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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>This anthology offers a comprehensive overview of theoretical approaches to cultural heritage institutions and digital media. Featuring authors from a broad variety of disciplinary fields, it aims at an international, cross-disciplinary audience of scholars, professionals, and students. Rather than focus on methodology or technical implementation, the collection provides critical analyses of arguments and theories about the intersections of material and digital objects. Arguing that questions and doubts regarding technology and cultural heritage are part of a long-standing, ongoing discourse, the authors ask “what new understandings can be brought to bear on the relationship between digital and physical collections, artworks, and on the digital object.” Each article illuminates different aspects of the theme; drawing on examples in practice, such as photography and art, the authors examine how digitization bears upon abstract concepts of materiality, authenticity, authority, and representation. </text>
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                <text>Cameron, Fiona, and Sarah Kenderdine, eds. Theorizing Digital Cultural Heritage: A Critical Discourse. Cambridge, MA: MIT Press, 2007.&#13;
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                  <text>Preservation in the archive involves the process of historical representation and connotes security, safety, and assurance that the collections will remain intact and uncorrupted for future generations to enjoy. Digital collections pose unique preservation challenges and require an assessment of risks, both material and intellectual, as part of the planning and  management policies. These entries illuminate standard archival preservation practices and present future trends.</text>
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                <text>In this TEDx talk, Jamie Robinson, photographer at the John Rylands University Library in Manchester, England, gives an introduction to heritage imaging and collection care. Robinson starts out by summarizing the history of the JRU Library archive, while showing examples of early digital images. He defines heritage imaging as “creating digital surrogates of material that requires sensitive handling”, adding that such material is mainly of historical or cultural importance and therefore relevant to research. He then moves on to explain kinds of tools and technologies that are currently used in digitization and collection care, and elaborating on the technical processes the material undergoes throughout its lifecycle. Robinson repeatedly emphasizes the significance of such technologies in various fields: for instance, digital technologies can help read documents that otherwise have become illegible, thus aiding archeologists and historians retrieve lost material. </text>
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                <text>Robinson, Jamie. “Digitization and the Digital Archive.” TEDx Video,&#13;
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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>This article examines the ways in which online archives challenge the concept of provenance. Monks-Leeson examines two online archives in detail, the First World War Poetry Digital Archive, hosted by Oxford, and the Walt Whitman Archive, edited by Ed Folsom and Kenneth M. Price, to determine the ways in which they interpret and incorporate provenance. She concludes that both websites rather offer a collection than archival fonds. According to Monks-Leesong, search emphasizes themes rather than the creator’s order; thus, online archives seem to privilege alternate structures over traditional ones, such as provenance and original order. Nevertheless, Monks-Leeson points out, traditional archives offer thematic guides as well. Additionally, online archives tend to provide rich amounts of contextual information, which allows researchers to retrace the creator’s order. Ultimately, Monks-Leeson argues that digital archives are “a familiar adaption of ongoing practices and concerns,” rather than entirely new phenomena. Archivists must therefore keep in mind those traditional concepts whilst thinking of them in complex and new ways. </text>
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                <text>Monks-Leeson, Emily. "Archives on the Internet: Representing Contexts and &#13;
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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>Personal Archiving: Preserving Our Digital Heritage</text>
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                <text>This collection of essays explores the practical aspects of archiving outside of an institutional setting.  The authors specifically address issues that everyday people confront when trying to figure out how to handle not only the growing size of their digital footprint, but also how to preserve one’s family or personal history. Mike Ashenfelder from the Library of Congress accurately identifies the current dilemma: “Most of the general public—the largest group of digital-file stakeholders in the world—are unaware of what digital preservation or personal digital archiving is or why they should care.” &#13;
&#13;
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                <text> ISBN-13: 978-1573874809 </text>
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                <text>Hawkins, Donald T., ed. &lt;em&gt;Personal Archiving: Preserving Our Digital Heritage&lt;/em&gt;. Medford, NJ: Information Today, Inc., 2013. Print.</text>
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                <text>Family archives are valuable because they tell a story about people and communities, future generations have a record of their history and ancestors, and they can become national treasures. In Low Cost and No Cost Ways to Preserve Family Archives, Karen Brown explores the basics of gathering and preserving family mementos, artifacts, books, papers, and photographs. The webinar offers practical advice regarding best practices of storage, handling, and preserving family memories. She emphasizes that in order to preserve family collections, prevention is key: preventing damages in the first place. Prevention is the most effective and inexpensive way of ensuring that collections remain long-lasting. </text>
