What do you mean we need digital preservation? We have a repository!Kara Van Malssen
This document discusses the importance of digital preservation for all repositories. It notes that repositories should aim to be preservation repositories in order to safely store digital materials like text, images, audiovisual datasets, software and born-digital content over the long term. The document recommends that repositories undertake activities like ensuring a preservation mandate and broadening their scope and collections to fulfill their responsibility of being trusted stewards of digital content.
The document discusses e.law, a company that provides e-discovery services to assist with litigation and investigations involving large volumes of electronic documents. e.law has experience ensuring electronic documents are properly preserved, collected, and produced according to court rules. Their services include processing, reviewing, analyzing, and producing documents using technology to increase efficiency and ensure an intact evidentiary chain of custody.
SIT Group is a global manufacturing company with subsidiaries around the world. It implemented the Clavister Security Gateway to centralize its IT infrastructure and securely connect its international offices via a VPN. This allowed SIT's subsidiaries to access centralized applications and data for improved customer service. The Clavister solution improved manageability, increased availability, and reduced costs through centralization. It also increased SIT's ability to address business challenges globally.
DPE/Planets/CASPAR/nestor
Joint Training Event:
The Preservation challenge: basic concepts and practical applications
March, 23th- 27th 2008
Barcelona, Spain
Christian Keitel
Landesarchiv Baden-Württemberg and nestor
Keepit Course 5: Tools for Assessing Trustworthy RepositoriesJISC KeepIt project
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Criteria for a trusted institutional repositoryIna Smith
This document discusses the criteria for a trusted institutional repository. It begins by defining a trusted digital repository as one that provides reliable long-term access to managed digital resources for its designated community. It then outlines several key criteria for a trusted institutional repository, including accepting responsibility for long-term maintenance, applying common standards, and regularly evaluating systems. The document also summarizes several methodologies for assessing trusted repositories, such as the ISO 16363 standard. Finally, it discusses principles of trusted repositories like commitment to preservation, adequate technical infrastructure, and fulfillment of dissemination requirements.
This document outlines the criteria for trusted institutional repositories in Africa to be included in the DATAD-R registry. It discusses what constitutes a trusted institutional repository, outlines various auditing and certification systems used internationally, and emphasizes the importance of metadata compatibility. The DATAD-R criteria cover aspects like contact details, technical infrastructure, policies, and governance. Inclusion in DATAD-R involves a self-review using their criteria, an independent peer-review, and reapplying every 3 years to maintain inclusion. Harmonizing with standards helps ensure African repositories are interoperable and their data reliably preserved.
What do you mean we need digital preservation? We have a repository!Kara Van Malssen
This document discusses the importance of digital preservation for all repositories. It notes that repositories should aim to be preservation repositories in order to safely store digital materials like text, images, audiovisual datasets, software and born-digital content over the long term. The document recommends that repositories undertake activities like ensuring a preservation mandate and broadening their scope and collections to fulfill their responsibility of being trusted stewards of digital content.
The document discusses e.law, a company that provides e-discovery services to assist with litigation and investigations involving large volumes of electronic documents. e.law has experience ensuring electronic documents are properly preserved, collected, and produced according to court rules. Their services include processing, reviewing, analyzing, and producing documents using technology to increase efficiency and ensure an intact evidentiary chain of custody.
SIT Group is a global manufacturing company with subsidiaries around the world. It implemented the Clavister Security Gateway to centralize its IT infrastructure and securely connect its international offices via a VPN. This allowed SIT's subsidiaries to access centralized applications and data for improved customer service. The Clavister solution improved manageability, increased availability, and reduced costs through centralization. It also increased SIT's ability to address business challenges globally.
