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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>Mike Kastellec explores the technological and non-technological factors that impede a digital collection’s long-term sustainability. The technical issues, data loss and technical obsolescence affect all types of collecting institutions, including digital archives, libraries, and museums, and Kastellec argues such factors are continuously improved due to the intense focus devoted to their solution by most digital collecting institutions. However, the non-technological factors including access, selection policies, legal issues, and finances typically receive less attention and are, therefore, the greatest impediments to the collection’s sustainability. Kastellec identifies financial sustainability to be the ultimate limiting factor and explains that while the solution, creating redundant copies off-site, may currently be the best solution, the dynamics of all non-technological factors should receive greater focus and study for long-term preservation.</text>
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                <text>Kastellec, Mike. "Practical Limits to the Scope of Digital Preservation. &lt;em&gt;Information Technology &amp;amp; Libraries &lt;/em&gt;31, issue 2 (2012): 63-71. http://ejournals.bc.edu/ojs/index.php/ital/article/view/2167/pdf</text>
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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>The history of the web and the record of its impact on society may never fully be realized if measures to record and preserve its content are not carefully and consistently maintained. Leetaru identifies the inconsistencies in web archiving by public institutions, such as the Library of Congress, and commercial enterprises, such as the New York Times. He explains current trends for limiting the size of the “crawl” (ingesting web content into the archive) and the web site’s rate of change may not promote discovery of patterns and insights for future scholars and historians. Leetaru proposes web archiving institutions solicit the users and data miners for selecting and presenting the web archive’s content and developing the protocol for ingesting web artefacts.&#13;
&#13;
In addition to increasing the collaboration of a broad web archiving community, Leetaru suggests web archives should also increase the visibility of its holdings and provide sufficient contextual information for the different versions and replacements of web content. Like Wikipedia’s chronology of updates and editions for each page of content, Leetaru believes a web archive should reveal the source code as well as origins of its content. In response to copyright restrictions and rights to privacy, he recommends “snapshots” and limiting algorithms to “surface-level analyses.” By opening access to the intellectual content of the web artefacts and simultaneously adhering to both property and technical standards, preservation of the web archive and the potential for future research can be assured.&#13;
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                <text>http://netpreserve.org/sites/default/files/resources/VisionRoles.pdf</text>
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                <text>Leetaru, Kalev. "A Vision of the Role and Future of Web Archives." A paper presented at the 2012 General Assembly of the International Internet Preservation Consortium, Washington, D.C., &lt;span class="field-content"&gt;April 30 - May 4, 2012.&lt;/span&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>The three authors of this article discuss three different repositories which house confidential, legally protected content and describe measures each institution takes to balance the archival values of preserving and providing access to its holdings against the equally important archival value of protecting the privacy rights and concerns of its donors. William C. Carpenter recounts the history of declassifying military and government documents and commends the succession of presidential orders that established automatic declassification in response to the ever-growing accumulation of military and government documents. While governments frequently halt declassification of certain documents during crises, such as 9-11, or open documents as in the Abu-Ghraib debacle, the automated declassification system places the onus on the donating agencies for keeping records sealed.  &#13;
&#13;
Business archives, on the other hand, enjoy greater legal protection for sealing its records from public access. Sara A. Polirer explains U.S. trade laws and property rights consider business records economically valuable assets despite their intangible nature. Because digitization and Internet commerce place marketable ideas at greater risk of copyright infringement, and because economic value is a fundamental factor in writing legislation, business archives must implement policies that promote business needs over the public’s right to know. The archival practice, “due diligence” applies to business archives in the careful classification of content and anticipation of what future researchers may need to know. &#13;
&#13;
Health science archives face an especially difficult challenge in balancing the public’s right to know with protecting the privacy of patient records. Judith A. Wiener discusses the rationale for the patient privacy act, HIPAA, and identifies the problems incurred by health related archives ingesting health records. Because HIPAA does not designate time limits (as do military and government declassification regulations), nor does it provide guidelines for reformatting and digitizing health records, health science archives have had to restrict access and impede potential research and scholarship. In response, individual repositories and institutions are developing policies including the redactment of personally identifiable information and inserting time limits to both protect the privacy of the donors while providing access to the historically rich records. &#13;
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                <text>Carpenter, William C. , et.al. "Exploring the Evolution of Access: Classified, Privacy, and Proprietary Restrictions." &lt;em&gt;The American Archivist &lt;/em&gt;vol. 74 (2011): 602:1-25. &lt;a href="http://www2.archivists.org/sites/all/files/AAOSv074-Session602.pdf"&gt;http://www2.archivists.org/sites/all/files/AAOSv074-Session602.pdf&lt;/a&gt;</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>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;
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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>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>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>The Born Digital in the Archives: One Curator's Experience</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>Manus, Susan.</text>
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                <text>The Library of Congress</text>
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                <text>2012-29-08</text>
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                <text>Polk, Victoria</text>
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                <text>http://blogs.loc.gov/digitalpreservation/2012/08/the-born-digital-in-the-archives-one-curators-experience/</text>
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                <text>Manus, Susan. "The Born Digital in the Archives: One Curator's Experience." &lt;em&gt;The Signal: Digital Preservation&lt;/em&gt;, April 29, 2012, &lt;a href="http://blogs.loc.gov/digitalpreservation/2012/08/the-born-digital-in-the-archives-one-curators-experience/"&gt;http://blogs.loc.gov/digitalpreservation/2012/08/the-born-digital-in-the-archives-one-curators-experience/&lt;/a&gt;</text>
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