Risk management and auditing

  • 603 views
Uploaded on

 

  • Full Name Full Name Comment goes here.
    Are you sure you want to
    Your message goes here
    Be the first to comment
    Be the first to like this
No Downloads

Views

Total Views
603
On Slideshare
0
From Embeds
0
Number of Embeds
0

Actions

Shares
Downloads
14
Comments
0
Likes
0

Embeds 0

No embeds

Report content

Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
    No notes for slide

Transcript

  • 1. Risk management andauditingDorothea Salo
  • 2. Threat model•“Preservation” means nothing unmodified.• This is why it becomes such a bogeyman!•Two things you need to know first:• why you’re preserving what you’re preserving, and• what you’re preserving it against.•Libraries: your collection-development policyshould inform the first question.• Your coll-dev policy doesn’t include local born-digital ordigitized materials? This is a problem. Fix it.•The second question is your “threat model.”
  • 3. What is your threatmodel for print?
  • 4. Homelessness
  • 5. Water
  • 6. Flora and fauna
  • 7. Physical damage
  • 8. Loss or destruction
  • 9. Why did I just make youdo that?•I’m weird.•I’m trying to destroy the myth that any givenmedium “preserves itself.”•Media do not preserve themselves. Peoplepreserve media—or media get bizarrely lucky.•We need not panic over digital preservationany more than we panic about print.•Approach digital preservation the same wayyou approach print preservation.
  • 10. Now...List important threatsto digital data.
  • 11. Physical medium failure
  • 12. “Bitrot”
  • 13. File format obsolescence
  • 14. Forgetting what you have
  • 15. Forgetting what thestuff you have means
  • 16. Rights and DRM
  • 17. Lack (or disappearance)of organizational commitment
  • 18. One word: Geocities.
  • 19. ?Ignorance•“It’s in Google, so it’s preserved.” (Not even“Google Books!”)•“I make backups, so I’m fine.”•“I have a graduate student who takes care ofthese things.”•“Metadata? What’s that? I have to have it?”•“Digital preservation is an unsolvable problem,so why even try?” (I’ve heard this one fromlibrarians. I bet you have too.)
  • 20. Apathy
  • 21. Mitigating the risks:planning and auditingtools
  • 22. Audit frameworks• Trusted Repository Audit Checklist• (If you see “NARA/RLG” somewhere? This is the framework thatevolved into TRAC. Long story.)• You can get an actual formal TRAC audit from CRL! Who has? Portico,Hathi, “Chronicle of Life,” two-three others. This audit is HARSH. (Sodon’t write off a repo because it hasn’t had a TRAC audit.)• If you hear the phrase “trusted digital repository,” it should meanthat the repo has had (or is pursuing) a TRAC audit.• DRAMBORA• More flexible, less finger-shaking than TRAC.• Less of this “designated community” nonsense.• Less dependent on OAIS model (which I consider a strength).• Encourages archives to consider and document their individualsituations and think hard about risk mitigation.
  • 23. Newer: SPOT model•Even less clunky than DRAMBORA.•I quite like this one.•Identifying Threats to Successful DigitalPreservation: the SPOT Model for RiskAssessment• http://www.dlib.org/dlib/september12/vermaaten/09vermaaten.html
  • 24. So what do they audit?•Mission (and adherence to it)•Plans and policies• including contingency plans•Staff infrastructure•Operations documentation• including tech infrastructure, service infrastructure•Sustainable funding•“Doing the right things with the stuff.”• identifiers, ingest file format management, migration, etc.•NOTICE WHAT’S FIRST ON THE LIST.• remember, the tech part is the easy part!
  • 25. TRAC, DRAMBORA, and DH•TRAC, DRAMBORA, and SPOT are designed toaudit repositories, not individual datasets, datafiles, or research projects.• They assume a lot of infrastructure and (in TRAC’s case) along-term time horizon that you probably aren’t.•So if you’re trying to think through a project,where do you go?• TRAC and DRAMBORA are probably overkill!• (Though parts of DRAMBORA won’t hurt you.)