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                <text>Brown, Karen E.K. Low Cost and No Cost Ways to Preserve Family Archives. Albany, NY: SUNY. 2014 https://www.youtube.com/watch?v=5v2hAEAAeg8&amp;feature=youtu.be</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>In Part II of The Future of the Past, Alexander Stiille discusses cultural memory as it relates to the National Archive and the process of digitizing and converting nontextual material to a more stable format. Stille states that, at current staff levels, it would take 120 years to transfer nontextual material to more stable digital formats. Using this example, he thus elucidates a problem pinpointed by many scholars of digital archives: eventually, information abundance starts to feel overwhelming. Furthermore, with information glut comes questions of authority and vetting processes: who is creating and controlling cultural memories?</text>
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                <text>In &lt;em&gt;Preserving Memory&lt;/em&gt;, Linenthal discusses the Holocaust Museum in Washington D.C. throughout all stages of its creation. He discussion the ownership of memory, whether political or cultural, and the political motivations behind the creation of the museum. Then, he continues to describe the design of the exhibits, explaining how archival materials were used and sometimes altered to create a particular mood. For example, photographs were not retouched, though the technology was available, because aged photographs come with greater authenticity. Ultimately, Linenthal's goal was to dissect the many layers of struggle and traumatic memory and determine how the people, ideals, and objects are best represented through curated exhibits.</text>
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                <text>Linenthal, Edward T. &lt;em&gt;Preserving Memory: The Struggle to Create America’s Holocaust Museum.&lt;/em&gt; New York: Penguin Group, 1995. Print.</text>
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                <text>Lacher-Feldman provides practical advice for archivists on creating entertaining and engaging exhibits using special collections materials. She discusses all steps of the process, from planning and budgeting to the creation of legible materials that still manage to create a mood. Lacher-Feldmen further instructs readers how to reach out on social media to create a digital presence, and how to evaluate an exhibit and select potential items. She stresses that good exhibits create the opportunity for spontaneous learning. Finally, she illuminates how to best archive a physical exhibit after it is taken down.</text>
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                <text>Lacher-Feldman, Jessica L. &lt;em&gt;Exhibits in Archives and Special Collections Libraries. &lt;/em&gt;Chicago: Society of American Archivists, 2013. Print.</text>
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                <text>Webinars have a unique advantage over books or journal articles in that they are interactive and allow viewers to direct questions to the host. Although no longer an interactive webinar, in this one-hour video Jim McGrath gives an overview of Omeka, the open-source content management system developed by the Roy Rosenzweig Center for History and New Media at George Mason University. McGrath explains the installation process, identifies user options (institutional vs. private server/FTP) and discusses customization options. Installing free plug-ins, such as the mapping tool Neatline, and using cloud-based applications, such as Dropbox, to migrate photographs and documents into the archive give the user flexibility in designing their archive. &#13;
&#13;
McGrath also addresses topics including how to use Omeka as a teaching tool in the classroom and opening the archive to accept crowd-sourced material. In this case, their Boston Marathon archive allowed visitors to the website the opportunity to upload their own pictures and share memories of the 2013 bombing. The video stresses that the ability to provide this sort of collaboration is one of Omeka’s strong points, as well as its ease of use.  Once the information is archived, McGrath explains, a standard vocabulary—in this case Dublin Core—is necessary to navigate the exhibits and allow Omeka to interact with other archives.</text>
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                <text>HASTAC Team. Omeka and Digital Archives (HASTAC Scholars Digital Collections Webinar with Jim McGrath), 2015. https://www.youtube.com/watch?v=sV9xcJMiZ8Y.</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>The Text Encoding Initiative website gives straightforward instruction and detailed documentation on TEI, a subset of the XML markup language. The site provides a downloadable version of the TEI P5 Guidelines that gives a comprehensive overview of how to use markup language to encode primary sources within archives to make them accessible on the Web. The website also contains customized variations of TEI markups based on the needs of various disciplines that can be downloaded or adapted for particular projects. By adopting this standard language, users can harness the power of search engines by encoding “machine-readable texts.” &#13;
&#13;
The website also includes training resources, examples of how other institutions have implemented projects, and a wide variety of technical documentation. The TEI website is a valuable resource for learning and understanding the basics as well as the advanced application of text encoding and the broader XML language. Any digital practitioner developing their skill should make this one of their first studies.&#13;
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