he Center for Research Libraries (CRL) has just posted a video recording of a July 29, 2015 presentation featuring two well-known and respected members of the digital humanities community, Peter Leonard and Lindsay King from the Yale University Library.
The video runs 82 minutes.
The IFI Irish Film Archive has published a new Digital Preservation & Access Strategy that outlines its response to the challenges and opportunities of archiving vast quantities of moving image material in a digital environment.
For most of us, climbing the corporate ladder means first becoming a manager. Then, as your control extends over bigger teams, and eventually entire departments, you ascend in an organization’s hierarchy. Your career advancement therefore—in terms of title, pay and recognition—is inextricably tied to people management.
But does this decades-old approach to career development even make sense?
Artefactual Systems proposes to develop a Preservation Planning Ontology, to turn digital preservation planning Documents into Preservation Planning Data.
Linking existing vocabularies from PREMIS, NEPOMUK, ORE and others, the Preservation Planning Ontology would fill a real gap the digital preservation world.
Building on the Format Policy Registry, a tool that is bundled with the open source Archivematica project, the first goal of this project is to develop a new ontology that allows Preservation Rules to be described, along with the tools used to enact those rules.
The POWRR project investigated and reported on scalable digital preservation (DP) solutions for small and mid-sized institutions often faced with small staff sizes, restricted IT infrastructures, and tight budgets. Its major deliverable, a white paper, has been well-received and widely read. During the investigation, POWRR uncovered the particular challenges and needs of under-resourced institutions and worked to address and overcome obstacles that often prevent practitioners from taking initial steps in preserving digital content.
For decades memory institutions have put effort into dealing with pieces of the digital preservation puzzle. Unfortunately this has also resulted in quite a lot of fragmentation – solutions in place in different institutions and countries are not easily reusable in others. After carrying out extensive consultations with the European Commission a set of institutions (including OPF members: the Danish and Estonian National Archives) secured funding for a project which tackles the standardisation of the core interoperability aspects for a digital repository: pre-ingest, ingest and access.
Well established “best practices” in digital preservation (DP) do little to address day-to-day realities in repositories that cannot dedicate funds or staff to DP workflows. What can a Lone Arranger do to ensure good stewardship for born digital and digitized institutional records before a complete preservation system is in place?
http://works.bepress.com/cgi/viewcontent.cgi?article=1037&context=meg_miner
It is estimated that over 90 percent of all new information is born digital. We create new digital materials practically on a daily basis. What can we as libraries do to help our users manage their personal digital materials? This article explores resources and methods that could be used in the development of a personal digital archiving workshop and how to best tailor it to your library audience.
Introduction
Digital preservation is fundamental to information stewardship in the 21st century. Although much useful work on preservation strategies has been accomplished, we do not yet have an adequate conceptual framework that articulates precisely and formally what preservation actually is. The intention of the account provided here is to bring us closer to this goal. Following an initial analysis of the concept of preservation as it occurs in ordinary discourse around digital stewardship, several influential preservation models are analyzed, identifying both useful insights and problems.
Over the past twelve months representatives from Europeana, DPLA and Creative Commons have been exploring the possibilities for a collaborative approach to rights statements that can be used to communicate the copyright status of cultural objects published via our platforms. This work is close to the heart of both Europeana and the DPLA as we both seek to share clear and accurate information about copyright status with users.