Essays on Libraries, Cultural Heritage

and Freedom of Information

Helsinki 2013

Kansalliskirjaston julkaisuja / Publications of the National Library of Finland 81

Translation and language revision: Language Services, University of Helsinki, with the exception of articles by the following authors: Andresoo, Sturges and Ylä-Kotola

Editorial boardHannu NiemiProfessor, former Chairman of the Board of National Library of Finland Sinikka SaloDoctor of Social Sciences (Econ.), Patron of the National Library of Finland, member of the Board of the National Library of Finland Sinikka SipiläPresident of IFLA 2013–2015, Secretary General of the Finnish Library Association Dorrit GustafssonDirector of Administration and Development, the National Library of Finland Kristina LinnovaaraDoctor of Philosophy, Senior Advisor, the National Library of Finland

This Festschrift is edited by Dorrit Gustafsson and Kristina Linnovaara.

Cover photos: Sanna Järvinen (upper), Shutterstock (lower)Kai Ekholm’s photo: Tommi AnttonenLayout: Graafinen Hukka

G R A A F I N E N

Kim SöderströmPaper: Galerie Art Gloss 130 g/m2, G-Print 115 g/m2

ISSN: 2242-8097Printed by: Otava Book Printing Ltd, Keuruu 2013 441 037

Painotuote

9

Contents

Essays on Libraries, Cultural Heritage and Freedom of Information

Janne AndresooThe Finnish bridge between national libraries: a glimpse from Estonia

Pekka GronowHow we lost the right to make private copies

Juha HakalaStandards in the National Library of Finland

Tuomas HeikkiläDoves, dogs and dragons – The medieval fauna of the National Library

Kristiina Hormia-PoutanenThe increased impact of the National Library as a national infrastructure provider

Esko HäkliFinnish literature published in North America in the collections of the National Library of Finland

Päivikki KarhulaThe fight for freedom of speech

Matti KlingeDon Quixote and books

Mikael KorhonenPrivate Digital Archives – Lost Cultural Heritage?

Tuija LaineFrom England to Ostrobothnia – The long journey of Thomas Bromley’s mystical writings

Jukka LiedesCultural diversity. The maxim of a UNESCO Cultural Convention: About the birth and the basic principles of a UNESCO Convention

Kai LinniläJ.W. Snellman’s cigarr

Ilkka MäkinenWhy people read: Jean-Jacques Rousseau on the love of reading

Hanna NikkanenPrivacy, transparency and clandestinity in the era of mass interception

10

Yrjö RepoThe book as merchandise

Hermann RöschEthics and the intermediaries in the digital age. Libraries and their role in reorienting towards freedom of information, freedom of opinion and privacy

Jarmo SaartiThe changing research paradigm of the humanities and the role of the libraries

Gunnar SahlinInternational and national collaboration in the digital age. Meeting boundless challenges together

Sinikka SaloPrivate funding for the National Library?

Sinikka SipiläStrong libraries, strong societies: The IFLA presidential theme for 2013–2015

Vigdis Moe SkarsteinFreedom of expression: What is the role of libraries?

Paul SturgesMystery and transparency: access to information in the domains of religion and science

Pia SödergårdFostering the cultural heritage at the Åbo Akademi University Library

Jukka-Pekka TimonenA match made in heaven or an unsolved triangle drama? – Libraries, publishers and copyright organisations

Gunilla WidénChanging information behaviour and the challenges of the digital age

Timo VirtanenThe new Sibelius treasures in the National Library

Mauri Ylä-KotolaHypervideo - The Hypertextual Narrative of Jean-Luc Godard

Kai Ekholm’s most important publications

83

Private Digital Archives – Lost Cultural Heritage?1

Mikael Korhonen

Director

Archives of the Society of Swedish Literature in Finland

Helsinki, Finland

“You have no idea what this archive looked like … it was two hundred or so cracked up, falling apart crappy cardboard boxes with stuff thrown into it without any sensible organisation … and it lived in my attic and it was dusty, and then it couldn’t fit in my attic anymore, so I had to hire a place to put it, sitting there in danger of being damaged by water or fire or whatever it might be, but it was just a mess; then there were these computers from, you know, the stone age of com-puting through the iron age, bronze age and so on … a bunch of old computers which had to be exhumed and brought back to life …”.2

