Preserving born-digital material. Stephen Gray (University of Bristol)
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1 Preserving born-digital material Stephen Gray (University of Bristol)
2
3 Managing after a project Digital objects break. They are bound to the specifc application packages (or hardware) that were used to create or manage them. They are prone to corruption. They are easily misidentifed. They are generally poorly described. Seamus Ross, Digital Preservation, Archival Science and Methodological Foundations for Digital Libraries ECDL2007
4 Digital preservation Digital preservation is an active process not a magical fle format or an indestructible disk Impossible to lock away digital material to safeguard it Prone to rapid technological obsolescence Build it to last Pre-empt inevitable problems & plan for them If it s used it will survive: share it to preserve it
5 Over to you: What digital materials do archives have?
6 The Digital Lifecycle. Good practice in: Creating digital material Sharing & using digital material Long-term preservation
7 Creating digital materials Rapid Prototyped Auricular Mold c/o yuhuihuang.wordpress.com Laser scanning in 3D= 450/day
8 Dodgy photos? Q. Can we defne a single measure of good quality? A.No. Digital materials should meet the identifed needs of a community of users to be of quality. e.g. This image is easily mistaken for a poor quality image*. Yet it allowed one volunteer to identify a new type of galaxy. Image c/o Galaxy Zoo2, 2012 *out of focus, low resolution, low contrast & poor colours
9 Key question: Who is the audience and what will they do with our digital stuff?
10 Creating: leave it open Open solutions Not owned by a commercial company Supported by an enthusiastic user community instead Can be setup, confgured or fxed by anyone Less risk of obsolescence as no commercial interests Free Proprietary solutions Owned by a commercial company Often only vendor can support, fx problems or update Potential to get trapped in an aging technology Often expensive
11 Creating: leave it open Open is a philosophy. Some examples of open technologies: VLC player (open source media player software) Open Offce Writer (open equivalent of Microsoft Word) Big Buck Bunny (an open movie) OScar (an open source car) Android (a smart phone operating system)
12 Fit-for-purpose? Major botanical illustration collection digitised and then managed using commercial image management software Commercial company then went bust, leaving archive with no support and a large migration job to do Image c/o archive.org, 2011
13 Creating: leave it open File formats are a particular problem: remember the BBC Domesday project? Technology needed to access the content (LaserVision ROM) became obsolete very quickly Major (expensive) challenge to save content. Now succeeded: as Domesday Reloaded Image c/o
14 Creating: Dependencies A mini-dv tape needs a mini-dv player or camera* An MPEG-2 video fle needs the MPEG-2 codec A.docx fle needs MS Offce (or very similar) An i-phone app from 2009 (probably) needs an i-phone from 2009 These are technological dependencies If possible, avoid dependencies Where unavoidable... *and the mini-dv codec if video later played on a computer
15 Creating: Dependencies... Minimise their number Go for technology made by lots of different vendors Use multiple formats Make at least one of them an open format Make at least one of them a popular format
16 Creating: seeking permissions Rights & permissions need to be in place asap: Copyright permissions for anything to be copied (even for preservation) Moral rights need to be addressed for anything which can be attributed to a named person or people (including user-generated content, work done by volunteers or even paid freelancers) Web2Rights.org.uk has template forms
17 Section round-up Use open source technologies if you can, in order to: Help avoid obsolescence Avoid excluding people without specifc technology Make sure all required permissions are in place, especially if user generated content is involved
18 Sharing digital material
19 Believe the hype?
20 Sharing: Accessibility Accessibility is design, not a feature...we should be designing our content so it is globally accessible and meets the needs of as many people as possible and practical given our specifc circumstances, regardless of their abilities or the type of device they choose to access the web. Andy Clarke, Transcending CSS
