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                <text>Dougherty, Meghan and Charles van den Heuvel. "Historical Infrastructures for Web Archiving: Annotation of Ephemeral Collections for Researchers of Cultural Heritage Institutions." Research paper presented at the MIT6 Conference, Boston, MA, May 2009.</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>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>In this chapter, Duncan and Ekmekcioglu present a range of responses by digital libraries and repositories to their institutions and users. Most institutions blend features of three models: massive repositories, which provide wide access but limit content due to centralized control and need for speed and efficiency; distributed repositories, which provide resources specifically tailored for their patrons, albeit fewer in number than provided by the massive model; and individualized repositories, which while unconventional and thus, lacking interoperability, may best support targeted research goals. The authors recommend following uniform metadata standards to support interoperability and access to a more diverse set of resources. These standards should include copyright information, a statement and timeframe for conditions of use, and geographical coverage—an increasingly important addition given the worldwide access of the Internet. Indeed, this article, written for a UK audience, refers to international standards currently adopted by U.S. archivists and librarians. The authors also describe barriers against reaching interoperability and effective collaboration between libraries, archives, scholars, information technologists, and users. Unresolved issues contributing to these barriers include poorly defined and restrictive copyright regulations, and author/creator fears of losing income from open access. </text>
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                <text>Duncan, Charles and Cuna Ekmekcioglu. "Digital Libraries and Repositories." In &lt;em&gt;Reusing Online Resources: A Sustainable Approach to eLearning&lt;/em&gt;, ed. Allison Littlejohn, 1-11. London: Kogan Page, 2003.</text>
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                <text>John P. Wilkin, executive director of &lt;a href="http://www.hathitrust.org/"&gt;HathiTrust&lt;/a&gt; and associate research librarian for the University of Michigan, provides an in-depth report on the current percentages of published works that are at various stages of public domain and in-copyright. He explains that ascertaining the extent of the institution’s collections, the number of orphan works (holder of copyright unavailable), and the number of works in-copyright, enables librarians and archivists to develop strategies for storage and circulation of items particularly suited for academic institutions. A comprehensive bibliography with complete metadata enables scholarship found lacking in many large-scale bibliographic resources, including WorldCat and Google Books. Although Wilkin acknowledges these sources facilitate discovery through their search and retrieval interfaces, the quality of information provided is limited primarily to publication data. He suggests a significant amount of gray literature and orphan works are unavailable due to copyright restrictions and minimal cataloging. Thus, even within academic institutions, the patrons are unaware of potentially valuable resources. Using HathiTrust’s resources to survey the scope and categories of works ranging from public domain to in-copyright status, Wilkin concludes that the largest percentage of academic library collections are comprised of orphan works. In addition to the patron’s lack of access to these rich materials, these institutions incur great cost and unnecessary duplication of printed material for storage and maintenance.</text>
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                <text>Wilkin, John P. "Bibliographic Indeterminacy and the Scale of Problems and Opportunities of “Rights” in Digital Collection Building." &lt;em&gt;Ruminations &lt;/em&gt;1 (2011): 1-15. &lt;a href="http://www.clir.org/pubs/ruminations/01wilkin"&gt;http://www.clir.org/pubs/ruminations/01wilkin&lt;/a&gt;</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>Scholarly communications librarian Denise Troll Covey elaborates the difficulties and challenges of digitizing and providing access to books. Reporting on three separate studies sponsored wholly or in part by the Carnegie Mellon University Libraries, Covey cites the labor and time intensive work behind securing publisher and author permissions for not merely digitizing, but also providing access to previously printed works. Despite the open access initiatives by scholars and international consortium, such as the Budapest Open Access Initiative in 2002,she reports fewer than half of the targeted collections become available to the public. While continuing to encourage and promote efforts to secure copyright permissions for digitizing and publishing books, Covey acknowledges current U.S. copyright laws must be changed and advocates lobbying legislative officials to develop both laws and technologies that do not impinge upon the public's right to know. Notwithstanding recent measures to curtail "copyright misuse" (overly restrictive practices by copyright holders), Covey notes that legal protection for creative expression and doctrines such as Fair Use and library copying privileges have weakened in response to aggressive publisher and author tactics to secure and restrict access to digitized books. &#13;
&#13;
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                <text> ©2014 Council on Library and Information Resources. All rights reserved.</text>
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                <text>Covey, Denise Troll.&lt;em&gt; Acquiring Copyright Permission to Digitize and Provide Open Access to Books. &lt;/em&gt;Washington, D.C.: Council on Library and Information Resources, 2005.</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>Acts of Translation: Digital Humanities and the Archive Interface</text>
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                <text>Elish and Trettien argue the interface of digital collections transfers meaning through its design and acts as a metonym for the sponsoring web site. They scrutinize the visual interface and usability of three web sites housing large digitized collections and focus on the ideologies associated with the representation and mission of each site. By applying what they refer to as “visual epistemology,” Elish and Trettien identify the tools and visual markers that facilitate access to and navigation through three digital archives: NINES (Networked Infrastructure for Nineteenth-century Electronic Scholarship), “Objects of History” (George Mason University), and SFMOMA Art Scope (San Francisco Museum of Modern Art). Both presentation of the items and navigation through the site work in tandem to produce meaning, with the preferred result being a minimizing of the interface and a maximizing of the content. In this article, the authors underscore the “expressive potential of digital form” and offer a method for designing and critiquing digital archives.</text>
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                <text>At this formative moment in the field of Digital Humanities, this paper seeks to intervene with the question: how does visual epistemology inform and influence the ways of accessing artifacts (broadly construed) in a digital space? As Research Assistants for MIT’s Hyperstudio, we have helped to design, plan and implement Digital Humanities projects; as scholars and students of art, literature and media, we have used digitalarchives in our own research. Drawing on these experiences, we explore the ways in which three recent web-based Digital Humanities projects draw on visual conventions and interface design to translate user interactions into archival access.</text>
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                <text>April 2009</text>
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                <text>Polk, Victoria </text>
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                <text>http://web.mit.edu/comm-forum/mit6/papers/Elish.pdf</text>
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                <text>Elish, Madeleine Claire and Whitney Trettien. "Acts of Translation: Digital Humanities and the Archive Interface." Paper presented at the MIT 6 Conference. Boston, MA, April 2009.&lt;a href="http://web.mit.edu/comm-forum/mit6/papers/Elish.pdf"&gt;http://web.mit.edu/comm-forum/mit6/papers/Elish.pdf&lt;/a&gt;</text>
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        <name>archive practices</name>
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        <name>digital conversion</name>
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