The Digital Humanities Manifesto 2.0

a manifesto on manifestos‐‐definition: a literal handbill, the manifesto reaches out. Its manus is both beckoning andfending off. It is a hand that has started to work the room hard, whether preaching, teaching,laying down or upending the law. Little does it matter if the chosen medium is the voice, thebody, the printed page, or a pixelated
scroll. Things hidden, if not since thebeginning of the world, then at least by
the generation of our immediate
forebears, are being exposed to theday’s harsh light; things that waver
between the obvious and thescandalous, the heroic and the silly, theprivate and the public. What is urgent is to draw a line‐‐the line between sinners and saints,passéists and futurists—while blurring other lines: between critics and makers, coders andcogitators, scholars and entertainers. If a bit of fun is had along the way, so much the better.
Time is short; this is a genre in a hurry.

‐‐so: if you are looking for linearity and logic ...

or for an academic treatise...

The genre here is all M’s: mix :: match :: mash :: manifest.
‐‐and: if you are wondering who is reaching out here, the answer is plural. The Digital
Humanities Manifesto 2.0 was preceded by a 1.0 release which prompted commentary and, inturn, this redrafting. (Will there be a 3.0 release?

‐‐instruction manual:
1) don’t whine2) comment, engage, retort, spread the word3) throw an idea
4) join up5) move on.)

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what is(n’t) digital humanities (and why it matters)
Digital Humanities is not a unified field but an array of convergent practices that
explore a universe in which: a) print is no longer the exclusive or the normative
medium in which knowledge is produced and/or disseminated; instead, print finds
itself absorbed into new, multimedia configurations; and b) digital tools,
techniques, and media have altered the production and dissemination ofknowledge in the arts, human and social sciences. The Digital Humanities seeks toplay an inaugural role with respect to a world in which, no longer the sole producers, stewards, anddisseminators of knowledge or culture, universities are called upon to shape natively digital models ofscholarly discourse for the newly emergent public spheres of the present era (the www, theblogosphere, digital libraries, etc.), to model excellence and innovation in these domains, and to
facilitate the formation of networks of knowledge production, exchange, and dissemination that are, at
once, global and local.
Like all media revolutions, the first wave of the digital revolution looked backward as it moved forward.
Just as early codices mirrored oratorical practices, print initially mirrored the practices of high medieval
manuscript culture, and film mirrored the techniques of theater, the digital first wave replicated theworld of scholarly communications that print gradually codified over the course of five centuries: aworld where textuality was primary and visuality and sound were secondary (and subordinated to text),
even as it vastly accelerated the search and retrieval of documents, enhanced access, and alteredmental habits. Now it must shape a future in which the medium‐specific features of digital technologies
become its core and in which print is absorbed into new hybrid modes of communication.
The first wave of digital humanities work was quantitative, mobilizing the search and retrieval powers ofthe database, automating corpus linguistics, stacking hypercards into critical arrays. The second wave isqualitative, interpretive, experiential, emotive, generative in character. It harnesses digital toolkits inthe service of the Humanities’ core methodological strengths: attention to complexity, medium
specificity, historical context, analytical depth, critique and interpretation. Such a crudely drawn
dichotomy does not exclude the emotional, even sublime potentiality of the quantitative any more thanit excludes embeddings of quantitative analysis within qualitative frameworks. Rather it imagines newcouplings and scalings that are facilitated both by new models of research practice and by theavailability of new tools and technologies.

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Interdisciplinarity/transdisciplinarity/multidisciplinarity are empty words (changes in language, practice, method, and output.

) unless they imply

Empty or not, these words have paved the way. But now it’s time to model the future through projects
that do more than talk the talk.

The digital is the realm of the: open source, open resources,attempts to close this space should be recognized for what it is: the enemy.

. Anything that

Digital Humanities have a utopian core shaped by its genealogical descent from the counterculture‐cyberculture intertwinglings of the 60s and 70s. This is why it affirms the value of theopen, the infinite, the expansive, the university/museum/archive/library without walls,
the democratization of culture and scholarship, even as it affirms the value of large‐scalestatistically grounded methods (such as cultural analytics) that collapse the boundaries
between the humanities and the social and natural sciences. This is also why it believes
that copyright and IP standards must be freed from the stranglehold of Capital, including
the capital possessed by heirs who live parasitically off of the achievements of their deceased
predecessors.

