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href="/dhq/index/title.html"> Title</a></li><li><a href="/dhq/index/author.html"> Author</a></li></ul></div><img src="/dhq/common/images/lbarrev.png" style="margin-left : 7px;" alt=""/><div id="leftsideID"><b>ISSN 1938-4122</b><br/></div><div class="leftsidecontent"><h3>Announcements</h3><ul><li><a href="/dhq/news/news.html#peer_reviews">Call for Reviewers</a></li><li><a href="/dhq/submissions/index.html#logistics">Call for Submissions</a></li></ul></div><div class="leftsidecontent"><script type="text/javascript">addthis_pub = 'dhq';</script><a href="http://www.addthis.com/bookmark.php" onmouseover="return addthis_open(this, '', '[URL]', '[TITLE]')" onmouseout="addthis_close()" onclick="return addthis_sendto()"><img src="http://s9.addthis.com/button1-addthis.gif" width="125" height="16" alt="button1-addthis.gif"/></a><script type="text/javascript" src="http://s7.addthis.com/js/152/addthis_widget.js"></script></div></div><div id="mainContent"><div id="printSiteTitle">DHQ: Digital Humanities Quarterly</div><div id="toc"> <h1>2007 1.2</h1> <h2>Editorials</h2> <div class="articleInfo" style="margin:0 0 1em 0;"><span class="monospace">[en] </span><a href="/dhq/vol/1/2/000013/000013.html">DHQ in the Public Eye</a><div style="padding-left:1em; margin:0;text-indent:-1em;">Melissa Terras, University College London</div><span class="viewAbstract">Abstract <span class="viewAbstract monospace" style="display:inline" id="abstractExpanderabstract000013en"><a title="View Abstract" class="expandCollapse monospace" href="javascript:expandAbstract('abstract000013en')">[en]</a></span><span style="display:none" class="abstract" id="abstract000013en"> This editorial reflects on developments to DHQ and the ways we can assess impact and readership. </span></span><span class="Z3988" title="url_ver=Z39.88-2004&ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rfr_id=info%3Asid%2Fzotero.org%3A2&rft.genre=article&rft.atitle=DHQ%20in%20the%20Public%20Eye&rft.jtitle=Digital%20Humanities%20Quarterly&rft.stitle=DHQ&rft.issn=1938-4122&rft.date=2007-09-12&rft.volume=001&rft.issue=2&rft.aulast=Terras&rft.aufirst=Melissa&rft.au=Melissa%20Terras"> </span></div> <h2>Articles</h2> <div class="articleInfo" style="margin:0 0 1em 0;"><span class="monospace">[en] </span><a href="/dhq/vol/1/2/000009/000009.html">Somewhere Nearby is Colossal Cave: Examining Will Crowther's Original “Adventure” in Code and in Kentucky </a><div style="padding-left:1em; margin:0;text-indent:-1em;">Dennis G. Jerz, Seton Hill University</div><span class="viewAbstract">Abstract <span class="viewAbstract monospace" style="display:inline" id="abstractExpanderabstract000009en"><a title="View Abstract" class="expandCollapse monospace" href="javascript:expandAbstract('abstract000009en')">[en]</a></span><span style="display:none" class="abstract" id="abstract000009en"> Because so little primary historical work has been done on the classic text computer game “Colossal Cave Adventure”, academic and popular references to it frequently perpetuate inaccuracies. “Adventure” was the first in a series of text-based games (“interactive fiction”) that emphasize exploring, puzzles, and story, typically in a fantasy setting; these games had a significant cultural impact in the late 1970s and a significant commercial presence in the early 1980s. Will Crowther based his program on a real cave in Kentucky; Don Woods expanded this version significantly. The expanded work has been examined as an occasion for narrative encounters and as an aesthetic masterpiece of logic and utility ; however, previous attempts to assess the significance of “Adventure” remain incomplete without access to Crowther's original source code and Crowther's original source cave. Accordingly, this paper analyzes previously unpublished files recovered from a backup of Woods's student account at Stanford, and documents an excursion to the real Colossal Cave in Kentucky in 2005. In addition, new interviews with Crowther, Woods, and their associates (particularly members of Crowther's family) provide new insights on the precise nature of Woods's significant contributions. Real locations in the cave and several artifacts (such as an iron rod and an axe head) correspond to their representation in Crowther's version; however, by May of 1977, Woods had expanded the game to include numerous locations that he invented, along with significant technical innovations (such as scorekeeping and a player inventory). Sources that incorrectly date Crowther's original to 1972 or 1974, or that identify it as a cartographic data file with no game or fantasy elements, are sourced thinly if at all. The new evidence establishes that Crowther wrote the game during the 1975-76 academic year and probably abandoned it in early 1976. The original game employed magic, humor, simple combat, and basic puzzles, all of which Woods greatly expanded. While Crowther remained largely faithful to the geography of the real cave, his original did introduce subtle changes to the environment in order to improve the gameplay. </span></span><span class="Z3988" title="url_ver=Z39.88-2004&ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rfr_id=info%3Asid%2Fzotero.org%3A2&rft.genre=article&rft.atitle=Somewhere%20Nearby%20is%20Colossal%20Cave%3A%20Examining%20Will%20Crowther's%20Original%20Adventure%20in%20Code%20and%20in%20Kentucky&rft.jtitle=Digital%20Humanities%20Quarterly&rft.stitle=DHQ&rft.issn=1938-4122&rft.date=2007-09-12&rft.volume=001&rft.issue=2&rft.aulast=Jerz&rft.aufirst=Dennis G.