Selection in Web Archives: the Value of Archival Best Practices
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INST 785 Section 0101 Documentation, Collection, and INST 785 Appraisal of Records Spring 2020
Course Syllabus – INST 785 Section 0101 Documentation, Collection, and INST 785 Appraisal of Records Spring 2020 Course Description Dr. Eric Hung he / him / his Appraisal is considered to be the archivist’s “first responsibility.” The [email protected] responsibility is “first” because appraisal comes first in the sequence of archival functions and thus influences all subsequent archival activities, and it is “first” in importance because appraisal determines what tiny sliver of Class Meetings: the total human documentary production will actually become “archives” Tuesdays, 6:00-8:45pm and thus a part of society’s history and collective memory. The archivist is HBK 0105 thereby actively shaping the future’s history of our own times. Office Hours The topic of appraisal remains one of considerable controversy in archives. ELMS Chat Office Hours: The archival literature includes debates over the definitions and indicators Mondays, 2:00-3:00pm, of long-term value, the purpose of appraisal, who intervenes in appraisal or by appointment. If you decisions, when in the information life cycle do they intervene, and which want to meet in-person, I methods work for which types of records and which types of organizations. am generally on campus The literature is replete with tensions between the theory and practice of on Tuesdays. appraisal and between questions of universalism versus specificity (by type of record, media, type of organization, time period, country, etc.). Syllabus Policy One of the problems with the literature on appraisal is that there are few This syllabus is a guide for methods for rigorously evaluating the feasibility or effectiveness of different the course and is subject appraisal methodologies. -
Archiving 2016 Preliminary Program
M ARCHIVING2016 A April 19-22, 2016 • Washington, DC R G www.imaging.org/archiving General Chair: Kari Smith, O MIT Libraries, Institute Archives and Special Collections R P Y R A N I M I L E R P Sponsored by the Society for Imaging Science and Technology April 19-22, 2016 • Washington, DC About the Conference The IS&T Archiving Conference brings together provides a forum to explore new strategies an international community of imaging experts and policies, and reports on successful projects and technicians as well as curators, managers, that can serve as benchmarks in the field. and researchers from libraries, archives, mu- Archiving 2016 is a blend of short courses, seums, records management repositories, in- invited focal papers, keynote talks, and formation technology institutions, and com- peer-reviewed oral and interactive display mercial enterprises to explore and discuss the presentations, offering attendees a unique field of digitization of cultural heritage and opportunity for gaining and exchanging archiving. The conference presents the latest knowledge and building networks among research results on digitization and curation, professionals. Cooperating Societies • American Institute for Conservation Foundation of the American Institute for Conservation (AIC) • ALCTS Association for Library Collections & Technical Services • Coalition for Networked Information (CNI) • Digital Library Federation at CLIR . • Digital Preservation Coalition (DPC) s e g o • IOP/Printing & Graphics Science Group V h p o t s • ISCC – Inter-Society Color Council i r h C • Museum Computer Network (MCN) : o t o h • The Royal Photographic Society P Short courses offer an intimate setting to gain more in-depth knowledge about technical aspects of digital archiving. -
Digital Preservation Workflows for Museum Imaging Environments