(guerrilla) action items:

weak = ignore the well‐intentioned “voices of reason” that will always argue for interpreting
scholarly or artistic fair use in the most restrictive manner (so as to shield the institutions they
represent from lawsuits, no matter how improbable or unfounded); adopt vigorous
interpretations of fair use that affirm that, in the vast majority of cases, scholarship and art
practice: a) are not‐for‐profit endeavors whose actual costs far exceed real or potential returns;
and b) are endeavors that, rather than diminishing the value of IP or copyright, enhance theirvalue.
medium = circumvent or subvert all “claims” that branch out from the rights of creators to thoseof owners, the photographers hired by owners, places of prior publication...

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strong = pirate and pervert materials by the likes of Disney on such a massive scale that the IP
bosses will have to sue your entire neighborhood, school, or country; practice digital anarchy bycreatively undermining copyright, mashing up media, recutting images, tracks, and texts.
Digital humanists defend the rights of content makers, whether authors, musicians, coders, designers, or
artists, to exert control over their creations and to avoid unauthorized exploitation; but this control
mustn’t compromise the freedom to rework, critique, and use for purposes of research and education.
Intellectual property must open up, not close down the intellect and proprius.
AP STANDS FOR APPALLING;

FREE SHEPARD FAIREY!

DID A PENNY ESCAPE YOUR CLUTCHES? HAVE YOU NO SHAME?
Digital Humanities implies the multi‐purposing and multiple channeling of humanistic knowledge: nochannel excludes the other. Its economy is abundance based, not one based upon scarcity. It values the
COPY more highly than the ORIGINAL. It restores to the word COPY its original meaning: abundance.
COPIA = COPIOUSNESS = THE OVERFLOWING BOUNTY OF THE
INFORMATION AGE, an age where, though notions of humanistic
research are everywhere under institutional pressure, there is(potentially) plenty for all. And, indeed, there is plenty to do.
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Digital Humanities = Big Humanities = Generative Humanities. Whereas therevolution of the post‐WWII era has consisted in the proliferation of eversmaller and more rigorous areas of expertise and sub‐expertise, and theconsequent emergence of private languages and specialized jargons, theDigital Humanities is about integration and generative practices: the buildingof bigger pictures out of the tesserae of expert knowledge. It is not about
the emergence of a new general culture, Renaissance humanism/Humanities,
or universal literacy. On the contrary, it promotes collaboration and creation
across domains of expertise. The expert is here to stay BUT:‐‐there’s no reason for his or her natural habitat to fall exclusively within the walls of academeor think tanks)‐‐the demand for ever increasing degrees of specialization must be placed under constantpressure by the need for transversal, transdisciplinary, innovative thinking
Digital Humanities = Co‐creation. Because of the complexity of Big Humanities projects, teamwork,
specialized roles within teams, and “production” standards that imply specialization become defining
features of the digital turn in the human sciences. Large scale, distributed models of scholarshiprepresent one of the transformative features of the Digital Humanities.

But there is ample room under the Digital Humanities
for the reinvention of thesolitary, “eccentric,” even hermetic work carried out by lone individuals both inside and outside theacademy. The ant colony and the Ivory Tower, the network and the monastery are both potential
places of pleasure, knowledge, and reward within an economy founded on abundance. But we can nolonger entrust knowledge creation and knowledge stewardship solely to the latter.
Modern scientific models of scholarship have prided themselves on the equation between rigor and theaffect‐neutral relaying of disembodied information. Yet this Enlightenment myth has long done battlewith aestheticizing or styled forms of scholarly communication in ways that have become distinctive tothe Humanities, and sometimes pitted them against prevailing practices in the social and naturalsciences. Digital Humanities doesn’t preclude one or the other flavor of scholarship. It accommodates
both. But by emphasizing design, multimediality, and the experiential, it seeks to expand the compassof the affective range to which scholarship can aspire. As such it gladly flirts with the scandal ofentertainment as scholarship, scholarship as entertainment. It respectfully resists the notion thatscholarship speaks outside of time, space, and the physicality of the human body. It is actively engaged
in the task of creating an audience –even a mass audience—for humanistic learning.
Process is the new god; not product. Anything that stands in the way of the perpetual mash‐up andremix 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 as a form of publication of comparable value.
Untapped gold mines of knowledge are to be found in the realm of process.
Today, the universitas (universe of knowledge)
has become far too vast, multilayered, andcomplex to be contained within the walls of any
single institution, even one as broadly
conceived as the university. The (medieval)fiction of universal inquiry has long been beliedby the reality of fields of learning restricted to afew choice areas and eras. The Digital
Humanities embraces and harnesses the
expanded, global nature of today’s researchcommunities as one of the great
disciplinary/post‐disciplinary opportunities of
our time. It dreams of models of knowledge
production and reproduction that leverage theincreasingly distributed nature of expertise andknowledge and transform this reality into
occasions for scholarly innovation, disciplinary cross‐fertilization, and the democratization of knowledge.

