Notes
[1] All Blake quotations are from the 1988 Erdman edition, abbreviated E.
[2] As Jay David Bolter and Richard Grusin write, "No medium, it seems, can now function independently and establish its own separate and purified space of cultural meaning," Remediation: Understanding New Media (Cambridge: MIT P, 1999) 55. See also Jay David Bolter, Writing Space: Computers, Hypertext, and the Remediation of Print, 2nd ed. (Mahwah, NJ: Lawrence Erlbaum, 2001).
[3] Laura Shackelford, "Narrative Subjects Meet Their Limits: John Barth's 'Click' and the Remediation of Hypertext," Contemporary Literature 46.2 (2005): 275-310.
[4] The relevance of The [First] Book of Urizen to editing and book production has long been recognized. See McGann's "The Idea of an Interdeterminate Text: Blake's Bible of Hell and Dr. Alexander Geddes," Studies in Romanticism 25 (1986): 303-24; Paul Mann's "The Book of Urizen and the Horizons of the Book" in Unnam'd Forms: Blake and Textuality, eds. Nelson Hilton and Thomas A. Volger (Berkeley: Univ. of California P, 1986) 49-68; John H. Jones's "Printed Performance and Reading the Book[s] of Urizen: Blake's Bookmaking Process and the Transformation of Late Eighteenth-Century Print Culture," Colby Library Quarterly 35 (1999): 73-89; Lisa Kozlowksi's "Resonating Resins: 'Listning to the Voices of the Ground'" in William Blake's Book of Urizen," Huntington Library Quarterly 64 (2001): 411-27; and John Pierce's The Wond'rous Art: William Blake and Writing (Madison, NJ: Fairleigh Dickinson UP, 2003).
[5] See "The Veils of VALA: A Critical Survey of Full Editions of William Blake's Four Zoas Manuscript," diss. Univ. of Virginia, 2006.
[6] Paul Eggert points to the lack of satisfaction presented by the never-ending work on an electronic edition in "The Book, the E-text and the 'Work-site," Text Editing, Print and the Digital World, eds. Marilyn Deegan and Kathryn Sutherland (Burlington: Ashgate, 2009) 63-82. For more recent accounts on what it means to finish an electronic edition or archive, see the summer 2009 issue of Digital Humanities Quarterly, eds. Amy Earheart and Maura Ives <http://digitalhumanities.org/dhq/index.html>.
[7] The editors arrived at the following conclusion themselves about the multiple functions of the Archive: "We came to see the Blake project as a pacesetting instance of a fundamental shift in the ideas of "'archive,' 'catalogue,' and 'edition' as both processes and products" ("Standards" 136). For more on Thematic Research Collections, see Carole L. Palmer's "Thematic Research Collections," A Companion to Digital Humanities, eds. Susan Schreibman, Ray Siemens, and John Unsworth (Malden, MA: Blackwell, 2004) 348-65. Eggert has offered the term "electronic work site" ("The Book" 81) to capture how the intellectual labor of readers could create and record new editions at archive sites utilizing "Just in Time Markup."
[8] The length of the screenshot is due to the physical orientation of my monitor, which I have turned 90 degrees counterclockwise to replicate the longer shape of paper. The orientation has proved very useful for viewing the images at the Blake Archive.
[9] Eaves's point here echoes that of W. J. T. Mitchell in his "Dangerous Blake" SiR 21.3 (1982): 410-16.
[10] Atkinson, "An Application of Semiotics to the Definition of Bibliography" Studies in Bibliography 33 (1980). 14 September 2009 <http://etext.virginia.edu/etcbin/toccer-sb?id=sibv033&images=bsuva/sb/images&data=/texts/english/bibliog/SB&tag=public&part=3&division=div>.
[11] Eaves refers to this notion as Blake's "graphicality." See his "Graphicality" 99.
[12] See Hilton's review of this literature in his "Blake and the Play of Textuality" in William Blake Studies, ed. Nicholas M. Williams (New York: Palgrave, 2006) 85-105.
[13] See Phillips's William Blake: The Creation of the Songs From Manuscript to Illuminated Printing (Cambridge: Cambridge UP, 2000).
[14] See "A Wall of Words: The Sublime as Text," in Unnam'd Forms, ed. Nelson Hilton and Thomas A. Vogler (Berkely: Univ. of California P, 1986), 218-41.