DPE/Planets/CASPAR/nestor
Joint Training Event:
The Preservation challenge: basic concepts and practical applications
March, 23th- 27th 2008
Barcelona, Spain
Christian Keitel
Landesarchiv Baden-Württemberg and nestor
Keepit Course 5: Tools for Assessing Trustworthy RepositoriesJISC KeepIt project
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This document outlines the criteria for trusted institutional repositories in Africa to be included in the DATAD-R registry. It discusses what constitutes a trusted institutional repository, outlines various auditing and certification systems used internationally, and emphasizes the importance of metadata compatibility. The DATAD-R criteria cover aspects like contact details, technical infrastructure, policies, and governance. Inclusion in DATAD-R involves a self-review using their criteria, an independent peer-review, and reapplying every 3 years to maintain inclusion. Harmonizing with standards helps ensure African repositories are interoperable and their data reliably preserved.
The document summarizes a training event on trusted digital repositories that took place in Vilnius, Lithuania from October 1-5, 2007. It discusses key initiatives and standards for digital preservation and certification of trusted repositories, including the nestor criteria catalogue. The nestor network aims to create a framework of trustworthy long-term digital archives. The document outlines criteria for organizational framework, object management, and infrastructure/security that repositories should address.
Ingrid Dillo - Trustworthy repositories for open research datadri_ireland
DANS is an institute of the Royal Netherlands Academy of Arts and Sciences (KNAW) and the Netherlands Organization for Scientific Research (NWO). It has been promoting and providing permanent access to digital research resources since 2005, building on predecessors dating back to 1964. DANS obtains certification for its repositories and services, including the Data Seal of Approval, to build trust with depositors, users, and funders by demonstrating its commitment to digital preservation best practices and transparency. The certification process also improves DANS' internal workflows and documentation.
How the Core Trust Seal (CTS) Enables FAIR Datadri_ireland
Presentation by Natalie Harrower, Director of the The Digital Repository of Ireland, on how the Core Trust Seal requirements and implementation process help prepare a digital repository for supporting FAIR data.
Presentation at the 'Services to Support FAIR data' workshop in Vienna on 24th April 2019. Workshop series supported by OpenAire, the Research Data Alliance, FAIRsFAIR and the EOSChub
How core trust seal enables FAIR data - Natalie HarrowerOpenAIRE
How core trust seal enables FAIR data presented Natalie Harrower during the OpenAIRE workshop Services to support FAIR data, Vienna: https://www.openaire.eu/openaire-workshop-making-services-fair-vienna-april-24th-2019
KeepIt Course 5: DRAMBORA: Risk and Trust and Data Management, by Martin Donn...JISC KeepIt project
This presentation provides an extensive introduction to the Digital Repository Audit Method Based On Risk Assessment
(DRAMBORA). After considering how the ideas of risk and trust might affect digital repositories, the DRAMBORA methodology is applied using two practical exercises. DRAMBORA can also be applied using an interactive Web-based version of the tool, and the presentation provides an illustrated guided tour of this version of the tool. The presentation was given as part of the final module of a 5-module course on digital preservation tools for repository managers, presented by the JISC KeepIt project. Concluding by comparing DRAMBORA with DAF, the Data Asset Framework, also produced by the DCC, brings the KeepIt course effectively full circle, as the course began in module 1 with DAF. For more on this and other presentations in this course look for the tag ’KeepIt course’ in the project blog http://blogs.ecs.soton.ac.uk/keepit/
de theory and practice of digital preservationFIAT/IFTA
The document discusses the challenges of preserving audiovisual collections in a digital environment, including technological changes, storage media obsolescence, and evolving equipment. It emphasizes the need to establish trust by developing organizational structures, processes, and standards that ensure long-term access, integrity, and authenticity of preserved content. Certification according to standards like ISO 16363 can help audiovisual archives achieve different levels of trustworthiness.
Archive service accreditation digital developments for ARA Conference 2016Melinda Haunton
This document summarizes standards and frameworks for digital archive accreditation, including OAIS, DSA, TRAC, and ISO 16363. It discusses the UK Archive Service Accreditation program, which aims to include digital archives. By 2018, it will require applicants to self-assess against NDSA levels and accept digital-only archives. This interim approach allows development while standards evolve rapidly. The ultimate goal is to better support digital preservation and ensure the long-term viability of archive services.
