The Digital Humanities Manifesto 2.0

Whereas the modern university segregated scholarship from curation, demoting the latter to a secondary, supportive role, and sending curators into exile within museums, archives, and libraries, the Digital Humanities revolution promotes a fundamental reshaping of the research and teaching landscape. It recasts the scholar as curator and the curator... See more

In a world of perpetual data overload, [curation] implies information design and selectivity: the channeling, filtering, and organization into intelligible and usable information; the digging up of new or long ignored cultural corpora. Most of these corpora are simply sitting in storage: less than 1% of the Smithsonian Institution’s permanent colle... See more

Process is the new god; not product. Anything that stands in the way of the perpetual mash‐up and remix stands in the way of the digital revolution. Digital Humanities means iterative scholarship, mobilized collaborations, and networks of research. It honors the quality of results; but it also honors the steps by means of which results are obtained... See more

A university museum worthy of its name must become at least as much a laboratory as, say, a university library. An archive must become a place of teaching and hands‐on learning. The classroom must become a place of hands‐on engagement with the material remains of the past where the tasks of processing, annotating, and sequencing are integral to pro... See more

Curation means making arguments through objects as well as words, images, and sounds. It implies a spatialization of the sort of critical and narrative tasks that, while not unfamiliar to historians, are fundamentally different when carried out in space—physical, virtual, or both—rather than in language alone. It means becoming engaged in collectin... See more