[15] Counter-Art Conspiracy (Ithaca: Cornell UP, 1992). William Blake: Printmaker (Princeton: Princeton UP, 1980). Essick's key articles include: "William Blake, William Hamilton, and the Materials of Graphic Meaning," ELH 52 (1985): 833-72; "How Blake's Body Means" in Unnam'd Forms: Blake and Textuality, eds. Nelson Hilton and Thomas A. Volger (Berkley: Univ. of California P, 1986), 197-217; "Representation, Anxiety, and the Bibliographic Sublime" Huntington Library Quarterly 59 (1998): 503-28; and "Blake and the Production of Meaning" in Blake in the Nineties, eds. Steve Clark and David Worrall (New York: St. Martin's, 1999), 7-26. Many of Essick's articles were a response to Stephen Leo Carr's "William Blake's Print-Making Process in Jerusalem" ELH 47 (1980): 520-40 and Paul Mann's "Apocalypse and Recuperation: Blake and the Maw of Commerce" ELH (1985): 1-32.
[16] For his part, Essick questions the usefulness of a copperplate edition (Kraus 187).
[17] Some key works include: Jerome J. McGann's The Textual Condition (Princeton: Princeton UP, 1991) and Radiant Textuality (New York: Palgrave, 2001); George Bornstein and Ralph G. Williams's collection Palimpsest: Editorial Theory in the Humanities (Ann Arbor: Univ. of Michigan P, 1993); Richard J. Finneran's collection The Literary Text in the Digital Age (Ann Arbor: Univ. of Michigan P, 1996); Leah S. Marcus's Unediting the Renaissance: Shakespeare, Marlow, and Milton (New York: Routledge, 1996); and Peter Shillingsburg's Scholarly Editing in the Computer Age (Ann Arbor: Univ. of Michigan P, 1996) and Resisting Texts: Authority and Submission in Constructions of Meaning (Ann Arbor: Univ. of Michigan P, 1997).
[18] See Nelson Hilton's "www.english.uga.edu/wblake," Blake: An Illustrated Quarterly 33 (1999): 11-16.
[19] See Karl Kroeber's initial ideas about the influence of the Archive in his introduction to "The Blake Archive and the Future of Literary Studies," Wordsworth Circle 30 (1999): 123-44.
[20] Mary Lynn Johnson, "The Iowa Blake Videodisc Project: A Cautionary History," Wordsworth Circle 30.3 (1999): 131-35.
[21] "Image-based Humanities Computing," Computers and the Humanities 36 (2002): 4.
[22] Sutherland herself turns to Kirschenbaum and his recent investigation into the unrecognized materiality of electronic media in Mechanisms: New Media and the Forensic Imagination (Cambridge, MA: MIT Press, 2008).
[23] For an example of this cropping, see Viscomi's figures 3 and 4, which show the uncropped and cropped versions of The Book of Urizen copy G, plate 4.
[24] For more on the practical limitations of marking and editing a text, see Peter Robinson, "Ma(r)king the Electronic Text: How, Why and For Whom?" in Ma(r)king the Text: The Presentation of Meaning on the Literary Page, eds. Joe Bray, Miriam Handley, and Anne C. Henry (Burlington: Ashgate, 2000) 309-28 and Phill Berrie et al., "Authenticating Electronic Editions" Electronic Textual Editing, eds. Lou Burnard, Katherine O'Brien O'Keeffe, and John Unsworth (New York: MLA, 2006) 271. Given these limitations, McGann, in particular, has stressed that literary language has autopoetic structures that the hierarchical TEI markup schemes cannot capture (Radiant 182).
[25] See Reiman's "'Versioning': The Presentation of Multiple Texts," in Romantic Texts and Contexts (Columbia: Univ. of Missouri P, 1987), 167-80.
[26] See Eaves's description of how the Archive is using Alexander Gourlay's commentary on the Night Thoughts illustrations ("Picture" par. 32).
[27] The Torn Book: UnReading William Blake's Marginalia (Selinsgrove: Susquehanna UP, 2006).
[28] Drucker discusses some of the theoretical and practical relationships between a physical page and its electronic imitation in "The Virtual Codex from Page Space to E-space" in A Companion to Digital Literary Studies, eds. Ray Siemens and Susan Schreibman (Oxford: Blackwell, 2008) 24 August 2009 <http://www.digitalhumanities.org/companion/view?docId=blackwell/9781405148641/9781405148641.xml&chunk.id=ss1-5-5&toc.depth=1&toc.id=ss1-5-5&brand=9781405148641_brand>.
[29] William Blake (New York: Harry N. Abrams, 2000) and Seen in My Visions: A Descriptive Catalogue of Pictures (London: Tate, 2009).
[30] See Essick, "Production."