interaction”). Does van Zundert’s conception fully exploit “the computational potential” of digital editing/editions? In "Gaming the Humanities: Digital Humanities, New Media, and Practice-Based Research" (2014), Patrick Jagoda claims that digital gaming “is increasingly becoming a key problematic of—that is, in different ways, a problem and possibility for—the digital humanities" (194), of which digital editing is a dominating practice. This paper will suggest that the twenty-first century is the moment for the ludic edition, which extends the digital edition through the digital or video game. Three examples of what might be considered a ludic edition will be considered: Walden, a game (USC Game Innovation Lab, 2017), Elsinore (Golden Glitch, 2019), and 80 Days (Inkle Studios, 2014). These each can be understood as a critical digital edition that makes use of the rich textual, extra-textual, procedural, interactive, and meaning-making affordances of the video game. In doing so, these ludic editions robustly explore “the computational potential” for the digital edition and present a radical challenge to and expansion of the idea of digital editing. The paper will take up editorial ideas around ‘the text,’ editions as interpretations, and readerly activity and consider them in connection with game design ideas around simulation, open world exploration, and player agency. By so doing, the paper aims to foreground how the ludic edition functions as, to use Jagoda’s term, a “problematic” for the future of digital scholarly editing. 30 00 The practice of creating scholarly digital editions of literary texts has now a substantial body of examples of and scholarship about the problems and possibilities (and various methodologies) of digital editing. A sophisticated example can be found at Digital Thoreau (https://digitalthoreau.org/). This includes Walden: A Fluid Text Edition, which, using the Versioning Machine tool (http://v-machine.org/), enables comparison of seven drafts and a published edition of Henry David Thoreau’s 1854 book (all encoded in the Text Encoding Initiative’s XML-based markup). Digital Thoreau also includes The Readers’ Thoreau, an online edition of Walden that enables users to socially annotate the text at the paragraph level, using a WordPress plug-in, CommentPress. These two editions of Walden perhaps go some way to respond to Joris van Zundert’s 2016 call on digital editors and editions to “implement a form of hypertext that truly represents textual fluidity and text relations in a scholarly viable and computational tractable manner.” Van Zundert’s concern is that the digital scholarly edition will otherwise amount to little more than “a mere medium shift” that will “limit [the digital scholarly edition’s] expressiveness to that of print text, and…fail to explore the computational potential for digital text representation, analysis and interaction.” Yet van Zundert’s seemingly radical call, which expresses the desire to move away from the structures and logics of print, still closely adheres to a print-delimited idea of text (“hypertext,” “textual fluidity and text relations,” “digital text representation, analysis and interaction”). Does van Zundert’s conception fully exploit “the computational potential” of digital editing/editions? In "Gaming the Humanities: Digital Humanities, New Media, and Practice-Based Research" (2014), Patrick Jagoda claims that digital gaming “is increasingly becoming a key problematic of—that is, in different ways, a problem and possibility for—the digital humanities" (194), of which digital editing is a dominating practice. This paper will suggest that the twenty-first century is the moment for the ludic edition, which extends the digital edition through the digital or video game. Three examples of what might be considered a ludic edition will be considered: Walden, a game (USC Game Innovation Lab, 2017), Elsinore (Golden Glitch, 2019), and 80 Days (Inkle Studios, 2014). These each can be understood as a critical digital edition that makes use of the rich textual, extra-textual, procedural, interactive, and meaning-making affordances of the video game. In doing so, these ludic editions robustly explore “the computational potential” for the digital edition and present a radical challenge to and expansion of the idea of digital editing. The paper will take up editorial ideas around ‘the text,’ editions as interpretations, and readerly activity and consider them in connection with game design ideas around simulation, open world exploration, and player agency. By so doing, the paper aims to foreground how the ludic edition functions as, to use Jagoda’s term, a “problematic” for the future of digital scholarly editing. 20 00 Open Access Jason Boyd 18 03 06 10.62637/sup.GHST9020.17 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Seamless editions a future imaginary of digital editions for learning and public engagement 1 A01 Aodhán Kelly Aodhán Kelly Vrije Universiteit Amsterdam Aodhán Kelly is a lecturer and researcher at Vrije Universiteit Amsterdam and Maastricht University. He was an early career researcher with DiXiT (2014–7), a Marie Skłodowska-Curie Initial Contributor biographies xxiii Training Network focused on digital scholarly editions. He conducted his PhD (2017) under Prof. Dirk Van Hulle at the University of Antwerp, defending a thesis on ‘Disseminating digital scholarly editions of textual cultural heritage’. Aodhan’s postdoctoral work has been situated broadly in the social sciences and focuses on digital transformations in higher education and society. He previously represented Open Universiteit on Dutch national initiatives ‘Digital Society’ and the Acceleration Plan for ICT in Education. Currently he is active in teaching at Vrije Universiteit Amsterdam and Maastricht University in media studies and digital society. He is a co-founder and research co-ordinator for the Plant at Maastricht (Playground and Laboratory for New Technologies). His latest research focuses on digital humanities approaches to enabling polyvocal representations of contested colonial heritage in archives. 01 eng 03 00 This chapter will propose and examine a way to conceptualise the creation of future digital editions for broader audiences, particularly for purposes of learning and public engagement, namely the idea of ‘seamless editions’. This idea builds upon a conceptual framework developed by the author for the dissemination of digital editions. It will combine this framework with ideas drawn from a growing field within the educational sciences, that of ‘seamless learning’. Digital editions come in many shapes and sizes, and as a scholarly output there is no clear-cut consensus on where its definitional boundaries lie, but they are rather something experimental that may continue to remain in a state of development and redefinition. The continuing definitional ambiguity of digital editions could in some ways be viewed as a sort of identity crisis, but this lack of clear boundaries can also be treated as a freedom and an opportunity to experiment and diversify. The potential of editions to reach a broader audience in the digital medium is a long running ambition of many in the field. This chapter seeks to help intensify that discussion in the scholarly editing community and add impetus to reaching that potential by focusing on a conceptual approach to the design of digital editions for learning and outreach purposes. 30 00 This chapter will propose and examine a way to conceptualise the creation of future digital editions for broader audiences, particularly for purposes of learning and public engagement, namely the idea of ‘seamless editions’. This idea builds upon a conceptual framework developed by the author for the dissemination of digital editions. It will combine this framework with ideas drawn from a growing field within the educational sciences, that of ‘seamless learning’. Digital editions come in many shapes and sizes, and as a scholarly output there is no clear-cut consensus on where its definitional boundaries lie, but they are rather something experimental that may continue to remain in a state of development and redefinition. The continuing definitional ambiguity of digital editions could in some ways be viewed as a sort of identity crisis, but this lack of clear boundaries can also be treated as a freedom and an opportunity to experiment and diversify. The potential of editions to reach a broader audience in the digital medium is a long running ambition of many in the field. This chapter seeks to help intensify that discussion in the scholarly editing community and add impetus to reaching that potential by focusing on a conceptual approach to the design of digital editions for learning and outreach purposes. 20 00 Open Access Aodhán Kelly 19 03 06 10.62637/sup.GHST9020.18 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Digital scholarly editing in the early modern curriculum 1 A01 21 0000000160627911 Lindsay Ann Reid Lindsay Ann Reid 40 03bea9k73 University of Galway Lindsay Ann Reid is Senior Lecturer in English at the University of Galway. Her research interests include classical reception in the late medieval and early modern eras as well as various facets of early English print culture. She is the author of two monographs, Ovidian Bibliofictions and the Tudor Book (2014) and Shakespeare’s Ovid and the Spectre of the Medieval (2018). She has published work in Women’s Writing, Comparative Drama, Renaissance Quarterly, Shakespeare, Studies in Philology, Cahiers Élisabéthains, Early Theatre, The Seventeenth Century and elsewhere, including numerous edited collections. With co-editor Agnès Lafont, she is currently preparing an edition of The Maid’s Metamorphosis for The Revels Plays. In 2022, she worked with Cúirt International Festival of Literature and Speaking Volumes to create the pamphlet publication Breaking Ground Ireland. As of 2023, she is centrally involved with ‘Re-mediating the Early Book: Pasts and Futures’ (REBPAF), a Marie Skłodowska-Curie Doctoral Training Network co-ordinated by the University of Galway. 2 A01 21 0000000225794367 Justin Tonra Justin Tonra 40 03bea9k73 University of Galway Justin Tonra is Academic Integrity Officer and Associate Professor of English at the University of Galway. His research interests lie at the intersections of literature and technology and comprise work in the fields of digital humanities, book history, textual studies and bibliography, scholarly editing, and poetry and poetics. He is the author of a monograph, Write My Name: Authorship in the Poetry of Thomas Moore (Routledge, 2020), and peer-reviewed articles on topics including network analysis, crowdsourcing, authorship attribution, electronic literature and digital bibliography. 01 eng 03 00 This article describes and analyses the experience of building a collaborative digital edition of an early modern play in the university classroom. Reflecting on all aspects of module development from conception through to execution and evaluation, the article articulates the challenges and opportunities of digital scholarly editing pedagogy and makes specific practical and conceptual recommendations for how our model might be replicated. Having received funding from the National Forum for the Enhancement of Teaching and Learning in Higher Education, the authors co-designed and co-delivered an innovative postgraduate module on the theory and practice of digital scholarly editing. Students in the module collaborated on a large-scale digital editing project. In the first part of the semester, they learned key theoretical and methodological approaches to scholarly editing and text encoding with TEI. As the semester progressed, they gained hands-on experience by working together to create a new digital edition of an early modern theatrical work: James Shirley’s The Royall Master (1638). This article focuses on the key pedagogical outcomes of the module and the students’ working process: independent and collaborative activities, and synthesis of perspectives from the fields of scholarly editing and early modern studies. Moreover, we argue that students on the module acquired a range of transferable skills that have impacts beyond academia: project management, text encoding, version control, digital image preparation, and web design and publishing. This article is timely as it capitalises on a recent swell in interest in the pedagogical possibilities of digital scholarly editing in the early modern studies curriculum. Besides a dedicated seminar on this topic hosted by the authors for the Curriculum and Canon webinar series at NUI Galway in 2021, two panels at the 2021 Renaissance Society of America Annual Meeting addressed the topic of “Editing Early Modern Texts and/as Pedagogy.” Elsewhere, peer-reviewed journal articles have considered the value of teaching TEI in the literature classroom (Kaethler), of digital scholarly editing in undergraduate modules (Salt, et al.), and of editorial pedagogy for teaching Shakespearean drama (Taylor). This article advances scholarship in this area through its particular focus on the pragmatics of syllabus and assessment design (including a pandemic-age perspective on the incorporation of online learning and open educational resources). In addition, the authors draw attention to ways in which the theory and practice of digital scholarly editing can equip students with valuable skills and competencies for life beyond academia. 30 00 This article describes and analyses the experience of building a collaborative digital edition of an early modern play in the university classroom. Reflecting on all aspects of module development from conception through to execution and evaluation, the article articulates the challenges and opportunities of digital scholarly editing pedagogy and makes specific practical and conceptual recommendations for how our model might be replicated. Having received funding from the National Forum for the Enhancement of Teaching and Learning in Higher Education, the authors co-designed and co-delivered an innovative postgraduate module on the theory and practice of digital scholarly editing. Students in the module collaborated on a large-scale digital editing project. In the first part of the semester, they learned key theoretical and methodological approaches to scholarly editing and text encoding with TEI. As the semester progressed, they gained hands-on experience by working together to create a new digital edition of an early modern theatrical work: James Shirley’s The Royall Master (1638). This article focuses on the key pedagogical outcomes of the module and the students’ working process: independent and collaborative activities, and synthesis of perspectives from the fields of scholarly editing and early modern studies. Moreover, we argue that students on the module acquired a range of transferable skills that have impacts beyond academia: project management, text encoding, version control, digital image preparation, and web design and publishing. This article is timely as it capitalises on a recent swell in interest in the pedagogical possibilities of digital scholarly editing in the early modern studies curriculum. Besides a dedicated seminar on this topic hosted by the authors for the Curriculum and Canon webinar series at NUI Galway in 2021, two panels at the 2021 Renaissance Society of America Annual Meeting addressed the topic of “Editing Early Modern Texts and/as Pedagogy.” Elsewhere, peer-reviewed journal articles have considered the value of teaching TEI in the literature classroom (Kaethler), of digital scholarly editing in undergraduate modules (Salt, et al.), and of editorial pedagogy for teaching Shakespearean drama (Taylor). This article advances scholarship in this area through its particular focus on the pragmatics of syllabus and assessment design (including a pandemic-age perspective on the incorporation of online learning and open educational resources). In addition, the authors draw attention to ways in which the theory and practice of digital scholarly editing can equip students with valuable skills and competencies for life beyond academia. 20 00 Open Access Lindsay Ann Reid and Justin Tonra 20 03 06 10.62637/sup.GHST9020.19 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Mediating and connecting versatile digital publishing in the Edison Papers 1 A01 21 0000000316950433 Caterina Agostini Caterina Agostini 40 02k40bc56 Indiana University Bloomington Caterina Agostini is a Postdoctoral Fellow at Indiana University Bloomington. She is co-PI in the Chymistry of Isaac Newton and the Harriot Papers, specializing in digital editions of early modern scientific texts. She has researched and developed reading and annotation methods in the Thomas A. Edison Papers. Caterina has published on Galileo Galilei, Renaissance travelogues, and digital humanities methods. She is a co-chair of the International Image Interoperability Framework (IIIF). 2 A01 21 0000000204255428 Paul Israel Paul Israel 40 05vt9qd57 Rutgers University Paul Israel is director and general editor of the Thomas A. Edison Papers at Rutgers, the State University of New Jersey. He joined the project in 1980 and became director in 2002. To date, the project has produced nine volumes of The Papers of Thomas A. Edison. Its online digital image edition includes over 154,000 documents. In 2005 the Society for the History of Technology awarded the Edison Papers a one-time retrospective award as a model reference work published since the founding of the Society in 1958. Dr Israel was also awarded the Society’s 2000 Edelstein [Dexter Prize] for his book Edison: A Life of Invention (John Wiley & Sons, 1998). In addition, he is the author of From Machine Shop to Industrial Laboratory: Telegraphy and the Changing Context of American Invention, 1830– 1920 (Johns Hopkins University Press, 1992) and co-author with Robert Friedel of Edison’s Electric Light: The Art of an Invention (Johns Hopkins University Press, 2010; Rutgers University Press, 1986). Dr Israel’s work examines technological creativity, the origins of modern innovation, patent regimes and intersections between science, technology and industry. He also has been a consultant on exhibits at several museums and historic sites and contributed to numerous television and radio documentaries. 01 eng 03 00 In this chapter we discuss a framework for reconfiguring the Thomas A. Edison Papers as an integrated digital edition of primary sources. In the digital edition, stratified levels of sources enhance the accessibility of complex historical collections in digital environments. The concept of providing multiple layers of access was already implicit in the Edison Papers online book and image editions. Our reader-centered approach enables an interactive experience displaying primary sources both from text- and image-based collections documenting the work of Edison.The resulting reading experience occurs in International Image Interoperability Framework (IIIF) interfaces that can deliver images and texts from multiple servers on the Web. IIIF-compliant images present materials to readers in a coherent way, allowing deep zoom, comparison, page layout, and annotation through a IIIF image viewer, Mirador Viewer. The digital edition is customized, based on readers’ queries, and the interconnected design can potentially promote collaborative reading, scholarship, and applications in pedagogy, resulting in a versatile investigation of technological advancements and industrialization in Edison’s lifetime. 30 00 In this chapter we discuss a framework for reconfiguring the Thomas A. Edison Papers as an integrated digital edition of primary sources. In the digital edition, stratified levels of sources enhance the accessibility of complex historical collections in digital environments. The concept of providing multiple layers of access was already implicit in the Edison Papers online book and image editions. Our reader-centered approach enables an interactive experience displaying primary sources both from text- and image-based collections documenting the work of Edison.The resulting reading experience occurs in International Image Interoperability Framework (IIIF) interfaces that can deliver images and texts from multiple servers on the Web. IIIF-compliant images present materials to readers in a coherent way, allowing deep zoom, comparison, page layout, and annotation through a IIIF image viewer, Mirador Viewer. The digital edition is customized, based on readers’ queries, and the interconnected design can potentially promote collaborative reading, scholarship, and applications in pedagogy, resulting in a versatile investigation of technological advancements and industrialization in Edison’s lifetime. 20 00 Open Access Caterina Agostini and Paul Israel 21 03 06 10.62637/sup.GHST9020.20 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 ‘The present therefore seems improbable, the future most uncertain’ transcending academia through Charlotte Lennox’s Lady’s Museum (1760–1) 1 A01 Kelly J. Plante Kelly J. Plante 40 01070mq45 Wayne State University Kelly J. Plante, PhD (Wayne State University), specialises in long-eighteenth-century transatlantic literature and feminist digital/ public humanities. Her dissertation, ‘Death Writing: Gender and Necropolitics in the Atlantic World (1660–1840),’ received the 2024 Bibliographical Society of America (BSA) William L. Mitchell Prize for scholarship on British serials. She currently serves as Managing Editor for ABO: Interactive Journal for Women in the Arts (1640– 1830), Associate Reader for the Michigan Quarterly Review and, with Karenza Sutton-Bennett, PhD, as Co-Editor for the Lady’s Museum Project (ladysmuseum.com, 2021–present). She has served as Managing Editor for Criticism: A Quarterly for Literature and the Arts (2021–3), Co-Chair for the American Society of Eighteenth- Century Studies Digital Humanities Caucus, Project Manager for the Warrior Women Project (s.wayne.edu/warriorwomen, 2020–1), Co-General Editor for The Poetry of Gertrude More: Piety and Politics in a Benedictine Convent (s.wayne.edu/gertrudemore, 2020–1), and as a Detroit-area journalist, writer/editor, and publisher. Her writing has appeared or is forthcoming in Creative Nonfiction Magazine, ABO, Eighteenth-Century Fiction, The Eighteenth Century: Theory and Interpretation, and Early Modern Women: An Interdisciplinary Journal. 2 A01 21 000900025531136X Karenza Sutton-Bennett Karenza Sutton-Bennett 40 03c4mmv16 University of Ottawa Karenza Sutton-Bennett, University of Ottawa, Canada, completed her dissertation in 2022. It was titled ‘The Female Guise: the Untold Story of Female Education in English Periodicals’. Her research focuses on textual and visual representations of women learning in periodicals. Her research interests include history of education, xxviii Digital editing and publishing in the twenty-first century cultural studies, and women’s writing. Karenza’s publications include ‘Teaching the Lady’s Museum and Sophia: Imperialism, Feminism, and Beyond’, co-written with Susan Carlile in Aphra Behn Online: Interactive Journal for Women in the Arts (1640–1830), and ‘Intellect versus Politeness: Charlotte Lennox and Women’s Minds’ in Eighteenth-Century Fiction. She is the co-editor of The Lady’s Museum Project with Kelly J. Plante, PhD. In 2023, the edition won the ASECS Women’s Caucus Editing and Translation Fellowship. Through LMP she has guest-lectured in several classrooms in Canada and the United States. When not researching or teaching, she works at Ontario Professional Planners Institute as Senior Manager of Education and Events where she develops their continuing education curriculum and annual conference. 01 eng 03 00 The question of how digital scholarly editing and publishing can have an impact beyond academia has been widely debated in the digital humanities and literary/cultural studies fields. Kate Ozment in “Rationale for Feminist Bibliography” argues the field of feminist bibliography is “continuing work on women’s lives and labor by providing tools for feminist scholars to use in their work, while simultaneously building a framework that allows such work to flourish” (151). Tonya Howe has posited three interrelated areas for “Intersectional Futures in Digital History”: “theorizing the feminized labor of digital recovery, editing, and textual preparation,” “offering thoughtful and feminist approaches to digital pedagogy that are specific to the work we do in the period,” and “critically assessing the absences in existing digital projects'' (2). We build on Ozment’s and Howe’s visions for an intersectional future(s) in our digital scholarly editing project, The Lady’s Museum Project, which aims for a public readership beyond the academy to broadly publicize women writers’ contributions to the developments in education and citizenship for all genders and classes throughout the long eighteenth century. Our project continues the work of Jennie Batchelor and Manushag N. Powell’s Women’s Periodicals and Print Culture in Britain, 1690-1820s (2018)—the first comprehensive study of women’s periodicals in the eighteenth-century—by giving open-access to Charlotte Lennox’s periodical, The Lady’s Museum (1760-61). We advocate for centering the previously forgotten labor of early modern women writers then, and DH coworkers now, highlighting their importance and continuing impact for a present-day specialist and non-specialist, public audience. In this essay, we present the theory and praxis governing the Lady’s Museum Project to show how a digital-scholarly editing project can challenge the structural logics of print by creating a user-driven reading experience and social edition rather than a traditional, linear-based edition. We discuss the project’s focus on audiobook and social annotation functionalities in contrast to traditional scholarly publishing to reveal the importance of an intersectional-feminist approach for future editing projects. In framing our project within intersectionality, which, rooted in civic justice, transcends multiple academic disciplines, we strive to: reveal the feminized labor of digital recovery; use ethical means to represent multiply marginalized persons; capture the historical, oppressive structures in which The Lady’s Museum appeared in its context of eighteenth-century British imperialism; and, through consensus decision-making processes and implementing user feedback, create sortable categories and keywords that spotlight system-centered complexities. We argue that digital scholarly editing and publishing can have an impact beyond academia by recovering the textual authority of women writers such as Charlotte Lennox and supplying a basis for a public audience to engage with her work. In conclusion, this essay, by closely examining how marginalized women writers and texts had a pivotal impact on the foundational blocks of modern western culture, simultaneously shines new light on the benefits of aligning intersectional feminism with public-facing, transdisciplinary projects. 30 00 The question of how digital scholarly editing and publishing can have an impact beyond academia has been widely debated in the digital humanities and literary/cultural studies fields. Kate Ozment in “Rationale for Feminist Bibliography” argues the field of feminist bibliography is “continuing work on women’s lives and labor by providing tools for feminist scholars to use in their work, while simultaneously building a framework that allows such work to flourish” (151). Tonya Howe has posited three interrelated areas for “Intersectional Futures in Digital History”: “theorizing the feminized labor of digital recovery, editing, and textual preparation,” “offering thoughtful and feminist approaches to digital pedagogy that are specific to the work we do in the period,” and “critically assessing the absences in existing digital projects'' (2). We build on Ozment’s and Howe’s visions for an intersectional future(s) in our digital scholarly editing project, The Lady’s Museum Project, which aims for a public readership beyond the academy to broadly publicize women writers’ contributions to the developments in education and citizenship for all genders and classes throughout the long eighteenth century. Our project continues the work of Jennie Batchelor and Manushag N. Powell’s Women’s Periodicals and Print Culture in Britain, 1690-1820s (2018)—the first comprehensive study of women’s periodicals in the eighteenth-century—by giving open-access to Charlotte Lennox’s periodical, The Lady’s Museum (1760-61). We advocate for centering the previously forgotten labor of early modern women writers then, and DH coworkers now, highlighting their importance and continuing impact for a present-day specialist and non-specialist, public audience. In this essay, we present the theory and praxis governing the Lady’s Museum Project to show how a digital-scholarly editing project can challenge the structural logics of print by creating a user-driven reading experience and social edition rather than a traditional, linear-based edition. We discuss the project’s focus on audiobook and social annotation functionalities in contrast to traditional scholarly publishing to reveal the importance of an intersectional-feminist approach for future editing projects. In framing our project within intersectionality, which, rooted in civic justice, transcends multiple academic disciplines, we strive to: reveal the feminized labor of digital recovery; use ethical means to represent multiply marginalized persons; capture the historical, oppressive structures in which The Lady’s Museum appeared in its context of eighteenth-century British imperialism; and, through consensus decision-making processes and implementing user feedback, create sortable categories and keywords that spotlight system-centered complexities. We argue that digital scholarly editing and publishing can have an impact beyond academia by recovering the textual authority of women writers such as Charlotte Lennox and supplying a basis for a public audience to engage with her work. In conclusion, this essay, by closely examining how marginalized women writers and texts had a pivotal impact on the foundational blocks of modern western culture, simultaneously shines new light on the benefits of aligning intersectional feminism with public-facing, transdisciplinary projects. 20 00 Open Access Kelly J. Plante and Karenza Sutton-Bennett 22 03 06 10.62637/sup.GHST9020.c Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Conclusion The future of digital editing and publishing 1 A01 21 0000000242149933 James O'Sullivan James O'Sullivan 40 03265fv13 University College Cork James O’Sullivan lectures in the Department of Digital Humanities at University College Cork, where he is Director of Research for the School of English and Digital Humanities, as well as a member of the Research and Innovation Committee for the College Arts, Celtic Studies and Social Sciences. He is a member of the board of the Future Humanities Institute, for which he leads the Digital Cultures, New Media, and Cultural Analytics research cluster. He is the author of 'Towards a Digital Poetics' (Palgrave Macmillan 2019). James has edited several collections of scholarly essays, including 'The Bloomsbury Handbook to the Digital Humanities' (Bloomsbury 2023) and 'Technology in Irish Literature and Culture' (Cambridge University Press 2023). He is the Principal Investigator (Ireland) on 'C21 Editions: Editing and Publishing in the Digital Age', funded under the UK-Ireland Collaboration in the Digital Humanities. See www.jamesosullivan.org for more on his work. 2 B01 21 000000024441450X Sophie Whittle Sophie Whittle 40 05krs5044 University of Sheffield Sophie Whittle is a Research Associate on 'C21 Editions: Editing and Publishing in the Digital Age' project, responsible for developing a prototype online teaching edition of Geoffrey Chaucer’s Pardoner’s Prologue and Tale using machine assisted methods. Sophie has taught on modules in the history of English, historical pragmatics, research methods and syntax. She has co-ordinated interdisciplinary workshops on centring anti-racist research in the linguistics curric-ulum, inviting speakers from across the globe to present their research on the pragmatics of postcolonial communities, language and culture sharing and human rights, and has since become a member of the Linguistic Association of Great Britain’s racial justice subcommittee. She is also an organiser at the Sheffield Feminist Archive, and has recently contributed to the creation of a digital archive named 'Women in Lockdown', a project that houses women’s stories and experiences of the pandemic via oral history, testimony, diary entries and artwork submissions. 01 eng 20 00 Open Access James O'Sullivan and Sophie Whittle 01 URL https://www.sup.ac.uk/ Scottish Universities Press 01 Scottish Universities Press 01 Publisher's website: home page https://www.sup.ac.uk/ 02 Publisher's website: webpage for this title https://books.sup.ac.uk/sup/catalog/book/sup-9781917341073 16 40 0505m1554 32 10.13039/501100007818 Arts and Humanities Research Council (AHRC) 01 projectname C21 Editions: Editing and Publishing in the Digital Age 01 projectshortname C21 Editions 01 grantnumber AH/W001489/1 04 01 20250429 James O’Sullivan, Michael Pidd, Sophie Whittle, Bridgette Wessels, Michael Kurzmeier and Órla Murphy 02 WORLD 06 15 9781917341059 03 9781917341059 06 15 9781917341073 03 9781917341073 06 15 9781917341066 03 9781917341066 WORLD 09 Scottish Universities Press 02 Publisher's website: webpage for this product https://books.sup.ac.uk/sup/catalog/book/sup-9781917341073 20 08 20250429 02 30.00 GBP WORLD urn:uuid:d72648fa-56fd-4734-b85c-e246660a8b9f 03 01 01 thoth-work-id urn:uuid:d99764cf-2d40-4722-8cea-ff791e822633 01 thoth-publication-id urn:uuid:d72648fa-56fd-4734-b85c-e246660a8b9f 15 9781917341059 03 9781917341059 06 10.62637/sup.GHST9020 00 BB 10 01 234 mm 01 23.4 cm 01 9.21 in 02 156 mm 02 15.6 cm 02 6.14 in 03 29 mm 03 2.9 cm 03 1.14 in 08 804 gr 08 28.3603 oz Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ 01 01 Digital editing and publishing in the twenty-first century 1 B01 21 0000000242149933 James O'Sullivan James O'Sullivan 40 03265fv13 University College Cork James O’Sullivan lectures in the Department of Digital Humanities at University College Cork, where he is Director of Research for the School of English and Digital Humanities, as well as a member of the Research and Innovation Committee for the College Arts, Celtic Studies and Social Sciences. He is a member of the board of the Future Humanities Institute, for which he leads the Digital Cultures, New Media, and Cultural Analytics research cluster. He is the author of 'Towards a Digital Poetics' (Palgrave Macmillan 2019). James has edited several collections of scholarly essays, including 'The Bloomsbury Handbook to the Digital Humanities' (Bloomsbury 2023) and 'Technology in Irish Literature and Culture' (Cambridge University Press 2023). He is the Principal Investigator (Ireland) on 'C21 Editions: Editing and Publishing in the Digital Age', funded under the UK-Ireland Collaboration in the Digital Humanities. See www.jamesosullivan.org for more on his work. 2 B01 21 0000000221323410 Michael Pidd Michael Pidd 40 05krs5044 University of Sheffield Michael Pidd is Director of the Digital Humanities Institute at the University of Sheffield. He has nearly 30 years of experience in developing, managing and delivering large collaborative research projects and technology R&D in the humanities and heritage subject domains. During that time the DHI has been the technical partner in over 120 national and international projects with over 100 clients. He is the Principal Investigator (UK) on 'C21 Editions: Editing and Publishing in the Digital Age', funded under the UK-Ireland Collaboration in the Digital Humanities. Michael was Principal Investigator on the following projects: 'Connecting Shakespeare' (HEIF), Dewdrop (Jisc), 'Reinventing Local Public Libraries' (HEIF), and 'Manuscripts Online' (Jisc); as well as Co-Investigator on 'Intoxicants and Early Modernity' (ESRC/AHRC), 'Linguistic DNA' (AHRC), 'Beyond the Multiplex' (AHRC) and 'Ways of Being in the Digital Age' (ESRC). He has been the technical lead on a wide number of projects, such as 'Digital Panopticon' (AHRC). 3 B01 21 000000024441450X Sophie Whittle Sophie Whittle 40 05krs5044 University of Sheffield Sophie Whittle is a Research Associate on 'C21 Editions: Editing and Publishing in the Digital Age' project, responsible for developing a prototype online teaching edition of Geoffrey Chaucer’s Pardoner’s Prologue and Tale using machine assisted methods. Sophie has taught on modules in the history of English, historical pragmatics, research methods and syntax. She has co-ordinated interdisciplinary workshops on centring anti-racist research in the linguistics curric-ulum, inviting speakers from across the globe to present their research on the pragmatics of postcolonial communities, language and culture sharing and human rights, and has since become a member of the Linguistic Association of Great Britain’s racial justice subcommittee. She is also an organiser at the Sheffield Feminist Archive, and has recently contributed to the creation of a digital archive named 'Women in Lockdown', a project that houses women’s stories and experiences of the pandemic via oral history, testimony, diary entries and artwork submissions. 4 B01 21 0000000227942116 Bridgette Wessels Bridgette Wessels 40 00vtgdb53 University of Glasgow Bridgette Wessels is Professor of Sociology and Social Inequalities at the University of Glasgow, UK. Her research focuses on the development and use of digital technology and services in social and cultural life. This includes digital services and communication in the public sphere, everyday life and civic life, social and digital inequalities, as well as specific areas such as telehealth, mobile communication and privacy in digital communication. She is co-lead of the ESRC’s Productivity Institute’s Scottish Forum, as well as a founding member of the Digital Technology and Social Change hub of the European University Alliance CIVIS network. She has a strong track record of research funding from UKRI and the EU, as well as other research foundations. Bridgette is a Co-Investigator on 'C21 Editions: Editing and Publishing in the Digital Age', funded under the UK-Ireland Collaboration in the Digital Humanities. 5 B01 21 0000000349255197 Michael Kurzmeier Michael Kurzmeier Humanities Institute, University College Dublin Michael Kurzmeier is Postdoctoral Research Fellow on the 'C21 Editions: Editing and Publishing in the Digital Age' project. His work revolves around the intersections of technology and society. His IRC-funded PhD thesis, 'Political Expression in Web Defacements', investigated political expression through hacking and introduces novel methods for retrieval and analysis of this special kind of archived web material. Michael is a chair of the research methods work group at the Aarhus-led Web ARChive studies network, researching web domains and events (WARCnet), as well as one of the founders of the Engaging with Web Archives (EWA) conference, Ireland’s first dedicated web archiving conference. 6 B01 21 0000000215509761 Órla Murphy Órla Murphy 40 03265fv13 University College Cork Órla Murphy is Head of the School of English and Digital Humanities, University College Cork. Her EU international leadership as service roles include National Co-ordinator of the Digital Research Infrastructure for the Arts and Humanities, National Representative and vice chair on the Scientific Committee of CoST-EU, Cooperation in Science and Technology and National Representative on the Social Science and Humanities Strategy Working Group of the European Strategy Forum on Research Infrastructures. Nationally, she is a board member of the Digital Repository of Ireland and co-chair of The Arts and Culture in Education Research Repository. Órla is a Co-Investigator on 'C21 Editions: Editing and Publishing in the Digital Age', funded under the UK-Ireland Collaboration in the Digital Humanities. 01 eng 00 448 03 09 14 10 COM014000 93 UXA 93 DSB 10 LIT000000 20 digital scholarly editing; digital publishing; digital editing; digital editions; digital humanities; communications; textual scholarship; literary studies; digital literary studies 01 06 02 00 The craft of scholarly editing is once more facing into a time of upheaval. The increasingly digital nature of cultural and knowledge production means that textual scholars, editors, and publishers need to further reimagine the collective craft of edition making. This twenty chapter volume contributes to such reimagining by offering a series 03 00 Despite recent calls to explore the full potential of digital text, digital scholarly editing and publishing remain rooted in the cultural and structural logics of print. This volume provides a wide range of perspectives on the current state and future of the field in an effort to further that dialogue, and to encourage continued exploration of how we make and share knowledge and meaning in the digital age. Digital editing and publishing in the twenty-first century brings together twenty chapters that cover practical design processes and conceptual approaches to editing born-digital material. The collection also engages with timely, important, and often-neglected topics, including accessibility, artificial intelligence, queer approaches to editing, and the data edition. By recognising the valuable insights and knowledge that can be gained from scholarly digital editions and by understanding the opportunities of their creative use, this volume emphasises how they can be made more widely available and relevant in various contexts beyond academia. 30 00 Despite recent calls to explore the full potential of digital text, digital scholarly editing and publishing remain rooted in the cultural and structural logics of print. This volume provides a wide range of perspectives on the current state and future of the field in an effort to further that dialogue, and to encourage continued exploration of how we make and share knowledge and meaning in the digital age. Digital editing and publishing in the twenty-first century brings together twenty chapters that cover practical design processes and conceptual approaches to editing born-digital material. The collection also engages with timely, important, and often-neglected topics, including accessibility, artificial intelligence, queer approaches to editing, and the data edition. By recognising the valuable insights and knowledge that can be gained from scholarly digital editions and by understanding the opportunities of their creative use, this volume emphasises how they can be made more widely available and relevant in various contexts beyond academia. 20 00 Open Access 01 00 03 02 https://books.sup.ac.uk/public/presses/1/submission_4_4_coverImage_en.jpg 1 03 06 10.62637/sup.GHST9020.i Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Introduction Digital editing and publishing in the twenty-first century 1 A01 21 0000000242149933 James O'Sullivan James O'Sullivan 40 03265fv13 University College Cork James O’Sullivan lectures in the Department of Digital Humanities at University College Cork, where he is Director of Research for the School of English & Digital Humanities, as well as a member of the Research & Innovation Committee for the College of Arts, Celtic Studies & Social Sciences. He is a member of the board of the Future Humanities Institute, for which he leads the Digital Cultures, New Media, & Cultural Analytics research cluster. He is the author of 'Towards a Digital Poetics' (Palgrave Macmillan 2019). James has edited several collections of scholarly essays, including 'The Bloomsbury Handbook to the Digital Humanities' (Bloomsbury 2023) and 'Technology in Irish Literature and Culture' (Cambridge University Press 2023). He is the Principal Investigator (Ireland) on 'C21 Editions: Editing and Publishing in the Digital Age', funded under the UK-Ireland Collaboration in the Digital Humanities. See www.jamesosullivan.org for more on his work. 01 eng 20 00 Open Access James O'Sullivan 2 03 06 10.62637/sup.GHST9020.1 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 ‘The past went that-a-way’ editing in the rearview mirror? 1 A01 21 0000000164741068 Andrew Prescott Andrew Prescott 40 00vtgdb53 University of Glasgow Andrew Prescott is Honorary Senior Research Fellow in the School of Critical Studies at the University of Glasgow. He was formerly Professor of Digital Humanities at the University of Glasgow and was from 2012 to 2019 AHRC Theme Leader Fellow for the AHRC ‘Digital Transformations’ theme. From 1979 to 2000 he was a curator of manuscripts at the British Library, where he worked on the Electronic Beowulf project. He has also worked in libraries and digital humanities units at the University of Sheffield, King’s College London and University of Wales Lampeter. 01 eng 03 00 Marshall McLuhan used the metaphor of the rearview mirror to describe one of the most common reactions to new technology. McLuhan argued that, confronted with technological innovation, we fall back on our past engagements with technology and ignore its new potential. In some ways, digital editing can be seen as one of the great success stories of the World Wide Web, but too often our understanding and implementation of the idea of an edition is shaped by our print experiences. We carry over practices which were shaped by the structure, cost and logistics of print production. Moreover, just as McLuhan suggested that we ignore what is heading towards the windscreen while we focus on the rearview mirror, our preoccupation with translating print practice into a digital environment means that we forget about the immense and increasingly pressing issues presented by the growth of born-digital information. The type of editorial methods derived from print practice will not cope with the vast scale of born-digital data or take full advantage of the metadata and other information associated with it. These issues are considered with references to such cases as email archives, social media and Wikileaks data. 30 00 Marshall McLuhan used the metaphor of the rearview mirror to describe one of the most common reactions to new technology. McLuhan argued that, confronted with technological innovation, we fall back on our past engagements with technology and ignore its new potential. In some ways, digital editing can be seen as one of the great success stories of the World Wide Web, but too often our understanding and implementation of the idea of an edition is shaped by our print experiences. We carry over practices which were shaped by the structure, cost and logistics of print production. Moreover, just as McLuhan suggested that we ignore what is heading towards the windscreen while we focus on the rearview mirror, our preoccupation with translating print practice into a digital environment means that we forget about the immense and increasingly pressing issues presented by the growth of born-digital information. The type of editorial methods derived from print practice will not cope with the vast scale of born-digital data or take full advantage of the metadata and other information associated with it. These issues are considered with references to such cases as email archives, social media and Wikileaks data. 20 00 Open Access Andrew Prescott 3 03 06 10.62637/sup.GHST9020.2 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Who are we editing for? How digital publication changes the role of the scholarly edition 1 A01 21 0000000163183762 Cathy Moran Hajo Cathy Moran Hajo 40 03s2x9d90 Ramapo College Cathy Moran Hajo is the editor of the Jane Addams Papers Project at Ramapo College of New Jersey. She holds a PhD in History and a certificate in archival management from New York University. Before taking on the Addams Papers, she worked for over 25 years as the Associate Editor and Assistant Director of The Margaret Sanger Papers at New York University, helping edit the 'Margaret Sanger Papers Microfilm Edition', the 'Selected Papers of Margaret Sanger' and two digital publications. She is the author of 'Birth Control on Main Street: Organizing Clinics in the United States, 1916–1939' (2010). She has taught graduate courses in Digital History at NYU and William Paterson University, and co-taught workshops on digital editions at the Digital Humanities Summer Institute and the one-week Institute for Editing Historical Documents. She currently develops online course materials for eLaboratories on editing and digital history. She was the President of the Association for Documentary Editing from 2008 to 2009 and is a board member and archival director for the Mahwah Museum. 01 eng 03 00 Digital publication has changed the way that I think about scholarly editing, and it has done so largely in thinking about our audience. Having started my editing career working on a microfilm edition, then a four-volume print edition, and a small TEI-based digital edition with the Margaret Sanger Papers, I had a chance to start fresh in 2015 when I took over as editor of the long-running Jane Addams Papers. This was a project that had already published a large microfilm edition and index in the 1980s, and half of its planned six-volume print edition. Providing wide access to documents has always been my primary goal as an editor and as the tools have changed, it seems that the nature of our editions must change along with them. When we primarily published in book form and microfilm form, the focus was on scholars at the research institutions who purchased those products. As digital publication began to spread, paywalls for scholarly journals and some scholarly editions kept our audience in that same traditional grouping. But what happens when you open the edition up, and build it as a freely accessible website? How does the broadening of our audience change the way we edit our texts and the kinds of context we provide for our users? Should it? How does a broad general audience change the way that we transcribe documents, how should it impact the annotation policies that we apply to them? Our experiences with the Jane Addams Papers Digital Edition have shown us that digital editions reach far broader and far younger audiences than we expected. We anticipated that college students would make great use of the edition, as well as scholars and the general public. And they have. But we learned that teachers and students in K-12 are an untapped audience for scholarly editions, if only we meet them halfway. For us, that meant designing thematic guides to help students and their teachers use the digital edition for National History Day Projects, writing some lesson plans for middle-school teachers, and developing AP History assignments that use the Addams Papers to explore American history. The guides, teacher resources, and the documents they suggest are the most popular pages on our site, month after month, year after year. They tap into something that the searchable digital edition cannot do. Opening our editions up to the whole world via digital publication creates challenges and opportunities for editors. We have to think through how to make our documents accessible not just in terms of open access, but also in making them understandable to scholars, teachers, students, and the general public. 30 00 Digital publication has changed the way that I think about scholarly editing, and it has done so largely in thinking about our audience. Having started my editing career working on a microfilm edition, then a four-volume print edition, and a small TEI-based digital edition with the Margaret Sanger Papers, I had a chance to start fresh in 2015 when I took over as editor of the long-running Jane Addams Papers. This was a project that had already published a large microfilm edition and index in the 1980s, and half of its planned six-volume print edition. Providing wide access to documents has always been my primary goal as an editor and as the tools have changed, it seems that the nature of our editions must change along with them. When we primarily published in book form and microfilm form, the focus was on scholars at the research institutions who purchased those products. As digital publication began to spread, paywalls for scholarly journals and some scholarly editions kept our audience in that same traditional grouping. But what happens when you open the edition up, and build it as a freely accessible website? How does the broadening of our audience change the way we edit our texts and the kinds of context we provide for our users? Should it? How does a broad general audience change the way that we transcribe documents, how should it impact the annotation policies that we apply to them? Our experiences with the Jane Addams Papers Digital Edition have shown us that digital editions reach far broader and far younger audiences than we expected. We anticipated that college students would make great use of the edition, as well as scholars and the general public. And they have. But we learned that teachers and students in K-12 are an untapped audience for scholarly editions, if only we meet them halfway. For us, that meant designing thematic guides to help students and their teachers use the digital edition for National History Day Projects, writing some lesson plans for middle-school teachers, and developing AP History assignments that use the Addams Papers to explore American history. The guides, teacher resources, and the documents they suggest are the most popular pages on our site, month after month, year after year. They tap into something that the searchable digital edition cannot do. Opening our editions up to the whole world via digital publication creates challenges and opportunities for editors. We have to think through how to make our documents accessible not just in terms of open access, but also in making them understandable to scholars, teachers, students, and the general public. 20 00 Open Access Cathy Moran Hajo 4 03 06 10.62637/sup.GHST9020.3 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Digital scholarly editing and the crisis of knowledge technology 1 A01 21 0000000246724149 Helen Abbott Helen Abbott 40 03angcq70 University of Birmingham Helen Abbott is Professor of Modern Languages, specialising in nineteenth-century French poetry and music. Her research explores ways of writing about word–music relationships in poetic language, in critical theories, and using digital methodologies. Her particular focus is the work of (post-)romantic and symbolist poets, including Gautier, Baudelaire, Verlaine, Rimbaud, Villiers de l’Isle-Adam, andMallarmé. 2 A01 21 0000000178506886 Michelle Doran Michelle Doran 40 034d7ma87 Digital Repository of Ireland Dr Michelle Doran is Ireland’s National Open Research Coordinator. In this role, she coordinates the activities of the National Open Research Forum (NORF) and guides the delivery of Ireland’s National Action Plan for Open Research 2022–2030. She is a member of the Council for National Open Science Coordination (CoNOSC), represents Ireland as the National Point of Reference (NPR) for the Informal Commission Expert Group on Scientific Information and sits on the IReL Advisory Committee. Michelle’s background is in humanities research, programme management and digital humanities research projects. From 2020 to 2022 she served as Irish Principal Investigator of the UK–Ireland Digital Humanities Network. 3 A01 21 0000000199911637 Jennifer Edmond Jennifer Edmond 40 02tyrky19 Trinity College Dublin Jennifer Edmond is Professor in Digital Humanities at Trinity College Dublin, where she is co-director of the Trinity Center for Digital Humanities, Director of the MPhil in Digital Humanities and Culture and a funded Investigator of the SFI ADAPT Centre. Outside of Trinity, Jennifer served from 2017 to 2022 as a Member, and later President, of the Board of Directors of the pan-European research infrastructure for the arts and humanities, DARIAH-EU. She sits on numerous Scientific Advisory Committees, including the Governing Board of the European Association for Social Sciences and Humanities (2022–24) and the European Commission’s Open Science Policy Platform (OSPP, 2016–20). Over the course of the past 10 years, Jennifer has coordinated transnational, local or field-specific teams in a large number of significant inter- and transdisciplinary funded research projects, worth a total of almost €9m, including CENDARI (FP7), Europeana Cloud (FP7), NeDiMAH (ESF), PARTHENOS (H2020), KPLEX (H2020), PROVIDE-DH (CHIST-ERA/IRC) and the SPECTRESS network. 4 A01 21 0000000160779245 Rebecca Mitchell Rebecca Mitchell 40 03angcq70 University of Birmingham Rebecca Mitchell is Professor of Victorian Literature and Culture at the University of Birmingham (UK). She has published widely on Victorian fashion, print culture, realism, George Meredith and Oscar Wilde. Her work related to textual editing includes the anniversary edition of Meredith’s Modern Love and Poems of the English Roadside, co-edited with Criscillia Benford (Yale, 2012) and an unpublished manuscript of Wilde’s seminal essay, ‘The Decay of Lying’ (co-authored with Joseph Bristow, Review of English Studies, 2018); she is currently co-editing the final volumes of the Oxford English Texts edition of The Complete Works of Oscar Wilde. Other books on Victorian literature and culture include Victorian Lessons in Empathy and Difference (Ohio State UP, 2011); Oscar Wilde’s Chatterton: Literary History, Romanticism, and the Art of Forgery, co-authored with Joseph Bristow (Yale, 2015) and Fashioning the Victorians: A Critical Sourcebook (Bloomsbury, 2018). 5 A01 21 0000000195260718 Aengus Ward Aengus Ward 40 03angcq70 University of Birmingham Aengus Ward is Professor of Medieval Iberian Studies at the University of Birmingham. A specialist in medieval historiography, he is the editor of the Estoria de Espanna Digital – the first major digital critical edition of a work of medieval Castilian prose, as well as numerous other works on the theory and practice of editing, medieval historiography and manuscript studies. 01 eng 03 00 The affordances of the digital age have precipitated a crisis of authority. Whom do we trust? How do we prove ourselves trustworthy? The heuristics of authority, in particular at the information filtering and presentation layers, can be co-opted by actors able to manipulate them, and us. At the same time, social tolerance for uncertainty and complexity is low, to the extent that removing them has become a key success metric within both backend systems and user interface design. This rapid shifting of knowledge technologies, in particular as regards the manner in which sources convey their authority in the transition from their affordances as analogue to digital media (where unfiltered source availability is high and the visual languages of authority, from web design to ‘deep fakes,’ are easily appropriated), is an incomplete process that has muddied our ability to judge he signals of trustworthiness and credibility. These are problems democratic societies are struggling with on a fundamental level. Unfortunately, however, too often the solutions being proposed emerge from the same culture of software development that created the problems in the first place: as Pasquale describes it, ‘...authority is increasingly expressed algorithmically ... Silicon Valley and Wall Street tend to treat recommendations as purely technical problems. The values and prerogatives that the encoded rules enact are hidden within black boxes’ (Pasquale, 2015). Hiding the ‘encoded rules’ informing knowledge creation within ‘black boxes’ is precisely the kind of process the work of scholarly editors, in particular digital scholarly editors, has evolved over decades to avoid. Instead, this is an expertise that documents the complexities resulting from the work of filtering accounts, establishing authority, managing uncertainty, and documenting provenance. The clear link between the problems of information overload and technological overreach and the affordances of digital scholarly editorial expertise to “situate knowledges” (Haraway, 1988) is yet to be systematically explored, however. This chapter proposes a framework for negotiating trust and authority that exploits the affordances of digital scholarly editing by privileging the iterative rather than the definitive (McGann, 1996; Schreibman, 2013; Sahle, 2016; Broyles, 2020), the process rather than the product (Siemens et al., 2012; Pierazzo, 2014; Sahle, 2016; Doran, 2021), and the active, even radical role, of the editor, transparently acting as an active collaborator in the sensemaking process, rather than an ‘invisible hand’ (Siemens et al., 2012). It will draw together the long tradition of digital scholarly editing with the emerging subfield of critical digital humanities (see Hall, 2011; Liu, 2012; Berry, 2019) and address in particular the two key points of a) how we can explore and expand the current norms within analogue, digital and indeed hybrid scholarly editing processes toward a model that emphasises the constructed and consensual nature of knowledge, embraces the uncertainty, complexity and contextual dependency of cultural materials and makes knowledge claims and decision-making processes transparent; and b) how this model can be documented and expanded to become applicable in other kinds of human, machine and hybrid knowledge-making processes, in particular systems wielding algorithmic authority. References Berry, D. (2019) “Critical Digital Humanities.” Conditio Humana - Technology, Ai and Ethics (blog), January 29, 2019.Broyles, P.A. (2020) “Digital Editions and Version Numbering.” DHQ 14, no. 2, 2020. Doran, M. (2021) “Reflections on Digital Editions: From Humanities Computing to Digital Humanities, the Influence of Web 2.0 and the Impact of the Editorial Process.” Variants., 2021. Haraway, D. (1988) “Situated Knowledges, The Science Question in Feminism and the Privilege of Partial Perspective. Feminist Studies, vol 14.3, pp. 589-599. Hall, G. (2011) “The Digital Humanities Beyond Computing: A Postscript.” Culture Machine, 2011, 11. Liu, A. (2012) “Where Is Cultural Criticism in the Digital Humanities?” in Debates in the Digital Humanities. McGann, J. (1996) “Radiant Textuality.” Victorian Studies 39, no. 3 (Spring 1996): 379-390. Pasquale, F. (2015) The Black Box Society. Cambridge, Massachusetts: Harvard University Press.Pierazzo, E. (2014) “Digital Documentary Editions and the Others.” Scholarly Editing 35 Sahle, P. (2016) “What is a Scholarly Digital Edition?” Digital Scholarly Editing Theories and Practices, ed. M. J. Driscoll and E. Pierazzo. Open Book Publishers, 19-39. Schreibman, S. (2013) “Digital Scholarly Editing.” Literary Studies in the Digital Age MLA. Siemens, R. et al. (2012) “Towards Modeling the Social Edition.” Literary and Linguistic Computing 27, no. 4,445-461. 