The 11th International Symposium on Virtual Reality, Archaeology and Cultural Heritage VAST (2010) A. Artusi, M. Joly, D. Pitzalis, G. Lucet, and A. Ribes (Editors) Digital preservation workflows for museum imaging environments Michael Ashley1 1 Cultural Heritage Imaging, San Francisco, California, USA From: Principles and Practices of Robust, Photography-based Digital Imaging Techniques for Museums. Contributors: Mark Mudge, Carla Schroer, Graeme Earl, Kirk Martinez, Hembo Pagi, Corey Toler-Franklin, Szymon Rusinkiewicz, Gianpaolo Palma, Melvin Wachowiak, Michael Ashley, Neffra Matthews, Tommy Noble, Matteo Dellepiane. Edited by Mark Mudge and Carla Schroer, Cultural Heritage Imaging. The 11th International Symposium on Virtual Reality, Archaeology and Cultural Heritage VAST (2010) A. Artusi, M. Joly, D. Pitzalis, G. Lucet, and A. Ribes (Editors) This is a pre-print copy of a paper that is currently under review. Please respect the intellectual property of the authors and the efforts of the publishers and reviewers until its publication. If you find any errors that need modification please contact the author at [email protected]. Meanwhile this pdf is distributed to interested readers under a Creative Commons 3.0 license. M. Ashley / Digital Preservation Workflows For Museum Imaging Environments Digital preservation workflows for museum imaging environments Michael Ashley1 1 Cultural Heritage Imaging, San Francisco, California, USA Abstract We discuss and demonstrate practical digital preservation frameworks that protect images throughout the entire production life-cycle. Using off the shelf and open source software coupled with a basic understanding of metadata, it is possible to produce and manage high value digital representations of physical objects that are born archive- ready and long-term sustainable. -
10 Small Scale Academic Web Archiving: DACHS
10 Small Scale Academic Web Archiving: DACHS Hanno E. Lecher Leiden University [email protected] 10.1 Why Small Scale Academic Archiving? Considering the complexities of Web archiving and the demands on hard- and software as well as on expertise and personnel, one wonders whether such projects are only feasible for large scale institutions such as national libraries, or whether smaller institutions such as museums, university depart- ments and the like would also be able to perform the tasks required for a Web archive with long-term perspective. Even if the answer to this is yes, the question remains whether this is necessary at all. One could think that the Internet Archive in combination with the efforts of the increasing number of national libraries is already covering many, if not most relevant Web resources. Does academic or other small scale Web archiving make sense at all? Let me begin with this second question. The Internet Archive has done groundbreaking work as the first initiative attempting comprehensive archiv- ing of Web resources. Its success in accomplishing this has been revolution- ary, and it has laid the foundation on which many other projects have built their work. Still, examining what the Internet Archive and other holistic pro- jects1 can achieve it is easy to discover some limitations. Since their focus of collection is very broad, they have to rely on robots for a large part of their collecting activities, automatically grabbing as many Web pages as possible. This kind of capturing is often very superficial, missing parts located further down the tree, many pages being downloaded incompletely, and some file types as well as the hidden Web being ignored altogether. -
Introducticn Tc Ccnservoticn
introducticntc ccnservoticn UNITED NATTONSEDUCATIONA],, SCIEIilIIFTC AND CULTIJRALOROANIZATTOII AN INIRODUCTION TO CONSERYATIOI{ OF CULTURAT PROPMTY by Berr:ar"d M. Feilden Director of the Internatlonal Centre for the Preservatlon and Restoratlon of Cultural Property, Rome Aprll, L979 (cc-ig/ws/ttt+) - CONTENTS Page Preface 2 Acknowledgements Introduction 3 Chapter* I Introductory Concepts 6 Chapter II Cultural Property - Agents of Deterioration and Loss . 11 Chapter III The Principles of Conservation 21 Chapter IV The Conservation of Movable Property - Museums and Conservation . 29 Chapter V The Conservation of Historic Buildings and Urban Conservation 36 Conclusions ............... kk Appendix 1 Component Materials of Cultural Property . kj Appendix 2 Access of Water 53 Appendix 3 Intergovernmental and Non-Governmental International Agencies for Conservation 55 Appendix k The Conservator/Restorer: A Definition of the Profession .................. 6? Glossary 71 Selected Bibliography , 71*. AUTHOR'S PREFACE Some may say that the attempt to Introduce the whole subject of Conservation of Cultural Propety Is too ambitious, but actually someone has to undertake this task and it fell to my lot as Director of the International Centre for the Study of the Preservation and Restoration of Cxiltural Property (ICCROM). An introduction to conservation such as this has difficulties in striking the right balance between all the disciplines involved. The writer is an architect and, therefore, a generalist having contact with both the arts and sciences. In such a rapidly developing field as conservation no written statement can be regarded as definite. This booklet should only be taken as a basis for further discussions. ACKNOWLEDGEMENTS In writing anything with such a wide scope as this booklet, any author needs help and constructive comments. -