This presentation will provide an overview of issues in digital preservation. Presentation was delivered during the joint DPE/Planets/CAPAR/nestor training event, ‘The Preservation challenge: basic concepts and practical applications’ (Barcelona, March 2009)
Facilitating Scientific Collaborations by Delegating Identity ManagementVon Welch
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This presentation was delivered during the joint DPE/Planets/CAPAR/nestor training event, ‘The Preservation challenge: basic concepts and practical applications’ (Barcelona, March 2009). It explains how CASPAR aims to solve, from the technical point of view, the problem of accessibility and intelligibility of digital data in the long term.CASPAR approach is presented as an implementation of the OAIS functional model, introducing CASPAR Key Components, i.e. the main building blocks which constitute CASPAR architecture, and giving an overview of their functionalities, their usage and their role in the digital preservation workflow. The objective is to clarify how the digital preservation workflow is realised within CASPAR architecture.
RDAP14: Policy Recommendations for Institutions to Serve as Trustworthy Stewa...ASIS&T
Research Data Access and Preservation Summit, 2014
San Diego, CA
March 26-28, 2014
J. Steven Hughes
NASA Jet Propulsion Laboratory
Robert R. Downs
Center for International Earth Science Information Network (CIESIN), Columbia University
David Giaretta
Alliance for Permanent Access
BDVe Webinar Series - Ocean Protocol – Why you need to care about how you sha...Big Data Value Association
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Trusted Digital Repositories: OAIS and Certification - Robin Dale (2002)faflrt
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Data Sanitization: What, Why, When and How?Baltimax
This document discusses data sanitization, including definitions, why it is important, and best practices for when and how to conduct it. It defines data sanitization as rendering access to target data infeasible. Regulations like GDPR, ISO standards, and industry guidelines require certified and auditable data erasure processes. When devices or data are no longer needed, all data must be securely erased through technologies that overwrite or remove data before device disposal or reuse. Live systems may require file or volume erasure, while decommissioning involves erasing entire servers, storage, or virtual machines. A layered security approach including encryption and certified data erasure provides the strongest protection.
Slides accompanying a talk delivered by Dan Gillean at PASIG 2016, held at the Museum of Modern Art in New York, NY October 26-28, 2016.
These slides explore the roles that standards play in digital preservation, and introduce some of the key standards that Archivematica was designed with in mind, and which the system uses to help you capture technical, preservation, and administrative metadata when generating Archival Information Packages (AIPs) and Dissemination Information Packages (DIPs).
For more information about Archivematica, see: https://www.archivematica.org
Certification of data repositories - CoreTrustSealOpenAIRE
The first workshop of the series "Services to support FAIR data" took place in Prague during the EOSC-hub week (on April 12, 2019).
Speaker: Mari Kleemola
1. The document outlines criteria for a trusted institutional repository, including auditing and certification systems, metadata compatibility standards, and the DATAD criteria.
2. It discusses various auditing methodologies and certification systems like ISO 16363, Data Seal of Approval, and TRAC. Metadata standards that ensure compatibility are also covered.
3. The DATAD criteria for a trusted institutional repository are then presented, covering areas like policies, preservation, sustainability, accessibility, security, submissions, customization, and governance. The procedure for inclusion in the DATAD registry is also summarized.
Closing keynote of the 49th Annual International Association of Sound and Audiovisual Archives (IASA) conference, held Oct 1-4, 2018 at the University of Ghana
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The document discusses the challenges of preserving audiovisual collections in a digital environment, including technological changes, storage media obsolescence, and evolving equipment. It emphasizes the need to establish trust by developing organizational structures, processes, and standards that ensure long-term access, integrity, and authenticity of preserved content. Certification according to standards like ISO 16363 can help audiovisual archives achieve different levels of trustworthiness.
