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                <text>Author and archivist, Trevor Owens, discusses a wide range of issues relating to digital archives and preservation. In this blog, he describes crowdsourcing and offers a rationale for soliciting "citizen archivists" to contribute content to large digital cultural heritage collections. He develops four concepts for assessing the types of crowdsourcing needed: human computation, wisdom of crowds, software tools for scaffolding amateur contributions, and tapping into the public's motivation for contributing to the archive. He expounds on each concept and provides key questions digital archivists may pose before potential crowdsourcers.  Several examples of successful crowdsourced digitial collections and links for further reading are included in the blog. &#13;
&#13;
Owens is also suspicious of corporate sponsored crowdsourcing projects, such as Google's "Image Labeler," or Amazon's "Mechanical Turk." The amount of labor invested in completing the digital tasks for these sites may be exploitative, yet Owens also acknowledges that these types of interaction provide models for implementing crowdsourcing for more humane projects. His list of four concepts accompanied by key questions establishes a criteria for successful crowdsourcing and prevents the project from devolving into a "digital sweatshop."</text>
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                <text>Owens, Trevor. "The Crowd and the Library." &lt;em&gt;Trevor OwensL User-centered Digital History &lt;/em&gt;(blog), May 20, 2012. &lt;a href="http://www.trevorowens.org/2012/05/the-crowd-and-the-library/"&gt;http://http://www.trevorowens.org/2012/05/the-crowd-and-the-library/.&lt;/a&gt;</text>
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                <text>This is the essential handbook for curators and students interested in curation. This book covers all areas of curation from mapping out all the stages of the exhibition-making process to the installation. The history of curation is discussed as well, dating back to the 17th century. The roles of a curator are discussed in the subjects of custodian, interpreter, educator, facilitator and organizer. Other points of interest focus on loan requests, budgets, schedules, exhibition catalogs and interpretation materials. If the advice and instruction from one decorated curator is not enough, there are numerous tips and words of advice from multiple international known museum curators. Adrian George provides us with some of the best insight from around the globe on the study and work of curators. George being the director and senior curator at the UK Government Art Collection in London gives him the standpoint of an experienced curator ready to provide his knowledge to others seeking it. Through the twelve chapters in this book, all forms of curation and its processes are covered in great detail. There are no other books on this subject that reach for such a detailed description of the position. </text>
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                <text>Since its first-edition printing in 2003, The DAM Book has become one of the standard references for photographers trying to build and protect their digital archives. In this revised edition, Krogh takes a holistic approach, outlining what he refers to as the “Digital photography ecosystem.” After explaining the theoretical aspects of developing a sound digital asset management plan, Krogh tackles the practical issues of non-destructive image editing, understanding and using metadata, the benefits of controlled vocabularies, consistent file naming, choosing the right hardware and software platforms, analyzing cataloging strategies, and finally devising a comprehensive back-up system. &#13;
&#13;
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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>Diaz, Joanne T. "The Digital Archive as a Tool for Close Reading in the Undergraduate Literature Course." &lt;em&gt;Pedagogy&lt;/em&gt;, v12 n3 (2012): 425-447.</text>
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                <text>Gilbery, Alan.  “The Digital Archives: A Vision for the Future.” New York Philharmonic.  YouTube Video.  Posted on February 2, 2012.  Accessed February 6, 2012. http://www.youtube.com/watch?v=_A9yEv7dLzE.</text>
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correctly because if done incorrectly different aspects of the media can be corrupted and damaged. For example, the media can be transferred correctly through video, but the audio can be damaged. </text>
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