2016 Technical Guidelines for Digitizing Cultural Heritage Materials
September 2016 Technical Guidelines for Digitizing Cultural Heritage Materials Creation of Raster Image Files i Document Information Title Editor Technical Guidelines for Digitizing Cultural Heritage Materials: Thomas Rieger Creation of Raster Image Files Document Type Technical Guidelines Publication Date September 2016 Source Documents Title Editors Technical Guidelines for Digitizing Cultural Heritage Materials: Don Williams and Michael Creation of Raster Image Master Files Stelmach http://www.digitizationguidelines.gov/guidelines/FADGI_Still_Image- Tech_Guidelines_2010-08-24.pdf Document Type Technical Guidelines Publication Date August 2010 Title Author s Technical Guidelines for Digitizing Archival Records for Electronic Steven Puglia, Jeffrey Reed, and Access: Creation of Production Master Files – Raster Images Erin Rhodes http://www.archives.gov/preservation/technical/guidelines.pdf U.S. National Archives and Records Administration Document Type Technical Guidelines Publication Date June 2004 This work is available for worldwide use and reuse under CC0 1.0 Universal. ii Table of Contents INTRODUCTION ........................................................................................................................................... 7 SCOPE .......................................................................................................................................................... 7 THE FADGI STAR SYSTEM ....................................................................................................................... -
Art Deaccessioning Policy
Deaccessioning Policy Document No. CUR 4.0 – Deaccessioning Policy Page 1 Approved: December 2020 Approved by: National Gallery of Australia Council next review due: December 2022 Summary Name of Policy Description of Policy Deaccessioning Policy Policy applies to ☒ NGA wide ☐ Specific (eg. Department) Policy Status ☐ New policy ☒ Revision of Existing Policy (previously Art Acquisition Policy) Approval Authority Director Responsible Officer Assistant Director, Artistic Programs Contact area Artistic Programs Date of Policy Review* October 2022 Related Policies, Procedures, National Gallery Act 1975 Guidelines and Local Protocols Public Governance, Performance and Accountability Act 2013 Council Instructions including Financial Delegations Aboriginal and Torres Strait Islander Cultural Rights and Engagement Policy Due Diligence and Provenance Policy Acquisitions Policy Research Library Collection Development Policy Research Archive Acquisition Policy The Copyright Act 1968 The Privacy Act 1988 Privacy Policy Australian Best Practice Guide to Collecting Cultural Material 2015 Collections Law: Legal issues for Australian Archives, Galleries, Libraries and Museums *Unless otherwise indicated, this policy will still apply beyond the review date. Approvals Position Name Endorsed Date Assistant Director Natasha Bullock Yes Director Nick Mitzevich Yes Council Ryan Stokes Yes Document No. CUR 4.0 – Deaccessioning Policy Page 2 Approved: December 2020 Approved by: National Gallery of Australia Council next review due: December 2022 Table of contents -
Yale University Library Preservation Department