In these vivid terms the author Salman Rushdie described the state of his archive in February 2010 before it was transferred to the library of Emory University in Atlanta. This happened in connection with its opening to the public, and the library staged an exhibition about the process of receiving and sorting out the contents. The archive consisted of paper material filling 30 metres of bookshelves: diaries, notebooks, and thoughts and ideas hurriedly jotted down on paper napkins, as well as manuscripts of his novels. Sorting it all out took several years. The greatest challenge was restoring and retrieving 40,000 computer files or 18 gigabytes of data in one desktop computer, three laptops (one ruined by a spilled can of coke) and one external hard disk. It was an enormous task involving a number of computer experts and archive staff. The final result is impressive, however, and today Rushdie’s archive, with its paper and digital material, offers a good example of how a writer’s documented output can be saved from near-chaos to constitute an entity accessible both to its creator and to researchers.3

Salman Rushdie’s archive also gives a good picture of a writer’s or a private person’s archive and what it consists of. It is the rule rather than the exception for such archives today to consist of paper material as well as digital material generated on computers, using various programs and stored in devices of many different kinds ranging from diskettes to hard disks and USB memory sticks. All this digital information must be retrieved

84

and recreated in an orderly archive. It is by no means an easy task, since it takes both expertise and financial resources to transform the mass of digital information into a structured entity of extensive, organised, systematised and searchable files, easily and safely accessible to researchers.

What is a private or personal archive?

Archival theory offers no clear-cut definition of what is meant by “private or personal archives”. From the historical perspective, the tradition has been to focus on the opposite and start by defining public and authority-run archives, and ascertaining that the rest belong in the private sphere.4 Authority-maintained archives contain public documents, whereas the contents of personal archives tend to be specific to the individual. Characteristic of the latter is that they comprise personal, occupational, professional and special-interest records. The archiving is frequently unregulated in comparison with archives maintained by authorities, organisations and enterprises, mostly intuitive and irregular, and somewhat haphazard. As far as provenance is concerned, integrity is vulnerable, as the archive may consist of several different creators’ documents, several family members’ or even several families’ records for example, and may in practice contain anything, but also show wide gaps. Personal archives tend to function as a connection between surviving and archiving, and thereby give meaning to individuals’ journeys and lives. At the rate at which individuals are generating and storing information, and also due to the plethora of file formats in which this information is saved, there is the ever-present danger that items of personal, family or cultural significance may be lost.5

Personal archives, however, are all but haphazardly established and collected documents. They mirror a person’s life and experience of life with an intimacy that is totally absent from systematically created and organised authority-run archives. Catherine Hobbs gives the following very descriptive account of this highly special character of the formation of personal archives and how it affects our attitudes to private issues:6

“There is an intimacy in the personal archive not present in the collective, corporate, formalized record-keeping system. These intimate elements are reflected not only in the content and organization of personal records, but come into play in the archivist’s direct interaction with the creator/donor during appraisal, acquisition, and subsequent management of personal archives. In the case of authors’ fonds, the experiences recorded in the archival material include not just the acts and facts about the author’s activities, but also her or his views, opinions, prejudices, and emotional reactions concerning literary tours, teaching, publishing, jury work, review

85

work, and the whole experience of writing itself. A literary fonds accrued over time reveals the painful amount of work which goes into making really good literature, but equally uncovers much about the evolving personality and character of the author.”

Paper archives and hybrid archives

Today’s private archives contain, in addition to paper documents, an increasing proportion of digital material in various formats such as texts, sound files and photographs. They represent a mixture of analog and digital information, the so-called hybrid archive,7 as in Salman Rushdie’s case. The nature of electronic material causes a wide variety of problems. The interpretation of digital data always requires the aid of some form of computer technology, hardware and software, programs capable of reading electronic information in the form of ones and noughts in endless combinations. The information is often stored in different computers supporting several different software applications manufactured at different times. Sometimes even “computer archaeology” is required to provide tools to retrieve very old information. An archaeological era in computer technology means 5-10 years or even less. It is not uncommon that some information is scattered over different platforms and units from hard disks and CDs to USB memory sticks. Even this is not enough: information is both produced and posted on social media sites such as Flickr, Facebook and SlideShare. The saved material is extensive and of varying content. The same files, digital photographs for instance, appear in many variants, since it is easy to copy and to create various file formats. All this adds to the problem of achieving a lucid structuring of the material. Searching for information is difficult, and so is finding it. Furthermore, digital private archives are, as a rule, old when they reach institutional archives, and the information is illegible without special facilities and conversion capability.8

