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                <text>Watson, Ken W. "All About Digital Photos." Rideau-info. N.p., n.d. Web. 14 Apr. 2015. &lt;http://www.rideau-info.com/photos/index.html&gt;.</text>
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                <text>"Introduced by Clive Phillpot, and including artists and writers such as Gustav Metzger, Bruce McLean, Barbara Steveni, John Latham, Barry Flanagan, Edward Burra, Penelope Curtis, and Neal White, All This Stuff breaks new ground in the field of archive theory. It documents the innovative ways in which the arts are challenging the distinctions, processes, and crossovers between artworks and archives. This critical reexamination exemplifies how the field of art archiving is changing theory and practice as well as our understanding of what an archive is, or could be. Valuable insights are given into the archival process and the book also explores how archives can be made accessible and the unpredictable ways in which they may be explored and reinterpreted in the future. </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>Explores how art archiving is changing in theory, how our understanding of archiving is influenced and changed, and how archives can be made accessible. The topic of what archiving is, what it means to society, and the value it holds is addressed in terms of archiving art in regards to representing our culture. &#13;
A factor into preservation that is overlooked and should be addressed is considered as how the future will perceive our current archival databases and items we have preserved. Historically, the future will use our current archives as an aspect of study, therefore it is discussed how we are currently unable to determine how our archiving now will be seen at a future time. &#13;
Archiving is explored based on theory and how that theory is changing in practice.</text>
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                <text>Lor, Peter Johan, and J.J. Britz. "An Ethical Perspective on Political-Economic Issues in the Long-Term Preservation of Digital Heritage." Journal of the American Society for Information Science and Technology 63 (2012): 2153–2164. </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>This article explores the reasons that many archivists overlook digital preservation when archiving films, particularly focusing on the risks of digital preservation compared to its physical counterpart. Current methods of film preservation are highly comprehensive. The industry uses strict guidelines on the selection, funding, maintenance and accessibility of archived films. The Academy of Motion Picture Arts and Sciences, a leading non-profit organization in film preservation, sets many of these standards and explains that there are too many disadvantages in digitally preserving films to make any investments into it. One of the biggest problems that is present is the rapid obsolescence of digital files. Using 35mm cold film stocks, preservationists and archivists are able to safely keep films for over one hundred years, which is a lifespan that most digitally preserved films cannot match. In addition to this, many archives struggle with the storage of digital files. Films, especially ones with high quality, can take an immense amount of storage, and this can be exacerbated when keeping multiple copies of one film. Archivists also struggle with the cost of digitally preserving films. The standards for this practice are in their infancy, and many are hesitant to provide any investments to it, especially since the current methods work so well. However, Conrad warns that this refusal to address these problems will only delay the realities of the industry, as more and more films are not able to be properly preserved with physical methods.</text>
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                <text>Conrad, Suzanna. "Analog the Sequel: An Analysis of Current Film Archiving Practice And Hesitance to Embrace Digital Preservation." Archival Issues 34, no. 1 (2012): 27-43.  www.jstor.org/stable/41756160.</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 Automatic Obsolescence Notification System, version 2 (AONS II) is a system designed by the National Library of Australia and the Australian Partnership for Sustainable Repositories to monitor archived digital files in order to help archivists keep track of when files may become obsolete, so they may update file formats before information is lost. Pearson explains the need for this type of system, noting that “we are still far more advanced in creating digital information resources than we are in taking concrete action to preserve them.” AONS II helps archivists to deal with the practical issue of keeping digital files in updated and usable formats. Pearson discusses the PANIC (Preservation Webservices Architecture for Newmedia, Interactive Collections, and Scientific Data) model and the AONS I program that together led to the creation of AONS II. Next, he details the goals of the program and describes how the system works to track file formats and notify users of files that are in danger of becoming obsolete. Additionally, Pearson notes that AONS II is an open source program freely available for download through the SourceForge website.</text>
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                <text>Pearson, David. “AONS II: Continuing the Trend Towards Preservation Software ‘Nirvana’.” Paper presented at iPRES, Beijing, China, October 11-12, 2007. Accessed February 6, 2012.</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>Applying AI to Digital Archives: Trust, Collaboration and Shared Professional Ethics</text>
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                <text>Policy makers generate digital records every single day, a fraction of which is preserved in archival repositories. However, accessing these archives is often challenging due to various factors like data protection, sensitivity, and copyright. While Artificial Intelligence (AI) holds promise for enhancing archive accessibility, its implementation remains experimental. This article contends that gaps in skills and communication exacerbate these challenges. Despite sharing professional ethics, civil servants, archivists, and academics often fail to communicate effectively, fostering mistrust. This lack of trust extends to AI technology, further hindering its integration into archival practices. The article suggests that highlighting shared professional ethics can foster collaboration, ultimately building trust in AI tools. Drawing on semi-structured interviews with thirty professionals spanning government, archiving, history, digital humanities, and computer science, the research fills a gap by addressing access rather than just preservation of digital records, and by including perspectives of record creators alongside archivists. It emphasizes the importance of trust and collaboration across the entire archival process, from record creation to user access.</text>
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Rees, Arran</text>
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