Yale University Library Preservation Department 45th Annual Report July 2015-June 2016 Roberta Pilette January 17, 2016 Preservation Department Annual Rpt FY2016 1 Yale University Library Preservation Department 45th Annual Report July 2015-June 2016 Roberta Pilette, Director of Preservation and Chief Preservation Officer Murray Harrison, Senior Administrative Assistant Preservation Staffing: July 1, 2015 June 30, 2016 Positions budgeted: C&T 11.00 11.00 M&P 10.47 11.00 Positions filled: C&T 9.00 11.00 M&P 10.47 11.00 OVERVIEW OF THE DEPARTMENT The Yale University Library Preservation Department is responsible for the long-term preservation of all library materials. The Department consists of four units—Preservation Services; Digital Reformatting & Microfilm Services (DRMS); Conservation & Exhibition Services (CES) including Collections Conservation & Housing (CCH), Special Collections Conservation (SCC) and Exhibit Production Support (EPS); and Digital Preservation Services. The Department organizational chart can be found in Appendix I, the annual statistics for the Department can be found in Appendix II. 344 Winchester moving & more construction The construction of that portion of the department associated with the Beinecke Rare Book & Manuscript (BRBL) Technical Services construction was completed during the first quarter of FY16. The move for Preservation Administration, Preservation Services, and Digital Preservation Services took place in August 2015. Those moves went smoothly and the units settled into the new spaces. Digital Preservation Services moved all of their equipment into their new spaces and spent the year making significant use of the enlarged work areas. Digital Preservation and the Born Digital Working group collaborated on the specifications for the new di Bonaventura Digital Archeology and Preservation laboratory. -
2016 Program
Culture Builds Communities Preserving the Past, Shaping the Future International Conference of Indigenous Archives, Libraries, and Museums October 9–12, 2016 ▪ Phoenix, Arizona Presented by the Association of Tribal Archives, Libraries, and Museums with funding from the Institute of Museum and Library Services SCHOOL FOR ADVANCED RESEARCH ANNE RAY INTERNSHIPS Interested in working with Native American collections? The Indian Arts Research Center (IARC) at the School for Advanced Research (SAR) in Santa Fe, NM, offers two nine-month paid internships to college graduates or junior museum professionals. Internships include a salary, housing, and book and travel allowances. Interns participate in the daily collections and programming activities and also benefit from the mentorship of the Anne Ray scholar. Deadline to apply March 1 internships.sarweb.org ANNE RAY FELLOWSHIP FOR SCHOLARS Are you a Native American scholar with a master’s or PhD in the arts, humanities, or social sciences who has an interest in mentorship? Apply for a nine-month Anne Ray Fellowship at SAR. The Anne Ray scholar works independently on their own writing or curatorial research projects, while also providing mentorship to the Anne Ray interns working at the IARC. The fellow receives a stipend, housing, and office space. Deadline to apply November 1 annerayscholar.sarweb.org For more information about SAR, please visit www.sarweb.org INNOVATIVE SOCIAL SCIENCE AND NATIVE AMERICAN ART Welcome to the International Conference of Indigenous Archives, Libraries, and Museums Wild Horse Pass Resort & Spa, Phoenix, AZ October 9-12, 2016 About the Program Cover Table of Contents Harry Fonseca was among a critical generation of twentieth- Special Thanks, Page 2 century Native artists who, inspired by tradition, created work that transcended expectations. -
Web Archiving: Past Present and Future of Evolving Multimedia Legacy
IARJSET ISSN (Online) 2393-8021 ISSN (Print) 2394-1588 International Advanced Research Journal in Science, Engineering and Technology Vol. 3, Issue 3, March 2016 Web Archiving: Past Present and Future of Evolving Multimedia Legacy Meenakshi Srivastava1, Dr. S.K. Singh2, Dr. S.Q. Abbas3 Assistant Professor, Amity Institute of Information Technology, Amity University, Lucknow, India1 Professor, Amity Institute of Information Technology, Amity University, Lucknow, India2 Professor, Ambalika Institute of Information technology, Computer Science Department, Lucknow, India3 Abstract: A continuous up gradation of tools and methods is going on for archiving the web in a better way. Although, most accepted practices and common model for web archiving is yet to evolve. Keywords: Web archiving, Harvesting, Multimedia, Technological tool. I. INTRODUCTION II. WORLD WIDE WEB (WWW) Internet has evolved itself at an exponential pace and so Internet has grown enormously since 1990 and hence has evolved its role in our life and society. It’s not an usage of WWW has also increased. An increase in usage exaggeration to mention