Digital Collecting

CIDOC Conceptual Reference Model (CRM) Extension for SPECTRUM

The ‘Play It Again’ project is a collaboration between cultural and academic institutions to preserve the largely unknown histories of 1980s game development in Australia and New Zealand, ensuring that local titles are documented, collected, preserved and once again playable to the public. The project aims to reflect the emergence of a profession from a hobby, the strengths and differences of the local scene and demonstrate its importance to international discussions of gaming.

https://www.youtube.com/watch?v=w9j1nw-NPrE&list=PLJfQmTStwzSO48DJalzD3Q...
Angela Spinazze and Peter Murray at CurateGear 2015. Get slides for this and other CurateGear talks at http://ils.unc.edu/digccurr/curategear2015-talks/spinazze.pdf

Metadata management tools are often part of digital content management packages. Both types of programs are listed here. Most of the entries listed below were gathered via a survey of MLA members. Thus, music-related tools are emphasized.
Compiled by Matthew Wise and Kimmy Szeto
http://www.musiclibraryassoc.org/page/bcc_meta_tools/Bibliographic-Contr...

Many archives hold born-digital content on numerous types of antiquated media and in obsolete formats but lack the equipment or expertise to transfer it into a form that can be more easily managed for processing, preservation, and access.

Over 150 librarians, archivists and other memory institution professionals have contributed to the development of this Statement of Best Practices in Fair Use of Collections Containing Orphan Works. This statement provides clear and easy to understand guidance for memory institutions that seek to provide digital preservation and access to collections containing copyrighted, orphan works under the doctrine of fair use.

The Society of Georgia Archivists, the Atlanta chapter of ARMA International, and the Georgia Library Association present a train-the-trainer session on Personal Digital Archiving. Designed for information professionals from all backgrounds and levels of experience, this session will empower participants to see themselves as archivists of their own digital records and will cover topics ranging from best practices for creating digital records and rights issues in the digital landscape to strategies for storing digital records and emerging developments regarding the digital afterlife.

In many ways, this is just like other acquisition streams and workflows: some specifications for the content are identified; electronic transfer mechanisms are put in place; processing includes automated and human actions including inspection, metadata extraction and enrichment, and organization; and files are moved to the appropriate storage locations.
In others ways, eserials are unlike almost everything else.

The digital preservation community is small and under resourced. This means we have to work together if we want to make a real impact. This site aims to provide a gateway to all of the wonderful community-owned and community-oriented resources out there that are dedicated to digital preservation.

Hilary Ballon and Mariet Westermann, writing about the struggles of publishing in art history noted that “It is a paradox of the digital revolution that it has never been easier to produce and circulate a reproductive image, and never harder to publish one.” If publishing in general is in crisis because of the seismic re-ordering in a digital world, the field of art history is the extreme tail of the spectrum; rights holders are accustomed to licensing image content for limited edition print runs.