30 00 The affordances of the digital age have precipitated a crisis of authority. Whom do we trust? How do we prove ourselves trustworthy? The heuristics of authority, in particular at the information filtering and presentation layers, can be co-opted by actors able to manipulate them, and us. At the same time, social tolerance for uncertainty and complexity is low, to the extent that removing them has become a key success metric within both backend systems and user interface design. This rapid shifting of knowledge technologies, in particular as regards the manner in which sources convey their authority in the transition from their affordances as analogue to digital media (where unfiltered source availability is high and the visual languages of authority, from web design to ‘deep fakes,’ are easily appropriated), is an incomplete process that has muddied our ability to judge he signals of trustworthiness and credibility. These are problems democratic societies are struggling with on a fundamental level. Unfortunately, however, too often the solutions being proposed emerge from the same culture of software development that created the problems in the first place: as Pasquale describes it, ‘...authority is increasingly expressed algorithmically ... Silicon Valley and Wall Street tend to treat recommendations as purely technical problems. The values and prerogatives that the encoded rules enact are hidden within black boxes’ (Pasquale, 2015). Hiding the ‘encoded rules’ informing knowledge creation within ‘black boxes’ is precisely the kind of process the work of scholarly editors, in particular digital scholarly editors, has evolved over decades to avoid. Instead, this is an expertise that documents the complexities resulting from the work of filtering accounts, establishing authority, managing uncertainty, and documenting provenance. The clear link between the problems of information overload and technological overreach and the affordances of digital scholarly editorial expertise to “situate knowledges” (Haraway, 1988) is yet to be systematically explored, however. This chapter proposes a framework for negotiating trust and authority that exploits the affordances of digital scholarly editing by privileging the iterative rather than the definitive (McGann, 1996; Schreibman, 2013; Sahle, 2016; Broyles, 2020), the process rather than the product (Siemens et al., 2012; Pierazzo, 2014; Sahle, 2016; Doran, 2021), and the active, even radical role, of the editor, transparently acting as an active collaborator in the sensemaking process, rather than an ‘invisible hand’ (Siemens et al., 2012). It will draw together the long tradition of digital scholarly editing with the emerging subfield of critical digital humanities (see Hall, 2011; Liu, 2012; Berry, 2019) and address in particular the two key points of a) how we can explore and expand the current norms within analogue, digital and indeed hybrid scholarly editing processes toward a model that emphasises the constructed and consensual nature of knowledge, embraces the uncertainty, complexity and contextual dependency of cultural materials and makes knowledge claims and decision-making processes transparent; and b) how this model can be documented and expanded to become applicable in other kinds of human, machine and hybrid knowledge-making processes, in particular systems wielding algorithmic authority. References Berry, D. (2019) “Critical Digital Humanities.” Conditio Humana - Technology, Ai and Ethics (blog), January 29, 2019.Broyles, P.A. (2020) “Digital Editions and Version Numbering.” DHQ 14, no. 2, 2020. Doran, M. (2021) “Reflections on Digital Editions: From Humanities Computing to Digital Humanities, the Influence of Web 2.0 and the Impact of the Editorial Process.” Variants., 2021. Haraway, D. (1988) “Situated Knowledges, The Science Question in Feminism and the Privilege of Partial Perspective. Feminist Studies, vol 14.3, pp. 589-599. Hall, G. (2011) “The Digital Humanities Beyond Computing: A Postscript.” Culture Machine, 2011, 11. Liu, A. (2012) “Where Is Cultural Criticism in the Digital Humanities?” in Debates in the Digital Humanities. McGann, J. (1996) “Radiant Textuality.” Victorian Studies 39, no. 3 (Spring 1996): 379-390. Pasquale, F. (2015) The Black Box Society. Cambridge, Massachusetts: Harvard University Press.Pierazzo, E. (2014) “Digital Documentary Editions and the Others.” Scholarly Editing 35 Sahle, P. (2016) “What is a Scholarly Digital Edition?” Digital Scholarly Editing Theories and Practices, ed. M. J. Driscoll and E. Pierazzo. Open Book Publishers, 19-39. Schreibman, S. (2013) “Digital Scholarly Editing.” Literary Studies in the Digital Age MLA. Siemens, R. et al. (2012) “Towards Modeling the Social Edition.” Literary and Linguistic Computing 27, no. 4,445-461. 20 00 Open Access Helen Abbott, Michelle Doran, Jennifer Edmond, Rebecca Mitchell and Aengus Ward 5 03 06 10.62637/sup.GHST9020.4 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Against infrastructure global approaches to digital scholarly editing 1 A01 21 000000033094139X Raffaele Viglianti Raffaele Viglianti 40 01r0c1p88 University of Maryland Raffaele Viglianti is a Research Programmer at MITH. He holds a PhD in Digital Musicology from the Department of Digital Humanities at King’s College London, where he also contributed to several major digitisation and text encoding projects. Raff’s research is grounded in digital humanities and textual scholarship, where ‘text’ includes musical notation. More specifically, he seeks to advance textual scholarship by finding new and efficient practices to coherently and digitally model and edit (publish or make available) text and music notation sources as digital scholarly resources. In adopting and developing new research methods, he deliberately takes a multicultural perspective by engaging with multilingual content, facing the diverse realities of the constraints in accessing and creating digital scholarly content, and by adopting a global approach to teaching and learning. Raff is currently an elected member of the Text Encoding Initiative technical council and the Technical Editor of the Scholarly Editing journal. 2 A01 21 0000000289975415 Gimena del Rio Riande Gimena del Rio Riande 40 03cqe8w59 National Scientific and Technical Research Council Gimena del Rio Riande is Researcher at the Instituto de Investigaciones Bibliográficas y Crítica Textual of the National Scientific and Technical Research Council (CONICET, Buenos Aires, Argentina) and Professor at the University of Buenos Aires and Universidad del Salvador. She holds an MA and PhD in Romance Philology (Universidad Complutense de Madrid), and her main academic interests deal with Digital Scholarly Editing, Digital Humanities, and Open Research Practices in the Humanities. She serves as Ambassador of the Directory of Open Access Journals (DOAJ) in Latin America, coordinates the Laboratorio de Humanidades Digitales (HD LAB, CONICET) and edits the first Hispanic Digital Humanities journal, the Revista de Humanidades Digitales (RHD). She also serves as president at Asociación Argentina de Humanidades Digitales (AAHD) and member of the Board of Directors of the Text Encoding Initiative (TEI). 01 eng 03 00 Digital scholarly editions are one of the oldest forms of output of digital humanities research projects, and arguably one of the most prolific. Like all digital humanities projects that result in the creation of digital output—typically a website—digital editions are not immune to what Smithies et al. call the 'digital entropy of software and digital infrastructure'. This has a cost that grows with the complexity of the system needed to publish digital editions and this cost is often not only financial; it may also include the ability to access institutional or public infrastructure. The principles of minimal computing have informed new ways of undertaking digital humanities work, focused on use of open technologies and ownership of data and code. The latter in particular entails independence from institutional infrastructure and the network of surveillance that is a feature of many commercial platforms of the modern web. This chapter discusses the current extent of minimal computing as an influence on digital editing, and which aspects of the concept have taken stronger root. Specifically, we will consider how, when applied to digital publishing, minimal computing principles intersect with a recent resurgence of static websites and related technologies. Deriving static sites from an end-of-life project is the clear choice when access to infrastructure becomes limited. What would it take to adopt them from the start to avoid infrastructural constraints? Through this discussion, the chapter articulates the need for a low-infrastructure future of the "global” digital edition. 30 00 Digital scholarly editions are one of the oldest forms of output of digital humanities research projects, and arguably one of the most prolific. Like all digital humanities projects that result in the creation of digital output—typically a website—digital editions are not immune to what Smithies et al. call the 'digital entropy of software and digital infrastructure'. This has a cost that grows with the complexity of the system needed to publish digital editions and this cost is often not only financial; it may also include the ability to access institutional or public infrastructure. The principles of minimal computing have informed new ways of undertaking digital humanities work, focused on use of open technologies and ownership of data and code. The latter in particular entails independence from institutional infrastructure and the network of surveillance that is a feature of many commercial platforms of the modern web. This chapter discusses the current extent of minimal computing as an influence on digital editing, and which aspects of the concept have taken stronger root. Specifically, we will consider how, when applied to digital publishing, minimal computing principles intersect with a recent resurgence of static websites and related technologies. Deriving static sites from an end-of-life project is the clear choice when access to infrastructure becomes limited. What would it take to adopt them from the start to avoid infrastructural constraints? Through this discussion, the chapter articulates the need for a low-infrastructure future of the "global” digital edition. 20 00 Open Access Raffaele Viglianti and Gimena del Rio Riande 6 03 06 10.62637/sup.GHST9020.5 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Building accessibility platforms and methods for the development of digital editions and projects 1 A01 Erica Cavanaugh Erica Cavanaugh 40 0153tk833 University of Virginia Erica F. Cavanaugh is Project Developer at the Center for Digital Editing and a Research Editor at the Washington Papers. Since 2013, Cavanaugh has assisted with all aspects of technical and editorial work on the digital editions of the Washington Papers, including the Papers of George Washington Digital Edition and the George Washington Financial Papers Project. She is also responsible for the development of several Drupal-based content management systems, ranging from complex editorial production and publication platforms to exhibit-focused projects concentrated on metadata collection, searchability, and display. She also has experience working with XML, CSS, HTML, PHP, and JavaScript. She has taught courses at the University of Victoria’s Digital Humanities Summer Institute and serves on the advisory board for Scholarly Editing: The Annual of the Association for Documentary Editing. Over the last few years, Cavanaugh has worked with the technical team of the University of Virginia Digital Publishing Cooperative to develop a Drupal-based module for scholarly editions. 2 A01 21 0000000272276052 Jennifer Stertzer Jennifer Stertzer 40 0153tk833 University of Virginia Jennifer E. Stertzer is Director of the Center for Digital Editing and Director of the Washington Papers. With the Papers of George Washington since 2000, Stertzer has served as project manager of the Papers of George Washington Digital Edition, overseeing the conversion of legacy print volumes into a digital edition, developed Word-to-XML workflows and is editor of the Papers of George Washington Financial Papers project. At the CDE, Stertzer consults on project conceptualisation, technical solutions, workflow, editorial methodologies and engagement strategies. She teaches Conceptualising and Creating Digital Editions at the University of Victoria’s Digital Humanities Summer Institute, serves on the faculty of the Institute for the Editing of Historical Documents, and is past president of the Association for Documentary Editing. For the past few years, Stertzer has led the University of Virginia Digital Publishing Cooperative as they work to create a Drupal-based module for scholarly editions. 01 eng 03 00 This chapter discusses the work of the University of Virginia Digital Publishing Cooperative, a grant-funded project with the goal of building the necessary infrastructure to facilitate and support the conceptualization, development, publication, discovery, preservation, and sustainability of digital editions and projects. Major components of this work include evaluating the potential communities of users, understanding how intended audiences might use editions, and how these things affect editorial decisions and publication goals. Most current editorial projects, including those that have a print existence, are working towards creating digital editions as well as other types of digital outputs. The digital edition—a collection of historical documents that have been transcribed and edited following a consistent, transparent, and well-informed editorial methodology, and then published online—achieves the primary goal of a scholarly edition: to make historical documents accessible, both textually and intellectually. Additionally, some editors may wish to present their findings in ways we call digital derivatives. These can include early access to their document catalogs, initial transcriptions, or metadata (document, person, place), as well as blog posts, articles, data visualizations, presentations, and so on. These digital derivatives can make available the outputs of editorial work throughout the process, thereby making historical and intellectual content accessible before, during, and after an edition’s scholarly editing and publication. The term digital projects describes the web environment in which most digital editions and their derivatives exist. These ecosystems assemble the range of intellectual content created by a project, including blog posts, articles, data visualizations, timelines, presentations, and so on that can be available alongside more traditional outputs. These opportunities provide editors with a variety of approaches to make content accessible and intelligible, and appeal to large, diverse audiences. Another component of the work of the UVA-DPC has been to develop a platform that enables editors to easily build digital editions while also allowing them to create and integrate various digital derivatives, thus reducing a major technological barrier and providing a way for more projects to publish digitally. Furthermore, this editorial platform includes both built-in standardized metadata (encouraging interoperability, reusability, and sustainability) as well as the flexibility to capture project-specific information, ensuring editors can develop content-driven components. End users of the UVA-DPC digital projects could range from scholars who are interested in transcriptions, annotations, and indexes presented in ways that align with traditional print edition to audiences who might be more comfortable exploring content by means of data visualizations and image-based icons. These users could also be those interested in large datasets from multiple projects for the purposes of deep textual and data analysis. At the core, however, is a platform that contains well-structured content that enables variety in publication outputs. 30 00 This chapter discusses the work of the University of Virginia Digital Publishing Cooperative, a grant-funded project with the goal of building the necessary infrastructure to facilitate and support the conceptualization, development, publication, discovery, preservation, and sustainability of digital editions and projects. Major components of this work include evaluating the potential communities of users, understanding how intended audiences might use editions, and how these things affect editorial decisions and publication goals. Most current editorial projects, including those that have a print existence, are working towards creating digital editions as well as other types of digital outputs. The digital edition—a collection of historical documents that have been transcribed and edited following a consistent, transparent, and well-informed editorial methodology, and then published online—achieves the primary goal of a scholarly edition: to make historical documents accessible, both textually and intellectually. Additionally, some editors may wish to present their findings in ways we call digital derivatives. These can include early access to their document catalogs, initial transcriptions, or metadata (document, person, place), as well as blog posts, articles, data visualizations, presentations, and so on. These digital derivatives can make available the outputs of editorial work throughout the process, thereby making historical and intellectual content accessible before, during, and after an edition’s scholarly editing and publication. The term digital projects describes the web environment in which most digital editions and their derivatives exist. These ecosystems assemble the range of intellectual content created by a project, including blog posts, articles, data visualizations, timelines, presentations, and so on that can be available alongside more traditional outputs. These opportunities provide editors with a variety of approaches to make content accessible and intelligible, and appeal to large, diverse audiences. Another component of the work of the UVA-DPC has been to develop a platform that enables editors to easily build digital editions while also allowing them to create and integrate various digital derivatives, thus reducing a major technological barrier and providing a way for more projects to publish digitally. Furthermore, this editorial platform includes both built-in standardized metadata (encouraging interoperability, reusability, and sustainability) as well as the flexibility to capture project-specific information, ensuring editors can develop content-driven components. End users of the UVA-DPC digital projects could range from scholars who are interested in transcriptions, annotations, and indexes presented in ways that align with traditional print edition to audiences who might be more comfortable exploring content by means of data visualizations and image-based icons. These users could also be those interested in large datasets from multiple projects for the purposes of deep textual and data analysis. At the core, however, is a platform that contains well-structured content that enables variety in publication outputs. 20 00 Open Access Erica Cavanaugh and Jennifer Stertzer 7 03 06 10.62637/sup.GHST9020.6 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Browse, search and serendipity building approachable digital editions 1 A01 Alison Chapman Alison Chapman 40 04s5mat29 University of Victoria Alison Chapman is a Fellow of the Royal Society of Canada and Professor of English at the University of Victoria, Canada, where she specialises in nineteenth-century literature and culture and digital humanities. She is the author of Networking the Nation: British and American Women Poets and Italy, 1840–1870 (2015) and The Afterlife of Christina Rossetti (2000), the co-author of A Rossetti Family Chronology (2007), and the editor or co-editor of several collections of essays, including A Companion to Victorian Poetry (2002) and Victorian Women Poets (2000). Currently she is the Principal Investigator of the SSHRC-funded Digital Victorian Periodical Poetry Project (dvpp.uvic.ca). 2 A01 21 0000000239441116 Martin Holmes Martin Holmes 40 04s5mat29 University of Victoria Martin Holmes is a programmer in the University of Victoria Humanities Computing and Media Centre specialising in XML technologies and digital editions. He is the lead programmer on several large digital edition projects including the Map of Early Modern London (MoEML, mapoflondon.uvic.ca) and Digital Victorian Periodical Poetry (dvpp.uvic.ca) and is part of the Project Endings team (endings.uvic.ca). He served on the TEI Technical Council from 2010 to 2015 and was managing editor of the Journal of the Text Encoding Initiative from 2013 to 2015. 3 A01 21 000900002629368X Kaitlyn Fralick Kaitlyn Fralick 40 04s5mat29 University of Victoria Kaitlyn Fralick is a PhD candidate in the Department of English Language and Literature at Queen’s University in Ontario, Canada. She has worked as a graduate research assistant on the Digital Victorian Periodical Poetry Project (DVPP) since 2018, and she has performed various roles for the project, such as metadata indexer, markup editor and researcher. To date, she has contributed more than 1,000 encoded poems to DVPP. Kaitlyn’s research and teaching interests are rooted in nineteenth-century literature and culture, the Victorian periodical press and the digital humanities. She completed her MA in English (with a concentration on nineteenth-century studies) at the University of Victoria and her Hons. BA in English (with distinction) at Toronto Metropolitan University (formerly Ryerson University). 4 A01 21 0000000176361580 Kailey Fukushima Kailey Fukushima 40 028d12s45 University Canada West Kailey Fukushima is an information professional based in Vancouver, Canada. She holds a Master of Archival Studies and a Master of Library and Information Studies (University of British Columbia, 2023), as well as a Master of Arts in English (University of Victoria, 2020). Kailey’s primary research interests include digitisation and digital collections development, digital humanities research, scholarly communications and user-centred design. She currently works for InterPARES Trust AI, where she contributes to a study on the potential role(s) for artificial intelligence in the digitisation of archives and documentary heritage materials. 5 A01 21 0000000170117042 Narges Montakhabi Bakhtvar Narges Montakhabi Bakhtvar 40 04s5mat29 University of Victoria Narges Montakhabi Bakhtvar is a doctoral candidate in Theatre Studies at the University of Victoria, Canada. Holding another PhD in English Language and Literature, her research scope covers comparative literature, contemporary Canadian theatre, politics of gender and diasporic subjectivity. Currently, she is working on how different political inscriptions on the body, including the dichotomy between body-at-home and body-in-exile, are captured in the plays by Middle Eastern Canadian playwrights. She is the author of ‘The Body/theatre-in-Pain: (Im)possibility of Wellness in Lisa Kron’s Well’ (Critical Stages/Scènes critiques 2023), ‘The Body in Pain and Pleasure: The Phenomenology of Embodiment in Rosa Jamali’s Poetry’ (Journal of Middle East Women’s Studies 2023), ‘The Theatre of the Oppressed in Tehran: Dilemma of Ethics and Engagement’ (Canadian Theatre Review 2022) and ‘Politics of Evasion and Tales of Abjection: Postmodern Demythologization in Angela Carter and Ghazaleh Alizadeh’ (CLCWeb: Comparative Literature and Culture 2020). 6 A01 Sonja Pinto Sonja Pinto 40 04s5mat29 University of Victoria Sonja Pinto is a University of Victoria alumnus who holds a BA and an MA in English Literature. She has worked on the Digital Victorian Periodical Poetry Project for five years, having joined as a Research Assistant in September 2018. Their research interests include Victorian fiction and poetry, narratology, trauma studies, and gender and sexuality. During their time with DVPP, Sonja has worked as both an indexer and encoder. 01 eng 03 00 Large digital document collections ideally provide multiple routes into data imagined for different users and different use-cases: thematic and hierarchical (drill-down) browsability for casual users, and precisely-targeted complex search functionality to answer granular queries and generate subcollections for specific research purposes. Responding to recent critical work on digital editions and periodical print surrogates (e.g. Mussell 2012, 2016; Gooding), and on the visual interface as a form of graphic knowledge (Drucker), this chapter will examine the challenges in building a big tent digital project that anticipates users’ needs.  The Digital Victorian Periodical Poetry Project (DVPP) has a particular interest in responding to this challenge, which is complicated by the nature of its own collection. The project’s methodological principles are based on poetry’s place on the  periodical page, from the inclusion of periodical poem page scans (facsimile browser, poem page rendering), to the indexing protocols (designed around how contemporary periodical readers would understand poems and their illustrations), to encoding a representative sample of poems based on decadal years from 1820 to 1900 (including material as well as poetic features). But our approach to the front end application (facsimile browser, poem page rendering, index of poems and personography, digital edition, advanced search pages) is based around offering the user multiple ways to search and find material that moves away from the poem’s embedded periodical print origins, and even the conceptual and functional principles of the codex, to allow for complex and serendipitous discovery. The challenge of this digital project is to relate the project’s indexing and encoding principles to users’ anticipated research, particularly given the relationship between the index (c.15,500 poems across 21 long Victorian periodicals), personography (c.4,000 records for poets, illustrators and translators), and the TEI XML- encoded poem sample (c.2,000 poems and c. 11,000 lines of poetry). This chapter examines relationships between the underlying metadata and text-encoding, as well as the affordances DVPP will eventually offer the end-user. We conclude by offering guidelines based on building search interfaces that are useful to researchers. Firstly, we address practical problems. Enlarging project features can make interfaces potentially confusing, and expanding interdependencies can also produce incompatible features. Workflow is crucial: user discoverability is contingent on encoding, and yet predicting search parameters is contingent on a good understanding of data that only emerges as the project advances. We suggest a workflow where metadata structures and labels can be trivially revised, with the search and browse interfaces automatically adapted to such changes. Secondly, we turn to the conceptual imagining of the anticipated user, by comparing DVPP with cognate digital editions and commercial indexes and digital surrogates (such as those owned by ProQuest), to ask how digital editions can guide users to engage critically and actively with multiple methods of browse, search, and serendipitous discovery, rather than approaching search functionality as simply a means to an end. 30 00 Large digital document collections ideally provide multiple routes into data imagined for different users and different use-cases: thematic and hierarchical (drill-down) browsability for casual users, and precisely-targeted complex search functionality to answer granular queries and generate subcollections for specific research purposes. Responding to recent critical work on digital editions and periodical print surrogates (e.g. Mussell 2012, 2016; Gooding), and on the visual interface as a form of graphic knowledge (Drucker), this chapter will examine the challenges in building a big tent digital project that anticipates users’ needs.  The Digital Victorian Periodical Poetry Project (DVPP) has a particular interest in responding to this challenge, which is complicated by the nature of its own collection. The project’s methodological principles are based on poetry’s place on the  periodical page, from the inclusion of periodical poem page scans (facsimile browser, poem page rendering), to the indexing protocols (designed around how contemporary periodical readers would understand poems and their illustrations), to encoding a representative sample of poems based on decadal years from 1820 to 1900 (including material as well as poetic features). But our approach to the front end application (facsimile browser, poem page rendering, index of poems and personography, digital edition, advanced search pages) is based around offering the user multiple ways to search and find material that moves away from the poem’s embedded periodical print origins, and even the conceptual and functional principles of the codex, to allow for complex and serendipitous discovery. The challenge of this digital project is to relate the project’s indexing and encoding principles to users’ anticipated research, particularly given the relationship between the index (c.15,500 poems across 21 long Victorian periodicals), personography (c.4,000 records for poets, illustrators and translators), and the TEI XML- encoded poem sample (c.2,000 poems and c. 11,000 lines of poetry). This chapter examines relationships between the underlying metadata and text-encoding, as well as the affordances DVPP will eventually offer the end-user. We conclude by offering guidelines based on building search interfaces that are useful to researchers. Firstly, we address practical problems. Enlarging project features can make interfaces potentially confusing, and expanding interdependencies can also produce incompatible features. Workflow is crucial: user discoverability is contingent on encoding, and yet predicting search parameters is contingent on a good understanding of data that only emerges as the project advances. We suggest a workflow where metadata structures and labels can be trivially revised, with the search and browse interfaces automatically adapted to such changes. Secondly, we turn to the conceptual imagining of the anticipated user, by comparing DVPP with cognate digital editions and commercial indexes and digital surrogates (such as those owned by ProQuest), to ask how digital editions can guide users to engage critically and actively with multiple methods of browse, search, and serendipitous discovery, rather than approaching search functionality as simply a means to an end. 20 00 Open Access Alison Chapman, Martin Holmes, Kaitlyn Fralick, Kailey Fukushima, Narges Montakhabi and Sonja Pinto 8 03 06 10.62637/sup.GHST9020.7 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Predicting the future of digital scholarly editions in the context of FAIR data principles 1 A01 21 0000000277581662 Bartłomiej Szleszyński Bartłomiej Szleszyński 40 02q0p6x28 Institute of Literary Research Bartłomiej Szleszyński is Professor at the Institute of Literary Research, Polish Academy of Sciences; Head of the Department of Digital Scholarly Editions and Monographs responsible for creating and operating New Panorama of Polish Literature (NPLP.PL), a platform publishing digital scholarly collections, and TEI Panorama (TEI.NPLP.PL), a platform for scholarly digital editions; and Deputy Director of the Digital Humanities Centre. His main research interests are literature of the second half of the nineteenth century, colonial discourse in nineteenth-century Polish culture, literary Sarmatism, digital literary studies and scholarly digital editions. 2 A01 21 0000000157786006 Agnieszka Szulińska Agnieszka Szulińska 40 02q0p6x28 Institute of Literary Research Agnieszka Szulińska (née Kochańska, b. 1989) graduated from Cardinal Stefan Wyszyński University in Warsaw with an MA degree in Polish Philology (specialisation in scholarly editing). She prepares a PhD thesis about digital scholarly editing of literary texts in Poland, based on digital projects such as Poetry Group Skamander’s Correspondence or Early Novels of Eliza Orzeszkowa. A member of New Panorama of the Polish Literature team and the Digital Humanities Centre at the Institute of Literary Research of the Polish Academy of Sciences. Apart from scholarly editing, her research areas include testing tools and platforms used in SSH scholarly communication, and video games. All important links here: https:// linktr.ee/agnieszkaszulinska. 3 A01 21 0000000223774565 Marta Błaszczyńska Marta Błaszczyńska 40 02q0p6x28 Institute of Literary Research Marta Błaszczyńska defended her PhD thesis in social sciences at the Institute of Philosophy and Sociology of the Polish Academy of Sciences in Warsaw. Between 2019 and 2023 she worked at the Digital Humanities Centre at the Institute of Literary Research of the Polish Academy of Sciences. There she developed her skills and expertise in open science, qualitative research methods and data management. Marta co-created the Innovation Lab, part of OPERAS, Research Infrastructure supporting open scholarly communication in the social sciences and humanities (SSH) in the European Research Area. Currently she works in the private sector within the field of fraud management. 03 00 Scholarly editing, understood by researchers working in the field of literary studies as providing the best versions of works along with explanatory and contextual layers, has been operating in the digital space for some time now. We are still searching for optimal ways to utilize its advantages. In parallel, there is a growing research reflection on the issue of data in digital humanities projects and ways to create, curate, and share it. The proposed paper, based on the experience of creating numerous digital scholarly editions (DSEs) and analyzing the issue of research data, addresses the following questions: 1) what the digital future of scholarly editing in literary studies might look like (also outside the circle of professional researchers), 2) how scholarly digital editions can be presented as datasets, 3) in what ways reflection on data can contribute to the broad utility of scholarly digital editions in literary studies. Apart from exploring some good practices employed by the TEI New Panorama of Polish Literature (NPLP) platform we also contemplate the data-related issues that remain to be addressed by the DSE community and the challenges that we might face while tackling them. Answering Joris van Zundert’s warning not to drive digital editing to a state of “a mere medium shift”, we propose to view DSEss as data on various levels, which is deeply anchored in the specificity of a digital humanist project. Having FAIR data principles in mind, we would like to expand this approach on several cases from the TEI NPLP platform, including i.a. 19th century novels, 20th-century correspondence of Polish poets, and contemporary Polish dramas.  For findability, a good example is the data layer related to entity descriptions (e.g., people, places, organizations) - in the editions on the TEI.NPLP.PL platform, we can search and compile all occurrences of entities and how they are referred to in the text. The principle of “accessibility” will be focused on the necessity of creating an account to use more advanced features in DSEs. We will reflect on when it is useful and when it might be skipped to provide rapid access to the content and the data.  The most challenging principles are “interoperability” and “reusability”. Much desired by many scholars, They are the goal of data curation and sharing initiatives, while at the same time they will enable the use of digital scholarly editions in numerous other scholarly projects beyond the specific discipline and, potentially, beyond the circle of professional researchers. In our text, we would like to present future opportunities and challenges of digital scientific editions in general and of the different data layers, DSE-s in particular. 30 00 Scholarly editing, understood by researchers working in the field of literary studies as providing the best versions of works along with explanatory and contextual layers, has been operating in the digital space for some time now. We are still searching for optimal ways to utilize its advantages. In parallel, there is a growing research reflection on the issue of data in digital humanities projects and ways to create, curate, and share it. The proposed paper, based on the experience of creating numerous digital scholarly editions (DSEs) and analyzing the issue of research data, addresses the following questions: 1) what the digital future of scholarly editing in literary studies might look like (also outside the circle of professional researchers), 2) how scholarly digital editions can be presented as datasets, 3) in what ways reflection on data can contribute to the broad utility of scholarly digital editions in literary studies. Apart from exploring some good practices employed by the TEI New Panorama of Polish Literature (NPLP) platform we also contemplate the data-related issues that remain to be addressed by the DSE community and the challenges that we might face while tackling them. Answering Joris van Zundert’s warning not to drive digital editing to a state of “a mere medium shift”, we propose to view DSEss as data on various levels, which is deeply anchored in the specificity of a digital humanist project. Having FAIR data principles in mind, we would like to expand this approach on several cases from the TEI NPLP platform, including i.a. 19th century novels, 20th-century correspondence of Polish poets, and contemporary Polish dramas.  For findability, a good example is the data layer related to entity descriptions (e.g., people, places, organizations) - in the editions on the TEI.NPLP.PL platform, we can search and compile all occurrences of entities and how they are referred to in the text. The principle of “accessibility” will be focused on the necessity of creating an account to use more advanced features in DSEs. We will reflect on when it is useful and when it might be skipped to provide rapid access to the content and the data.  The most challenging principles are “interoperability” and “reusability”. Much desired by many scholars, They are the goal of data curation and sharing initiatives, while at the same time they will enable the use of digital scholarly editions in numerous other scholarly projects beyond the specific discipline and, potentially, beyond the circle of professional researchers. In our text, we would like to present future opportunities and challenges of digital scientific editions in general and of the different data layers, DSE-s in particular. 20 00 Open Access Bartłomiej Szleszyński, Agnieszka Szulińska and Marta Błaszczyńska 9 03 06 10.62637/sup.GHST9020.8 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Re-using data from editions 1 A01 21 0000000245222833 Elena Spadini Elena Spadini 40 02s6k3f65 University of Basel Elena Spadini is an associated researcher at the University of Bern and a research navigator at the University of Basel, where she supports digital humanities and in particular scholarly editing projects. Her background is in romance philology and her research interests span from medieval manuscripts to born-digital literary sources. She is currently in charge of the digital component of the project «Gustave Roud. OEuvres complètes», and is editor of the RIDE issues on software reviews. She has published on various aspects of digital philology, such as automatic collation, semantic web and data modelling. 2 A01 21 0000000265301328 José Luis Losada Palenzuela José Luis Losada Palenzuela 40 02s6k3f65 University of Basel José Luis Losada Palenzuela is Assistant Professor at the University of Wrocław and Research Data Specialist at the University of Basel. He earned his PhD with a study of Schopenhauer’s translation of works by Baltasar Gracián, a Baroque moralist and writer. Recently, his research has centred on Spanish 17th-century Literature, Comparative Literature and Digital Methods. His scholarly contributions include a monograph, several research articles and a digital edition on Schopenhauer’s marginalia. 01 eng 03 00 The centrality of data is one of the key features of digital editions and digital scholarly resources in general. Data-driven philology involves practices that are new to textual criticism and can overcome the print paradigm, including data visualisation, data processing, and data reuse. In this paper we focus on the latter: data reuse. We provide a panorama of use cases for editions, highlighting the potential and current limitations of data reuse. Examples include the reuse of edition data in dictionaries and gazetteers, and reuse in the context of distant reading studies, particularly for intertextuality detection. The role of authority records in reusing data is also analysed. In the conclusions, we emphasise that data reuse is fundamental to strengthening the central position of scholarly editions at the crossroads of many research fields. 30 00 The centrality of data is one of the key features of digital editions and digital scholarly resources in general. Data-driven philology involves practices that are new to textual criticism and can overcome the print paradigm, including data visualisation, data processing, and data reuse. In this paper we focus on the latter: data reuse. We provide a panorama of use cases for editions, highlighting the potential and current limitations of data reuse. Examples include the reuse of edition data in dictionaries and gazetteers, and reuse in the context of distant reading studies, particularly for intertextuality detection. The role of authority records in reusing data is also analysed. In the conclusions, we emphasise that data reuse is fundamental to strengthening the central position of scholarly editions at the crossroads of many research fields. 20 00 Open Access Elena Spadini and José Luis Losada Palenzuela 10 03 06 10.62637/sup.GHST9020.9 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Making digital scholarly editions based on Domain Specific Languages 1 A01 21 000900094361345X Simone Zenzaro Simone Zenzaro 40 028g3pe33 Institute for Computational Linguistics “A. Zampolli” Simone Zenzaro is a fixed-term researcher at the Institute of Computational Linguistics ‘A. Zampolli’ (CNR-ILC). He earned a PhD in Computer Science from the University of Pisa with a thesis on modularity aspects in formal methods, particularly related to Abstract State Machines. Currently, he is working on the ERC AdG 885222-GreekSchools project in digital papyrology, focusing on methods for recovering missing text in ancient Greek and tools to support collaborative and cooperative editing of Philodemus of Gadara’s ‘Rassegnadeifilosofi’ (Syntaxis). He has previously worked at the University of Lausanne on the digital edition of the Byzantine manuscript of the Iliad Genavensisgraecus 44 within the project ‘Le devenir numérique d’un texte fondateur.’ He has also worked at the Scuola Normale Superiore on developing digital edition tools for Arabic manuscripts as part of the ERC project ‘Philosophy on the Border of Civilizations and Intellectual Endeavours’. His interests revolve around applying formal methods to Digital Humanities through the definition of models, services and tools for the field of philology. 2 A01 21 0000000278107735 Federico Boschetti Federico Boschetti 40 028g3pe33 Institute for Computational Linguistics “A. Zampolli” Federico Boschetti graduated with a degree in Classics from the University ‘Ca’ Foscari’ of Venice in 1998. He earned his PhD in Classical Philology through a joint programme between the University of Trento and the University of Lille III in 2005. His thesis was titled ‘Essay on Computer-Assisted Linguistic and Stylistic Analyses of Aeschylus’ Persae’. He also obtained a PhD in Cognitive and Brain Sciences with a focus on Language, Interaction and Computation from the University of Trento in 2010. His thesis for this degree was ‘A Corpus-Based Approach to Philological Issues’. Since 2011, Federico has been a researcher at the Institute of Computational Linguistics ‘A. Zampolli’ at the CNR of Pisa. His primary research interests include Digital Philology, Collaborative and Cooperative Philology, Historical OCR, and Distributional Semantics applied to ancient texts. 3 A01 21 0000000248676304 Angelo Mario Del Grosso Angelo Mario Del Grosso 40 028g3pe33 Institute for Computational Linguistics “A. Zampolli” Angelo Mario del Grosso is a researcher at the Institute of Computational Linguistics, ‘Antonio Zampolli’, within the Italian National Research Council of Pisa (CNR-ILC). He holds a degree in Computer Engineering from the University of Pisa and earned his PhD in Information Engineering in 2015. Del Grosso’s research focus lies within the field of Digital Humanities (DH), with a specific emphasis on creating Digital Scholarly Editions and applying computational analysis to historical-literary textual resources. He has published extensively within the DH field and actively contributes to various national and international research initiatives. His involvements include projects such as the ‘GreekIntoArabic ERC project’, ‘Saussure’s Manuscripts PRIN project’, ‘Italian Translation of Babylonian Talmud’, ‘Digital Edition of Bellini’s Letters’ and others. He is a member of the AIUCD board (Italian Association for DH-Associazione per l’InformaticaUmanistica e la Cultura Digitale) and actively participates in the scientific boards of DH journals and conferences. Currently, he serves as the coordinator for the CNR-ILC unit in the ERC project 885222-GreekSchools, a project dedicated to editing Greek texts preserved in the carbonised papyri of Herculaneum. Additionally, he is a visiting scholar at the VeDPH Center of Excellence at Ca’ Foscari University in Venice and teaches Text Encoding at the University of Pisa. 01 eng 20 00 Open Access Simone Zenzaro, Federico Boschetti and Angelo Mario Del Grosso 11 03 06 10.62637/sup.GHST9020.10 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Digital editing and publishing in the twenty-first century as a cooperative for small-scale editions 1 A01 Juniper Johnson Juniper Johnson 40 04t5xt781 Northeastern University Juniper Johnson is a PhD candidate in the English Department at Northeastern University with graduate certificates in Women, Gender, and Sexuality Studies and Digital Humanities. Their dissertation project, ‘Organizing Bodies of Knowledge: Classification and Sexuality in Nineteenth-Century Medical and Literary Discourse’, explores the history of non-normative bodies and sexualities in archival materials by combining computational text analysis and critical genealogy. They also specialise in digital pedagogy and research, having worked with the Digital Integration Teaching Initiative at the NULab for Texts, Maps and Networks, the Primary Source Cooperative with the Massachusetts Historical Society, the Early Carribean Digital Archive, the Early Black Boston Digital Almanac and the Homosaurus (an international LGBTQ+ linked data vocabulary). 2 A01 21 0000000229776481 Serenity Sutherland Serenity Sutherland 40 01597g643 State University of New York at Oswego Serenity Sutherland is Associate Professor of Communication Studies at SUNY Oswego. She has a PhD in History and a graduate certificate in Women’s and Gender Studies from the University of Rochester. Her research interests include the history of women in science and technology, the digital humanities, scholarly editing and media studies. Currently, she is working on publishing a biography of chemist Ellen Swallow Richards (1842–1911). She is the current editor of the Ellen Swallow Richards papers, which is a member of the Primary Source Cooperative at the Massachusetts Historical Society, funded by the NHPRC and the Andrew W. Mellon Foundation. She is also the co-author of the digital project Visualizing Women in Science and Technology at the American Philosophical Society, a network portrayal of women’s work in science. A select list of venues where her publications can be found includes Scholarly Editing, the Debates in the Digital Humanities series and Interdisciplinary Digital Engagement in Arts & Humanities. 3 A01 Neal Millikan Neal Millikan 40 00y5f4k61 Massachusetts Historical Society Neal Millikan is the Series Editor for Digital Editions for the Adams Papers editorial project at the Massachusetts Historical Society (MHS). She was project manager on the John Quincy Adams Digital Diary, part of the Mellon-sponsored Primary Source Cooperative at the MHS. Millikan holds a PhD in history and a master’s degree in Library and Information Science from the University of South Carolina and is also a graduate of North Carolina State University, where she earned master’s degrees in History and Public History. 4 A01 Ondine Le Blanc Ondine Le Blanc 40 00y5f4k61 Massachusetts Historical Society Ondine Le Blanc is Ford Editor of Publications at the Massachusetts Historical Society. She holds a BA from Mount Holyoke College and a PhD from the University of Michigan. At the MHS since 1997, Le Blanc has helped to publish a variety of documentary editions, including letters, diaries and journals, notebooks and memoirs, as well as other kinds of publications. She was project manager for the creation of the Adams Papers Digital Edition, overseeing the conversion of 35 printed volumes into a consolidated TEI-compliant online edition. Le Blanc served on the faculty of the Institute for the Editing of Historical Documents, hosted by the Association for Documentary Editing, from 2014 to 2017. She now serves as principal investigator for the Mellon-NHPRC grant funding the implementation of the Primary Source Cooperative. 01 eng 03 00 How might small-scale digital editions succeed in the future, and how is that future tied to the field of scholarly editing? The inclusion of more small digital editions has the potential to add numerous voices and perspectives to already existing digital and print editions that tend to center on figures of national recognition. While these larger projects offer glimpses into social issues and individual stories beyond the recognizable names they focus on, they have historically been projects of white, English-speaking men. Larger projects have also been expensive to maintain and operate. Recognizing these twin realities and histories of publishing scholarly editions, the authors of this chapter have been working to transform the potential of editions through the approach of cooperative digital publishing. With support from the NHPRC and Andrew W. Mellon Foundation, four digital editions, the John Quincy Adams (JQA) Digital Diary, the Ellen Swallow Richards Papers, the Catharine Maria Sedgwick Online Letters (CMSOL), and the Papers of Roger Brooke Taney along with the institutional support of the Massachusetts Historical Society and Northeastern University, have been in the process of building and creating a digital publishing cooperative. This essay will describe what cooperative publishing is and how it is transformational to the making of an edition. The essay will argue that the power of cooperative publishing is three-fold: 1) the sharing of resources, both financial and structural; 2) the collaboration of content expertise across a wide range of functions and topics; and 3) the support of a community striving for the same goal. The goal of the Primary Source Cooperative is to provide a platform, designed by consensus, to assist small editions led by scholars who might not otherwise have a portal for online publishing that is affordable and supportive. For each individual project, the Cooperative is a platform from which to receive input and guidance from other editors when questions of process or encoding arise, acting in lieu of staff who serve as internal sounding boards at larger projects. Uniting these four editions under one digital publishing platform will allow for federated searching by users that would never be possible if these projects were siloed on individual websites. When data from these four projects are combined, the resulting digital edition cooperative will provide free <break/>cross-searchable and chronologically-navigable access for its target user community, which moves beyond the traditional academic audience toward inclusion of students and educators at the middle school, high school, and undergraduate level.The interdisciplinary nature of the Cooperative—with editors from the fields of communication studies, history, literature, political science, and women’s and gender studies—translates to a wide scholarly audience, the needs of which are met by the adherence of the cluster to accepted best practices of documentary editing. Beyond the scholarly community, however, the Cooperative is committed to engaging a broader public in reading and using primary historical sources. Thus, the editions produced by the cluster would be precise enough (regarding standard editorial apparatus) for use by scholars but also accessible (via search features) for the K-12 community and the general public. 30 00 How might small-scale digital editions succeed in the future, and how is that future tied to the field of scholarly editing? The inclusion of more small digital editions has the potential to add numerous voices and perspectives to already existing digital and print editions that tend to center on figures of national recognition. While these larger projects offer glimpses into social issues and individual stories beyond the recognizable names they focus on, they have historically been projects of white, English-speaking men. Larger projects have also been expensive to maintain and operate. Recognizing these twin realities and histories of publishing scholarly editions, the authors of this chapter have been working to transform the potential of editions through the approach of cooperative digital publishing. With support from the NHPRC and Andrew W. Mellon Foundation, four digital editions, the John Quincy Adams (JQA) Digital Diary, the Ellen Swallow Richards Papers, the Catharine Maria Sedgwick Online Letters (CMSOL), and the Papers of Roger Brooke Taney along with the institutional support of the Massachusetts Historical Society and Northeastern University, have been in the process of building and creating a digital publishing cooperative. This essay will describe what cooperative publishing is and how it is transformational to the making of an edition. The essay will argue that the power of cooperative publishing is three-fold: 1) the sharing of resources, both financial and structural; 2) the collaboration of content expertise across a wide range of functions and topics; and 3) the support of a community striving for the same goal. The goal of the Primary Source Cooperative is to provide a platform, designed by consensus, to assist small editions led by scholars who might not otherwise have a portal for online publishing that is affordable and supportive. For each individual project, the Cooperative is a platform from which to receive input and guidance from other editors when questions of process or encoding arise, acting in lieu of staff who serve as internal sounding boards at larger projects. Uniting these four editions under one digital publishing platform will allow for federated searching by users that would never be possible if these projects were siloed on individual websites. When data from these four projects are combined, the resulting digital edition cooperative will provide free <break/>cross-searchable and chronologically-navigable access for its target user community, which moves beyond the traditional academic audience toward inclusion of students and educators at the middle school, high school, and undergraduate level.The interdisciplinary nature of the Cooperative—with editors from the fields of communication studies, history, literature, political science, and women’s and gender studies—translates to a wide scholarly audience, the needs of which are met by the adherence of the cluster to accepted best practices of documentary editing. Beyond the scholarly community, however, the Cooperative is committed to engaging a broader public in reading and using primary historical sources. Thus, the editions produced by the cluster would be precise enough (regarding standard editorial apparatus) for use by scholars but also accessible (via search features) for the K-12 community and the general public. 20 00 Open Access Juniper Johnson, Serenity Sutherland, Neal Millikan and Ondine Le Blanc 12 03 06 10.62637/sup.GHST9020.11 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 The scholarly data edition publishing big data in the twenty-first century 1 A01 21 0000000243011581 Gábor Mihály Tóth Gábor Mihály Tóth 40 036x5ad56 University of Luxembourg Gábor Mihály Tóth was born in Hungary. After studying philosophy and medieval studies in Budapest, he moved to England. In 2014 he completed a PhD in early modern history at the University of Oxford, Balliol College. Following his doctoral studies, he was an assistant professor in digital humanities at the University of Passau in Germany. He was a visiting researcher at Yale University and then at the University of Southern California. At the moment, he is a research associate at the University of Luxembourg’s Center for Contemporary and Digital History (C2DH). His research focuses on the application of data science to study and publish historical sources. Specifically, he has two research areas: information culture in early modern Europe and collective memory of genocide survivors. His chapter in this volume was inspired by his digital monograph, In Search of the Drowned: Testimonies and Testimonial Fragments of the Holocaust (Yale Fortunoff Archive, 2021, lts.fortunoff.library.yale.edu). In 2023 he was awarded the Richard Deswarte Prize in Digital History by the Digital History Seminary of the Institute of Historical Research, University of London. 01 eng 03 00 In the last decade, big textual datasets in the humanities have become increasingly more available in the form of raw data. The challenges these datasets raise are twofold. On the one hand, most humanities scholars are not equipped with skills in text and data mining. This remains a barrier to study big data in the humanities. On the other hand, the traditional genre of digital edition is not suitable for publishing and unlocking big data; similarly to printed editions, digital editions often attempt to create highly curated, almost perfect, surrogates of texts with critical accuracy. However, in the context of big data, traditional critical accuracy is not attainable; it is impossible for an editorial team to apply this principle when working with a corpus of tens of millions of words. The principle of critical examination of texts as defined by previous scholarship is equally unattainable with big data. In short, many of the editorial principles and techniques used to produce analogue and digital editions can hardly be applied when creating an edition featuring truly big data. Hence, in this chapter, I argue that to make big data available and explorable for the scholarly community, we need a new genre: the scholarly data edition. Throughout the chapter I elaborate the concept of scholarly data edition by outlining the editorial responsibilities and standards that it involves. 30 00 In the last decade, big textual datasets in the humanities have become increasingly more available in the form of raw data. The challenges these datasets raise are twofold. On the one hand, most humanities scholars are not equipped with skills in text and data mining. This remains a barrier to study big data in the humanities. On the other hand, the traditional genre of digital edition is not suitable for publishing and unlocking big data; similarly to printed editions, digital editions often attempt to create highly curated, almost perfect, surrogates of texts with critical accuracy. However, in the context of big data, traditional critical accuracy is not attainable; it is impossible for an editorial team to apply this principle when working with a corpus of tens of millions of words. The principle of critical examination of texts as defined by previous scholarship is equally unattainable with big data. In short, many of the editorial principles and techniques used to produce analogue and digital editions can hardly be applied when creating an edition featuring truly big data. Hence, in this chapter, I argue that to make big data available and explorable for the scholarly community, we need a new genre: the scholarly data edition. Throughout the chapter I elaborate the concept of scholarly data edition by outlining the editorial responsibilities and standards that it involves. 