These are some explanations for the difficulty in managing digital private archives. However, further, more fundamental, problems exist. Digital archive material is mostly left to live its own life in the same way as private persons manage their paper archives. Individuals feel that their material does not require special curation measures, and that term is rather associated with museums maintaining artefacts or with public archives. It is not uncommon for family records and photographs to be kept in shoeboxes for dating and identification later – “when there’s more time” – which, regrettably, is often too late. Digital photographs are stored on hard disks or burned onto CDs in large unsorted numbers, as digital photography and storage are so easy. The same applies to digital movies, video clips, sound and texts. The absence of descriptive metadata is a serious fault.

86

As a general rule, it could be said that most people treat their personal archives rather nonchalantly, or actually do not give a lot of thought to them at all. To be sure, they do realise that some records are more valuable than others and ought to be saved for the family and the future, but have neither the time nor the patience to take care of them, nor do they have the foresight to realise what items they will eventually appreciate.

It is, nevertheless, not quite fair to maintain that private people are not at all concerned with how their important personal documents should be preserved. The market offers many different solutions for the management and storage of data, ranging from software to cloud computing, but they are insufficient, as they can very rarely guarantee safe long-term storage with the necessary recurring migration. What should be done when you realise that if nothing is done there is a serious risk that all effort spent on creating and managing information may, in the long run, disappear into thin air? Catherine C. Marshall, who has studied and written on private digital archiving, listed the six most common strategies – for better or worse – that private persons normally use to secure the storage of their data material:9

• They think of system backups as the same thing as a long-term archive;• They use a succession of My Documents folders as an archival

collection that is stored on their current PC;• They write important files to external storage media such as CDs and

DVDs;• They use free email in conjunction with attachments to create an

archive;• They use a combination of social media sites (e.g., Windows Live

Spaces, Flickr, and Zoomr) as a failsafe method of storing photos and videos; or

• They save the entire platform – the computer, its peripherals, and all the installed software – to be rebooted and accessed when files are needed.

There are other similar studies confirming that Marshall’s list contains the most common solutions among private persons.10 These solutions are insufficient, however, and do not guarantee long-term storage. What is required are resources, expertise, knowledge of computer technology, standardised storage formats and, above all, centralised procedures guaranteeing the long-term future of the private digital cultural heritage, and maintaining it as searchable and legible over a long period.

87

Proactive interactionWhat can be done, then, to save private digital records before it is too late? It is no good waiting, as in the case of paper material, for digital archives to become old enough or for the creator to die before admitting them into insti-tutional archives. The keyword is proactivity and early cooperation between creators and archivists. This must take place at the earliest possible stage, preferably during the life span of the digital records, even before they are created, as it is difficult and complicated to manage digital archives retro-spectively. Private persons rarely display such skills, or are even interested in the computer technology archivists and institutional archives have at their disposal in order to tackle the complexity of problems. Archivists will, in the future, tend more and more to act as private persons’ consultants, so-called facilitators. This has been highlighted in discussions about Archives 2.0, which charts the new and modified roles of archival institutions and archi-vists in a digitised world. It is no longer enough to be the gatekeeper of archi-val material: archivists are required and expected to heed user needs in their work and to adopt a user-oriented approach to the material.11

Archival diplomacy

Archivists must work proactively to be able to influence the fate of records at the earliest possible stage of the archiving process, preferably even before their creation. Private persons may supply the archivist with technical and descriptive information, such as the mode of records creation, archival structuring and applicable paths. This is vital information for the subsequent management and utilisation of the digital material.

Donors of personal archives readily submit their older records, but do not always conceive of their current digital files as “archives”: they may find it stressful to allow access to or the copying of more recent digital material. Not until the archivist peruses the archives and the digital material does it become apparent that the material is concretised in a system of email correspondence, collections of digital photographs and other items that may be very sensitive, or may pertain to other family members or close friends. Donors must therefore be confident that their archives will be managed appropriately; security must be trustworthy and curatorial practices ethical.12

Reliability and security in particular are essential in the managing of digital archives, which live their own lives in an environment of computer technology in databases and servers. Some of the material may be readily available on the Net. The archivist must assure the donor that it is all being managed in the best possible way, and that accessibility is regulated by mutual agreement. The often drawn-out transition to the archival institution

88

is a crucial element, giving the donor time to be sure that the decision to transfer his or her documented past is the right one. I call this process archival diplomacy, as it frequently requires lengthy and detailed negotiations about how the material is to be taken charge of and utilised, including secrecy stipulations.