5throwing down the gauntlet I: the most significant Web 2.0 creation to harness a massaudience and engage a mass audience in knowledge production and dissemination is
Wikipedia. Wikipedia wasn't invented at/as a university. But it’s fast on the way to becoming
one (Wikiversity). Wikipedia is a model because it is far more than a set of contents: it
represents a truly global, multilingual authorship and editorial collective for gathering, creating,and managing information.
throwing down the gauntlet II: take Google, like it or not. It originated at Stanford, but
its home turf is in the corporate world. Yet its aspiration to become a modern‐day
Library of Alexandria and Oracle of Delphi is no longer wildly improbable: "to organize theworld's information, making it universally accessible and useful" reads the Google mission
statement. The Google homepage has become the portal to the world's (digital) information;
Google Earth has become the normative mappa mundi now in the hands of the worldcommunity.
our response?
not only to seek to understand and interrogate the cultural and social impact of newtechnologies, but to be engaged in driving the creation of new technologies,
methodologies, and information systems, as well as in their détournment, reinvention,
repurposing, via research questions grounded in the Arts and Humanities: questions of
meaning, interpretation, history, subjectivity, and culture. The revolution is not abouttransforming literary scholars into engineers or programmers. Rather, it is about:‐‐expanding the compass and quality of knowledge in the human sciences‐‐expanding the reach and impact of knowledge in the Humanities disciplines‐‐direct engagement in design and development processes that give rise to richer,multidirectional models, genres, iterations of scholarly communication and practicethe traditionalists’ response?
‐‐passively accept the tools handed down from the technological Olympus?
‐‐weave lamentations on the decline of West?
‐‐keep on doing what we have always done unto extinction?
‐‐celebrate extinction or uselessness from seated atop a well‐padded tenured
chair and 401K à la Stanley Fish?
‐‐turn the clock back?
Wiki‐nomics is the new social, cultural, and economic reality for Digital Humanists. Technologies andcontent are mass(ively) produced, authored, and administered, even if shaped by specific communities
of practice that generate, in turn, quality standards and models of best practice. Wiki‐scholarship is6

iterative, cumulative, and collaborative. Social media are the new laboratories of culture andknowledge making. In the humanistic domain, Wiki‐nomics implies:‐‐a reconfiguration of the hierarchical relationship between masters and disciples‐‐a dedefinition of the roles of professor and student, expert and non‐expert, academic
and community‐‐new triangulations of arts practice, commentary/critique, and outreach, merging
scholarly inquiry, pedagogy, publication, and practice.

making theory, making practice
Our emblem is a digital photograph of a hammer (manual making) superimposed over a folded page(the 2d text that now unfolds in three dimensions).
Centuries of text‐based scholarship and the primacy of the press created the context within which print
culture became naturalized. Needless to say, we are NOT arguing for the abolition of books; on thecontrary, we are advocating for a neo‐ or post‐print model whereprint becomes
embedded within a multiplicity of media practices and forms ofknowledge
production. It is one in which architecture and design (again)
become central
features of how research questions get formulated as well as
communicated,shaped, and styled. This is an incredibly exciting moment in which determining and designing theinterface to information, data, and knowledge becomes just as central as the crafts of writing, curating,and coordinating.
The dichotomy between the manual realm of making and the mental realm of thinking was always
misleading. Today, the old theory/praxis debates no longer resonate. Knowledge assumes multiple
forms; it inhabits the interstices and criss‐crossings between words, sounds, smells, maps, diagrams,
installations, environments, data repositories, tables, and objects. Physical fabrication, digital design, thestyling of elegant, effective prose; the juxtaposing of images; the montage of movements; theorchestration of sound: they are all making.
Let's not forget: though their traditions were rooted in oratory and rhetoric, the modern Humanities
disciplines were profoundly reshaped around and by the medium of print, just as now they are
confronting the challenges of being profoundly reshaped by newly emergent digital norms andpotentialities. What does it mean to study "literature" or "history" when print is no longer the normative7

