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After conducting in-depth research into the digital humanities projects, Project Syria and Manar al-Athar, there are three main conclusions that I have made about their potential role as preservation tools during times of conflict. Each is listed below:

1. Virtual reality-based digital humanities projects may be able to move beyond just the preservation of memory and the documentation of cultural heritage loss into becoming empathy-generating machines. This was a major theme mentioned several times throughout the literature by the creators, the media coverage, and the reviewers of Project Syria.

2. Digital Humanities projects, while still focused on preservation and

documentation during times of conflict, also have a more activist approach and purpose to the designs of their project than more traditional archives. Both Manar al-Athar and Project Syria both were upfront about the activist agenda their archives were advocating for. Project Syria wanted to document the experience of the Syrian population and share it with the world. Manar al-Athar wants to provide an open-access photo archive that can be used to document and understand the rampant destruction of cultural heritage sites currently occurring in Syria.

3. Digital Humanities Projects are synthesizers of information, not just collectors of information. This was especially true in the Project Syria case. Several records and documents were collected, consulted, and utilized to create the VR experience. However, the end project was a synthesis of these sources,

rather than just a database or a collection where these sources are stored for people to find and make their own conclusions.

So, what is the overall potential role of digital humanities projects in preservation during times of conflict? I believe that their role is not only to document, collect, or preserve what currently exists, as has so often been the traditional approach to preservation in times of conflict. It is, in fact, to gather the information, synthesize it, and disseminate it to others in new and innovative formats that no longer just inform, but immerse.

This study did have some limitations in the research collected. Roadblocks in collecting information about the Manar al-Athar project prevented me from being able to include information about the media’s response to the project, as well as users’ opinions on the project as well.

Further research that can be done on this topic is vast, as it is still a relatively new field, with very few studies conducted comparing digital humanities projects to archives. A logical next step would be to interview creators of digital humanities projects, such as

Project Syria and Manar al-Athar, about what role they believe their projects play in archiving information, and how they see the field of digital humanities evolving as a whole. There is so much potential to learn about the intersection between digital

humanities projects and archives, and I believe that this is an extremely important topic for other researchers to continue to study in depth. Much can still be learned about this field and its future impact on the archival profession.

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