Solutions for private digital archives

How are private digital archives to be taken charge of, preserved and made accessible? What technological solutions such as programs, equipment and standards are required? Are there ready-made theoretical operational mod-els and frameworks, and previous practical experience? How are ownership rights and copyrights covering digital material dealt with, are they the same as for paper material? Are there further legal and ethical issues to be con-sidered? What about authenticity aspects: how do you guarantee that digital material and electronic documents are authentic, and what is the original? These are some questions that also apply to paper archives, but require special consideration and decisions where digital archives are concerned.

We are not entirely in the dark. There are a few ready models.13 The library of Emory University in Atlanta and Salman Rushdie’s archive were mentioned earlier. The library’s Manuscript, Archives, and Rare Book Library (MARBL) also houses the digital archives of other authors, such as Lucille Clifton, Eamon Grennan and Turner Cassity. MARBL has devised a secure process for the management of digital writers’ archives, described in detail in an article in the journal Archivaria 72 (2011).14

Paradigm (Personal Archives Accessible in Digital Media) is another well-known project, launched in 2004 as a joint venture involving the university libraries in Oxford and Manchester. The aim is to explore the issues involved in preserving digital private papers through the acquisition of practical experience in accessioning and ingesting digital private papers into digital repositories, and processing these in line with archival and digital-preservation requirements.15 The project outcomes include a template for ensuring long-term access for institutional holdings of digital personal papers, best-practice guidelines in the form of a workbook16 on issues relating to the archiving of personal papers in digital form, strengthened local institutional capacity for digital preservation, and policy templates for institutional collection, development, retention and disposal. A sequel to Paradigm, the futureArch implementation project (2008 – 2012) at the Bodleian Library aimed at embedding hybrid archivy – and its subdomain, digital curation – into the day-to-day routines of its archival and manuscript work.17

89

SABA (Statens Arkivers Basale Arkivprogrammer) is a corresponding Nordic project developed by the National Archives in Copenhagen. The SABA program, which supports the transformation of digital archives to an archive standard for long-term preservation, can be downloaded free of charge by authorities, organisations and private persons. The program facilitates the creation of a data structure for digital documents, photographs and e-mails, stored in digital archives in a folder structure on a computer or a hard disk. These documents can subsequently be delivered to state or some other public archives.18

The management of private digital archives is a question that has attracted minimal discussion in Finland so far. The Society of Swedish Literature in Finland has launched its own project, aimed at creating a secure process and building the computing technology to facilitate the future accommodation of digital private archives. The Society is investigating the prospects of giving writers access to personal digital archives on its server, allowing them to create, store, manage and use their digital materials during their lifetime, provided they adhere to the Society’s instructions, standards and formats. The Society will offer technical support, and will maintain the archives. This is a form of outsourcing archive management during the creator’s lifespan. At some point the parties will agree when and how the digital archive is to be locked and transferred for long-term preservation.

The National Digital Library project, initiated by the Ministry of Education and Culture, endeavours to find comprehensive solutions to safeguard the private digital cultural heritage housed in archives, libraries and museums. The project aims to ensure that the information on our culture, heritage and history is safely stored, easily found and actively used. This will benefit learning and research, and offer new possibilities for the creative industries and artists. Thus far, the project concerns the digital material of the established archive, library and museum sector.19 Private persons, local associations, organisations and other corresponding sections of the population producing large amounts of digital material, including collections of photographs and audio-visual materials, are still excluded. All these are sources of information about the lives of ordinary people and local communities. The campaign to save our private digital cultural heritage must be taken to this personal and local level.

What will the future be like?

Archival institutions will still be dealing with paper archives far into the future, but at the same time the number of hybrid and digital archives will increase. Archivists will face many new challenges arising from the digital culture. A

90

proactive approach to donors/creators, a new form of professionalism, Ar-chives 2.0 and the application of a user perspective will be among the re-quirements. New knowledge, expertise, and both professional and financial resources will be necessary for the preservation and management of digital materials. Interaction between the archival institutions will become more and more important in order to find comprehensive solutions, as in the case of the National Digital Library.

