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                  <text>Ethics, Privacy, Copyright, and Legislation</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>Copyright Protection and Cumulative Creation: Evidence from Early Twentieth-Century Music</text>
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                <text>This article uses information from an online database of music sampling to estimate the effect of copyright protection on the cumulative use of music. Using unique panel data that link upstream and downstream music, the author uses regression analysis to examine the rates at which early 20th-century musical works were used throughout the 20th and 21st centuries. The results suggest that copyright protection causes an upstream work to be used less than half as often as it would be if it were in the public domain after conditioning on upstream-song and downstream-year fixed effects. Placebo regressions in which the copyright expiration date is artificially shifted forward and backward in time by 2, 5, and 10 years suggest an immediate effect of copyright expiration on downstream use.</text>
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                <text>Antonella Federici</text>
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                <text>Stephanie Holmes Didwania, "Copyright Protection and Cumulative Creation: Evidence from &#13;
Early Twentieth-Century Music," The Journal of Legal Studies 47, no. 2 (June 2018): 235-268. https://doi.org/10.1086/698923</text>
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                  <text>Planning, Building, and Curation</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>Sternfeld, Joshua</text>
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                <text>&lt;p&gt;Sternfeld, Joshua. "Archival Theory and Digital Historiography: Selection, Search, and Metadata as Archival&lt;br /&gt;Processes for Assessing Historical Contextualization." &lt;em&gt;American Archivist&lt;/em&gt; 74, no. 2 (Fall/Winter 2011): 544-575. Accessed April 22, 2016. &lt;a title="http://www.jstor.org/stable/23079050" href="http://www.jstor.org/stable/23079050" target="_blank"&gt;http://www.jstor.org/stable/23079050&lt;/a&gt;&lt;/p&gt;</text>
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                <text>This article focuses on the application of archival theory to create digital representations of history, and how this has created a new theory within digital humanities scholarship termed digital historiography—a theory which focuses on analyzing and studying how digital technologies and historical practice interact. The sudden, rapid development of digital humanities scholarship and its increasing emphasis on interdisciplinarity has left scholars without a criteria to properly assess the validity and importance of digital representations, leaving them without a means to determine what scholarly value should be assigned to the project. The author provides a solution to this problem by proposing three processes of archival theory as criteria: selection, search, and the application of metadata. To support this idea, the author examines several digital representations to illustrate how selection, search functionality, and metadata application impact, inform, and interpret the historical knowledge that a digital representation aims to impart. While the author believes technology has improved the ways in which history is conveyed to wider, non-specialized audiences, he explains the important role that more traditional approaches have on archival theory and historical practice and argues for their assimilation into digital humanities scholarship.&#13;
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