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When it comes to personal collections, we live in exciting times. Individuals are living their lives in ways that are increasingly mediated by digital technologies — digital photos and video footage, music, the social web, e-mail,and other day-to-day interactions. Although this mediation presents many technical challenges for long-term preservation, it also provides unprecedented opportunities for documenting the lives of individuals.

Ten authors — Robert Capra, Adrian Cunningham, Tom Hyry, Leslie Johnston, Christopher (Cal) Lee, Sue McKemmish, Cathy Marshall, Rachel Onuf, Kristina Spurgin, and Susan Thomas — share their expertise on the various aspects of the management of digital information in I, Digital: Personal Collections in the Digital Era.

The volume is divided in three parts:

Part 1 is devoted to conceptual foundations and motivations.

Part 2 focuses on particular types, genres, and forms of personal traces; areas of further study; and new opportunities for appraisal and collection.

Part 3 addresses strategies and practices of professionals who work in memory institutions.

Chapters explore issues,challenges, and opportunities in the management of personal digital collections, focusing primarily on born-digital materials generated and kept by individuals.

Contributions to I, Digital represent the depth in thinking about how cultural institutions can grapple with new forms of documentation, and how individuals manage--and could better manage--digital information that is part of contemporary life.

An examination of how urban peripheries are being redefined in the digital era.

Moving beyond current scholarship in urban and regional studies, this volume presents a case for “informational peripheries” as an analytical lens to understand the uneven, fragmented, and disconnected geographies of urban peripheries in the Global South. While this concept is parallel to and overlaps with the urban periphery, the circulation—or restriction—of information has taken on additional significance with the coming of a digital age. The periphery is no longer confined to the slums or suburbia at a city's edge; it now also encompasses uneven and fragmented digital infrastructures. 

Providing empirical and theoretical contributions from cities in the Global South, this book advances scholarship in Southern urbanism, smart cities, and peripheral urbanization, conceptualizing the diverse ways in which informational peripheries are resisted, adapted, complied with, and lived in. 
 

Inglorious Artists traces the origins of the image of the starving artist to late eighteenth- and early nineteenth-century France, where practicing and aspiring visual artists mobilized the emerging genre of graphic satire to publish hundreds of satirical images that satirized the Paris art world. By examining many of these images, which have never before been studied or published, this book provides a new social history of the status of the artist, revealing the ways in which the starving artist trope was used to protest the emergence of an early capitalist art market and to distinguish artists and their work from an increasingly commercial world. During this period, a series of political revolutions brought the possibility of radical change in the French art world. Parisian artists struggled to keep pace with the emergence of modern financial speculative capitalism, transitioning away from an art system dominated by guild and corporate interest. We have neglected the complaints visual artists made about these changes, expressed in the medium most accessible to them: the graphic image. In examining this imagery for the first time, Inglorious Artists reveals that the emergence of our modern conception of the artist is far more conflicted than has been considered.

This book is also freely available online as an open access digital edition.