The future challenges of the digital world affect the fundamental functions and tasks of archival institutions and archivists: taking charge of, preserving and making the written cultural heritage accessible in all its forms. In the paper world it is all about retroactively assessing the value and significance of archived materials from a research-oriented perspective. Predominantly, it is a question of older material left by the creator, and thus of the relation between the age that produced the archived material and the present, in which it is received and evaluated. In every single case the significance of the archive is assessed in relation to the collecting policy and existing archival holdings.

Archivists must manage digital archives proactively in the present time in order to be able to influence the archiving process in a direction that will guarantee secure long-term preservation. The link between then and now is much shorter. Assessing the value of digital archives from the researcher’s perspective is therefore much more difficult. Is it this very writer’s archive we want to invest resources in? Is this material attractive and relevant to future research? Is there alternative material that we should focus on instead? These questions are not easily answered in the paper world, either, but in the digital world they are even more complicated. They are key issues facing the entire archival community, applying to both analog and digital materials, because at the end of the day it is all about whose history is recorded and whose is forgotten.

References1 I became seriously interested in digital personal archives after reading an article

by Rachel Donadio on the Net, “Literary Letters, Lost in Cyberspace”, published in the New York Times 4 September 2005. The author asked the question what access to private letters and other documents researchers will have in future, when more and more material is produced electronically and private persons lack the solutions for long-term preservation. http://www.nytimes.com/2005/09/04/books/review/04DONADIO.html?pagewanted=all (5.5.2013).

2 Emory News Center, “Salman Rushdie YouTube clip on the Opening of His Archive at Emory”, http://www.youtube.com/watch?v=nqvQKiV-XWA&fea-ture=youtu.be (20.4.2013).

3 Mary J. Loftus, ”The Author´s Desktop”, Emory Magazine (2010), http://

91

www.emory.edu/EMORY_MAGAZINE/2010/winter/authors.html (29.4.2013); Patricia Cohen, “Fending off Digital Decay, Bit by Bit”, New York Times 16.3.2010, http://www.nytimes.com/2010/03/16/books/16archive.html?pagewanted=all&_r=0 (29.4.2013); Sabine Mas, Dominique Maurel, Inge Alberts, “Applying Faceted Classification to the Personal Organization of Electronic Records: Insights into the User Experience”, Archivaria 72 (2011), 61 – 92.

4 Riva A. Pollard, “The Appraisal of Personal Papers: A Critical Literature Review”. Archivaria 54 (2001), 136 – 150; Rob Fisher, ”In Search of a Theory of Private Archives: The Foundational Writings of Jenkinson and Schellenberg Revisited”, Archivaria 65 (2009), 1 – 24.

5 Paradigm Woorkbook, 17 – 18, http://www.paradigm.ac.uk/workbook/pdfs/index.html (29.4.2013); Martin Grass, ”Principer för ordnande och förtecknande av personarkiv. Exemplet Hjalmar Branting”, Arkiv, samhälle och forskning 1989, (1989), 17 – 29; Jari Lybeck et al., Arkistot yhteiskunnan toimiva muisti. Asiakirjahallinnon ja arkistotoimen oppikirja, (2006), 100 – 101; Society of American Archivists, “Guide to Donating Your Personal or Family Papers to a Repository” (1994), http://www.archivists.org/publications/donating-familyrecs.asp; Caroline Williams, “Personal Papers: Perceptions and Practices”, What are Archives? Cultural and Theoretical Perspectives: A Reader, (Louise Craven ed., 2008), 57 – 58.

6 Catherine Hobbs, “The Character of Personal Archives: Reflections on the Value of Records of Individuals”, Archivaria 52 (2001), 127 – 128.

7 Paradigm Workbook, 169.8 Ina-Maria Jansson, Ett förlorat kulturarv? Digitala personarkiv – problem, lösningar

och framtid. Institutionen för ABM, Uppsatser inom arkivvetenskap (2012), 13 – 15: Susan Thomas, “Curating the I, Digital: Experiences at the Bodleian Libarary”, I, Digital: Personal Collections in the Digital Era, (Lee Christopher ed, 2011), 284 – 285; Jordan Bass, “A PIM Perspective: Leveraging Personal Information Management Research in the Archiving of Personal Digital Records, Archivaria 75 (2013).

