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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>In this article the standards of metadata and tools are explored and questioned to see if they are the best options for ensuring protection and permanence of web archiving objects, such as snapshots of websites. The text questions whether the evolution of web interfaces can even be documented. Through studies it explores the possibility of encoding Preservation Metadata: Implementation Strategies (PREMIS) within Adobe's eXtensible Metadata Platform (XMP). And through their findings they found it is in part impossible to encode PREMIS within XMP. However the article does seek to find best practices related to metadata standards and tools that are relevant and useful for web archiving.</text>
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                <text>Romaniuk, Laurentia. "Metadata For A Web Archive: PREMIS And XMP As Tools For The Task." &lt;em&gt;Library Philosophy &amp;amp; Practice&lt;/em&gt; (2014): 1-20. Web. 11 May 2015.</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>“Going digital: electronic images in the library catalog and beyond”  is a book published all the way in 1995. In this year was when practical consumers began using the internet and saving their own data into their personal hard drives. It was written by archiving consultants Ronald R Abbott and Mimi King. It is not available in a printing format,  but it can be accessed virtually as a digitized novel. It is 81 pages and originally written and solely released in English. The fact that the book is no longer allowed in paper back is very important because if it had not been digitized and archived it would no longer be able to read and would be an immense waste of such valuable information. Considering that the book was released in the late 90’s before many websites were updating digitized information, it shows how much the efficiency of digital archiving has changed much over time. The book explains the importance of beginning to archive not only written data, but visual data as well. This book would be an important addition to the website because it goes back to the basics and foundations of digital archiving through images. The text was extremely popular to teach students in the early 90’s at the University of Toronto in Canada. </text>
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                <text>Ronald R. Abbott, Howard Besser, Richard W. Boss, H. Thomas Hickerson, Marilyn Lutz, Pameia R. Mason, Willam E. Neale. </text>
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                <text>Clara Pulido, Jacquelyn Curtin, Truc Duong</text>
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                <text>King, Mimi, and Ronald R. Abbott. Going Digital: Electronic Images in the Library Catalog and Beyond. Chicago, IL: Library and Information Technology Association, 1995.</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>Clio Wired: The Future of the past in the Digital Age</text>
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                <text>Roy Rosenzweig contends that the past is not dead. His book, Clio Wired, is a collection of essays focusing on the digital media and how it could keep the past alive. Simplistically, it is broken into three sections: rethinking, practicing, and surveying. The first section, Rethinking History in New Media, focuses on preservation and the use of the internet and digital tools for scholarship. Rosenberg considers what should be preserved and who is responsible for this preservation. In addition, he explores the authority of digital knowledge, new research methods for digital media, and amateur historians from professional historians in a digital realm. Practicing History in New Media: Teaching, Researching, Presenting, Collecting, which is the second section in the book, encompasses how to practice history in the field of digital media. The essays within this section range from teaching methods in the classroom, how to collect history online, using hypertext in scholarly journals, and the open access of scholarly research. The final section in the book, Surveying History in New Media, discusses the future of digital media. His focus is on the advantages of digitization, and he believes in the near future the most important bodies of knowledge will be online, such as in archives. </text>
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                <text>Rosenzweig, Roy. Clio Wired: The Future of the past in the Digital Age. New York: Columbia University Press, 2011. </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>"Authenticity in a Digital Media Environment." Council on Library and Information Resources Report. May 2000. Accessed January 25, 2012. &lt;a title="http://www.clir.org/pubs/abstract//reports/pub92" href="http://www.clir.org/pubs/abstract//reports/pub92"&gt;http://www.clir.org/pubs/abstract//reports/pub92&lt;/a&gt;.</text>
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                <text>Jeff Rothenber’s Avoiding Technological Quicksand addresses the fragility of digital documents and information, and suggests that “emulation” is the most reliable way to prolong the life of data, while also discussing the limitations of several previous attempts and arguments about creating persistent digital artifacts. He discusses the idea of obsolescence at length, noting that the loss of systems, hardware, and software required to access digital documents is a primary concern for libraries and archives that wish to preserve the longevity of digital documents in their collections. He offers a theoretical framework for considering the design and implementation of systems that would extend the life of digital artifacts by making them transferable into other formats. He suggest that emulation, or the ability to mimic the functionality of software and hardware through new interfaces should be the focus of digital archival research aimed to prolong the quality of, and access to the digital information archivists are trying to maintain.</text>
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                <text>&lt;span&gt;Russotti, Patti, and Richard Anderson. &lt;/span&gt;&lt;em&gt;Digital Photography Best Practices and Workflow Handbook: A Guide to Staying Ahead of the Workflow Curve&lt;/em&gt;&lt;span&gt;. Burlington, MA: Focal, 2010. Print.&lt;/span&gt;</text>
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                <text>Russotti and Anderson give a good basic outline of Digital Asset Management. In contrast, or perhaps complimentary to Peter Krogh's The DAM Book, the authors bridge the gap between novice digital photographers and more advanced practitioners. Most of the book is rooted in practical knowledge in regard to the field of digital photography and its preservation. The book urges a reorientation of visual literacy based on the relationship between digital and photography. Digital influence upon photography is evident in the way it has evolved and changed visual culture. The authors maintain that this evolution is not new and is due to technological advances that replace or modify older, existing ones. </text>
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                <text>For many, the idea of digital archives can often appear to be fundamentally opposed to media and art and can appear to be impossible to accomplish. This article examines some of the problems that digital archivists face when attempting to incorporate art pieces into their projects. According to Saba, even though a piece of art may have an audio or visual component, that does not make it the most important part of the piece. Archivists must determine which parts of the media are essential for its preservation and place a priority on these components, even if it may reduce the complexity of the piece. In addition to the physical components of the art piece, it is crucial to present its context in greater society, allowing the archive to become a place of cultural conservation. This can often include connecting the media to other pieces that are present in the collection. The documentation of these aspects of an art piece can be challenging when considering works that are performance or time based. Saba also questions how archives can effectively incorporate all of these components into an archive, with proper use of metadata, while also preserving the complexities that are present in the art piece. </text>
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                <text>Saba, Cosetta G. "Media Art and the Digital Archive." Preserving and Exhibiting Media Art: Challenges and Perspectives, edited by Noordegraaf Julia, Saba Cosetta G., Le Maitre Barbara, and Hediger Vinzenz, 101-21. Amsterdam: Amsterdam University Press, 2013. doi:10.2307/j.ctt6wp6f3.9.</text>
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