<note xmlns="http://www.tei-c.org/ns/1.0" rend="footnote text" xml:id="ftn1" n="1"> An example of the application of an integrated computational approach for different phases of the editorial process is the digital critical edition of the Chronicle of Matthew of Edessa (Andrews, Safaryan and Atayan 2019). </note><note xmlns="http://www.tei-c.org/ns/1.0" rend="footnote text" xml:id="ftn2" n="2"> Although there seems to be a need for further discussions also as far as the “edition as interface” is concerned. In this respect, Andrews and Van Zundert (2018) argue that the interface is “not just an argument about the text, but also an argument about the ‘attitude’ of the editor, a window into his or her take on methodology and the digital edition itself. It is also a revelation of the technical skills available to the editor. The interface tells us something not only about the methodology but also about the import of the edition”. The authors observe, however, that many editors still underestimate the role of the interface, whose “language” is one of great complexity. </note><note xmlns="http://www.tei-c.org/ns/1.0" rend="footnote text" xml:id="ftn3" n="3"> “Take, for example, knowledge one might have of a particular thematic concentration in a deeply familiar work of literature. In modelling one begins by privileging this knowledge, however wrong it might later turn out to be, then building a computational representation of it, e.g. by specifying a structured vocabulary of word-forms in a text-analysis tool. In the initial stages of use, this model would be almost certain to reveal trivial errors of omission and commission. Gradually, however, through perfective iteration trivial error is replaced by meaningful surprise” (McCarty 2005). </note><note xmlns="http://www.tei-c.org/ns/1.0" rend="footnote text" xml:id="ftn4" n="4"> The pipelines are available online on the pre-release website of the DI edition: https://marcopolo.cceh.uni-koeln.de. </note><note xmlns="http://www.tei-c.org/ns/1.0" rend="footnote text" xml:id="ftn5" n="5"> In February 2022 it received an “Initial Funding” from the Faculty of Arts and Humanities at the University of Cologne (https://phil-fak.uni-koeln.de/en/research/research-funding/initial-funding). </note><note xmlns="http://www.tei-c.org/ns/1.0" rend="footnote text" xml:id="ftn6" n="6"> The roots of the <hi rend="italic">sortes</hi> have been traced down to the Mediterranean area (Abraham 1968), but their use soon spread all over Europe. Since the Renaissance these texts have been used as entertaining games to play in a group (Urbini 2006), but this was not the case in antiquity and for the greater part of the Middle Ages. Then, they were taken seriously and could have a strong influence on people’s decisions. </note>