that evolution of internet has of www has resulted in rise of information available online made several technologies obsolete much before than they and hence the quantity of contents also pertaining to it. were expected to be. Evolution is a part and parcel of life. Increase in usage of internet exposed its weakness also and Any technological tool that does not evolve, improve or biggest weakness which was realized very soon was the upgrade itself is static and would perish on its own. volatility of the contents available on internet [1]. Web has Realizing the fact that evolution is bound to happen, huge data and information which is used by people of methodology of recording the historical data should be varied backgrounds who are professional and designed. -
Provenance in Digital Collections, Margo Seltzer
Provenance in Digital Collections Margo Seltzer Harvard School of Engineering and Applied Sciences September 20, 2012 Provenance: Special Metadata • From the French word for “source” or “origin” • The complete history or lineage of a object • In the art world, provenance documents the chain of ownership of an artifact. • In the digital world, provenance records: – The process that created an artifact – The transformations applied to an artifact – The human and computational agents that operated upon an artifact – Open question: sufficient information to reproduce the artifact? Designing Storage Architectures: 9/20/12 2 Example: Art Designing Storage Architectures: 9/20/12 3 Example: Art with Provenance Provenance < 1662 Simon de Vos, Antwerp (possibly) by 1662 Guilliam I Forchoudt, Antwerp (possibly) to 1747 Jacques de Roore, The Hague 1747 - 1771 Anthonis de Groot and Stephanus de Groot, The Hague 1771 - ? Abelsz to 1779 Jacques Clemens to 1798 Supertini and Platina, Brussels to 1814 Pauwels, Brussels to 1822 Robert Saint-Victor, Paris 1822 - ? Roux to 1924 Marquise d'Aoust, France 1924 Galerie Georges Petit, Paris to 1940 Federico Gentili di Giuseppe, died 1940, Paris 1940 - 1950 Mrs. A. Salem, Boston (Mr. Gentili di Giuseppe's daughter ) 1950 - 1954 Frederick Mont and Newhouse Galleries, New York 1954 - 1961 Samuel H. Kress Foundation, New York 12/09/1961 Seattle Art Museum Designing Storage Architectures: 9/20/12 4 Example: Data with Provenance Meleana e From the Library of Congress National Jukebox From the page: Musical Group: Irene West Royal Hawaiians Label Name/Number: Victo 17864 Matrix Number/Take Number: B‐15530/2 Recording Date: 12/19/1914 Location: Camden, NJ Size: 10” From http://www.loc.gov/jukebox/about/making‐the‐jukebox: “A slip that provides the elements of the filename of the digital copy is inserted in the sleeve of each selected disc: institution/collection code, label name, label number, disc copy, matrix number, and take number are all noted on the slip. -
Provenance: What Is It and Why Do We Care?
Provenance: What is it and why do we care? What is it? PROVENANCE: “The pedigree of a book’s previous ownership. This may be clearly marked by the owner’s name, arms, bookplate, or evidence in the book itself; or it may have to be pieced together from such outside sources as auction records or booksellers’ catalogues.” --John Carter, ABC for Book Collectors (Oak Knoll Press, 1998) Why do we care? “Recorded ownership in a particular book at a particular time can tell us something about both owner and text; it can allow us to make deductions about the tastes, intellectual abilities or financial means of the owner, and it can show the reception of the text at different periods of history. If the book is annotated, we can see further into that world of private relationship between reader and text, and the impact of books in their contemporary contexts.” --David Pearson, Books as History (British Library, 2008) What are the common types of provenance? “There are numerous ways in which people have left traces of their ownership in books; they have written their names on the title page, they have pasted in printed bookplates, they have put their names or arms on the binding, they have used codes and mottos.” --David Pearson, Books as History (British Library, 2008) How do we explore? Each copy of a particular title has its own history. If a book, such as Thomas Paine’s Common Sense, is published in 1776, then each surviving individual copy of that work has its own 240- plus year history.