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What is Research Data Management? UAL

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What is Research Data Management? UAL

  1. 1. … because good research needs good data What is Research Data Management? Marieke Guy Institutional Support Officer, DCC m.guy@ukoln.ac.uk University of the Arts, London, 19th November 2012 This work is licensed under the Creative Commons Attribution-NonCommercial-ShareAlike 2.5 UK: Scotland License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-sa/2.5/scotland/ ; or, (b) send a letter to Creative Commons, 543 Howard Street, 5th Floor, San Francisco, California, 94105, USA. Funded by: University of the Arts, DCC101, London, 19th November 2012
  2. 2. … because good research needs good data The Digital Curation Centre (DCC) • Is a consortium comprising units from the Universities of Bath (UKOLN), Edinburgh (DCC Centre) and Glasgow (Humanities Advanced Technology and Information Institute - HATII) • launched 1st March 2004 as a national centre for solving challenges in digital curation that could not be tackled by any single institution or discipline • funded by JISC • with additional HEFCE funding from 2011 for • the provision of support to national cloud services • targeted institutional development Funded by: University of the Arts, DCC101, London, 19th November 2012
  3. 3. … because good research needs good data The DCC mission Funded by: University of the Arts, DCC101, London, 19th November 2012
  4. 4. … because good research needs good data What is research data? …whatever is produced in research or evidences its outputs • Facts, statistics • Qualitative & quantitative • Not published research output • Discipline “highest priority research data is that which specific underpins a research output” Funded by: University of the Arts, DCC101, London, 19th November 2012
  5. 5. … because good research needs good data CAIRO definition “Within the creative arts research data is evidence of an identified research activity…Research data includes preparatory, unfinished and supportive work in digital form in addition to data relating to completed works.” Curating Artistic Research Output (CAIRO) http://www.projectcairo.org/ Funded by: University of the Arts, DCC101, London, 19th November 2012
  6. 6. … because good research needs good data Definition issues for arts institutions • Kaptur project (http://www.vads.ac.uk/kaptur/) sees research data in the visual arts as: • Tangible and intangible • Heterogeneous and infinite • Complex and complicated • Digital and physical “…no fundamental separation exist between theory and practice in the arts” Borgdorff et al Funded by: University of the Arts, DCC101, London, 19th November 2012
  7. 7. Research data: … because good research needs good data institutional crown jewels? Funded by: University of the Arts, DCC101, London, 19th November 2012 http://www.flickr.com/photos/lifes__too_short__to__drink__cheap__wine/4754234186 /
  8. 8. … because good research needs good data Policy • Public good • Preservation • Discovery • Confidentiality • First use • Recognition • Public funding Funded by: University of the Arts, DCC101, London, 19th November 2012
  9. 9. … because good research needs good data EPSRC expects all those institutions it funds: •to develop a roadmap that aligns their policies and processes with EPSRC’s expectations by 1st May 2012; •to be fully compliant with these expectations by 1st May 2015. http://www.epsrc.ac.uk/about/standards/researchdata/Pages/e xpectations.aspx Funded by: University of the Arts, DCC101, London, 19th November 2012
  10. 10. … because good research needs good data Funded by: University of the Arts, DCC101, London, 19th November 2012
  11. 11. … because good research needs good data Funder requirements http://www.dcc.ac.uk/resources/policy-and-legal/overview-funders-data-policies Funded by: University of the Arts, DCC101, London, 19th November 2012
  12. 12. … because good research needs good data Data sharing: Incremental project “Data sharing was “While many researchers are positive more readily about sharing data in principle, they are almost universally reluctant in discussed by practice. ..... using these data to early career publish results before anyone else is researchers.” the primary way of gaining prestige in nearly all disciplines.” Funded by: University of the Arts, DCC101, London, 19th November 2012
  13. 13. … because good research needs good data RDM drivers External • Government Open Agenda • Public pressure – data as a public good • Changes in funders’ data policies • Institutional need for better research integrity; REF • Best practice • Desire to be good and a well-cited researcher Internal Funded by: University of the Arts, DCC101, London, 19th November 2012
  14. 14. … because good research needs good data Data issues • Scale and complexity – volume, pace, infrastructure • Quality of data • Reputation – FOI, DPA, computer misuse • Management – Storage, incentive, costs & sustainability • Openness • Preservation • Partnerships • Funding for researchers Funded by: University of the Arts, DCC101, London, 19th November 2012
  15. 15. … because good research needs good data What is research data management? “the active management and appraisal of data over the Manage lifecycle of scholarly and scientific interest” Data management is part of Share good research practice Funded by: University of the Arts, DCC101, London, 19th November 2012