&rft.au=Dennis G.%20Jerz"> </span></div> <div class="articleInfo" style="margin:0 0 1em 0;"><span class="monospace">[en] </span><a href="/dhq/vol/1/2/000010/000010.html">All Hope Abandon: Biblical Text and Interactive Fiction</a><div style="padding-left:1em; margin:0;text-indent:-1em;">Eric Eve, Harris Manchester College, University of Oxford</div><span class="viewAbstract">Abstract <span class="viewAbstract monospace" style="display:inline" id="abstractExpanderabstract000010en"><a title="View Abstract" class="expandCollapse monospace" href="javascript:expandAbstract('abstract000010en')">[en]</a></span><span style="display:none" class="abstract" id="abstract000010en"> Among the alternative kinds of narrative opened up by computer technology, one of earliest is interactive fiction (and specifically the “text adventure” or “adventure game”), which first came into being in the 1970s. Text-based interactive fiction enjoyed a brief period of commercial success in the 1980s until it was overtaken by advances in computer graphics, but it continues to be read and written by enthusiastic amateurs. Although interactive fiction clearly has roots in computer gaming, it also has potential as a new form of literature. Since interactive fiction may be a medium unfamiliar to some readers, this article will start by defining it, explaining some of its conventions, and outlining its origins. It will then describe how one recent piece of interactive fiction, “All Hope Abandon”, explores aspects of Biblical Studies through the medium of IF, and will end by suggesting a number of fruitful links between interactive fiction and biblical text. In the course of the article several examples from “All Hope Abandon” will be given, and instructions on how to install and play the game will be provided at the end. </span></span><span class="Z3988" title="url_ver=Z39.88-2004&ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rfr_id=info%3Asid%2Fzotero.org%3A2&rft.genre=article&rft.atitle=All%20Hope%20Abandon%3A%20Biblical%20Text%20and%20Interactive%20Fiction&rft.jtitle=Digital%20Humanities%20Quarterly&rft.stitle=DHQ&rft.issn=1938-4122&rft.date=2007-09-12&rft.volume=001&rft.issue=2&rft.aulast=Eve&rft.aufirst=Eric&rft.au=Eric%20Eve"> </span></div> <div class="articleInfo" style="margin:0 0 1em 0;"><span class="monospace">[en] </span><a href="/dhq/vol/1/2/000011/000011.html">Aporias of the Digital Avant-Garde</a><div style="padding-left:1em; margin:0;text-indent:-1em;">Steve F. Anderson, University of Southern California</div><span class="viewAbstract">Abstract <span class="viewAbstract monospace" style="display:inline" id="abstractExpanderabstract000011en"><a title="View Abstract" class="expandCollapse monospace" href="javascript:expandAbstract('abstract000011en')">[en]</a></span><span style="display:none" class="abstract" id="abstract000011en"> This article maps two divergent trajectories within a narrowly defined sphere of short-form, time-based digital media created between 1995 and 2005. These works are considered in relation to the historical avant-garde - particularly the Structural film movement of the 1960s and 70s - and analyzed as responses to a range of cultural concerns specific to the digital age. The analysis identifies movement toward two terminal points: first, a mode of remix-based montage inspired by open source programming communities and peer-to- peer networks; and second, the emergence of a mode of imaging termed the “digital analogue”, which foregrounds the material basis of digital production. </span></span><span class="Z3988" title="url_ver=Z39.88-2004&ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rfr_id=info%3Asid%2Fzotero.org%3A2&rft.genre=article&rft.atitle=Aporias%20of%20the%20Digital%20Avant-Garde&rft.jtitle=Digital%20Humanities%20Quarterly&rft.stitle=DHQ&rft.issn=1938-4122&rft.date=2007-09-12&rft.volume=001&rft.issue=2&rft.aulast=Anderson&rft.aufirst=Steve F.&rft.au=Steve F.%20Anderson"> </span></div> <div class="articleInfo" style="margin:0 0 1em 0;"><span class="monospace">[en] </span><a href="/dhq/vol/1/2/000012/000012.html">The End of the Irrelevant Text: Electronic Texts, Linguistics, and Literary Theory</a><div style="padding-left:1em; margin:0;text-indent:-1em;">David Hoover, New York University</div><span class="viewAbstract">Abstract <span class="viewAbstract monospace" style="display:inline" id="abstractExpanderabstract000012en"><a title="View Abstract" class="expandCollapse monospace" href="javascript:expandAbstract('abstract000012en')">[en]</a></span><span style="display:none" class="abstract" id="abstract000012en"> The close study of literary texts has a long and illustrious history. But the popularity of textual analysis has waned in recent decades, just at the time that widely available electronic texts were making traditional analytic tools easier to apply and encouraging the development of innovative computer-assisted tools. Without claiming any simple causal relationship, I argue that the marginalization of textual analysis and other text-centered approaches owes something to the dominance of Chomskyan linguistics and the popularity of high theory. Certainly both an introspective, sentence-oriented, formalist linguistic approach and literary theories deeply influenced by ideas about the sign's instability and the tendency of texts to disintegrate under critical pressure minimize the importance of the text. Using examples from Noam Chomsky, Jerome McGann, and Stanley Fish, I argue for a return to the text, specifically the electronic, computable text, to see what corpora, text-analysis, statistical stylistics, and authorship attribution can reveal about meanings and style. The recent resurgence of interest in scholarly editions, corpora, text- analysis, stylistics, and authorship suggest that the electronic text may finally reach its full potential. </span></span><span class="Z3988" title="url_ver=Z39.88-2004&ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rfr_id=info%3Asid%2Fzotero.org%3A2&rft.genre=article&rft.atitle=The%20End%20of%20the%20Irrelevant%20Text%3A%20Electronic%20Texts,%20Linguistics,%20and%20Literary%20Theory&rft.jtitle=Digital%20Humanities%20Quarterly&rft.stitle=DHQ&rft.issn=1938-4122&rft.date=2007-09-12&rft.volume=001&rft.issue=2&rft.aulast=Hoover&rft.aufirst=David&rft.au=David%20Hoover"> </span></div> <h2>Issues in Digital Humanities</h2> <div class="articleInfo" style="margin:0 0 1em 0;"><span class="monospace">[en] </span><a href="/dhq/vol/1/2/000014/000014.html">Revista Digital Universitaria: A Workshop of Digital Editing at the Universidad Nacional Autónoma de México</a><div style="padding-left:1em; margin:0;text-indent:-1em;">Ernesto Priani Saisó, Universidad Nacional Autónoma de México</div><span class="viewAbstract">Abstract <span class="viewAbstract monospace" style="display:inline" id="abstractExpanderabstract000014en"><a title="View Abstract" class="expandCollapse monospace" href="javascript:expandAbstract('abstract000014en')">[en]</a></span><span style="display:none" class="abstract" id="abstract000014en"> The <cite class="italic">Revista Digital Universitaria </cite> (http://www.revista.unam.mx) at the Universidad Nacional Autónoma de México (UNAM) is an experimental digital magazine that serves as a “workshop of digital editing at the university”. In this article its editor explores how its authors and producers have experimented with the form and content of the publication. </span></span><span class="Z3988" title="url_ver=Z39.88-2004&ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rfr_id=info%3Asid%2Fzotero.org%3A2&rft.genre=article&rft.atitle=Revista%20Digital%20Universitaria%3A%20A%20Workshop%20of%20Digital%20Editing%20at%20the%20Universidad%20Nacional%20Autónoma%20de%20México&rft.jtitle=Digital%20Humanities%20Quarterly&rft.stitle=DHQ&rft.issn=1938-4122&rft.date=2007-09-12&rft.volume=001&rft.issue=2&rft.aulast=Priani Saisó&rft.aufirst=Ernesto&rft.au=Ernesto%20Priani Saisó"> </span></div> <h2><a href="/dhq/vol/1/2/bios.html">Author Biographies</a></h2></div><div id="footer"><div style="float:left; max-width:70%;"> URL: http://www.digitalhumanities.org/dhq/vol/1/2/index.html<br/> Comments: <a href="mailto:dhqinfo@digitalhumanities.org" class="footer">dhqinfo@digitalhumanities.org</a><br/> Published by: <a href="http://www.digitalhumanities.org" class="footer">The Alliance of Digital Humanities Organizations</a> and <a href="http://www.ach.org" class="footer">The Association for Computers and the Humanities</a><br/>Affiliated with: <a href="https://academic.oup.com/dsh">Digital Scholarship in the Humanities</a><br/> DHQ has been made possible in part by the <a href="https://www.neh.gov/">National Endowment for the Humanities</a>.<br/>Copyright © 2005 - <script type="text/javascript"> var currentDate = new Date(); document.write(currentDate.getFullYear());</script><br/><a rel="license" href="http://creativecommons.org/licenses/by-nd/4.0/"><img alt="Creative Commons License" style="border-width:0" src="https://i.creativecommons.org/l/by-nd/4.0/80x15.png"/></a><br/>Unless otherwise noted, the DHQ web site and all DHQ published content are published under a <a rel="license" href="http://creativecommons.org/licenses/by-nd/4.0/">Creative Commons Attribution-NoDerivatives 4.0 International License</a>. 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