20 00 Open Access Gábor Mihály Tóth 13 03 06 10.62637/sup.GHST9020.12 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Close and distant reading in explorative editions distributed cognition and interactive visualisations 1 A01 21 0000000273993539 Peter Boot Peter Boot 40 043c0p156 Royal Netherlands Academy of Arts and Sciences Peter Boot studied Mathematics and Dutch Language and Literature. He wrote his thesis about annotation in scholarly digital collections (Mesotext. Digitised Emblems, Modelled Annotations and Humanities Scholarship. Amsterdam 2009). Boot works at the Huygens Institute for the History and Culture of the Netherlands in Amsterdam. In most of his career, his position has been between that of an intermediary between scholars and developers. Among other projects, he worked on digital editions of emblem books, medieval miscellanies, the letters of Vincent van Gogh, the manuscripts of Anne Frank and papers of Piet Mondrian. With Evina Stein, he published an edition of glosses to Isidore’s Etymologies that incorporates live network visualisations (https://db.innovatingknowledge. nl/edition/). Boot is also active in the field of computational literary studies, where he has a special interest in the phenomenon of online book discussion, as exemplified on sites such as Goodreads and in reviews on booksellers’ sites. 01 eng 03 00 The distant reading paradigm has taught us that transformations of textual material, be they in statistical or visual form, can be very informative about trends and patterns in text collections. However, current digital editions often fall short of exploiting this computational potential for text representation, analysis, and interaction. This paper argues that digital scholarly editions can transcend the limitations of print and print-inspired digital formats and become what I call "explorative editions." I draw on the work of Eugene Lyman about the role of distributed cognition in the design of scholarly tools and that of Shane McGarry about interactive tools creating the possibility for immersion in the edition through properly contextualised goal-directed activity. The paper advocates the integration of interactive visualizations in digital editions. This can transform digital editions into cognitive artifacts that enhance the user's exploration and understanding of the edited material. The paper proposes five criteria for these explorative editions, emphasizing the inclusion of visual representations, manipulable features, top-down and bottom-up navigational structures, co-extensiveness with the edited items, and minimization of user effort. Finally, I challenge the scholarly community to develop a scholarly edition that meets these criteria, offering a reward for the first project to accomplish this. 30 00 The distant reading paradigm has taught us that transformations of textual material, be they in statistical or visual form, can be very informative about trends and patterns in text collections. However, current digital editions often fall short of exploiting this computational potential for text representation, analysis, and interaction. This paper argues that digital scholarly editions can transcend the limitations of print and print-inspired digital formats and become what I call "explorative editions." I draw on the work of Eugene Lyman about the role of distributed cognition in the design of scholarly tools and that of Shane McGarry about interactive tools creating the possibility for immersion in the edition through properly contextualised goal-directed activity. The paper advocates the integration of interactive visualizations in digital editions. This can transform digital editions into cognitive artifacts that enhance the user's exploration and understanding of the edited material. The paper proposes five criteria for these explorative editions, emphasizing the inclusion of visual representations, manipulable features, top-down and bottom-up navigational structures, co-extensiveness with the edited items, and minimization of user effort. Finally, I challenge the scholarly community to develop a scholarly edition that meets these criteria, offering a reward for the first project to accomplish this. 20 00 Open Access Peter Boot 14 03 06 10.62637/sup.GHST9020.13 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Conviviality and standards open access publishing after AI 1 A01 Will Luers Will Luers 40 00g2fk805 Washington State University Vancouver Will Luers is a digital artist, writer and educator. His artwork and collaborations have garnered international recognition and been featured in festivals and conferences such as the Electronic Literature Organization, FILE (Brazil) and ISEA. Novelling, a generative work made in collaboration with poet Hazel Smith and sound artist Roger Dean, won the 2018 Robert Coover Award for Electronic Literature. Luers teaches web development, digital cinema and multimodal publishing in the Creative Media & Digital Culture program at Washington State University, Vancouver. He is the founder of the international online journal, The Digital Review, and is also the current Managing Editor at the electronic book review. 01 eng 03 00 As new areas of academic research proliferate (and cross-pollinate), scholarly digital publishing makes it possible to grow online networks around research interests without relying on the slow, gate-keeping procedures of traditional print publishing. In this way, advances in digital technology continue to offer scholars a wider readership and more meaningful peer networks, but these benefits come at a cost. Without a reliable economic model, the labor of peer-reviewing, editing, formatting, distributing and marketing scholarly writing and research is, in many cases, taken on by the scholars themselves. Digital tools make publishing workflows considerably more efficient and faster, but the unpaid labor involved is still a hindrance to any sustainable models for publishing scholarly work. Automation is often framed as a tool to increase productivity and efficiency by diminishing the role of fallible humans in a technical process. In the case of digital editing, the automation of grammar and spell check is labor saved for a deeper and more attentive reading of a text, where more subtle errors might lie in the author’s very argument. AI publishing technologies promise to improve not only editing texts, but detecting plagiarism, checking sources, seeking out peer reviewers, converting files, formatting for multiple platforms, marketing on social media and analyzing metrics. What remains of scholarly digital publishing as an activity when AI and Machine Learning tools absorb the considerable technical labor involved? Scholars (as researchers, writers, editors, and publishers) might be freed to concentrate on ideas themselves. By removing technical barriers and potential friction in publishing workflows, AI and ML might make way for a greater flow among scholars in the evaluation and dissemination of research and theories. AI might make scholarly digital publishing more convivial. Ivan Illich, in his Tools for Conviviality</italic>, considers a convivial society as one in which individuals have the means, tools, incentives and desire for collaboration. Conviviality escapes a rigid hierarchical and standardized process and seeks out diverse and innovative voices because it is sustained by individuals who choose to be a part of something that is at once self-serving and for the greater good. Scholarly digital publishing, especially open-access publishing, is already modelling this kind of shared labour in the service of both the individual scholars seeking to publish their work and the fields of research made up of a community of peers. While there are concerns with any new AI technology, especially the human biases embedded in algorithms, AI tools targeted for repetitive publishing tasks can open an opportunity to shape a renaissance in convivial scholarly publishing that sacrifices neither academic standards nor individual innovation and creativity. 30 00 As new areas of academic research proliferate (and cross-pollinate), scholarly digital publishing makes it possible to grow online networks around research interests without relying on the slow, gate-keeping procedures of traditional print publishing. In this way, advances in digital technology continue to offer scholars a wider readership and more meaningful peer networks, but these benefits come at a cost. Without a reliable economic model, the labor of peer-reviewing, editing, formatting, distributing and marketing scholarly writing and research is, in many cases, taken on by the scholars themselves. Digital tools make publishing workflows considerably more efficient and faster, but the unpaid labor involved is still a hindrance to any sustainable models for publishing scholarly work. Automation is often framed as a tool to increase productivity and efficiency by diminishing the role of fallible humans in a technical process. In the case of digital editing, the automation of grammar and spell check is labor saved for a deeper and more attentive reading of a text, where more subtle errors might lie in the author’s very argument. AI publishing technologies promise to improve not only editing texts, but detecting plagiarism, checking sources, seeking out peer reviewers, converting files, formatting for multiple platforms, marketing on social media and analyzing metrics. What remains of scholarly digital publishing as an activity when AI and Machine Learning tools absorb the considerable technical labor involved? Scholars (as researchers, writers, editors, and publishers) might be freed to concentrate on ideas themselves. By removing technical barriers and potential friction in publishing workflows, AI and ML might make way for a greater flow among scholars in the evaluation and dissemination of research and theories. AI might make scholarly digital publishing more convivial. Ivan Illich, in his Tools for Conviviality</italic>, considers a convivial society as one in which individuals have the means, tools, incentives and desire for collaboration. Conviviality escapes a rigid hierarchical and standardized process and seeks out diverse and innovative voices because it is sustained by individuals who choose to be a part of something that is at once self-serving and for the greater good. Scholarly digital publishing, especially open-access publishing, is already modelling this kind of shared labour in the service of both the individual scholars seeking to publish their work and the fields of research made up of a community of peers. While there are concerns with any new AI technology, especially the human biases embedded in algorithms, AI tools targeted for repetitive publishing tasks can open an opportunity to shape a renaissance in convivial scholarly publishing that sacrifices neither academic standards nor individual innovation and creativity. 20 00 Open Access Will Luers 15 03 06 10.62637/sup.GHST9020.14 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Beyond representation some thoughts on creative-critical digital editing 1 A01 21 0000000164108692 Christopher Ohge Christopher Ohge 40 039594g80 School of Advanced Study Christopher Ohge is Senior Lecturer in Digital Approaches to Literature at the University of London’s School of Advanced Study. He serves as the Associate Director of the Herman Melville Electronic Library and an Associate Editor of Melville’s Marginalia Online, where he has worked on digital editions of Melville’s Billy Budd, Sailor, and of Melville’s Marginalia in Arthur Schopenhauer. He was formerly an Associate Editor of the Mark Twain Papers at the University of California, Berkeley, where his editorial credits included the third and final volume of the Autobiography of Mark Twain, several digital texts on the Mark Twain Project Online, and the forthcoming edition of The Innocents Abroad. The author of the book Publishing Scholarly Editions: Archives, Computing, and Experience (2021), he has also published widely on nineteenth-century literature, textual scholarship and digital methods in leading journals and edited collections. In 2023 he received a fellowship from the National Endowment for the Humanities (USA) and the Mellon Foundation to complete a digital edition of Mary Anne Rawson’s anti-slavery anthology The Bow in the Cloud (1834). 01 eng 03 00 Creative-critical digital editing aims to be a pragmatic complement to the dominant ‘depth’ models of traditional scholarly editing that attempt to offer the ‘correct’ description, representation, or data model of a work within the space of a book or document. A pan-relational, creative-critical editorial approach to publishing instead focuses on a different kind of depth that connects texts to new contexts and literary experiences with new technological tools. Pan-relational editing creates new connections by creating new descriptions and visualisations of texts which are tethered to whatever purposes are needed for a given situation or audience ‘to make them serve our purposes better’, as the philosopher Richard Rorty put it. A creative-critical framework offers the best way to ‘cope’ with the varieties of potential experiences in the textual situation. This mode of thinking resists privileged print-based editorial theories as much as it resists technological determinism because it moves beyond the dominant mode of representing documents or texts as the primary output and instead puts the focus on curating textual data. Textual editing and digital publishing could combine with ‘creative criticism’ to be ongoing and incomplete, partaking of a process of close reading and distant analysis, learning and unlearning, and redescriptions of textual criticism that are embedded in the creative process and other aesthetic experiences. What digital publishing can ideally do, then, is to give space to competing and alternative discourses of the same text and to facilitate connections to other aesthetic contexts. The most promising ways to accomplish this goal would be, in the short term, to give users better designs and tools for engaging in the creative processes inherent in editorial projects. In the long term, an atomic database approach would allow creative play with any textual element, achieving that ideal of a digital edition as a ‘multi-dimensional space of possibilities’. 30 00 Creative-critical digital editing aims to be a pragmatic complement to the dominant ‘depth’ models of traditional scholarly editing that attempt to offer the ‘correct’ description, representation, or data model of a work within the space of a book or document. A pan-relational, creative-critical editorial approach to publishing instead focuses on a different kind of depth that connects texts to new contexts and literary experiences with new technological tools. Pan-relational editing creates new connections by creating new descriptions and visualisations of texts which are tethered to whatever purposes are needed for a given situation or audience ‘to make them serve our purposes better’, as the philosopher Richard Rorty put it. A creative-critical framework offers the best way to ‘cope’ with the varieties of potential experiences in the textual situation. This mode of thinking resists privileged print-based editorial theories as much as it resists technological determinism because it moves beyond the dominant mode of representing documents or texts as the primary output and instead puts the focus on curating textual data. Textual editing and digital publishing could combine with ‘creative criticism’ to be ongoing and incomplete, partaking of a process of close reading and distant analysis, learning and unlearning, and redescriptions of textual criticism that are embedded in the creative process and other aesthetic experiences. What digital publishing can ideally do, then, is to give space to competing and alternative discourses of the same text and to facilitate connections to other aesthetic contexts. The most promising ways to accomplish this goal would be, in the short term, to give users better designs and tools for engaging in the creative processes inherent in editorial projects. In the long term, an atomic database approach would allow creative play with any textual element, achieving that ideal of a digital edition as a ‘multi-dimensional space of possibilities’. 20 00 Open Access Christopher Oghe 16 03 06 10.62637/sup.GHST9020.15 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Re-encoding dominance queer approaches to TEI markup 1 A01 Filipa Calado Filipa Calado 40 007m3p006 Pratt Institute Filipa Calado is an Assistant Professor of Information Studies at The Pratt Institute, School of Information. As a self-taught programmer with a PhD in English Literature, she is interested in literary and computer languages, and how they are used to express sex, gender, and sexuality. She examines how technological constraints on language can be re-worked toward unexpected but productive usages. Most recently, she experiments with machine learning to study discourses of transphobia in the US. She has written about her work in Open Library of Humanities Journal and The Journal of Interactive Technology and Pedagogy. Her coding projects and teaching materials are published on her GitHub profile, with username gofilipa. 03 00 This paper considers the potential alignment between a rigidly structured and constraining editorial format, the TEI, and a strategically nebulous collection of identities and politics expressed by the designation of queer. It proposes how editorial practices with the TEI might draw from Queer of Color Critique and Black Feminist Studies to engage modes of resistance against dominance structures. Here, the critique of Queer Studies’ capitulation to majoritarian and neoliberal politics inspires methods for reworking the structuring forces within both the TEI markup language and textual editing practices more broadly. By narrating between the gaps and silences in the record, these methods emphasize marginalized identities and positions within dominance structures. This examination closes by highlighting examples of current projects that deploy collaborative and minimalist practices to challenge the structuring modes of textual editing and the TEI. 30 00 This paper considers the potential alignment between a rigidly structured and constraining editorial format, the TEI, and a strategically nebulous collection of identities and politics expressed by the designation of queer. It proposes how editorial practices with the TEI might draw from Queer of Color Critique and Black Feminist Studies to engage modes of resistance against dominance structures. Here, the critique of Queer Studies’ capitulation to majoritarian and neoliberal politics inspires methods for reworking the structuring forces within both the TEI markup language and textual editing practices more broadly. By narrating between the gaps and silences in the record, these methods emphasize marginalized identities and positions within dominance structures. This examination closes by highlighting examples of current projects that deploy collaborative and minimalist practices to challenge the structuring modes of textual editing and the TEI. 20 00 Open Access Filipa Calado 17 03 06 10.62637/sup.GHST9020.16 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 The ludic edition playful futures for digital scholarly editing 1 A01 21 0000000227526729 Jason Boyd Jason Boyd 40 05g13zd79 Toronto Metropolitan University Jason Boyd is an Associate Professor in the Department of English and the Director of the Centre for Digital Humanities at Toronto Metropolitan University (TMU), in Toronto, Canada. Prior to joining TMU, he was a Senior Research Associate at the international research project, Records of Early English Drama (REED), based at the University of Toronto. In that role, he was a key part of the team that created the Fortune Theatre Records Prototype Digital Edition, acting as the TEI Editor and co-author of the project’s White Paper. His research also explores the digital editing of biographical texts (particularly texts relating to Oscar Wilde). His teaching and research interests largely focus on exploring the creative and critical uses of digital media in a literary context (for example, the Stories in Play Initiative: https://storiesinplay.com/) and queer digital humanities. Relevant recent research includes ‘The Playing’s the Thing: Diversifying Digital Shakespeare Through Ludic Adaptation’ (Digital Studies/Le champ numérique, volume 13, issue 3, 2023), ‘Poetry as Code as Interactive Fiction: Engaging Multiple Text-Based Literacies in Scarlet Portrait Parlor’ (Digital Humanities Quarterly volume 17, number 2, 2023); and (co-authored with Bo Ruberg) ‘Queer Digital Humanities’ (The Bloomsbury Handbook to the Digital Humanities, 2022). 01 eng 03 00 The practice of creating scholarly digital editions of literary texts has now a substantial body of examples of and scholarship about the problems and possibilities (and various methodologies) of digital editing. A sophisticated example can be found at Digital Thoreau (https://digitalthoreau.org/). This includes Walden: A Fluid Text Edition, which, using the Versioning Machine tool (http://v-machine.org/), enables comparison of seven drafts and a published edition of Henry David Thoreau’s 1854 book (all encoded in the Text Encoding Initiative’s XML-based markup). Digital Thoreau also includes The Readers’ Thoreau, an online edition of Walden that enables users to socially annotate the text at the paragraph level, using a WordPress plug-in, CommentPress. These two editions of Walden perhaps go some way to respond to Joris van Zundert’s 2016 call on digital editors and editions to “implement a form of hypertext that truly represents textual fluidity and text relations in a scholarly viable and computational tractable manner.” Van Zundert’s concern is that the digital scholarly edition will otherwise amount to little more than “a mere medium shift” that will “limit [the digital scholarly edition’s] expressiveness to that of print text, and…fail to explore the computational potential for digital text representation, analysis and interaction.” Yet van Zundert’s seemingly radical call, which expresses the desire to move away from the structures and logics of print, still closely adheres to a print-delimited idea of text (“hypertext,” “textual fluidity and text relations,” “digital text representation, analysis and interaction”). Does van Zundert’s conception fully exploit “the computational potential” of digital editing/editions? In "Gaming the Humanities: Digital Humanities, New Media, and Practice-Based Research" (2014), Patrick Jagoda claims that digital gaming “is increasingly becoming a key problematic of—that is, in different ways, a problem and possibility for—the digital humanities" (194), of which digital editing is a dominating practice. This paper will suggest that the twenty-first century is the moment for the ludic edition, which extends the digital edition through the digital or video game. Three examples of what might be considered a ludic edition will be considered: Walden, a game (USC Game Innovation Lab, 2017), Elsinore (Golden Glitch, 2019), and 80 Days (Inkle Studios, 2014). These each can be understood as a critical digital edition that makes use of the rich textual, extra-textual, procedural, interactive, and meaning-making affordances of the video game. In doing so, these ludic editions robustly explore “the computational potential” for the digital edition and present a radical challenge to and expansion of the idea of digital editing. The paper will take up editorial ideas around ‘the text,’ editions as interpretations, and readerly activity and consider them in connection with game design ideas around simulation, open world exploration, and player agency. By so doing, the paper aims to foreground how the ludic edition functions as, to use Jagoda’s term, a “problematic” for the future of digital scholarly editing. 30 00 The practice of creating scholarly digital editions of literary texts has now a substantial body of examples of and scholarship about the problems and possibilities (and various methodologies) of digital editing. A sophisticated example can be found at Digital Thoreau (https://digitalthoreau.org/). This includes Walden: A Fluid Text Edition, which, using the Versioning Machine tool (http://v-machine.org/), enables comparison of seven drafts and a published edition of Henry David Thoreau’s 1854 book (all encoded in the Text Encoding Initiative’s XML-based markup). Digital Thoreau also includes The Readers’ Thoreau, an online edition of Walden that enables users to socially annotate the text at the paragraph level, using a WordPress plug-in, CommentPress. These two editions of Walden perhaps go some way to respond to Joris van Zundert’s 2016 call on digital editors and editions to “implement a form of hypertext that truly represents textual fluidity and text relations in a scholarly viable and computational tractable manner.” Van Zundert’s concern is that the digital scholarly edition will otherwise amount to little more than “a mere medium shift” that will “limit [the digital scholarly edition’s] expressiveness to that of print text, and…fail to explore the computational potential for digital text representation, analysis and interaction.” Yet van Zundert’s seemingly radical call, which expresses the desire to move away from the structures and logics of print, still closely adheres to a print-delimited idea of text (“hypertext,” “textual fluidity and text relations,” “digital text representation, analysis and interaction”). Does van Zundert’s conception fully exploit “the computational potential” of digital editing/editions? In "Gaming the Humanities: Digital Humanities, New Media, and Practice-Based Research" (2014), Patrick Jagoda claims that digital gaming “is increasingly becoming a key problematic of—that is, in different ways, a problem and possibility for—the digital humanities" (194), of which digital editing is a dominating practice. This paper will suggest that the twenty-first century is the moment for the ludic edition, which extends the digital edition through the digital or video game. Three examples of what might be considered a ludic edition will be considered: Walden, a game (USC Game Innovation Lab, 2017), Elsinore (Golden Glitch, 2019), and 80 Days (Inkle Studios, 2014). These each can be understood as a critical digital edition that makes use of the rich textual, extra-textual, procedural, interactive, and meaning-making affordances of the video game. In doing so, these ludic editions robustly explore “the computational potential” for the digital edition and present a radical challenge to and expansion of the idea of digital editing. The paper will take up editorial ideas around ‘the text,’ editions as interpretations, and readerly activity and consider them in connection with game design ideas around simulation, open world exploration, and player agency. By so doing, the paper aims to foreground how the ludic edition functions as, to use Jagoda’s term, a “problematic” for the future of digital scholarly editing. 20 00 Open Access Jason Boyd 18 03 06 10.62637/sup.GHST9020.17 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Seamless editions a future imaginary of digital editions for learning and public engagement 1 A01 Aodhán Kelly Aodhán Kelly Vrije Universiteit Amsterdam Aodhán Kelly is a lecturer and researcher at Vrije Universiteit Amsterdam and Maastricht University. He was an early career researcher with DiXiT (2014–7), a Marie Skłodowska-Curie Initial Contributor biographies xxiii Training Network focused on digital scholarly editions. He conducted his PhD (2017) under Prof. Dirk Van Hulle at the University of Antwerp, defending a thesis on ‘Disseminating digital scholarly editions of textual cultural heritage’. Aodhan’s postdoctoral work has been situated broadly in the social sciences and focuses on digital transformations in higher education and society. He previously represented Open Universiteit on Dutch national initiatives ‘Digital Society’ and the Acceleration Plan for ICT in Education. Currently he is active in teaching at Vrije Universiteit Amsterdam and Maastricht University in media studies and digital society. He is a co-founder and research co-ordinator for the Plant at Maastricht (Playground and Laboratory for New Technologies). His latest research focuses on digital humanities approaches to enabling polyvocal representations of contested colonial heritage in archives. 01 eng 03 00 This chapter will propose and examine a way to conceptualise the creation of future digital editions for broader audiences, particularly for purposes of learning and public engagement, namely the idea of ‘seamless editions’. This idea builds upon a conceptual framework developed by the author for the dissemination of digital editions. It will combine this framework with ideas drawn from a growing field within the educational sciences, that of ‘seamless learning’. Digital editions come in many shapes and sizes, and as a scholarly output there is no clear-cut consensus on where its definitional boundaries lie, but they are rather something experimental that may continue to remain in a state of development and redefinition. The continuing definitional ambiguity of digital editions could in some ways be viewed as a sort of identity crisis, but this lack of clear boundaries can also be treated as a freedom and an opportunity to experiment and diversify. The potential of editions to reach a broader audience in the digital medium is a long running ambition of many in the field. This chapter seeks to help intensify that discussion in the scholarly editing community and add impetus to reaching that potential by focusing on a conceptual approach to the design of digital editions for learning and outreach purposes. 30 00 This chapter will propose and examine a way to conceptualise the creation of future digital editions for broader audiences, particularly for purposes of learning and public engagement, namely the idea of ‘seamless editions’. This idea builds upon a conceptual framework developed by the author for the dissemination of digital editions. It will combine this framework with ideas drawn from a growing field within the educational sciences, that of ‘seamless learning’. Digital editions come in many shapes and sizes, and as a scholarly output there is no clear-cut consensus on where its definitional boundaries lie, but they are rather something experimental that may continue to remain in a state of development and redefinition. The continuing definitional ambiguity of digital editions could in some ways be viewed as a sort of identity crisis, but this lack of clear boundaries can also be treated as a freedom and an opportunity to experiment and diversify. The potential of editions to reach a broader audience in the digital medium is a long running ambition of many in the field. This chapter seeks to help intensify that discussion in the scholarly editing community and add impetus to reaching that potential by focusing on a conceptual approach to the design of digital editions for learning and outreach purposes. 20 00 Open Access Aodhán Kelly 19 03 06 10.62637/sup.GHST9020.18 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Digital scholarly editing in the early modern curriculum 1 A01 21 0000000160627911 Lindsay Ann Reid Lindsay Ann Reid 40 03bea9k73 University of Galway Lindsay Ann Reid is Senior Lecturer in English at the University of Galway. Her research interests include classical reception in the late medieval and early modern eras as well as various facets of early English print culture. She is the author of two monographs, Ovidian Bibliofictions and the Tudor Book (2014) and Shakespeare’s Ovid and the Spectre of the Medieval (2018). She has published work in Women’s Writing, Comparative Drama, Renaissance Quarterly, Shakespeare, Studies in Philology, Cahiers Élisabéthains, Early Theatre, The Seventeenth Century and elsewhere, including numerous edited collections. With co-editor Agnès Lafont, she is currently preparing an edition of The Maid’s Metamorphosis for The Revels Plays. In 2022, she worked with Cúirt International Festival of Literature and Speaking Volumes to create the pamphlet publication Breaking Ground Ireland. As of 2023, she is centrally involved with ‘Re-mediating the Early Book: Pasts and Futures’ (REBPAF), a Marie Skłodowska-Curie Doctoral Training Network co-ordinated by the University of Galway. 2 A01 21 0000000225794367 Justin Tonra Justin Tonra 40 03bea9k73 University of Galway Justin Tonra is Academic Integrity Officer and Associate Professor of English at the University of Galway. His research interests lie at the intersections of literature and technology and comprise work in the fields of digital humanities, book history, textual studies and bibliography, scholarly editing, and poetry and poetics. He is the author of a monograph, Write My Name: Authorship in the Poetry of Thomas Moore (Routledge, 2020), and peer-reviewed articles on topics including network analysis, crowdsourcing, authorship attribution, electronic literature and digital bibliography. 01 eng 03 00 This article describes and analyses the experience of building a collaborative digital edition of an early modern play in the university classroom. Reflecting on all aspects of module development from conception through to execution and evaluation, the article articulates the challenges and opportunities of digital scholarly editing pedagogy and makes specific practical and conceptual recommendations for how our model might be replicated. Having received funding from the National Forum for the Enhancement of Teaching and Learning in Higher Education, the authors co-designed and co-delivered an innovative postgraduate module on the theory and practice of digital scholarly editing. Students in the module collaborated on a large-scale digital editing project. In the first part of the semester, they learned key theoretical and methodological approaches to scholarly editing and text encoding with TEI. As the semester progressed, they gained hands-on experience by working together to create a new digital edition of an early modern theatrical work: James Shirley’s The Royall Master (1638). This article focuses on the key pedagogical outcomes of the module and the students’ working process: independent and collaborative activities, and synthesis of perspectives from the fields of scholarly editing and early modern studies. Moreover, we argue that students on the module acquired a range of transferable skills that have impacts beyond academia: project management, text encoding, version control, digital image preparation, and web design and publishing. This article is timely as it capitalises on a recent swell in interest in the pedagogical possibilities of digital scholarly editing in the early modern studies curriculum. Besides a dedicated seminar on this topic hosted by the authors for the Curriculum and Canon webinar series at NUI Galway in 2021, two panels at the 2021 Renaissance Society of America Annual Meeting addressed the topic of “Editing Early Modern Texts and/as Pedagogy.” Elsewhere, peer-reviewed journal articles have considered the value of teaching TEI in the literature classroom (Kaethler), of digital scholarly editing in undergraduate modules (Salt, et al.), and of editorial pedagogy for teaching Shakespearean drama (Taylor). This article advances scholarship in this area through its particular focus on the pragmatics of syllabus and assessment design (including a pandemic-age perspective on the incorporation of online learning and open educational resources). In addition, the authors draw attention to ways in which the theory and practice of digital scholarly editing can equip students with valuable skills and competencies for life beyond academia. 30 00 This article describes and analyses the experience of building a collaborative digital edition of an early modern play in the university classroom. Reflecting on all aspects of module development from conception through to execution and evaluation, the article articulates the challenges and opportunities of digital scholarly editing pedagogy and makes specific practical and conceptual recommendations for how our model might be replicated. Having received funding from the National Forum for the Enhancement of Teaching and Learning in Higher Education, the authors co-designed and co-delivered an innovative postgraduate module on the theory and practice of digital scholarly editing. Students in the module collaborated on a large-scale digital editing project. In the first part of the semester, they learned key theoretical and methodological approaches to scholarly editing and text encoding with TEI. As the semester progressed, they gained hands-on experience by working together to create a new digital edition of an early modern theatrical work: James Shirley’s The Royall Master (1638). This article focuses on the key pedagogical outcomes of the module and the students’ working process: independent and collaborative activities, and synthesis of perspectives from the fields of scholarly editing and early modern studies. Moreover, we argue that students on the module acquired a range of transferable skills that have impacts beyond academia: project management, text encoding, version control, digital image preparation, and web design and publishing. This article is timely as it capitalises on a recent swell in interest in the pedagogical possibilities of digital scholarly editing in the early modern studies curriculum. Besides a dedicated seminar on this topic hosted by the authors for the Curriculum and Canon webinar series at NUI Galway in 2021, two panels at the 2021 Renaissance Society of America Annual Meeting addressed the topic of “Editing Early Modern Texts and/as Pedagogy.” Elsewhere, peer-reviewed journal articles have considered the value of teaching TEI in the literature classroom (Kaethler), of digital scholarly editing in undergraduate modules (Salt, et al.), and of editorial pedagogy for teaching Shakespearean drama (Taylor). This article advances scholarship in this area through its particular focus on the pragmatics of syllabus and assessment design (including a pandemic-age perspective on the incorporation of online learning and open educational resources). In addition, the authors draw attention to ways in which the theory and practice of digital scholarly editing can equip students with valuable skills and competencies for life beyond academia. 20 00 Open Access Lindsay Ann Reid and Justin Tonra 20 03 06 10.62637/sup.GHST9020.19 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Mediating and connecting versatile digital publishing in the Edison Papers 1 A01 21 0000000316950433 Caterina Agostini Caterina Agostini 40 02k40bc56 Indiana University Bloomington Caterina Agostini is a Postdoctoral Fellow at Indiana University Bloomington. She is co-PI in the Chymistry of Isaac Newton and the Harriot Papers, specializing in digital editions of early modern scientific texts. She has researched and developed reading and annotation methods in the Thomas A. Edison Papers. Caterina has published on Galileo Galilei, Renaissance travelogues, and digital humanities methods. She is a co-chair of the International Image Interoperability Framework (IIIF). 2 A01 21 0000000204255428 Paul Israel Paul Israel 40 05vt9qd57 Rutgers University Paul Israel is director and general editor of the Thomas A. Edison Papers at Rutgers, the State University of New Jersey. He joined the project in 1980 and became director in 2002. To date, the project has produced nine volumes of The Papers of Thomas A. Edison. Its online digital image edition includes over 154,000 documents. In 2005 the Society for the History of Technology awarded the Edison Papers a one-time retrospective award as a model reference work published since the founding of the Society in 1958. Dr Israel was also awarded the Society’s 2000 Edelstein [Dexter Prize] for his book Edison: A Life of Invention (John Wiley & Sons, 1998). In addition, he is the author of From Machine Shop to Industrial Laboratory: Telegraphy and the Changing Context of American Invention, 1830– 1920 (Johns Hopkins University Press, 1992) and co-author with Robert Friedel of Edison’s Electric Light: The Art of an Invention (Johns Hopkins University Press, 2010; Rutgers University Press, 1986). Dr Israel’s work examines technological creativity, the origins of modern innovation, patent regimes and intersections between science, technology and industry. He also has been a consultant on exhibits at several museums and historic sites and contributed to numerous television and radio documentaries. 01 eng 03 00 In this chapter we discuss a framework for reconfiguring the Thomas A. Edison Papers as an integrated digital edition of primary sources. In the digital edition, stratified levels of sources enhance the accessibility of complex historical collections in digital environments. The concept of providing multiple layers of access was already implicit in the Edison Papers online book and image editions. Our reader-centered approach enables an interactive experience displaying primary sources both from text- and image-based collections documenting the work of Edison.The resulting reading experience occurs in International Image Interoperability Framework (IIIF) interfaces that can deliver images and texts from multiple servers on the Web. IIIF-compliant images present materials to readers in a coherent way, allowing deep zoom, comparison, page layout, and annotation through a IIIF image viewer, Mirador Viewer. The digital edition is customized, based on readers’ queries, and the interconnected design can potentially promote collaborative reading, scholarship, and applications in pedagogy, resulting in a versatile investigation of technological advancements and industrialization in Edison’s lifetime. 30 00 In this chapter we discuss a framework for reconfiguring the Thomas A. Edison Papers as an integrated digital edition of primary sources. In the digital edition, stratified levels of sources enhance the accessibility of complex historical collections in digital environments. The concept of providing multiple layers of access was already implicit in the Edison Papers online book and image editions. Our reader-centered approach enables an interactive experience displaying primary sources both from text- and image-based collections documenting the work of Edison.The resulting reading experience occurs in International Image Interoperability Framework (IIIF) interfaces that can deliver images and texts from multiple servers on the Web. IIIF-compliant images present materials to readers in a coherent way, allowing deep zoom, comparison, page layout, and annotation through a IIIF image viewer, Mirador Viewer. The digital edition is customized, based on readers’ queries, and the interconnected design can potentially promote collaborative reading, scholarship, and applications in pedagogy, resulting in a versatile investigation of technological advancements and industrialization in Edison’s lifetime. 20 00 Open Access Caterina Agostini and Paul Israel 21 03 06 10.62637/sup.GHST9020.20 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 ‘The present therefore seems improbable, the future most uncertain’ transcending academia through Charlotte Lennox’s Lady’s Museum (1760–1) 1 A01 Kelly J. Plante Kelly J. Plante 40 01070mq45 Wayne State University Kelly J. Plante, PhD (Wayne State University), specialises in long-eighteenth-century transatlantic literature and feminist digital/ public humanities. Her dissertation, ‘Death Writing: Gender and Necropolitics in the Atlantic World (1660–1840),’ received the 2024 Bibliographical Society of America (BSA) William L. Mitchell Prize for scholarship on British serials. She currently serves as Managing Editor for ABO: Interactive Journal for Women in the Arts (1640– 1830), Associate Reader for the Michigan Quarterly Review and, with Karenza Sutton-Bennett, PhD, as Co-Editor for the Lady’s Museum Project (ladysmuseum.com, 2021–present). She has served as Managing Editor for Criticism: A Quarterly for Literature and the Arts (2021–3), Co-Chair for the American Society of Eighteenth- Century Studies Digital Humanities Caucus, Project Manager for the Warrior Women Project (s.wayne.edu/warriorwomen, 2020–1), Co-General Editor for The Poetry of Gertrude More: Piety and Politics in a Benedictine Convent (s.wayne.edu/gertrudemore, 2020–1), and as a Detroit-area journalist, writer/editor, and publisher. Her writing has appeared or is forthcoming in Creative Nonfiction Magazine, ABO, Eighteenth-Century Fiction, The Eighteenth Century: Theory and Interpretation, and Early Modern Women: An Interdisciplinary Journal. 2 A01 21 000900025531136X Karenza Sutton-Bennett Karenza Sutton-Bennett 40 03c4mmv16 University of Ottawa Karenza Sutton-Bennett, University of Ottawa, Canada, completed her dissertation in 2022. It was titled ‘The Female Guise: the Untold Story of Female Education in English Periodicals’. Her research focuses on textual and visual representations of women learning in periodicals. Her research interests include history of education, xxviii Digital editing and publishing in the twenty-first century cultural studies, and women’s writing. Karenza’s publications include ‘Teaching the Lady’s Museum and Sophia: Imperialism, Feminism, and Beyond’, co-written with Susan Carlile in Aphra Behn Online: Interactive Journal for Women in the Arts (1640–1830), and ‘Intellect versus Politeness: Charlotte Lennox and Women’s Minds’ in Eighteenth-Century Fiction. She is the co-editor of The Lady’s Museum Project with Kelly J. Plante, PhD. In 2023, the edition won the ASECS Women’s Caucus Editing and Translation Fellowship. Through LMP she has guest-lectured in several classrooms in Canada and the United States. When not researching or teaching, she works at Ontario Professional Planners Institute as Senior Manager of Education and Events where she develops their continuing education curriculum and annual conference. 01 eng 03 00 The question of how digital scholarly editing and publishing can have an impact beyond academia has been widely debated in the digital humanities and literary/cultural studies fields. Kate Ozment in “Rationale for Feminist Bibliography” argues the field of feminist bibliography is “continuing work on women’s lives and labor by providing tools for feminist scholars to use in their work, while simultaneously building a framework that allows such work to flourish” (151). Tonya Howe has posited three interrelated areas for “Intersectional Futures in Digital History”: “theorizing the feminized labor of digital recovery, editing, and textual preparation,” “offering thoughtful and feminist approaches to digital pedagogy that are specific to the work we do in the period,” and “critically assessing the absences in existing digital projects'' (2). We build on Ozment’s and Howe’s visions for an intersectional future(s) in our digital scholarly editing project, The Lady’s Museum Project, which aims for a public readership beyond the academy to broadly publicize women writers’ contributions to the developments in education and citizenship for all genders and classes throughout the long eighteenth century. Our project continues the work of Jennie Batchelor and Manushag N. Powell’s Women’s Periodicals and Print Culture in Britain, 1690-1820s (2018)—the first comprehensive study of women’s periodicals in the eighteenth-century—by giving open-access to Charlotte Lennox’s periodical, The Lady’s Museum (1760-61). We advocate for centering the previously forgotten labor of early modern women writers then, and DH coworkers now, highlighting their importance and continuing impact for a present-day specialist and non-specialist, public audience. In this essay, we present the theory and praxis governing the Lady’s Museum Project to show how a digital-scholarly editing project can challenge the structural logics of print by creating a user-driven reading experience and social edition rather than a traditional, linear-based edition. We discuss the project’s focus on audiobook and social annotation functionalities in contrast to traditional scholarly publishing to reveal the importance of an intersectional-feminist approach for future editing projects. In framing our project within intersectionality, which, rooted in civic justice, transcends multiple academic disciplines, we strive to: reveal the feminized labor of digital recovery; use ethical means to represent multiply marginalized persons; capture the historical, oppressive structures in which The Lady’s Museum appeared in its context of eighteenth-century British imperialism; and, through consensus decision-making processes and implementing user feedback, create sortable categories and keywords that spotlight system-centered complexities. We argue that digital scholarly editing and publishing can have an impact beyond academia by recovering the textual authority of women writers such as Charlotte Lennox and supplying a basis for a public audience to engage with her work. In conclusion, this essay, by closely examining how marginalized women writers and texts had a pivotal impact on the foundational blocks of modern western culture, simultaneously shines new light on the benefits of aligning intersectional feminism with public-facing, transdisciplinary projects. 30 00 The question of how digital scholarly editing and publishing can have an impact beyond academia has been widely debated in the digital humanities and literary/cultural studies fields. Kate Ozment in “Rationale for Feminist Bibliography” argues the field of feminist bibliography is “continuing work on women’s lives and labor by providing tools for feminist scholars to use in their work, while simultaneously building a framework that allows such work to flourish” (151). Tonya Howe has posited three interrelated areas for “Intersectional Futures in Digital History”: “theorizing the feminized labor of digital recovery, editing, and textual preparation,” “offering thoughtful and feminist approaches to digital pedagogy that are specific to the work we do in the period,” and “critically assessing the absences in existing digital projects'' (2). We build on Ozment’s and Howe’s visions for an intersectional future(s) in our digital scholarly editing project, The Lady’s Museum Project, which aims for a public readership beyond the academy to broadly publicize women writers’ contributions to the developments in education and citizenship for all genders and classes throughout the long eighteenth century. Our project continues the work of Jennie Batchelor and Manushag N. Powell’s Women’s Periodicals and Print Culture in Britain, 1690-1820s (2018)—the first comprehensive study of women’s periodicals in the eighteenth-century—by giving open-access to Charlotte Lennox’s periodical, The Lady’s Museum (1760-61). We advocate for centering the previously forgotten labor of early modern women writers then, and DH coworkers now, highlighting their importance and continuing impact for a present-day specialist and non-specialist, public audience. In this essay, we present the theory and praxis governing the Lady’s Museum Project to show how a digital-scholarly editing project can challenge the structural logics of print by creating a user-driven reading experience and social edition rather than a traditional, linear-based edition. We discuss the project’s focus on audiobook and social annotation functionalities in contrast to traditional scholarly publishing to reveal the importance of an intersectional-feminist approach for future editing projects. In framing our project within intersectionality, which, rooted in civic justice, transcends multiple academic disciplines, we strive to: reveal the feminized labor of digital recovery; use ethical means to represent multiply marginalized persons; capture the historical, oppressive structures in which The Lady’s Museum appeared in its context of eighteenth-century British imperialism; and, through consensus decision-making processes and implementing user feedback, create sortable categories and keywords that spotlight system-centered complexities. We argue that digital scholarly editing and publishing can have an impact beyond academia by recovering the textual authority of women writers such as Charlotte Lennox and supplying a basis for a public audience to engage with her work. In conclusion, this essay, by closely examining how marginalized women writers and texts had a pivotal impact on the foundational blocks of modern western culture, simultaneously shines new light on the benefits of aligning intersectional feminism with public-facing, transdisciplinary projects. 20 00 Open Access Kelly J. Plante and Karenza Sutton-Bennett 22 03 06 10.62637/sup.GHST9020.c Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Conclusion The future of digital editing and publishing 1 A01 21 0000000242149933 James O'Sullivan James O'Sullivan 40 03265fv13 University College Cork James O’Sullivan lectures in the Department of Digital Humanities at University College Cork, where he is Director of Research for the School of English and Digital Humanities, as well as a member of the Research and Innovation Committee for the College Arts, Celtic Studies and Social Sciences. He is a member of the board of the Future Humanities Institute, for which he leads the Digital Cultures, New Media, and Cultural Analytics research cluster. He is the author of 'Towards a Digital Poetics' (Palgrave Macmillan 2019). James has edited several collections of scholarly essays, including 'The Bloomsbury Handbook to the Digital Humanities' (Bloomsbury 2023) and 'Technology in Irish Literature and Culture' (Cambridge University Press 2023). He is the Principal Investigator (Ireland) on 'C21 Editions: Editing and Publishing in the Digital Age', funded under the UK-Ireland Collaboration in the Digital Humanities. See www.jamesosullivan.org for more on his work. 2 B01 21 000000024441450X Sophie Whittle Sophie Whittle 40 05krs5044 University of Sheffield Sophie Whittle is a Research Associate on 'C21 Editions: Editing and Publishing in the Digital Age' project, responsible for developing a prototype online teaching edition of Geoffrey Chaucer’s Pardoner’s Prologue and Tale using machine assisted methods. Sophie has taught on modules in the history of English, historical pragmatics, research methods and syntax. She has co-ordinated interdisciplinary workshops on centring anti-racist research in the linguistics curric-ulum, inviting speakers from across the globe to present their research on the pragmatics of postcolonial communities, language and culture sharing and human rights, and has since become a member of the Linguistic Association of Great Britain’s racial justice subcommittee. She is also an organiser at the Sheffield Feminist Archive, and has recently contributed to the creation of a digital archive named 'Women in Lockdown', a project that houses women’s stories and experiences of the pandemic via oral history, testimony, diary entries and artwork submissions. 01 eng 20 00 Open Access James O'Sullivan and Sophie Whittle 01 URL https://www.sup.ac.uk/ Scottish Universities Press 01 Scottish Universities Press 01 Publisher's website: home page https://www.sup.ac.uk/ 02 Publisher's website: webpage for this title https://books.sup.ac.uk/sup/catalog/book/sup-9781917341073 16 40 0505m1554 32 10.13039/501100007818 Arts and Humanities Research Council (AHRC) 01 projectname C21 Editions: Editing and Publishing in the Digital Age 01 projectshortname C21 Editions 01 grantnumber AH/W001489/1 04 01 20250429 James O’Sullivan, Michael Pidd, Sophie Whittle, Bridgette Wessels, Michael Kurzmeier and Órla Murphy 02 WORLD 06 15 9781917341042 03 9781917341042 06 15 9781917341073 03 9781917341073 06 15 9781917341066 03 9781917341066 WORLD 11 Unknown 36 Unspecified hosting platform: webpage for this product https://books.sup.ac.uk/sup/catalog/book/sup-9781917341073 20 08 20250429 02 50.00 GBP WORLD urn:uuid:c40a56c5-1db4-4455-a91f-5835346bf54e 03 01 01 thoth-work-id urn:uuid:d99764cf-2d40-4722-8cea-ff791e822633 01 thoth-publication-id urn:uuid:c40a56c5-1db4-4455-a91f-5835346bf54e 15 9781917341073 03 9781917341073 06 10.62637/sup.GHST9020 00 EB E107 10 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ 01 01 Digital editing and publishing in the twenty-first century 1 B01 21 0000000242149933 James O'Sullivan James O'Sullivan 40 03265fv13 University College Cork James O’Sullivan lectures in the Department of Digital Humanities at University College Cork, where he is Director of Research for the School of English and Digital Humanities, as well as a member of the Research and Innovation Committee for the College Arts, Celtic Studies and Social Sciences. He is a member of the board of the Future Humanities Institute, for which he leads the Digital Cultures, New Media, and Cultural Analytics research cluster. He is the author of 'Towards a Digital Poetics' (Palgrave Macmillan 2019). James has edited several collections of scholarly essays, including 'The Bloomsbury Handbook to the Digital Humanities' (Bloomsbury 2023) and 'Technology in Irish Literature and Culture' (Cambridge University Press 2023). He is the Principal Investigator (Ireland) on 'C21 Editions: Editing and Publishing in the Digital Age', funded under the UK-Ireland Collaboration in the Digital Humanities. See www.jamesosullivan.org for more on his work. 2 B01 21 0000000221323410 Michael Pidd Michael Pidd 40 05krs5044 University of Sheffield Michael Pidd is Director of the Digital Humanities Institute at the University of Sheffield. He has nearly 30 years of experience in developing, managing and delivering large collaborative research projects and technology R&D in the humanities and heritage subject domains. During that time the DHI has been the technical partner in over 120 national and international projects with over 100 clients. He is the Principal Investigator (UK) on 'C21 Editions: Editing and Publishing in the Digital Age', funded under the UK-Ireland Collaboration in the Digital Humanities. Michael was Principal Investigator on the following projects: 'Connecting Shakespeare' (HEIF), Dewdrop (Jisc), 'Reinventing Local Public Libraries' (HEIF), and 'Manuscripts Online' (Jisc); as well as Co-Investigator on 'Intoxicants and Early Modernity' (ESRC/AHRC), 'Linguistic DNA' (AHRC), 'Beyond the Multiplex' (AHRC) and 'Ways of Being in the Digital Age' (ESRC). He has been the technical lead on a wide number of projects, such as 'Digital Panopticon' (AHRC). 3 B01 21 000000024441450X Sophie Whittle Sophie Whittle 40 05krs5044 University of Sheffield Sophie Whittle is a Research Associate on 'C21 Editions: Editing and Publishing in the Digital Age' project, responsible for developing a prototype online teaching edition of Geoffrey Chaucer’s Pardoner’s Prologue and Tale using machine assisted methods. Sophie has taught on modules in the history of English, historical pragmatics, research methods and syntax. She has co-ordinated interdisciplinary workshops on centring anti-racist research in the linguistics curric-ulum, inviting speakers from across the globe to present their research on the pragmatics of postcolonial communities, language and culture sharing and human rights, and has since become a member of the Linguistic Association of Great Britain’s racial justice subcommittee. She is also an organiser at the Sheffield Feminist Archive, and has recently contributed to the creation of a digital archive named 'Women in Lockdown', a project that houses women’s stories and experiences of the pandemic via oral history, testimony, diary entries and artwork submissions. 4 B01 21 0000000227942116 Bridgette Wessels Bridgette Wessels 40 00vtgdb53 University of Glasgow Bridgette Wessels is Professor of Sociology and Social Inequalities at the University of Glasgow, UK. Her research focuses on the development and use of digital technology and services in social and cultural life. This includes digital services and communication in the public sphere, everyday life and civic life, social and digital inequalities, as well as specific areas such as telehealth, mobile communication and privacy in digital communication. She is co-lead of the ESRC’s Productivity Institute’s Scottish Forum, as well as a founding member of the Digital Technology and Social Change hub of the European University Alliance CIVIS network. She has a strong track record of research funding from UKRI and the EU, as well as other research foundations. Bridgette is a Co-Investigator on 'C21 Editions: Editing and Publishing in the Digital Age', funded under the UK-Ireland Collaboration in the Digital Humanities. 