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                  <text>Individual, family, and community histories are increasingly being documented and preserved on the Internet through a wide array of social media, software products, and services. Stories, images, and video are being uploaded, organized, and accessed on the Web.  &#13;
&#13;
This collection aims to highlight methods and materials having to do with personal archiving, and its relationship to the field of digital archiving.</text>
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                <text>Disorder: Vocabulary of Hoarding in Personal Digital Archiving Practices</text>
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                <text>Personal Archives</text>
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                <text>The image of the "digital hoarder," buried under the disorganized turmoil created by the volume of their digital possessions, has become an increasingly popular way for individuals to describe their everyday digital collecting habits. This article argues that such self-characterization offers valuable insights into the psychologies of personal archiving practices. It then considers how "digital hoarding," as a subculture of record-keeping, can inform our understanding of how and why digital personal archives are shaped and maintained. A deeper understanding of hoarding, and of record creators' digital personal information management practices, can benefit endeavors to educate the public about personal digital records management, by encouraging archivists to take into account the organic ways in which individual organizational practices have developed. In these ways, this article seeks to balance archival outreach efforts with what the digital public can teach the archival profession about itself.</text>
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                <text>Chen, Anna</text>
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                <text>Association of Canadian Archivists</text>
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                <text>Vieira, Lisa</text>
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                <text>Chen, Anna. "Disorder: Vocabularies of Hoarding in Personal Digital Archiving Practices." &lt;em&gt;Archivaria&lt;/em&gt; no. 78: 115-134. &lt;em&gt;Library, Information Science &amp;amp; Technology Abstracts, &lt;/em&gt;&lt;a href="http://eds.a.ebscohost.com/eds/detail/detail?sid=45e473ec-286b-4d31-b1c4-4eb636777cd5%40sessionmgr4003&amp;amp;vid=0&amp;amp;hid=4113&amp;amp;bdata=JnNpdGU9ZWRzLWxpdmUmc2NvcGU9c2l0ZQ%3D%3D&amp;amp;preview=false#AN=99890863&amp;amp;db=lxh"&gt;EBSCO&lt;/a&gt; &lt;em&gt;host.&lt;/em&gt;</text>
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                  <text>Digital archiving is gaining increased attention by both the general public and the scholarly community. The proliferation of digital content through networked channels raises cultural awareness of the ephemeral as well as ubiquitous nature of digitization. This collection highlights critical arguments regarding the digital humanities and digital archiving. The featured studies provide a broad cultural context and essential questions for archive creation and scholarly digital humanities research.</text>
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                <text>Eaddy, Brionna</text>
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                <text>Little, Geoffrey. 2011. "MANAGING TECHNOLOGY: We Are All Digital Humanists Now." The Journal Of Academic Librarianship 37, 352-354. ScienceDirect, EBSCOhost (accessed April 20, 2016).&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="http://connection.ebscohost.com/c/articles/63191943/managing-technology-we-are-all-digital-humanists-now"&gt;http://connection.ebscohost.com/c/articles/63191943/managing-technology-we-are-all-digital-humanists-now&lt;/a&gt;</text>
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                <text>The author discusses digital humanities in higher education and academic libraries. According to the author, digital humanities encompass information technologies (IT) such as rapid computing, digitization, and geo-spatial mapping techniques that support research in the liberal arts. Examples of digital humanities resources are offered such as Google Books, Early English Books Online (EEBO), and the Internet Archive. The author analyzes the impact of digital humanities on academic librarians in terms of organizing, sorting, and making new resources accessible to users, and urges academic librarians to embrace technological advances in library science. (Provided by author)</text>
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                <text>Halvorson writes about a new position in the job market called content strategist. Content strategists’ role description is hard to pin point and define because it depends on the circumstances and the organization they work for. They are more than just editors and writers, but they are in charge of sending forth the message or rhetoric. If you focus the two words individually, then you will get that content means what the users/audience will come across and the information relies upon someone’s ethics or credibility. The word strategist means someone skilled in executing an objective through methods and guided decisions. They need to be a leader in a collaborative environment or project. Halvorson provides advice on how to make your business better, especially including a content strategist. Halvorson provides the concept “Do Less, Not More,” which focuses on two objectives: supports a key business objective and fulfills your users’ needs.</text>
