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                <text>This journal article documents the history and digitization efforts performed and enforced by the International Employee Assistance Digital Archive (EA Archive), housed at the University of Maryland, Baltimore, School of Social Work (UMSSW). The Employee Assistance Archive adopts the coordinated endeavor to transfer paper-based research documentation to digital platforms that grant its users increased access to vast amounts of content oriented towards social workers, opening its availability at no cost to the user since 2013. With UMSSW’s expansive history of leadership in the field of master’s level social work education, the university focuses on the digitization of large amounts of records and historical documents that previously remained inaccessible for the public before its incorporation into a digital online format. As archivists around the world contribute to greater access to research materials, the EA takes into prominent consideration the indispensable teachings and ideas of other acclaimed archive examples in the implementation of policies and digitization approaches. The article serves as an introduction to the Employee Assistance Archive for readers and authors of the Journal of Workplace Behavioral Health (JWBH), placing preeminent attention on the encouragement of its readers to take part in the effort and contribute their research as a way to boost public access to more global audiences.</text>
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                <text>Herlihy, Patricia A., Jodi Jacobson Frey, Na Lin, and Alaina Kahn. “International Employee Assistance Digital Archive: A New Knowledge Hub.” Journal of Workplace Behavioral Health, February 15, 2020. doi:10.1080/15555240.2020.1724795.</text>
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                <text>Digital Curation: The Emergence of a New Discipline</text>
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                <text>Higgins, Sarah. “Digital Curation: The Emergence of a New Discipline.” International Journal of Digitization 6 no. 2 (July 25, 2011): 78-88. Accessed April 13, 2020. https://doi.org/10.2218/ijdc.v6i2.191</text>
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                <text>With its roots in discussions following the 2009 Digital Humanities Summer Institute at the University of Victoria, British Columbia, Digital Humanities Pedagogy: Practices, Principles and Politics is an examination of the pedagogy of digital humanities, a sector that has often been neglected in favor of theories, principles and research.</text>
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                <text>Hirsch, Brett D. &lt;em&gt;Digital Humanities Pedagogy: Practices, Principles and Politics&lt;/em&gt;. Cambridge: OpenBook, 2012. Print.</text>
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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>Eaddy, Brionna</text>
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                <text>Hirtle, Peter B., Emily Hudson, and Andrew T. Kenyon. Copyright and cultural institutions : guidelines for digitization for U.S. libraries, archives, and museums. n.p.: Ithaca, N.Y. : Cornell University Library, c2009., 2009. UCF Libraries Catalog, EBSCOhost (accessed April 22, 2016).</text>
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                <text>The development of new digital technologies has led to fundamental changes in the ways that cultural institutions fulfill their public missions of access, preservation, research, and education. Many institutions are developing publicly accessible Web sites that allow users to visit online exhibitions, search collection databases, access images of collection items, and in some cases create their own digital content. Digitization, however, also raises the possibility of copyright infringement. It is imperative that staff in libraries, archives, and museums understand fundamental copyright principles and how institutional procedures can be affected by the law. "Copyright and Cultural Institutions" was written to assist understanding and compliance with copyright law. It addresses the basics of copyright law and the exclusive rights of the copyright owner, the major exemptions used by cultural heritage institutions, and stresses the importance of "risk assessment" when conducting any digitization project. Case studies on digitizing oral histories and student work are also included. (Provided by authors)</text>
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                <text>Gail Hodge asserts that the rapid dissemination of digital “objects” occurred with “little regard for the long-term preservation of digital information.” Given the nature of the digital world, her analysis is as relevant in 2015 as it was in 2000. In an environment where file deletion, corruption, or accessibility is a constant concern, Hodge provides a step-by-step process that outlines some best practices to avoid some of the pitfalls digital practitioners face. She argues that rapid technological advances require users to incorporate appropriate standards during the creative process. Without a systematic approach, preservation becomes problematic. &#13;
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                <text>There are several varied types of electronic records, including legal documents, images, receipts, and personal correspondence that require unique methods of preservation. Hoke explains that due to rapid obsolescence of both software and hardware, long-term preservation (ten years or more) may not be possible. To further complicate the preservation of electronic records, the different institutions, and categories of collections (such as medical transactions, insurance proceedings, court cases, or personal papers) also affect their long-term maintenance. Hoke classifies these challenges to digital preservation into four main categories: storage media; hardware; software; and governance. For each category, Hoke provides examples and concludes no universal principle or procedure can be applied. For example, software companies that do not provide backwards compatibility may require emulation as opposed to migration strategies for preservation.&#13;
&#13;
 Hoke believes governance, the infrastructure and long-term commitment to preserving a collection, is perhaps the most vulnerable category. Knowing how to assign provenance to a record that must be migrated into a new form, or anticipating future demands for different types of records are examples of the difficulties affecting governance. Planning and developing strategies for governance are addressed in the second section of Hoke’s article. In this section, he discusses several preservation strategies, including periodic migration, using archival (non-proprietary) formats, and investigating new emerging technologies (such as nickel engraving). Throughout his article, Hoke reminds the reader that solutions must be tailored to the unique needs of the institution and the specific types of electronic records.  He concludes by providing four recommendations: determine the highest level of risk the institution is willing to take; assess the current effectiveness of the overall digital collection; survey the existing tools, strategies, and tactics used for preservation; and commit to long-term asset management.</text>
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                <text>Kit Hughes and Heather Heckman solicited several film and media archivists to describe critical challenges facing both media scholars and preservationists of analog and digital media. Each essay in this journal addresses the technical necessity for digitizing analog media and illuminate scholarly areas of study that investigate the cultural and aesthetic differences between the digital and the analog. In addition to discussing the technical aspects of migrating analog to digital, the archivists suggest economic factors need to be balanced against the ethics and aesthetics of preserving celluloid and tape. Preservation of media requires the collaborative input and expertise of technicians, historians and scholars, scientists and archivists. As each essay proposes, media scholars need a greater understanding of the technical challenges and costs of preserving analog media, while archivists must balance the need for long-term preservation and access against the potential loss of “affect” and “presence” when digitizing analog media. In the concluding essay, the author proposes using the traditions of art restoration and curation as models for digital media archives.</text>
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                <text>Hughes, Kit and Heather Heckman. "Dossier: Materiality and the Archive." &lt;em&gt;The Velvet Light Trap&lt;/em&gt;, v70 no.1. (2012): 59-65.</text>
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                  <text>Archives may represent any number or size collection and institution. These different types of archives may include governmental, non-selective collecting, thematic or activist, with corresponding missions and purposes unique to each institution. The items of this collection engage the processes of archive planning, building, and curation, and also represent notable digital archives whose collections reflect their respective institution's history and community.</text>
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                <text>© CILIP: the Chartered Institute of Library and Information Professionals 2009-2015</text>
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