The Evolution of the Book Review (part two)

In my last post I discussed how the traditional book review is being updated in the digital age. Here, I would like to look at the way the book review is evolving from a text medium into a multimedia genre with a strong social component. Once again, there are new contexts to apply to this evolution of the book review.

Reviewing in Digital Culture
Those reviewing books online are doing so in a context in which many other things are being rated and reviewed: consumer goods and digital content of every variety, as well as services, sellers, suppliers, and companies. Contributing one's opinion about something viewed or purchased online has become a primary kind of online activity. We "like" things on Facebook, +1 them on Google+, and we assign star ratings to movies on Netflix or to books on Goodreads. We are even reviewing things indirectly simply by expressing our feelings about things. A good deal of time is spent on "sentiment analysis" of consumers as they discuss various brands or products through the various social media (such as Twitter):

The Sentiment 140 service searches Twitter and returns sentiment analysis on tweets for a given brand.
Note how the red-coded negative review is inaccurate.
Note that one can rate the accuracy of the rating (in grey)

The Evolution of the Book Review (part one)

The book review's evolution reveals key changes to literacy in the digital age. What has the book review been? How is it being adapted to the new media? What is its future? I want my students to wrestle with these questions by writing a conventional book review (about an individually assigned book in the field of digital culture) and by producing a video book review.  I will give some explanation and guidelines for how they should think about and carry out those assignments. But first, some contexts.

Context #1: The Digital Humanities
A central concern to the emerging field of Digital Humanities is reconsidering the basic objects of study that are the subject of humanistic inquiry: the book or manuscript, the work of art, the musical performance, etc.  These components must be reconsidered because they are newly mediated: the eBook is not the book; the virtual tour of the Louvre is not the same as visiting the Paris museum; the musical performance is a creature quite different than ever before when one can capture, sample, and remix various recordings. Even so late a comer to the humanities as the motion picture is no longer the same cultural artifact or experience it was in the 20th century -- not when one can experience films on a mobile device, on demand, and in computing contexts where audiences are as much creators as viewers.

Is this the Mona Lisa? This is the way it appears on the
official website of the Louvre. Studying a painting becomes
studying digital ways of manipulating its presentation.
(Image credit: Musée du Louvre, used by permission)

What is more, the sense-making frameworks that have been the staples of humanistic study are equally at risk. By such frameworks I mean physical locations (the museum, the classroom); methods of publication; methods of inquiry and expertise; theoretical premises; and finally, the very rhetoric of critique. People discover, learn about, make use of, comment upon, disseminate, and build upon art and literature in far different ways than they did back when we had fixed institutions and clear lines of expertise.