medium in which literary or historical artifacts are produced, let alone analyzed? What does it mean tothink when thinking is decoupled from its exclusive reliance upon language and textuality? What does itmean, more generally, for humanistic knowledge?
In the 70s and 80s, women's studies, LGBTQ studies, ethnic studies, and cultural studies opened up thehumanities to address issues of social, political, and cultural disenfranchisement and possibilities for re‐enfranchisement. The Humanities was no longer the domain of the proverbial "old white man." Now,
Digital Humanities deconstructs the very materiality, methods, and media of humanistic inquiry andpractices. But we must persist in asking: Where did humanities disciplines come from, in response towhat kind of needs, with what sort of explanatory power? How did its practices, truth‐making strategies,
knowledge products, media forms, and ways of evaluating utterances get naturalized? Traditional
Humanities is balkanized by nation, language, method, and media. Digital Humanities is about
convergence: Not only between humanities disciplines and media forms, but also between the arts,
sciences, and technologies.
The theory after Theory is anchored in MAKING: making in the poetic sense of poeisis, but also in thesense of design carried out in action, the modeling and fabrication of
intelligent things, the generative and re‐generative aspects of creation andco‐creating. The 20th century left us with a vastly expanded set of spectacles
arranged for our viewing pleasure. 21st century networks and interactions
reengage the spectators of culture, enabling them to upload meaningfully,
just as they download mindfully.

curation as augmented scholarly practice
Digital Humanists recognize curation as a central feature of the future of the Humanities disciplines.
Whereas the modern university segregated scholarship from curation, demoting the latter to asecondary, supportive role, and sending curators into exile within museums, archives, and libraries, theDigital Humanities revolution promotes a fundamental reshaping of the research and teachinglandscape. It recasts the scholar as curator and the curator as scholar, and, in so doing, sets out both toreinvigorate scholarly practice bymeans of an expanded set of possibilities
and demands, and to renew thescholarly mission of museums, libraries,
and archives. A university
museum worthy of its name must
become at least as much alaboratory as, say, a university library. An

8archive must become a place of teaching and hands‐on learning. The classroom must become a place ofhands‐on engagement with the material remains of the past where the tasks of processing, annotating,and sequencing are integral to process of learning. Curation also has a healthy modesty: it does notinsist on an ever more impossible mastery of the all; it embraces the tactility and mutability of local
knowledge, and eschews disembodied Theory in favor of the nitty‐gritty of imagescapes andobjecthood.
Curation means making arguments through objects as well as words, images, and sounds. It implies aspatialization of the sort of critical and narrative tasks that, while not unfamiliar to historians, arefundamentally different when carried out in space—physical, virtual, or both—rather than in language
alone. It means becoming engaged in collecting, assembling, sifting, structuring, and interpreting
corpora. All of which is to say that we consider curation on a par with traditional narrative scholarship. It
is a medium with its own distinctive language, skill sets, and complexities; a medium currently in a phaseof transformation and expansion as virtual galleries, learning environments, and worlds become
important features of the scholarly landscape.
Curation also implies custodial responsibilities with respect to theremains of the past as well as interpretive, meaning‐making
responsibilities with respect to the present and future. In a world of
perpetual data overload, it 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 theSmithsonian Institution’s permanent collection is on view to visitors;
less than 10% of an average research library’s books are everconsulted; vast corpora of cultural materials lie outside the collection
and acquisition missions of research libraries and archives. Archives willcontinue to undergo explosive growth. Digital Humanists must be
there, alongside librarians and archivists, to think critically about thechallenges and opportunities that such explosive growth provides.
Curation is an augmented scholarly practice that also powerfully augments teaching and learning. It
summons future generations of humanists to set to work right from the start with the very stuff ofculture and history: to become directly engaged in the gathering and production of knowledge under
the guidance of expert researchers in a true laboratory‐like setting.
The universe of Humanities research is vastly enriched by the addition of curatorial work to the range ofrecognized and supported "outputs" for scholarship. Curation creates the preconditions for modes ofscholarship that step outside the boundaries of one's own expert
language into a more fluid public realm, where traditional forms ofscholarship can be multipurposed for the large‐scale participatory generation of archival repositories
under the expert guidance of a scholar.