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This document summarizes standards and frameworks for digital archive accreditation, including OAIS, DSA, TRAC, and ISO 16363. It discusses the UK Archive Service Accreditation program, which aims to include digital archives. By 2018, it will require applicants to self-assess against NDSA levels and accept digital-only archives. This interim approach allows development while standards evolve rapidly. The ultimate goal is to better support digital preservation and ensure the long-term viability of archive services.
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This presentation was delivered during the joint DPE/Planets/CAPAR/nestor training event, ‘The Preservation challenge: basic concepts and practical applications’ (Barcelona, March 2009). It explains how CASPAR aims to solve, from the technical point of view, the problem of accessibility and intelligibility of digital data in the long term.CASPAR approach is presented as an implementation of the OAIS functional model, introducing CASPAR Key Components, i.e. the main building blocks which constitute CASPAR architecture, and giving an overview of their functionalities, their usage and their role in the digital preservation workflow. The objective is to clarify how the digital preservation workflow is realised within CASPAR architecture.
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For more information about Archivematica, see: https://www.archivematica.org
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1. The document outlines criteria for a trusted institutional repository, including auditing and certification systems, metadata compatibility standards, and the DATAD criteria.
2. It discusses various auditing methodologies and certification systems like ISO 16363, Data Seal of Approval, and TRAC. Metadata standards that ensure compatibility are also covered.
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👉 Register here for our upcoming Session 2 on June 20: Introduction to UiPath Studio Fundamentals: https://community.uipath.com/events/details/uipath-lagos-presents-session-2-introduction-to-uipath-studio-fundamentals/
High performance Serverless Java on AWS- GoTo Amsterdam 2024Vadym Kazulkin
Java is for many years one of the most popular programming languages, but it used to have hard times in the Serverless community. Java is known for its high cold start times and high memory footprint, comparing to other programming languages like Node.js and Python. In this talk I'll look at the general best practices and techniques we can use to decrease memory consumption, cold start times for Java Serverless development on AWS including GraalVM (Native Image) and AWS own offering SnapStart based on Firecracker microVM snapshot and restore and CRaC (Coordinated Restore at Checkpoint) runtime hooks. I'll also provide a lot of benchmarking on Lambda functions trying out various deployment package sizes, Lambda memory settings, Java compilation options and HTTP (a)synchronous clients and measure their impact on cold and warm start times.
Poznań ACE event - 19.06.2024 Team 24 Wrapup slidedeck
Smithsonian Trustworthy Digital Repository Roundtable
1. A framework for understanding
Trustworthy digital repositories
Kara Van Malssen
AudioVisual Preservation Solutions / NYU MIAP
Smithsonian TDR Roundtable
April 15, 2013
Wednesday, April 24, 13
I'm going to start at a very high level in order to paint a big picture of the concept of Trustworthy Digital Repositories before we
get into specifics in our discussions today. Sometimes we can't see the forest for the trees in these sorts of discussions.
Perhaps the most important issue is the one we are not looking at.
What does a trustworthy repository for media art look like? In order to answer this, we need to break down this question, and
look at standards and recommended practice.
2. ☞͓͔̤͗!"ْٓ༜༛↱⃝ trust ↲≻≼◵⠓⁸# ( ั⿶अ
Wednesday, April 24, 13
What does trustworthy mean to a repository of time-based media art? Or any fine art in digital form?
Is it trust the security against attack or misuse? This is how the computer industry works when they talk about trust. Control of who/what can access the computer, and what can be run on it
(Doctorow)? In this case, we are usually talking about trust of the user in the applications they are using, or trust by the vendors in the applications they allow to be installed on their devices.
Is it the assurance that the works acquired by the museum will be accessible in long-term?
3. • Negotiate for and accept appropriate information from information Producers.
• Obtain sufficient control of the information provided to the level needed to ensure
Long Term Preservation.
• Determine, either by itself or in conjunction with other parties, which communities
should become the Designated Community and, therefore, should be able to
understand the information provided, thereby defining its Knowledge Base.
• Ensure that the information to be preserved is Independently Understandable to the
Designated Community. In particular, the Designated Community should be able to
understand the information without needing special resources such as the assistance
of the experts who produced the information.
