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The purpose of this paper is to provide a general review and historical context for digitization and interdisciplinary research involving digital surrogates of historical Persian manuscripts in the National Library and Archives of Iran and similarly engaged institutions.

The paper explores interdisciplinary aspects of Persian art, poetry, science, and philosophy, as revealed in the scrutiny of digitized manuscripts. It explores the enhancement of Persian, Iranian and Islamic cultural heritage research. It discusses benefits and concerns in conceptual contexts of library and information science literature. It references some manuscript digitization projects involving Islamic heritage, including the HARAM online manuscript service of the National Library and Archives of Iran (NLAI). It addresses issues of availability and access in global contexts.

Manuscript digitization, placed in the context of interdisciplinary research, reveals modern correlations to the interdisciplinary nature of ancient Persian arts and sciences — and to the purpose of digitization — as appropriate to an historical continuum of Persian written literacy and traditional Islamic cultural heritage.

For future contexts of digital global research, research involving many interrelated fields will benefit from use of digital manuscript surrogates. Institutional cooperation will be necessary. The physical conservation of fragile materials also benefits. Historical contexts should be observed, and preserved with the materials.

This paper shows that interdisciplinary research in international universities, libraries, museums, archives, government agencies, and other public institutions uniquely benefits from access to digitized manuscripts. It provides contexts for solving problems of physical manuscript decay and destruction.

This research analyzes how the dimensions of the customer experience derived from using a digital kiosk during the store visit influence shopping value, self-mental imagery and the behavioral intentions of buying and word of mouth. Mediation effects of utilitarian, hedonic and social shopping values are examined, as well as the mediating effect of self-mental imagery.

Two empirical studies were conducted to test the research hypotheses. A first analysis was carried out using a sample of 115 customers from several retail sectors. For the second study, 200 customers of one of the largest international sporting goods retailers were interviewed immediately after their store visit.

The results confirm significant influences of each dimension of the digital kiosk customer experience (sensorial, pragmatic, cognitive, social) on shopping value and self-mental imagery. They highlight strongest effects as well as the quasi-generalized mediating role of these values, and this self-mental imagery in the relations between the components of the experience and the behavioral intentions.

The studies were carried out in only one country (France). It would be also useful to consider variations in shopping motives and in involvement between retail sectors. Highlighted relationships should be deepened by experiments intended to identify the psychological mechanisms and emotions capable of mediating influences of customer experience on shopping value.

The results encourage both advice on the design of digital kiosks and the specifications of their content and several recommendations about the widespread introduction of kiosks or similar new technologies.

This research highlights influences of each of components of customer experience when using an interactive kiosk on shopping values and self-mental imagery, and central roles of these in understanding influences of the customer experience on behavioral responses.

The purpose of this study is to investigate the effects of visual and verbal information presentations on mental imagery, perceived informativeness and purchase intention. The study assesses two types of product-related information: (1) visual information: static product images and augmented reality (AR) and (2) verbal information: abstract and concrete product reviews.

A total of 320 mobile consumers participated in the experiment. To increase external validity, this study was conducted in an existing digital shopping environment.

The results suggest that AR has a greater effect on consumers' shopping outcomes than static images. The findings further reveal that concrete product reviews are important in increasing mental imagery, perceived informativeness and purchase intention when visual information does not provide an AR function.

This study contributes to the current literature by providing empirical support for AR effects and concrete reviews on consumer responses. The results further provide an important perspective for retailers seeking ways to develop effective information presentations in digital retailing.

This paper presents a framework for understanding the technological change and its impacts on environments where multiple versions of a technology exist simultaneously. Both orienting and limiting role of physical (skeumorph) and conceptual metaphors on the products, processes, and user experience in changing from a familiar functional implementation to the one employing new media is illustrated using examples showing the transition from wet photography to digital imagery and from surface mail to e‐mail. People use physical (skeumorph) and conceptual metaphors to orient themselves with new technology by understanding new functions in terms of earlier technological versions. Since new technology is adopted at varying rates and varying times, multiple versions exist at any given time. Sometimes expectations appropriate for earlier technological iterations obscure the challenges and possibilities presented by the new media implementation. This paper examines how new technologies challenge and are challenged by the contexts into which they are introduced. By understanding the function that physical (skeumorph) and conceptual metaphors play in facilitating technological change, we can become more conscious of the discontinuities between the new technological iteration and earlier implementations to gain deeper awareness about how “the new” functions differently and to help us engage new technology closer to its own terms and open up new possibilities for its use.