5 B01 21 0000000349255197 Michael Kurzmeier Michael Kurzmeier Humanities Institute, University College Dublin Michael Kurzmeier is Postdoctoral Research Fellow on the 'C21 Editions: Editing and Publishing in the Digital Age' project. His work revolves around the intersections of technology and society. His IRC-funded PhD thesis, 'Political Expression in Web Defacements', investigated political expression through hacking and introduces novel methods for retrieval and analysis of this special kind of archived web material. Michael is a chair of the research methods work group at the Aarhus-led Web ARChive studies network, researching web domains and events (WARCnet), as well as one of the founders of the Engaging with Web Archives (EWA) conference, Ireland’s first dedicated web archiving conference. 6 B01 21 0000000215509761 Órla Murphy Órla Murphy 40 03265fv13 University College Cork Órla Murphy is Head of the School of English and Digital Humanities, University College Cork. Her EU international leadership as service roles include National Co-ordinator of the Digital Research Infrastructure for the Arts and Humanities, National Representative and vice chair on the Scientific Committee of CoST-EU, Cooperation in Science and Technology and National Representative on the Social Science and Humanities Strategy Working Group of the European Strategy Forum on Research Infrastructures. Nationally, she is a board member of the Digital Repository of Ireland and co-chair of The Arts and Culture in Education Research Repository. Órla is a Co-Investigator on 'C21 Editions: Editing and Publishing in the Digital Age', funded under the UK-Ireland Collaboration in the Digital Humanities. 01 eng 00 448 03 09 14 10 COM014000 93 UXA 93 DSB 10 LIT000000 20 digital scholarly editing; digital publishing; digital editing; digital editions; digital humanities; communications; textual scholarship; literary studies; digital literary studies 01 06 02 00 The craft of scholarly editing is once more facing into a time of upheaval. The increasingly digital nature of cultural and knowledge production means that textual scholars, editors, and publishers need to further reimagine the collective craft of edition making. This twenty chapter volume contributes to such reimagining by offering a series 03 00 Despite recent calls to explore the full potential of digital text, digital scholarly editing and publishing remain rooted in the cultural and structural logics of print. This volume provides a wide range of perspectives on the current state and future of the field in an effort to further that dialogue, and to encourage continued exploration of how we make and share knowledge and meaning in the digital age. Digital editing and publishing in the twenty-first century brings together twenty chapters that cover practical design processes and conceptual approaches to editing born-digital material. The collection also engages with timely, important, and often-neglected topics, including accessibility, artificial intelligence, queer approaches to editing, and the data edition. By recognising the valuable insights and knowledge that can be gained from scholarly digital editions and by understanding the opportunities of their creative use, this volume emphasises how they can be made more widely available and relevant in various contexts beyond academia. 30 00 Despite recent calls to explore the full potential of digital text, digital scholarly editing and publishing remain rooted in the cultural and structural logics of print. This volume provides a wide range of perspectives on the current state and future of the field in an effort to further that dialogue, and to encourage continued exploration of how we make and share knowledge and meaning in the digital age. Digital editing and publishing in the twenty-first century brings together twenty chapters that cover practical design processes and conceptual approaches to editing born-digital material. The collection also engages with timely, important, and often-neglected topics, including accessibility, artificial intelligence, queer approaches to editing, and the data edition. By recognising the valuable insights and knowledge that can be gained from scholarly digital editions and by understanding the opportunities of their creative use, this volume emphasises how they can be made more widely available and relevant in various contexts beyond academia. 20 00 Open Access 01 00 03 02 https://books.sup.ac.uk/public/presses/1/submission_4_4_coverImage_en.jpg 1 03 06 10.62637/sup.GHST9020.i Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Introduction Digital editing and publishing in the twenty-first century 1 A01 21 0000000242149933 James O'Sullivan James O'Sullivan 40 03265fv13 University College Cork James O’Sullivan lectures in the Department of Digital Humanities at University College Cork, where he is Director of Research for the School of English & Digital Humanities, as well as a member of the Research & Innovation Committee for the College of Arts, Celtic Studies & Social Sciences. He is a member of the board of the Future Humanities Institute, for which he leads the Digital Cultures, New Media, & Cultural Analytics research cluster. He is the author of 'Towards a Digital Poetics' (Palgrave Macmillan 2019). James has edited several collections of scholarly essays, including 'The Bloomsbury Handbook to the Digital Humanities' (Bloomsbury 2023) and 'Technology in Irish Literature and Culture' (Cambridge University Press 2023). He is the Principal Investigator (Ireland) on 'C21 Editions: Editing and Publishing in the Digital Age', funded under the UK-Ireland Collaboration in the Digital Humanities. See www.jamesosullivan.org for more on his work. 01 eng 20 00 Open Access James O'Sullivan 2 03 06 10.62637/sup.GHST9020.1 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 ‘The past went that-a-way’ editing in the rearview mirror? 1 A01 21 0000000164741068 Andrew Prescott Andrew Prescott 40 00vtgdb53 University of Glasgow Andrew Prescott is Honorary Senior Research Fellow in the School of Critical Studies at the University of Glasgow. He was formerly Professor of Digital Humanities at the University of Glasgow and was from 2012 to 2019 AHRC Theme Leader Fellow for the AHRC ‘Digital Transformations’ theme. From 1979 to 2000 he was a curator of manuscripts at the British Library, where he worked on the Electronic Beowulf project. He has also worked in libraries and digital humanities units at the University of Sheffield, King’s College London and University of Wales Lampeter. 01 eng 03 00 Marshall McLuhan used the metaphor of the rearview mirror to describe one of the most common reactions to new technology. McLuhan argued that, confronted with technological innovation, we fall back on our past engagements with technology and ignore its new potential. In some ways, digital editing can be seen as one of the great success stories of the World Wide Web, but too often our understanding and implementation of the idea of an edition is shaped by our print experiences. We carry over practices which were shaped by the structure, cost and logistics of print production. Moreover, just as McLuhan suggested that we ignore what is heading towards the windscreen while we focus on the rearview mirror, our preoccupation with translating print practice into a digital environment means that we forget about the immense and increasingly pressing issues presented by the growth of born-digital information. The type of editorial methods derived from print practice will not cope with the vast scale of born-digital data or take full advantage of the metadata and other information associated with it. These issues are considered with references to such cases as email archives, social media and Wikileaks data. 30 00 Marshall McLuhan used the metaphor of the rearview mirror to describe one of the most common reactions to new technology. McLuhan argued that, confronted with technological innovation, we fall back on our past engagements with technology and ignore its new potential. In some ways, digital editing can be seen as one of the great success stories of the World Wide Web, but too often our understanding and implementation of the idea of an edition is shaped by our print experiences. We carry over practices which were shaped by the structure, cost and logistics of print production. Moreover, just as McLuhan suggested that we ignore what is heading towards the windscreen while we focus on the rearview mirror, our preoccupation with translating print practice into a digital environment means that we forget about the immense and increasingly pressing issues presented by the growth of born-digital information. The type of editorial methods derived from print practice will not cope with the vast scale of born-digital data or take full advantage of the metadata and other information associated with it. These issues are considered with references to such cases as email archives, social media and Wikileaks data. 20 00 Open Access Andrew Prescott 3 03 06 10.62637/sup.GHST9020.2 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Who are we editing for? How digital publication changes the role of the scholarly edition 1 A01 21 0000000163183762 Cathy Moran Hajo Cathy Moran Hajo 40 03s2x9d90 Ramapo College Cathy Moran Hajo is the editor of the Jane Addams Papers Project at Ramapo College of New Jersey. She holds a PhD in History and a certificate in archival management from New York University. Before taking on the Addams Papers, she worked for over 25 years as the Associate Editor and Assistant Director of The Margaret Sanger Papers at New York University, helping edit the 'Margaret Sanger Papers Microfilm Edition', the 'Selected Papers of Margaret Sanger' and two digital publications. She is the author of 'Birth Control on Main Street: Organizing Clinics in the United States, 1916–1939' (2010). She has taught graduate courses in Digital History at NYU and William Paterson University, and co-taught workshops on digital editions at the Digital Humanities Summer Institute and the one-week Institute for Editing Historical Documents. She currently develops online course materials for eLaboratories on editing and digital history. She was the President of the Association for Documentary Editing from 2008 to 2009 and is a board member and archival director for the Mahwah Museum. 01 eng 03 00 Digital publication has changed the way that I think about scholarly editing, and it has done so largely in thinking about our audience. Having started my editing career working on a microfilm edition, then a four-volume print edition, and a small TEI-based digital edition with the Margaret Sanger Papers, I had a chance to start fresh in 2015 when I took over as editor of the long-running Jane Addams Papers. This was a project that had already published a large microfilm edition and index in the 1980s, and half of its planned six-volume print edition. Providing wide access to documents has always been my primary goal as an editor and as the tools have changed, it seems that the nature of our editions must change along with them. When we primarily published in book form and microfilm form, the focus was on scholars at the research institutions who purchased those products. As digital publication began to spread, paywalls for scholarly journals and some scholarly editions kept our audience in that same traditional grouping. But what happens when you open the edition up, and build it as a freely accessible website? How does the broadening of our audience change the way we edit our texts and the kinds of context we provide for our users? Should it? How does a broad general audience change the way that we transcribe documents, how should it impact the annotation policies that we apply to them? Our experiences with the Jane Addams Papers Digital Edition have shown us that digital editions reach far broader and far younger audiences than we expected. We anticipated that college students would make great use of the edition, as well as scholars and the general public. And they have. But we learned that teachers and students in K-12 are an untapped audience for scholarly editions, if only we meet them halfway. For us, that meant designing thematic guides to help students and their teachers use the digital edition for National History Day Projects, writing some lesson plans for middle-school teachers, and developing AP History assignments that use the Addams Papers to explore American history. The guides, teacher resources, and the documents they suggest are the most popular pages on our site, month after month, year after year. They tap into something that the searchable digital edition cannot do. Opening our editions up to the whole world via digital publication creates challenges and opportunities for editors. We have to think through how to make our documents accessible not just in terms of open access, but also in making them understandable to scholars, teachers, students, and the general public. 30 00 Digital publication has changed the way that I think about scholarly editing, and it has done so largely in thinking about our audience. Having started my editing career working on a microfilm edition, then a four-volume print edition, and a small TEI-based digital edition with the Margaret Sanger Papers, I had a chance to start fresh in 2015 when I took over as editor of the long-running Jane Addams Papers. This was a project that had already published a large microfilm edition and index in the 1980s, and half of its planned six-volume print edition. Providing wide access to documents has always been my primary goal as an editor and as the tools have changed, it seems that the nature of our editions must change along with them. When we primarily published in book form and microfilm form, the focus was on scholars at the research institutions who purchased those products. As digital publication began to spread, paywalls for scholarly journals and some scholarly editions kept our audience in that same traditional grouping. But what happens when you open the edition up, and build it as a freely accessible website? How does the broadening of our audience change the way we edit our texts and the kinds of context we provide for our users? Should it? How does a broad general audience change the way that we transcribe documents, how should it impact the annotation policies that we apply to them? Our experiences with the Jane Addams Papers Digital Edition have shown us that digital editions reach far broader and far younger audiences than we expected. We anticipated that college students would make great use of the edition, as well as scholars and the general public. And they have. But we learned that teachers and students in K-12 are an untapped audience for scholarly editions, if only we meet them halfway. For us, that meant designing thematic guides to help students and their teachers use the digital edition for National History Day Projects, writing some lesson plans for middle-school teachers, and developing AP History assignments that use the Addams Papers to explore American history. The guides, teacher resources, and the documents they suggest are the most popular pages on our site, month after month, year after year. They tap into something that the searchable digital edition cannot do. Opening our editions up to the whole world via digital publication creates challenges and opportunities for editors. We have to think through how to make our documents accessible not just in terms of open access, but also in making them understandable to scholars, teachers, students, and the general public. 20 00 Open Access Cathy Moran Hajo 4 03 06 10.62637/sup.GHST9020.3 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Digital scholarly editing and the crisis of knowledge technology 1 A01 21 0000000246724149 Helen Abbott Helen Abbott 40 03angcq70 University of Birmingham Helen Abbott is Professor of Modern Languages, specialising in nineteenth-century French poetry and music. Her research explores ways of writing about word–music relationships in poetic language, in critical theories, and using digital methodologies. Her particular focus is the work of (post-)romantic and symbolist poets, including Gautier, Baudelaire, Verlaine, Rimbaud, Villiers de l’Isle-Adam, andMallarmé. 2 A01 21 0000000178506886 Michelle Doran Michelle Doran 40 034d7ma87 Digital Repository of Ireland Dr Michelle Doran is Ireland’s National Open Research Coordinator. In this role, she coordinates the activities of the National Open Research Forum (NORF) and guides the delivery of Ireland’s National Action Plan for Open Research 2022–2030. She is a member of the Council for National Open Science Coordination (CoNOSC), represents Ireland as the National Point of Reference (NPR) for the Informal Commission Expert Group on Scientific Information and sits on the IReL Advisory Committee. Michelle’s background is in humanities research, programme management and digital humanities research projects. From 2020 to 2022 she served as Irish Principal Investigator of the UK–Ireland Digital Humanities Network. 3 A01 21 0000000199911637 Jennifer Edmond Jennifer Edmond 40 02tyrky19 Trinity College Dublin Jennifer Edmond is Professor in Digital Humanities at Trinity College Dublin, where she is co-director of the Trinity Center for Digital Humanities, Director of the MPhil in Digital Humanities and Culture and a funded Investigator of the SFI ADAPT Centre. Outside of Trinity, Jennifer served from 2017 to 2022 as a Member, and later President, of the Board of Directors of the pan-European research infrastructure for the arts and humanities, DARIAH-EU. She sits on numerous Scientific Advisory Committees, including the Governing Board of the European Association for Social Sciences and Humanities (2022–24) and the European Commission’s Open Science Policy Platform (OSPP, 2016–20). Over the course of the past 10 years, Jennifer has coordinated transnational, local or field-specific teams in a large number of significant inter- and transdisciplinary funded research projects, worth a total of almost €9m, including CENDARI (FP7), Europeana Cloud (FP7), NeDiMAH (ESF), PARTHENOS (H2020), KPLEX (H2020), PROVIDE-DH (CHIST-ERA/IRC) and the SPECTRESS network. 4 A01 21 0000000160779245 Rebecca Mitchell Rebecca Mitchell 40 03angcq70 University of Birmingham Rebecca Mitchell is Professor of Victorian Literature and Culture at the University of Birmingham (UK). She has published widely on Victorian fashion, print culture, realism, George Meredith and Oscar Wilde. Her work related to textual editing includes the anniversary edition of Meredith’s Modern Love and Poems of the English Roadside, co-edited with Criscillia Benford (Yale, 2012) and an unpublished manuscript of Wilde’s seminal essay, ‘The Decay of Lying’ (co-authored with Joseph Bristow, Review of English Studies, 2018); she is currently co-editing the final volumes of the Oxford English Texts edition of The Complete Works of Oscar Wilde. Other books on Victorian literature and culture include Victorian Lessons in Empathy and Difference (Ohio State UP, 2011); Oscar Wilde’s Chatterton: Literary History, Romanticism, and the Art of Forgery, co-authored with Joseph Bristow (Yale, 2015) and Fashioning the Victorians: A Critical Sourcebook (Bloomsbury, 2018). 5 A01 21 0000000195260718 Aengus Ward Aengus Ward 40 03angcq70 University of Birmingham Aengus Ward is Professor of Medieval Iberian Studies at the University of Birmingham. A specialist in medieval historiography, he is the editor of the Estoria de Espanna Digital – the first major digital critical edition of a work of medieval Castilian prose, as well as numerous other works on the theory and practice of editing, medieval historiography and manuscript studies. 01 eng 03 00 The affordances of the digital age have precipitated a crisis of authority. Whom do we trust? How do we prove ourselves trustworthy? The heuristics of authority, in particular at the information filtering and presentation layers, can be co-opted by actors able to manipulate them, and us. At the same time, social tolerance for uncertainty and complexity is low, to the extent that removing them has become a key success metric within both backend systems and user interface design. This rapid shifting of knowledge technologies, in particular as regards the manner in which sources convey their authority in the transition from their affordances as analogue to digital media (where unfiltered source availability is high and the visual languages of authority, from web design to ‘deep fakes,’ are easily appropriated), is an incomplete process that has muddied our ability to judge he signals of trustworthiness and credibility. These are problems democratic societies are struggling with on a fundamental level. Unfortunately, however, too often the solutions being proposed emerge from the same culture of software development that created the problems in the first place: as Pasquale describes it, ‘...authority is increasingly expressed algorithmically ... Silicon Valley and Wall Street tend to treat recommendations as purely technical problems. The values and prerogatives that the encoded rules enact are hidden within black boxes’ (Pasquale, 2015). Hiding the ‘encoded rules’ informing knowledge creation within ‘black boxes’ is precisely the kind of process the work of scholarly editors, in particular digital scholarly editors, has evolved over decades to avoid. Instead, this is an expertise that documents the complexities resulting from the work of filtering accounts, establishing authority, managing uncertainty, and documenting provenance. The clear link between the problems of information overload and technological overreach and the affordances of digital scholarly editorial expertise to “situate knowledges” (Haraway, 1988) is yet to be systematically explored, however. This chapter proposes a framework for negotiating trust and authority that exploits the affordances of digital scholarly editing by privileging the iterative rather than the definitive (McGann, 1996; Schreibman, 2013; Sahle, 2016; Broyles, 2020), the process rather than the product (Siemens et al., 2012; Pierazzo, 2014; Sahle, 2016; Doran, 2021), and the active, even radical role, of the editor, transparently acting as an active collaborator in the sensemaking process, rather than an ‘invisible hand’ (Siemens et al., 2012). It will draw together the long tradition of digital scholarly editing with the emerging subfield of critical digital humanities (see Hall, 2011; Liu, 2012; Berry, 2019) and address in particular the two key points of a) how we can explore and expand the current norms within analogue, digital and indeed hybrid scholarly editing processes toward a model that emphasises the constructed and consensual nature of knowledge, embraces the uncertainty, complexity and contextual dependency of cultural materials and makes knowledge claims and decision-making processes transparent; and b) how this model can be documented and expanded to become applicable in other kinds of human, machine and hybrid knowledge-making processes, in particular systems wielding algorithmic authority. References Berry, D. (2019) “Critical Digital Humanities.” Conditio Humana - Technology, Ai and Ethics (blog), January 29, 2019.Broyles, P.A. (2020) “Digital Editions and Version Numbering.” DHQ 14, no. 2, 2020. Doran, M. (2021) “Reflections on Digital Editions: From Humanities Computing to Digital Humanities, the Influence of Web 2.0 and the Impact of the Editorial Process.” Variants., 2021. Haraway, D. (1988) “Situated Knowledges, The Science Question in Feminism and the Privilege of Partial Perspective. Feminist Studies, vol 14.3, pp. 589-599. Hall, G. (2011) “The Digital Humanities Beyond Computing: A Postscript.” Culture Machine, 2011, 11. Liu, A. (2012) “Where Is Cultural Criticism in the Digital Humanities?” in Debates in the Digital Humanities. McGann, J. (1996) “Radiant Textuality.” Victorian Studies 39, no. 3 (Spring 1996): 379-390. Pasquale, F. (2015) The Black Box Society. Cambridge, Massachusetts: Harvard University Press.Pierazzo, E. (2014) “Digital Documentary Editions and the Others.” Scholarly Editing 35 Sahle, P. (2016) “What is a Scholarly Digital Edition?” Digital Scholarly Editing Theories and Practices, ed. M. J. Driscoll and E. Pierazzo. Open Book Publishers, 19-39. Schreibman, S. (2013) “Digital Scholarly Editing.” Literary Studies in the Digital Age MLA. Siemens, R. et al. (2012) “Towards Modeling the Social Edition.” Literary and Linguistic Computing 27, no. 4,445-461. 30 00 The affordances of the digital age have precipitated a crisis of authority. Whom do we trust? How do we prove ourselves trustworthy? The heuristics of authority, in particular at the information filtering and presentation layers, can be co-opted by actors able to manipulate them, and us. At the same time, social tolerance for uncertainty and complexity is low, to the extent that removing them has become a key success metric within both backend systems and user interface design. This rapid shifting of knowledge technologies, in particular as regards the manner in which sources convey their authority in the transition from their affordances as analogue to digital media (where unfiltered source availability is high and the visual languages of authority, from web design to ‘deep fakes,’ are easily appropriated), is an incomplete process that has muddied our ability to judge he signals of trustworthiness and credibility. These are problems democratic societies are struggling with on a fundamental level. Unfortunately, however, too often the solutions being proposed emerge from the same culture of software development that created the problems in the first place: as Pasquale describes it, ‘...authority is increasingly expressed algorithmically ... Silicon Valley and Wall Street tend to treat recommendations as purely technical problems. The values and prerogatives that the encoded rules enact are hidden within black boxes’ (Pasquale, 2015). Hiding the ‘encoded rules’ informing knowledge creation within ‘black boxes’ is precisely the kind of process the work of scholarly editors, in particular digital scholarly editors, has evolved over decades to avoid. Instead, this is an expertise that documents the complexities resulting from the work of filtering accounts, establishing authority, managing uncertainty, and documenting provenance. The clear link between the problems of information overload and technological overreach and the affordances of digital scholarly editorial expertise to “situate knowledges” (Haraway, 1988) is yet to be systematically explored, however. This chapter proposes a framework for negotiating trust and authority that exploits the affordances of digital scholarly editing by privileging the iterative rather than the definitive (McGann, 1996; Schreibman, 2013; Sahle, 2016; Broyles, 2020), the process rather than the product (Siemens et al., 2012; Pierazzo, 2014; Sahle, 2016; Doran, 2021), and the active, even radical role, of the editor, transparently acting as an active collaborator in the sensemaking process, rather than an ‘invisible hand’ (Siemens et al., 2012). It will draw together the long tradition of digital scholarly editing with the emerging subfield of critical digital humanities (see Hall, 2011; Liu, 2012; Berry, 2019) and address in particular the two key points of a) how we can explore and expand the current norms within analogue, digital and indeed hybrid scholarly editing processes toward a model that emphasises the constructed and consensual nature of knowledge, embraces the uncertainty, complexity and contextual dependency of cultural materials and makes knowledge claims and decision-making processes transparent; and b) how this model can be documented and expanded to become applicable in other kinds of human, machine and hybrid knowledge-making processes, in particular systems wielding algorithmic authority. References Berry, D. (2019) “Critical Digital Humanities.” Conditio Humana - Technology, Ai and Ethics (blog), January 29, 2019.Broyles, P.A. (2020) “Digital Editions and Version Numbering.” DHQ 14, no. 2, 2020. Doran, M. (2021) “Reflections on Digital Editions: From Humanities Computing to Digital Humanities, the Influence of Web 2.0 and the Impact of the Editorial Process.” Variants., 2021. Haraway, D. (1988) “Situated Knowledges, The Science Question in Feminism and the Privilege of Partial Perspective. Feminist Studies, vol 14.3, pp. 589-599. Hall, G. (2011) “The Digital Humanities Beyond Computing: A Postscript.” Culture Machine, 2011, 11. Liu, A. (2012) “Where Is Cultural Criticism in the Digital Humanities?” in Debates in the Digital Humanities. McGann, J. (1996) “Radiant Textuality.” Victorian Studies 39, no. 3 (Spring 1996): 379-390. Pasquale, F. (2015) The Black Box Society. Cambridge, Massachusetts: Harvard University Press.Pierazzo, E. (2014) “Digital Documentary Editions and the Others.” Scholarly Editing 35 Sahle, P. (2016) “What is a Scholarly Digital Edition?” Digital Scholarly Editing Theories and Practices, ed. M. J. Driscoll and E. Pierazzo. Open Book Publishers, 19-39. Schreibman, S. (2013) “Digital Scholarly Editing.” Literary Studies in the Digital Age MLA. Siemens, R. et al. (2012) “Towards Modeling the Social Edition.” Literary and Linguistic Computing 27, no. 4,445-461. 20 00 Open Access Helen Abbott, Michelle Doran, Jennifer Edmond, Rebecca Mitchell and Aengus Ward 5 03 06 10.62637/sup.GHST9020.4 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Against infrastructure global approaches to digital scholarly editing 1 A01 21 000000033094139X Raffaele Viglianti Raffaele Viglianti 40 01r0c1p88 University of Maryland Raffaele Viglianti is a Research Programmer at MITH. He holds a PhD in Digital Musicology from the Department of Digital Humanities at King’s College London, where he also contributed to several major digitisation and text encoding projects. Raff’s research is grounded in digital humanities and textual scholarship, where ‘text’ includes musical notation. More specifically, he seeks to advance textual scholarship by finding new and efficient practices to coherently and digitally model and edit (publish or make available) text and music notation sources as digital scholarly resources. In adopting and developing new research methods, he deliberately takes a multicultural perspective by engaging with multilingual content, facing the diverse realities of the constraints in accessing and creating digital scholarly content, and by adopting a global approach to teaching and learning. Raff is currently an elected member of the Text Encoding Initiative technical council and the Technical Editor of the Scholarly Editing journal. 2 A01 21 0000000289975415 Gimena del Rio Riande Gimena del Rio Riande 40 03cqe8w59 National Scientific and Technical Research Council Gimena del Rio Riande is Researcher at the Instituto de Investigaciones Bibliográficas y Crítica Textual of the National Scientific and Technical Research Council (CONICET, Buenos Aires, Argentina) and Professor at the University of Buenos Aires and Universidad del Salvador. She holds an MA and PhD in Romance Philology (Universidad Complutense de Madrid), and her main academic interests deal with Digital Scholarly Editing, Digital Humanities, and Open Research Practices in the Humanities. She serves as Ambassador of the Directory of Open Access Journals (DOAJ) in Latin America, coordinates the Laboratorio de Humanidades Digitales (HD LAB, CONICET) and edits the first Hispanic Digital Humanities journal, the Revista de Humanidades Digitales (RHD). She also serves as president at Asociación Argentina de Humanidades Digitales (AAHD) and member of the Board of Directors of the Text Encoding Initiative (TEI). 01 eng 03 00 Digital scholarly editions are one of the oldest forms of output of digital humanities research projects, and arguably one of the most prolific. Like all digital humanities projects that result in the creation of digital output—typically a website—digital editions are not immune to what Smithies et al. call the 'digital entropy of software and digital infrastructure'. This has a cost that grows with the complexity of the system needed to publish digital editions and this cost is often not only financial; it may also include the ability to access institutional or public infrastructure. The principles of minimal computing have informed new ways of undertaking digital humanities work, focused on use of open technologies and ownership of data and code. The latter in particular entails independence from institutional infrastructure and the network of surveillance that is a feature of many commercial platforms of the modern web. This chapter discusses the current extent of minimal computing as an influence on digital editing, and which aspects of the concept have taken stronger root. Specifically, we will consider how, when applied to digital publishing, minimal computing principles intersect with a recent resurgence of static websites and related technologies. Deriving static sites from an end-of-life project is the clear choice when access to infrastructure becomes limited. What would it take to adopt them from the start to avoid infrastructural constraints? Through this discussion, the chapter articulates the need for a low-infrastructure future of the "global” digital edition. 30 00 Digital scholarly editions are one of the oldest forms of output of digital humanities research projects, and arguably one of the most prolific. Like all digital humanities projects that result in the creation of digital output—typically a website—digital editions are not immune to what Smithies et al. call the 'digital entropy of software and digital infrastructure'. This has a cost that grows with the complexity of the system needed to publish digital editions and this cost is often not only financial; it may also include the ability to access institutional or public infrastructure. The principles of minimal computing have informed new ways of undertaking digital humanities work, focused on use of open technologies and ownership of data and code. The latter in particular entails independence from institutional infrastructure and the network of surveillance that is a feature of many commercial platforms of the modern web. This chapter discusses the current extent of minimal computing as an influence on digital editing, and which aspects of the concept have taken stronger root. Specifically, we will consider how, when applied to digital publishing, minimal computing principles intersect with a recent resurgence of static websites and related technologies. Deriving static sites from an end-of-life project is the clear choice when access to infrastructure becomes limited. What would it take to adopt them from the start to avoid infrastructural constraints? Through this discussion, the chapter articulates the need for a low-infrastructure future of the "global” digital edition. 20 00 Open Access Raffaele Viglianti and Gimena del Rio Riande 6 03 06 10.62637/sup.GHST9020.5 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Building accessibility platforms and methods for the development of digital editions and projects 1 A01 Erica Cavanaugh Erica Cavanaugh 40 0153tk833 University of Virginia Erica F. Cavanaugh is Project Developer at the Center for Digital Editing and a Research Editor at the Washington Papers. Since 2013, Cavanaugh has assisted with all aspects of technical and editorial work on the digital editions of the Washington Papers, including the Papers of George Washington Digital Edition and the George Washington Financial Papers Project. She is also responsible for the development of several Drupal-based content management systems, ranging from complex editorial production and publication platforms to exhibit-focused projects concentrated on metadata collection, searchability, and display. She also has experience working with XML, CSS, HTML, PHP, and JavaScript. She has taught courses at the University of Victoria’s Digital Humanities Summer Institute and serves on the advisory board for Scholarly Editing: The Annual of the Association for Documentary Editing. Over the last few years, Cavanaugh has worked with the technical team of the University of Virginia Digital Publishing Cooperative to develop a Drupal-based module for scholarly editions. 2 A01 21 0000000272276052 Jennifer Stertzer Jennifer Stertzer 40 0153tk833 University of Virginia Jennifer E. Stertzer is Director of the Center for Digital Editing and Director of the Washington Papers. With the Papers of George Washington since 2000, Stertzer has served as project manager of the Papers of George Washington Digital Edition, overseeing the conversion of legacy print volumes into a digital edition, developed Word-to-XML workflows and is editor of the Papers of George Washington Financial Papers project. At the CDE, Stertzer consults on project conceptualisation, technical solutions, workflow, editorial methodologies and engagement strategies. She teaches Conceptualising and Creating Digital Editions at the University of Victoria’s Digital Humanities Summer Institute, serves on the faculty of the Institute for the Editing of Historical Documents, and is past president of the Association for Documentary Editing. For the past few years, Stertzer has led the University of Virginia Digital Publishing Cooperative as they work to create a Drupal-based module for scholarly editions. 01 eng 03 00 This chapter discusses the work of the University of Virginia Digital Publishing Cooperative, a grant-funded project with the goal of building the necessary infrastructure to facilitate and support the conceptualization, development, publication, discovery, preservation, and sustainability of digital editions and projects. Major components of this work include evaluating the potential communities of users, understanding how intended audiences might use editions, and how these things affect editorial decisions and publication goals. Most current editorial projects, including those that have a print existence, are working towards creating digital editions as well as other types of digital outputs. The digital edition—a collection of historical documents that have been transcribed and edited following a consistent, transparent, and well-informed editorial methodology, and then published online—achieves the primary goal of a scholarly edition: to make historical documents accessible, both textually and intellectually. Additionally, some editors may wish to present their findings in ways we call digital derivatives. These can include early access to their document catalogs, initial transcriptions, or metadata (document, person, place), as well as blog posts, articles, data visualizations, presentations, and so on. These digital derivatives can make available the outputs of editorial work throughout the process, thereby making historical and intellectual content accessible before, during, and after an edition’s scholarly editing and publication. The term digital projects describes the web environment in which most digital editions and their derivatives exist. These ecosystems assemble the range of intellectual content created by a project, including blog posts, articles, data visualizations, timelines, presentations, and so on that can be available alongside more traditional outputs. These opportunities provide editors with a variety of approaches to make content accessible and intelligible, and appeal to large, diverse audiences. Another component of the work of the UVA-DPC has been to develop a platform that enables editors to easily build digital editions while also allowing them to create and integrate various digital derivatives, thus reducing a major technological barrier and providing a way for more projects to publish digitally. Furthermore, this editorial platform includes both built-in standardized metadata (encouraging interoperability, reusability, and sustainability) as well as the flexibility to capture project-specific information, ensuring editors can develop content-driven components. End users of the UVA-DPC digital projects could range from scholars who are interested in transcriptions, annotations, and indexes presented in ways that align with traditional print edition to audiences who might be more comfortable exploring content by means of data visualizations and image-based icons. These users could also be those interested in large datasets from multiple projects for the purposes of deep textual and data analysis. At the core, however, is a platform that contains well-structured content that enables variety in publication outputs. 30 00 This chapter discusses the work of the University of Virginia Digital Publishing Cooperative, a grant-funded project with the goal of building the necessary infrastructure to facilitate and support the conceptualization, development, publication, discovery, preservation, and sustainability of digital editions and projects. Major components of this work include evaluating the potential communities of users, understanding how intended audiences might use editions, and how these things affect editorial decisions and publication goals. Most current editorial projects, including those that have a print existence, are working towards creating digital editions as well as other types of digital outputs. The digital edition—a collection of historical documents that have been transcribed and edited following a consistent, transparent, and well-informed editorial methodology, and then published online—achieves the primary goal of a scholarly edition: to make historical documents accessible, both textually and intellectually. Additionally, some editors may wish to present their findings in ways we call digital derivatives. These can include early access to their document catalogs, initial transcriptions, or metadata (document, person, place), as well as blog posts, articles, data visualizations, presentations, and so on. These digital derivatives can make available the outputs of editorial work throughout the process, thereby making historical and intellectual content accessible before, during, and after an edition’s scholarly editing and publication. The term digital projects describes the web environment in which most digital editions and their derivatives exist. These ecosystems assemble the range of intellectual content created by a project, including blog posts, articles, data visualizations, timelines, presentations, and so on that can be available alongside more traditional outputs. These opportunities provide editors with a variety of approaches to make content accessible and intelligible, and appeal to large, diverse audiences. Another component of the work of the UVA-DPC has been to develop a platform that enables editors to easily build digital editions while also allowing them to create and integrate various digital derivatives, thus reducing a major technological barrier and providing a way for more projects to publish digitally. Furthermore, this editorial platform includes both built-in standardized metadata (encouraging interoperability, reusability, and sustainability) as well as the flexibility to capture project-specific information, ensuring editors can develop content-driven components. End users of the UVA-DPC digital projects could range from scholars who are interested in transcriptions, annotations, and indexes presented in ways that align with traditional print edition to audiences who might be more comfortable exploring content by means of data visualizations and image-based icons. These users could also be those interested in large datasets from multiple projects for the purposes of deep textual and data analysis. At the core, however, is a platform that contains well-structured content that enables variety in publication outputs. 20 00 Open Access Erica Cavanaugh and Jennifer Stertzer 7 03 06 10.62637/sup.GHST9020.6 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Browse, search and serendipity building approachable digital editions 1 A01 Alison Chapman Alison Chapman 40 04s5mat29 University of Victoria Alison Chapman is a Fellow of the Royal Society of Canada and Professor of English at the University of Victoria, Canada, where she specialises in nineteenth-century literature and culture and digital humanities. She is the author of Networking the Nation: British and American Women Poets and Italy, 1840–1870 (2015) and The Afterlife of Christina Rossetti (2000), the co-author of A Rossetti Family Chronology (2007), and the editor or co-editor of several collections of essays, including A Companion to Victorian Poetry (2002) and Victorian Women Poets (2000). Currently she is the Principal Investigator of the SSHRC-funded Digital Victorian Periodical Poetry Project (dvpp.uvic.ca). 2 A01 21 0000000239441116 Martin Holmes Martin Holmes 40 04s5mat29 University of Victoria Martin Holmes is a programmer in the University of Victoria Humanities Computing and Media Centre specialising in XML technologies and digital editions. He is the lead programmer on several large digital edition projects including the Map of Early Modern London (MoEML, mapoflondon.uvic.ca) and Digital Victorian Periodical Poetry (dvpp.uvic.ca) and is part of the Project Endings team (endings.uvic.ca). He served on the TEI Technical Council from 2010 to 2015 and was managing editor of the Journal of the Text Encoding Initiative from 2013 to 2015. 3 A01 21 000900002629368X Kaitlyn Fralick Kaitlyn Fralick 40 04s5mat29 University of Victoria Kaitlyn Fralick is a PhD candidate in the Department of English Language and Literature at Queen’s University in Ontario, Canada. She has worked as a graduate research assistant on the Digital Victorian Periodical Poetry Project (DVPP) since 2018, and she has performed various roles for the project, such as metadata indexer, markup editor and researcher. To date, she has contributed more than 1,000 encoded poems to DVPP. Kaitlyn’s research and teaching interests are rooted in nineteenth-century literature and culture, the Victorian periodical press and the digital humanities. She completed her MA in English (with a concentration on nineteenth-century studies) at the University of Victoria and her Hons. BA in English (with distinction) at Toronto Metropolitan University (formerly Ryerson University). 4 A01 21 0000000176361580 Kailey Fukushima Kailey Fukushima 40 028d12s45 University Canada West Kailey Fukushima is an information professional based in Vancouver, Canada. She holds a Master of Archival Studies and a Master of Library and Information Studies (University of British Columbia, 2023), as well as a Master of Arts in English (University of Victoria, 2020). Kailey’s primary research interests include digitisation and digital collections development, digital humanities research, scholarly communications and user-centred design. She currently works for InterPARES Trust AI, where she contributes to a study on the potential role(s) for artificial intelligence in the digitisation of archives and documentary heritage materials. 5 A01 21 0000000170117042 Narges Montakhabi Bakhtvar Narges Montakhabi Bakhtvar 40 04s5mat29 University of Victoria Narges Montakhabi Bakhtvar is a doctoral candidate in Theatre Studies at the University of Victoria, Canada. Holding another PhD in English Language and Literature, her research scope covers comparative literature, contemporary Canadian theatre, politics of gender and diasporic subjectivity. Currently, she is working on how different political inscriptions on the body, including the dichotomy between body-at-home and body-in-exile, are captured in the plays by Middle Eastern Canadian playwrights. She is the author of ‘The Body/theatre-in-Pain: (Im)possibility of Wellness in Lisa Kron’s Well’ (Critical Stages/Scènes critiques 2023), ‘The Body in Pain and Pleasure: The Phenomenology of Embodiment in Rosa Jamali’s Poetry’ (Journal of Middle East Women’s Studies 2023), ‘The Theatre of the Oppressed in Tehran: Dilemma of Ethics and Engagement’ (Canadian Theatre Review 2022) and ‘Politics of Evasion and Tales of Abjection: Postmodern Demythologization in Angela Carter and Ghazaleh Alizadeh’ (CLCWeb: Comparative Literature and Culture 2020). 6 A01 Sonja Pinto Sonja Pinto 40 04s5mat29 University of Victoria Sonja Pinto is a University of Victoria alumnus who holds a BA and an MA in English Literature. She has worked on the Digital Victorian Periodical Poetry Project for five years, having joined as a Research Assistant in September 2018. Their research interests include Victorian fiction and poetry, narratology, trauma studies, and gender and sexuality. During their time with DVPP, Sonja has worked as both an indexer and encoder. 01 eng 03 00 Large digital document collections ideally provide multiple routes into data imagined for different users and different use-cases: thematic and hierarchical (drill-down) browsability for casual users, and precisely-targeted complex search functionality to answer granular queries and generate subcollections for specific research purposes. Responding to recent critical work on digital editions and periodical print surrogates (e.g. Mussell 2012, 2016; Gooding), and on the visual interface as a form of graphic knowledge (Drucker), this chapter will examine the challenges in building a big tent digital project that anticipates users’ needs.  The Digital Victorian Periodical Poetry Project (DVPP) has a particular interest in responding to this challenge, which is complicated by the nature of its own collection. The project’s methodological principles are based on poetry’s place on the  periodical page, from the inclusion of periodical poem page scans (facsimile browser, poem page rendering), to the indexing protocols (designed around how contemporary periodical readers would understand poems and their illustrations), to encoding a representative sample of poems based on decadal years from 1820 to 1900 (including material as well as poetic features). But our approach to the front end application (facsimile browser, poem page rendering, index of poems and personography, digital edition, advanced search pages) is based around offering the user multiple ways to search and find material that moves away from the poem’s embedded periodical print origins, and even the conceptual and functional principles of the codex, to allow for complex and serendipitous discovery. The challenge of this digital project is to relate the project’s indexing and encoding principles to users’ anticipated research, particularly given the relationship between the index (c.15,500 poems across 21 long Victorian periodicals), personography (c.4,000 records for poets, illustrators and translators), and the TEI XML- encoded poem sample (c.2,000 poems and c. 11,000 lines of poetry). This chapter examines relationships between the underlying metadata and text-encoding, as well as the affordances DVPP will eventually offer the end-user. We conclude by offering guidelines based on building search interfaces that are useful to researchers. Firstly, we address practical problems. Enlarging project features can make interfaces potentially confusing, and expanding interdependencies can also produce incompatible features. Workflow is crucial: user discoverability is contingent on encoding, and yet predicting search parameters is contingent on a good understanding of data that only emerges as the project advances. We suggest a workflow where metadata structures and labels can be trivially revised, with the search and browse interfaces automatically adapted to such changes. Secondly, we turn to the conceptual imagining of the anticipated user, by comparing DVPP with cognate digital editions and commercial indexes and digital surrogates (such as those owned by ProQuest), to ask how digital editions can guide users to engage critically and actively with multiple methods of browse, search, and serendipitous discovery, rather than approaching search functionality as simply a means to an end. 30 00 Large digital document collections ideally provide multiple routes into data imagined for different users and different use-cases: thematic and hierarchical (drill-down) browsability for casual users, and precisely-targeted complex search functionality to answer granular queries and generate subcollections for specific research purposes. Responding to recent critical work on digital editions and periodical print surrogates (e.g. Mussell 2012, 2016; Gooding), and on the visual interface as a form of graphic knowledge (Drucker), this chapter will examine the challenges in building a big tent digital project that anticipates users’ needs.  The Digital Victorian Periodical Poetry Project (DVPP) has a particular interest in responding to this challenge, which is complicated by the nature of its own collection. The project’s methodological principles are based on poetry’s place on the  periodical page, from the inclusion of periodical poem page scans (facsimile browser, poem page rendering), to the indexing protocols (designed around how contemporary periodical readers would understand poems and their illustrations), to encoding a representative sample of poems based on decadal years from 1820 to 1900 (including material as well as poetic features). But our approach to the front end application (facsimile browser, poem page rendering, index of poems and personography, digital edition, advanced search pages) is based around offering the user multiple ways to search and find material that moves away from the poem’s embedded periodical print origins, and even the conceptual and functional principles of the codex, to allow for complex and serendipitous discovery. The challenge of this digital project is to relate the project’s indexing and encoding principles to users’ anticipated research, particularly given the relationship between the index (c.15,500 poems across 21 long Victorian periodicals), personography (c.4,000 records for poets, illustrators and translators), and the TEI XML- encoded poem sample (c.2,000 poems and c. 11,000 lines of poetry). This chapter examines relationships between the underlying metadata and text-encoding, as well as the affordances DVPP will eventually offer the end-user. We conclude by offering guidelines based on building search interfaces that are useful to researchers. Firstly, we address practical problems. Enlarging project features can make interfaces potentially confusing, and expanding interdependencies can also produce incompatible features. Workflow is crucial: user discoverability is contingent on encoding, and yet predicting search parameters is contingent on a good understanding of data that only emerges as the project advances. We suggest a workflow where metadata structures and labels can be trivially revised, with the search and browse interfaces automatically adapted to such changes. Secondly, we turn to the conceptual imagining of the anticipated user, by comparing DVPP with cognate digital editions and commercial indexes and digital surrogates (such as those owned by ProQuest), to ask how digital editions can guide users to engage critically and actively with multiple methods of browse, search, and serendipitous discovery, rather than approaching search functionality as simply a means to an end. 20 00 Open Access Alison Chapman, Martin Holmes, Kaitlyn Fralick, Kailey Fukushima, Narges Montakhabi and Sonja Pinto 8 03 06 10.62637/sup.GHST9020.7 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Predicting the future of digital scholarly editions in the context of FAIR data principles 1 A01 21 0000000277581662 Bartłomiej Szleszyński Bartłomiej Szleszyński 40 02q0p6x28 Institute of Literary Research Bartłomiej Szleszyński is Professor at the Institute of Literary Research, Polish Academy of Sciences; Head of the Department of Digital Scholarly Editions and Monographs responsible for creating and operating New Panorama of Polish Literature (NPLP.PL), a platform publishing digital scholarly collections, and TEI Panorama (TEI.NPLP.PL), a platform for scholarly digital editions; and Deputy Director of the Digital Humanities Centre. His main research interests are literature of the second half of the nineteenth century, colonial discourse in nineteenth-century Polish culture, literary Sarmatism, digital literary studies and scholarly digital editions. 2 A01 21 0000000157786006 Agnieszka Szulińska Agnieszka Szulińska 40 02q0p6x28 Institute of Literary Research Agnieszka Szulińska (née Kochańska, b. 1989) graduated from Cardinal Stefan Wyszyński University in Warsaw with an MA degree in Polish Philology (specialisation in scholarly editing). She prepares a PhD thesis about digital scholarly editing of literary texts in Poland, based on digital projects such as Poetry Group Skamander’s Correspondence or Early Novels of Eliza Orzeszkowa. A member of New Panorama of the Polish Literature team and the Digital Humanities Centre at the Institute of Literary Research of the Polish Academy of Sciences. Apart from scholarly editing, her research areas include testing tools and platforms used in SSH scholarly communication, and video games. All important links here: https:// linktr.ee/agnieszkaszulinska. 3 A01 21 0000000223774565 Marta Błaszczyńska Marta Błaszczyńska 40 02q0p6x28 Institute of Literary Research Marta Błaszczyńska defended her PhD thesis in social sciences at the Institute of Philosophy and Sociology of the Polish Academy of Sciences in Warsaw. Between 2019 and 2023 she worked at the Digital Humanities Centre at the Institute of Literary Research of the Polish Academy of Sciences. There she developed her skills and expertise in open science, qualitative research methods and data management. Marta co-created the Innovation Lab, part of OPERAS, Research Infrastructure supporting open scholarly communication in the social sciences and humanities (SSH) in the European Research Area. Currently she works in the private sector within the field of fraud management. 03 00 Scholarly editing, understood by researchers working in the field of literary studies as providing the best versions of works along with explanatory and contextual layers, has been operating in the digital space for some time now. We are still searching for optimal ways to utilize its advantages. In parallel, there is a growing research reflection on the issue of data in digital humanities projects and ways to create, curate, and share it. The proposed paper, based on the experience of creating numerous digital scholarly editions (DSEs) and analyzing the issue of research data, addresses the following questions: 1) what the digital future of scholarly editing in literary studies might look like (also outside the circle of professional researchers), 2) how scholarly digital editions can be presented as datasets, 3) in what ways reflection on data can contribute to the broad utility of scholarly digital editions in literary studies. Apart from exploring some good practices employed by the TEI New Panorama of Polish Literature (NPLP) platform we also contemplate the data-related issues that remain to be addressed by the DSE community and the challenges that we might face while tackling them. Answering Joris van Zundert’s warning not to drive digital editing to a state of “a mere medium shift”, we propose to view DSEss as data on various levels, which is deeply anchored in the specificity of a digital humanist project. Having FAIR data principles in mind, we would like to expand this approach on several cases from the TEI NPLP platform, including i.a. 19th century novels, 20th-century correspondence of Polish poets, and contemporary Polish dramas.  For findability, a good example is the data layer related to entity descriptions (e.g., people, places, organizations) - in the editions on the TEI.NPLP.PL platform, we can search and compile all occurrences of entities and how they are referred to in the text. The principle of “accessibility” will be focused on the necessity of creating an account to use more advanced features in DSEs. We will reflect on when it is useful and when it might be skipped to provide rapid access to the content and the data.  The most challenging principles are “interoperability” and “reusability”. Much desired by many scholars, They are the goal of data curation and sharing initiatives, while at the same time they will enable the use of digital scholarly editions in numerous other scholarly projects beyond the specific discipline and, potentially, beyond the circle of professional researchers. In our text, we would like to present future opportunities and challenges of digital scientific editions in general and of the different data layers, DSE-s in particular. 30 00 Scholarly editing, understood by researchers working in the field of literary studies as providing the best versions of works along with explanatory and contextual layers, has been operating in the digital space for some time now. We are still searching for optimal ways to utilize its advantages. In parallel, there is a growing research reflection on the issue of data in digital humanities projects and ways to create, curate, and share it. The proposed paper, based on the experience of creating numerous digital scholarly editions (DSEs) and analyzing the issue of research data, addresses the following questions: 1) what the digital future of scholarly editing in literary studies might look like (also outside the circle of professional researchers), 2) how scholarly digital editions can be presented as datasets, 3) in what ways reflection on data can contribute to the broad utility of scholarly digital editions in literary studies. Apart from exploring some good practices employed by the TEI New Panorama of Polish Literature (NPLP) platform we also contemplate the data-related issues that remain to be addressed by the DSE community and the challenges that we might face while tackling them. Answering Joris van Zundert’s warning not to drive digital editing to a state of “a mere medium shift”, we propose to view DSEss as data on various levels, which is deeply anchored in the specificity of a digital humanist project. Having FAIR data principles in mind, we would like to expand this approach on several cases from the TEI NPLP platform, including i.a. 19th century novels, 20th-century correspondence of Polish poets, and contemporary Polish dramas.  