Digital Curation

Digital curation is the management and preservation of digital data over the long-term.
All activities involved in managing data from planning its creation, best practice in digitisation and documentation, and ensuring its availability and suitability for discovery and re-use in the future are part of digital curation. Digital curation can also include managing vast data sets for daily use, for example ensuring that they can be searched and continue to be readable. Digital curation is therefore applicable to a large range of professional situations from the beginning of the information life-cycle to the end; digitisers, metadata creators, funders, policy-makers, and repository managers to name a few examples.

Again, Kevin Bradley (2007) defined curation as "maintaining and adding value to a trusted body of digital information for current and future use"

Digital Curation takes a wholistic approach (Life-cycle Management) to digital materials to address the selection, maintenance, collection and archiving of digital assets for long term access, in addition to their preservation whereas Data management usually implies more of a computer maintenance and backup role.

Digital Curation: D3.1—Evaluation of Cost Models and Needs & Gaps Analysis (MS12 Draft) | 4C

This draft report. . . provides an analysis of existing research related to the economics of digital curation and reports upon the investigation of how well current cost and benefit models meet stakeholders' needs for calculating and comparing financial information. It aims to point out gaps that need to be bridged between the capabilities of currently available models and tools, and stakeholders' needs for financial information.

Metadata for digital objects | OCLC

That was the topic discussed recently by OCLC Research Library Partners metadata managers. It was initiated by Jonathan LeBreton of Temple, who noted the questions staff raised when describing voluminous image collections such as: Do we share the metadata even if it would swamp results? What context can be provided economically? What are others doing both in terms of data schemas and where the metadata is shared?

Digital POWRR: Digital Preservation Research | ANADP II

The Aligning National Approaches to Digital Preservation (ANADP) II Action Assembly will align digital preservation efforts internationally between communities—including national libraries, academic libraries, public libraries, research centers, archives, corporations, and funding agencies. ANADP II will be a highly participatory event in which stakeholders will engage in facilitated discussions and action sessions to produce a set of concrete outcomes for the extended digital preservation community in three areas: Community Alignment, Resource Alignment, and Capacity Alignment.

Caring for Digital Materials: Preventing a Digital Dark Age | Connecting to Collections Online Community

Caring for Digital Materials: Preventing a Digital Dark Age - Digitization has provided opportunities for institutions to create digital surrogates for fragile and endangered artifacts, while providing greater access to cultural heritage materials. Libraries, archives, and museums are also increasingly active in preserving community materials that are “born” digital, including photographs, audio, video, and websites.

Selection of digital material for preservation in libraries

The process of selection underpins many important questions facing those libraries which have responsibility for preservation. Properties of digital material present challenges to established preservation selection drivers and practices, including the increasing volume of digital material; the complexity of some digital objects; changing forms of cultural object creation and ownership; and the need for early interventions to keep material useable over time.

Here, KAPTUR This! Identifying and Selecting the Infrastructure Required to Support the Curation and Preservation of Visual Arts Research Data | International Journal of Digital Curation

Research data is increasingly perceived as a valuable resource and, with appropriate curation and preservation, it has much to offer learning, teaching, research, knowledge transfer and consultancy activities in the visual arts. However, very little is known about the curation and preservation of this data: none of the specialist arts institutions have research data management policies or infrastructure and anecdotal evidence suggests that practice is ad hoc, left to individual researchers and teams with little support or guidance.