Software emulation is an important tool for preservation of digital artworks because it allows researchers to experience complex digital materials in their native creation environments, and can thereby enable full access to “software dependent content,” the term offered by Euan Cochrane, Digital Preservation Manager at Yale University, for content that is integral to the overall meaning of a work, but which “requires a particular and limited range of software environments in order to be interacted with, rendered, viewed or consumed.”
In today's post, I'd like to talk a little about PREMIS (the data dictionary, not the working group--although I'm sure they're all great people, like Evelyn!). We've been using something akin to PREMIS Lite as part of our digital archiving workflow for a while now. As part of our work on the ArchivesSpace-Archivematica-DSpace Workflow Integration project, however, and in thinking about our eventual move to Hydra, we're gearing up to implement something more like PREMIS Proper, especially for PREMIS Rights.
Being able to copy, modify, and share image files on the Internet is something we take for granted now, but the standards body in charge of JPEG is looking to change that.
Changes to copyright law will allow the National Library of Australia to significantly increase its collection of electronic publications, including ebooks and websites
Recent changes to Australia's Copyright Act will allow the National Library of Australia to broaden significantly its efforts to preserve the country's digital cultural heritage.
The Civil Law and Justice Legislation Amendment Bill 2014, passed in June, was an omnibus bill that included among its provisions a number of amendments to the Copyright Act 1968.
If you have an e-reader issued by Amazon, Barnes and Noble or Kobo your reading habits are being tracked. These companies want to monitor what books you are buying and how long it takes you to get through them. When ebooks are sold on other platforms, publishers and authors are normally kept out of the loop, until now. A new tracking script is currently being implemented that totally negates privacy.
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.
MoMA accessioned the Creative Commons License Symbol into its collection in March 2015 and it’s now on display in our design galleries as part of the exhibition This Is for Everyone: Design Experiments for the Common Good.
It therefore feels important that we just flipped our own default and shared data for more than 125,000 works from MoMA’s collection on GitHub using Creative Commons Zero (CC0).
Online digital archives have allowed researchers to explore the past as never before. Arguably without the search technology offered by online digital archives the lives of many individuals would have remained in obscurity. Furthermore, the level of detail that can be quickly gleaned about individuals from the past, particularly when multiple digital archives are accessed, raises ethical questions.
SFU Archives provides access to digital archival records through SFU AtoM, the university's online portal to its archival holdings. Disseminating archival materials over the Internet raises a host of copyright issues because archival fonds and collections typically include large numbers of protected works for which SFU is not the copyright owner. To manage these issues, the Archives has developed a risk-management approach, distinguishing between high-risk and low-risk materials.