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                <text>Halvorson, Kristina, and Melissa Rach. Content Strategy for the Web. Berkeley, CA: New Riders, 2012.&#13;
&#13;
https://books.google.com/books?id=KIIQ3Fq9CM8C&amp;dq=Content+Strategy+for+the+Web&amp;source=gbs_navlinks_s</text>
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                <text>Spreadable media is basically getting across the needed message from one person to another through the mouth or in this case through social media. If you break up the term, then spreadable means to describe these increasingly pervasive forms of media circulation and this has a parallel and contrast relation with the term stickiness that means attracting the audience’s attention and engagement. In regards, stickiness can prevent spreadable media because of the restriction people place for audience’s social connections such as charging a subscription fee and government censorship. In reality, spreadability emphasizes producing content in easy-to-share formats such as YouTube while stickiness makes spreading information forced where users cannot leave once on the site when the site disabled the Back button. &#13;
&#13;
In the book, the authors provide examples of Susan Boyle and the show Mad Men, which proves that spreadable media refers not just those texts which circulate broadly but also those that achieve particularly deep engagement within a niche community. The show Mad Men exemplifies the meaning of spreadable media through the medium of television. In addition, the Voice in the UK could have had more participatory engagement if it was not restricted within the UK boundaries. The show became recognized globally in regards to Susan Boyle, a participant, and winner of the Voice. But the show was not recognized in itself because it was not aired outside of the UK so the spreadability was not as popular as it could have been. </text>
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                <text>Jenkins, Henry </text>
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                <text>Jenkins, Henry, Ford, Sam, and Green, Joshua. Spreadable Media: Creating Value and Meaning in a Networked Culture. New York: NYU, 2013.&#13;
&#13;
https://books.google.com/books?id=pq1oClUrhDgC&amp;dq=spreadable+media+amazon&amp;source=gbs_navlinks_s</text>
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                <text>This book tries to refocus the true purpose of social media and how it can be used to help further students’ education. The greatest issues educators face with social media is not privacy concerns rather motivating the students to participate in the learning process. Each chapter incorporates a new methodology according to the discipline the author presents, but each methodology integrates the social media as pedagogical. The author states the challenges and successes in bringing in the social media according to the particular discipline.</text>
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                <text>Cheal, Catheryn</text>
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                <text>Informing Science</text>
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                <text>Ortiz, Samuel</text>
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                <text>Cheal, Catheryn, Shaun Moore, and John Coughlin. Transformation in Teaching: Social Media Strategies in Higher Education. Santa Rosa, CA: Informing Science Press, 2012.</text>
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                  <text>What is an Archive?</text>
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                  <text>Archives are collections of primary sources, cataloged and grouped for the purpose of preserving and making accessible the records of society’s cultural and historic heritage. Laura Millar, noted archivist and author of Archives principles and practices, defines the mission of archives “to acquire, preserve and make available the documentary memory of society…”(Millar 2010). These entries will focus on the explanation and description of an archive and why they are important to society. What does it mean to be an archive and what is the value of an archive?</text>
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                <text>Explores how art archiving is changing in theory, how our understanding of archiving is influenced and changed, and how archives can be made accessible. The topic of what archiving is, what it means to society, and the value it holds is addressed in terms of archiving art in regards to representing our culture. &#13;
A factor into preservation that is overlooked and should be addressed is considered as how the future will perceive our current archival databases and items we have preserved. Historically, the future will use our current archives as an aspect of study, therefore it is discussed how we are currently unable to determine how our archiving now will be seen at a future time. &#13;
Archiving is explored based on theory and how that theory is changing in practice.</text>
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                <text>Vaknin, Judy, Karyn Stuckey, &amp;amp; Victoria Lane. "All This Stuff: Archiving the Artist." Libri Publishing, 2013</text>
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