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Figure 2. Deleted files from my own USB drive. FTK irnoger ond QuickView Plus
integrate to render content ond metadata from the deleted file in o legible form.
There are no easy answers to the many ethical questions that
arise in the course of working with born-digital materials. The
following ideas have been gleaned from practical experience
and ongoing discussions with other archivists and curators
working with born-digital collection materials:
- Capture and preserve forensic disk images, but institute a
policy of not providing access to the original disk image or
any deleted, hidden, or partial files. If a researcher wants
access to those types of files, it will be his responsibility to
contact the creator or executor for written permission;
- Work closely with creators prior to acquisition to determine
their intentions. If they are uncomfortable talking about
technology, help them articulate what types of files they
want a repository to have and provide access to;
- Develop a procedure for safely previewing and sampling the
contents of digital media, prior to acquisition, in order to be
able make well-informed collection development decisions;
- Include a statement about deleted, hidden, and partial files in
the acquisition agreement. If a creator wants researchers to
have access to those types of materials, she can make that
clear during the negotiation process;
- Provide clear, publicly-available documentation that explains
the repository's policies regarding born-digital materials,
including any access restrictions on particular types of files.
Georgia O'Keeffe and the Beinecke came to an agreement
about how the contents of her Waste Basket Collection can be
used, but access restrictions are only one option. Discussion and
collaboration across institutional and regional boundaries will be
crucial in the future as archivists and curators wrestle with the
ethical issues raised by born-digital materials and the impact of
our policies and practices on the shape of the digital historical
record.
1 Appendix Four: Georgia O'Keeffe's 'Waste Basket Collection'
of Photographs, http://hdl.handle.net/10079/fa/beinecke.sok
(accessed 18 January 2015). For information about another
collection gleaned from trash, see Adrienne LaFrance, 'The Man
Who Made Off with John Updike's Trash,' The Atlantic, 28 August
2014, http://www.theatlantic.com/features/archive/2014/08/
the-man-who-made-off-with-john-updikes-trash/379213/
(accessed 19 January 2015).
2 Description of the Papers, http://hdl.handle.net/10079/
fa/beinecke.sok (accessed 18 January 2015).
3 For a more complete list of file systems, see http://en.
wikipedia.org/wiki/Comparison_of_file_systems (accessed 22
January 2015).
4 Definition of disk imaging, http://forensicswiki.org/wiki/
Disk_image (accessed 21 January 2015).
5 For more on the advantages of using disk images to capture
archival materials, see Matthew Kirschenbaum et al., 'Digital
Forensics and Born-Digital Content in Cultural Heritage Collec
tions', CLIR 2010, pp. 32, 39-47 (accessed 21 January 2015).
6 Open source software, such as the suite of tools BitCurator
offers, can also provide access to deleted and hidden files
(http://wiki.bitcurator.net/index.php?title=File_Access). For a
more detailed overview of both technological and ethical
considerations, see Kirschenbaum, Digital Forensics, pp. 49-59.
7 FTK Imager, http://accessdata.com/product-download
(accessed 22 January 2015).
8 QuickView Plus, http://www.avantstar.com/metro/home/
Products/QuickViewPlusStandardEdition (accessed 22 January
2015).
Gabriela Redwine digital archivist at the Beinecke Rare Book
and Manuscript Library, Yale University.
24 2015 nummer 3