9to ...
‐‐the open source movement, Wikipedians, the librarians and archivists who understood thetransformative potential of the digital long before the scholarly community began to awakenfrom its sleep‐‐art practices that criss‐cross with new pedagogies and new forms of scholarly research‐‐practices of (digital) estrangement and strange (digital) attractions: the use of toolkits anddata architectures that belong to the now for the study of the remote past‐‐the embrace of creative dérives: scholarly forms of steampunk, unusual meshings of macro‐and micro‐cultural history, the quantitative and the qualitative‐‐open‐architecture archives that are directly assembled by communities of practitioners andend‐users‐‐creative commons licenses‐‐legislators and leaders with the courage and vision required to reverse the forward creep of
copyright holders’ claims‐‐institutions like the Brooklyn Museum who have made their collection API’s fully available sothat you can freely display collection images and data in your own applications

to ...
‐‐ the great diminishers: they will reduce anything in digital humanities (it's just a tool; it's just a
repository; it's just pedagogy). They have rarely, if ever, built software, parsed code, created a
database, or designed a user interface. They are uni‐medium scholars (most likely of print) who
have been lulled into centuries of somnolence.
‐‐the false fellow travelers: they will wave the banners of change with continuity on theiragenda. What's at stake is not simply continuity vs. change but honesty vs. hypocrisy.
‐‐all those who would falsely equate the tools of the present with a turn away from history in
the name of presentism, voguishness, or vocationalism‐‐the traffickers in IP‐‐university legal offices whose definitions of Fair Use amount to No Use‐‐archives, museums, libraries, and corporations that restrict access by means of cost barriers

10‐‐the Stephen James Joyce’s of the world who restrict access to the archives of their forefathersin the name of a “correct” interpretation‐‐the US legislators and EU parliamentarians who, with the coffers filled with “donations” from
Disney and Co., continue to extend copyright protections long beyond their natural expiration.

disciplinary finitude (and the Humanities’ infinite work)
Disciplines and disciplinary traditions can be wellsprings of quality, depth, and rigor. They can also bebastions of small thinking, clerical privilege, and intellectual policing. But do traditional departments
really provide an effective means to safeguard a central role for the Humanities in contemporarysociety? Why, then, haven’t they evolved? Why defend the very disciplinary structures that emerged in
the course of the formation of modern universities in the 19th century even when the intellectual groundhas shifted out from under their feet?
Here are a few reasons (there are more):the power of tradition
cognitive conservatism
nostalgia/comfort
institutional inertia
tenure and promotion systems
lobbies and bureaucracies
class values
Knowledge of the Humanities as constituted in the modern university has shaped lives, conveyed criticalskills, provided a moral compass for human experiences, given pleasure and satisfaction, inspired acts ofgenerosity and heroism. Digital Humanities represent an effort not to downplay or "downsize" these
traditional merits but, on the contrary, to reassert and reinterpret their value in an era when our
relation to information, knowledge, and cultural heritage is radically changing, when our entire culturallegacy as a species is migrating to digital formats. The work of the human sciences remains criticallynecessary in such as setting. BUT it cannot be carried out (successfully or, for that matter, interestingly)
in the ways it was carried out for many many decades: in isolation, in disciplinary silos, in Ivory Towers,
communicated in ever more hermetic language games, indifferent to the media revolutions
underway within our culture as a whole.
So let's imagine a new topography: not just disciplinary, but one involving alternative
configurations for producing knowledge‐‐open‐ended, global in scope, designed to11attract new audiences and to establish novel institutional models. Perhaps "Digital Humanities" itself
becomes a distributed "virtual department" overlaid on current departments, weaving together shiftingarchipelagos of researchers from intellectually and geographically diverse disciplines on the basis ofoverlapping research networks.
Or, let’s simply reinvent the department as a finite knowledge problematic which comes into existence
for a limited period, only to mutate or cease as the research questions upon which it is founded become
stale and their explanatory power wanes. Here are a few, real or potential such topographies:
Department of Print Culture Studies: The purpose of this department is to
study the materiality of printed texts, constructions of authorship, linguistic
forms, the history of the book, book publication, and distribution systems;
antecedents to and descendents of print, as well as the relationships andtensions between print culture and digital culture. Its “masterpieces” will nolonger be authorial, but will encompass the work of master printers,
typographers, and layout artists who transformed standards and practices.
Institute of Vocal Studies: The historical and critical study of the voice as a communicative
instrument, from the standpoint of the evolution of techniques of vocalization, shifting
conceptions of the “natural,” and the history of vocal effects. The field is divided between
research into vocal performance in premodern rhetoric and song; and large scale automatedmining of the archives of recorded sound.

