Editing Ephemera (section)

===Digital ephemera===
In 1998, librarian Richard Stone wrote that the internet "can be seen as the ultimate in ephemera with its vast amount of information and advertising which is extremely transitory and volatile in nature, and vulnerable to change or deletion".<ref name=":18" /> Multiple academics have described digital ephemera as being possibly more vulnerable than traditional forms.<ref name=":31" /><ref>{{Cite journal|last=Hammond|first=Catherine|date=2016|title=Escaping the digital black hole: e-ephemera at two Auckland art libraries|url=http://dx.doi.org/10.1017/alj.2016.10|journal=Art Libraries Journal|volume=41|issue=2|pages=107–114|doi=10.1017/alj.2016.10|s2cid=191357158 |issn=0307-4722|url-access=subscription}}</ref> Internet memes and selfies have been described as forms of ephemera and various modern print ephemera features a digital component.<ref name=":26">{{Cite journal |last=Callaghan |first=Holly |date=2013 |title=Electronic ephemera: collection, storage and access in Tate Library |url=http://dx.doi.org/10.1017/s0307472200017843 |journal=Art Libraries Journal |volume=38 |issue=1 |pages=27–31 |doi=10.1017/s0307472200017843 |issn=0307-4722|url-access=subscription }}</ref><ref>{{Cite journal |last=Govil |first=Nitin |date=2022 |title=Keanu's late style: the ubiquitous art of short-form celebrity |url=https://doi.org/10.1080/19392397.2022.2063402 |journal=Celebrity Studies |volume=13 |issue=2 |pages=214–227 |doi=10.1080/19392397.2022.2063402 |s2cid=248289457 |issn=1939-2397|url-access=subscription }}</ref> Commonly printed ephemera increasingly only manifests digitally.<ref name=":30">{{Cite journal|last1=Deutch|first1=Samantha|last2=McKay|first2=Sally|date=2016|title=The Future of Artist Files: Here Today, Gone Tomorrow|url=https://www.jstor.org/stable/26557039|journal=Art Documentation: Journal of the Art Libraries Society of North America|volume=35|issue=1|pages=27–42|doi=10.1086/685975 |jstor=26557039 |s2cid=112265150 |issn=0730-7187|url-access=subscription}}</ref> The [[Tate Britain|Tate Library]] defines "e-ephemera" as the digital-born content and [[paratext]] of an email, typically of a promotional variety, produced by cultural institutions; similar in nature, monographs, catalogues and micro-sites are excluded, per being considered e-books.<ref name=":26" /> Websites, such as those of an administrative nature, have seen description as ephemera.<ref>{{Cite journal|last=Slania|first=Heather|date=2013|title=Online Art Ephemera: Web Archiving at the National Museum of Women in the Arts|url=https://www.journals.uchicago.edu/doi/10.1086/669993|journal=Art Documentation: Journal of the Art Libraries Society of North America|language=en|volume=32|issue=1|pages=112–126|doi=10.1086/669993|s2cid=58248647 |issn=0730-7187|url-access=subscription}}</ref><ref>{{cite book|last=Bardiot|first=Clarisse|year=2021|title=Performing Arts and Digital Humanities: From Traces to Data|publisher=[[Wiley (publisher)|Wiley]]|volume=5|pages=26|isbn=9781119855569}}</ref> The likes of [[Instagram]] feature accounts dedicated to displaying graphically designed ephemera.<ref>{{Cite magazine |last=Lange |first=Alexandra |date=2015-03-24 |title=Instagram's Endangered Ephemera |url=http://www.newyorker.com/culture/cultural-comment/instagrams-beautiful-ephemera |access-date=2022-05-21 |magazine=[[The New Yorker]] |language=en-US}}</ref>

Digital ephemera is of comparable nature to printed ephemera, although it is even more prevalent and subject to altering perceptions of ephemera.<ref name=":30" />{{Sfn|Iskin|Salsbury|2019|p=125}}{{Sfn|Wasserman|2020|p=236}} Holly Callaghan of the Tate Library noted a proliferation of "e-ephemera"; an increased reliance upon this form of ephemera has engendered concern, with note to later accessibility and a difficulty to those outside of the intended recipients.<ref name=":26" /><ref>{{Cite journal |last1=Russell |first1=Edmund |last2=Kane |first2=Jennifer |date=2008 |title=The Missing Link : Assessing the Reliability of Internet Citations in History Journals |url=https://www.jstor.org/stable/40061522 |journal=Technology and Culture |volume=49 |issue=2 |pages=420–429 |doi=10.1353/tech.0.0028 |jstor=40061522 |hdl=1808/13144 |s2cid=111270449 |issn=0040-165X|hdl-access=free }}</ref><ref>{{Cite book |url=https://books.google.com/books?id=8jUXEAAAQBAJ |title=The New Art Museum Library |publisher=[[Rowman & Littlefield Publishers]] |year=2021 |isbn=978-1538135709 |editor-last=Nelson |editor-first=Amelia |pages=51 |editor2-last=Timmons |editor2-first=Traci E.}}</ref> Citing ostensibly infinite digital storage, Wasserman said that the category, ''ephemera'', may cease to exist, its contents having been ultimately preserved.{{Sfn|Wasserman|2020|p=231}}