• Follow documented policies and procedures which ensure that the information
is preserved against all reasonable contingencies, including the demise of the
Archive, ensuring that it is never deleted unless allowed as part of an approved
strategy. There should be no ad-hoc deletions.
• Make the preserved information available to the Designated Community and enable the
information to be disseminated as copies of, or as traceable to, the original submitted
Data Objects with evidence supporting its Authenticity.
OAIS Mandatory Responsibilities (ISO 14721:2012)
Wednesday, April 24, 13
5. 1. How long is long-term?
Wednesday, April 24, 13
6. 1. How long is long-term?
2. What is meant by accessible?
Wednesday, April 24, 13
7. 1. How long is long-term?
2. What is meant by accessible?
3. Whose trust do we need / who are we
trusting?
Wednesday, April 24, 13
8. Wednesday, April 24, 13
The task force saw that ‘trusted’ or trustworthy organizations could not simply identify themselves. To the contrary, the task force declared, ‘a process of certification for digital archives is
needed to create an overall climate of trust about the prospects of preserving digital information’. - CCSDS 652.0-M-1 (ISO 16363: Audit and Certification of Trustworthy Repositories)
⁃ OAIS provided the framework for requirements of a preservation repository, but we would need a way to measure compliance with this
⁃ TDR was originally developed by RLG and OCLC in "Trusted Digital Repositories: Attributes and Responsibilities"
⁃ A number of criteria arose out of that --> nestor, DCC, Data Seal of Approval, TRAC
⁃ ISO came out of TRAC
⁃ Certification of auditing bodies is coming soon: ISO 16919
9. 1996 Task Force on Archiving of Digital Information
“Repositories claiming to serve an archival
function must be able to prove that they are who
they say they are by meeting or exceeding the
standards and criteria of an independently-
administered program for archival certification”
Wednesday, April 24, 13
The task force saw that ‘trusted’ or trustworthy organizations could not simply identify themselves. To the contrary, the task force declared, ‘a process of certification for digital archives is
needed to create an overall climate of trust about the prospects of preserving digital information’. - CCSDS 652.0-M-1 (ISO 16363: Audit and Certification of Trustworthy Repositories)
⁃ OAIS provided the framework for requirements of a preservation repository, but we would need a way to measure compliance with this
⁃ TDR was originally developed by RLG and OCLC in "Trusted Digital Repositories: Attributes and Responsibilities"
⁃ A number of criteria arose out of that --> nestor, DCC, Data Seal of Approval, TRAC
⁃ ISO came out of TRAC
⁃ Certification of auditing bodies is coming soon: ISO 16919
10. 1996 Task Force on Archiving of Digital Information
“Repositories claiming to serve an archival
OAIS
function must be able to prove that they are who
they say they are by meeting or exceeding the
standards and criteria of an independently-
administered program for archival certification”
Wednesday, April 24, 13
The task force saw that ‘trusted’ or trustworthy organizations could not simply identify themselves. To the contrary, the task force declared, ‘a process of certification for digital archives is
needed to create an overall climate of trust about the prospects of preserving digital information’. - CCSDS 652.0-M-1 (ISO 16363: Audit and Certification of Trustworthy Repositories)
⁃ OAIS provided the framework for requirements of a preservation repository, but we would need a way to measure compliance with this
⁃ TDR was originally developed by RLG and OCLC in "Trusted Digital Repositories: Attributes and Responsibilities"
⁃ A number of criteria arose out of that --> nestor, DCC, Data Seal of Approval, TRAC
⁃ ISO came out of TRAC
⁃ Certification of auditing bodies is coming soon: ISO 16919
11. TDR
1996 Task Force on Archiving of Digital Information
“Repositories claiming to serve an archival
OAIS
function must be able to prove that they are who
they say they are by meeting or exceeding the
standards and criteria of an independently-
administered program for archival certification”
Wednesday, April 24, 13
The task force saw that ‘trusted’ or trustworthy organizations could not simply identify themselves. To the contrary, the task force declared, ‘a process of certification for digital archives is
needed to create an overall climate of trust about the prospects of preserving digital information’. - CCSDS 652.0-M-1 (ISO 16363: Audit and Certification of Trustworthy Repositories)
⁃ OAIS provided the framework for requirements of a preservation repository, but we would need a way to measure compliance with this
