![]() ![]() The area of digital data preservation repositories has several open source solutions, which can form the base to overcome the challenges to reach mature and reliable digital data preservation.Īrchivematica is an open-source and non-commercial digital preservation system, that was cho-sen and installed by the National Library of Wales to explore the ingest and preservation of digital data-objects, as part of the digital preservation ambitions of the Archives and Records Council Wales. Along open source solutions, the paper also briefly surveys the standards and protocols relevant for digital data preservation. ![]() Furthermore, five of these open source projects, are further analysed, with focus on features deemed important for the area. Eleven open source projects for digital preservation are surveyed in areas such as supported standards and protocols, strategies for preservation, methodologies for reporting, dynamic of development, targeted operating systems, multilingual support and open source license. This paper focuses on the state-of-the-art in open-source software solutions for the digital preservation and curation field used to assimilate and disseminate information to designated audiences. With this awareness, efforts are being made to create and perfect software solutions capable of responding to the challenge of properly preserving digital information. Digital data preservation is a mandatory issue that needs proper strategies and tools. Governments and institutions can no longer rely on old methods for storing data and passing on the knowledge to future generations. In the digital age, the amount of data produced is growing exponentially. This is very clear in what has been created to ingest the BnF's web archives into SPAR, giving the community more information on their data, and in what is taking shape to deal with the BnF's administrative archives, adding new functionalities to the system.The difference between what preservations tools and what curation tools should be at the BnF will have to be examined over time, to ensure all the communities' needs are met while SPAR remains viable. Renewed dialogue with producers and users has led to the addition of functions the digital preservation team would not have thought of. Yet in day to day preservation activities of the BnF, it turns out that SPAR's growth takes a practical approach to the essentials of preservation and the specific needs of communities. Then as its potential revealed itself across the library, high hopes arose for a do-it-all digital curation tool. It was intended to be a "full OAIS", covering all preservation needs in one tidy system. In the beginning, SPAR, the National Library of France's repository, was designed as the OAIS softwarified. Looking back at the results it is clear that in three years the eld has evolved and in 2015 there are more and better tools available, standards are being de ned, and best practices are emerging. the need for a greater understanding of general information technology infrastructure.the need for increased knowledge of digital video technologies, and.the need for integration of different hardware and software components required for a seamless preservation work ow.a lack of standards for technical metadata and le formats.From interviews with staff actively involved in the preservation of media collections at twelve cultural institutions, four main challenges were identifed: The aim of the survey was to understand the main problems institutions face in the shift to le based artists’ video and to identify common procedures, practice, training, and tools. The survey was conducted over two months in early 2012, in the context of Matters in Media Art (Matters in Media Art is a multi- phase collaborative project-supported by the New Art Trust-between the Museum of Modern Art, New York the San Francisco Museum of Modern Art and Tate, Lon- don. This paper discusses the results of a small-scale survey focusing on current practices for the preservation of le-based video art in cultural institutions. This shift has had a signi cant impact on the procedures needed to ensure the long- term preservation of video artworks, requiring institutions to adjust their practices to this new environment. From the mid-2000s museums and other institutions caring for video collections have seen a shift in the type of material coming into their care as the production and handling of media moves from tape-based to le-based systems and work ows.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |