DOCSLIB.ORG

Curator: Provenance Management for Modern Distributed Systems

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Curator: Provenance Management for Modern Distributed Systems Curator: Provenance Management for Modern Distributed Systems∗ Warren Smith Thomas Moyer Charles Munson The Weather Company, an IBM MIT Lincoln Laboratory Business UNC Charlotte Secure Resilient Systems and Andover, MA, USA Software and Information Systems Technology Charlotte, NC, USA Lexington, MA, USA Abstract infrastructures to manage the provenance data, increasing Data provenance is a valuable tool for protecting and trou- the complexity of the application and system. This increased bleshooting distributed systems. Careful design of the prove- complexity can also increase the attack surface of the appli- nance components reduces the impact on the design, im- cation, negating the security benefits of adding provenance plementation, and operation of the distributed system. In to a system. What is needed is a provenance management this paper, we present Curator, a provenance management system that works in concert with existing infrastructures, toolkit that can be easily integrated with microservice-based and provides lightweight integration into applications. systems and other modern distributed systems. This paper In this paper, we present Curator, a provenance manage- describes the design of Curator and discusses how we have ment toolkit that integrates with existing logging/auditing used Curator to add provenance to distributed systems. We systems. Additionally, Curator provides a lightweight li- find that our approach results in no changes to the design brary to integrate provenance collection into existing appli- of these distributed systems and minimal additional code cations that minimizes dependencies, reducing the integra- and dependencies to manage. In addition, Curator uses the tion complexity for application developers. Curator is able same scalable infrastructure as the distributed system and to integrate provenance from multiple levels of abstraction, can therefore scale with the distributed system. including applications, infrastructure (databases, processing engines, etc.), and operating systems. The system ensures ACM Reference Format: Warren Smith, Thomas Moyer, and Charles Munson. 2018. Curator: a consistent encoding of data between provenance sources, Provenance Management for Modern Distributed Systems. In Pro- allowing consumers of provenance data to reason about sys- ceedings of TaPP 2018. ACM, New York, NY, USA, 4 pages. tem behavior across different levels of the system. We focus our attention on the integration of Curator 1 Introduction into microservice-based systems, where applications consist Data provenance, the history of data as it moves through of small services that coordinate to achieve the goals of and between systems, provides distributed system operators the application. Such architectures are popular in today’s with a potentially rich source of information for a wide-range systems and present challenges when adding provenance. of uses. Operators can use provenance for troubleshoot- ing [13], auditing [6], and forensic analysis [9]. Existing 2 Design systems have focused on the collection and usage of prove- The goals for the design of the Curator toolkit emerged nance data, often with the analysis occurring on the same from our experiences adding data provenance to prototype system that collected the provenance. While this works well data processing systems. for applications running on a single host, it quickly breaks G1) Minimally invasive: Our first goal is to make it eas- down on distributed systems. ier to create and emit provenance from application services In systems that have considered provenance for distributed and infrastructure. It was often difficult to add and de-conflict systems, the proposed architectures treat provenance as packages used by our previous provenance instrumentation unique from other sources of metadata, such as log and au- with the package dependencies of the data processing sys- dit data. This requires users of provenance to build entire tems we were instrumenting. G2) Scalable: The second goal is to aggregate and store ∗DISTRIBUTION STATEMENT A. Approved for public release: distribution provenance information in a scalable way while re-using unlimited. This material is based upon work supported by the Assistant Secretary of the infrastructure deployed by a data processing system. Defense for Research and Engineering under Air Force Contract No. FA8721- Maintainers of data processing systems are often reluctant to 05-C-0002 and/or FA8702-15-D-0001. Any opinions, findings, conclusions or add additional software infrastructure solely for the use of a recommendations expressed in this material are those of the author(s) and data provenance subsystem, even when the system generates do not necessarily reflect the views of the Assistant Secretary of Defense high volumes of provenance data. for Research and Engineering. G3) Visualization: Our third goal is to provide a set of