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A guide to managing data in the digital age. Winner of the ALCTS Outstanding Publication Award by the Association for Library Collections & Technical Services, Winner of the Waldo Gifford Leland Award by the Society of American Archivists Many people believe that what is on the Internet will be around forever. At the same time, warnings of an impending "digital dark age"—where records of the recent past become completely lost or inaccessible—appear with regular frequency in the popular press. It's as if we need a system to safeguard our digital records for future scholars and researchers. Digital preservation experts, however, suggest that this is an illusory dream not worth chasing. Ensuring long-term access to digital information is not that straightforward; it is a complex issue with a significant ethical dimension. It is a vocation. In The Theory and Craft of Digital Preservation, librarian Trevor Owens establishes a baseline for practice in this field. In the first section of the book, Owens synthesizes work on the history of preservation in a range of areas (archives, manuscripts, recorded sound, etc.) and sets that history in dialogue with work in new media studies, platform studies, and media archeology. In later chapters, Owens builds from this theoretical framework and maps out a more deliberate and intentional approach to digital preservation. A basic introduction to the issues and practices of digital preservation, the book is anchored in an understanding of the traditions of preservation and the nature of digital objects and media. Based on extensive reading, research, and writing on digital preservation, Owens's work will prove an invaluable reference for archivists, librarians, and museum professionals, as well as scholars and researchers in the digital humanities.
Based on extensive reading, research, and writing on digital preservation, Owens's work will prove an invaluable reference for archivists, librarians, and museum professionals, as well as scholars and researchers in the digital humanities.
This new edition of Digital Preservation in Libraries, Archives, and Museums is the most current, complete guide to digital preservation available today. For administrators and practitioners alike, the information in this book is presented readably, focusing on management issues and best practices. Although this book addresses technology, it is not solely focused on technology. After all, technology changes and digital preservation is aimed for the long term. This is not a how-to book giving step-by-step processes for certain materials in a given kind of system. Instead, it addresses a broad group of resources that could be housed in any number of digital preservation systems. Finally, this book is about “things (not technology; not how-to; not theory) I wish I knew before I got started.” Digital preservation is concerned with the life cycle of the digital object in a robust and all-inclusive way. Many Europeans and some North Americans may refer to digital curation to mean the same thing, taking digital preservation to be the very limited steps and processes needed to insure access over the long term. The authors take digital preservation in the broadest sense of the term: looking at all aspects of curating and preserving digital content for long term access. The book is divided into four part: 1.Situating Digital Preservation, 2.Management Aspects, 3.Technology Aspects, and 4.Content-Related Aspects. Digital Preservation will answer questions that you might not have even known you had, leading to more successful digital preservation initiatives.
This book explains the main problems related to digital preservation using examples based on a modern version of the well-known Cinderella fairy tale. Digital preservation is the endeavor to protect digital material against loss, corruption, hardware/software technology changes, and changes in the knowledge of the community. Τhe structure of the book is modular, with each chapter consisting of two parts: the episode and the technical background. The episodes narrate the story in chronological order, exactly as in a fairy tale. In addition to the story itself, each episode is related to one or more digital preservation problems, which are discussed in the technical background section of the chapter. To reveal a more general and abstract formulation of these problems, the notion of pattern is used. Each pattern has a name, a summary of the problem, a narrative describing an attempt to solve the problem, an explanation of what could have been done to avoid or alleviate this problem, some lessons learned, and lastly, links to related patterns discussed in other chapters. The book is intended for anyone wanting to understand the problems related to digital preservation, even if they lack the technical background. It explains the technical details at an introductory level, provides references to the main approaches (or solutions) currently available for tackling related problems, and is rounded out by questions and exercises appropriate for computer engineers and scientists. In addition, the book's website, maintained by the authors, presents the contents of Cinderella's “real USB stick,” and includes links to various tools and updates.
