"This chapter aims to survey the growth and uptake of crowdsourcing for culture and heritage, and more specifically, within Digital Humanities. It raises issues of public engagement and asks how the use of technology to involve and engage a wider audience with tasks that have been the traditional purview of academics can broaden the scope and appreciation of humanistic enquiry. Finally, it asks what this increasingly common public-facing activity means for Digital Humanities itself, as the success of these projects demonstrates the effectiveness of building projects for, and involving, a wide online audience. "

"Although the widespread use of gaming for leisure purposes has been well documented, the use of games to support cultural heritage purposes, such as historical teaching and learning, or for enhancing museum visits, has been less well considered. The state-of-the-art in serious game technology is identical to that of the state-of-the-art in entertainment games technology. As a result the field of serious heritage games concerns itself with recent advances in computer games, real-time computer graphics, virtual and augmented reality and artificial intelligence. On the other hand, the main strengths of serious gaming applications may be generalised as being in the areas of communication, visual expression of information, collaboration mechanisms, interactivity and entertainment. In this report, we will focus on the state-of-the-art with respect to the theories, methods and technologies used in serious heritage games. We provide an overview of existing literature of relevance to the domain, discuss the strengths and weaknesses of the described methods and point out unsolved problems and challenges. In addition, several case studies illustrating the application of methods and technologies used in cultural heritage are presented."

"In the context of the digital humanities, hacktivism theory offers a way to broaden and deepen our understanding of the use of digital tools and of the politics of that tool use and to question the uncritical instrumentalism that so many digital humanities projects propound."

"This final section of Digital_Humanities reflects on the preceding chapters, but can also stand alone as a concise overview of the field. As digital methodologies, tools, and skills become increasingly central to work in the humanities, questions regarding fundamentals, project outcomes, assessment, and design have become urgent. The specifications provide a set of checklists to guide those who do work in the Digital Humanities, as well as those who are asked to assess and fund Digital Humanities scholars, projects, and initiatives."

"Over the last fifty years there has been much discussion about the value of narrative in the production of historical knowledge whereby it is generally assumed that “narrative” is a given and that the only thing at issue is its epistemological value. This article critically examines this assumption. It shows how conceptions of “narrative” have mutated in response to changes in cultural practice and, as importantly, how they have been implicitly mod
- eled on the particular medium envisaged for telling stories: the stand-alone monograph. The belief that history’s natural form is a book written by an individual historian has thus informed most discussions of narrative in the twentieth century, meaning that the primacy of language, the autonomy of the author, and the finished, self-contained character of the work have been taken for granted. The “naturalness” of the stand-alone monograph can no longer be taken as a given, however, in the new media ecologies. Digitization and the internet offer new technologies for producing and disseminating historical knowledge and, in the process, present both opportunities and challenges to professional historians. Beyond their practical implications, the digital media also provide a new theoretical model for viewing historical narrative in terms of its social production by multiple agents across different platforms, and this changes our understanding both of past and of future practices."