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                  <text>In 2003, the Library of Congress and the national libraries of Australia, Canada, Denmark, Finland, France, England and other countries formed the International Internet Preservation Consortium, and have spearheaded an international effort to preserve Internet content for future generations.&#13;
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                <text>The International Internet Preservation Consortium was created in July 2003 by twelve pioneer institutions already involved in Web archiving and including eleven national libraries. The objectives of the consortium are to provide a forum for sharing knowledge about Internet content archiving and to develop interoperable tools, methods and standards to acquire, archive and provide access to the archived web sites. At the end of the first three years of IIPC a full set of open source free tools for the whole processing chain will be released. The IIPC standardization activity covers the web archives format, the preservation metadata, and the permanent identification aspects focussing on very large archive specificity. (Provided by author)</text>
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                <text>Eaddy, Brionna</text>
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                <text>Lupovici, Catherine. "Web archives long term access and interoperability: the International Internet Preservation consortium activity." IFLA Conference Proceedings (November 2005): 1-8. Library, Information Science &amp;amp; Technology Abstracts, EBSCOhost (accessed April 22, 2016).&lt;br /&gt;&lt;a href="http://eds.b.ebscohost.com/eds/detail/detail?sid=6e7b9c9d-8abe-47b5-ac84-810147774d70@sessionmgr114&amp;amp;vid=0&amp;amp;resultId=1&amp;amp;theDisplayFormat=CitationAndFullText&amp;amp;ReturnUrl=%252feds%252fresults%252fresultlist%253fsid%253d6e7b9c9d-8abe-47b5-ac84-810147774d70%2540sessionmgr114%2526vid%253d0%2526resultId%253d_resultId_"&gt;&lt;br /&gt;&lt;/a&gt;</text>
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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>As is true at many colleges and universities, the Otis College of Art and Design faculty and staff are actively exploring Web 2.0 technologies, resulting in an explosion of new digital content—learning objects, video demonstrations, interviews, audio podcasts, as well as portfolios, blogs, and wikis. Although the Otis Library owns digital asset management software, it has been a challenge to routinely archive this digital content. A range of issues is explored in this case study of how one library is confronting its changing role in relation to the educational activities of the College. Questions are also raised about the role that librarians play in archiving born-digital content.&#13;
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                <text>Maberry, S. "Archiving 2.0: Problems, Possibilities, and the Expanding Role of Librarians." Art Documentation 28.1 (2009): 40-3. </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>This source emphasizes the paradigm shift in genealogical research. According to this book, the landscape of genealogical research has undergone a profound transformation with people having access to millions of records available from the comfort of home. Despite this advancement, the intricate maze of online resources presents a formidable challenge for numerous researchers endeavoring to unravel the intricacies of their family history. Within the pages of &lt;em&gt;500 Amazing Online Archives and Digital Collections You've Never Heard Of – US Edition&lt;/em&gt;, readers are introduced to an expansive array of lesser-known repositories teeming with invaluable insights into ancestral lives. Each meticulously curated listing within the book serves as a gateway to a treasure trove of untold stories, essential for comprehensive genealogical exploration. By immersing themselves in these meticulously preserved archives, researchers stand to gain fresh perspectives and unearth previously undiscovered narratives, thereby bridging gaps within their family trees and fostering a deeper understanding of their ancestors’ lived experiences.</text>
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                <text>Dariannie Merced-Calderon</text>
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                <text>MacEntee, Thomas. &lt;em&gt;500 Amazing Online Archives and Digital Collections You’ve Never Heard Of: US Edition&lt;/em&gt;. Independently published, 2023.</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>Future Proof: The Transition to Digital at IFI Archive</text>
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                <text>This journal article delineates the procedures undertaken and the standards implemented in the establishment of a time-withstanding digital audiovisual archive known as the IFI Irish Film Archive. After collecting the results of various research endeavors regarding archival strategies, the Irish Film Institute launched a six-year digital preservation and access strategy in 2014, which prioritized the design and installation of digital archive tools for extended preservation and workflow redesigning practices. It discusses the impact that these fresh strategies evidenced in the management of high-resolution digital film and related metadata. The article delves into the Irish Film Institute’s past and origins as well as that of the project itself, which partnered with technology professionals before the release of its new strategy to deliver an extensible, viable, and cost-efficient solution to the recurring challenge of digital preservation, especially the preservation of audiovisual media. It surveys the development of preservation budgets and constraints, implementing methods to eliminate all but the essential aspects of a system enabling the delivery of primary objectives, adjusting system designs and greatly reducing unnecessary costs. After detailing the decisions taken to facilitate high speed data transfer and the adoption and promotion of its digitization standards, the article concludes by listing its partners in the archive, film, and research communities and their considerable contributions to the resulting Irish Film Archive.</text>