⁃ TDR was originally developed by RLG and OCLC in "Trusted Digital Repositories: Attributes and Responsibilities"
⁃ A number of criteria arose out of that --> nestor, DCC, Data Seal of Approval, TRAC
⁃ ISO came out of TRAC
⁃ Certification of auditing bodies is coming soon: ISO 16919
12. NESTOR TRAC DSA
TDR
1996 Task Force on Archiving of Digital Information
“Repositories claiming to serve an archival
OAIS
function must be able to prove that they are who
they say they are by meeting or exceeding the
standards and criteria of an independently-
administered program for archival certification”
Wednesday, April 24, 13
The task force saw that ‘trusted’ or trustworthy organizations could not simply identify themselves. To the contrary, the task force declared, ‘a process of certification for digital archives is
needed to create an overall climate of trust about the prospects of preserving digital information’. - CCSDS 652.0-M-1 (ISO 16363: Audit and Certification of Trustworthy Repositories)
⁃ OAIS provided the framework for requirements of a preservation repository, but we would need a way to measure compliance with this
⁃ TDR was originally developed by RLG and OCLC in "Trusted Digital Repositories: Attributes and Responsibilities"
⁃ A number of criteria arose out of that --> nestor, DCC, Data Seal of Approval, TRAC
⁃ ISO came out of TRAC
⁃ Certification of auditing bodies is coming soon: ISO 16919
13. ISO 16363:2012
NESTOR TRAC DSA
TDR
1996 Task Force on Archiving of Digital Information
“Repositories claiming to serve an archival
OAIS
function must be able to prove that they are who
they say they are by meeting or exceeding the
standards and criteria of an independently-
administered program for archival certification”
Wednesday, April 24, 13
The task force saw that ‘trusted’ or trustworthy organizations could not simply identify themselves. To the contrary, the task force declared, ‘a process of certification for digital archives is
needed to create an overall climate of trust about the prospects of preserving digital information’. - CCSDS 652.0-M-1 (ISO 16363: Audit and Certification of Trustworthy Repositories)
⁃ OAIS provided the framework for requirements of a preservation repository, but we would need a way to measure compliance with this
⁃ TDR was originally developed by RLG and OCLC in "Trusted Digital Repositories: Attributes and Responsibilities"
⁃ A number of criteria arose out of that --> nestor, DCC, Data Seal of Approval, TRAC
⁃ ISO came out of TRAC
⁃ Certification of auditing bodies is coming soon: ISO 16919
14. 1. The data producer deposits the research data in a data repository with sufficient information for
others to assess the scientific and scholarly quality of the research data and compliance with
disciplinary and ethical norms.
2. The data producer provides the research data in formats recommended by the data repository
3. The data producer provides the research data together with the metadata requested by the data
repository
Data Seal of
4. The data repository has an explicit mission in the area of digital archiving and promulgates it
5. The data repository uses due diligence to ensure compliance with legal regulations and contracts
including, when applicable, regulations governing the protection of human subjects.
Approval
6. The data repository applies documented processes and procedures for managing data storage
7. The data repository has a plan for long-term preservation of its digital assets
8. Archiving takes place according to explicit workflows across the data life cycle
Guidelines 9. The data repository assumes responsibility from the data producers for access and availability of the
digital objects
10.The data repository enables the users to utilize the research data and refer to them
www.datasealofapproval.org integrity of the digital objects and the metadata
11.The data repository ensures the
12.The data repository ensures the authenticity of the digital objects and the metadata
13.The technical infrastructure explicitly supports the tasks and functions described in internationally
accepted archival standards like OAIS
14.The data consumer complies with access regulations set by the data repository
15.The data consumer conforms to and agrees with any codes of conduct that are generally accepted in
higher education and research for the exchange and proper use of knowledge and information
16.The data consumer respects the applicable licenses of the data repository regarding the use of the
Wednesday, April 24, 13 research data
Difference between a digital preservation repository and a data center? Show by the Data Seal of Approval Guidelines:
⁃ Mission to preserve
⁃ Collection and maintenance of metadata, representation information
⁃ Compliance with IPR, and other access regulations
⁃ Ensure data integrity
⁃ Ensure ...