  16. 16. … because good research needs good data What is involved in RDM? • Data management planning • Creating data • Documenting data • Storing data • Sharing data • Preserving data Funded by: University of the Arts, DCC101, London, 19th November 2012
  17. 17. … because good research needs good data Good data management is about making informed decisions Funded by: University of the Arts, DCC101, London, 19th November 2012
  18. 18. … because good research needs good data •How to… • Appraise and Select Research Data • Cite Datasets and Link to Publications • Develop a Data Management and Sharing Plan • License Research Data • Set a RDM service – coming soon! Funded by: How to cite data University of the Arts, DCC101, London, 19th November 2012
  19. 19. … because good research needs good data Activities at UAL • Ongoing involvement in JISC Kaptur project • Surveys/interviews of researchers • UAL policy & RDM area on web site • UAL data management planning template • Funder requirements document • Training & advocacy • Clarification of roles • Exploration of use of Datastage-eprints-Figshare by: Funded University of the Arts, DCC101, London, 19th November 2012
  20. 20. … because good research needs good data UAL RDM policy: principles • The University affirms its commitment to data management as a core academic activity, and a key element of good research practice. • Research data will be managed to the highest standards as part of the University’s commitment to research excellence. • The University will provide mechanisms and services for storage, backup, registration, deposit and retention of research data assets in support of current and future access, during and after completion of research projects. Funded by: University of the Arts, DCC101, London, 19th November 2012
  21. 21. … because good research needs good data UAL RDM policy: principles cont… • The University acknowledges its responsibility to ensure that researchers meet the stipulations of funders, and to support the needs of researchers. • The University notes its institutional responsibility to manage Freedom of Information requests, including those relating to research data. • The University believes that planning and communicating data management activities throughout the research lifecycle leads to better results. • Also looks at workflow, roles & responsibilities Funded by: University of the Arts, DCC101, London, 19th November 2012
  22. 22. … because good research needs good data RDM area of UAL web site http://www.arts.ac.uk/research/data-management/ Funded by: University of the Arts, DCC101, London, 19th November 2012
  23. 23. … because good research needs good data DMPOnline • Requirement to produce Data Management Plans (DMPs) as part of bid process • DMP Online enables you to build and edit DMPs according to the requirements stipulated by the major UK funders • Development of a UAL version of DMP Online software Funded by: University of the Arts, DCC101, London, 19th November 2012
  24. 24. … because good research needs good data Good first steps.. • Simple, accessible, visual guidance for creating and managing data • Pointers to local and external resources, illustrated fact sheets, checklists and FAQs giving solutions to researchers’ common concerns • Practical data management training with discipline- specific examples and assisted by local champions • Connections between researchers and support staff, offering advice and guidance from the proposal writing stage Funded by: University of the Arts, DCC101, London, 19th November 2012
  25. 25. … because good research needs good data Any questions? For DCC guidance, tools and case studies see: www.dcc.ac.uk/resources Follow us on twitter @digitalcuration and #ukdcc Funded by: University of the Arts, DCC101, London, 19th November 2012

Editor's Notes

  • Curating Artistic Research Output (CAiRO) Within the creative arts research data is evidence of an identified research activity. The data might be part of an actual work created through research activity (for example a three-dimensional model displayed via public exhibition) or data may instead be documentary evidence (such as video documentation of a real-world performance event or digital photograph of an installation) of research efforts. Research data includes preparatory, unfinished and supportive work in digital form in addition to data relating to completed works.   http://www.projectcairo.org/module/unit1-1.html
  • 5.2.2. Heterogeneous and infinite   Although other subject disciplines such as Engineering have reported a wide variety of research data types and file formats (Howard et al. 2010), with visual arts data this is even more heterogeneous due to the nature of artistic research. Artistic research is relatively new compared to other disciplines, arising from the introduction of art and design research degrees in the 1990s. As a result, research methodologies may be borrowed or adapted from other disciplines, such as Social Science, and new and innovative research methods may also be employed. Gray and Delday (2010) describe the process of artistic research as follows:   It is never a smooth and homogenous process but fluid, 'wet' and folded, if not at times messy, fuzzy and tumultuous.
