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                <text>&lt;em&gt;Archives, Access and Artificial Intelligence: Working with Born-Digital and Digitized Archival Collections &lt;/em&gt;examines the types of collections that have been digital since the time of their inception. These include web archives, photoarchives, dark archives, and digital libraries. Digital archives have grown significantly in recent years, resulting in a growth of digital data, digital archivists, and new and open source software for the creation and maintenance of these digital archives. &lt;em&gt;Archives, Access and Artificial Intelligence: Working with Born-Digital and Digitized Archival Collections&lt;/em&gt; reviews how digital records are found, collected, appraised, and analyzed and the challanges archivists face throughout this process. It also explores how various disciplines interract throughout the archive creation, curation, and maintenance processes and examines possible ways to improve the communication and collaboration therein. Additionally, the book examines new artificial intelligence technologies, such as neural networks, machine learning, and handwriting optical recognition, and how they interact with digital archives.</text>
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                <text>Jaillant, Lise, ed. &lt;em&gt;Archives, Access and Artificial Intelligence: Working with Born-Digital and Digitized Archival Collections&lt;/em&gt;. 1st ed. transcript Verlag, 2022. http://www.jstor.org/stable/jj.11425482.</text>
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                <text>In this article, Venezia discusses the influence of the archive on the comics of Alan Moore and proposes using the archive as a “model and method” for “reading the history” presented in similar types of graphic narratives. Ephemeral objects of history, including diaries, photographs, and other memorabilia that form archival collections abound in Moore’s comics. The comic’s unique ability to feature fragments of the past juxtaposed or placed within the space of the present and an imagined future renders the comic its historiographic quality. Venezia suggests the archival elements of the comic legitimizes its representation of history and illuminates for the reader popular cultural attitudes. In the examples given, he identifies fears of unemployment and the anticipation of the government’s demise indicating the social context and at a deeper level, the presentation of history as an archive. The importance of preserving the scattered remnants of a society as depicted in the comic is not just a narrative device; it is an acknowledgement of the archive’s power in making people aware of the present.</text>
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                <text>Venezia, Tony. "Archives, Alan Moore, and the Historio-Graphic Novel." &lt;em&gt;International Journal Of Comic Art&lt;/em&gt; 12, no. 1 (2010): 183-199. &lt;em&gt;Art Full Text (H.W. Wilson)&lt;/em&gt;, EBSCO&lt;em&gt;host&lt;/em&gt; (accessed Feb. 1, 2013).</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>Archives, Documentation, and Institutions of Social Memory: Essays from the Sawyer Seminar</text>
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                <text>The Advanced Studies Center of the International Institute of the University of Michigan held a year-long Sawyer Seminar from 2000-2001 to investigate the complicated relationships between archives, forms of documentation, and societies. The program had 100 presentations over 28 sessions with representation from 15 different countries. The focus of the seminar was the role of archives in the production of knowledge. The book is divided into five sections. The first section deals with archives themselves. How does one define an archive? The second section looks at how archives are used in the production of knowledge. The third section is about social memory. These articles explore how archives create knowledge about broader social processes and activities that can be used to explore the past, such as how archives can deliberately limit, shape, or structure certain kinds of social understanding. The fourth section examines archives and political cultures, specifically Canada, the Caribbean, Western Europe, African, and European Colonial Archives. Essays cover the challenge of recovering “memory” in areas of colonialism and postcolonialism, revolutionary events, and evolving stable states. In contrast to section four, the last section covers archives and social understanding in states undergoing rapid transition, such as China, Postwar Japan, Postwar Greece, Russia, Ukraine, and the Balkins. The essays examine the relationship between state archives and governments, and they look at how politics affects archives. </text>
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                <text>Blouin, Jr, Francis X., and William G. Rosenberg, eds. Archives, Documentation, and Institutions of Social Memory: Essays from the Sawyer Seminar. Ann Arbor: University of Michigan Press, 2006. </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>Élika Ortega. “Archives, Libraries, Collections, and Databases: A First Look at Digital Literary Studies in Mexico” 86, no. 2 (2018): 229–47. doi:10.1353/hir.2018.0016.</text>
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                <text>As the “Foreword” by Geoffrey Yeo says, Millar explains archives as “the tools we can use to help us understand where we came from and where we are going” (vii).  Her book explains ways of understanding and supporting archives.  It sets up important elementary archiving principles for the new and seasoned archivist alike.  It defines archives as “the small portion of all the information, communications, ideas and opinions people generate that are recorded and kept” (2).  She describes archives as “tangible” and “concrete.”  The chapters define important archival concepts, including the fonds, provenance, and original order.  They also describe ways of preserving archives.  Later, the book covers weeding and deaccessioning.  She also discusses ways of making archives available and ends with a chapter on digital archives.  While digital archives “solve” the problem of sharing the information with the public, they also create a unique situation because they have seemingly endless storage. However, one of the most important parts of archiving is selecting materials.  Digital archives are often called in to question, as well, because of difficulties in tracking provenance.</text>
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                <text>As is true at many colleges and universities, the Otis College of Art and Design faculty and staff are actively exploring Web 2.0 technologies, resulting in an explosion of new digital content—learning objects, video demonstrations, interviews, audio podcasts, as well as portfolios, blogs, and wikis. Although the Otis Library owns digital asset management software, it has been a challenge to routinely archive this digital content. A range of issues is explored in this case study of how one library is confronting its changing role in relation to the educational activities of the College. Questions are also raised about the role that librarians play in archiving born-digital content.&#13;
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                <text>Copyright 2009 The University of Chicago Press</text>
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                <text>This source explores and outlines the concept of a cultural archive. It examines how different cultures and groups celebrate their heritage and collect their memory through intangible forms of expressions as sources of archival records, such as oral traditions, performances, and memory text. Bastian uses those forms of record to demonstrate them as proof of relevance to different cultural groups. Here, she highlights the importance of community identity. Some key factors in the book include definitions of cultural heritage and archival heritage while emphasizing intangible cultural heritage. The book also offers traditional archiving research methods alongside analog and digital models to analyze both tangible and intangible forms of cultural expressions. It offers models for constructing cultural archives with different examples.</text>
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                  <text>Individual, family, and community histories are increasingly being documented and preserved on the Internet through a wide array of social media, software products, and services. Stories, images, and video are being uploaded, organized, and accessed on the Web.  &#13;
&#13;
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                <text>This Youtube video provides education and standards on the functions and uses of preserving photographs through digital means. The Library of Congress offers not only how this can be done, but benefits to having this information under one's belt. The description of the video reads as follows:&#13;
&#13;
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&#13;
Library staff gave talks about how to preserve specific kinds of information. In this video, Phil Michel, Digital Conversion Coordinator at the Library of Congress's Prints &amp; Photographs division, offers practical advice on archiving digital photos."&#13;
&#13;
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