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In Two Bits, Christopher M. Kelty investigates the history and cultural significance of Free Software, revealing the people and practices that have transformed not only software but also music, film, science, and education. Free Software is a set of practices devoted to the collaborative creation of software source code that is made openly and freely available through an unconventional use of copyright law. Kelty explains how these specific practices have reoriented the relations of power around the creation, dissemination, and authorization of all kinds of knowledge. He also makes an important contribution to discussions of public spheres and social imaginaries by demonstrating how Free Software is a recursive publica public organized around the ability to build, modify, and maintain the very infrastructure that gives it life in the first place.Drawing on ethnographic research that took him from an Internet healthcare start-up company in Boston to media labs in Berlin to young entrepreneurs in Bangalore, Kelty describes the technologies and the moral vision that bind together hackers, geeks, lawyers, and other Free Software advocates. In each case, he shows how their practices and way of life include not only the sharing of software source code but also ways of conceptualizing openness, writing copyright licenses, coordinating collaboration, and proselytizing. By exploring in detail how these practices came together as the Free Software movement from the 1970s to the 1990s, Kelty also considers how it is possible to understand the new movements emerging from Free Software: projects such as Creative Commons, a nonprofit organization that creates copyright licenses, and Connexions, a project to create an online scholarly textbook commons.

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Two Bits: The Cultural Significance of Free Software

In this article, I inquire into Facebook’s development as a platform by situating it within the transformation of social network sites into social media platforms. I explore this shift with a histo...

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The Platformization of the Web: Making Web Data Platform Ready

This work provides an analysis of the ways that new media are experienced and studied as the subjects of history, using the examples of early recorded sound and digital networks. In "Always Already New", Lisa Gitelman explores the newness of new media while she asks what it means to do media history. Using the examples of early recorded sound and digital networks, Gitelman challenges readers to think about the ways that media work as the simultaneous subjects and instruments of historical inquiry. Presenting original case studies of Edison's first phonographs and the Pentagon's first distributed digital network, the ARPANET, Gitelman points suggestively toward similarities that underlie the cultural definition of records (phonographic and not) at the end of the nineteenth century and the definition of documents (digital and not) at the end of the twentieth. As a result, "Always Already New" speaks to present concerns about the humanities as much as to the emergent field of new media studies. Records and documents are kernels of humanistic thought, after all, part of and party to the cultural impulse to preserve and interpret. Gitelman's argument suggests inventive contexts for "humanities computing" while also offering a new perspective on such traditional humanities disciplines as literary history. Making extensive use of archival sources, Gitelman describes the ways in which recorded sound and digitally networked text each emerged as local anomalies that were yet deeply embedded within the reigning logic of public life and public memory. In the end, Gitelman turns to the World Wide Web and asks how the history of the Web is already being told, how the Web might also resist history, and how using the Web might be producing the conditions of its own historicity.

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Always Already New: Media, History, and the Data of Culture

In literary theory, the philosophy of law, and the sociology of knowledge, no issue has been more central to current debate than the status of our interpretations. Do they rest on a ground of rationality or are they subjective impositions of a merely personal point of view? In \"Doing What Comes Naturally,\" Stanley Fish refuses the dilemma posed by this question and argues that while we can never separate our judgments from the contexts in which they are made, those judgments are nevertheless authoritative and even, in the only way that matters, objective. He thus rejects both the demand for an ahistorical foundation, and the conclusion that in the absence of such a foundation we reside in an indeterminate world. In a succession of provocative and wide-ranging chapters, Fish explores the implications of his position for our understanding of legal, literary, and psychoanalytic interpretation, the nature of professional and institutional culture, and the place of reason in a world that is rhetorical through and through.

Doing What Comes Naturally: Change, Rhetoric, and the Practice of Theory in Literary and Legal Studies

Knowledge work is now the reigning business paradigm and affects even the world of higher education. But what perspective can the knowledge of the humanities and arts contribute to a world of knowledge work whose primary mission is business? And what is the role of information technology as both the servant of the knowledge economy and the medium of a new technological cool? In The Laws of Cool, Alan Liu reflects on these questions as he considers the emergence of new information technologies and their profound influence on the forms and practices of knowledge. Liu first explores the nature of postindustrial corporate culture, studies the rise of digital technologies, and charts their dramatic effect on business. He then shows how such technologies have given rise to a new high-tech culture of cool. At the core of this book are an assessment of this new cool and a measured consideration of its potential and limitations as a popular new humanism. According to Liu, cool at once mimics and resists the postindustrial credo of innovation and creative destruction, which holds that the old must perpetually give way to the new. Information, he maintains, is no longer used by the cool just