9 Catharine C. Marshall, “Rethinking Personal Digital Archiving Part 1” D-Lib Magazine (2008), http://www.dlib.org/dlib/march08/marshall/03marshall-pt1.html (15.4.2013). Se även C.C. Marshall, “How People Manage Personal Information over a Lifetime.” Personal Information Management (Jones and Teevan, eds., 2007), 57-75, http://www.csdl.tamu.edu/~marshall/PIM%20Chapter-Marshall.pdf (15.4.2013); C.C. Marshall, “From Writing and Analysis to the Repository: Taking the Scholars’ Perspective on Scholarly Archiving.”, Proceedings of JCDL 2008, ( 2008); C.C. Marshall, S. Bly, and F. Brun-Cottan, “The Long Term Fate of Our Personal Digital Belongings: Toward a Service Model for Personal Archives.” Proceedings of Archiving 2006, Society for Imaging Science and Technology, 25-30, http://arxiv.org/abs/0704.3653 (15.4.2013); C.C. Marshall, F. McCown, and M.L. Nelson, “Evaluating Personal Archiving Strategies for Internet-based Information.”, Proceedings of Archiving 2007, Society for Imaging Science and Technology, 151-156, http://arxiv.org/abs/0704.3647(15.4.2013).

10 Se t.ex. Devin Becker and Collier Nouges, “Saving-Over, Over-Saving, and

92

the Future Mess of Writer`s Digital Archives: A Survey Report on the Personal Digital Archiving Practices of Emerging Writers”, The American Archivist 75(2012), 482 – 513; Peter Williams et.al., “Digital Lives: Report of Interviews With the Creator of Personal Digital Collections”, Ariadne (2008), http://www.ariadne.ac.uk/issue55/williams-et-al (15.4.2013); Sarah Henderson, How Do People Manage Their documents? An Empirical Investigation Into Personal Document Management Practices Among Knowledge Workers (2009), 67 – 107.

11 Kate Theimer, “What Is the Meaning of Archives 2.0?”, The American Archivist 74 (2011), 58 – 69; Randall C. Jimmerson, “Redefinding Archival Identity: Meeting User Needs in the Information society”, American Archival Studies: Readings in Theory and Practice (Randall C. Jimerson ed, 2001), 607 – 629.; Mary Samouelian, “Embarcing Web 2.0: Archives and the Newest Generation of Web Applications”, The American Archivist 72 (2009), s. 42 – 71; Joy Palmer, Archives 2.0: If we Build It, Will They Come?”, Ariadne, (2009), http://www.ariadne.ac.uk/issue60/palmer (15.4.2013); Jane Stevenson, “The Online Archivist: A Positive Approach to the Digital Information Age”, What are Archives? Cultural and Theoretical Perspectives: A Reader (Louise Craven ed, 2008), 91 – 92.

12 Susan Thomas (2011), 287.13 Matthew G. Kirschenbaum, Erika Farr, Kari M. Kraus, Naomi L. Nelson,

Catherine Stollar Peters, Gabriela Redwine, Doug Reside, “Approaches to Managing and Collecting Born-Digital Literary Materials for Scholarly Use”, White Paper to the NEH Office of Digital Humanities.Level 1 Digital Humanities Start-Up Grant (2009), http://mith.umd.edu/wp-content/uploads/whitepaper_HD-50346.Kirschenbaum.WP.pdf (15.4.2013).

14 Laura Carroll, Erika Farr, Peter Hornsby, and Ben Ranke. ”A Comprehensive Approach to Born-Digital Archives”, Archivaria 72 (2011), 61-92.

15 http://www.paradigm.ac.uk/ (28.4.2013); Se also Jeremy Leighton John (a.o.), Digital Lives: Personal Digital Archives of the 21st Century (2010), http://britishlibrary.typepad.co.uk/files/digital-lives-synthesis02-1.pdf (29.5.2013).

16 http://www.sa.dk/content/dk/af levering_til_arkiverne/af levering_af_digitale_private_arkivalier (28.4.2013).

17 http://www.bodleian.ox.ac.uk/beam/projects/futurearch (28.4.2013); Susan Thomas, (2011), 280 – 301.

18 http://www.sa.dk/content/dk/af levering_til_arkiverne/af levering_af_digitale_private_arkivalier (28.4.2013).

19 http://www.kdk.fi/en (28.4.2013).