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                <text>Mahler, Anja; Factor, Simon; and Casey, Raelene</text>
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                <text>In his essay, Lev Manovich argues for the database as the key form of expression in digital culture, stating that the new cultural algorithm is a progression of information from reality, to media, to data, to the database. Manovich connects database philosophy to linguist Ferdinand de Saussure’s semiotic philosophy, stating that the database reverses the relationship of systemic elements as syntagmatic (in praesentia) or paradigmatic (in absentia); new media turns narrative—once seen as explicit—into a mere series of links, while the database stores the elements themselves. According to Manovich, this leads to both a desire for new and experimental forms of narrative, and a valuation of computer logic by artists and within the culture at large.</text>
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                <text>Manovich, Lev. “Database as Symbolic Form.” In Database Aesthetics: Art in the Age of Information Overflow, edited by Victoria Vesna, 39-60. Minneapolis: University of Minnesota Press, 2007.</text>
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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>The documents and files created and stored in composer Jonathan Larson’s computer were donated to the Music Division of the Library of Congress upon Jonathan’s death. Doug Reside, digital curator for the New York Public Library of the Performing Arts applied digital forensics to recover some of Larson’s born digital files—an increasingly common phenomenon as obsolescence of technology coupled with computer-based creation alters the work flow of receiving, cataloging and storing collections deposited into the archive. In this article, Susan Manus of the LOC Music Division, relates two interviews held with Reside that reveal the successful collaboration between digital forensics, librarians, and researchers. Reside describes the meticulous process of extracting data from obsolete technologies using disk imaging and emulators but adds that the process does not end with ingesting files. The significance of the data— its relevance for researchers and performers—must also be interpreted and Reside worked with music specialists and researchers to provide intellectual as well as physical access to Larson’s collection. Unexpectedly, Reside also discovered material useful for performers recreating Larson’s musical, “Rent,” underscoring the potential for the larger public to access and use the Larson collection. Manus points out, however, that the combination of cloud computing, proprietary software, and rights to privacy may result in unrecovered files, potentially eliminating much of the creative work currently being produced. Increased collaboration between libraries, archives, and creators during the course of their work may offset these losses.</text>
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                <text>The late Jonathan Larson went through many drafts when composing what became the hit-musical RENT.  The tragic end to his life is well known – he died suddenly at age 35 in 1996 shortly before the off-Broadway opening of the musical. What may not be well known is that these early drafts of RENT and other artifacts from Larson’s life and career were hidden for years, existing only on floppy disks and now-obsolete software programs.</text>
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                <text>Manus, Susan. "The Born Digital in the Archives: One Curator's Experience." &lt;em&gt;The Signal: Digital Preservation&lt;/em&gt;, April 29, 2012, &lt;a href="http://blogs.loc.gov/digitalpreservation/2012/08/the-born-digital-in-the-archives-one-curators-experience/"&gt;http://blogs.loc.gov/digitalpreservation/2012/08/the-born-digital-in-the-archives-one-curators-experience/&lt;/a&gt;</text>
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                <text>Marčetić poses that many people today archive their own personal data as a byproduct of their day-to-day lives rather than as a deliberate act of preservation. She contextualizes this by discussing the activities and habits of students, and examining if their digital preservation is a willful endeavor or simply an incidental aspect of living in the digital era. </text>
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                <text>Marčetić, Hana. “Exploring the Methods and Practises of Personal Digital Information Archiving among the Student Population.” ProInflow, no. 1 (2015). https://doi.org/10.5817/proin2015-1</text>
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