For findability, a good example is the data layer related to entity descriptions (e.g., people, places, organizations) - in the editions on the TEI.NPLP.PL platform, we can search and compile all occurrences of entities and how they are referred to in the text. The principle of “accessibility” will be focused on the necessity of creating an account to use more advanced features in DSEs. We will reflect on when it is useful and when it might be skipped to provide rapid access to the content and the data.  The most challenging principles are “interoperability” and “reusability”. Much desired by many scholars, They are the goal of data curation and sharing initiatives, while at the same time they will enable the use of digital scholarly editions in numerous other scholarly projects beyond the specific discipline and, potentially, beyond the circle of professional researchers. In our text, we would like to present future opportunities and challenges of digital scientific editions in general and of the different data layers, DSE-s in particular. 20 00 Open Access Bartłomiej Szleszyński, Agnieszka Szulińska and Marta Błaszczyńska 9 03 06 10.62637/sup.GHST9020.8 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Re-using data from editions 1 A01 21 0000000245222833 Elena Spadini Elena Spadini 40 02s6k3f65 University of Basel Elena Spadini is an associated researcher at the University of Bern and a research navigator at the University of Basel, where she supports digital humanities and in particular scholarly editing projects. Her background is in romance philology and her research interests span from medieval manuscripts to born-digital literary sources. She is currently in charge of the digital component of the project «Gustave Roud. OEuvres complètes», and is editor of the RIDE issues on software reviews. She has published on various aspects of digital philology, such as automatic collation, semantic web and data modelling. 2 A01 21 0000000265301328 José Luis Losada Palenzuela José Luis Losada Palenzuela 40 02s6k3f65 University of Basel José Luis Losada Palenzuela is Assistant Professor at the University of Wrocław and Research Data Specialist at the University of Basel. He earned his PhD with a study of Schopenhauer’s translation of works by Baltasar Gracián, a Baroque moralist and writer. Recently, his research has centred on Spanish 17th-century Literature, Comparative Literature and Digital Methods. His scholarly contributions include a monograph, several research articles and a digital edition on Schopenhauer’s marginalia. 01 eng 03 00 The centrality of data is one of the key features of digital editions and digital scholarly resources in general. Data-driven philology involves practices that are new to textual criticism and can overcome the print paradigm, including data visualisation, data processing, and data reuse. In this paper we focus on the latter: data reuse. We provide a panorama of use cases for editions, highlighting the potential and current limitations of data reuse. Examples include the reuse of edition data in dictionaries and gazetteers, and reuse in the context of distant reading studies, particularly for intertextuality detection. The role of authority records in reusing data is also analysed. In the conclusions, we emphasise that data reuse is fundamental to strengthening the central position of scholarly editions at the crossroads of many research fields. 30 00 The centrality of data is one of the key features of digital editions and digital scholarly resources in general. Data-driven philology involves practices that are new to textual criticism and can overcome the print paradigm, including data visualisation, data processing, and data reuse. In this paper we focus on the latter: data reuse. We provide a panorama of use cases for editions, highlighting the potential and current limitations of data reuse. Examples include the reuse of edition data in dictionaries and gazetteers, and reuse in the context of distant reading studies, particularly for intertextuality detection. The role of authority records in reusing data is also analysed. In the conclusions, we emphasise that data reuse is fundamental to strengthening the central position of scholarly editions at the crossroads of many research fields. 20 00 Open Access Elena Spadini and José Luis Losada Palenzuela 10 03 06 10.62637/sup.GHST9020.9 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Making digital scholarly editions based on Domain Specific Languages 1 A01 21 000900094361345X Simone Zenzaro Simone Zenzaro 40 028g3pe33 Institute for Computational Linguistics “A. Zampolli” Simone Zenzaro is a fixed-term researcher at the Institute of Computational Linguistics ‘A. Zampolli’ (CNR-ILC). He earned a PhD in Computer Science from the University of Pisa with a thesis on modularity aspects in formal methods, particularly related to Abstract State Machines. Currently, he is working on the ERC AdG 885222-GreekSchools project in digital papyrology, focusing on methods for recovering missing text in ancient Greek and tools to support collaborative and cooperative editing of Philodemus of Gadara’s ‘Rassegnadeifilosofi’ (Syntaxis). He has previously worked at the University of Lausanne on the digital edition of the Byzantine manuscript of the Iliad Genavensisgraecus 44 within the project ‘Le devenir numérique d’un texte fondateur.’ He has also worked at the Scuola Normale Superiore on developing digital edition tools for Arabic manuscripts as part of the ERC project ‘Philosophy on the Border of Civilizations and Intellectual Endeavours’. His interests revolve around applying formal methods to Digital Humanities through the definition of models, services and tools for the field of philology. 2 A01 21 0000000278107735 Federico Boschetti Federico Boschetti 40 028g3pe33 Institute for Computational Linguistics “A. Zampolli” Federico Boschetti graduated with a degree in Classics from the University ‘Ca’ Foscari’ of Venice in 1998. He earned his PhD in Classical Philology through a joint programme between the University of Trento and the University of Lille III in 2005. His thesis was titled ‘Essay on Computer-Assisted Linguistic and Stylistic Analyses of Aeschylus’ Persae’. He also obtained a PhD in Cognitive and Brain Sciences with a focus on Language, Interaction and Computation from the University of Trento in 2010. His thesis for this degree was ‘A Corpus-Based Approach to Philological Issues’. Since 2011, Federico has been a researcher at the Institute of Computational Linguistics ‘A. Zampolli’ at the CNR of Pisa. His primary research interests include Digital Philology, Collaborative and Cooperative Philology, Historical OCR, and Distributional Semantics applied to ancient texts. 3 A01 21 0000000248676304 Angelo Mario Del Grosso Angelo Mario Del Grosso 40 028g3pe33 Institute for Computational Linguistics “A. Zampolli” Angelo Mario del Grosso is a researcher at the Institute of Computational Linguistics, ‘Antonio Zampolli’, within the Italian National Research Council of Pisa (CNR-ILC). He holds a degree in Computer Engineering from the University of Pisa and earned his PhD in Information Engineering in 2015. Del Grosso’s research focus lies within the field of Digital Humanities (DH), with a specific emphasis on creating Digital Scholarly Editions and applying computational analysis to historical-literary textual resources. He has published extensively within the DH field and actively contributes to various national and international research initiatives. His involvements include projects such as the ‘GreekIntoArabic ERC project’, ‘Saussure’s Manuscripts PRIN project’, ‘Italian Translation of Babylonian Talmud’, ‘Digital Edition of Bellini’s Letters’ and others. He is a member of the AIUCD board (Italian Association for DH-Associazione per l’InformaticaUmanistica e la Cultura Digitale) and actively participates in the scientific boards of DH journals and conferences. Currently, he serves as the coordinator for the CNR-ILC unit in the ERC project 885222-GreekSchools, a project dedicated to editing Greek texts preserved in the carbonised papyri of Herculaneum. Additionally, he is a visiting scholar at the VeDPH Center of Excellence at Ca’ Foscari University in Venice and teaches Text Encoding at the University of Pisa. 01 eng 20 00 Open Access Simone Zenzaro, Federico Boschetti and Angelo Mario Del Grosso 11 03 06 10.62637/sup.GHST9020.10 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Digital editing and publishing in the twenty-first century as a cooperative for small-scale editions 1 A01 Juniper Johnson Juniper Johnson 40 04t5xt781 Northeastern University Juniper Johnson is a PhD candidate in the English Department at Northeastern University with graduate certificates in Women, Gender, and Sexuality Studies and Digital Humanities. Their dissertation project, ‘Organizing Bodies of Knowledge: Classification and Sexuality in Nineteenth-Century Medical and Literary Discourse’, explores the history of non-normative bodies and sexualities in archival materials by combining computational text analysis and critical genealogy. They also specialise in digital pedagogy and research, having worked with the Digital Integration Teaching Initiative at the NULab for Texts, Maps and Networks, the Primary Source Cooperative with the Massachusetts Historical Society, the Early Carribean Digital Archive, the Early Black Boston Digital Almanac and the Homosaurus (an international LGBTQ+ linked data vocabulary). 2 A01 21 0000000229776481 Serenity Sutherland Serenity Sutherland 40 01597g643 State University of New York at Oswego Serenity Sutherland is Associate Professor of Communication Studies at SUNY Oswego. She has a PhD in History and a graduate certificate in Women’s and Gender Studies from the University of Rochester. Her research interests include the history of women in science and technology, the digital humanities, scholarly editing and media studies. Currently, she is working on publishing a biography of chemist Ellen Swallow Richards (1842–1911). She is the current editor of the Ellen Swallow Richards papers, which is a member of the Primary Source Cooperative at the Massachusetts Historical Society, funded by the NHPRC and the Andrew W. Mellon Foundation. She is also the co-author of the digital project Visualizing Women in Science and Technology at the American Philosophical Society, a network portrayal of women’s work in science. A select list of venues where her publications can be found includes Scholarly Editing, the Debates in the Digital Humanities series and Interdisciplinary Digital Engagement in Arts & Humanities. 3 A01 Neal Millikan Neal Millikan 40 00y5f4k61 Massachusetts Historical Society Neal Millikan is the Series Editor for Digital Editions for the Adams Papers editorial project at the Massachusetts Historical Society (MHS). She was project manager on the John Quincy Adams Digital Diary, part of the Mellon-sponsored Primary Source Cooperative at the MHS. Millikan holds a PhD in history and a master’s degree in Library and Information Science from the University of South Carolina and is also a graduate of North Carolina State University, where she earned master’s degrees in History and Public History. 4 A01 Ondine Le Blanc Ondine Le Blanc 40 00y5f4k61 Massachusetts Historical Society Ondine Le Blanc is Ford Editor of Publications at the Massachusetts Historical Society. She holds a BA from Mount Holyoke College and a PhD from the University of Michigan. At the MHS since 1997, Le Blanc has helped to publish a variety of documentary editions, including letters, diaries and journals, notebooks and memoirs, as well as other kinds of publications. She was project manager for the creation of the Adams Papers Digital Edition, overseeing the conversion of 35 printed volumes into a consolidated TEI-compliant online edition. Le Blanc served on the faculty of the Institute for the Editing of Historical Documents, hosted by the Association for Documentary Editing, from 2014 to 2017. She now serves as principal investigator for the Mellon-NHPRC grant funding the implementation of the Primary Source Cooperative. 01 eng 03 00 How might small-scale digital editions succeed in the future, and how is that future tied to the field of scholarly editing? The inclusion of more small digital editions has the potential to add numerous voices and perspectives to already existing digital and print editions that tend to center on figures of national recognition. While these larger projects offer glimpses into social issues and individual stories beyond the recognizable names they focus on, they have historically been projects of white, English-speaking men. Larger projects have also been expensive to maintain and operate. Recognizing these twin realities and histories of publishing scholarly editions, the authors of this chapter have been working to transform the potential of editions through the approach of cooperative digital publishing. With support from the NHPRC and Andrew W. Mellon Foundation, four digital editions, the John Quincy Adams (JQA) Digital Diary, the Ellen Swallow Richards Papers, the Catharine Maria Sedgwick Online Letters (CMSOL), and the Papers of Roger Brooke Taney along with the institutional support of the Massachusetts Historical Society and Northeastern University, have been in the process of building and creating a digital publishing cooperative. This essay will describe what cooperative publishing is and how it is transformational to the making of an edition. The essay will argue that the power of cooperative publishing is three-fold: 1) the sharing of resources, both financial and structural; 2) the collaboration of content expertise across a wide range of functions and topics; and 3) the support of a community striving for the same goal. The goal of the Primary Source Cooperative is to provide a platform, designed by consensus, to assist small editions led by scholars who might not otherwise have a portal for online publishing that is affordable and supportive. For each individual project, the Cooperative is a platform from which to receive input and guidance from other editors when questions of process or encoding arise, acting in lieu of staff who serve as internal sounding boards at larger projects. Uniting these four editions under one digital publishing platform will allow for federated searching by users that would never be possible if these projects were siloed on individual websites. When data from these four projects are combined, the resulting digital edition cooperative will provide free <break/>cross-searchable and chronologically-navigable access for its target user community, which moves beyond the traditional academic audience toward inclusion of students and educators at the middle school, high school, and undergraduate level.The interdisciplinary nature of the Cooperative—with editors from the fields of communication studies, history, literature, political science, and women’s and gender studies—translates to a wide scholarly audience, the needs of which are met by the adherence of the cluster to accepted best practices of documentary editing. Beyond the scholarly community, however, the Cooperative is committed to engaging a broader public in reading and using primary historical sources. Thus, the editions produced by the cluster would be precise enough (regarding standard editorial apparatus) for use by scholars but also accessible (via search features) for the K-12 community and the general public. 30 00 How might small-scale digital editions succeed in the future, and how is that future tied to the field of scholarly editing? The inclusion of more small digital editions has the potential to add numerous voices and perspectives to already existing digital and print editions that tend to center on figures of national recognition. While these larger projects offer glimpses into social issues and individual stories beyond the recognizable names they focus on, they have historically been projects of white, English-speaking men. Larger projects have also been expensive to maintain and operate. Recognizing these twin realities and histories of publishing scholarly editions, the authors of this chapter have been working to transform the potential of editions through the approach of cooperative digital publishing. With support from the NHPRC and Andrew W. Mellon Foundation, four digital editions, the John Quincy Adams (JQA) Digital Diary, the Ellen Swallow Richards Papers, the Catharine Maria Sedgwick Online Letters (CMSOL), and the Papers of Roger Brooke Taney along with the institutional support of the Massachusetts Historical Society and Northeastern University, have been in the process of building and creating a digital publishing cooperative. This essay will describe what cooperative publishing is and how it is transformational to the making of an edition. The essay will argue that the power of cooperative publishing is three-fold: 1) the sharing of resources, both financial and structural; 2) the collaboration of content expertise across a wide range of functions and topics; and 3) the support of a community striving for the same goal. The goal of the Primary Source Cooperative is to provide a platform, designed by consensus, to assist small editions led by scholars who might not otherwise have a portal for online publishing that is affordable and supportive. For each individual project, the Cooperative is a platform from which to receive input and guidance from other editors when questions of process or encoding arise, acting in lieu of staff who serve as internal sounding boards at larger projects. Uniting these four editions under one digital publishing platform will allow for federated searching by users that would never be possible if these projects were siloed on individual websites. When data from these four projects are combined, the resulting digital edition cooperative will provide free <break/>cross-searchable and chronologically-navigable access for its target user community, which moves beyond the traditional academic audience toward inclusion of students and educators at the middle school, high school, and undergraduate level.The interdisciplinary nature of the Cooperative—with editors from the fields of communication studies, history, literature, political science, and women’s and gender studies—translates to a wide scholarly audience, the needs of which are met by the adherence of the cluster to accepted best practices of documentary editing. Beyond the scholarly community, however, the Cooperative is committed to engaging a broader public in reading and using primary historical sources. Thus, the editions produced by the cluster would be precise enough (regarding standard editorial apparatus) for use by scholars but also accessible (via search features) for the K-12 community and the general public. 20 00 Open Access Juniper Johnson, Serenity Sutherland, Neal Millikan and Ondine Le Blanc 12 03 06 10.62637/sup.GHST9020.11 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 The scholarly data edition publishing big data in the twenty-first century 1 A01 21 0000000243011581 Gábor Mihály Tóth Gábor Mihály Tóth 40 036x5ad56 University of Luxembourg Gábor Mihály Tóth was born in Hungary. After studying philosophy and medieval studies in Budapest, he moved to England. In 2014 he completed a PhD in early modern history at the University of Oxford, Balliol College. Following his doctoral studies, he was an assistant professor in digital humanities at the University of Passau in Germany. He was a visiting researcher at Yale University and then at the University of Southern California. At the moment, he is a research associate at the University of Luxembourg’s Center for Contemporary and Digital History (C2DH). His research focuses on the application of data science to study and publish historical sources. Specifically, he has two research areas: information culture in early modern Europe and collective memory of genocide survivors. His chapter in this volume was inspired by his digital monograph, In Search of the Drowned: Testimonies and Testimonial Fragments of the Holocaust (Yale Fortunoff Archive, 2021, lts.fortunoff.library.yale.edu). In 2023 he was awarded the Richard Deswarte Prize in Digital History by the Digital History Seminary of the Institute of Historical Research, University of London. 01 eng 03 00 In the last decade, big textual datasets in the humanities have become increasingly more available in the form of raw data. The challenges these datasets raise are twofold. On the one hand, most humanities scholars are not equipped with skills in text and data mining. This remains a barrier to study big data in the humanities. On the other hand, the traditional genre of digital edition is not suitable for publishing and unlocking big data; similarly to printed editions, digital editions often attempt to create highly curated, almost perfect, surrogates of texts with critical accuracy. However, in the context of big data, traditional critical accuracy is not attainable; it is impossible for an editorial team to apply this principle when working with a corpus of tens of millions of words. The principle of critical examination of texts as defined by previous scholarship is equally unattainable with big data. In short, many of the editorial principles and techniques used to produce analogue and digital editions can hardly be applied when creating an edition featuring truly big data. Hence, in this chapter, I argue that to make big data available and explorable for the scholarly community, we need a new genre: the scholarly data edition. Throughout the chapter I elaborate the concept of scholarly data edition by outlining the editorial responsibilities and standards that it involves. 30 00 In the last decade, big textual datasets in the humanities have become increasingly more available in the form of raw data. The challenges these datasets raise are twofold. On the one hand, most humanities scholars are not equipped with skills in text and data mining. This remains a barrier to study big data in the humanities. On the other hand, the traditional genre of digital edition is not suitable for publishing and unlocking big data; similarly to printed editions, digital editions often attempt to create highly curated, almost perfect, surrogates of texts with critical accuracy. However, in the context of big data, traditional critical accuracy is not attainable; it is impossible for an editorial team to apply this principle when working with a corpus of tens of millions of words. The principle of critical examination of texts as defined by previous scholarship is equally unattainable with big data. In short, many of the editorial principles and techniques used to produce analogue and digital editions can hardly be applied when creating an edition featuring truly big data. Hence, in this chapter, I argue that to make big data available and explorable for the scholarly community, we need a new genre: the scholarly data edition. Throughout the chapter I elaborate the concept of scholarly data edition by outlining the editorial responsibilities and standards that it involves. 20 00 Open Access Gábor Mihály Tóth 13 03 06 10.62637/sup.GHST9020.12 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Close and distant reading in explorative editions distributed cognition and interactive visualisations 1 A01 21 0000000273993539 Peter Boot Peter Boot 40 043c0p156 Royal Netherlands Academy of Arts and Sciences Peter Boot studied Mathematics and Dutch Language and Literature. He wrote his thesis about annotation in scholarly digital collections (Mesotext. Digitised Emblems, Modelled Annotations and Humanities Scholarship. Amsterdam 2009). Boot works at the Huygens Institute for the History and Culture of the Netherlands in Amsterdam. In most of his career, his position has been between that of an intermediary between scholars and developers. Among other projects, he worked on digital editions of emblem books, medieval miscellanies, the letters of Vincent van Gogh, the manuscripts of Anne Frank and papers of Piet Mondrian. With Evina Stein, he published an edition of glosses to Isidore’s Etymologies that incorporates live network visualisations (https://db.innovatingknowledge. nl/edition/). Boot is also active in the field of computational literary studies, where he has a special interest in the phenomenon of online book discussion, as exemplified on sites such as Goodreads and in reviews on booksellers’ sites. 01 eng 03 00 The distant reading paradigm has taught us that transformations of textual material, be they in statistical or visual form, can be very informative about trends and patterns in text collections. However, current digital editions often fall short of exploiting this computational potential for text representation, analysis, and interaction. This paper argues that digital scholarly editions can transcend the limitations of print and print-inspired digital formats and become what I call "explorative editions." I draw on the work of Eugene Lyman about the role of distributed cognition in the design of scholarly tools and that of Shane McGarry about interactive tools creating the possibility for immersion in the edition through properly contextualised goal-directed activity. The paper advocates the integration of interactive visualizations in digital editions. This can transform digital editions into cognitive artifacts that enhance the user's exploration and understanding of the edited material. The paper proposes five criteria for these explorative editions, emphasizing the inclusion of visual representations, manipulable features, top-down and bottom-up navigational structures, co-extensiveness with the edited items, and minimization of user effort. Finally, I challenge the scholarly community to develop a scholarly edition that meets these criteria, offering a reward for the first project to accomplish this. 30 00 The distant reading paradigm has taught us that transformations of textual material, be they in statistical or visual form, can be very informative about trends and patterns in text collections. However, current digital editions often fall short of exploiting this computational potential for text representation, analysis, and interaction. This paper argues that digital scholarly editions can transcend the limitations of print and print-inspired digital formats and become what I call "explorative editions." I draw on the work of Eugene Lyman about the role of distributed cognition in the design of scholarly tools and that of Shane McGarry about interactive tools creating the possibility for immersion in the edition through properly contextualised goal-directed activity. The paper advocates the integration of interactive visualizations in digital editions. This can transform digital editions into cognitive artifacts that enhance the user's exploration and understanding of the edited material. The paper proposes five criteria for these explorative editions, emphasizing the inclusion of visual representations, manipulable features, top-down and bottom-up navigational structures, co-extensiveness with the edited items, and minimization of user effort. Finally, I challenge the scholarly community to develop a scholarly edition that meets these criteria, offering a reward for the first project to accomplish this. 20 00 Open Access Peter Boot 14 03 06 10.62637/sup.GHST9020.13 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Conviviality and standards open access publishing after AI 1 A01 Will Luers Will Luers 40 00g2fk805 Washington State University Vancouver Will Luers is a digital artist, writer and educator. His artwork and collaborations have garnered international recognition and been featured in festivals and conferences such as the Electronic Literature Organization, FILE (Brazil) and ISEA. Novelling, a generative work made in collaboration with poet Hazel Smith and sound artist Roger Dean, won the 2018 Robert Coover Award for Electronic Literature. Luers teaches web development, digital cinema and multimodal publishing in the Creative Media & Digital Culture program at Washington State University, Vancouver. He is the founder of the international online journal, The Digital Review, and is also the current Managing Editor at the electronic book review. 01 eng 03 00 As new areas of academic research proliferate (and cross-pollinate), scholarly digital publishing makes it possible to grow online networks around research interests without relying on the slow, gate-keeping procedures of traditional print publishing. In this way, advances in digital technology continue to offer scholars a wider readership and more meaningful peer networks, but these benefits come at a cost. Without a reliable economic model, the labor of peer-reviewing, editing, formatting, distributing and marketing scholarly writing and research is, in many cases, taken on by the scholars themselves. Digital tools make publishing workflows considerably more efficient and faster, but the unpaid labor involved is still a hindrance to any sustainable models for publishing scholarly work. Automation is often framed as a tool to increase productivity and efficiency by diminishing the role of fallible humans in a technical process. In the case of digital editing, the automation of grammar and spell check is labor saved for a deeper and more attentive reading of a text, where more subtle errors might lie in the author’s very argument. AI publishing technologies promise to improve not only editing texts, but detecting plagiarism, checking sources, seeking out peer reviewers, converting files, formatting for multiple platforms, marketing on social media and analyzing metrics. What remains of scholarly digital publishing as an activity when AI and Machine Learning tools absorb the considerable technical labor involved? Scholars (as researchers, writers, editors, and publishers) might be freed to concentrate on ideas themselves. By removing technical barriers and potential friction in publishing workflows, AI and ML might make way for a greater flow among scholars in the evaluation and dissemination of research and theories. AI might make scholarly digital publishing more convivial. Ivan Illich, in his Tools for Conviviality</italic>, considers a convivial society as one in which individuals have the means, tools, incentives and desire for collaboration. Conviviality escapes a rigid hierarchical and standardized process and seeks out diverse and innovative voices because it is sustained by individuals who choose to be a part of something that is at once self-serving and for the greater good. Scholarly digital publishing, especially open-access publishing, is already modelling this kind of shared labour in the service of both the individual scholars seeking to publish their work and the fields of research made up of a community of peers. While there are concerns with any new AI technology, especially the human biases embedded in algorithms, AI tools targeted for repetitive publishing tasks can open an opportunity to shape a renaissance in convivial scholarly publishing that sacrifices neither academic standards nor individual innovation and creativity. 30 00 As new areas of academic research proliferate (and cross-pollinate), scholarly digital publishing makes it possible to grow online networks around research interests without relying on the slow, gate-keeping procedures of traditional print publishing. In this way, advances in digital technology continue to offer scholars a wider readership and more meaningful peer networks, but these benefits come at a cost. Without a reliable economic model, the labor of peer-reviewing, editing, formatting, distributing and marketing scholarly writing and research is, in many cases, taken on by the scholars themselves. Digital tools make publishing workflows considerably more efficient and faster, but the unpaid labor involved is still a hindrance to any sustainable models for publishing scholarly work. Automation is often framed as a tool to increase productivity and efficiency by diminishing the role of fallible humans in a technical process. In the case of digital editing, the automation of grammar and spell check is labor saved for a deeper and more attentive reading of a text, where more subtle errors might lie in the author’s very argument. AI publishing technologies promise to improve not only editing texts, but detecting plagiarism, checking sources, seeking out peer reviewers, converting files, formatting for multiple platforms, marketing on social media and analyzing metrics. What remains of scholarly digital publishing as an activity when AI and Machine Learning tools absorb the considerable technical labor involved? Scholars (as researchers, writers, editors, and publishers) might be freed to concentrate on ideas themselves. By removing technical barriers and potential friction in publishing workflows, AI and ML might make way for a greater flow among scholars in the evaluation and dissemination of research and theories. AI might make scholarly digital publishing more convivial. Ivan Illich, in his Tools for Conviviality</italic>, considers a convivial society as one in which individuals have the means, tools, incentives and desire for collaboration. Conviviality escapes a rigid hierarchical and standardized process and seeks out diverse and innovative voices because it is sustained by individuals who choose to be a part of something that is at once self-serving and for the greater good. Scholarly digital publishing, especially open-access publishing, is already modelling this kind of shared labour in the service of both the individual scholars seeking to publish their work and the fields of research made up of a community of peers. While there are concerns with any new AI technology, especially the human biases embedded in algorithms, AI tools targeted for repetitive publishing tasks can open an opportunity to shape a renaissance in convivial scholarly publishing that sacrifices neither academic standards nor individual innovation and creativity. 20 00 Open Access Will Luers 15 03 06 10.62637/sup.GHST9020.14 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Beyond representation some thoughts on creative-critical digital editing 1 A01 21 0000000164108692 Christopher Ohge Christopher Ohge 40 039594g80 School of Advanced Study Christopher Ohge is Senior Lecturer in Digital Approaches to Literature at the University of London’s School of Advanced Study. He serves as the Associate Director of the Herman Melville Electronic Library and an Associate Editor of Melville’s Marginalia Online, where he has worked on digital editions of Melville’s Billy Budd, Sailor, and of Melville’s Marginalia in Arthur Schopenhauer. He was formerly an Associate Editor of the Mark Twain Papers at the University of California, Berkeley, where his editorial credits included the third and final volume of the Autobiography of Mark Twain, several digital texts on the Mark Twain Project Online, and the forthcoming edition of The Innocents Abroad. The author of the book Publishing Scholarly Editions: Archives, Computing, and Experience (2021), he has also published widely on nineteenth-century literature, textual scholarship and digital methods in leading journals and edited collections. In 2023 he received a fellowship from the National Endowment for the Humanities (USA) and the Mellon Foundation to complete a digital edition of Mary Anne Rawson’s anti-slavery anthology The Bow in the Cloud (1834). 01 eng 03 00 Creative-critical digital editing aims to be a pragmatic complement to the dominant ‘depth’ models of traditional scholarly editing that attempt to offer the ‘correct’ description, representation, or data model of a work within the space of a book or document. A pan-relational, creative-critical editorial approach to publishing instead focuses on a different kind of depth that connects texts to new contexts and literary experiences with new technological tools. Pan-relational editing creates new connections by creating new descriptions and visualisations of texts which are tethered to whatever purposes are needed for a given situation or audience ‘to make them serve our purposes better’, as the philosopher Richard Rorty put it. A creative-critical framework offers the best way to ‘cope’ with the varieties of potential experiences in the textual situation. This mode of thinking resists privileged print-based editorial theories as much as it resists technological determinism because it moves beyond the dominant mode of representing documents or texts as the primary output and instead puts the focus on curating textual data. Textual editing and digital publishing could combine with ‘creative criticism’ to be ongoing and incomplete, partaking of a process of close reading and distant analysis, learning and unlearning, and redescriptions of textual criticism that are embedded in the creative process and other aesthetic experiences. What digital publishing can ideally do, then, is to give space to competing and alternative discourses of the same text and to facilitate connections to other aesthetic contexts. The most promising ways to accomplish this goal would be, in the short term, to give users better designs and tools for engaging in the creative processes inherent in editorial projects. In the long term, an atomic database approach would allow creative play with any textual element, achieving that ideal of a digital edition as a ‘multi-dimensional space of possibilities’. 30 00 Creative-critical digital editing aims to be a pragmatic complement to the dominant ‘depth’ models of traditional scholarly editing that attempt to offer the ‘correct’ description, representation, or data model of a work within the space of a book or document. A pan-relational, creative-critical editorial approach to publishing instead focuses on a different kind of depth that connects texts to new contexts and literary experiences with new technological tools. Pan-relational editing creates new connections by creating new descriptions and visualisations of texts which are tethered to whatever purposes are needed for a given situation or audience ‘to make them serve our purposes better’, as the philosopher Richard Rorty put it. A creative-critical framework offers the best way to ‘cope’ with the varieties of potential experiences in the textual situation. This mode of thinking resists privileged print-based editorial theories as much as it resists technological determinism because it moves beyond the dominant mode of representing documents or texts as the primary output and instead puts the focus on curating textual data. Textual editing and digital publishing could combine with ‘creative criticism’ to be ongoing and incomplete, partaking of a process of close reading and distant analysis, learning and unlearning, and redescriptions of textual criticism that are embedded in the creative process and other aesthetic experiences. What digital publishing can ideally do, then, is to give space to competing and alternative discourses of the same text and to facilitate connections to other aesthetic contexts. The most promising ways to accomplish this goal would be, in the short term, to give users better designs and tools for engaging in the creative processes inherent in editorial projects. In the long term, an atomic database approach would allow creative play with any textual element, achieving that ideal of a digital edition as a ‘multi-dimensional space of possibilities’. 20 00 Open Access Christopher Oghe 16 03 06 10.62637/sup.GHST9020.15 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Re-encoding dominance queer approaches to TEI markup 1 A01 Filipa Calado Filipa Calado 40 007m3p006 Pratt Institute Filipa Calado is an Assistant Professor of Information Studies at The Pratt Institute, School of Information. As a self-taught programmer with a PhD in English Literature, she is interested in literary and computer languages, and how they are used to express sex, gender, and sexuality. She examines how technological constraints on language can be re-worked toward unexpected but productive usages. Most recently, she experiments with machine learning to study discourses of transphobia in the US. She has written about her work in Open Library of Humanities Journal and The Journal of Interactive Technology and Pedagogy. Her coding projects and teaching materials are published on her GitHub profile, with username gofilipa. 03 00 This paper considers the potential alignment between a rigidly structured and constraining editorial format, the TEI, and a strategically nebulous collection of identities and politics expressed by the designation of queer. It proposes how editorial practices with the TEI might draw from Queer of Color Critique and Black Feminist Studies to engage modes of resistance against dominance structures. Here, the critique of Queer Studies’ capitulation to majoritarian and neoliberal politics inspires methods for reworking the structuring forces within both the TEI markup language and textual editing practices more broadly. By narrating between the gaps and silences in the record, these methods emphasize marginalized identities and positions within dominance structures. This examination closes by highlighting examples of current projects that deploy collaborative and minimalist practices to challenge the structuring modes of textual editing and the TEI. 30 00 This paper considers the potential alignment between a rigidly structured and constraining editorial format, the TEI, and a strategically nebulous collection of identities and politics expressed by the designation of queer. It proposes how editorial practices with the TEI might draw from Queer of Color Critique and Black Feminist Studies to engage modes of resistance against dominance structures. Here, the critique of Queer Studies’ capitulation to majoritarian and neoliberal politics inspires methods for reworking the structuring forces within both the TEI markup language and textual editing practices more broadly. By narrating between the gaps and silences in the record, these methods emphasize marginalized identities and positions within dominance structures. This examination closes by highlighting examples of current projects that deploy collaborative and minimalist practices to challenge the structuring modes of textual editing and the TEI. 20 00 Open Access Filipa Calado 17 03 06 10.62637/sup.GHST9020.16 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 The ludic edition playful futures for digital scholarly editing 1 A01 21 0000000227526729 Jason Boyd Jason Boyd 40 05g13zd79 Toronto Metropolitan University Jason Boyd is an Associate Professor in the Department of English and the Director of the Centre for Digital Humanities at Toronto Metropolitan University (TMU), in Toronto, Canada. Prior to joining TMU, he was a Senior Research Associate at the international research project, Records of Early English Drama (REED), based at the University of Toronto. In that role, he was a key part of the team that created the Fortune Theatre Records Prototype Digital Edition, acting as the TEI Editor and co-author of the project’s White Paper. His research also explores the digital editing of biographical texts (particularly texts relating to Oscar Wilde). His teaching and research interests largely focus on exploring the creative and critical uses of digital media in a literary context (for example, the Stories in Play Initiative: https://storiesinplay.com/) and queer digital humanities. Relevant recent research includes ‘The Playing’s the Thing: Diversifying Digital Shakespeare Through Ludic Adaptation’ (Digital Studies/Le champ numérique, volume 13, issue 3, 2023), ‘Poetry as Code as Interactive Fiction: Engaging Multiple Text-Based Literacies in Scarlet Portrait Parlor’ (Digital Humanities Quarterly volume 17, number 2, 2023); and (co-authored with Bo Ruberg) ‘Queer Digital Humanities’ (The Bloomsbury Handbook to the Digital Humanities, 2022). 01 eng 03 00 The practice of creating scholarly digital editions of literary texts has now a substantial body of examples of and scholarship about the problems and possibilities (and various methodologies) of digital editing. A sophisticated example can be found at Digital Thoreau (https://digitalthoreau.org/). This includes Walden: A Fluid Text Edition, which, using the Versioning Machine tool (http://v-machine.org/), enables comparison of seven drafts and a published edition of Henry David Thoreau’s 1854 book (all encoded in the Text Encoding Initiative’s XML-based markup). Digital Thoreau also includes The Readers’ Thoreau, an online edition of Walden that enables users to socially annotate the text at the paragraph level, using a WordPress plug-in, CommentPress. These two editions of Walden perhaps go some way to respond to Joris van Zundert’s 2016 call on digital editors and editions to “implement a form of hypertext that truly represents textual fluidity and text relations in a scholarly viable and computational tractable manner.” Van Zundert’s concern is that the digital scholarly edition will otherwise amount to little more than “a mere medium shift” that will “limit [the digital scholarly edition’s] expressiveness to that of print text, and…fail to explore the computational potential for digital text representation, analysis and interaction.” Yet van Zundert’s seemingly radical call, which expresses the desire to move away from the structures and logics of print, still closely adheres to a print-delimited idea of text (“hypertext,” “textual fluidity and text relations,” “digital text representation, analysis and interaction”). Does van Zundert’s conception fully exploit “the computational potential” of digital editing/editions? In "Gaming the Humanities: Digital Humanities, New Media, and Practice-Based Research" (2014), Patrick Jagoda claims that digital gaming “is increasingly becoming a key problematic of—that is, in different ways, a problem and possibility for—the digital humanities" (194), of which digital editing is a dominating practice. This paper will suggest that the twenty-first century is the moment for the ludic edition, which extends the digital edition through the digital or video game. Three examples of what might be considered a ludic edition will be considered: Walden, a game (USC Game Innovation Lab, 2017), Elsinore (Golden Glitch, 2019), and 80 Days (Inkle Studios, 2014). These each can be understood as a critical digital edition that makes use of the rich textual, extra-textual, procedural, interactive, and meaning-making affordances of the video game. In doing so, these ludic editions robustly explore “the computational potential” for the digital edition and present a radical challenge to and expansion of the idea of digital editing. The paper will take up editorial ideas around ‘the text,’ editions as interpretations, and readerly activity and consider them in connection with game design ideas around simulation, open world exploration, and player agency. By so doing, the paper aims to foreground how the ludic edition functions as, to use Jagoda’s term, a “problematic” for the future of digital scholarly editing. 30 00 The practice of creating scholarly digital editions of literary texts has now a substantial body of examples of and scholarship about the problems and possibilities (and various methodologies) of digital editing. A sophisticated example can be found at Digital Thoreau (https://digitalthoreau.org/). This includes Walden: A Fluid Text Edition, which, using the Versioning Machine tool (http://v-machine.org/), enables comparison of seven drafts and a published edition of Henry David Thoreau’s 1854 book (all encoded in the Text Encoding Initiative’s XML-based markup). Digital Thoreau also includes The Readers’ Thoreau, an online edition of Walden that enables users to socially annotate the text at the paragraph level, using a WordPress plug-in, CommentPress. These two editions of Walden perhaps go some way to respond to Joris van Zundert’s 2016 call on digital editors and editions to “implement a form of hypertext that truly represents textual fluidity and text relations in a scholarly viable and computational tractable manner.” Van Zundert’s concern is that the digital scholarly edition will otherwise amount to little more than “a mere medium shift” that will “limit [the digital scholarly edition’s] expressiveness to that of print text, and…fail to explore the computational potential for digital text representation, analysis and interaction.” Yet van Zundert’s seemingly radical call, which expresses the desire to move away from the structures and logics of print, still closely adheres to a print-delimited idea of text (“hypertext,” “textual fluidity and text relations,” “digital text representation, analysis and interaction”). Does van Zundert’s conception fully exploit “the computational potential” of digital editing/editions? In "Gaming the Humanities: Digital Humanities, New Media, and Practice-Based Research" (2014), Patrick Jagoda claims that digital gaming “is increasingly becoming a key problematic of—that is, in different ways, a problem and possibility for—the digital humanities" (194), of which digital editing is a dominating practice. This paper will suggest that the twenty-first century is the moment for the ludic edition, which extends the digital edition through the digital or video game. Three examples of what might be considered a ludic edition will be considered: Walden, a game (USC Game Innovation Lab, 2017), Elsinore (Golden Glitch, 2019), and 80 Days (Inkle Studios, 2014). These each can be understood as a critical digital edition that makes use of the rich textual, extra-textual, procedural, interactive, and meaning-making affordances of the video game. In doing so, these ludic editions robustly explore “the computational potential” for the digital edition and present a radical challenge to and expansion of the idea of digital editing. The paper will take up editorial ideas around ‘the text,’ editions as interpretations, and readerly activity and consider them in connection with game design ideas around simulation, open world exploration, and player agency. By so doing, the paper aims to foreground how the ludic edition functions as, to use Jagoda’s term, a “problematic” for the future of digital scholarly editing. 20 00 Open Access Jason Boyd 18 03 06 10.62637/sup.GHST9020.17 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Seamless editions a future imaginary of digital editions for learning and public engagement 1 A01 Aodhán Kelly Aodhán Kelly Vrije Universiteit Amsterdam Aodhán Kelly is a lecturer and researcher at Vrije Universiteit Amsterdam and Maastricht University. He was an early career researcher with DiXiT (2014–7), a Marie Skłodowska-Curie Initial Contributor biographies xxiii Training Network focused on digital scholarly editions. He conducted his PhD (2017) under Prof. Dirk Van Hulle at the University of Antwerp, defending a thesis on ‘Disseminating digital scholarly editions of textual cultural heritage’. Aodhan’s postdoctoral work has been situated broadly in the social sciences and focuses on digital transformations in higher education and society. He previously represented Open Universiteit on Dutch national initiatives ‘Digital Society’ and the Acceleration Plan for ICT in Education. Currently he is active in teaching at Vrije Universiteit Amsterdam and Maastricht University in media studies and digital society. He is a co-founder and research co-ordinator for the Plant at Maastricht (Playground and Laboratory for New Technologies). His latest research focuses on digital humanities approaches to enabling polyvocal representations of contested colonial heritage in archives. 01 eng 03 00 This chapter will propose and examine a way to conceptualise the creation of future digital editions for broader audiences, particularly for purposes of learning and public engagement, namely the idea of ‘seamless editions’. This idea builds upon a conceptual framework developed by the author for the dissemination of digital editions. It will combine this framework with ideas drawn from a growing field within the educational sciences, that of ‘seamless learning’. Digital editions come in many shapes and sizes, and as a scholarly output there is no clear-cut consensus on where its definitional boundaries lie, but they are rather something experimental that may continue to remain in a state of development and redefinition. The continuing definitional ambiguity of digital editions could in some ways be viewed as a sort of identity crisis, but this lack of clear boundaries can also be treated as a freedom and an opportunity to experiment and diversify. The potential of editions to reach a broader audience in the digital medium is a long running ambition of many in the field. This chapter seeks to help intensify that discussion in the scholarly editing community and add impetus to reaching that potential by focusing on a conceptual approach to the design of digital editions for learning and outreach purposes. 30 00 This chapter will propose and examine a way to conceptualise the creation of future digital editions for broader audiences, particularly for purposes of learning and public engagement, namely the idea of ‘seamless editions’. This idea builds upon a conceptual framework developed by the author for the dissemination of digital editions. It will combine this framework with ideas drawn from a growing field within the educational sciences, that of ‘seamless learning’. Digital editions come in many shapes and sizes, and as a scholarly output there is no clear-cut consensus on where its definitional boundaries lie, but they are rather something experimental that may continue to remain in a state of development and redefinition. The continuing definitional ambiguity of digital editions could in some ways be viewed as a sort of identity crisis, but this lack of clear boundaries can also be treated as a freedom and an opportunity to experiment and diversify. The potential of editions to reach a broader audience in the digital medium is a long running ambition of many in the field. This chapter seeks to help intensify that discussion in the scholarly editing community and add impetus to reaching that potential by focusing on a conceptual approach to the design of digital editions for learning and outreach purposes. 20 00 Open Access Aodhán Kelly 19 03 06 10.62637/sup.GHST9020.18 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Digital scholarly editing in the early modern curriculum 1 A01 21 0000000160627911 Lindsay Ann Reid Lindsay Ann Reid 40 03bea9k73 University of Galway Lindsay Ann Reid is Senior Lecturer in English at the University of Galway. Her research interests include classical reception in the late medieval and early modern eras as well as various facets of early English print culture. She is the author of two monographs, Ovidian Bibliofictions and the Tudor Book (2014) and Shakespeare’s Ovid and the Spectre of the Medieval (2018). She has published work in Women’s Writing, Comparative Drama, Renaissance Quarterly, Shakespeare, Studies in Philology, Cahiers Élisabéthains, Early Theatre, The Seventeenth Century and elsewhere, including numerous edited collections. With co-editor Agnès Lafont, she is currently preparing an edition of The Maid’s Metamorphosis for The Revels Plays. In 2022, she worked with Cúirt International Festival of Literature and Speaking Volumes to create the pamphlet publication Breaking Ground Ireland. As of 2023, she is centrally involved with ‘Re-mediating the Early Book: Pasts and Futures’ (REBPAF), a Marie Skłodowska-Curie Doctoral Training Network co-ordinated by the University of Galway. 2 A01 21 0000000225794367 Justin Tonra Justin Tonra 40 03bea9k73 University of Galway Justin Tonra is Academic Integrity Officer and Associate Professor of English at the University of Galway. His research interests lie at the intersections of literature and technology and comprise work in the fields of digital humanities, book history, textual studies and bibliography, scholarly editing, and poetry and poetics. He is the author of a monograph, Write My Name: Authorship in the Poetry of Thomas Moore (Routledge, 2020), and peer-reviewed articles on topics including network analysis, crowdsourcing, authorship attribution, electronic literature and digital bibliography. 01 eng 03 00 This article describes and analyses the experience of building a collaborative digital edition of an early modern play in the university classroom. Reflecting on all aspects of module development from conception through to execution and evaluation, the article articulates the challenges and opportunities of digital scholarly editing pedagogy and makes specific practical and conceptual recommendations for how our model might be replicated. Having received funding from the National Forum for the Enhancement of Teaching and Learning in Higher Education, the authors co-designed and co-delivered an innovative postgraduate module on the theory and practice of digital scholarly editing. Students in the module collaborated on a large-scale digital editing project. In the first part of the semester, they learned key theoretical and methodological approaches to scholarly editing and text encoding with TEI. As the semester progressed, they gained hands-on experience by working together to create a new digital edition of an early modern theatrical work: James Shirley’s The Royall Master (1638). This article focuses on the key pedagogical outcomes of the module and the students’ working process: independent and collaborative activities, and synthesis of perspectives from the fields of scholarly editing and early modern studies. Moreover, we argue that students on the module acquired a range of transferable skills that have impacts beyond academia: project management, text encoding, version control, digital image preparation, and web design and publishing. This article is timely as it capitalises on a recent swell in interest in the pedagogical possibilities of digital scholarly editing in the early modern studies curriculum. Besides a dedicated seminar on this topic hosted by the authors for the Curriculum and Canon webinar series at NUI Galway in 2021, two panels at the 2021 Renaissance Society of America Annual Meeting addressed the topic of “Editing Early Modern Texts and/as Pedagogy.” Elsewhere, peer-reviewed journal articles have considered the value of teaching TEI in the literature classroom (Kaethler), of digital scholarly editing in undergraduate modules (Salt, et al.), and of editorial pedagogy for teaching Shakespearean drama (Taylor). This article advances scholarship in this area through its particular focus on the pragmatics of syllabus and assessment design (including a pandemic-age perspective on the incorporation of online learning and open educational resources). In addition, the authors draw attention to ways in which the theory and practice of digital scholarly editing can equip students with valuable skills and competencies for life beyond academia. 30 00 This article describes and analyses the experience of building a collaborative digital edition of an early modern play in the university classroom. Reflecting on all aspects of module development from conception through to execution and evaluation, the article articulates the challenges and opportunities of digital scholarly editing pedagogy and makes specific practical and conceptual recommendations for how our model might be replicated. Having received funding from the National Forum for the Enhancement of Teaching and Learning in Higher Education, the authors co-designed and co-delivered an innovative postgraduate module on the theory and practice of digital scholarly editing. Students in the module collaborated on a large-scale digital editing project. In the first part of the semester, they learned key theoretical and methodological approaches to scholarly editing and text encoding with TEI. As the semester progressed, they gained hands-on experience by working together to create a new digital edition of an early modern theatrical work: James Shirley’s The Royall Master (1638). This article focuses on the key pedagogical outcomes of the module and the students’ working process: independent and collaborative activities, and synthesis of perspectives from the fields of scholarly editing and early modern studies. Moreover, we argue that students on the module acquired a range of transferable skills that have impacts beyond academia: project management, text encoding, version control, digital image preparation, and web design and publishing. This article is timely as it capitalises on a recent swell in interest in the pedagogical possibilities of digital scholarly editing in the early modern studies curriculum. Besides a dedicated seminar on this topic hosted by the authors for the Curriculum and Canon webinar series at NUI Galway in 2021, two panels at the 2021 Renaissance Society of America Annual Meeting addressed the topic of “Editing Early Modern Texts and/as Pedagogy.” Elsewhere, peer-reviewed journal articles have considered the value of teaching TEI in the literature classroom (Kaethler), of digital scholarly editing in undergraduate modules (Salt, et al.), and of editorial pedagogy for teaching Shakespearean drama (Taylor). This article advances scholarship in this area through its particular focus on the pragmatics of syllabus and assessment design (including a pandemic-age perspective on the incorporation of online learning and open educational resources). In addition, the authors draw attention to ways in which the theory and practice of digital scholarly editing can equip students with valuable skills and competencies for life beyond academia. 