Merge pull request curateteaching#78 from lcoats/master

Edits in response to KJH comments.

keywords/archive.md

@@ -38,7 +38,7 @@ type: book
 ## CURATORIAL STATEMENT
 
 ##### Wonder
-We begin with wonder, because it is often a student’s first response to a densely annotated manuscript, a stunning comic book from a digital collection, or an early edition of a beloved novel. Such wonder is powerful, and can catalyze pedagogical engagements with the archive—a term that we use here in the vernacular sense, to include materials in various formats collected as traces of the present or past, rather than stricter [professional](http://journalofdigitalhumanities.org/1-2/archives-in-context-and-as-context-by-kate-theimer/) or [technical](https://blogs.loc.gov/digitalpreservation/2014/02/what-do-you-mean-by-archive-genres-of-usage-for-digital-preservers/) definitions. When students are encouraged to explore the archive, wonder propels a fundamental scholarly process: discovery. When a student is moved by an object from the archive—finding it perplexing or momentous, frightening or beautiful, marvelous or offensive—the experience itself is an eloquent indicator of the vitality of artifacts and the pull of history.
+We begin with wonder, because it is often a student’s first response to a densely annotated manuscript, a stunning comic book from a digital collection, or an early edition of a beloved novel. Such wonder is powerful, and can catalyze pedagogical engagements with the archive—a term used here in the vernacular sense, to include materials in various formats collected as traces of the present or past, rather than stricter [professional](http://journalofdigitalhumanities.org/1-2/archives-in-context-and-as-context-by-kate-theimer/) or [technical](https://blogs.loc.gov/digitalpreservation/2014/02/what-do-you-mean-by-archive-genres-of-usage-for-digital-preservers/) definitions. When students are encouraged to explore the archive, wonder propels a fundamental scholarly process: discovery. When a student is moved by an object from the archive—finding it perplexing or momentous, frightening or beautiful, marvelous or offensive—the experience itself is an eloquent indicator of the vitality of artifacts and the pull of history.
 
 
 ##### Mediation
@@ -54,7 +54,7 @@ Teaching with archival materials can make legible an archive’s foundational va
 
 This practice requires them to think about the range of values archives express and contend with the ethics of curation. In constructing their own digital collections, for example, students must navigate the politics of inclusion and exclusion; they must determine what principles will guide their selections, consider how best to present and share materials, and confront practical limitations that have ethical dimensions. From this vantage-point, they are also better equipped to analyze the selection and presentation choices others have made—how a metadata framework or digital display, for example, is informed by ideas about what or who the archive is for. Practicing as archivists, students enter into long-standing critical debates—about canonicity, for example—as participants, not simply as observers. More broadly, archival practice gives students a compelling introduction to the intellectual consequences of curation, the many choices about an object’s archival fate that determine if and how future users will see and use it.
 
-Our collection of teaching objects (arranged alphabetically) incorporates analog and digital archives, and exploits the affordances of digital technology to enrich teaching and learning with archives. We have emphasized student activities, assignments, and teacher resources that facilitate wonder, mediation, and/or curation—the three modes of archive-based pedagogy discussed above. A class might concentrate on one mode, or move across them, to investigate individual archival materials as well as the archive that contains them. Above all, we have selected teaching objects that we think help students enter the archive as critical thinkers, users, and makers.
+The collection of teaching objects (arranged alphabetically) incorporates analog and digital archives, and exploits the affordances of digital technology to enrich teaching and learning with archives. It privileges student activities, assignments, and teacher resources that facilitate wonder, mediation, and/or curation—the three modes of archive-based pedagogy discussed above. A class might concentrate on one mode, or move across them, to investigate individual archival materials as well as the archive that contains them. Above all, we have selected teaching objects that help students enter the archive as critical thinkers, users, and makers.
 
 ## CURATED ARTIFACTS