21 Sharing: Accessibility In the UK, public web sites must have a at least W3C Single A accessibility standard.
22 Sharing: Granting permissions Copyright = All rights reserved Attribution Noncommercial No Derivative Works Share Alike Some Rights reserved The four main Creative Commons categories often used in combination Public Domain = No rights reserved
23 Sharing: Metadata Metadata allows us to: Manage & preserve things (e.g. FILE FORMAT helps us spot an out-dated format) Use things (e.g. CC LICENCE tells us what we re allowed to do with an item) Find things (e.g. NAME OF CREATOR lets us group everything by the artist Banksy, potentially even across collections)
24 When metadata goes bad. rampant errors threaten the scholarly vast digital library (ResearchBuzz 2010) Google accused of wrong dates, misattribution of authors, wrong classifcation (e.g. Walt Whitman's Leaves of Grass indexed under botany) Unlike like physical objects, without accurate metadata digital ones can disappear Image c/o archive.org, 2011
25 Sharing: Metadata Consistency is important. The same type of thing would ideally always be described in the same way So pick-lists are better than free text boxes
26 Sharing: Metadata Who make it? Formal metadata is created by an authority (i.e. the project team) Informal metadata ( paradata!) is contributed by users (e.g. rankings, tags, recommendations)
27 Evaluation
28 Sharing: Evaluation Digital evaluation tools are ideal for digital materials These include: Google analytics 3rd party tools (e.g. stats form flickr or YouTube) Visitor stats from a project s own site
29 Sharing: Evaluation
30 Sharing: Evaluation
31 Sharing: Evaluation
32 Sharing: Evaluation
33 Section round-up Accessibility: meet the needs of as many people as possible Unclear or restrictive permissions prohibit use, this should be addressed as early as possible Metadata facilitates using, managing and preserving digital material Is the greatest danger to digital collections loss of funding? Digital tools help evaluate real world impact. Measure everything!
34 Long-term preservation Image c/o archive.org, 2011
35 Long-term: Digital storage Paper can be expected to last 200 years in favourable conditions but a hard drive lasts only 5 years. A CD: 3-5 years.
36 Storage horror. When digital storage goes wrong! Telemetry data and video pictures from the moon now lost Data tapes accidentally reused by NASA in 1980s Oops Image c/o archive.org, 2011
37 Long-term: Digital storage Storage sits at the bottom of the Jenga pile! It underpins everything else: lose your storage, lose your data Every digital fle should exist in more than one place at any one time Now we have the choice: local or in the cloud (online, yet private storage) 1GB cloud storage = 25/month
38 Long-term: Tactics Refreshment: same data format on new bit of media Migration: newer version (copy your MPEG1 VCDs for extra security!) (transfer your MPEG1 videos to DVD (MPEG2) format to prolong the shelf-life) Emulation: take control of your dependencies! (write and maintain a software programme* that will play your MPEG1 videos indefnitely) * and make sure it has no dependencies of its own..!
39 Long-term: Tactics Preservation can be achieved by sharing (LOCKSS) All technologies become obsolete. So keeping data safe isn t enough Digital preservation is active and never ends so has an ongoing cost......sustainability has been achieved by licensing some digital material for commercial use* If it s used it will survive: share it to preserve it * This does not negate making material free for non-commercial use
40 Go team.
41 Help>
42 Creative Commons
43 Managing outputs: Accessibility W3C/WAI's Web Content Accessibility Guidelines 2.0 offers advice on making web content accessible to all User interface design specialist = 400/day
44 Rights & permissions
45
46 HLF Digital policy since June 2012 HF will fund the creation of, and public engagement with, digital materials as the main focus of an HLF project Provided the project: meets our aims and criteria adopts the principles of high quality learning in the digital environment observes good practice for digital technology meets our specifc requirements for digital outputs
47 HLF digital requirements Projects with 200,000 or more of digital capital work (e.g. archive digitisation or 3D scanning) must have a 10-year management and maintenance plan may include the value of increased future costs of management and maintenance for up to 5 years after project completion as partnership funding Projects must meet requirements for evaluation use appropriate digital methods of evaluation
48 HLF digital requirements Digital materials must be usable for 5 years from date of project completion available for the contract life (10/25 years) Creative Commons licence all work must be attributed free to use for non-commercial purposes
49 HLF digital requirements web sites: at least W3C Single A accessibility standard open source technology when possible contribute to heritage digital collections when possible acknowledge HLF support
50 Digital activities can be used to meet HLFs Conservation aim e.g. digitising existing heritage assets (e.g. archives, records, flms, sound recordings, photographs, manuscripts, books) creating a digital record of heritage (e.g. survey of species/habitats or recording traditional processes) buying digital material of heritage merit (at least 10 years old)
51 ?
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