Scholars and scrapbookers alike need your help with saving their most important digital content. But how do you translate your professional knowledge as a librarian or archivist into practical skills that novices can apply to their own projects? The Complete Guide to Personal Archiving will show you the way, helping you break down archival concepts and best practices into teachable solutions for your patrons’ projects. Whether it’s a researcher needing to cull their most important email correspondence, or an empty-nester transferring home movies and photographs to more easily shared and mixed digital formats, this book will show you how to offer assistance, providing explanations of common terms in plain language;quick, non-technical solutions to frequent patron requests;a look at the 3-2-1 approach to backing up files;guidance on how to archive Facebook posts and other social media;methods for capturing analog video from obsolete physical carriers like MiniDV;proven workflows for public facing transfer stations, as used at the Washington, D.C. Memory Lab and the Queens Library mobile scanning unit;talking points to help seniors make proactive decisions about their digital estates;perspectives on balancing core library values with the business goals of Google, Amazon, Facebook, and other dominant platforms; andadditional resources for digging deep into personal digital archiving. Featuring expert contributors working in a variety of contexts, this resource will help you help your patrons take charge of their personal materials.
Through analysis of this «how-to» literature, Designing Online Communities explores the discourse of design and configuration that partially structures online communities and later social networks.
The third edition of Preserving Digital Materials provides a survey of the digital preservation landscape. This book is structured around four questions: 1. Why do we preserve digital materials? 2. What digital materials do we preserve? 3. How do we preserve digital materials? 4. How do we manage digital preservation? This is a concise handbook and reference for a wide range of stakeholders who need to understand how preservation works in the digital world. It notes the increasing importance of the role of new stakeholders and the general public in digital preservation. It can be used as both a textbook for teaching digital preservation and as a guide for the many stakeholders who engage in digital preservation. Its synthesis of current information, research, and perspectives about digital preservation from a wide range of sources across many areas of practice makes it of interest to all who are concerned with digital preservation. It will be of use to preservation administrators and managers, who want a professional reference text, information professionals, who wish to reflect on the issues that digital preservation raises in their professional practice, and students in the field of digital preservation.
At a time when Steve Jobs was only a teenager and Mark Zuckerberg wasn’t even born, a group of visionary engineers and designers—some of them only high school students—in the late 1960s and 1970s created a computer system called PLATO, which was light-years ahead in experimenting with how people would learn, engage, communicate, and play through connected computers. Not only did PLATO engineers make significant hardware breakthroughs with plasma displays and touch screens but PLATO programmers also came up with a long list of software innovations: chat rooms, instant messaging, message boards, screen savers, multiplayer games, online newspapers, interactive fiction, and emoticons. Together, the PLATO community pioneered what we now collectively engage in as cyberculture. They were among the first to identify and also realize the potential and scope of the social interconnectivity of computers, well before the creation of the internet. PLATO was the foundational model for every online community that was to follow in its footsteps. The Friendly Orange Glow is the first history to recount in fascinating detail the remarkable accomplishments and inspiring personal stories of the PLATO community. The addictive nature of PLATO both ruined many a college career and launched pathbreaking multimillion-dollar software products. Its development, impact, and eventual disappearance provides an instructive case study of technological innovation and disruption, project management, and missed opportunities. Above all, The Friendly Orange Glow at last reveals new perspectives on the origins of social computing and our internet-infatuated world.
Collecting and Conserving Net Art explores the qualities and characteristics of net art and its influence on conservation practices. By addressing and answering some of the challenges facing net art and providing an exploration of its intersection with conservation, the book casts a new light on net art, conservation, curating and museum studies. Viewing net art as a process rather than as a fixed object, the book considers how this is influenced by and executed through other systems and users. Arguing that these processes and networks are imbued with ambiguity, the book suggests that this is strategically used to create suspense, obfuscate existing systems and disrupt power structures. The rapid obsolescence of hard and software, the existence of many net artworks within restricted platforms and the fact that artworks often act as assemblages that change or mutate, make net art a challenging case for conservation. Taking the performative and interpretive roles conservators play into account, the book demonstrates how practitioners can make more informed decisions when responding to, critically analysing or working with net art, particularly software-based processes. Collecting and Conserving Net Art is intended for researchers, academics and postgraduate students, especially those engaged in the study of museum studies, conservation and heritage studies, curatorial studies, digital art and art history. The book should also be interesting to professionals who are involved in the conservation and curation of digital arts, performance, media and software.
Digital creativity is boundless. Art practitioners and scholars continue to explore what technology has to offer and practice-based research is redefining their disciplines. What happens when an artist experiments with bio-scientific data and discovers something the scientists failed to notice? How do virtual telematic environments affect our relationship with the object and our understanding of identity and presence? Interactive engagement with the creative process takes precedence over the finite piece thus affecting the roles of the artist and the viewer. The experience of arts computing in.