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Cost

There are warnings that digital monographs are not cheaper to produce than books. Clifford Lynch points outelectronic monographs displace costs from the publishers to the scholar and site manager: "the economic dilemma of the monographhas not been solved, but only rearranged."

Clifford Lynch, "The Scholarly Monograph’s Descendants" (1997), (External Link) .
The maturing of technology and software, the refinement of authoring tools andimage viewers, and the development of other scalable models promise to reduce costs. Art history stands to benefit from thetrailblazing organizations that found a sustainable e-publishingmodel by using a subscription-based distribution system and aggregating related material.

Preservation

The permanent preservation and access to digital materials is a major concern of scholars who regularlyexperience the complications of upgrading software and migrating data to new formats. The launch of Portico, an electronic archivingservice supported by the Andrew W. Mellon Foundation, Itkaka, the Library of Congress and JSTOR, in 2005 offers a large-scalesolution to this structural problem. As news of Portico’s work permeates the scholarly community, the question of preservation andpermanent access will retreat, and migrating data will become a standard operation of cyberinfrastructure.

See (External Link) . Defunct links remain another problem, but software tools are available andwill presumably evolve to clean up link-rot, William J. Mitchell’s colorful word. Also see the Draft Report of the ACLS Commission on Cyberinfrastructure for the Humanities and Social Sciences , November 5, 2005, at (External Link) .

Versioning and the historiographic record

Wikipedia ’s model of collective authorship combined with the ease of revising digital files gives rise to afear that the updating of content, or versioning, will blur the historiographic record and obscure the stance of a scholar at agiven moment in time. Claims that electronic publication will nullify the concept of the author and integrity of the text, in anextreme variant of intertextuality, have a futuristic quality and suppose that technology determines outcomes. It is the case thatscholars can determine applications of the medium that best serve their goals if they take charge of such efforts. Hypertext, as anexample, is well suited to capture historiographical shifts and register disputes over dates, attributions, and interpretations.

ARTstor is developing a capacity to update image cataloguing information and track what James Shulman callsthe "archaeology" of the image. On the use of hypertext in presenting literary variants, see Luca Toschi, "Hypertext andAuthorship," in The Future of the Book , ed. by Geoffrey Nunberg (Berkeley: University of California Press, 1996),169-207.

It is instructive to recall the contested authority of printed books in early modern Europe. As Adrian Johnselaborates in his study of seventeenth-century England, books originally had weak claims on truth in part because of themulti-step publishing process, which subjected the author’s manuscript to manipulation by type setters, printers, binders andother players.

Adrian Johns, The Nature of the Book. Print and Knowledge in the Making (Chicago: University of Chicago Press, 1998).
A print culture was formed that regulated a potentially permissive process and established the authority of thetext and credibility of the author—a project so effective that teachers must now teach students to question the truth of theprinted word. The early modern history of print culture underscores the power of social structures to shape new forms of communicationand suggests that scholars have an important role to play in the still formative phase of electronic publication.

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Source:  OpenStax, Art history and its publications in the electronic age. OpenStax CNX. Sep 20, 2006 Download for free at http://cnx.org/content/col10376/1.1
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