Today, investments in digital humanities are carried out at many universi-ties all over the world, and research calls that encourage various forms of multidisciplinary database projects, preferably with one foot within the natural sciences and technologically oriented social sciences, are staple goods. The question we must ask ourselves is: How do digital media affect the knowledge production in comparative literature—and in the humanities in general? What new theoretical frameworks do we need to address the digital? What new methods and methodologies are possible? Or can, and maybe even should, we just continue as before?

Based on this challenge, Jonas Ingvarsson’s heuristic arguments in Towards a Digital Epistemology suggest a number of possibilities for the future design of comparative literature and the humanities. The ambition here seems to be that through the digital—as a lens and mode of thought, which Ingvarsson consistently maintains—we afford a new understanding of (and for) comparative literature and the history of the humanities. In short, it is about conceptualizing the technological situation of which we are always already inevitably a part. With ease, at times almost with a cocky elegance, Ingvarsson incorporates an impressive and compelling energy into his argument.