Mediated trauma pumped through information and communication technologies (ICTs), in highlighting the shared vulnerabilities and precarity of human lives, is also invested in the re-distribution and re-articulation of wounding and violence. This chapter examines what is transacted in the dissemination of human trauma through ICTs and how, within this affective architecture, we can come to understand the notions of wounding and woundedness as a pervasive condition of modernity invoking the human figure as continuously transgressed with the enlargement of trauma as a site of the political, visceral and commemorative whilst raising questions over our human qualities to feel as a community of affect through technologies which transmute trauma as part of their material commodification. The transmuting of trauma through technologies in the digital age means that trauma is re-absorbed as data and altered through its platform economics. Equally, trauma can be refracted through the digital terrain as banal content in which the wounded human becomes a transacted form within an incongruous spectrum ranging from the politics of pity to voyeurism. In the digital economy, trauma imagery enters another realm of disorientation in which it is pulled into typologies and vast ahistorical image repertories that hold non-contextual image as data. The digital economy re-modulates trauma through its own modes of (il)logic and turbulence, patterning trauma through its own modes of violence.

Education and new technologies travel parallel pathways, with each often informing development of the other. In recent decades, educators have utilized technologies, such as television and the Internet, to develop and deliver course content. More recently, another technology has emerged that might possibly change education as it is currently practiced. Augmented reality merges manipulable digital imagery into real-world spaces and in real time. The technologies used to create augmented environments already exist in the mass market and have already begun to show up in a wide variety of fields, including education. This chapter will provide an overview of augmented reality and explore current and potential uses in higher education.

This column aims to explore a slice of digital art librarianship, examining some of the tools used in this field along with some examples of how institutions have tackled the ever‐changing world of digital images.

This column is exploratory, and outlines some of the relationships between the Visual Resource Association, their core standard and sites such as ARTstor which utilize the VRA Core standard.

The paper finds that the area of digital art and imagery has changed rapidly over the last decade. New standards have been developed to describe and preserve digital representations of works.

It is important for everyone involved in this field to respect those standards and attempt to follow a certain level of consistency in their cataloging and preservation methods.

This column examines a key standard in the area of digital image metadata and how that standard has been utilized by well‐funded organizations such as ARTstor for the general welfare of the academic and research community.

Through the use of digital methods, representation of peoples’ self-perception of experiences becomes possible. Digital imagery presents opportunities to expand the way it is possible to convey the diverse information gathered in the field. To enable some of the communication of various unseen experiences of the chronic illnesses Chronic Fatigue Syndrome and Fibromyalgia, I created, what I have called, hypertextual self-scape digital photographs through collaboration with participants which use a layering of information gathered in the field, including both seen and unseen experiences to create sensory embodied dialogue about the lifeworld. I will expand on this in greater detail as we continue, but briefly this means the use of art forms being used as a way to gather information and then using digital techniques to communicate the self-talk of lived experience. Images have the potential to expand our access to peoples’ lifeworld and I will take this further in the chapter to look at how altering an image increases the information that can be communicated. Just as the bodies of my participants do not reveal the truth about their experiences, the objects chosen do not tell the whole story about what they really represent. As a part of this discourse I will show how digital technologies have the potential to expand representations of experience. Imagery is another way to “write up” information gathered during the research and by embracing images and symbols through our method and our writing up of the research expands on the information which can be gathered and later communicated about participants’ lifeworld. The images I am using here act “not as observational and objectifying tools, but as routes to multisensorial knowing” (Pink, 2010, p. 99) and expand on the existing representations of chronic illness in the literature. We also view and interpret images in a different way to text, as I believe images offer a potential to engage in dialogue with the body in sensory discourse. Therefore, the purpose of this chapter is to advocate the use of digital technologies alongside research methodologies when looking at hidden experience and interiorities (Hogan & Pink, 2010; Irving, 2013).

Contemporary cities are the subject of new forms of visualization that are not only changing how we see the urban world but how it operates as a social environment. This chapter explores Google's Street View database and the Google Maps platform as sites for the production of distinctive new streams of visual data about cities around the world. I argue that this kind of digital infrastructure presents urban researchers with both new opportunities and new challenges, raising complex questions about the role of visual images in the context of the ongoing transition to a digital, computational, and networked image world.