20 00 Open Access Lindsay Ann Reid and Justin Tonra 20 03 06 10.62637/sup.GHST9020.19 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Mediating and connecting versatile digital publishing in the Edison Papers 1 A01 21 0000000316950433 Caterina Agostini Caterina Agostini 40 02k40bc56 Indiana University Bloomington Caterina Agostini is a Postdoctoral Fellow at Indiana University Bloomington. She is co-PI in the Chymistry of Isaac Newton and the Harriot Papers, specializing in digital editions of early modern scientific texts. She has researched and developed reading and annotation methods in the Thomas A. Edison Papers. Caterina has published on Galileo Galilei, Renaissance travelogues, and digital humanities methods. She is a co-chair of the International Image Interoperability Framework (IIIF). 2 A01 21 0000000204255428 Paul Israel Paul Israel 40 05vt9qd57 Rutgers University Paul Israel is director and general editor of the Thomas A. Edison Papers at Rutgers, the State University of New Jersey. He joined the project in 1980 and became director in 2002. To date, the project has produced nine volumes of The Papers of Thomas A. Edison. Its online digital image edition includes over 154,000 documents. In 2005 the Society for the History of Technology awarded the Edison Papers a one-time retrospective award as a model reference work published since the founding of the Society in 1958. Dr Israel was also awarded the Society’s 2000 Edelstein [Dexter Prize] for his book Edison: A Life of Invention (John Wiley & Sons, 1998). In addition, he is the author of From Machine Shop to Industrial Laboratory: Telegraphy and the Changing Context of American Invention, 1830– 1920 (Johns Hopkins University Press, 1992) and co-author with Robert Friedel of Edison’s Electric Light: The Art of an Invention (Johns Hopkins University Press, 2010; Rutgers University Press, 1986). Dr Israel’s work examines technological creativity, the origins of modern innovation, patent regimes and intersections between science, technology and industry. He also has been a consultant on exhibits at several museums and historic sites and contributed to numerous television and radio documentaries. 01 eng 03 00 In this chapter we discuss a framework for reconfiguring the Thomas A. Edison Papers as an integrated digital edition of primary sources. In the digital edition, stratified levels of sources enhance the accessibility of complex historical collections in digital environments. The concept of providing multiple layers of access was already implicit in the Edison Papers online book and image editions. Our reader-centered approach enables an interactive experience displaying primary sources both from text- and image-based collections documenting the work of Edison.The resulting reading experience occurs in International Image Interoperability Framework (IIIF) interfaces that can deliver images and texts from multiple servers on the Web. IIIF-compliant images present materials to readers in a coherent way, allowing deep zoom, comparison, page layout, and annotation through a IIIF image viewer, Mirador Viewer. The digital edition is customized, based on readers’ queries, and the interconnected design can potentially promote collaborative reading, scholarship, and applications in pedagogy, resulting in a versatile investigation of technological advancements and industrialization in Edison’s lifetime. 30 00 In this chapter we discuss a framework for reconfiguring the Thomas A. Edison Papers as an integrated digital edition of primary sources. In the digital edition, stratified levels of sources enhance the accessibility of complex historical collections in digital environments. The concept of providing multiple layers of access was already implicit in the Edison Papers online book and image editions. Our reader-centered approach enables an interactive experience displaying primary sources both from text- and image-based collections documenting the work of Edison.The resulting reading experience occurs in International Image Interoperability Framework (IIIF) interfaces that can deliver images and texts from multiple servers on the Web. IIIF-compliant images present materials to readers in a coherent way, allowing deep zoom, comparison, page layout, and annotation through a IIIF image viewer, Mirador Viewer. The digital edition is customized, based on readers’ queries, and the interconnected design can potentially promote collaborative reading, scholarship, and applications in pedagogy, resulting in a versatile investigation of technological advancements and industrialization in Edison’s lifetime. 20 00 Open Access Caterina Agostini and Paul Israel 21 03 06 10.62637/sup.GHST9020.20 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 ‘The present therefore seems improbable, the future most uncertain’ transcending academia through Charlotte Lennox’s Lady’s Museum (1760–1) 1 A01 Kelly J. Plante Kelly J. Plante 40 01070mq45 Wayne State University Kelly J. Plante, PhD (Wayne State University), specialises in long-eighteenth-century transatlantic literature and feminist digital/ public humanities. Her dissertation, ‘Death Writing: Gender and Necropolitics in the Atlantic World (1660–1840),’ received the 2024 Bibliographical Society of America (BSA) William L. Mitchell Prize for scholarship on British serials. She currently serves as Managing Editor for ABO: Interactive Journal for Women in the Arts (1640– 1830), Associate Reader for the Michigan Quarterly Review and, with Karenza Sutton-Bennett, PhD, as Co-Editor for the Lady’s Museum Project (ladysmuseum.com, 2021–present). She has served as Managing Editor for Criticism: A Quarterly for Literature and the Arts (2021–3), Co-Chair for the American Society of Eighteenth- Century Studies Digital Humanities Caucus, Project Manager for the Warrior Women Project (s.wayne.edu/warriorwomen, 2020–1), Co-General Editor for The Poetry of Gertrude More: Piety and Politics in a Benedictine Convent (s.wayne.edu/gertrudemore, 2020–1), and as a Detroit-area journalist, writer/editor, and publisher. Her writing has appeared or is forthcoming in Creative Nonfiction Magazine, ABO, Eighteenth-Century Fiction, The Eighteenth Century: Theory and Interpretation, and Early Modern Women: An Interdisciplinary Journal. 2 A01 21 000900025531136X Karenza Sutton-Bennett Karenza Sutton-Bennett 40 03c4mmv16 University of Ottawa Karenza Sutton-Bennett, University of Ottawa, Canada, completed her dissertation in 2022. It was titled ‘The Female Guise: the Untold Story of Female Education in English Periodicals’. Her research focuses on textual and visual representations of women learning in periodicals. Her research interests include history of education, xxviii Digital editing and publishing in the twenty-first century cultural studies, and women’s writing. Karenza’s publications include ‘Teaching the Lady’s Museum and Sophia: Imperialism, Feminism, and Beyond’, co-written with Susan Carlile in Aphra Behn Online: Interactive Journal for Women in the Arts (1640–1830), and ‘Intellect versus Politeness: Charlotte Lennox and Women’s Minds’ in Eighteenth-Century Fiction. She is the co-editor of The Lady’s Museum Project with Kelly J. Plante, PhD. In 2023, the edition won the ASECS Women’s Caucus Editing and Translation Fellowship. Through LMP she has guest-lectured in several classrooms in Canada and the United States. When not researching or teaching, she works at Ontario Professional Planners Institute as Senior Manager of Education and Events where she develops their continuing education curriculum and annual conference. 01 eng 03 00 The question of how digital scholarly editing and publishing can have an impact beyond academia has been widely debated in the digital humanities and literary/cultural studies fields. Kate Ozment in “Rationale for Feminist Bibliography” argues the field of feminist bibliography is “continuing work on women’s lives and labor by providing tools for feminist scholars to use in their work, while simultaneously building a framework that allows such work to flourish” (151). Tonya Howe has posited three interrelated areas for “Intersectional Futures in Digital History”: “theorizing the feminized labor of digital recovery, editing, and textual preparation,” “offering thoughtful and feminist approaches to digital pedagogy that are specific to the work we do in the period,” and “critically assessing the absences in existing digital projects'' (2). We build on Ozment’s and Howe’s visions for an intersectional future(s) in our digital scholarly editing project, The Lady’s Museum Project, which aims for a public readership beyond the academy to broadly publicize women writers’ contributions to the developments in education and citizenship for all genders and classes throughout the long eighteenth century. Our project continues the work of Jennie Batchelor and Manushag N. Powell’s Women’s Periodicals and Print Culture in Britain, 1690-1820s (2018)—the first comprehensive study of women’s periodicals in the eighteenth-century—by giving open-access to Charlotte Lennox’s periodical, The Lady’s Museum (1760-61). We advocate for centering the previously forgotten labor of early modern women writers then, and DH coworkers now, highlighting their importance and continuing impact for a present-day specialist and non-specialist, public audience. In this essay, we present the theory and praxis governing the Lady’s Museum Project to show how a digital-scholarly editing project can challenge the structural logics of print by creating a user-driven reading experience and social edition rather than a traditional, linear-based edition. We discuss the project’s focus on audiobook and social annotation functionalities in contrast to traditional scholarly publishing to reveal the importance of an intersectional-feminist approach for future editing projects. In framing our project within intersectionality, which, rooted in civic justice, transcends multiple academic disciplines, we strive to: reveal the feminized labor of digital recovery; use ethical means to represent multiply marginalized persons; capture the historical, oppressive structures in which The Lady’s Museum appeared in its context of eighteenth-century British imperialism; and, through consensus decision-making processes and implementing user feedback, create sortable categories and keywords that spotlight system-centered complexities. We argue that digital scholarly editing and publishing can have an impact beyond academia by recovering the textual authority of women writers such as Charlotte Lennox and supplying a basis for a public audience to engage with her work. In conclusion, this essay, by closely examining how marginalized women writers and texts had a pivotal impact on the foundational blocks of modern western culture, simultaneously shines new light on the benefits of aligning intersectional feminism with public-facing, transdisciplinary projects. 30 00 The question of how digital scholarly editing and publishing can have an impact beyond academia has been widely debated in the digital humanities and literary/cultural studies fields. Kate Ozment in “Rationale for Feminist Bibliography” argues the field of feminist bibliography is “continuing work on women’s lives and labor by providing tools for feminist scholars to use in their work, while simultaneously building a framework that allows such work to flourish” (151). Tonya Howe has posited three interrelated areas for “Intersectional Futures in Digital History”: “theorizing the feminized labor of digital recovery, editing, and textual preparation,” “offering thoughtful and feminist approaches to digital pedagogy that are specific to the work we do in the period,” and “critically assessing the absences in existing digital projects'' (2). We build on Ozment’s and Howe’s visions for an intersectional future(s) in our digital scholarly editing project, The Lady’s Museum Project, which aims for a public readership beyond the academy to broadly publicize women writers’ contributions to the developments in education and citizenship for all genders and classes throughout the long eighteenth century. Our project continues the work of Jennie Batchelor and Manushag N. Powell’s Women’s Periodicals and Print Culture in Britain, 1690-1820s (2018)—the first comprehensive study of women’s periodicals in the eighteenth-century—by giving open-access to Charlotte Lennox’s periodical, The Lady’s Museum (1760-61). We advocate for centering the previously forgotten labor of early modern women writers then, and DH coworkers now, highlighting their importance and continuing impact for a present-day specialist and non-specialist, public audience. In this essay, we present the theory and praxis governing the Lady’s Museum Project to show how a digital-scholarly editing project can challenge the structural logics of print by creating a user-driven reading experience and social edition rather than a traditional, linear-based edition. We discuss the project’s focus on audiobook and social annotation functionalities in contrast to traditional scholarly publishing to reveal the importance of an intersectional-feminist approach for future editing projects. In framing our project within intersectionality, which, rooted in civic justice, transcends multiple academic disciplines, we strive to: reveal the feminized labor of digital recovery; use ethical means to represent multiply marginalized persons; capture the historical, oppressive structures in which The Lady’s Museum appeared in its context of eighteenth-century British imperialism; and, through consensus decision-making processes and implementing user feedback, create sortable categories and keywords that spotlight system-centered complexities. We argue that digital scholarly editing and publishing can have an impact beyond academia by recovering the textual authority of women writers such as Charlotte Lennox and supplying a basis for a public audience to engage with her work. In conclusion, this essay, by closely examining how marginalized women writers and texts had a pivotal impact on the foundational blocks of modern western culture, simultaneously shines new light on the benefits of aligning intersectional feminism with public-facing, transdisciplinary projects. 20 00 Open Access Kelly J. Plante and Karenza Sutton-Bennett 22 03 06 10.62637/sup.GHST9020.c Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Conclusion The future of digital editing and publishing 1 A01 21 0000000242149933 James O'Sullivan James O'Sullivan 40 03265fv13 University College Cork James O’Sullivan lectures in the Department of Digital Humanities at University College Cork, where he is Director of Research for the School of English and Digital Humanities, as well as a member of the Research and Innovation Committee for the College Arts, Celtic Studies and Social Sciences. He is a member of the board of the Future Humanities Institute, for which he leads the Digital Cultures, New Media, and Cultural Analytics research cluster. He is the author of 'Towards a Digital Poetics' (Palgrave Macmillan 2019). James has edited several collections of scholarly essays, including 'The Bloomsbury Handbook to the Digital Humanities' (Bloomsbury 2023) and 'Technology in Irish Literature and Culture' (Cambridge University Press 2023). He is the Principal Investigator (Ireland) on 'C21 Editions: Editing and Publishing in the Digital Age', funded under the UK-Ireland Collaboration in the Digital Humanities. See www.jamesosullivan.org for more on his work. 2 B01 21 000000024441450X Sophie Whittle Sophie Whittle 40 05krs5044 University of Sheffield Sophie Whittle is a Research Associate on 'C21 Editions: Editing and Publishing in the Digital Age' project, responsible for developing a prototype online teaching edition of Geoffrey Chaucer’s Pardoner’s Prologue and Tale using machine assisted methods. Sophie has taught on modules in the history of English, historical pragmatics, research methods and syntax. She has co-ordinated interdisciplinary workshops on centring anti-racist research in the linguistics curric-ulum, inviting speakers from across the globe to present their research on the pragmatics of postcolonial communities, language and culture sharing and human rights, and has since become a member of the Linguistic Association of Great Britain’s racial justice subcommittee. She is also an organiser at the Sheffield Feminist Archive, and has recently contributed to the creation of a digital archive named 'Women in Lockdown', a project that houses women’s stories and experiences of the pandemic via oral history, testimony, diary entries and artwork submissions. 01 eng 20 00 Open Access James O'Sullivan and Sophie Whittle 01 URL https://www.sup.ac.uk/ Scottish Universities Press 01 Scottish Universities Press 01 Publisher's website: home page https://www.sup.ac.uk/ 02 Publisher's website: webpage for this title https://books.sup.ac.uk/sup/catalog/book/sup-9781917341073 16 40 0505m1554 32 10.13039/501100007818 Arts and Humanities Research Council (AHRC) 01 projectname C21 Editions: Editing and Publishing in the Digital Age 01 projectshortname C21 Editions 01 grantnumber AH/W001489/1 04 01 20250429 James O’Sullivan, Michael Pidd, Sophie Whittle, Bridgette Wessels, Michael Kurzmeier and Órla Murphy 02 WORLD 06 15 9781917341042 03 9781917341042 06 15 9781917341059 03 9781917341059 06 15 9781917341066 03 9781917341066 WORLD 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/101569 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/101569/DigitalEditingandPublishingintheTwentyFirstCentury_R_InteractivePDF_20250429_110KKKFull_FINAL.pdf?sequence=1&isAllowed=y 20 08 20250429 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/159320 20 08 20250429 01 11 EBSCO_HOST 36 EBSCO_HOST: webpage for this product https://research.ebsco.com/linkprocessor/plink?id=3a95d002-923d-373b-83dc-b69ffd3791f3 20 08 20250429 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/d99764cf-2d40-4722-8cea-ff791e822633 29 INTERNET_ARCHIVE: download the title https://archive.org/download/d99764cf-2d40-4722-8cea-ff791e822633/d99764cf-2d40-4722-8cea-ff791e822633.pdf 20 08 20250429 01 09 Scottish Universities Press 02 Publisher's website: webpage for this product https://books.sup.ac.uk/sup/catalog/book/sup-9781917341073 29 Publisher's website: download the title https://books.sup.ac.uk/sup/catalog/download/sup-9781917341073/7/51?inline=1 20 08 20250429 01 urn:uuid:fe734ce1-7e01-43e3-86b3-06aa7398d251 03 01 01 thoth-work-id urn:uuid:d99764cf-2d40-4722-8cea-ff791e822633 01 thoth-publication-id urn:uuid:fe734ce1-7e01-43e3-86b3-06aa7398d251 15 9781917341066 03 9781917341066 06 10.62637/sup.GHST9020 00 EB E101 10 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ 01 01 Digital editing and publishing in the twenty-first century 1 B01 21 0000000242149933 James O'Sullivan James O'Sullivan 40 03265fv13 University College Cork James O’Sullivan lectures in the Department of Digital Humanities at University College Cork, where he is Director of Research for the School of English and Digital Humanities, as well as a member of the Research and Innovation Committee for the College Arts, Celtic Studies and Social Sciences. He is a member of the board of the Future Humanities Institute, for which he leads the Digital Cultures, New Media, and Cultural Analytics research cluster. He is the author of 'Towards a Digital Poetics' (Palgrave Macmillan 2019). James has edited several collections of scholarly essays, including 'The Bloomsbury Handbook to the Digital Humanities' (Bloomsbury 2023) and 'Technology in Irish Literature and Culture' (Cambridge University Press 2023). He is the Principal Investigator (Ireland) on 'C21 Editions: Editing and Publishing in the Digital Age', funded under the UK-Ireland Collaboration in the Digital Humanities. See www.jamesosullivan.org for more on his work. 2 B01 21 0000000221323410 Michael Pidd Michael Pidd 40 05krs5044 University of Sheffield Michael Pidd is Director of the Digital Humanities Institute at the University of Sheffield. He has nearly 30 years of experience in developing, managing and delivering large collaborative research projects and technology R&D in the humanities and heritage subject domains. During that time the DHI has been the technical partner in over 120 national and international projects with over 100 clients. He is the Principal Investigator (UK) on 'C21 Editions: Editing and Publishing in the Digital Age', funded under the UK-Ireland Collaboration in the Digital Humanities. Michael was Principal Investigator on the following projects: 'Connecting Shakespeare' (HEIF), Dewdrop (Jisc), 'Reinventing Local Public Libraries' (HEIF), and 'Manuscripts Online' (Jisc); as well as Co-Investigator on 'Intoxicants and Early Modernity' (ESRC/AHRC), 'Linguistic DNA' (AHRC), 'Beyond the Multiplex' (AHRC) and 'Ways of Being in the Digital Age' (ESRC). He has been the technical lead on a wide number of projects, such as 'Digital Panopticon' (AHRC). 3 B01 21 000000024441450X Sophie Whittle Sophie Whittle 40 05krs5044 University of Sheffield Sophie Whittle is a Research Associate on 'C21 Editions: Editing and Publishing in the Digital Age' project, responsible for developing a prototype online teaching edition of Geoffrey Chaucer’s Pardoner’s Prologue and Tale using machine assisted methods. Sophie has taught on modules in the history of English, historical pragmatics, research methods and syntax. She has co-ordinated interdisciplinary workshops on centring anti-racist research in the linguistics curric-ulum, inviting speakers from across the globe to present their research on the pragmatics of postcolonial communities, language and culture sharing and human rights, and has since become a member of the Linguistic Association of Great Britain’s racial justice subcommittee. She is also an organiser at the Sheffield Feminist Archive, and has recently contributed to the creation of a digital archive named 'Women in Lockdown', a project that houses women’s stories and experiences of the pandemic via oral history, testimony, diary entries and artwork submissions. 4 B01 21 0000000227942116 Bridgette Wessels Bridgette Wessels 40 00vtgdb53 University of Glasgow Bridgette Wessels is Professor of Sociology and Social Inequalities at the University of Glasgow, UK. Her research focuses on the development and use of digital technology and services in social and cultural life. This includes digital services and communication in the public sphere, everyday life and civic life, social and digital inequalities, as well as specific areas such as telehealth, mobile communication and privacy in digital communication. She is co-lead of the ESRC’s Productivity Institute’s Scottish Forum, as well as a founding member of the Digital Technology and Social Change hub of the European University Alliance CIVIS network. She has a strong track record of research funding from UKRI and the EU, as well as other research foundations. Bridgette is a Co-Investigator on 'C21 Editions: Editing and Publishing in the Digital Age', funded under the UK-Ireland Collaboration in the Digital Humanities. 5 B01 21 0000000349255197 Michael Kurzmeier Michael Kurzmeier Humanities Institute, University College Dublin Michael Kurzmeier is Postdoctoral Research Fellow on the 'C21 Editions: Editing and Publishing in the Digital Age' project. His work revolves around the intersections of technology and society. His IRC-funded PhD thesis, 'Political Expression in Web Defacements', investigated political expression through hacking and introduces novel methods for retrieval and analysis of this special kind of archived web material. Michael is a chair of the research methods work group at the Aarhus-led Web ARChive studies network, researching web domains and events (WARCnet), as well as one of the founders of the Engaging with Web Archives (EWA) conference, Ireland’s first dedicated web archiving conference. 6 B01 21 0000000215509761 Órla Murphy Órla Murphy 40 03265fv13 University College Cork Órla Murphy is Head of the School of English and Digital Humanities, University College Cork. Her EU international leadership as service roles include National Co-ordinator of the Digital Research Infrastructure for the Arts and Humanities, National Representative and vice chair on the Scientific Committee of CoST-EU, Cooperation in Science and Technology and National Representative on the Social Science and Humanities Strategy Working Group of the European Strategy Forum on Research Infrastructures. Nationally, she is a board member of the Digital Repository of Ireland and co-chair of The Arts and Culture in Education Research Repository. Órla is a Co-Investigator on 'C21 Editions: Editing and Publishing in the Digital Age', funded under the UK-Ireland Collaboration in the Digital Humanities. 01 eng 00 448 03 09 14 10 COM014000 93 UXA 93 DSB 10 LIT000000 20 digital scholarly editing; digital publishing; digital editing; digital editions; digital humanities; communications; textual scholarship; literary studies; digital literary studies 01 06 02 00 The craft of scholarly editing is once more facing into a time of upheaval. The increasingly digital nature of cultural and knowledge production means that textual scholars, editors, and publishers need to further reimagine the collective craft of edition making. This twenty chapter volume contributes to such reimagining by offering a series 03 00 Despite recent calls to explore the full potential of digital text, digital scholarly editing and publishing remain rooted in the cultural and structural logics of print. This volume provides a wide range of perspectives on the current state and future of the field in an effort to further that dialogue, and to encourage continued exploration of how we make and share knowledge and meaning in the digital age. Digital editing and publishing in the twenty-first century brings together twenty chapters that cover practical design processes and conceptual approaches to editing born-digital material. The collection also engages with timely, important, and often-neglected topics, including accessibility, artificial intelligence, queer approaches to editing, and the data edition. By recognising the valuable insights and knowledge that can be gained from scholarly digital editions and by understanding the opportunities of their creative use, this volume emphasises how they can be made more widely available and relevant in various contexts beyond academia. 30 00 Despite recent calls to explore the full potential of digital text, digital scholarly editing and publishing remain rooted in the cultural and structural logics of print. This volume provides a wide range of perspectives on the current state and future of the field in an effort to further that dialogue, and to encourage continued exploration of how we make and share knowledge and meaning in the digital age. Digital editing and publishing in the twenty-first century brings together twenty chapters that cover practical design processes and conceptual approaches to editing born-digital material. The collection also engages with timely, important, and often-neglected topics, including accessibility, artificial intelligence, queer approaches to editing, and the data edition. By recognising the valuable insights and knowledge that can be gained from scholarly digital editions and by understanding the opportunities of their creative use, this volume emphasises how they can be made more widely available and relevant in various contexts beyond academia. 20 00 Open Access 01 00 03 02 https://books.sup.ac.uk/public/presses/1/submission_4_4_coverImage_en.jpg 1 03 06 10.62637/sup.GHST9020.i Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Introduction Digital editing and publishing in the twenty-first century 1 A01 21 0000000242149933 James O'Sullivan James O'Sullivan 40 03265fv13 University College Cork James O’Sullivan lectures in the Department of Digital Humanities at University College Cork, where he is Director of Research for the School of English & Digital Humanities, as well as a member of the Research & Innovation Committee for the College of Arts, Celtic Studies & Social Sciences. He is a member of the board of the Future Humanities Institute, for which he leads the Digital Cultures, New Media, & Cultural Analytics research cluster. He is the author of 'Towards a Digital Poetics' (Palgrave Macmillan 2019). James has edited several collections of scholarly essays, including 'The Bloomsbury Handbook to the Digital Humanities' (Bloomsbury 2023) and 'Technology in Irish Literature and Culture' (Cambridge University Press 2023). He is the Principal Investigator (Ireland) on 'C21 Editions: Editing and Publishing in the Digital Age', funded under the UK-Ireland Collaboration in the Digital Humanities. See www.jamesosullivan.org for more on his work. 01 eng 20 00 Open Access James O'Sullivan 2 03 06 10.62637/sup.GHST9020.1 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 ‘The past went that-a-way’ editing in the rearview mirror? 1 A01 21 0000000164741068 Andrew Prescott Andrew Prescott 40 00vtgdb53 University of Glasgow Andrew Prescott is Honorary Senior Research Fellow in the School of Critical Studies at the University of Glasgow. He was formerly Professor of Digital Humanities at the University of Glasgow and was from 2012 to 2019 AHRC Theme Leader Fellow for the AHRC ‘Digital Transformations’ theme. From 1979 to 2000 he was a curator of manuscripts at the British Library, where he worked on the Electronic Beowulf project. He has also worked in libraries and digital humanities units at the University of Sheffield, King’s College London and University of Wales Lampeter. 01 eng 03 00 Marshall McLuhan used the metaphor of the rearview mirror to describe one of the most common reactions to new technology. McLuhan argued that, confronted with technological innovation, we fall back on our past engagements with technology and ignore its new potential. In some ways, digital editing can be seen as one of the great success stories of the World Wide Web, but too often our understanding and implementation of the idea of an edition is shaped by our print experiences. We carry over practices which were shaped by the structure, cost and logistics of print production. Moreover, just as McLuhan suggested that we ignore what is heading towards the windscreen while we focus on the rearview mirror, our preoccupation with translating print practice into a digital environment means that we forget about the immense and increasingly pressing issues presented by the growth of born-digital information. The type of editorial methods derived from print practice will not cope with the vast scale of born-digital data or take full advantage of the metadata and other information associated with it. These issues are considered with references to such cases as email archives, social media and Wikileaks data. 30 00 Marshall McLuhan used the metaphor of the rearview mirror to describe one of the most common reactions to new technology. McLuhan argued that, confronted with technological innovation, we fall back on our past engagements with technology and ignore its new potential. In some ways, digital editing can be seen as one of the great success stories of the World Wide Web, but too often our understanding and implementation of the idea of an edition is shaped by our print experiences. We carry over practices which were shaped by the structure, cost and logistics of print production. Moreover, just as McLuhan suggested that we ignore what is heading towards the windscreen while we focus on the rearview mirror, our preoccupation with translating print practice into a digital environment means that we forget about the immense and increasingly pressing issues presented by the growth of born-digital information. The type of editorial methods derived from print practice will not cope with the vast scale of born-digital data or take full advantage of the metadata and other information associated with it. These issues are considered with references to such cases as email archives, social media and Wikileaks data. 20 00 Open Access Andrew Prescott 3 03 06 10.62637/sup.GHST9020.2 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Who are we editing for? How digital publication changes the role of the scholarly edition 1 A01 21 0000000163183762 Cathy Moran Hajo Cathy Moran Hajo 40 03s2x9d90 Ramapo College Cathy Moran Hajo is the editor of the Jane Addams Papers Project at Ramapo College of New Jersey. She holds a PhD in History and a certificate in archival management from New York University. Before taking on the Addams Papers, she worked for over 25 years as the Associate Editor and Assistant Director of The Margaret Sanger Papers at New York University, helping edit the 'Margaret Sanger Papers Microfilm Edition', the 'Selected Papers of Margaret Sanger' and two digital publications. She is the author of 'Birth Control on Main Street: Organizing Clinics in the United States, 1916–1939' (2010). She has taught graduate courses in Digital History at NYU and William Paterson University, and co-taught workshops on digital editions at the Digital Humanities Summer Institute and the one-week Institute for Editing Historical Documents. She currently develops online course materials for eLaboratories on editing and digital history. She was the President of the Association for Documentary Editing from 2008 to 2009 and is a board member and archival director for the Mahwah Museum. 01 eng 03 00 Digital publication has changed the way that I think about scholarly editing, and it has done so largely in thinking about our audience. Having started my editing career working on a microfilm edition, then a four-volume print edition, and a small TEI-based digital edition with the Margaret Sanger Papers, I had a chance to start fresh in 2015 when I took over as editor of the long-running Jane Addams Papers. This was a project that had already published a large microfilm edition and index in the 1980s, and half of its planned six-volume print edition. Providing wide access to documents has always been my primary goal as an editor and as the tools have changed, it seems that the nature of our editions must change along with them. When we primarily published in book form and microfilm form, the focus was on scholars at the research institutions who purchased those products. As digital publication began to spread, paywalls for scholarly journals and some scholarly editions kept our audience in that same traditional grouping. But what happens when you open the edition up, and build it as a freely accessible website? How does the broadening of our audience change the way we edit our texts and the kinds of context we provide for our users? Should it? How does a broad general audience change the way that we transcribe documents, how should it impact the annotation policies that we apply to them? Our experiences with the Jane Addams Papers Digital Edition have shown us that digital editions reach far broader and far younger audiences than we expected. We anticipated that college students would make great use of the edition, as well as scholars and the general public. And they have. But we learned that teachers and students in K-12 are an untapped audience for scholarly editions, if only we meet them halfway. For us, that meant designing thematic guides to help students and their teachers use the digital edition for National History Day Projects, writing some lesson plans for middle-school teachers, and developing AP History assignments that use the Addams Papers to explore American history. The guides, teacher resources, and the documents they suggest are the most popular pages on our site, month after month, year after year. They tap into something that the searchable digital edition cannot do. Opening our editions up to the whole world via digital publication creates challenges and opportunities for editors. We have to think through how to make our documents accessible not just in terms of open access, but also in making them understandable to scholars, teachers, students, and the general public. 30 00 Digital publication has changed the way that I think about scholarly editing, and it has done so largely in thinking about our audience. Having started my editing career working on a microfilm edition, then a four-volume print edition, and a small TEI-based digital edition with the Margaret Sanger Papers, I had a chance to start fresh in 2015 when I took over as editor of the long-running Jane Addams Papers. This was a project that had already published a large microfilm edition and index in the 1980s, and half of its planned six-volume print edition. Providing wide access to documents has always been my primary goal as an editor and as the tools have changed, it seems that the nature of our editions must change along with them. When we primarily published in book form and microfilm form, the focus was on scholars at the research institutions who purchased those products. As digital publication began to spread, paywalls for scholarly journals and some scholarly editions kept our audience in that same traditional grouping. But what happens when you open the edition up, and build it as a freely accessible website? How does the broadening of our audience change the way we edit our texts and the kinds of context we provide for our users? Should it? How does a broad general audience change the way that we transcribe documents, how should it impact the annotation policies that we apply to them? Our experiences with the Jane Addams Papers Digital Edition have shown us that digital editions reach far broader and far younger audiences than we expected. We anticipated that college students would make great use of the edition, as well as scholars and the general public. And they have. But we learned that teachers and students in K-12 are an untapped audience for scholarly editions, if only we meet them halfway. For us, that meant designing thematic guides to help students and their teachers use the digital edition for National History Day Projects, writing some lesson plans for middle-school teachers, and developing AP History assignments that use the Addams Papers to explore American history. The guides, teacher resources, and the documents they suggest are the most popular pages on our site, month after month, year after year. They tap into something that the searchable digital edition cannot do. Opening our editions up to the whole world via digital publication creates challenges and opportunities for editors. We have to think through how to make our documents accessible not just in terms of open access, but also in making them understandable to scholars, teachers, students, and the general public. 20 00 Open Access Cathy Moran Hajo 4 03 06 10.62637/sup.GHST9020.3 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Digital scholarly editing and the crisis of knowledge technology 1 A01 21 0000000246724149 Helen Abbott Helen Abbott 40 03angcq70 University of Birmingham Helen Abbott is Professor of Modern Languages, specialising in nineteenth-century French poetry and music. Her research explores ways of writing about word–music relationships in poetic language, in critical theories, and using digital methodologies. Her particular focus is the work of (post-)romantic and symbolist poets, including Gautier, Baudelaire, Verlaine, Rimbaud, Villiers de l’Isle-Adam, andMallarmé. 2 A01 21 0000000178506886 Michelle Doran Michelle Doran 40 034d7ma87 Digital Repository of Ireland Dr Michelle Doran is Ireland’s National Open Research Coordinator. In this role, she coordinates the activities of the National Open Research Forum (NORF) and guides the delivery of Ireland’s National Action Plan for Open Research 2022–2030. She is a member of the Council for National Open Science Coordination (CoNOSC), represents Ireland as the National Point of Reference (NPR) for the Informal Commission Expert Group on Scientific Information and sits on the IReL Advisory Committee. Michelle’s background is in humanities research, programme management and digital humanities research projects. From 2020 to 2022 she served as Irish Principal Investigator of the UK–Ireland Digital Humanities Network. 3 A01 21 0000000199911637 Jennifer Edmond Jennifer Edmond 40 02tyrky19 Trinity College Dublin Jennifer Edmond is Professor in Digital Humanities at Trinity College Dublin, where she is co-director of the Trinity Center for Digital Humanities, Director of the MPhil in Digital Humanities and Culture and a funded Investigator of the SFI ADAPT Centre. Outside of Trinity, Jennifer served from 2017 to 2022 as a Member, and later President, of the Board of Directors of the pan-European research infrastructure for the arts and humanities, DARIAH-EU. She sits on numerous Scientific Advisory Committees, including the Governing Board of the European Association for Social Sciences and Humanities (2022–24) and the European Commission’s Open Science Policy Platform (OSPP, 2016–20). Over the course of the past 10 years, Jennifer has coordinated transnational, local or field-specific teams in a large number of significant inter- and transdisciplinary funded research projects, worth a total of almost €9m, including CENDARI (FP7), Europeana Cloud (FP7), NeDiMAH (ESF), PARTHENOS (H2020), KPLEX (H2020), PROVIDE-DH (CHIST-ERA/IRC) and the SPECTRESS network. 4 A01 21 0000000160779245 Rebecca Mitchell Rebecca Mitchell 40 03angcq70 University of Birmingham Rebecca Mitchell is Professor of Victorian Literature and Culture at the University of Birmingham (UK). She has published widely on Victorian fashion, print culture, realism, George Meredith and Oscar Wilde. Her work related to textual editing includes the anniversary edition of Meredith’s Modern Love and Poems of the English Roadside, co-edited with Criscillia Benford (Yale, 2012) and an unpublished manuscript of Wilde’s seminal essay, ‘The Decay of Lying’ (co-authored with Joseph Bristow, Review of English Studies, 2018); she is currently co-editing the final volumes of the Oxford English Texts edition of The Complete Works of Oscar Wilde. Other books on Victorian literature and culture include Victorian Lessons in Empathy and Difference (Ohio State UP, 2011); Oscar Wilde’s Chatterton: Literary History, Romanticism, and the Art of Forgery, co-authored with Joseph Bristow (Yale, 2015) and Fashioning the Victorians: A Critical Sourcebook (Bloomsbury, 2018). 5 A01 21 0000000195260718 Aengus Ward Aengus Ward 40 03angcq70 University of Birmingham Aengus Ward is Professor of Medieval Iberian Studies at the University of Birmingham. A specialist in medieval historiography, he is the editor of the Estoria de Espanna Digital – the first major digital critical edition of a work of medieval Castilian prose, as well as numerous other works on the theory and practice of editing, medieval historiography and manuscript studies. 01 eng 03 00 The affordances of the digital age have precipitated a crisis of authority. Whom do we trust? How do we prove ourselves trustworthy? The heuristics of authority, in particular at the information filtering and presentation layers, can be co-opted by actors able to manipulate them, and us. At the same time, social tolerance for uncertainty and complexity is low, to the extent that removing them has become a key success metric within both backend systems and user interface design. This rapid shifting of knowledge technologies, in particular as regards the manner in which sources convey their authority in the transition from their affordances as analogue to digital media (where unfiltered source availability is high and the visual languages of authority, from web design to ‘deep fakes,’ are easily appropriated), is an incomplete process that has muddied our ability to judge he signals of trustworthiness and credibility. These are problems democratic societies are struggling with on a fundamental level. Unfortunately, however, too often the solutions being proposed emerge from the same culture of software development that created the problems in the first place: as Pasquale describes it, ‘...authority is increasingly expressed algorithmically ... Silicon Valley and Wall Street tend to treat recommendations as purely technical problems. The values and prerogatives that the encoded rules enact are hidden within black boxes’ (Pasquale, 2015). Hiding the ‘encoded rules’ informing knowledge creation within ‘black boxes’ is precisely the kind of process the work of scholarly editors, in particular digital scholarly editors, has evolved over decades to avoid. Instead, this is an expertise that documents the complexities resulting from the work of filtering accounts, establishing authority, managing uncertainty, and documenting provenance. The clear link between the problems of information overload and technological overreach and the affordances of digital scholarly editorial expertise to “situate knowledges” (Haraway, 1988) is yet to be systematically explored, however. This chapter proposes a framework for negotiating trust and authority that exploits the affordances of digital scholarly editing by privileging the iterative rather than the definitive (McGann, 1996; Schreibman, 2013; Sahle, 2016; Broyles, 2020), the process rather than the product (Siemens et al., 2012; Pierazzo, 2014; Sahle, 2016; Doran, 2021), and the active, even radical role, of the editor, transparently acting as an active collaborator in the sensemaking process, rather than an ‘invisible hand’ (Siemens et al., 2012). It will draw together the long tradition of digital scholarly editing with the emerging subfield of critical digital humanities (see Hall, 2011; Liu, 2012; Berry, 2019) and address in particular the two key points of a) how we can explore and expand the current norms within analogue, digital and indeed hybrid scholarly editing processes toward a model that emphasises the constructed and consensual nature of knowledge, embraces the uncertainty, complexity and contextual dependency of cultural materials and makes knowledge claims and decision-making processes transparent; and b) how this model can be documented and expanded to become applicable in other kinds of human, machine and hybrid knowledge-making processes, in particular systems wielding algorithmic authority. References Berry, D. (2019) “Critical Digital Humanities.” Conditio Humana - Technology, Ai and Ethics (blog), January 29, 2019.Broyles, P.A. (2020) “Digital Editions and Version Numbering.” DHQ 14, no. 2, 2020. Doran, M. (2021) “Reflections on Digital Editions: From Humanities Computing to Digital Humanities, the Influence of Web 2.0 and the Impact of the Editorial Process.” Variants., 2021. Haraway, D. (1988) “Situated Knowledges, The Science Question in Feminism and the Privilege of Partial Perspective. Feminist Studies, vol 14.3, pp. 589-599. Hall, G. (2011) “The Digital Humanities Beyond Computing: A Postscript.” Culture Machine, 2011, 11. Liu, A. (2012) “Where Is Cultural Criticism in the Digital Humanities?” in Debates in the Digital Humanities. McGann, J. (1996) “Radiant Textuality.” Victorian Studies 39, no. 3 (Spring 1996): 379-390. Pasquale, F. (2015) The Black Box Society. Cambridge, Massachusetts: Harvard University Press.Pierazzo, E. (2014) “Digital Documentary Editions and the Others.” Scholarly Editing 35 Sahle, P. (2016) “What is a Scholarly Digital Edition?” Digital Scholarly Editing Theories and Practices, ed. M. J. Driscoll and E. Pierazzo. Open Book Publishers, 19-39. Schreibman, S. (2013) “Digital Scholarly Editing.” Literary Studies in the Digital Age MLA. Siemens, R. et al. (2012) “Towards Modeling the Social Edition.” Literary and Linguistic Computing 27, no. 4,445-461. 30 00 The affordances of the digital age have precipitated a crisis of authority. Whom do we trust? How do we prove ourselves trustworthy? The heuristics of authority, in particular at the information filtering and presentation layers, can be co-opted by actors able to manipulate them, and us. At the same time, social tolerance for uncertainty and complexity is low, to the extent that removing them has become a key success metric within both backend systems and user interface design. This rapid shifting of knowledge technologies, in particular as regards the manner in which sources convey their authority in the transition from their affordances as analogue to digital media (where unfiltered source availability is high and the visual languages of authority, from web design to ‘deep fakes,’ are easily appropriated), is an incomplete process that has muddied our ability to judge he signals of trustworthiness and credibility. These are problems democratic societies are struggling with on a fundamental level. Unfortunately, however, too often the solutions being proposed emerge from the same culture of software development that created the problems in the first place: as Pasquale describes it, ‘...authority is increasingly expressed algorithmically ... Silicon Valley and Wall Street tend to treat recommendations as purely technical problems. The values and prerogatives that the encoded rules enact are hidden within black boxes’ (Pasquale, 2015). Hiding the ‘encoded rules’ informing knowledge creation within ‘black boxes’ is precisely the kind of process the work of scholarly editors, in particular digital scholarly editors, has evolved over decades to avoid. Instead, this is an expertise that documents the complexities resulting from the work of filtering accounts, establishing authority, managing uncertainty, and documenting provenance. The clear link between the problems of information overload and technological overreach and the affordances of digital scholarly editorial expertise to “situate knowledges” (Haraway, 1988) is yet to be systematically explored, however. This chapter proposes a framework for negotiating trust and authority that exploits the affordances of digital scholarly editing by privileging the iterative rather than the definitive (McGann, 1996; Schreibman, 2013; Sahle, 2016; Broyles, 2020), the process rather than the product (Siemens et al., 2012; Pierazzo, 2014; Sahle, 2016; Doran, 2021), and the active, even radical role, of the editor, transparently acting as an active collaborator in the sensemaking process, rather than an ‘invisible hand’ (Siemens et al., 2012). It will draw together the long tradition of digital scholarly editing with the emerging subfield of critical digital humanities (see Hall, 2011; Liu, 2012; Berry, 2019) and address in particular the two key points of a) how we can explore and expand the current norms within analogue, digital and indeed hybrid scholarly editing processes toward a model that emphasises the constructed and consensual nature of knowledge, embraces the uncertainty, complexity and contextual dependency of cultural materials and makes knowledge claims and decision-making processes transparent; and b) how this model can be documented and expanded to become applicable in other kinds of human, machine and hybrid knowledge-making processes, in particular systems wielding algorithmic authority. References Berry, D. (2019) “Critical Digital Humanities.” Conditio Humana - Technology, Ai and Ethics (blog), January 29, 2019.Broyles, P.A. (2020) “Digital Editions and Version Numbering.” DHQ 14, no. 2, 2020. Doran, M. (2021) “Reflections on Digital Editions: From Humanities Computing to Digital Humanities, the Influence of Web 2.0 and the Impact of the Editorial Process.” Variants., 2021. Haraway, D. (1988) “Situated Knowledges, The Science Question in Feminism and the Privilege of Partial Perspective. Feminist Studies, vol 14.3, pp. 589-599. Hall, G. (2011) “The Digital Humanities Beyond Computing: A Postscript.” Culture Machine, 2011, 11. Liu, A. (2012) “Where Is Cultural Criticism in the Digital Humanities?” in Debates in the Digital Humanities. McGann, J. (1996) “Radiant Textuality.” Victorian Studies 39, no. 3 (Spring 1996): 379-390. Pasquale, F. (2015) The Black Box Society. Cambridge, Massachusetts: Harvard University Press.Pierazzo, E. (2014) “Digital Documentary Editions and the Others.” Scholarly Editing 35 Sahle, P. (2016) “What is a Scholarly Digital Edition?” Digital Scholarly Editing Theories and Practices, ed. M. J. Driscoll and E. Pierazzo. Open Book Publishers, 19-39. Schreibman, S. (2013) “Digital Scholarly Editing.” Literary Studies in the Digital Age MLA. Siemens, R. et al. (2012) “Towards Modeling the Social Edition.” Literary and Linguistic Computing 27, no. 4,445-461. 20 00 Open Access Helen Abbott, Michelle Doran, Jennifer Edmond, Rebecca Mitchell and Aengus Ward 5 03 06 10.62637/sup.GHST9020.4 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Against infrastructure global approaches to digital scholarly editing 1 A01 21 000000033094139X Raffaele Viglianti Raffaele Viglianti 40 01r0c1p88 University of Maryland Raffaele Viglianti is a Research Programmer at MITH. He holds a PhD in Digital Musicology from the Department of Digital Humanities at King’s College London, where he also contributed to several major digitisation and text encoding projects. Raff’s research is grounded in digital humanities and textual scholarship, where ‘text’ includes musical notation. More specifically, he seeks to advance textual scholarship by finding new and efficient practices to coherently and digitally model and edit (publish or make available) text and music notation sources as digital scholarly resources. In adopting and developing new research methods, he deliberately takes a multicultural perspective by engaging with multilingual content, facing the diverse realities of the constraints in accessing and creating digital scholarly content, and by adopting a global approach to teaching and learning. Raff is currently an elected member of the Text Encoding Initiative technical council and the Technical Editor of the Scholarly Editing journal. 2 A01 21 0000000289975415 Gimena del Rio Riande Gimena del Rio Riande 40 03cqe8w59 National Scientific and Technical Research Council Gimena del Rio Riande is Researcher at the Instituto de Investigaciones Bibliográficas y Crítica Textual of the National Scientific and Technical Research Council (CONICET, Buenos Aires, Argentina) and Professor at the University of Buenos Aires and Universidad del Salvador. She holds an MA and PhD in Romance Philology (Universidad Complutense de Madrid), and her main academic interests deal with Digital Scholarly Editing, Digital Humanities, and Open Research Practices in the Humanities. She serves as Ambassador of the Directory of Open Access Journals (DOAJ) in Latin America, coordinates the Laboratorio de Humanidades Digitales (HD LAB, CONICET) and edits the first Hispanic Digital Humanities journal, the Revista de Humanidades Digitales (RHD). She also serves as president at Asociación Argentina de Humanidades Digitales (AAHD) and member of the Board of Directors of the Text Encoding Initiative (TEI). 01 eng 03 00 Digital scholarly editions are one of the oldest forms of output of digital humanities research projects, and arguably one of the most prolific. Like all digital humanities projects that result in the creation of digital output—typically a website—digital editions are not immune to what Smithies et al. call the 'digital entropy of software and digital infrastructure'. This has a cost that grows with the complexity of the system needed to publish digital editions and this cost is often not only financial; it may also include the ability to access institutional or public infrastructure. The principles of minimal computing have informed new ways of undertaking digital humanities work, focused on use of open technologies and ownership of data and code. The latter in particular entails independence from institutional infrastructure and the network of surveillance that is a feature of many commercial platforms of the modern web. This chapter discusses the current extent of minimal computing as an influence on digital editing, and which aspects of the concept have taken stronger root. Specifically, we will consider how, when applied to digital publishing, minimal computing principles intersect with a recent resurgence of static websites and related technologies. Deriving static sites from an end-of-life project is the clear choice when access to infrastructure becomes limited. What would it take to adopt them from the start to avoid infrastructural constraints? Through this discussion, the chapter articulates the need for a low-infrastructure future of the "global” digital edition. 30 00 Digital scholarly editions are one of the oldest forms of output of digital humanities research projects, and arguably one of the most prolific. Like all digital humanities projects that result in the creation of digital output—typically a website—digital editions are not immune to what Smithies et al. call the 'digital entropy of software and digital infrastructure'. This has a cost that grows with the complexity of the system needed to publish digital editions and this cost is often not only financial; it may also include the ability to access institutional or public infrastructure. The principles of minimal computing have informed new ways of undertaking digital humanities work, focused on use of open technologies and ownership of data and code. The latter in particular entails independence from institutional infrastructure and the network of surveillance that is a feature of many commercial platforms of the modern web. This chapter discusses the current extent of minimal computing as an influence on digital editing, and which aspects of the concept have taken stronger root. Specifically, we will consider how, when applied to digital publishing, minimal computing principles intersect with a recent resurgence of static websites and related technologies. Deriving static sites from an end-of-life project is the clear choice when access to infrastructure becomes limited. What would it take to adopt them from the start to avoid infrastructural constraints? Through this discussion, the chapter articulates the need for a low-infrastructure future of the "global” digital edition. 20 00 Open Access Raffaele Viglianti and Gimena del Rio Riande 6 03 06 10.62637/sup.GHST9020.5 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Building accessibility platforms and methods for the development of digital editions and projects 1 A01 Erica Cavanaugh Erica Cavanaugh 40 0153tk833 University of Virginia Erica F. Cavanaugh is Project Developer at the Center for Digital Editing and a Research Editor at the Washington Papers. Since 2013, Cavanaugh has assisted with all aspects of technical and editorial work on the digital editions of the Washington Papers, including the Papers of George Washington Digital Edition and the George Washington Financial Papers Project. She is also responsible for the development of several Drupal-based content management systems, ranging from complex editorial production and publication platforms to exhibit-focused projects concentrated on metadata collection, searchability, and display. She also has experience working with XML, CSS, HTML, PHP, and JavaScript. She has taught courses at the University of Victoria’s Digital Humanities Summer Institute and serves on the advisory board for Scholarly Editing: The Annual of the Association for Documentary Editing. Over the last few years, Cavanaugh has worked with the technical team of the University of Virginia Digital Publishing Cooperative to develop a Drupal-based module for scholarly editions. 2 A01 21 0000000272276052 Jennifer Stertzer Jennifer Stertzer 40 0153tk833 University of Virginia Jennifer E. Stertzer is Director of the Center for Digital Editing and Director of the Washington Papers. With the Papers of George Washington since 2000, Stertzer has served as project manager of the Papers of George Washington Digital Edition, overseeing the conversion of legacy print volumes into a digital edition, developed Word-to-XML workflows and is editor of the Papers of George Washington Financial Papers project. At the CDE, Stertzer consults on project conceptualisation, technical solutions, workflow, editorial methodologies and engagement strategies. She teaches Conceptualising and Creating Digital Editions at the University of Victoria’s Digital Humanities Summer Institute, serves on the faculty of the Institute for the Editing of Historical Documents, and is past president of the Association for Documentary Editing. For the past few years, Stertzer has led the University of Virginia Digital Publishing Cooperative as they work to create a Drupal-based module for scholarly editions. 