Permission to make digital or hard copies of part or all of this work for tools and displays for visualizing and analyzing provenance personal or classroom use is granted without fee provided that copies are information. We found that there are commonalities in the not made or distributed for profit or commercial advantage and that copies provenance visualization and analysis needs of the systems bear this notice and the full citation on the first page. Copyrights for third- we added data provenance to and that we could create com- party components of this work must be honored. For all other uses, contact the owner/author(s). ponents for use across these systems. TaPP 2018, July 11 - 12, 2018, London, UK Fig. 1 shows our approach to satisfy these goals. The key © 2018 Copyright held by the owner/author(s). concept of this architecture is to view gathering, storing, and analyzing provenance information as a logging problem. TaPP 2018, July 11 - 12, 2018, London, UK Warren Smith, Thomas Moyer, and Charles Munson 2.2 Aggregation and Ingest Database Analyze Receive Transform L C Once the microservices log provenance information, the L C L C L C logging system gathers the logs and then filters the prove- Receive Transform Fuse Send L C L C L C L C L C nance information out of the logs. Curator deserializes and writes the provenance data into a provenance database. Curator Input Input Input includes a simple service to perform these tasks. This service Concentrate Archive Filesystem currently receives log4j data via a socket or a log file. It then deserializes the provenance data using any of the available Visualize deserializers (e.g PROV-JSON), and writes the provenance Ingest Provenance Database information to any supported provenance database. Analyze However, rather than using the simple Curator ingest Key L Logging service, we recommend using a log management system for C Curator a more scalable and robust ingest implementation. Systems such as logstash 2 and fluentd 3 are widely used in microser- Figure 1. The Curator toolkit integrated into a microser- vice architectures to manage log data. These services are vice architecture. Some connections have been removed for modular and configurable and support the dual use of moni- toring and analyzing the operation of a microservice-based legibility. system as well as managing provenance data. The Curator toolkit currently includes a logstash output plugin. ProvenanceLogger logger = 2.3 Storage and Query new ProvenanceLogger(Logger.getLogger("App"), We have found that it is not possible to select a single data new ProvJsonSerializer()); storage solution for provenance data. First, the volume and Entity input = new Entity(); velocity of provenance data varies from system to system so input.setAttribute("filename", "IMG-0942.jpg"); no one solution is always the most appropriate. Second, a Activity transform = new Activity(); microservice system has likely adopted a database for their Used used = new Used(transform, inputData); logger.log(inputData); needs and the developers and operators would prefer to also logger.log(transform); use that database for provenance data. logger.log(used); The Curator approach is to therefore support a number of different databases behind common Store and Query in- terfaces. Curator currently supports popular SQL databases Figure 2. Adding provenance instrumentation to a microser- (MySQL/MariaDB, PostgreSQL, H2, Derby) and the Accu- vice. mulo 4 distributed key/value store. Curator represents prove- nance information as graphs of vertices and edges that have attributes (key/value pairs). Curator stores these graphs in The Curator design consists of helper libraries to create SQL in a normalized form and in Accumulo in a denormal- provenance information and add it to logs, use of a log aggre- ized form, as is typical for such databases. The optimized gation and processing system, and a provenance subsystem schemas used in the databases enable fast retrieval of ver- for storing, visualizing, and analyzing the provenance. tices and edges by their ids and locating vertices and edges 2.1 Instrumentation and Logging that have specific attributes. It has been demonstrated that SQL databases support lower ingest rates and data volumes, To emit provenance, the Curator toolkit includes a Java 5 library to create, encode, and log provenance. Fig. 2 shows but fast queries . Accumulo supports high ingest rates and the creation of a provenance logger with a serializer, the volumes of data, but queries can be slower [11]. Curator Query creation of provenance objects, and the logging of these The interface supports a number
Load more

Recommended publications
  • Assistant Curator Job Description ……
