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                <text>The Automatic Obsolescence Notification System, version 2 (AONS II) is a system designed by the National Library of Australia and the Australian Partnership for Sustainable Repositories to monitor archived digital files in order to help archivists keep track of when files may become obsolete, so they may update file formats before information is lost. Pearson explains the need for this type of system, noting that “we are still far more advanced in creating digital information resources than we are in taking concrete action to preserve them.” AONS II helps archivists to deal with the practical issue of keeping digital files in updated and usable formats. Pearson discusses the PANIC (Preservation Webservices Architecture for Newmedia, Interactive Collections, and Scientific Data) model and the AONS I program that together led to the creation of AONS II. Next, he details the goals of the program and describes how the system works to track file formats and notify users of files that are in danger of becoming obsolete. Additionally, Pearson notes that AONS II is an open source program freely available for download through the SourceForge website.</text>
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                <text>Pearson, David. “AONS II: Continuing the Trend Towards Preservation Software ‘Nirvana’.” Paper presented at iPRES, Beijing, China, October 11-12, 2007. Accessed February 6, 2012.</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>Architecture firms have used computers as an integral part of the design process for the past thirty to forty years, but born-digital architectural records are only now being donated to repositories for preservation. This article reviews the literature documenting efforts to preserve digital architecture records and examines the role information professionals might play in collecting these records. Present-day architectural practice is described, and a collaborative effort with an architectural firm is undertaken to facilitate decisions about the preservation of records that best document the legacy of their architectural practice.&#13;
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                <text>Pierce, Kathryn. "Collaborative Efforts to Preserve Born-Digital Architectural Records: A Case Study Documenting Present-Day Practice." Art Documentation: Journal of the Art Libraries Society of North America 30.2 (2011): 43-48. Web. 14 Apr. 2015</text>
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                <text>Pierce, Rachel. 2023. “Representing women across the public/private divide: Kerstin Hesselgren’s image in the Swedish digital archives.” Archiving, Exhibiting, and Curating the History of Feminism in the Global 20th Century. 33 (1). https://www.tandfonline.com/doi/full/10.1080/09612025.2023.2208412.</text>
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                <text>Video testimonies of Holocaust survivor stories are, in themselves, an archival medium. The conventions of shooting and distributing video convey an immediacy and an absence of cinematic artifice that reveal rather than obscure the unconscious and unintended effects. Like the archive, the video testimony gathers and presents the “noise” as well as the subject matter of its content. Details from gestures, eyes, expression, etc. are recorded and these visual registers of the psyche amplify the sound recording of the video. Pinchevski posits that the video testimony extends the voice and narrative of the testimony, providing viewers a greater sense of the survivor’s experience—one that may be inexpressible in mere written form or may belie the narration. Citing the investigative work of psychoanalysts and scholars of the Holocaust, Pinchevski believes both the archive and video are mediums of transmission providing society deep memory; that is, memories which cannot be immediately recalled without some type of mediation. Although it is arguable that either the archive and documentary video is more authentic than film or text, they each record the event as it occurred in real time and thereby enable the user/viewer to become witnesses to the historic event. More than words or symbols, the video archive, like the video testimony, disseminates and transmits the inexpressible.</text>
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                <text>© 2012 by The University of Chicago</text>
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                <text>Pinchevski, Amit. "The Audiovisual Unconscious: Media and Trauma in the Video Archive for Holocaust Testimonies." &lt;em&gt;Critical Inquiry&lt;/em&gt; 39, no. 1 (Autumn 2012): 142-166. &lt;em&gt;MLA International Bibliography&lt;/em&gt;, EBSCO&lt;em&gt;host&lt;/em&gt; (accessed April 20, 2013).</text>
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                <text>Daniel Pitti, commonly referred to as the “main technical architect” of the Encoded Archival Description (EAD), explains the rationale for substituting EAD for the bibliographic type of record (MARC) used in libraries. He distinguishes archives and their need for creating a stable and faithful finding aid for the collections (fonds) from libraries and their need for specific item and location descriptions. Unlike library records, archival records must also provide greater detail and contextual information; including the origin or provenance of the item and its order of creation within the collection. The collection is then hierarchically arranged from the fond to the smallest piece (archival object) in which each layer is described according to the EAD format.  Moreover, the encoding languages, SGML and XML, enable the EAD to be universally accessible through databases and differing hardware and software platforms. Pitti argues that this standard would enable archives and databases to share and link resources in an unprecedented way and that multiple formats and media could be equally standardized.</text>
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                <text>Postcolonial archives in theory and practice generally oppose traditional archival principles of open access. Indigenous cultures transmit knowledge according to local custom and do not conform to the Western, positivist hierarchical structure of institutional archives. Elizabeth Povinelli proposes to build a postcolonial digital archive of the native people of northwest Australia. In her article, she discusses the intellectual and ethical challenges that confront archivists when attempting to match tribal protocols of circulating and preserving traditional knowledge with digital media. Povinelli contends the open-access model of digital archives violates traditional barriers that indigenous societies erect to preserve and circulate traditional culture. She cites examples of modified algorithms and user-generated metadata in non-traditional digital archives and suggests adopting a tiered level of access for postcolonial archives. The resulting arrangement and access to content thereby respects local custom, although it may appear illogical or be inaccessible to the Western reader. Povinelli poses both ethical and ontological questions to digital archivists. Can digital media adapt to postcolonial archives without sacrificing and subverting the native society? Moreover, can the digital postcolonial archive, itself a challenge to the politically powerful and dominant institutional archives, maintain its purpose to halt the subjugation of the indigenous community? Such questions promote creative and critical innovation with rendering code, designing the interface, and adapting to the framework of a screen. However, even when constructed in accordance with native custom, Povinelli acknowledges that the power of the archive lies in its representation of truth, and as such, must continually be negotiated between archivist and the community represented.</text>
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