data mining, statistics, text mining, digital mapping), and digital publishing. Related subfields of digital humanities have emerged like software studies, platform studies, and critical code studies. Fields that parallel the digital humanities include new media studies and information science as well as media theory of composition, game studies, particularly in areas related to digital humanities project design and production, and cultural analytics. Each disciplinary field and each country has its own unique history of digital humanities. Berry and Fagerjord have suggested that a way to reconceptualise digital humanities could be through a "digital humanities stack". They argue that "this type of diagram is common in computation and computer science to show how technologies are 'stacked' on top of each other in increasing levels of abstraction. Here, [they] use the method in a more illustrative and creative sense of showing the range of activities, practices, skills, technologies and structures that could be said to make up the digital humanities, with the aim of providing a high-level map." Indeed, the "diagram can be read as the bottom levels indicating some of the fundamental elements of the digital humanities stack, such as computational thinking and knowledge representation, and then other elements that later build on these. " In practical terms, a major distinction within digital humanities is the focus on the data being processed. For processing textual data, digital humanities builds on a long and extensive history of digital edition, computational linguistics and natural language processing and developed an independent and highly specialized technology stack (largely cumulating in the specifications of the Text Encoding Initiative). This part of the field is sometimes thus set apart from Digital Humanities in general as 'digital philology' or 'computational philology'. For the creation and analysis of digital editions of objects or artifacts, digital philologists have access to digital practices, methods, and technologies such as optical character recognition that are providing opportunities to adapt the field to the digital age. History Digital humanities descends from the field of humanities computing, whose origins reach back to 1940s and 50s, in the pioneering work of Jesuit scholar Roberto Busa, which began in 1946, and of English professor Josephine Miles, beginning in the early 1950s. In collaboration with IBM, Busa and his team created a computer-generated concordance to Thomas Aquinas' writings known as the Index Thomisticus. Busa's works have been collected and translated by Julianne Nyhan and Marco Passarotti. Other scholars