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ARMA-CT, May 22, 2013

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  1. 1. Facing Up to ARMA-geddon:Preserving Cultural Records in the Digital AgeGregory Colati, University of ConnecticutARMA CT May, 2013
  2. 2. May 22, 2013ARMA CT2
  3. 3. The Dilemma of Modern Media, 1996 BEFORE YouTube, Facebook, and SmartphonesMay 22, 2013ARMA CT3
  4. 4. Dilemma of Modern Media, 1912May 22, 2013ARMA CT4
  5. 5. Cultural Armageddon, 1980sMay 22, 2013ARMA CT5
  6. 6. Cultural Armageddon, 1990sMay 22, 2013ARMA CT6
  7. 7. Cultural Armageddon, 2000sMay 22, 2013ARMA CT7
  8. 8. Cultural Armageddon, 2011Source: University of Southern CaliforniaCredit: Todd Lindeman and Brian Vastag/ TheWashington PostMay 22, 2013ARMA CT8
  9. 9. Cultural Armageddon, 2012May 22, 2013ARMA CT9
  10. 10. Cultural Armageddon, 2013“You may not incorporate the information… in any …archive”May 22, 2013ARMA CT10
  11. 11. Cultural Armageddon: The Digital AtticMay 22, 2013ARMA CT11
  12. 12. Cultural Armageddon, 2013May 22, 2013ARMA CT12
  13. 13. Cultural Armageddon, 2014?May 22, 2013ARMA CT13
  14. 14. What Has Value?May 22, 2013ARMA CT14
  15. 15. What is Noise?May 22, 2013ARMA CT15
  16. 16. May 22, 2013ARMA CT16
  17. 17. Everything can be data…“When it was made simple, counted in bits, Informationwas found to be everywhere”-James Gleick, The Information: A History, A Theory, A Flood (2011)“It is not just about the data, it is about the story”-Arianna Huffington (2012)…and used to tell a story.May 22, 2013ARMA CT17
  18. 18. Five Equations of the Cultural RecordContent = DataAnalog = Non-existentUnconnected= InvisibleReusable = ValuableStorytelling = VisualizationMay 22, 2013ARMA CT18
  19. 19. The Dilemma of Modern ScholarshipHow do we insure that resources thatsupport scholarship and research that existin digital form today will reliably exist andbe discoverable in the future?2013 2????May 22, 2013ARMA CT19
  20. 20. Digital Repositories organize data… Digital representations of analogoriginals Born digital objects with no“original” analog form Still Images Data Sets Documents Moving Images Complex objectsMay 22, 2013ARMA CT20
  21. 21. …to be used in one environment… 22, 2013ARMA CT21
  22. 22. … re-used in another… 22, 2013ARMA CT22
  23. 23. … to tell a story.May 22, 2013ARMA CT23
  24. 24. Non-consumptive AnalysisMay 22, 2013ARMA CT24
  25. 25. Four “–ity”s of the Digital Cultural Record Sustainability The digital object can be maintained and accessedover time Authenticity The digital object is reliably true to the original Interoperability The ability of one standards-based object to beused in any other standards-based system Reusability Objects can be used in ways not related to originalpurposeMay 22, 2013ARMA CT25
  26. 26. CtSDCOtherPartnersAdministration PresentationPublic facingCHSContributionConnecticut Digital ArchiveBackward facing
  27. 27. Greg ColatiSr. DirectorArchives, Special Collections and Digital CurationUniversity of Connecticutgregory.colati@uconn.eduSlides and text available at: 22, 2013ARMA CT27
  28. 28. Credits (In order of appearance) Big Brother: Paul Conway, Preservation in the Digital World Wax Cylinder: Flickr image from the National Film and Sound Archive Australia Brittle page: Washington Post: Digital Universe: Singularity Hub: Justin TV: Google glass: Iris: DCC Lifecycle model: Locomotive: Archives and Special Collections, University of Connecticut Leonardo’s notebook: British Library tablet app: Inventing Europe: Google Ngram viewer: 22, 2013ARMA CT28