  • 26. Data Curation Profiles•Research project out of Purdue’s Digital DataCuration Center (“D2C2”)•“Toolkit:” interview instrument, user guide forinterview instrument, worksheet.•Small library of completed profiles•Ignore the user guide. Grab the worksheet, anduse the interview instrument for reference.•http://datacurationprofiles.org• You have to make a login to download the toolkit pieces.
  • 27. Mitigating specificrisks
  • 28. Physical medium failure•Gold CDs are not the panacea we thought.• They’re not bad; they’re just hard to audit, so they fail(when they fail) silently. Silent failure is DEADLY.•Current state of the art: get it on spinning disk.•Back up often. Distribute your backupsgeographically. Test them now and then.• Consider a LOCKSS cooperative agreement. Others have.•Bitrot-detection techniques may help here too.•Any physical medium WILL FAIL. Have a planfor when it does.
  • 29. “Digital forensics”•The art and science of investigating digital fileformats and media.• Reading obsolete ones.• Reverse-engineering and/or documenting existing ones sothey don’t go obsolete.• Ensuring secure deletion, when necessary.• Reconstructing what used to be on a physical storagemedium. (Surprising how often this is possible!)• Audit trails for legal and records-management purposes.• AMAZING report (highly highly recommended!): “DigitalForensics and Born-Digital Content in Cultural HeritageInstitutions.” http://www.clir.org/pubs/abstract/pub149abst.html. Both computer-nerdy and humanities-nerdy in the best possible way.
  • 30. Avoiding “bitrot”•Sometimes used for “file format obsolescence.”•I use it for “the bits flipped unexpectedly.”•Checking a file bit-by-bit against a backup copyis computationally impractical for every day.• Though on ingest it’s a good idea to verify bit-by-bit!•Checksums• A file is, fundamentally, a great big number.• Do math on the number file. Store the result as metadata.• To check for bitrot, redo the math and check the answeragainst the stored result. If they’re different, scream.• Several checksum algorithms; for our purposes, which oneyou use doesn’t matter much.• “Hash collision:” it’s possible, but unlikely, for different filesto have the same checksum. Potential hack vector!
  • 31. Migration vs. emulation:dealing with obsolescence•Migration• change the file to be usable in new software/hardwareconfigurations• risks: information loss (FONTS!), imperfect transfer,choosing the wrong migration path• smart systems don’t throw away the old files!•Emulation• keep the file, train new software/hardware to behave likethe old• risks: imperfect emulation, impractical emulation• makes more sense for software (games!), less for files•Pragmatically: redigitization.
  • 32. Finding tools•Migration• Current versions of the original software may be able toopen old files.• Open-source software in the same genre may be able totranslate proprietary file formats (often imperfectly). Tendto maintain translators longer than you’d think.• Look on the web!• MIGRATE FAST. Once it’s damaged or obsolete, it’sprobably too late.•Emulation• look for the gamers! it’s WILD what they’ll emulate!• Look to the open-source community for operating-system, hardware-driver emulators.• Frankly, there’s a lot of hype and vaporware here.
  • 33. When is a PDF not a PDF?•When it’s a .doc with the wrong file extension•When there’s no file extension on it at all•When it’s so old it doesn’t follow thestandardized PDF conventions•When it’s otherwise malformed, made by abad piece of software.•How do you know whether you have a goodPDF? (Or .doc, or .jpg, or .xml, or anything else.)
  • 34. File format registries andtesting tools•JHOVE: JSTOR/Harvard Object ValidationEnvironment• Java software intended to be pluggable into othersoftware environments• Answers “What format is this thing?” and “Is this thing agood example of the format?”• Limited repertoire of formats•PRONOM/DROID + GDFR = Unified DigitalFormats Registry•Wrapper tool: FITS, File Information Tool Set• JHOVE + DROID + various other testers. State of the art.
  • 35. Thanks!•Copyright 2011 by Dorothea Salo.•This lecture and slide deck are licensed under aCreative Commons Attribution 3.0 UnitedStates License.