School of Erasure Studies:

Center for Comparative Literature and Media: The purpose of this center is
to study sonic, visual, tactile, textual, and immersive media within a medium‐
specific comparative framework. It approaches literature from the standpointof its phenomenology and media history, tracing its evolution as a medium
from its oral beginnings to manuscript culture to the world of printing. Thiscenter replaces the division of humanities departments according to media
form (art history, literature, musicology, film, etc).
Discipline of Cultural Mapping: The purpose of this discipline is to examine the junctions
between space/time, information, and culture. It brings geographic analyses together withhistorical methods, visual analysis, and the presentation of complex datasets and visualizations.
It also examines the cultural and social impact of digital mapping technologies and thesignificance of these mapping technologies for understanding cultural phenomena.

12

Laboratory for Cultural Analytics: The purpose of this lab is to bringquantitative analyses from applied math, statistics, and the social sciences
together with large‐scale, complex social and cultural datasets.

Hack into old hierarchical university systems and send a few remixed ones our way!

beyond digital humanities
We wave the banner of “Digital Humanities” for tactical reasons (think of it as "strategic essentialism"),
not out of a conviction that the phrase adequately describes the tectonic shifts embraced in thisdocument. But an emerging transdisciplinary domain without a name runs the risk of finding itself
defined less by advocates than by critics and opponents, much as cubism became the label associatedwith the pictorial experiments of Picasso, Braque, and Gris.
The phrase has use‐value to the degree that it can serve as an umbrella under which to groupboth people and projects seeking to reshape and reinvigorate contemporary arts andhumanities practices, and expand their boundaries. It has use value to the degree one
underscores its semantic edges: the edge where digital remains contaminated by dirty fingers,which is to say by notions of tactility and making that bridge the (non‐)gap between thephysical and the virtual; the edge where humanities suggests a multiplication of the human or
humanity itself as a value that can (re)shape the very development and use of digital tools.
We reject the phrase to whatever degree it implies a digital turn that might somehow leave the
Humanities intact: as operating within same stable disciplinary boundaries with respect to society or to
the social and natural sciences that have prevailed over the past century.
We further reject the phrase to the degree that it suggests that thehumanities are being modified by the digital, as it were, “from the outside”
with the digital leading and the Humanities following. On the contrary, our
vision is of a world of fusions and frictions, in which the development anddeployment of technologies, and the sorts of research questions, demands,
and imaginative work that characterize the arts and Humanities merge.

13Find a better label or phrase.
We’ll rename the manifesto.
In the meantime, let's get our hands dirty.

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Image Credits
Page 1: Question marks: http://degreesearch.org/blog/2011/06/online-universities-6questions-to-ask/question-mark-2/
Page 2: door http://mattandjojang.files.wordpress.com/2010/08/open-door1.jpg
Page 2: gorilla http://www.monkey-pictures.net/gorilla_pictures.html
Page 3: "Flatulence Study" – image pulled from: http://www.fitbuff.com/fitbuff-morningmix-foiling-farts-creatine-works-1000-helmets/
Page 4: "Mosaic Floor with Head of Dionysus"
Page 5: "Map of Online Communities" – XKCD Comics (http://xkcd.com/)
Page 7: Ivan Puni, Construction Relief, 1915
Page 11: "Cross on Mount Erebus"
Page 12: "Chart Showing Media Life Expectancies" – Michael W. Gilbert.
http://www.softpres.org/cache/DigitalMediaLifeExpectancyAndCare.html
Page 12: Cavallini Oops eraser
Page 13: "Wall to the Abyss" (Hong Kong) -- Peter Steinhauer
Photograph , 2008
Page 14: John Heartfield, "The Hand has Five Fingers" (poster), 1928.