(cited in Mey 2010)   The nature of visual arts research data is potentially infinite, never ending. This is particularly the case with artistic research that is based on "the self", as Gemmell and Giddens describe:   We are always in a state of becoming, always unfinished.
(cited in Griffiths 2010)   One of the interviewees described their research process as much more of a continuum, without necessarily distinct or distinguished stages, but with "organisational moments"; at these points research data might be actualised as a natural part of the research process such as writing or "trials in the studio". Figure 2: visual arts research as a continuum over time with "organisational moments" at which research data may be actualised (Garrett et al. 2012)   Other "organisational moments" might include: compiling materials for an exhibition; externally imposed information required for the institution or funders; making a grant application, writing a paper; institutional duties such as lectures, tutorials, or other learning and teaching events; or filing information. KAPTUR will build upon the notion of “ organisation moments ” to create a model for visual arts research data in order to suggest possible intervention points when support and advocacy work would be most effective.   5.2.3. Complex and complicated   Visual arts research data presents many challenges for the data curator, for example in terms of classifying materials and enabling access. An interviewee commented:   [my practice is] complex and complicated. [For my PhD] I thought I was doing sculpture, I ended up doing book design and photography and now I'm involved in performance practice more than anything else [...]   Some of the issues are discussed in a case study produced for the JISC-funded Kultivate (2010-11) project; Gray (2011) describes a workflow tested in conjunction with the researcher which was "designed to support the archiving of live artwork" (Gray 2011). This resulted in the creation of a "granular catalogue record (or ‘score’)" which included:   videos of the performance, video interviews with the artist, scans of related promotional material, [and] digital photographs of objects involved (Gray 2011) By involving the artist-researcher from the beginning of the process it was possible to establish "the focus of the documentation process" (Gray 2011).   5.2.4. Digital and physical   Visual arts research data can take the form of digital files or physical objects. One of the nine EPSRC Expectations (2011) mentions physical research data: Publicly-funded research data that is not generated in digital format will be stored in a manner to facilitate it being shared in the event of a valid request for access to the data being received [...]   The implication is either that a programme of digitisation is required for future research data, or that at least metadata records will be required for physical research data which include access information.   A useful point to consider is that the research data of today may well be the special collections of the future (cited in Murtagh 2011). Taking the example of the Stanley Kubrick Archive which is housed in the University Archives and Special Collections Centre, University of the Arts London:   [...] a staggering collection of some 800 large boxes containing scripts, stills, props, posters, costumes, documents, equipment and a vast library of books [...] (Kemp 2006)   This invites comparison with the response of interviewee: [...] I’m just like anyone else I’ve got boxes of stuff, I’ve got a garden shed and then I’ve got files, I’ve got electronic files and I’ve got physical files, I’ve got ring binders full of clippings, full of photographs, and I’ve got documents of exhibitions that I’ve been in, I’ve got catalogues of exhibitions I’ve been to [...]   The description of "stuff" highlights the need for appraisal and selection (Harvey 2007) as part of the data management lifecycle for both digital and physical items.
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