    Assistant Curator Job description ……. Background For over a century, the Whitechapel Gallery has premiered world-class artists from modern masters such as Pablo Picasso, Jackson Pollock, Mark Rothko and Frida Kahlo to contemporaries such as Sophie Calle, Lucien Freud, Sarah Lucas and Walid Raad. With beautiful galleries, exhibitions, artist commissions, collection displays, historic archives, education resources, inspiring art courses, dining room and bookshop, the newly expanded Gallery is open all year round, so there is always something free to see. The Gallery is a touchstone for contemporary art internationally, plays a central role in London’s cultural landscape and is pivotal to the continued growth of the world’s most vibrant contemporary art quarter. Exhibitions Department The Exhibitions Department realises the ambitious programme of temporary exhibitions and commissions, including the production of catalogues to accompany these events. In addition, the Department is closely involved with an MA in Curating Contemporary Art, taught jointly with London Metropolitan University. The Department consists of the Chief Curator, Curator and Head of MA Curatorial Studies, Curator, 3 x Assistant Curators, Assistant Curator – Special Projects, Archivist and Archive Curator, Head of Exhibition Design and Production, Gallery Manager and Installation Manager. Role The Assistant Curator works with a small and busy team on the realisation of projects with artists, lenders and arts institutions; delivering modern and contemporary exhibitions and commissions, including the organisation of transport and insurance; registrarial duties; and the production of catalogues. As a member of the exhibitions team, the Assistant Curator contributes ideas to the Gallery’s programme, is essential to the department's collegiate work environment and liaises with other internal departments and with the professional art world, in one of the most dynamic art environments in Europe.
    [Show full text]
  • Federal Laws and Regulations Requiring Curation of Digital Archaeological Documents and Data
    Federal Laws and Regulations Requiring Curation of Digital Archaeological Documents and Data Cultural Heritage Partners, PLLC Prepared for: Arizona State University October 25th, 2012 © 2012 Arizona State University. All rights reserved. This report by Cultural Heritage Partners, PLLC describes and analyzes federal requirements for the access to and long-term preservation of digital archaeological data. We conclude that the relevant federal laws, regulations, and policies mandate that digital archaeological data generated by federal agencies must be deposited in an appropriate repository with the capability of providing appropriate long-term digital curation and accessibility to qualified users. Federal Agency Responsibilities for Preservation and Access to Archaeological Records in Digital Form Federal requirements for appropriate management of archaeological data are set forth in the National Historic Preservation Act (“NHPA”), the Archaeological Resources Protection Act (“ARPA”), the regulations regarding curation of data promulgated pursuant to those statutes (36 C.F.R. 79), and the regulations promulgated by the National Archives and Records Administration (36 C.F.R. 1220.1-1220.20) that apply to all federal agencies. We discuss each of these authorities in turn. Statutory Authority: Maintenance of Archaeological Data Archaeological data can be generated from many sources, including investigations or studies undertaken for compliance with the NHPA, ARPA, and other environmental protection laws. The NHPA was adopted in 1966, and strongly
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Deaccessioning Done Right by Jennifer Holt, Curator, Will Rogers Memorial Museums, Claremore
    technical bulletin Deaccessioning done right by Jennifer Holt, Curator, Will Rogers Memorial Museums, Claremore Oklahoma Museums eaccessioning is the process used to ered; private sales can be problematic due to Association Dremove permanently an object from a transparency and accountability issues. The Technical Bulletin #47 museum’s collection or to document the rea- use of all proceeds should comply with the Published January sons for an involuntary removal of an object professional ethics and the law. from such a collection. The deaccession- 2009 ing process is used only when accessioned Procedures should be developed along with objects are at issue. Deaccessioning should policies. Deaccession check lists should not be viewed as a routine way to manage follow policy parameters. The registrar/col- indiscriminate collecting. The first rule is lection manager/curator should oversee the Back issues of techni- careful, focused collecting. process and maintain permanent records of cal bulletins published all deaccessions. by the Oklahoma There are a number of reasons why a mu- seum may be prompted to consider deacces- Problems may arise with the deaccession of Museums Associa- sioning. The condition of the object may be an object. The title to the object may be in- tion are available free so bad that it threatens other objects in the complete. Restrictions may have been placed to members. For a collection. A collection may contain unneces- on deaccessioning the object when donated. complete list of tech- sary duplicates. These dupes take resources Other issues that may appear include pri- nical bulletin topics, that could be used for new objects.
