Morris Eaves's research has been principally concerned with literature and the visual arts and with the cultural contexts of British Romanticism, especially the interlocking histories of technology and commerce. His current project, Posterity, is a speculative study of editorial theory and practice in terms of the audience's historical power to preserve, alter, and abandon its objects of interest. From this angle he is exploring the social role of editing and its product, the edition, in connection with such issues as censorship, plagiarism, and intellectual property. Eaves wants to understand "editing" in its broad, fundamental connections with communication, information control, and cultural memory across a range of arts and media. His interests in multimedia editing, media history, and British Romanticism are combined in his work as co-editor of The William Blake Archive, the online digital edition of Blake's literary and artistic work, sponsored by the University of North Carolina, Chapel Hill, the University of Rochester, and the Library of Congress; and as director of the Mellon Graduate Program in the Digital Humanities at the University of Rochester.
William Blake's Theory of Art, Princeton 1982
The Counter-Arts Conspiracy: Art and Industry in the Age of Blake, Cornell 1992
Foreword, Annotated Bibliography, and Index. A Blake Dictionary, by S. Foster Damon, Dartmouth-New England 2013 (new print and electronic edition)
"The End? Remember Me!" in Re-Envisioning Blake, ed. Angus Whitehead, Troy Patenaude, and Mark Crosby, Palgrave Macmillan 2012, 225-31