While the most visible intellectual element is usuallythe content, it is important to recognize that DigitalHumanities projects present arguments and knowledgeexperiments in many different ways, often contribut-ing to the creation of new knowledge through complexinteractions, visualizations, data and data structures,and even code

Finally, digital projects may raise criticalethical issues about the nature and value of culturalpreservation, public history, participatory culture andaccessibility, digital diversity, and collection curationwhich should be thoughtfully considered by projectleaders and review committees.

It is important forreview committees to recognize that new knowledgeis not just new content but also new ways of organizing,classifying, and interacting with content.

So there is no single formula for success. Thescale and form that Digital Humanities projects takemust be dictated by thoughtful project design—combining research questions, ambitions, and an-ticipated outputs—as well as the available logistical,personnel, and financial resources.

Like traditional humanities-based research andteaching, Digital Humanities work involves practicesof analysis, critique, and interpretation; editing andannotation; historical research and contextualization.It examines the formal and historical properties ofworks of the imagination, the interplay of self andsociety, the history of ideas and of material culture.It attends to qualitative and non-quantifiable featuresof the human experience: complexity, ambiguity,medium specificity, and subjectivity. It builds ontraditional approaches to the study, preservation,and classification of cultural corpora

The concept of theWeb as a public sphere that extends the physicalpublic spaces of contemporary life has, of course,been intensified thanks to smartphones, tablets,and other ubiquitous and pervasive computing andmedia devices.

Digital Humanities understandsits object of study as the entire human record, fromprehistory to the present. This is why fields such asclassics and archaeology have played just as impor-tant a role in the development of Digital Humanitiesas has, for example, media studies

And the notion of the primacy of text itself isbeing challenged. Whereas the initial waves of com-putational humanities concentrated on everythingfrom word frequency studies and textual analysis(classification systems, mark-up, encoding) tohypertext editing and textual database construction,contemporary Digital Humanities marks a movebeyond a privileging of the textual, emphasizinggraphical methods of knowledge production andorganization, design as an integral component of re-search, transmedia crisscrossings, and an expandedconcept of the sensorium of humanistic knowledge.It is also characterized by an intensified focus on thebuilding of transferrable tools, environments, andplatforms for collaborative scholarly work and byan emphasis upon curation as a defining feature ofscholarly practice.

The challenges include addressing fundamentalquestions such as: How can skills traditionally usedin the humanities be reshaped in multimedia terms?How and by whom will the contours of cultural andhistorical memory be defined in the digital era?How might practices such as digital storytellingcoincide with or diverge from oral or print-basedstorytelling? What is the place of humanitas in anetworked world?

eveloping new forms of inquiry andknowledge production and reinvigorating ones thathave fallen by the wayside; training future genera-tions of humanists through hands-on, project-basedlearning as a complement to classroom-based learn-ing; and developing practices that expand the scope,enhance the quality, and increase the visibility ofhumanistic research

Digital Humanities is defined by the opportunitiesand challenges that arise from the conjunction of theterm digital with the term humanities to form a newcollective singular