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The titles of every British book published in English in and around the 19th century — 1,681,161, to be exact — are being electronically scoured for key words and phrases that might offer fresh insight into the minds of the Victorians.

This research, which has only recently become possible, thanks to a new generation of powerful digital tools and databases, represents one of the many ways that technology is transforming the study of literature, philosophy and other humanistic fields that haven’t necessarily embraced large-scale quantitative analysis.

There is also anxiety, however, about the potential of electronic tools to reduce literature and history to a series of numbers, squeezing out important subjects that cannot be easily quantified.

The EDT and other Digital Zapatistas succeeded in furthering the message of the EZLN and the indigenous peoples of Mexico, but they never physically harmed anyone or anything, in spite of the government violence directed at them.

As an artist, Dominguez has always looked to open “disturbance spaces” inside our contemporary communication platforms. He is a former member of the Critical Art Ensemble (CAE), a group of artists and activists whose focus is “the exploration of the intersections between art, critical theory, technology, and political activism.” Later Dominguez helped found the Electronic Disturbance Theater (EDT) which sought to expand the work of the CAE into cyberspace. They developed the idea of Electronic Civil Disobedience (ECD), which just as the name suggests is an electronic extension of Thoreau’s old idea.

With black tape across their mouths, surgical masks marked with X’s, and holding signs that read “Art is not a Crime,” and “Academic Freedom,” over 200 students gathered on Thursday, April 8th at the Silent Tree on library walk.