The Laws of Cool: Knowledge Work and the Culture of Information

Wordsworth, the sense of history

The Power of Formalism: The New Historicism Author(s): Alan Liu Source: ELH, Vol. 56, No. 4 (Winter, 1989), pp. 721-771 Published by: The Johns Hopkins University Press Stable URL: http://www.jstor.org/stable/2873158 . Accessed: 13/07/2014 01:51 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to ELH. http://www.jstor.org This content downloaded from 128.111.121.42 on Sun, 13 Jul 2014 01:51:25 AM All use subject to JSTOR Terms and Conditions

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The Power of Formalism: The New Historicism

As the cue for a thesis I wish to o!er about the future of the digital humanities, I start by confessing to a lie I inserted in the last paragraph of the mission statement of 4Humanities. 4Humanities is an initiative I helped cofound with other digital humanists in November 2010 to advocate for the humanities at a time when economic retrenchment has accelerated a long-term decline in the perceived value of the humanities. It serves as a platform for advocacy statements and campaigns, international news on the state of the humanities, showcase examples of humanities work, “student voices” for the humanities, and other ways of speaking up publicly for the humanities. But unlike other humanities advocacy campaigns—for example, those of the National Humanities Alliance in the United States or the Defend the Arts and Humanities and Humanities and Social Sciences Matter initiatives in the United Kingdom—it has a special premise. As emblematized in the motto on its website, 4Humanities is “powered by the digital humanities community.” The idea is that in today’s world of networked communications the digital humanities have a special role to play in helping the humanities reach out. The last paragraph of the 4Humanities mission statement (which I wrote) thus asserts,

Where is cultural criticism in the digital humanities

This question of disciplinary meaning—which I ask from the viewpoint of the humanities generally—is larger than the question of disciplinary identity now preoccupying “DH” itself, as insiders call it. Having reached a critical mass of participants, publications, conferences, grant competitions, institutionalization (centers, programs, and advertised jobs), and general visibility, the field is vigorously forming an identity. Recent debates about whether the digital humanities are a “big tent” (Jockers and Worthey), “who's in and who's out?” (Ramsay), whether “you have to know how to code [or be a builder]” (Ramsay, “On Building”), the need for “more hack, less yack” (Cecire, “When Digital Humanities”; Koh), and “who you calling untheoretical?” (Bauer) witness a dialectics of inclusion and exclusion not unlike that of past emergent fields. An ethnographer of the field, indeed, might take a page from Claude Levi-Strauss and chart the current digital humanities as something like a grid of affiliations and differences between neighboring tribes. Exaggerating the differences somewhat, as when a tribe boasts its uniqueness, we can thus say that the digital humanities—much of which affiliates with older humanities disciplines such as literature, history, classics, and the languages; with the remediation of older media such as books and libraries; and ultimately with the value of the old itself (history, archives, the curatorial mission)—are not the tribe of “new media studies,” under the sway of the design, visual, and media arts; Continental theory; cultural criticism; and the avant-garde new. Similarly, despite significant trends toward networked and multimodal work spanning social, visual, aural, and haptic media, much of the digital humanities focuses on documents and texts in a way that distinguishes the field's work from digital research in media studies, communication studies, information studies, and sociology. And the digital humanities are exploring new repertoires of interpretive or expressive “algorithmic criticism” (the “second wave” of the digital humanities proclaimed in “The Digital Humanities Manifesto 2.0” [3]) in a way that makes the field not even its earlier self, “humanities computing,” alleged to have had narrower technical and service-oriented aims. Recently, the digital humanities' limited engagement with identity and social-justice issues has also been seen to be a differentiating trait—for example, by the vibrant #transformDH collective, which worries that the digital humanities (unlike some areas of new media studies) are dominantly not concerned with race, gender, alternative sexualities, or disability.

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Alan Liu

Papers

The Laws of Cool: Knowledge Work and the Culture of Information

Wordsworth, the sense of history

The Power of Formalism: The New Historicism

Where is cultural criticism in the digital humanities

The Meaning of the Digital Humanities