European archivists grapple with the legal obligations, civic responsibilities and future prospects of their collections, which, thanks to the Internet and other new technologies, are increasingly awash in image and sound. As William Urichhio notes, “tradition-bound institutions know what we should be gathering: feature films, books, newspapers, political documents, but it’s much harder to know what to do with things like social media…say, networks of interactions.” Different organizations are evolving diverse strategies. At France’s National Institute of the Audiovisual (INA), Claude Mussou describes managing “memory and heritage policies in the information age.” In the 16th century, she recounts, Francois 1 mandated that any book published would be first deposited in the royal library. The national collection law broadened over centuries to include new forms of knowledge production: documents, film, radio and TV, and beginning in 2006, websites, because of the migration of so many activities online, and because of the fleeting life of many websites. Says Mussou, “Twenty, 50 or 100 years from now, when scholars or academics look for evidence and testimony for what the 21st century was,…web archives will be a necessary and valuable source.” She pointedly notes that we can’t rely on Google or other commercial interests to maintain web archives, and therefore governments must not “surrender their role as gatekeepers to collective memory.” Sweden’s national library recently merged with the national media archive, says Pelle Snickars, which includes seven million hours of media material. The legal deposit law mandates anything put out on tape, radio or TV must find its way into the state’s collections. This imposes an enormous burden, both curatorial and budgetary. As it transitions to digital, the library must maintain its analog collection. Snickars says the larger problem involves rights: researchers would love access via the web to the material that’s being tran...