    [Show full text]
  • Selection in Web Archives: the Value of Archival Best Practices
    WITTENBERG: SELECTION IN WEB ARCHIVES Selection in Web Archives: The Value of Archival Best Practices Jamie Wittenberg, University of Illinois at Urbana-Champaign, United States of America Abstract: The abundance of valuable material available online has mobilized the development of preservation initiatives at collecting institutions that aim to capture and contextualize web content. Web archiving selection criteria are driven by the limitations inherent in harvesting technologies. Observing core archival principles like provenance and original order when establishing collection development policies for web content will help to ensure that archives continue to assure the authenticity of the materials they steward. Keywords: Web Archives; Archival Theory; Digital Libraries; Internet Content; Selection and Appraisal Introduction The abundance of valuable material available online has mobilized the development of preservation initiatives at collecting institutions that aim to capture and contextualize web content. Methodologies for web collection practices are institution and collection-specific. Among institutions charged with preserving cultural heritage, web archiving has become commonplace. However, the disparity between institutional selection and appraisal criteria reveals the absence of standardization for web archive establishment. The Australian web archive, for example, accessions content that it evaluates as having long-term research value. The Library of Congress web archive, represented by its Minerva team, established a collection
    [Show full text]
  • CURATOR CORE COMPETENCIES American Alliance of Museums Curators Committee
    CURATOR CORE COMPETENCIES American Alliance of Museums Curators Committee Standing Committee on Ethics ABSTRACT Curator Core Competencies is a comprehensive statement of the domains in which curators work, the duties they perform, and the applied skills that they must all possess to be successful in today’s profession. It defines who we are, what we do, and why curators are important. 1 A Curator’s Core Competencies Introduction The role of the museum curator is rewarding, broad and challenging. This compilation of curatorial core competencies created by CurCom’s Standing Committee on Ethics addresses the skills required of curators to be successful in their profession. During the creation of this document, several sources provided valuable information regarding the skills identified by respective institutions as integral to the role of curators. The AAM, CurCom’s Code of Ethics, US Federal Government’s position classifications, US National Park Service classifications, College Art Association’s standards and guidelines, International Committee for the Training of Personnel and International Council of Museums served as references, helping to create the foundation for this document. Most important were the informal conversations with curatorial colleagues and conference sessions since the 2012 AAM annual meeting, which provided valuable insights into the demands on museum curators today, and revealed the growing need to formally study curatorial education, experience, and training, as well as to express the competencies required to practice the craft. The 2014 survey conducted by CurCom validated much of the input taken from these discussions and revealed other interesting considerations. For all the things this document is, there are several things that it is not.
    [Show full text]
  • 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 .......................................................................................................................