01 eng 03 00 This chapter discusses the work of the University of Virginia Digital Publishing Cooperative, a grant-funded project with the goal of building the necessary infrastructure to facilitate and support the conceptualization, development, publication, discovery, preservation, and sustainability of digital editions and projects. Major components of this work include evaluating the potential communities of users, understanding how intended audiences might use editions, and how these things affect editorial decisions and publication goals. Most current editorial projects, including those that have a print existence, are working towards creating digital editions as well as other types of digital outputs. The digital edition—a collection of historical documents that have been transcribed and edited following a consistent, transparent, and well-informed editorial methodology, and then published online—achieves the primary goal of a scholarly edition: to make historical documents accessible, both textually and intellectually. Additionally, some editors may wish to present their findings in ways we call digital derivatives. These can include early access to their document catalogs, initial transcriptions, or metadata (document, person, place), as well as blog posts, articles, data visualizations, presentations, and so on. These digital derivatives can make available the outputs of editorial work throughout the process, thereby making historical and intellectual content accessible before, during, and after an edition’s scholarly editing and publication. The term digital projects describes the web environment in which most digital editions and their derivatives exist. These ecosystems assemble the range of intellectual content created by a project, including blog posts, articles, data visualizations, timelines, presentations, and so on that can be available alongside more traditional outputs. These opportunities provide editors with a variety of approaches to make content accessible and intelligible, and appeal to large, diverse audiences. Another component of the work of the UVA-DPC has been to develop a platform that enables editors to easily build digital editions while also allowing them to create and integrate various digital derivatives, thus reducing a major technological barrier and providing a way for more projects to publish digitally. Furthermore, this editorial platform includes both built-in standardized metadata (encouraging interoperability, reusability, and sustainability) as well as the flexibility to capture project-specific information, ensuring editors can develop content-driven components. End users of the UVA-DPC digital projects could range from scholars who are interested in transcriptions, annotations, and indexes presented in ways that align with traditional print edition to audiences who might be more comfortable exploring content by means of data visualizations and image-based icons. These users could also be those interested in large datasets from multiple projects for the purposes of deep textual and data analysis. At the core, however, is a platform that contains well-structured content that enables variety in publication outputs. 30 00 This chapter discusses the work of the University of Virginia Digital Publishing Cooperative, a grant-funded project with the goal of building the necessary infrastructure to facilitate and support the conceptualization, development, publication, discovery, preservation, and sustainability of digital editions and projects. Major components of this work include evaluating the potential communities of users, understanding how intended audiences might use editions, and how these things affect editorial decisions and publication goals. Most current editorial projects, including those that have a print existence, are working towards creating digital editions as well as other types of digital outputs. The digital edition—a collection of historical documents that have been transcribed and edited following a consistent, transparent, and well-informed editorial methodology, and then published online—achieves the primary goal of a scholarly edition: to make historical documents accessible, both textually and intellectually. Additionally, some editors may wish to present their findings in ways we call digital derivatives. These can include early access to their document catalogs, initial transcriptions, or metadata (document, person, place), as well as blog posts, articles, data visualizations, presentations, and so on. These digital derivatives can make available the outputs of editorial work throughout the process, thereby making historical and intellectual content accessible before, during, and after an edition’s scholarly editing and publication. The term digital projects describes the web environment in which most digital editions and their derivatives exist. These ecosystems assemble the range of intellectual content created by a project, including blog posts, articles, data visualizations, timelines, presentations, and so on that can be available alongside more traditional outputs. These opportunities provide editors with a variety of approaches to make content accessible and intelligible, and appeal to large, diverse audiences. Another component of the work of the UVA-DPC has been to develop a platform that enables editors to easily build digital editions while also allowing them to create and integrate various digital derivatives, thus reducing a major technological barrier and providing a way for more projects to publish digitally. Furthermore, this editorial platform includes both built-in standardized metadata (encouraging interoperability, reusability, and sustainability) as well as the flexibility to capture project-specific information, ensuring editors can develop content-driven components. End users of the UVA-DPC digital projects could range from scholars who are interested in transcriptions, annotations, and indexes presented in ways that align with traditional print edition to audiences who might be more comfortable exploring content by means of data visualizations and image-based icons. These users could also be those interested in large datasets from multiple projects for the purposes of deep textual and data analysis. At the core, however, is a platform that contains well-structured content that enables variety in publication outputs. 20 00 Open Access Erica Cavanaugh and Jennifer Stertzer 7 03 06 10.62637/sup.GHST9020.6 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Browse, search and serendipity building approachable digital editions 1 A01 Alison Chapman Alison Chapman 40 04s5mat29 University of Victoria Alison Chapman is a Fellow of the Royal Society of Canada and Professor of English at the University of Victoria, Canada, where she specialises in nineteenth-century literature and culture and digital humanities. She is the author of Networking the Nation: British and American Women Poets and Italy, 1840–1870 (2015) and The Afterlife of Christina Rossetti (2000), the co-author of A Rossetti Family Chronology (2007), and the editor or co-editor of several collections of essays, including A Companion to Victorian Poetry (2002) and Victorian Women Poets (2000). Currently she is the Principal Investigator of the SSHRC-funded Digital Victorian Periodical Poetry Project (dvpp.uvic.ca). 2 A01 21 0000000239441116 Martin Holmes Martin Holmes 40 04s5mat29 University of Victoria Martin Holmes is a programmer in the University of Victoria Humanities Computing and Media Centre specialising in XML technologies and digital editions. He is the lead programmer on several large digital edition projects including the Map of Early Modern London (MoEML, mapoflondon.uvic.ca) and Digital Victorian Periodical Poetry (dvpp.uvic.ca) and is part of the Project Endings team (endings.uvic.ca). He served on the TEI Technical Council from 2010 to 2015 and was managing editor of the Journal of the Text Encoding Initiative from 2013 to 2015. 3 A01 21 000900002629368X Kaitlyn Fralick Kaitlyn Fralick 40 04s5mat29 University of Victoria Kaitlyn Fralick is a PhD candidate in the Department of English Language and Literature at Queen’s University in Ontario, Canada. She has worked as a graduate research assistant on the Digital Victorian Periodical Poetry Project (DVPP) since 2018, and she has performed various roles for the project, such as metadata indexer, markup editor and researcher. To date, she has contributed more than 1,000 encoded poems to DVPP. Kaitlyn’s research and teaching interests are rooted in nineteenth-century literature and culture, the Victorian periodical press and the digital humanities. She completed her MA in English (with a concentration on nineteenth-century studies) at the University of Victoria and her Hons. BA in English (with distinction) at Toronto Metropolitan University (formerly Ryerson University). 4 A01 21 0000000176361580 Kailey Fukushima Kailey Fukushima 40 028d12s45 University Canada West Kailey Fukushima is an information professional based in Vancouver, Canada. She holds a Master of Archival Studies and a Master of Library and Information Studies (University of British Columbia, 2023), as well as a Master of Arts in English (University of Victoria, 2020). Kailey’s primary research interests include digitisation and digital collections development, digital humanities research, scholarly communications and user-centred design. She currently works for InterPARES Trust AI, where she contributes to a study on the potential role(s) for artificial intelligence in the digitisation of archives and documentary heritage materials. 5 A01 21 0000000170117042 Narges Montakhabi Bakhtvar Narges Montakhabi Bakhtvar 40 04s5mat29 University of Victoria Narges Montakhabi Bakhtvar is a doctoral candidate in Theatre Studies at the University of Victoria, Canada. Holding another PhD in English Language and Literature, her research scope covers comparative literature, contemporary Canadian theatre, politics of gender and diasporic subjectivity. Currently, she is working on how different political inscriptions on the body, including the dichotomy between body-at-home and body-in-exile, are captured in the plays by Middle Eastern Canadian playwrights. She is the author of ‘The Body/theatre-in-Pain: (Im)possibility of Wellness in Lisa Kron’s Well’ (Critical Stages/Scènes critiques 2023), ‘The Body in Pain and Pleasure: The Phenomenology of Embodiment in Rosa Jamali’s Poetry’ (Journal of Middle East Women’s Studies 2023), ‘The Theatre of the Oppressed in Tehran: Dilemma of Ethics and Engagement’ (Canadian Theatre Review 2022) and ‘Politics of Evasion and Tales of Abjection: Postmodern Demythologization in Angela Carter and Ghazaleh Alizadeh’ (CLCWeb: Comparative Literature and Culture 2020). 6 A01 Sonja Pinto Sonja Pinto 40 04s5mat29 University of Victoria Sonja Pinto is a University of Victoria alumnus who holds a BA and an MA in English Literature. She has worked on the Digital Victorian Periodical Poetry Project for five years, having joined as a Research Assistant in September 2018. Their research interests include Victorian fiction and poetry, narratology, trauma studies, and gender and sexuality. During their time with DVPP, Sonja has worked as both an indexer and encoder. 01 eng 03 00 Large digital document collections ideally provide multiple routes into data imagined for different users and different use-cases: thematic and hierarchical (drill-down) browsability for casual users, and precisely-targeted complex search functionality to answer granular queries and generate subcollections for specific research purposes. Responding to recent critical work on digital editions and periodical print surrogates (e.g. Mussell 2012, 2016; Gooding), and on the visual interface as a form of graphic knowledge (Drucker), this chapter will examine the challenges in building a big tent digital project that anticipates users’ needs.  The Digital Victorian Periodical Poetry Project (DVPP) has a particular interest in responding to this challenge, which is complicated by the nature of its own collection. The project’s methodological principles are based on poetry’s place on the  periodical page, from the inclusion of periodical poem page scans (facsimile browser, poem page rendering), to the indexing protocols (designed around how contemporary periodical readers would understand poems and their illustrations), to encoding a representative sample of poems based on decadal years from 1820 to 1900 (including material as well as poetic features). But our approach to the front end application (facsimile browser, poem page rendering, index of poems and personography, digital edition, advanced search pages) is based around offering the user multiple ways to search and find material that moves away from the poem’s embedded periodical print origins, and even the conceptual and functional principles of the codex, to allow for complex and serendipitous discovery. The challenge of this digital project is to relate the project’s indexing and encoding principles to users’ anticipated research, particularly given the relationship between the index (c.15,500 poems across 21 long Victorian periodicals), personography (c.4,000 records for poets, illustrators and translators), and the TEI XML- encoded poem sample (c.2,000 poems and c. 11,000 lines of poetry). This chapter examines relationships between the underlying metadata and text-encoding, as well as the affordances DVPP will eventually offer the end-user. We conclude by offering guidelines based on building search interfaces that are useful to researchers. Firstly, we address practical problems. Enlarging project features can make interfaces potentially confusing, and expanding interdependencies can also produce incompatible features. Workflow is crucial: user discoverability is contingent on encoding, and yet predicting search parameters is contingent on a good understanding of data that only emerges as the project advances. We suggest a workflow where metadata structures and labels can be trivially revised, with the search and browse interfaces automatically adapted to such changes. Secondly, we turn to the conceptual imagining of the anticipated user, by comparing DVPP with cognate digital editions and commercial indexes and digital surrogates (such as those owned by ProQuest), to ask how digital editions can guide users to engage critically and actively with multiple methods of browse, search, and serendipitous discovery, rather than approaching search functionality as simply a means to an end. 30 00 Large digital document collections ideally provide multiple routes into data imagined for different users and different use-cases: thematic and hierarchical (drill-down) browsability for casual users, and precisely-targeted complex search functionality to answer granular queries and generate subcollections for specific research purposes. Responding to recent critical work on digital editions and periodical print surrogates (e.g. Mussell 2012, 2016; Gooding), and on the visual interface as a form of graphic knowledge (Drucker), this chapter will examine the challenges in building a big tent digital project that anticipates users’ needs.  The Digital Victorian Periodical Poetry Project (DVPP) has a particular interest in responding to this challenge, which is complicated by the nature of its own collection. The project’s methodological principles are based on poetry’s place on the  periodical page, from the inclusion of periodical poem page scans (facsimile browser, poem page rendering), to the indexing protocols (designed around how contemporary periodical readers would understand poems and their illustrations), to encoding a representative sample of poems based on decadal years from 1820 to 1900 (including material as well as poetic features). But our approach to the front end application (facsimile browser, poem page rendering, index of poems and personography, digital edition, advanced search pages) is based around offering the user multiple ways to search and find material that moves away from the poem’s embedded periodical print origins, and even the conceptual and functional principles of the codex, to allow for complex and serendipitous discovery. The challenge of this digital project is to relate the project’s indexing and encoding principles to users’ anticipated research, particularly given the relationship between the index (c.15,500 poems across 21 long Victorian periodicals), personography (c.4,000 records for poets, illustrators and translators), and the TEI XML- encoded poem sample (c.2,000 poems and c. 11,000 lines of poetry). This chapter examines relationships between the underlying metadata and text-encoding, as well as the affordances DVPP will eventually offer the end-user. We conclude by offering guidelines based on building search interfaces that are useful to researchers. Firstly, we address practical problems. Enlarging project features can make interfaces potentially confusing, and expanding interdependencies can also produce incompatible features. Workflow is crucial: user discoverability is contingent on encoding, and yet predicting search parameters is contingent on a good understanding of data that only emerges as the project advances. We suggest a workflow where metadata structures and labels can be trivially revised, with the search and browse interfaces automatically adapted to such changes. Secondly, we turn to the conceptual imagining of the anticipated user, by comparing DVPP with cognate digital editions and commercial indexes and digital surrogates (such as those owned by ProQuest), to ask how digital editions can guide users to engage critically and actively with multiple methods of browse, search, and serendipitous discovery, rather than approaching search functionality as simply a means to an end. 20 00 Open Access Alison Chapman, Martin Holmes, Kaitlyn Fralick, Kailey Fukushima, Narges Montakhabi and Sonja Pinto 8 03 06 10.62637/sup.GHST9020.7 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Predicting the future of digital scholarly editions in the context of FAIR data principles 1 A01 21 0000000277581662 Bartłomiej Szleszyński Bartłomiej Szleszyński 40 02q0p6x28 Institute of Literary Research Bartłomiej Szleszyński is Professor at the Institute of Literary Research, Polish Academy of Sciences; Head of the Department of Digital Scholarly Editions and Monographs responsible for creating and operating New Panorama of Polish Literature (NPLP.PL), a platform publishing digital scholarly collections, and TEI Panorama (TEI.NPLP.PL), a platform for scholarly digital editions; and Deputy Director of the Digital Humanities Centre. His main research interests are literature of the second half of the nineteenth century, colonial discourse in nineteenth-century Polish culture, literary Sarmatism, digital literary studies and scholarly digital editions. 2 A01 21 0000000157786006 Agnieszka Szulińska Agnieszka Szulińska 40 02q0p6x28 Institute of Literary Research Agnieszka Szulińska (née Kochańska, b. 1989) graduated from Cardinal Stefan Wyszyński University in Warsaw with an MA degree in Polish Philology (specialisation in scholarly editing). She prepares a PhD thesis about digital scholarly editing of literary texts in Poland, based on digital projects such as Poetry Group Skamander’s Correspondence or Early Novels of Eliza Orzeszkowa. A member of New Panorama of the Polish Literature team and the Digital Humanities Centre at the Institute of Literary Research of the Polish Academy of Sciences. Apart from scholarly editing, her research areas include testing tools and platforms used in SSH scholarly communication, and video games. All important links here: https:// linktr.ee/agnieszkaszulinska. 3 A01 21 0000000223774565 Marta Błaszczyńska Marta Błaszczyńska 40 02q0p6x28 Institute of Literary Research Marta Błaszczyńska defended her PhD thesis in social sciences at the Institute of Philosophy and Sociology of the Polish Academy of Sciences in Warsaw. Between 2019 and 2023 she worked at the Digital Humanities Centre at the Institute of Literary Research of the Polish Academy of Sciences. There she developed her skills and expertise in open science, qualitative research methods and data management. Marta co-created the Innovation Lab, part of OPERAS, Research Infrastructure supporting open scholarly communication in the social sciences and humanities (SSH) in the European Research Area. Currently she works in the private sector within the field of fraud management. 03 00 Scholarly editing, understood by researchers working in the field of literary studies as providing the best versions of works along with explanatory and contextual layers, has been operating in the digital space for some time now. We are still searching for optimal ways to utilize its advantages. In parallel, there is a growing research reflection on the issue of data in digital humanities projects and ways to create, curate, and share it. The proposed paper, based on the experience of creating numerous digital scholarly editions (DSEs) and analyzing the issue of research data, addresses the following questions: 1) what the digital future of scholarly editing in literary studies might look like (also outside the circle of professional researchers), 2) how scholarly digital editions can be presented as datasets, 3) in what ways reflection on data can contribute to the broad utility of scholarly digital editions in literary studies. Apart from exploring some good practices employed by the TEI New Panorama of Polish Literature (NPLP) platform we also contemplate the data-related issues that remain to be addressed by the DSE community and the challenges that we might face while tackling them. Answering Joris van Zundert’s warning not to drive digital editing to a state of “a mere medium shift”, we propose to view DSEss as data on various levels, which is deeply anchored in the specificity of a digital humanist project. Having FAIR data principles in mind, we would like to expand this approach on several cases from the TEI NPLP platform, including i.a. 19th century novels, 20th-century correspondence of Polish poets, and contemporary Polish dramas.  For findability, a good example is the data layer related to entity descriptions (e.g., people, places, organizations) - in the editions on the TEI.NPLP.PL platform, we can search and compile all occurrences of entities and how they are referred to in the text. The principle of “accessibility” will be focused on the necessity of creating an account to use more advanced features in DSEs. We will reflect on when it is useful and when it might be skipped to provide rapid access to the content and the data.  The most challenging principles are “interoperability” and “reusability”. Much desired by many scholars, They are the goal of data curation and sharing initiatives, while at the same time they will enable the use of digital scholarly editions in numerous other scholarly projects beyond the specific discipline and, potentially, beyond the circle of professional researchers. In our text, we would like to present future opportunities and challenges of digital scientific editions in general and of the different data layers, DSE-s in particular. 30 00 Scholarly editing, understood by researchers working in the field of literary studies as providing the best versions of works along with explanatory and contextual layers, has been operating in the digital space for some time now. We are still searching for optimal ways to utilize its advantages. In parallel, there is a growing research reflection on the issue of data in digital humanities projects and ways to create, curate, and share it. The proposed paper, based on the experience of creating numerous digital scholarly editions (DSEs) and analyzing the issue of research data, addresses the following questions: 1) what the digital future of scholarly editing in literary studies might look like (also outside the circle of professional researchers), 2) how scholarly digital editions can be presented as datasets, 3) in what ways reflection on data can contribute to the broad utility of scholarly digital editions in literary studies. Apart from exploring some good practices employed by the TEI New Panorama of Polish Literature (NPLP) platform we also contemplate the data-related issues that remain to be addressed by the DSE community and the challenges that we might face while tackling them. Answering Joris van Zundert’s warning not to drive digital editing to a state of “a mere medium shift”, we propose to view DSEss as data on various levels, which is deeply anchored in the specificity of a digital humanist project. Having FAIR data principles in mind, we would like to expand this approach on several cases from the TEI NPLP platform, including i.a. 19th century novels, 20th-century correspondence of Polish poets, and contemporary Polish dramas.  For findability, a good example is the data layer related to entity descriptions (e.g., people, places, organizations) - in the editions on the TEI.NPLP.PL platform, we can search and compile all occurrences of entities and how they are referred to in the text. The principle of “accessibility” will be focused on the necessity of creating an account to use more advanced features in DSEs. We will reflect on when it is useful and when it might be skipped to provide rapid access to the content and the data.  The most challenging principles are “interoperability” and “reusability”. Much desired by many scholars, They are the goal of data curation and sharing initiatives, while at the same time they will enable the use of digital scholarly editions in numerous other scholarly projects beyond the specific discipline and, potentially, beyond the circle of professional researchers. In our text, we would like to present future opportunities and challenges of digital scientific editions in general and of the different data layers, DSE-s in particular. 20 00 Open Access Bartłomiej Szleszyński, Agnieszka Szulińska and Marta Błaszczyńska 9 03 06 10.62637/sup.GHST9020.8 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Re-using data from editions 1 A01 21 0000000245222833 Elena Spadini Elena Spadini 40 02s6k3f65 University of Basel Elena Spadini is an associated researcher at the University of Bern and a research navigator at the University of Basel, where she supports digital humanities and in particular scholarly editing projects. Her background is in romance philology and her research interests span from medieval manuscripts to born-digital literary sources. She is currently in charge of the digital component of the project «Gustave Roud. OEuvres complètes», and is editor of the RIDE issues on software reviews. She has published on various aspects of digital philology, such as automatic collation, semantic web and data modelling. 2 A01 21 0000000265301328 José Luis Losada Palenzuela José Luis Losada Palenzuela 40 02s6k3f65 University of Basel José Luis Losada Palenzuela is Assistant Professor at the University of Wrocław and Research Data Specialist at the University of Basel. He earned his PhD with a study of Schopenhauer’s translation of works by Baltasar Gracián, a Baroque moralist and writer. Recently, his research has centred on Spanish 17th-century Literature, Comparative Literature and Digital Methods. His scholarly contributions include a monograph, several research articles and a digital edition on Schopenhauer’s marginalia. 01 eng 03 00 The centrality of data is one of the key features of digital editions and digital scholarly resources in general. Data-driven philology involves practices that are new to textual criticism and can overcome the print paradigm, including data visualisation, data processing, and data reuse. In this paper we focus on the latter: data reuse. We provide a panorama of use cases for editions, highlighting the potential and current limitations of data reuse. Examples include the reuse of edition data in dictionaries and gazetteers, and reuse in the context of distant reading studies, particularly for intertextuality detection. The role of authority records in reusing data is also analysed. In the conclusions, we emphasise that data reuse is fundamental to strengthening the central position of scholarly editions at the crossroads of many research fields. 30 00 The centrality of data is one of the key features of digital editions and digital scholarly resources in general. Data-driven philology involves practices that are new to textual criticism and can overcome the print paradigm, including data visualisation, data processing, and data reuse. In this paper we focus on the latter: data reuse. We provide a panorama of use cases for editions, highlighting the potential and current limitations of data reuse. Examples include the reuse of edition data in dictionaries and gazetteers, and reuse in the context of distant reading studies, particularly for intertextuality detection. The role of authority records in reusing data is also analysed. In the conclusions, we emphasise that data reuse is fundamental to strengthening the central position of scholarly editions at the crossroads of many research fields. 20 00 Open Access Elena Spadini and José Luis Losada Palenzuela 10 03 06 10.62637/sup.GHST9020.9 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Making digital scholarly editions based on Domain Specific Languages 1 A01 21 000900094361345X Simone Zenzaro Simone Zenzaro 40 028g3pe33 Institute for Computational Linguistics “A. Zampolli” Simone Zenzaro is a fixed-term researcher at the Institute of Computational Linguistics ‘A. Zampolli’ (CNR-ILC). He earned a PhD in Computer Science from the University of Pisa with a thesis on modularity aspects in formal methods, particularly related to Abstract State Machines. Currently, he is working on the ERC AdG 885222-GreekSchools project in digital papyrology, focusing on methods for recovering missing text in ancient Greek and tools to support collaborative and cooperative editing of Philodemus of Gadara’s ‘Rassegnadeifilosofi’ (Syntaxis). He has previously worked at the University of Lausanne on the digital edition of the Byzantine manuscript of the Iliad Genavensisgraecus 44 within the project ‘Le devenir numérique d’un texte fondateur.’ He has also worked at the Scuola Normale Superiore on developing digital edition tools for Arabic manuscripts as part of the ERC project ‘Philosophy on the Border of Civilizations and Intellectual Endeavours’. His interests revolve around applying formal methods to Digital Humanities through the definition of models, services and tools for the field of philology. 2 A01 21 0000000278107735 Federico Boschetti Federico Boschetti 40 028g3pe33 Institute for Computational Linguistics “A. Zampolli” Federico Boschetti graduated with a degree in Classics from the University ‘Ca’ Foscari’ of Venice in 1998. He earned his PhD in Classical Philology through a joint programme between the University of Trento and the University of Lille III in 2005. His thesis was titled ‘Essay on Computer-Assisted Linguistic and Stylistic Analyses of Aeschylus’ Persae’. He also obtained a PhD in Cognitive and Brain Sciences with a focus on Language, Interaction and Computation from the University of Trento in 2010. His thesis for this degree was ‘A Corpus-Based Approach to Philological Issues’. Since 2011, Federico has been a researcher at the Institute of Computational Linguistics ‘A. Zampolli’ at the CNR of Pisa. His primary research interests include Digital Philology, Collaborative and Cooperative Philology, Historical OCR, and Distributional Semantics applied to ancient texts. 3 A01 21 0000000248676304 Angelo Mario Del Grosso Angelo Mario Del Grosso 40 028g3pe33 Institute for Computational Linguistics “A. Zampolli” Angelo Mario del Grosso is a researcher at the Institute of Computational Linguistics, ‘Antonio Zampolli’, within the Italian National Research Council of Pisa (CNR-ILC). He holds a degree in Computer Engineering from the University of Pisa and earned his PhD in Information Engineering in 2015. Del Grosso’s research focus lies within the field of Digital Humanities (DH), with a specific emphasis on creating Digital Scholarly Editions and applying computational analysis to historical-literary textual resources. He has published extensively within the DH field and actively contributes to various national and international research initiatives. His involvements include projects such as the ‘GreekIntoArabic ERC project’, ‘Saussure’s Manuscripts PRIN project’, ‘Italian Translation of Babylonian Talmud’, ‘Digital Edition of Bellini’s Letters’ and others. He is a member of the AIUCD board (Italian Association for DH-Associazione per l’InformaticaUmanistica e la Cultura Digitale) and actively participates in the scientific boards of DH journals and conferences. Currently, he serves as the coordinator for the CNR-ILC unit in the ERC project 885222-GreekSchools, a project dedicated to editing Greek texts preserved in the carbonised papyri of Herculaneum. Additionally, he is a visiting scholar at the VeDPH Center of Excellence at Ca’ Foscari University in Venice and teaches Text Encoding at the University of Pisa. 01 eng 20 00 Open Access Simone Zenzaro, Federico Boschetti and Angelo Mario Del Grosso 11 03 06 10.62637/sup.GHST9020.10 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Digital editing and publishing in the twenty-first century as a cooperative for small-scale editions 1 A01 Juniper Johnson Juniper Johnson 40 04t5xt781 Northeastern University Juniper Johnson is a PhD candidate in the English Department at Northeastern University with graduate certificates in Women, Gender, and Sexuality Studies and Digital Humanities. Their dissertation project, ‘Organizing Bodies of Knowledge: Classification and Sexuality in Nineteenth-Century Medical and Literary Discourse’, explores the history of non-normative bodies and sexualities in archival materials by combining computational text analysis and critical genealogy. They also specialise in digital pedagogy and research, having worked with the Digital Integration Teaching Initiative at the NULab for Texts, Maps and Networks, the Primary Source Cooperative with the Massachusetts Historical Society, the Early Carribean Digital Archive, the Early Black Boston Digital Almanac and the Homosaurus (an international LGBTQ+ linked data vocabulary). 2 A01 21 0000000229776481 Serenity Sutherland Serenity Sutherland 40 01597g643 State University of New York at Oswego Serenity Sutherland is Associate Professor of Communication Studies at SUNY Oswego. She has a PhD in History and a graduate certificate in Women’s and Gender Studies from the University of Rochester. Her research interests include the history of women in science and technology, the digital humanities, scholarly editing and media studies. Currently, she is working on publishing a biography of chemist Ellen Swallow Richards (1842–1911). She is the current editor of the Ellen Swallow Richards papers, which is a member of the Primary Source Cooperative at the Massachusetts Historical Society, funded by the NHPRC and the Andrew W. Mellon Foundation. She is also the co-author of the digital project Visualizing Women in Science and Technology at the American Philosophical Society, a network portrayal of women’s work in science. A select list of venues where her publications can be found includes Scholarly Editing, the Debates in the Digital Humanities series and Interdisciplinary Digital Engagement in Arts & Humanities. 3 A01 Neal Millikan Neal Millikan 40 00y5f4k61 Massachusetts Historical Society Neal Millikan is the Series Editor for Digital Editions for the Adams Papers editorial project at the Massachusetts Historical Society (MHS). She was project manager on the John Quincy Adams Digital Diary, part of the Mellon-sponsored Primary Source Cooperative at the MHS. Millikan holds a PhD in history and a master’s degree in Library and Information Science from the University of South Carolina and is also a graduate of North Carolina State University, where she earned master’s degrees in History and Public History. 4 A01 Ondine Le Blanc Ondine Le Blanc 40 00y5f4k61 Massachusetts Historical Society Ondine Le Blanc is Ford Editor of Publications at the Massachusetts Historical Society. She holds a BA from Mount Holyoke College and a PhD from the University of Michigan. At the MHS since 1997, Le Blanc has helped to publish a variety of documentary editions, including letters, diaries and journals, notebooks and memoirs, as well as other kinds of publications. She was project manager for the creation of the Adams Papers Digital Edition, overseeing the conversion of 35 printed volumes into a consolidated TEI-compliant online edition. Le Blanc served on the faculty of the Institute for the Editing of Historical Documents, hosted by the Association for Documentary Editing, from 2014 to 2017. She now serves as principal investigator for the Mellon-NHPRC grant funding the implementation of the Primary Source Cooperative. 01 eng 03 00 How might small-scale digital editions succeed in the future, and how is that future tied to the field of scholarly editing? The inclusion of more small digital editions has the potential to add numerous voices and perspectives to already existing digital and print editions that tend to center on figures of national recognition. While these larger projects offer glimpses into social issues and individual stories beyond the recognizable names they focus on, they have historically been projects of white, English-speaking men. Larger projects have also been expensive to maintain and operate. Recognizing these twin realities and histories of publishing scholarly editions, the authors of this chapter have been working to transform the potential of editions through the approach of cooperative digital publishing. With support from the NHPRC and Andrew W. Mellon Foundation, four digital editions, the John Quincy Adams (JQA) Digital Diary, the Ellen Swallow Richards Papers, the Catharine Maria Sedgwick Online Letters (CMSOL), and the Papers of Roger Brooke Taney along with the institutional support of the Massachusetts Historical Society and Northeastern University, have been in the process of building and creating a digital publishing cooperative. This essay will describe what cooperative publishing is and how it is transformational to the making of an edition. The essay will argue that the power of cooperative publishing is three-fold: 1) the sharing of resources, both financial and structural; 2) the collaboration of content expertise across a wide range of functions and topics; and 3) the support of a community striving for the same goal. The goal of the Primary Source Cooperative is to provide a platform, designed by consensus, to assist small editions led by scholars who might not otherwise have a portal for online publishing that is affordable and supportive. For each individual project, the Cooperative is a platform from which to receive input and guidance from other editors when questions of process or encoding arise, acting in lieu of staff who serve as internal sounding boards at larger projects. Uniting these four editions under one digital publishing platform will allow for federated searching by users that would never be possible if these projects were siloed on individual websites. When data from these four projects are combined, the resulting digital edition cooperative will provide free <break/>cross-searchable and chronologically-navigable access for its target user community, which moves beyond the traditional academic audience toward inclusion of students and educators at the middle school, high school, and undergraduate level.The interdisciplinary nature of the Cooperative—with editors from the fields of communication studies, history, literature, political science, and women’s and gender studies—translates to a wide scholarly audience, the needs of which are met by the adherence of the cluster to accepted best practices of documentary editing. Beyond the scholarly community, however, the Cooperative is committed to engaging a broader public in reading and using primary historical sources. Thus, the editions produced by the cluster would be precise enough (regarding standard editorial apparatus) for use by scholars but also accessible (via search features) for the K-12 community and the general public. 30 00 How might small-scale digital editions succeed in the future, and how is that future tied to the field of scholarly editing? The inclusion of more small digital editions has the potential to add numerous voices and perspectives to already existing digital and print editions that tend to center on figures of national recognition. While these larger projects offer glimpses into social issues and individual stories beyond the recognizable names they focus on, they have historically been projects of white, English-speaking men. Larger projects have also been expensive to maintain and operate. Recognizing these twin realities and histories of publishing scholarly editions, the authors of this chapter have been working to transform the potential of editions through the approach of cooperative digital publishing. With support from the NHPRC and Andrew W. Mellon Foundation, four digital editions, the John Quincy Adams (JQA) Digital Diary, the Ellen Swallow Richards Papers, the Catharine Maria Sedgwick Online Letters (CMSOL), and the Papers of Roger Brooke Taney along with the institutional support of the Massachusetts Historical Society and Northeastern University, have been in the process of building and creating a digital publishing cooperative. This essay will describe what cooperative publishing is and how it is transformational to the making of an edition. The essay will argue that the power of cooperative publishing is three-fold: 1) the sharing of resources, both financial and structural; 2) the collaboration of content expertise across a wide range of functions and topics; and 3) the support of a community striving for the same goal. The goal of the Primary Source Cooperative is to provide a platform, designed by consensus, to assist small editions led by scholars who might not otherwise have a portal for online publishing that is affordable and supportive. For each individual project, the Cooperative is a platform from which to receive input and guidance from other editors when questions of process or encoding arise, acting in lieu of staff who serve as internal sounding boards at larger projects. Uniting these four editions under one digital publishing platform will allow for federated searching by users that would never be possible if these projects were siloed on individual websites. When data from these four projects are combined, the resulting digital edition cooperative will provide free <break/>cross-searchable and chronologically-navigable access for its target user community, which moves beyond the traditional academic audience toward inclusion of students and educators at the middle school, high school, and undergraduate level.The interdisciplinary nature of the Cooperative—with editors from the fields of communication studies, history, literature, political science, and women’s and gender studies—translates to a wide scholarly audience, the needs of which are met by the adherence of the cluster to accepted best practices of documentary editing. Beyond the scholarly community, however, the Cooperative is committed to engaging a broader public in reading and using primary historical sources. Thus, the editions produced by the cluster would be precise enough (regarding standard editorial apparatus) for use by scholars but also accessible (via search features) for the K-12 community and the general public. 20 00 Open Access Juniper Johnson, Serenity Sutherland, Neal Millikan and Ondine Le Blanc 12 03 06 10.62637/sup.GHST9020.11 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 The scholarly data edition publishing big data in the twenty-first century 1 A01 21 0000000243011581 Gábor Mihály Tóth Gábor Mihály Tóth 40 036x5ad56 University of Luxembourg Gábor Mihály Tóth was born in Hungary. After studying philosophy and medieval studies in Budapest, he moved to England. In 2014 he completed a PhD in early modern history at the University of Oxford, Balliol College. Following his doctoral studies, he was an assistant professor in digital humanities at the University of Passau in Germany. He was a visiting researcher at Yale University and then at the University of Southern California. At the moment, he is a research associate at the University of Luxembourg’s Center for Contemporary and Digital History (C2DH). His research focuses on the application of data science to study and publish historical sources. Specifically, he has two research areas: information culture in early modern Europe and collective memory of genocide survivors. His chapter in this volume was inspired by his digital monograph, In Search of the Drowned: Testimonies and Testimonial Fragments of the Holocaust (Yale Fortunoff Archive, 2021, lts.fortunoff.library.yale.edu). In 2023 he was awarded the Richard Deswarte Prize in Digital History by the Digital History Seminary of the Institute of Historical Research, University of London. 01 eng 03 00 In the last decade, big textual datasets in the humanities have become increasingly more available in the form of raw data. The challenges these datasets raise are twofold. On the one hand, most humanities scholars are not equipped with skills in text and data mining. This remains a barrier to study big data in the humanities. On the other hand, the traditional genre of digital edition is not suitable for publishing and unlocking big data; similarly to printed editions, digital editions often attempt to create highly curated, almost perfect, surrogates of texts with critical accuracy. However, in the context of big data, traditional critical accuracy is not attainable; it is impossible for an editorial team to apply this principle when working with a corpus of tens of millions of words. The principle of critical examination of texts as defined by previous scholarship is equally unattainable with big data. In short, many of the editorial principles and techniques used to produce analogue and digital editions can hardly be applied when creating an edition featuring truly big data. Hence, in this chapter, I argue that to make big data available and explorable for the scholarly community, we need a new genre: the scholarly data edition. Throughout the chapter I elaborate the concept of scholarly data edition by outlining the editorial responsibilities and standards that it involves. 30 00 In the last decade, big textual datasets in the humanities have become increasingly more available in the form of raw data. The challenges these datasets raise are twofold. On the one hand, most humanities scholars are not equipped with skills in text and data mining. This remains a barrier to study big data in the humanities. On the other hand, the traditional genre of digital edition is not suitable for publishing and unlocking big data; similarly to printed editions, digital editions often attempt to create highly curated, almost perfect, surrogates of texts with critical accuracy. However, in the context of big data, traditional critical accuracy is not attainable; it is impossible for an editorial team to apply this principle when working with a corpus of tens of millions of words. The principle of critical examination of texts as defined by previous scholarship is equally unattainable with big data. In short, many of the editorial principles and techniques used to produce analogue and digital editions can hardly be applied when creating an edition featuring truly big data. Hence, in this chapter, I argue that to make big data available and explorable for the scholarly community, we need a new genre: the scholarly data edition. Throughout the chapter I elaborate the concept of scholarly data edition by outlining the editorial responsibilities and standards that it involves. 20 00 Open Access Gábor Mihály Tóth 13 03 06 10.62637/sup.GHST9020.12 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Close and distant reading in explorative editions distributed cognition and interactive visualisations 1 A01 21 0000000273993539 Peter Boot Peter Boot 40 043c0p156 Royal Netherlands Academy of Arts and Sciences Peter Boot studied Mathematics and Dutch Language and Literature. He wrote his thesis about annotation in scholarly digital collections (Mesotext. Digitised Emblems, Modelled Annotations and Humanities Scholarship. Amsterdam 2009). Boot works at the Huygens Institute for the History and Culture of the Netherlands in Amsterdam. In most of his career, his position has been between that of an intermediary between scholars and developers. Among other projects, he worked on digital editions of emblem books, medieval miscellanies, the letters of Vincent van Gogh, the manuscripts of Anne Frank and papers of Piet Mondrian. With Evina Stein, he published an edition of glosses to Isidore’s Etymologies that incorporates live network visualisations (https://db.innovatingknowledge. nl/edition/). Boot is also active in the field of computational literary studies, where he has a special interest in the phenomenon of online book discussion, as exemplified on sites such as Goodreads and in reviews on booksellers’ sites. 01 eng 03 00 The distant reading paradigm has taught us that transformations of textual material, be they in statistical or visual form, can be very informative about trends and patterns in text collections. However, current digital editions often fall short of exploiting this computational potential for text representation, analysis, and interaction. This paper argues that digital scholarly editions can transcend the limitations of print and print-inspired digital formats and become what I call "explorative editions." I draw on the work of Eugene Lyman about the role of distributed cognition in the design of scholarly tools and that of Shane McGarry about interactive tools creating the possibility for immersion in the edition through properly contextualised goal-directed activity. The paper advocates the integration of interactive visualizations in digital editions. This can transform digital editions into cognitive artifacts that enhance the user's exploration and understanding of the edited material. The paper proposes five criteria for these explorative editions, emphasizing the inclusion of visual representations, manipulable features, top-down and bottom-up navigational structures, co-extensiveness with the edited items, and minimization of user effort. Finally, I challenge the scholarly community to develop a scholarly edition that meets these criteria, offering a reward for the first project to accomplish this. 30 00 The distant reading paradigm has taught us that transformations of textual material, be they in statistical or visual form, can be very informative about trends and patterns in text collections. However, current digital editions often fall short of exploiting this computational potential for text representation, analysis, and interaction. This paper argues that digital scholarly editions can transcend the limitations of print and print-inspired digital formats and become what I call "explorative editions." I draw on the work of Eugene Lyman about the role of distributed cognition in the design of scholarly tools and that of Shane McGarry about interactive tools creating the possibility for immersion in the edition through properly contextualised goal-directed activity. The paper advocates the integration of interactive visualizations in digital editions. This can transform digital editions into cognitive artifacts that enhance the user's exploration and understanding of the edited material. The paper proposes five criteria for these explorative editions, emphasizing the inclusion of visual representations, manipulable features, top-down and bottom-up navigational structures, co-extensiveness with the edited items, and minimization of user effort. Finally, I challenge the scholarly community to develop a scholarly edition that meets these criteria, offering a reward for the first project to accomplish this. 20 00 Open Access Peter Boot 14 03 06 10.62637/sup.GHST9020.13 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Conviviality and standards open access publishing after AI 1 A01 Will Luers Will Luers 40 00g2fk805 Washington State University Vancouver Will Luers is a digital artist, writer and educator. His artwork and collaborations have garnered international recognition and been featured in festivals and conferences such as the Electronic Literature Organization, FILE (Brazil) and ISEA. Novelling, a generative work made in collaboration with poet Hazel Smith and sound artist Roger Dean, won the 2018 Robert Coover Award for Electronic Literature. Luers teaches web development, digital cinema and multimodal publishing in the Creative Media & Digital Culture program at Washington State University, Vancouver. He is the founder of the international online journal, The Digital Review, and is also the current Managing Editor at the electronic book review. 01 eng 03 00 As new areas of academic research proliferate (and cross-pollinate), scholarly digital publishing makes it possible to grow online networks around research interests without relying on the slow, gate-keeping procedures of traditional print publishing. In this way, advances in digital technology continue to offer scholars a wider readership and more meaningful peer networks, but these benefits come at a cost. Without a reliable economic model, the labor of peer-reviewing, editing, formatting, distributing and marketing scholarly writing and research is, in many cases, taken on by the scholars themselves. Digital tools make publishing workflows considerably more efficient and faster, but the unpaid labor involved is still a hindrance to any sustainable models for publishing scholarly work. Automation is often framed as a tool to increase productivity and efficiency by diminishing the role of fallible humans in a technical process. In the case of digital editing, the automation of grammar and spell check is labor saved for a deeper and more attentive reading of a text, where more subtle errors might lie in the author’s very argument. AI publishing technologies promise to improve not only editing texts, but detecting plagiarism, checking sources, seeking out peer reviewers, converting files, formatting for multiple platforms, marketing on social media and analyzing metrics. What remains of scholarly digital publishing as an activity when AI and Machine Learning tools absorb the considerable technical labor involved? Scholars (as researchers, writers, editors, and publishers) might be freed to concentrate on ideas themselves. By removing technical barriers and potential friction in publishing workflows, AI and ML might make way for a greater flow among scholars in the evaluation and dissemination of research and theories. AI might make scholarly digital publishing more convivial. Ivan Illich, in his Tools for Conviviality</italic>, considers a convivial society as one in which individuals have the means, tools, incentives and desire for collaboration. Conviviality escapes a rigid hierarchical and standardized process and seeks out diverse and innovative voices because it is sustained by individuals who choose to be a part of something that is at once self-serving and for the greater good. Scholarly digital publishing, especially open-access publishing, is already modelling this kind of shared labour in the service of both the individual scholars seeking to publish their work and the fields of research made up of a community of peers. While there are concerns with any new AI technology, especially the human biases embedded in algorithms, AI tools targeted for repetitive publishing tasks can open an opportunity to shape a renaissance in convivial scholarly publishing that sacrifices neither academic standards nor individual innovation and creativity. 30 00 As new areas of academic research proliferate (and cross-pollinate), scholarly digital publishing makes it possible to grow online networks around research interests without relying on the slow, gate-keeping procedures of traditional print publishing. In this way, advances in digital technology continue to offer scholars a wider readership and more meaningful peer networks, but these benefits come at a cost. Without a reliable economic model, the labor of peer-reviewing, editing, formatting, distributing and marketing scholarly writing and research is, in many cases, taken on by the scholars themselves. Digital tools make publishing workflows considerably more efficient and faster, but the unpaid labor involved is still a hindrance to any sustainable models for publishing scholarly work. Automation is often framed as a tool to increase productivity and efficiency by diminishing the role of fallible humans in a technical process. In the case of digital editing, the automation of grammar and spell check is labor saved for a deeper and more attentive reading of a text, where more subtle errors might lie in the author’s very argument. AI publishing technologies promise to improve not only editing texts, but detecting plagiarism, checking sources, seeking out peer reviewers, converting files, formatting for multiple platforms, marketing on social media and analyzing metrics. What remains of scholarly digital publishing as an activity when AI and Machine Learning tools absorb the considerable technical labor involved? Scholars (as researchers, writers, editors, and publishers) might be freed to concentrate on ideas themselves. By removing technical barriers and potential friction in publishing workflows, AI and ML might make way for a greater flow among scholars in the evaluation and dissemination of research and theories. AI might make scholarly digital publishing more convivial. Ivan Illich, in his Tools for Conviviality</italic>, considers a convivial society as one in which individuals have the means, tools, incentives and desire for collaboration. Conviviality escapes a rigid hierarchical and standardized process and seeks out diverse and innovative voices because it is sustained by individuals who choose to be a part of something that is at once self-serving and for the greater good. Scholarly digital publishing, especially open-access publishing, is already modelling this kind of shared labour in the service of both the individual scholars seeking to publish their work and the fields of research made up of a community of peers. While there are concerns with any new AI technology, especially the human biases embedded in algorithms, AI tools targeted for repetitive publishing tasks can open an opportunity to shape a renaissance in convivial scholarly publishing that sacrifices neither academic standards nor individual innovation and creativity. 20 00 Open Access Will Luers 15 03 06 10.62637/sup.GHST9020.14 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Beyond representation some thoughts on creative-critical digital editing 1 A01 21 0000000164108692 Christopher Ohge Christopher Ohge 40 039594g80 School of Advanced Study Christopher Ohge is Senior Lecturer in Digital Approaches to Literature at the University of London’s School of Advanced Study. He serves as the Associate Director of the Herman Melville Electronic Library and an Associate Editor of Melville’s Marginalia Online, where he has worked on digital editions of Melville’s Billy Budd, Sailor, and of Melville’s Marginalia in Arthur Schopenhauer. He was formerly an Associate Editor of the Mark Twain Papers at the University of California, Berkeley, where his editorial credits included the third and final volume of the Autobiography of Mark Twain, several digital texts on the Mark Twain Project Online, and the forthcoming edition of The Innocents Abroad. The author of the book Publishing Scholarly Editions: Archives, Computing, and Experience (2021), he has also published widely on nineteenth-century literature, textual scholarship and digital methods in leading journals and edited collections. In 2023 he received a fellowship from the National Endowment for the Humanities (USA) and the Mellon Foundation to complete a digital edition of Mary Anne Rawson’s anti-slavery anthology The Bow in the Cloud (1834). 01 eng 03 00 Creative-critical digital editing aims to be a pragmatic complement to the dominant ‘depth’ models of traditional scholarly editing that attempt to offer the ‘correct’ description, representation, or data model of a work within the space of a book or document. A pan-relational, creative-critical editorial approach to publishing instead focuses on a different kind of depth that connects texts to new contexts and literary experiences with new technological tools. Pan-relational editing creates new connections by creating new descriptions and visualisations of texts which are tethered to whatever purposes are needed for a given situation or audience ‘to make them serve our purposes better’, as the philosopher Richard Rorty put it. A creative-critical framework offers the best way to ‘cope’ with the varieties of potential experiences in the textual situation. This mode of thinking resists privileged print-based editorial theories as much as it resists technological determinism because it moves beyond the dominant mode of representing documents or texts as the primary output and instead puts the focus on curating textual data. Textual editing and digital publishing could combine with ‘creative criticism’ to be ongoing and incomplete, partaking of a process of close reading and distant analysis, learning and unlearning, and redescriptions of textual criticism that are embedded in the creative process and other aesthetic experiences. What digital publishing can ideally do, then, is to give space to competing and alternative discourses of the same text and to facilitate connections to other aesthetic contexts. The most promising ways to accomplish this goal would be, in the short term, to give users better designs and tools for engaging in the creative processes inherent in editorial projects. In the long term, an atomic database approach would allow creative play with any textual element, achieving that ideal of a digital edition as a ‘multi-dimensional space of possibilities’. 