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                  <text>This collection represents the delicate balance digital archivists seek when designing an archive that preserves and provides access, while also ensuring all parties' right to privacy and intellectual property. Also known as risk management, archives must anticipate potential infringements of intellectual property and privacy rights, and guard the public's right to free and open access. Items in the collection address risk management issues and underscore the necessity for keeping current in legal and ethical archival practices.</text>
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                <text>Commisso, Corrie. 2017. “The Post-Truth Archive: Considerations for Archiving Context in Fake News Repositories”. Preservation, Digital Technology &amp; Culture, Vol. 46 Issue 3, p99-102. 4p. DOI:&#13;
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                <text>In a modern media environment in which fake news is widely disseminated amongst the public and previously trusted media sources are viewed with suspicion, those in the archival profession are tasked with finding methods with which fake news can be preserved. The value in preservation lies in cultural context, which, conversely, remains the as the most daunting issue archivists face in this subject. This article considers the obstacles involving archiving fake news that differ from the archiving of any other piece of information, namely, the need for an archive to include enough sources to create enough context for future contributors and researchers to understand the items preserved.</text>
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                <text>Bradley et al. “Creating an Oral History Archive: Digital Opportunities and Ethical Issues”. Australian Historical Studies Vol. 47 Issue 1, p75-91, 17p. Accessed April 3rd, 2020. DOI:&#13;
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                <text>The distribution of multi-media primary sources, in this article, chiefly oral history interviews through searchable digital archives has dramatically improved the quality of historical research in recent years. With the integration of audio sources comes ethical complexities regarding how researches interpret their sources and how the public interacts with them. This article explores this issues while by using the Australian Generations Oral History Project as a case study. </text>
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                <text>Parry, Odette, and Natasha S. Mauthner. "Whose Data Are They Anyway? Practical, Legal and Ethical Issues in Archiving Qualitative Research Data." Sociology 38, no. 1 (2004): 139-52. Accessed April 13, 2020. www.jstor.org/stable/42856598.</text>
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                <text>This journal explains how social scientists are becoming encouraged to locate, access, and analyze data from data archives worldwide. It talks about how the vast majority of data archives which service the research community deal exclusively with the storage and provision of quantitative data. It explains how facilities exist for the deposit and reuse of qualitative data. In the journal, it brings up a point of how archiving is generally understood as relatively unproblematic by the quantitative research community. There is much concern stems from the assumption that qualitative data are similar to and may, therefore, be treated in the same way as quantitative data. A discussion is made about the arching of qualitative data raises a distinct set of issues surrounding confidentiality, respondent and researcher anonymity, and respondent consent. There is examination of the practical, legal and ethical issues which may affect the archiving of qualitative research data, which in doing so it reflects on the viability of using qualitative data for theoretical and substantive secondary analysis. There is an importance of drawing on the experience of other disciplines.&#13;
This journal article is useful to showcase the different aspects of the practical, legal, and ethical issues in archiving qualitative research data. There is much explanation in this journal article of why data archives worldwide are being search by social scientists.</text>
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                <text>The author of this book goes over some of the history of copyright and some of the current existing laws. He explains that under the current laws of the U.S., securing a copyright doesn't require publication, registration, or any other action in the U.S. Copyright Office. Instead, copyright protection is secured automatically upon the creation of a work. Copyright protection is available to original works of authorship, such as musical works, sound recordings, photographs, literary works, movies, television, and software. The owner of a copyright has certain exclusive rights, such as selling the work, performing the work publicly, reproducing the work, and creating derivative works. The copyright owner can also transfer ownership of the work, whether by complete transfer or by granting a license. He explains information about how to secure a copyright and the advantages of registration with the Copyright Office. He also gives advice on the legal aspect of how to do this properly and offers where to get help in doing this.</text>
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                <text>Wincor, Richard. How to Secure Copyright: The Law of Literary Property. Oceana Publications &#13;
(1957). https://www.amazon.com/How-Secure-Copyright-Literary-Property/dp/B007T3N06C/ref=sr_1_1?dchild=1&amp;keywords=How+to+Secure+Copyright%3A+The+Law+of+Literary+Property&amp;qid=1586625245&amp;sr=8-1</text>
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                <text>The author talks about one of the most controversial questions in copyright law today concerns the proper scope of protection for unpublished works, a few examples of these are letters, diaries, journals, reports, and/or drafts that the owner of it may publish in the future. He stands by his statement that the question does not become whether or not it has the ability to be copyrighted, but rather it's more about whether the work should be given stronger copyright protection than published or widely disseminated works? The interest in this topic causes the author to talk about several cases, like Harper and Row vs. Nation Enterprises. </text>
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                <text>An in depth explanation starting with the history of copyright which started in England in the late fifteenth century. It explains how as printing presses began to grow, authorities sought to control the publication of books by granting printers a near monopoly on publishing in England. So the Licensing Act of 1662 confirmed that monopoly and established a register of licensed books to be administered by the Stationers’ Company, a group of printers with the authority to censor publications. This book follows the different cases that happened as a result of the different laws that began to emerge following the Licensing Act of 1662. The information is explained through the viewpoints of the author himself. He follows the different and most current legislations that exist under the topic of copyright and explains how each one of them works and how it affects the user. He follows it up with an in depth explanation of his prediction of the future of copyright laws and how it'll affect the future generations. </text>
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                <text>Kent, A. &amp; Lancour, H.. Copyright: Current Viewpoints on History, Laws, Legislation. Bowker &#13;
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                <text>Chris Needham opens the door on the common copyfraud that occurs when museums misrepresent or restrict rights in a way that go against public domain copyright law. Needham first explains relevant copyright issues such as the copyright of certain artworks and books. Copyright lasts for about seventy years, but certain copyright laws can be a gray area when it comes to preservation of artifacts. How these artifacts become part of the public domain is a photograph is taken of the artifact and posted online for anyone to see much like a virtual museum. The author then dives into how the copyfraud of archives affect universities, publishing houses, and museums. In a more positive light, Needham shows how librarians and visual resource managers are supporting museums change their approach to copyright and copyfraud. Needham focuses on how this change is transforming scholarship and allowing scholars and librarians to better serve the public. &#13;
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                <text>Needham, Chris "Understanding Copyfraud: Public Domain Images and False Claims of Copyright," Art Documentation: Journal of the Art Libraries Society of North America 36, no. 2 (Fall 2017): 219-230. https://doi.org/10.1086/694241</text>
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                <text>This article uses information from an online database of music sampling to estimate the effect of copyright protection on the cumulative use of music. Using unique panel data that link upstream and downstream music, the author uses regression analysis to examine the rates at which early 20th-century musical works were used throughout the 20th and 21st centuries. The results suggest that copyright protection causes an upstream work to be used less than half as often as it would be if it were in the public domain after conditioning on upstream-song and downstream-year fixed effects. Placebo regressions in which the copyright expiration date is artificially shifted forward and backward in time by 2, 5, and 10 years suggest an immediate effect of copyright expiration on downstream use.</text>
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                <text>Stephanie Holmes Didwania, "Copyright Protection and Cumulative Creation: Evidence from &#13;
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                <text>Widlok, Thomas. "The Archive Strikes Back: Effects of Online Digital Language Archiving on Research Relations and Property Rights." In Oral Literature in the Digital Age: Archiving Orality and Connecting with Communities, edited by Turin Mark, Wheeler Claire, and Wilkinson Eleanor, 3-20. Cambridge: Open Book Publishers, 2013. DOI: 10.2307/j.ctt5vjtkq.6</text>
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