    [Show full text]
  • 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
    [Show full text]
  • Curator of Archaeology and Assistant Professor in Anthropology
    Curator of Archaeology and Assistant Professor in Anthropology The University of Colorado Museum of Natural History and the Department of Anthropology invite applications for a tenure-track, joint position as Curator of Archaeology and Assistant Professor. Applicants should have PhD with specialization in Archaeology, and museum experience. Strong preference for candidates with experience in Southwestern material culture research and publication, NAGPRA, collaborative research, and teaching, with strengths in contemporary archaeological and museological theory. The successful candidate will teach no more than one course per semester and be a part of the museum’s Anthropology Section, working closely with the Collections Manager and the Curator of Cultural Anthropology. Duties include establishing and executing a vital research program with extramural funding; curating archaeology collections (including a large collection of Southwest pottery); implementing NAGPRA; teaching in both units including graduate and undergraduate courses; and, advising MA and PhD students in Anthropology (http://www.colorado.edu/Anthropology) and Museum & Field Studies (http://cumuseum.colorado.edu). We offer a collaborative, intellectually stimulating, and supportive environment in which a new professor can thrive. Contact: [email protected]. The anthropology collections at the University of Colorado Museum of Natural History include more than 1.5 million archaeological and ethnographic objects, and nearly 50,000 photographic images relevant to these collections. The geographic foci of the collections are the North American Southwest and Rocky Mountain-Plains. The anthropology collections are primarily archaeological materials resulting from the systematic work of Earl H. Morris and Joe Ben Wheat. Morris built the museum's anthropological collections from 1913–1956. Wheat served as Curator of Anthropology and Curator Emeritus from 1952–1997, and directed the Yellow Jacket field school from 1954–1991.
    [Show full text]
  • Collect Like a Curator with Liberty Hall Museum
    Collect like a Curator with Liberty Hall Museum What is a collection? A collection is group of objects usually brought together for their similar subject matter or purpose. That’s a fancy definition—but what does that mean? Let’s explore collections together! Where do collections come from? o Collections come from individuals who have a passion for certain objects, such as art, historic items, a sport’s team, etc. These individuals then go out and find examples of these objects and decide to group and store them together, making a collection. Many times these collections end up in a museum like Liberty Hall! What do museums do with collections? o Museums take on the responsibility for caring and preserving their collections, so visitors like you can enjoy them. The person primarily responsible for caring for a museum collection is a curator. What is a curator? o Museum curators are in charge of a collection of exhibits in a museum. Their job is to build up collections and develop ways in which objects, archives and artworks can be interpreted, through exhibitions, publications, events and audio-visual presentations. How do curators keep track of all the objects in a museum collection? o Curators keep track of a collection by making sure every object has a written record of information about that object. All of that information is then stored in a catalog or a database. o Curators will also assign each object a different number to help organize the objects. This number is called an accession number. Does Liberty Hall have any collections? o Yes indeed! In fact, Liberty Hall is a museum that is made up of collections.
    [Show full text]
  • SAA Guidelines for Preparing Legacy Archaeology Collections
    GUIDELINES FOR PREPARING LEGACY ARCHAEOLOGICAL COLLECTIONS FOR CURATION Michelle K. Knoll and Bruce B. Huckell ACKNOWLEDGMENTS We are grateful to a number of colleagues for their advice and assistance in compiling and reviewing previous drafts of this document. Our first thanks go to volunteers nearing retirement who completed a preliminary survey about what kinds of collections, samples, and materials they had in their possession that needed to be curated. They helped us assess what topics might best be covered in this guide. Once we started the process of compiling sections and full drafts, we had the good fortune to receive editorial comments, suggestions, and thoughtful reactions from our colleagues on the SAA Committee on Museums, Collections, and Curation. In particular, we are most grateful to committee chair Danielle Benden, Terry Childs, Jenna Domeischel, Susan Gilliland, and Marybeth Tomka. Bill Lipe, Professor Emeritus, Washington State University, long concerned with the proper curation of legacy collections, provided us with much food for thought on both an initial and a revised draft of this guide. We thank Richard Talbot, Brigham Young University, and Janaki Krishna, Natural History Museum of Utah, who also reviewed drafts, and Andrea Knoll for assistance with designing the cover. Our thanks as well to our colleagues at the University of Utah and the University of New Mexico for important conversations about aspects of curation that came up as we worked on the guide. Finally, we are grateful to the SAA Board of Directors for their invitation to prepare the guide and for their review and final approval of it.
    [Show full text]