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                <text>Cohen, Daniel J. and Roy Rosenzweig. Digital History: A Guide to Gathering, Preserving and Presenting the Past on the Web. Philadelphia: University of Pennsylvania Press, 2006. &lt;a href="http://chnm.gmu.edu/digitalhistory/"&gt;http://chnm.gmu.edu/digitalhistory/book/phpCohen, Daniel J. and Roy Rosenzweig.&lt;/a&gt; Digital</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>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>It's something of a dream for many: to digitize and make accessible the vast number of books, documents, artifacts, photos, videos, and other materials housed at thousands of different institutions across the country. The Digital Public Library of America is working on making it a reality. We explore a collaboration between libraries, museums, and archives - including the Library of Congress and the Smithsonian - that aims to put it all online.</text>
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                <text>&lt;em&gt;The Kojo Nnamdi Show&lt;/em&gt;. Sound recording. Washington, D.C.: American University Radio. &lt;a title="http://thekojonnamdishow.org/" href="http://thekojonnamdishow.org/"&gt;http://thekojonnamdishow.org/&lt;/a&gt;.</text>
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                <text>The Digital Public Library of America project is a massive undertaking that illustrates the growing expectations of having information available online and the importance Western society is placing on increasing digitization for both access and safekeeping. This project shows that digital archives and repositories are not an afterthought, but rather are moving to the forefront and becoming just as vital as physical collections. </text>
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                <text>PADI: Preserving Access to Digital Information. “Web Archiving.” Last modified August 24, 2011. Accessed February 6, 2012. http://pandora.nla.gov.au/pan/10691/20110824-1153/www.nla.gov.au/padi/topics/738.html</text>
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A grid of standards&#13;
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The archives community&#13;
The museum community&#13;
More recent trends&#13;
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                <text>This is a useful guide for introducing the basics of metadata systems. Archivists may use this when trying to understand how and why different systems are used to create metadata for different types of artifacts.  </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>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>Why Digital Preservation is Important for Everyone</text>
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                <text>Traditional information sources such as books, photos and sculptures can easily survive for years, decades or even centuries but digital items are fragile and require special care to keep them useable. Rapid technological changes also affect digital preservation. As new technologies appear, older ones become obsolete, making it difficult to access older content.&#13;
&#13;
This video briefly explains why digital preservation is important for both the private individual and the public cultural heritage institution. Digital content is defined as encoded content represented as text, images, audio recordings and other formats accessible only through computer technology. Preserving digital content for the future so that it is both usable and accessible is challenging for large institutions as well as for individuals. The narrator identifies human error and technological obsolescence as major challenges, and reviews essential preservation strategies to counteract these threats to preservation. He reiterates digital items are extremely fragile, and cautions that special care is needed to keep these items usable. Digital items are also dependent upon technology; again, requiring strategic solutions to maintain availability. &#13;
&#13;
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            <name>Identifier</name>
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                <text>http://www.youtube.com/watch?v=qEmmeFFafUs.</text>
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                <text>Library of Congress. “Why Digital Preservation is important for Everyone.” (April 2010). Video recording. Accessed June 15, 2012. &lt;a href="http://www.youtube.com/watch?v=qEmmeFFafUs"&gt;http://www.youtube.com/watch?v=qEmmeFFafUs.&lt;/a&gt;</text>
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