30 00 Creative-critical digital editing aims to be a pragmatic complement to the dominant ‘depth’ models of traditional scholarly editing that attempt to offer the ‘correct’ description, representation, or data model of a work within the space of a book or document. A pan-relational, creative-critical editorial approach to publishing instead focuses on a different kind of depth that connects texts to new contexts and literary experiences with new technological tools. Pan-relational editing creates new connections by creating new descriptions and visualisations of texts which are tethered to whatever purposes are needed for a given situation or audience ‘to make them serve our purposes better’, as the philosopher Richard Rorty put it. A creative-critical framework offers the best way to ‘cope’ with the varieties of potential experiences in the textual situation. This mode of thinking resists privileged print-based editorial theories as much as it resists technological determinism because it moves beyond the dominant mode of representing documents or texts as the primary output and instead puts the focus on curating textual data. Textual editing and digital publishing could combine with ‘creative criticism’ to be ongoing and incomplete, partaking of a process of close reading and distant analysis, learning and unlearning, and redescriptions of textual criticism that are embedded in the creative process and other aesthetic experiences. What digital publishing can ideally do, then, is to give space to competing and alternative discourses of the same text and to facilitate connections to other aesthetic contexts. The most promising ways to accomplish this goal would be, in the short term, to give users better designs and tools for engaging in the creative processes inherent in editorial projects. In the long term, an atomic database approach would allow creative play with any textual element, achieving that ideal of a digital edition as a ‘multi-dimensional space of possibilities’. 20 00 Open Access Christopher Oghe 16 03 06 10.62637/sup.GHST9020.15 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Re-encoding dominance queer approaches to TEI markup 1 A01 Filipa Calado Filipa Calado 40 007m3p006 Pratt Institute Filipa Calado is an Assistant Professor of Information Studies at The Pratt Institute, School of Information. As a self-taught programmer with a PhD in English Literature, she is interested in literary and computer languages, and how they are used to express sex, gender, and sexuality. She examines how technological constraints on language can be re-worked toward unexpected but productive usages. Most recently, she experiments with machine learning to study discourses of transphobia in the US. She has written about her work in Open Library of Humanities Journal and The Journal of Interactive Technology and Pedagogy. Her coding projects and teaching materials are published on her GitHub profile, with username gofilipa. 03 00 This paper considers the potential alignment between a rigidly structured and constraining editorial format, the TEI, and a strategically nebulous collection of identities and politics expressed by the designation of queer. It proposes how editorial practices with the TEI might draw from Queer of Color Critique and Black Feminist Studies to engage modes of resistance against dominance structures. Here, the critique of Queer Studies’ capitulation to majoritarian and neoliberal politics inspires methods for reworking the structuring forces within both the TEI markup language and textual editing practices more broadly. By narrating between the gaps and silences in the record, these methods emphasize marginalized identities and positions within dominance structures. This examination closes by highlighting examples of current projects that deploy collaborative and minimalist practices to challenge the structuring modes of textual editing and the TEI. 30 00 This paper considers the potential alignment between a rigidly structured and constraining editorial format, the TEI, and a strategically nebulous collection of identities and politics expressed by the designation of queer. It proposes how editorial practices with the TEI might draw from Queer of Color Critique and Black Feminist Studies to engage modes of resistance against dominance structures. Here, the critique of Queer Studies’ capitulation to majoritarian and neoliberal politics inspires methods for reworking the structuring forces within both the TEI markup language and textual editing practices more broadly. By narrating between the gaps and silences in the record, these methods emphasize marginalized identities and positions within dominance structures. This examination closes by highlighting examples of current projects that deploy collaborative and minimalist practices to challenge the structuring modes of textual editing and the TEI. 20 00 Open Access Filipa Calado 17 03 06 10.62637/sup.GHST9020.16 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 The ludic edition playful futures for digital scholarly editing 1 A01 21 0000000227526729 Jason Boyd Jason Boyd 40 05g13zd79 Toronto Metropolitan University Jason Boyd is an Associate Professor in the Department of English and the Director of the Centre for Digital Humanities at Toronto Metropolitan University (TMU), in Toronto, Canada. Prior to joining TMU, he was a Senior Research Associate at the international research project, Records of Early English Drama (REED), based at the University of Toronto. In that role, he was a key part of the team that created the Fortune Theatre Records Prototype Digital Edition, acting as the TEI Editor and co-author of the project’s White Paper. His research also explores the digital editing of biographical texts (particularly texts relating to Oscar Wilde). His teaching and research interests largely focus on exploring the creative and critical uses of digital media in a literary context (for example, the Stories in Play Initiative: https://storiesinplay.com/) and queer digital humanities. Relevant recent research includes ‘The Playing’s the Thing: Diversifying Digital Shakespeare Through Ludic Adaptation’ (Digital Studies/Le champ numérique, volume 13, issue 3, 2023), ‘Poetry as Code as Interactive Fiction: Engaging Multiple Text-Based Literacies in Scarlet Portrait Parlor’ (Digital Humanities Quarterly volume 17, number 2, 2023); and (co-authored with Bo Ruberg) ‘Queer Digital Humanities’ (The Bloomsbury Handbook to the Digital Humanities, 2022). 01 eng 03 00 The practice of creating scholarly digital editions of literary texts has now a substantial body of examples of and scholarship about the problems and possibilities (and various methodologies) of digital editing. A sophisticated example can be found at Digital Thoreau (https://digitalthoreau.org/). This includes Walden: A Fluid Text Edition, which, using the Versioning Machine tool (http://v-machine.org/), enables comparison of seven drafts and a published edition of Henry David Thoreau’s 1854 book (all encoded in the Text Encoding Initiative’s XML-based markup). Digital Thoreau also includes The Readers’ Thoreau, an online edition of Walden that enables users to socially annotate the text at the paragraph level, using a WordPress plug-in, CommentPress. These two editions of Walden perhaps go some way to respond to Joris van Zundert’s 2016 call on digital editors and editions to “implement a form of hypertext that truly represents textual fluidity and text relations in a scholarly viable and computational tractable manner.” Van Zundert’s concern is that the digital scholarly edition will otherwise amount to little more than “a mere medium shift” that will “limit [the digital scholarly edition’s] expressiveness to that of print text, and…fail to explore the computational potential for digital text representation, analysis and interaction.” Yet van Zundert’s seemingly radical call, which expresses the desire to move away from the structures and logics of print, still closely adheres to a print-delimited idea of text (“hypertext,” “textual fluidity and text relations,” “digital text representation, analysis and interaction”). Does van Zundert’s conception fully exploit “the computational potential” of digital editing/editions? In "Gaming the Humanities: Digital Humanities, New Media, and Practice-Based Research" (2014), Patrick Jagoda claims that digital gaming “is increasingly becoming a key problematic of—that is, in different ways, a problem and possibility for—the digital humanities" (194), of which digital editing is a dominating practice. This paper will suggest that the twenty-first century is the moment for the ludic edition, which extends the digital edition through the digital or video game. Three examples of what might be considered a ludic edition will be considered: Walden, a game (USC Game Innovation Lab, 2017), Elsinore (Golden Glitch, 2019), and 80 Days (Inkle Studios, 2014). These each can be understood as a critical digital edition that makes use of the rich textual, extra-textual, procedural, interactive, and meaning-making affordances of the video game. In doing so, these ludic editions robustly explore “the computational potential” for the digital edition and present a radical challenge to and expansion of the idea of digital editing. The paper will take up editorial ideas around ‘the text,’ editions as interpretations, and readerly activity and consider them in connection with game design ideas around simulation, open world exploration, and player agency. By so doing, the paper aims to foreground how the ludic edition functions as, to use Jagoda’s term, a “problematic” for the future of digital scholarly editing. 30 00 The practice of creating scholarly digital editions of literary texts has now a substantial body of examples of and scholarship about the problems and possibilities (and various methodologies) of digital editing. A sophisticated example can be found at Digital Thoreau (https://digitalthoreau.org/). This includes Walden: A Fluid Text Edition, which, using the Versioning Machine tool (http://v-machine.org/), enables comparison of seven drafts and a published edition of Henry David Thoreau’s 1854 book (all encoded in the Text Encoding Initiative’s XML-based markup). Digital Thoreau also includes The Readers’ Thoreau, an online edition of Walden that enables users to socially annotate the text at the paragraph level, using a WordPress plug-in, CommentPress. These two editions of Walden perhaps go some way to respond to Joris van Zundert’s 2016 call on digital editors and editions to “implement a form of hypertext that truly represents textual fluidity and text relations in a scholarly viable and computational tractable manner.” Van Zundert’s concern is that the digital scholarly edition will otherwise amount to little more than “a mere medium shift” that will “limit [the digital scholarly edition’s] expressiveness to that of print text, and…fail to explore the computational potential for digital text representation, analysis and interaction.” Yet van Zundert’s seemingly radical call, which expresses the desire to move away from the structures and logics of print, still closely adheres to a print-delimited idea of text (“hypertext,” “textual fluidity and text relations,” “digital text representation, analysis and interaction”). Does van Zundert’s conception fully exploit “the computational potential” of digital editing/editions? In "Gaming the Humanities: Digital Humanities, New Media, and Practice-Based Research" (2014), Patrick Jagoda claims that digital gaming “is increasingly becoming a key problematic of—that is, in different ways, a problem and possibility for—the digital humanities" (194), of which digital editing is a dominating practice. This paper will suggest that the twenty-first century is the moment for the ludic edition, which extends the digital edition through the digital or video game. Three examples of what might be considered a ludic edition will be considered: Walden, a game (USC Game Innovation Lab, 2017), Elsinore (Golden Glitch, 2019), and 80 Days (Inkle Studios, 2014). These each can be understood as a critical digital edition that makes use of the rich textual, extra-textual, procedural, interactive, and meaning-making affordances of the video game. In doing so, these ludic editions robustly explore “the computational potential” for the digital edition and present a radical challenge to and expansion of the idea of digital editing. The paper will take up editorial ideas around ‘the text,’ editions as interpretations, and readerly activity and consider them in connection with game design ideas around simulation, open world exploration, and player agency. By so doing, the paper aims to foreground how the ludic edition functions as, to use Jagoda’s term, a “problematic” for the future of digital scholarly editing. 20 00 Open Access Jason Boyd 18 03 06 10.62637/sup.GHST9020.17 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Seamless editions a future imaginary of digital editions for learning and public engagement 1 A01 Aodhán Kelly Aodhán Kelly Vrije Universiteit Amsterdam Aodhán Kelly is a lecturer and researcher at Vrije Universiteit Amsterdam and Maastricht University. He was an early career researcher with DiXiT (2014–7), a Marie Skłodowska-Curie Initial Contributor biographies xxiii Training Network focused on digital scholarly editions. He conducted his PhD (2017) under Prof. Dirk Van Hulle at the University of Antwerp, defending a thesis on ‘Disseminating digital scholarly editions of textual cultural heritage’. Aodhan’s postdoctoral work has been situated broadly in the social sciences and focuses on digital transformations in higher education and society. He previously represented Open Universiteit on Dutch national initiatives ‘Digital Society’ and the Acceleration Plan for ICT in Education. Currently he is active in teaching at Vrije Universiteit Amsterdam and Maastricht University in media studies and digital society. He is a co-founder and research co-ordinator for the Plant at Maastricht (Playground and Laboratory for New Technologies). His latest research focuses on digital humanities approaches to enabling polyvocal representations of contested colonial heritage in archives. 01 eng 03 00 This chapter will propose and examine a way to conceptualise the creation of future digital editions for broader audiences, particularly for purposes of learning and public engagement, namely the idea of ‘seamless editions’. This idea builds upon a conceptual framework developed by the author for the dissemination of digital editions. It will combine this framework with ideas drawn from a growing field within the educational sciences, that of ‘seamless learning’. Digital editions come in many shapes and sizes, and as a scholarly output there is no clear-cut consensus on where its definitional boundaries lie, but they are rather something experimental that may continue to remain in a state of development and redefinition. The continuing definitional ambiguity of digital editions could in some ways be viewed as a sort of identity crisis, but this lack of clear boundaries can also be treated as a freedom and an opportunity to experiment and diversify. The potential of editions to reach a broader audience in the digital medium is a long running ambition of many in the field. This chapter seeks to help intensify that discussion in the scholarly editing community and add impetus to reaching that potential by focusing on a conceptual approach to the design of digital editions for learning and outreach purposes. 30 00 This chapter will propose and examine a way to conceptualise the creation of future digital editions for broader audiences, particularly for purposes of learning and public engagement, namely the idea of ‘seamless editions’. This idea builds upon a conceptual framework developed by the author for the dissemination of digital editions. It will combine this framework with ideas drawn from a growing field within the educational sciences, that of ‘seamless learning’. Digital editions come in many shapes and sizes, and as a scholarly output there is no clear-cut consensus on where its definitional boundaries lie, but they are rather something experimental that may continue to remain in a state of development and redefinition. The continuing definitional ambiguity of digital editions could in some ways be viewed as a sort of identity crisis, but this lack of clear boundaries can also be treated as a freedom and an opportunity to experiment and diversify. The potential of editions to reach a broader audience in the digital medium is a long running ambition of many in the field. This chapter seeks to help intensify that discussion in the scholarly editing community and add impetus to reaching that potential by focusing on a conceptual approach to the design of digital editions for learning and outreach purposes. 20 00 Open Access Aodhán Kelly 19 03 06 10.62637/sup.GHST9020.18 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Digital scholarly editing in the early modern curriculum 1 A01 21 0000000160627911 Lindsay Ann Reid Lindsay Ann Reid 40 03bea9k73 University of Galway Lindsay Ann Reid is Senior Lecturer in English at the University of Galway. Her research interests include classical reception in the late medieval and early modern eras as well as various facets of early English print culture. She is the author of two monographs, Ovidian Bibliofictions and the Tudor Book (2014) and Shakespeare’s Ovid and the Spectre of the Medieval (2018). She has published work in Women’s Writing, Comparative Drama, Renaissance Quarterly, Shakespeare, Studies in Philology, Cahiers Élisabéthains, Early Theatre, The Seventeenth Century and elsewhere, including numerous edited collections. With co-editor Agnès Lafont, she is currently preparing an edition of The Maid’s Metamorphosis for The Revels Plays. In 2022, she worked with Cúirt International Festival of Literature and Speaking Volumes to create the pamphlet publication Breaking Ground Ireland. As of 2023, she is centrally involved with ‘Re-mediating the Early Book: Pasts and Futures’ (REBPAF), a Marie Skłodowska-Curie Doctoral Training Network co-ordinated by the University of Galway. 2 A01 21 0000000225794367 Justin Tonra Justin Tonra 40 03bea9k73 University of Galway Justin Tonra is Academic Integrity Officer and Associate Professor of English at the University of Galway. His research interests lie at the intersections of literature and technology and comprise work in the fields of digital humanities, book history, textual studies and bibliography, scholarly editing, and poetry and poetics. He is the author of a monograph, Write My Name: Authorship in the Poetry of Thomas Moore (Routledge, 2020), and peer-reviewed articles on topics including network analysis, crowdsourcing, authorship attribution, electronic literature and digital bibliography. 01 eng 03 00 This article describes and analyses the experience of building a collaborative digital edition of an early modern play in the university classroom. Reflecting on all aspects of module development from conception through to execution and evaluation, the article articulates the challenges and opportunities of digital scholarly editing pedagogy and makes specific practical and conceptual recommendations for how our model might be replicated. Having received funding from the National Forum for the Enhancement of Teaching and Learning in Higher Education, the authors co-designed and co-delivered an innovative postgraduate module on the theory and practice of digital scholarly editing. Students in the module collaborated on a large-scale digital editing project. In the first part of the semester, they learned key theoretical and methodological approaches to scholarly editing and text encoding with TEI. As the semester progressed, they gained hands-on experience by working together to create a new digital edition of an early modern theatrical work: James Shirley’s The Royall Master (1638). This article focuses on the key pedagogical outcomes of the module and the students’ working process: independent and collaborative activities, and synthesis of perspectives from the fields of scholarly editing and early modern studies. Moreover, we argue that students on the module acquired a range of transferable skills that have impacts beyond academia: project management, text encoding, version control, digital image preparation, and web design and publishing. This article is timely as it capitalises on a recent swell in interest in the pedagogical possibilities of digital scholarly editing in the early modern studies curriculum. Besides a dedicated seminar on this topic hosted by the authors for the Curriculum and Canon webinar series at NUI Galway in 2021, two panels at the 2021 Renaissance Society of America Annual Meeting addressed the topic of “Editing Early Modern Texts and/as Pedagogy.” Elsewhere, peer-reviewed journal articles have considered the value of teaching TEI in the literature classroom (Kaethler), of digital scholarly editing in undergraduate modules (Salt, et al.), and of editorial pedagogy for teaching Shakespearean drama (Taylor). This article advances scholarship in this area through its particular focus on the pragmatics of syllabus and assessment design (including a pandemic-age perspective on the incorporation of online learning and open educational resources). In addition, the authors draw attention to ways in which the theory and practice of digital scholarly editing can equip students with valuable skills and competencies for life beyond academia. 30 00 This article describes and analyses the experience of building a collaborative digital edition of an early modern play in the university classroom. Reflecting on all aspects of module development from conception through to execution and evaluation, the article articulates the challenges and opportunities of digital scholarly editing pedagogy and makes specific practical and conceptual recommendations for how our model might be replicated. Having received funding from the National Forum for the Enhancement of Teaching and Learning in Higher Education, the authors co-designed and co-delivered an innovative postgraduate module on the theory and practice of digital scholarly editing. Students in the module collaborated on a large-scale digital editing project. In the first part of the semester, they learned key theoretical and methodological approaches to scholarly editing and text encoding with TEI. As the semester progressed, they gained hands-on experience by working together to create a new digital edition of an early modern theatrical work: James Shirley’s The Royall Master (1638). This article focuses on the key pedagogical outcomes of the module and the students’ working process: independent and collaborative activities, and synthesis of perspectives from the fields of scholarly editing and early modern studies. Moreover, we argue that students on the module acquired a range of transferable skills that have impacts beyond academia: project management, text encoding, version control, digital image preparation, and web design and publishing. This article is timely as it capitalises on a recent swell in interest in the pedagogical possibilities of digital scholarly editing in the early modern studies curriculum. Besides a dedicated seminar on this topic hosted by the authors for the Curriculum and Canon webinar series at NUI Galway in 2021, two panels at the 2021 Renaissance Society of America Annual Meeting addressed the topic of “Editing Early Modern Texts and/as Pedagogy.” Elsewhere, peer-reviewed journal articles have considered the value of teaching TEI in the literature classroom (Kaethler), of digital scholarly editing in undergraduate modules (Salt, et al.), and of editorial pedagogy for teaching Shakespearean drama (Taylor). This article advances scholarship in this area through its particular focus on the pragmatics of syllabus and assessment design (including a pandemic-age perspective on the incorporation of online learning and open educational resources). In addition, the authors draw attention to ways in which the theory and practice of digital scholarly editing can equip students with valuable skills and competencies for life beyond academia. 20 00 Open Access Lindsay Ann Reid and Justin Tonra 20 03 06 10.62637/sup.GHST9020.19 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Mediating and connecting versatile digital publishing in the Edison Papers 1 A01 21 0000000316950433 Caterina Agostini Caterina Agostini 40 02k40bc56 Indiana University Bloomington Caterina Agostini is a Postdoctoral Fellow at Indiana University Bloomington. She is co-PI in the Chymistry of Isaac Newton and the Harriot Papers, specializing in digital editions of early modern scientific texts. She has researched and developed reading and annotation methods in the Thomas A. Edison Papers. Caterina has published on Galileo Galilei, Renaissance travelogues, and digital humanities methods. She is a co-chair of the International Image Interoperability Framework (IIIF). 2 A01 21 0000000204255428 Paul Israel Paul Israel 40 05vt9qd57 Rutgers University Paul Israel is director and general editor of the Thomas A. Edison Papers at Rutgers, the State University of New Jersey. He joined the project in 1980 and became director in 2002. To date, the project has produced nine volumes of The Papers of Thomas A. Edison. Its online digital image edition includes over 154,000 documents. In 2005 the Society for the History of Technology awarded the Edison Papers a one-time retrospective award as a model reference work published since the founding of the Society in 1958. Dr Israel was also awarded the Society’s 2000 Edelstein [Dexter Prize] for his book Edison: A Life of Invention (John Wiley & Sons, 1998). In addition, he is the author of From Machine Shop to Industrial Laboratory: Telegraphy and the Changing Context of American Invention, 1830– 1920 (Johns Hopkins University Press, 1992) and co-author with Robert Friedel of Edison’s Electric Light: The Art of an Invention (Johns Hopkins University Press, 2010; Rutgers University Press, 1986). Dr Israel’s work examines technological creativity, the origins of modern innovation, patent regimes and intersections between science, technology and industry. He also has been a consultant on exhibits at several museums and historic sites and contributed to numerous television and radio documentaries. 01 eng 03 00 In this chapter we discuss a framework for reconfiguring the Thomas A. Edison Papers as an integrated digital edition of primary sources. In the digital edition, stratified levels of sources enhance the accessibility of complex historical collections in digital environments. The concept of providing multiple layers of access was already implicit in the Edison Papers online book and image editions. Our reader-centered approach enables an interactive experience displaying primary sources both from text- and image-based collections documenting the work of Edison.The resulting reading experience occurs in International Image Interoperability Framework (IIIF) interfaces that can deliver images and texts from multiple servers on the Web. IIIF-compliant images present materials to readers in a coherent way, allowing deep zoom, comparison, page layout, and annotation through a IIIF image viewer, Mirador Viewer. The digital edition is customized, based on readers’ queries, and the interconnected design can potentially promote collaborative reading, scholarship, and applications in pedagogy, resulting in a versatile investigation of technological advancements and industrialization in Edison’s lifetime. 30 00 In this chapter we discuss a framework for reconfiguring the Thomas A. Edison Papers as an integrated digital edition of primary sources. In the digital edition, stratified levels of sources enhance the accessibility of complex historical collections in digital environments. The concept of providing multiple layers of access was already implicit in the Edison Papers online book and image editions. Our reader-centered approach enables an interactive experience displaying primary sources both from text- and image-based collections documenting the work of Edison.The resulting reading experience occurs in International Image Interoperability Framework (IIIF) interfaces that can deliver images and texts from multiple servers on the Web. IIIF-compliant images present materials to readers in a coherent way, allowing deep zoom, comparison, page layout, and annotation through a IIIF image viewer, Mirador Viewer. The digital edition is customized, based on readers’ queries, and the interconnected design can potentially promote collaborative reading, scholarship, and applications in pedagogy, resulting in a versatile investigation of technological advancements and industrialization in Edison’s lifetime. 20 00 Open Access Caterina Agostini and Paul Israel 21 03 06 10.62637/sup.GHST9020.20 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 ‘The present therefore seems improbable, the future most uncertain’ transcending academia through Charlotte Lennox’s Lady’s Museum (1760–1) 1 A01 Kelly J. Plante Kelly J. Plante 40 01070mq45 Wayne State University Kelly J. Plante, PhD (Wayne State University), specialises in long-eighteenth-century transatlantic literature and feminist digital/ public humanities. Her dissertation, ‘Death Writing: Gender and Necropolitics in the Atlantic World (1660–1840),’ received the 2024 Bibliographical Society of America (BSA) William L. Mitchell Prize for scholarship on British serials. She currently serves as Managing Editor for ABO: Interactive Journal for Women in the Arts (1640– 1830), Associate Reader for the Michigan Quarterly Review and, with Karenza Sutton-Bennett, PhD, as Co-Editor for the Lady’s Museum Project (ladysmuseum.com, 2021–present). She has served as Managing Editor for Criticism: A Quarterly for Literature and the Arts (2021–3), Co-Chair for the American Society of Eighteenth- Century Studies Digital Humanities Caucus, Project Manager for the Warrior Women Project (s.wayne.edu/warriorwomen, 2020–1), Co-General Editor for The Poetry of Gertrude More: Piety and Politics in a Benedictine Convent (s.wayne.edu/gertrudemore, 2020–1), and as a Detroit-area journalist, writer/editor, and publisher. Her writing has appeared or is forthcoming in Creative Nonfiction Magazine, ABO, Eighteenth-Century Fiction, The Eighteenth Century: Theory and Interpretation, and Early Modern Women: An Interdisciplinary Journal. 2 A01 21 000900025531136X Karenza Sutton-Bennett Karenza Sutton-Bennett 40 03c4mmv16 University of Ottawa Karenza Sutton-Bennett, University of Ottawa, Canada, completed her dissertation in 2022. It was titled ‘The Female Guise: the Untold Story of Female Education in English Periodicals’. Her research focuses on textual and visual representations of women learning in periodicals. Her research interests include history of education, xxviii Digital editing and publishing in the twenty-first century cultural studies, and women’s writing. Karenza’s publications include ‘Teaching the Lady’s Museum and Sophia: Imperialism, Feminism, and Beyond’, co-written with Susan Carlile in Aphra Behn Online: Interactive Journal for Women in the Arts (1640–1830), and ‘Intellect versus Politeness: Charlotte Lennox and Women’s Minds’ in Eighteenth-Century Fiction. She is the co-editor of The Lady’s Museum Project with Kelly J. Plante, PhD. In 2023, the edition won the ASECS Women’s Caucus Editing and Translation Fellowship. Through LMP she has guest-lectured in several classrooms in Canada and the United States. When not researching or teaching, she works at Ontario Professional Planners Institute as Senior Manager of Education and Events where she develops their continuing education curriculum and annual conference. 01 eng 03 00 The question of how digital scholarly editing and publishing can have an impact beyond academia has been widely debated in the digital humanities and literary/cultural studies fields. Kate Ozment in “Rationale for Feminist Bibliography” argues the field of feminist bibliography is “continuing work on women’s lives and labor by providing tools for feminist scholars to use in their work, while simultaneously building a framework that allows such work to flourish” (151). Tonya Howe has posited three interrelated areas for “Intersectional Futures in Digital History”: “theorizing the feminized labor of digital recovery, editing, and textual preparation,” “offering thoughtful and feminist approaches to digital pedagogy that are specific to the work we do in the period,” and “critically assessing the absences in existing digital projects'' (2). We build on Ozment’s and Howe’s visions for an intersectional future(s) in our digital scholarly editing project, The Lady’s Museum Project, which aims for a public readership beyond the academy to broadly publicize women writers’ contributions to the developments in education and citizenship for all genders and classes throughout the long eighteenth century. Our project continues the work of Jennie Batchelor and Manushag N. Powell’s Women’s Periodicals and Print Culture in Britain, 1690-1820s (2018)—the first comprehensive study of women’s periodicals in the eighteenth-century—by giving open-access to Charlotte Lennox’s periodical, The Lady’s Museum (1760-61). We advocate for centering the previously forgotten labor of early modern women writers then, and DH coworkers now, highlighting their importance and continuing impact for a present-day specialist and non-specialist, public audience. In this essay, we present the theory and praxis governing the Lady’s Museum Project to show how a digital-scholarly editing project can challenge the structural logics of print by creating a user-driven reading experience and social edition rather than a traditional, linear-based edition. We discuss the project’s focus on audiobook and social annotation functionalities in contrast to traditional scholarly publishing to reveal the importance of an intersectional-feminist approach for future editing projects. In framing our project within intersectionality, which, rooted in civic justice, transcends multiple academic disciplines, we strive to: reveal the feminized labor of digital recovery; use ethical means to represent multiply marginalized persons; capture the historical, oppressive structures in which The Lady’s Museum appeared in its context of eighteenth-century British imperialism; and, through consensus decision-making processes and implementing user feedback, create sortable categories and keywords that spotlight system-centered complexities. We argue that digital scholarly editing and publishing can have an impact beyond academia by recovering the textual authority of women writers such as Charlotte Lennox and supplying a basis for a public audience to engage with her work. In conclusion, this essay, by closely examining how marginalized women writers and texts had a pivotal impact on the foundational blocks of modern western culture, simultaneously shines new light on the benefits of aligning intersectional feminism with public-facing, transdisciplinary projects. 30 00 The question of how digital scholarly editing and publishing can have an impact beyond academia has been widely debated in the digital humanities and literary/cultural studies fields. Kate Ozment in “Rationale for Feminist Bibliography” argues the field of feminist bibliography is “continuing work on women’s lives and labor by providing tools for feminist scholars to use in their work, while simultaneously building a framework that allows such work to flourish” (151). Tonya Howe has posited three interrelated areas for “Intersectional Futures in Digital History”: “theorizing the feminized labor of digital recovery, editing, and textual preparation,” “offering thoughtful and feminist approaches to digital pedagogy that are specific to the work we do in the period,” and “critically assessing the absences in existing digital projects'' (2). We build on Ozment’s and Howe’s visions for an intersectional future(s) in our digital scholarly editing project, The Lady’s Museum Project, which aims for a public readership beyond the academy to broadly publicize women writers’ contributions to the developments in education and citizenship for all genders and classes throughout the long eighteenth century. Our project continues the work of Jennie Batchelor and Manushag N. Powell’s Women’s Periodicals and Print Culture in Britain, 1690-1820s (2018)—the first comprehensive study of women’s periodicals in the eighteenth-century—by giving open-access to Charlotte Lennox’s periodical, The Lady’s Museum (1760-61). We advocate for centering the previously forgotten labor of early modern women writers then, and DH coworkers now, highlighting their importance and continuing impact for a present-day specialist and non-specialist, public audience. In this essay, we present the theory and praxis governing the Lady’s Museum Project to show how a digital-scholarly editing project can challenge the structural logics of print by creating a user-driven reading experience and social edition rather than a traditional, linear-based edition. We discuss the project’s focus on audiobook and social annotation functionalities in contrast to traditional scholarly publishing to reveal the importance of an intersectional-feminist approach for future editing projects. In framing our project within intersectionality, which, rooted in civic justice, transcends multiple academic disciplines, we strive to: reveal the feminized labor of digital recovery; use ethical means to represent multiply marginalized persons; capture the historical, oppressive structures in which The Lady’s Museum appeared in its context of eighteenth-century British imperialism; and, through consensus decision-making processes and implementing user feedback, create sortable categories and keywords that spotlight system-centered complexities. We argue that digital scholarly editing and publishing can have an impact beyond academia by recovering the textual authority of women writers such as Charlotte Lennox and supplying a basis for a public audience to engage with her work. In conclusion, this essay, by closely examining how marginalized women writers and texts had a pivotal impact on the foundational blocks of modern western culture, simultaneously shines new light on the benefits of aligning intersectional feminism with public-facing, transdisciplinary projects. 20 00 Open Access Kelly J. Plante and Karenza Sutton-Bennett 22 03 06 10.62637/sup.GHST9020.c Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ Chapter 01 01 Conclusion The future of digital editing and publishing 1 A01 21 0000000242149933 James O'Sullivan James O'Sullivan 40 03265fv13 University College Cork James O’Sullivan lectures in the Department of Digital Humanities at University College Cork, where he is Director of Research for the School of English and Digital Humanities, as well as a member of the Research and Innovation Committee for the College Arts, Celtic Studies and Social Sciences. He is a member of the board of the Future Humanities Institute, for which he leads the Digital Cultures, New Media, and Cultural Analytics research cluster. He is the author of 'Towards a Digital Poetics' (Palgrave Macmillan 2019). James has edited several collections of scholarly essays, including 'The Bloomsbury Handbook to the Digital Humanities' (Bloomsbury 2023) and 'Technology in Irish Literature and Culture' (Cambridge University Press 2023). He is the Principal Investigator (Ireland) on 'C21 Editions: Editing and Publishing in the Digital Age', funded under the UK-Ireland Collaboration in the Digital Humanities. See www.jamesosullivan.org for more on his work. 2 B01 21 000000024441450X Sophie Whittle Sophie Whittle 40 05krs5044 University of Sheffield Sophie Whittle is a Research Associate on 'C21 Editions: Editing and Publishing in the Digital Age' project, responsible for developing a prototype online teaching edition of Geoffrey Chaucer’s Pardoner’s Prologue and Tale using machine assisted methods. Sophie has taught on modules in the history of English, historical pragmatics, research methods and syntax. She has co-ordinated interdisciplinary workshops on centring anti-racist research in the linguistics curric-ulum, inviting speakers from across the globe to present their research on the pragmatics of postcolonial communities, language and culture sharing and human rights, and has since become a member of the Linguistic Association of Great Britain’s racial justice subcommittee. She is also an organiser at the Sheffield Feminist Archive, and has recently contributed to the creation of a digital archive named 'Women in Lockdown', a project that houses women’s stories and experiences of the pandemic via oral history, testimony, diary entries and artwork submissions. 01 eng 20 00 Open Access James O'Sullivan and Sophie Whittle 01 URL https://www.sup.ac.uk/ Scottish Universities Press 01 Scottish Universities Press 01 Publisher's website: home page https://www.sup.ac.uk/ 02 Publisher's website: webpage for this title https://books.sup.ac.uk/sup/catalog/book/sup-9781917341073 16 40 0505m1554 32 10.13039/501100007818 Arts and Humanities Research Council (AHRC) 01 projectname C21 Editions: Editing and Publishing in the Digital Age 01 projectshortname C21 Editions 01 grantnumber AH/W001489/1 04 01 20250429 James O’Sullivan, Michael Pidd, Sophie Whittle, Bridgette Wessels, Michael Kurzmeier and Órla Murphy 02 WORLD 06 15 9781917341042 03 9781917341042 06 15 9781917341059 03 9781917341059 06 15 9781917341073 03 9781917341073 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/136409 29 PROJECT_MUSE: download the title https://muse.jhu.edu/book/136409/epub 20 08 20250429 01 09 Scottish Universities Press 02 Publisher's website: webpage for this product https://books.sup.ac.uk/sup/catalog/book/sup-9781917341073 29 Publisher's website: download the title https://books.sup.ac.uk/sup/catalog/view/sup-9781917341073/8/49 20 08 20250429 01 urn:uuid:e7e01807-2ee3-43bd-9b53-c4d23ebc879c 03 01 01 thoth-work-id urn:uuid:998c765b-8141-4024-8074-9f8e37c76424 01 thoth-publication-id urn:uuid:e7e01807-2ee3-43bd-9b53-c4d23ebc879c 15 9781917341080 03 9781917341080 06 10.62637/sup.bilp1551 00 BC 10 01 234 mm 01 23.4 cm 01 9.21 in 02 156 mm 02 15.6 cm 02 6.14 in 03 16 mm 03 1.6 cm 03 0.63 in 08 386 gr 08 13.6157 oz Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ 01 01 The vow of stability An ethnography of monastic life 1 A01 21 0000000304684510 Richard D.G. Irvine Richard Irvine 40 02wn5qz54 University of St Andrews Richard D.G. Irvine is Senior Lecturer and Director of Teaching in Social Anthropology at the University of St Andrews. His work spans the anthropology of religion and environmental anthropology, and he has carried out fieldwork in the UK and Mongolia. His previous book was An Anthropology of Deep Time (Cambridge University Press, 2020). 06 Own website https://www.st-andrews.ac.uk/social-anthropology/people/rdgi 01 eng 00 272 03 93 JHMC 10 SOC002010 93 QRVS5 10 REL086000 10 SOC039000 20 religious life; Catholic monasticism; Catholic monasticism; Benedictine monks; mysticism; liturgy 01 06 02 00 A close study of the rhythms and challenges of community life based on long-term fieldwork in an English Benedictine monastery, this book considers the importance of stability in a world of movement and fleeting interaction, and how religious institutions endure and change through time. 03 00 Though monastic life is often imagined to be a flight from the world, Benedictine monks take on the intense social commitment of life in close community. Drawing on long-term anthropological fieldwork in a Catholic English Benedictine monastery, this book traces the monks’ daily lives as they confront the eternal in the fabric of the everyday. Bringing into focus the vow of stability – a lifelong commitment to the monastery and its community – this ethnography explores the rhythms and architecture that sustain shared life in a world of movement and fleeting interaction. At the same time, it analyses those social processes that damage and undermine the monastic institution and those in contact with it – in particular the harm caused by sexual abuse. Engaging with the everyday dynamics of life in close community while paying close attention to the time-depth of monastic history, this is a study of how religious institutions endure and change through generations. 30 00 Though monastic life is often imagined to be a flight from the world, Benedictine monks take on the intense social commitment of life in close community. Drawing on long-term anthropological fieldwork in a Catholic English Benedictine monastery, this book traces the monks’ daily lives as they confront the eternal in the fabric of the everyday. Bringing into focus the vow of stability – a lifelong commitment to the monastery and its community – this ethnography explores the rhythms and architecture that sustain shared life in a world of movement and fleeting interaction. At the same time, it analyses those social processes that damage and undermine the monastic institution and those in contact with it – in particular the harm caused by sexual abuse. Engaging with the everyday dynamics of life in close community while paying close attention to the time-depth of monastic history, this is a study of how religious institutions endure and change through generations. 04 00 Acknowledgements Part I: The nature of stability Chapter 1 The promise of stability Chapter 2 The architecture of stability Chapter 3 The rhythm of stability Part II: Prayer, private and public Chapter 4 Liturgical prayer and the limits of participation Chapter 5 Contemplative prayer and the problem of other people Chapter 6 Reading as prayer and learning to listen Part III: Flight from the world? Chapter 7 Work and pray Chapter 8 Abuse and the failure of responsibility Chapter 9 Leaving home References Index 20 00 Open Access 01 00 03 02 https://images.squarespace-cdn.com/content/628df820a8f890150d19db11/3db27aeb-d7ae-4633-b786-1fe06d8a407b/TheVowofStability_Cover.jpg?content-type=image%2F.jpg 01 URL https://www.sup.ac.uk/ Scottish Universities Press 01 Scottish Universities Press 01 Publisher's website: home page https://www.sup.ac.uk/ 02 Publisher's website: webpage for this title https://books.sup.ac.uk/sup/catalog/book/sup-9781917341110 Edinburgh, Scotland 04 01 20250520 Richard Irvine 02 WORLD 06 15 9781917341097 03 9781917341097 06 15 9781917341110 03 9781917341110 06 15 9781917341103 03 9781917341103 WORLD 09 Scottish Universities Press 02 Publisher's website: webpage for this product https://books.sup.ac.uk/sup/catalog/book/sup-9781917341110 20 08 20250520 02 30.00 GBP WORLD urn:uuid:e882090d-adb6-475b-b392-95de2c4f07e3 03 01 01 thoth-work-id urn:uuid:998c765b-8141-4024-8074-9f8e37c76424 01 thoth-publication-id urn:uuid:e882090d-adb6-475b-b392-95de2c4f07e3 15 9781917341097 03 9781917341097 06 10.62637/sup.bilp1551 00 BB 10 01 234 mm 01 23.4 cm 01 9.21 in 02 156 mm 02 15.6 cm 02 6.14 in 03 19 mm 03 1.9 cm 03 0.75 in 08 561 gr 08 19.7887 oz Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ 01 01 The vow of stability An ethnography of monastic life 1 A01 21 0000000304684510 Richard D.G. Irvine Richard Irvine 40 02wn5qz54 University of St Andrews Richard D.G. Irvine is Senior Lecturer and Director of Teaching in Social Anthropology at the University of St Andrews. His work spans the anthropology of religion and environmental anthropology, and he has carried out fieldwork in the UK and Mongolia. His previous book was An Anthropology of Deep Time (Cambridge University Press, 2020). 06 Own website https://www.st-andrews.ac.uk/social-anthropology/people/rdgi 01 eng 00 272 03 93 JHMC 10 SOC002010 93 QRVS5 10 REL086000 10 SOC039000 20 religious life; Catholic monasticism; Catholic monasticism; Benedictine monks; mysticism; liturgy 01 06 02 00 A close study of the rhythms and challenges of community life based on long-term fieldwork in an English Benedictine monastery, this book considers the importance of stability in a world of movement and fleeting interaction, and how religious institutions endure and change through time. 03 00 Though monastic life is often imagined to be a flight from the world, Benedictine monks take on the intense social commitment of life in close community. Drawing on long-term anthropological fieldwork in a Catholic English Benedictine monastery, this book traces the monks’ daily lives as they confront the eternal in the fabric of the everyday. Bringing into focus the vow of stability – a lifelong commitment to the monastery and its community – this ethnography explores the rhythms and architecture that sustain shared life in a world of movement and fleeting interaction. At the same time, it analyses those social processes that damage and undermine the monastic institution and those in contact with it – in particular the harm caused by sexual abuse. Engaging with the everyday dynamics of life in close community while paying close attention to the time-depth of monastic history, this is a study of how religious institutions endure and change through generations. 30 00 Though monastic life is often imagined to be a flight from the world, Benedictine monks take on the intense social commitment of life in close community. Drawing on long-term anthropological fieldwork in a Catholic English Benedictine monastery, this book traces the monks’ daily lives as they confront the eternal in the fabric of the everyday. Bringing into focus the vow of stability – a lifelong commitment to the monastery and its community – this ethnography explores the rhythms and architecture that sustain shared life in a world of movement and fleeting interaction. At the same time, it analyses those social processes that damage and undermine the monastic institution and those in contact with it – in particular the harm caused by sexual abuse. Engaging with the everyday dynamics of life in close community while paying close attention to the time-depth of monastic history, this is a study of how religious institutions endure and change through generations. 04 00 Acknowledgements Part I: The nature of stability Chapter 1 The promise of stability Chapter 2 The architecture of stability Chapter 3 The rhythm of stability Part II: Prayer, private and public Chapter 4 Liturgical prayer and the limits of participation Chapter 5 Contemplative prayer and the problem of other people Chapter 6 Reading as prayer and learning to listen Part III: Flight from the world? Chapter 7 Work and pray Chapter 8 Abuse and the failure of responsibility Chapter 9 Leaving home References Index 20 00 Open Access 01 00 03 02 https://images.squarespace-cdn.com/content/628df820a8f890150d19db11/3db27aeb-d7ae-4633-b786-1fe06d8a407b/TheVowofStability_Cover.jpg?content-type=image%2F.jpg 01 URL https://www.sup.ac.uk/ Scottish Universities Press 01 Scottish Universities Press 01 Publisher's website: home page https://www.sup.ac.uk/ 02 Publisher's website: webpage for this title https://books.sup.ac.uk/sup/catalog/book/sup-9781917341110 Edinburgh, Scotland 04 01 20250520 Richard Irvine 02 WORLD 06 15 9781917341080 03 9781917341080 06 15 9781917341110 03 9781917341110 06 15 9781917341103 03 9781917341103 WORLD 09 Scottish Universities Press 02 Publisher's website: webpage for this product https://books.sup.ac.uk/sup/catalog/book/sup-9781917341110 20 08 20250520 01 urn:uuid:41cac611-93d3-44b2-aaa0-fe560e59475d 03 01 01 thoth-work-id urn:uuid:998c765b-8141-4024-8074-9f8e37c76424 01 thoth-publication-id urn:uuid:41cac611-93d3-44b2-aaa0-fe560e59475d 15 9781917341110 03 9781917341110 06 10.62637/sup.bilp1551 00 EB E107 10 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ 01 01 The vow of stability An ethnography of monastic life 1 A01 21 0000000304684510 Richard D.G. Irvine Richard Irvine 40 02wn5qz54 University of St Andrews Richard D.G. Irvine is Senior Lecturer and Director of Teaching in Social Anthropology at the University of St Andrews. His work spans the anthropology of religion and environmental anthropology, and he has carried out fieldwork in the UK and Mongolia. His previous book was An Anthropology of Deep Time (Cambridge University Press, 2020). 06 Own website https://www.st-andrews.ac.uk/social-anthropology/people/rdgi 01 eng 00 272 03 93 JHMC 10 SOC002010 93 QRVS5 10 REL086000 10 SOC039000 20 religious life; Catholic monasticism; Catholic monasticism; Benedictine monks; mysticism; liturgy 01 06 02 00 A close study of the rhythms and challenges of community life based on long-term fieldwork in an English Benedictine monastery, this book considers the importance of stability in a world of movement and fleeting interaction, and how religious institutions endure and change through time. 03 00 Though monastic life is often imagined to be a flight from the world, Benedictine monks take on the intense social commitment of life in close community. Drawing on long-term anthropological fieldwork in a Catholic English Benedictine monastery, this book traces the monks’ daily lives as they confront the eternal in the fabric of the everyday. Bringing into focus the vow of stability – a lifelong commitment to the monastery and its community – this ethnography explores the rhythms and architecture that sustain shared life in a world of movement and fleeting interaction. At the same time, it analyses those social processes that damage and undermine the monastic institution and those in contact with it – in particular the harm caused by sexual abuse. Engaging with the everyday dynamics of life in close community while paying close attention to the time-depth of monastic history, this is a study of how religious institutions endure and change through generations. 30 00 Though monastic life is often imagined to be a flight from the world, Benedictine monks take on the intense social commitment of life in close community. Drawing on long-term anthropological fieldwork in a Catholic English Benedictine monastery, this book traces the monks’ daily lives as they confront the eternal in the fabric of the everyday. Bringing into focus the vow of stability – a lifelong commitment to the monastery and its community – this ethnography explores the rhythms and architecture that sustain shared life in a world of movement and fleeting interaction. At the same time, it analyses those social processes that damage and undermine the monastic institution and those in contact with it – in particular the harm caused by sexual abuse. Engaging with the everyday dynamics of life in close community while paying close attention to the time-depth of monastic history, this is a study of how religious institutions endure and change through generations. 04 00 Acknowledgements Part I: The nature of stability Chapter 1 The promise of stability Chapter 2 The architecture of stability Chapter 3 The rhythm of stability Part II: Prayer, private and public Chapter 4 Liturgical prayer and the limits of participation Chapter 5 Contemplative prayer and the problem of other people Chapter 6 Reading as prayer and learning to listen Part III: Flight from the world? Chapter 7 Work and pray Chapter 8 Abuse and the failure of responsibility Chapter 9 Leaving home References Index 20 00 Open Access 01 00 03 02 https://images.squarespace-cdn.com/content/628df820a8f890150d19db11/3db27aeb-d7ae-4633-b786-1fe06d8a407b/TheVowofStability_Cover.jpg?content-type=image%2F.jpg 01 URL https://www.sup.ac.uk/ Scottish Universities Press 01 Scottish Universities Press 01 Publisher's website: home page https://www.sup.ac.uk/ 02 Publisher's website: webpage for this title https://books.sup.ac.uk/sup/catalog/book/sup-9781917341110 Edinburgh, Scotland 04 01 20250520 Richard Irvine 02 WORLD 06 15 9781917341080 03 9781917341080 06 15 9781917341097 03 9781917341097 06 15 9781917341103 03 9781917341103 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/pub/565/oa_monograph/book/136554 29 PROJECT_MUSE: download the title https://muse.jhu.edu/pub/565/oa_monograph/book/136554/pdf 20 08 20250520 01 11 OAPEN 36 OAPEN: webpage for this product https://library.oapen.org/handle/20.500.12657/102691 29 OAPEN: download the title https://library.oapen.org/bitstream/handle/20.500.12657/102691/TheVowOfStability_R_Interactive_20250506_706KKK.pdf?sequence=1&isAllowed=y 20 08 20250520 01 11 DOAB 36 DOAB: webpage for this product https://directory.doabooks.org/handle/20.500.12854/160468 20 08 20250520 01 11 EBSCO_HOST 36 EBSCO_HOST: webpage for this product https://research.ebsco.com/linkprocessor/plink?id=afa0f76e-d763-323d-b178-d20e412e3d84 20 08 20250520 01 11 INTERNET_ARCHIVE 36 INTERNET_ARCHIVE: webpage for this product https://archive.org/details/998c765b-8141-4024-8074-9f8e37c76424 29 INTERNET_ARCHIVE: download the title https://archive.org/download/998c765b-8141-4024-8074-9f8e37c76424/998c765b-8141-4024-8074-9f8e37c76424.pdf 20 08 20250520 01 09 Scottish Universities Press 02 Publisher's website: webpage for this product https://books.sup.ac.uk/sup/catalog/book/sup-9781917341110 29 Publisher's website: download the title https://books.sup.ac.uk/sup/catalog/download/sup-9781917341110/13/102?inline=1 20 08 20250520 01 urn:uuid:ef413a46-816e-44ea-b1d8-ffe4e38a8c06 03 01 01 thoth-work-id urn:uuid:998c765b-8141-4024-8074-9f8e37c76424 01 thoth-publication-id urn:uuid:ef413a46-816e-44ea-b1d8-ffe4e38a8c06 15 9781917341103 03 9781917341103 06 10.62637/sup.bilp1551 00 EB E101 10 Creative Commons Attribution-NonCommercial 4.0 International license (CC BY-NC 4.0). 02 https://creativecommons.org/licenses/by-nc/4.0/ 01 01 The vow of stability An ethnography of monastic life 1 A01 21 0000000304684510 Richard D.G. Irvine Richard Irvine 40 02wn5qz54 University of St Andrews Richard D.G. Irvine is Senior Lecturer and Director of Teaching in Social Anthropology at the University of St Andrews. His work spans the anthropology of religion and environmental anthropology, and he has carried out fieldwork in the UK and Mongolia. His previous book was An Anthropology of Deep Time (Cambridge University Press, 2020). 06 Own website https://www.st-andrews.ac.uk/social-anthropology/people/rdgi 01 eng 00 272 03 93 JHMC 10 SOC002010 93 QRVS5 10 REL086000 10 SOC039000 20 religious life; Catholic monasticism; Catholic monasticism; Benedictine monks; mysticism; liturgy 01 06 02 00 A close study of the rhythms and challenges of community life based on long-term fieldwork in an English Benedictine monastery, this book considers the importance of stability in a world of movement and fleeting interaction, and how religious institutions endure and change through time. 03 00 Though monastic life is often imagined to be a flight from the world, Benedictine monks take on the intense social commitment of life in close community. Drawing on long-term anthropological fieldwork in a Catholic English Benedictine monastery, this book traces the monks’ daily lives as they confront the eternal in the fabric of the everyday. Bringing into focus the vow of stability – a lifelong commitment to the monastery and its community – this ethnography explores the rhythms and architecture that sustain shared life in a world of movement and fleeting interaction. At the same time, it analyses those social processes that damage and undermine the monastic institution and those in contact with it – in particular the harm caused by sexual abuse. Engaging with the everyday dynamics of life in close community while paying close attention to the time-depth of monastic history, this is a study of how religious institutions endure and change through generations. 30 00 Though monastic life is often imagined to be a flight from the world, Benedictine monks take on the intense social commitment of life in close community. Drawing on long-term anthropological fieldwork in a Catholic English Benedictine monastery, this book traces the monks’ daily lives as they confront the eternal in the fabric of the everyday. Bringing into focus the vow of stability – a lifelong commitment to the monastery and its community – this ethnography explores the rhythms and architecture that sustain shared life in a world of movement and fleeting interaction. At the same time, it analyses those social processes that damage and undermine the monastic institution and those in contact with it – in particular the harm caused by sexual abuse. Engaging with the everyday dynamics of life in close community while paying close attention to the time-depth of monastic history, this is a study of how religious institutions endure and change through generations. 04 00 Acknowledgements Part I: The nature of stability Chapter 1 The promise of stability Chapter 2 The architecture of stability Chapter 3 The rhythm of stability Part II: Prayer, private and public Chapter 4 Liturgical prayer and the limits of participation Chapter 5 Contemplative prayer and the problem of other people Chapter 6 Reading as prayer and learning to listen Part III: Flight from the world? Chapter 7 Work and pray Chapter 8 Abuse and the failure of responsibility Chapter 9 Leaving home References Index 20 00 Open Access 01 00 03 02 https://images.squarespace-cdn.com/content/628df820a8f890150d19db11/3db27aeb-d7ae-4633-b786-1fe06d8a407b/TheVowofStability_Cover.jpg?content-type=image%2F.jpg 01 URL https://www.sup.ac.uk/ Scottish Universities Press 01 Scottish Universities Press 01 Publisher's website: home page https://www.sup.ac.uk/ 02 Publisher's website: webpage for this title https://books.sup.ac.uk/sup/catalog/book/sup-9781917341110 Edinburgh, Scotland 04 01 20250520 Richard Irvine 02 WORLD 06 15 9781917341080 03 9781917341080 06 15 9781917341097 03 9781917341097 06 15 9781917341110 03 9781917341110 WORLD 11 PROJECT_MUSE 36 PROJECT_MUSE: webpage for this product https://muse.jhu.edu/book/136554 20 08 20250520 01 09 Scottish Universities Press 02 Publisher's website: webpage for this product https://books.sup.ac.uk/sup/catalog/book/sup-9781917341110 29 Publisher's website: download the title https://books.sup.ac.uk/sup/catalog/view/sup-9781917341110/14/103 20 08 20250520 01