Within this range of approaches, we can distinguish a minimalist and a maximalist understanding of digital humanities. On the one hand, it can be simply the application of computer technology to traditional scholarly functions, such as the editing of texts. An exemplary project of this kind is the Rossetti Archive created by Jerome McGann, an online repository of texts and images related to the career of Dante Gabriel Rossetti: this is essentially an open-ended, universally accessible scholarly edition. To others, however, digital humanities represents a paradigm shift in the way we think about culture itself, spurring a change not just in the medium of humanistic work but also in its very substance. At their most starry-eyed, some digital humanists—such as the authors of the jargon-laden manifesto and handbook Digital_Humanities—want to suggest that the addition of the high-powered adjective to the long-suffering noun signals nothing less than an epoch in human history: “We live in one of those rare moments of opportunity for the humanities, not unlike other great eras of cultural-historical transformation such as the shift from the scroll to the codex, the invention of movable type, the encounter with the New World, and the Industrial Revolution.”