15. ISO TRAC
Wednesday, April 24, 13
Let's take a moment to recognize that the ISO standards that are the bookends of this story were developed by the space
science data community. Research libraries in many ways lead the charge in audit and certification. Currently, the only
"official" certification body is CRL, for TRAC. 4 repositories have received certification.
Let's use TRAC for the purposes of this discussion - it provides a broadly applicable set of criteria that has to fit the context. It tells us what are the responsibilities
16. ISO TRAC
Wednesday, April 24, 13
Let's take a moment to recognize that the ISO standards that are the bookends of this story were developed by the space
science data community. Research libraries in many ways lead the charge in audit and certification. Currently, the only
"official" certification body is CRL, for TRAC. 4 repositories have received certification.
Let's use TRAC for the purposes of this discussion - it provides a broadly applicable set of criteria that has to fit the context. It tells us what are the responsibilities
17. ISO TRAC
Wednesday, April 24, 13
Let's take a moment to recognize that the ISO standards that are the bookends of this story were developed by the space
science data community. Research libraries in many ways lead the charge in audit and certification. Currently, the only
"official" certification body is CRL, for TRAC. 4 repositories have received certification.
Let's use TRAC for the purposes of this discussion - it provides a broadly applicable set of criteria that has to fit the context. It tells us what are the responsibilities
21. B6.10 Repository enables the dissemination of authentic copies of
the original or objects traceable to originals.
Wednesday, April 24, 13
Authenticity - definition of access to the authentic object or its surrogate. This was an interesting thing to think about at the
Paik symposium yesterday. Is it ok to show it this way because this is reference material for a talk, not the original
work? Not in the gallery? In the gallery, were the works themselves authentic, or merely imitating the original? The
visitors couldn't interact as they could with the originals - so is this authentic? It's up to the community, curatorial,
patrons, to decide. It's a question very specific to media and digital art.
22. B2.1 Repository has an identifiable, written definition for each AIP or
class of information preserved by the repository.
Jonathan Harris, Sep Kamvar. I want you to want me (2008)
Wednesday, April 24, 13
What is the work? Is it still the work without the interaction from the visitor? Or is it a
representation? Or documentation? What needs to be included in the AIP in order for it to be
fully rendered as the work? Can we start to identify and establish these classes in order to
ease the need to look at each work case-by-case? We are working on this with Cornell.
23. http://foundmedia.tumblr.com/image/19124461617
B1.1 Repository identifies properties it will preserve for digital objects.
Wednesday, April 24, 13
I noticed in the gallery that video as documentation was displayed differently than the
artworks. On contemporary monitors, with different aspect ratio and frame sizes from the
original. And that’s ok. But we need to be aware of the choices and their impact on significant
properties. For artworks, this may be case by case. For documentation, it may be treated on
24. Wednesday, April 24, 13
What questions does a fine arts museum need to ask it itself in order to start to develop policies, technologies, and procedures that can be
considered trustworthy? How do the answers shape those policies, technologies, and procedures? How do they help support resource
allocation, acquisition practices, exhibition and curation? Can the answers to these questions allow a museum to take a step further, in
order to answer the questions specific to the museum's context?
25. 1. What is the mission of the repository?
Wednesday, April 24, 13
What questions does a fine arts museum need to ask it itself in order to start to develop policies, technologies, and procedures that can be
considered trustworthy? How do the answers shape those policies, technologies, and procedures? How do they help support resource
allocation, acquisition practices, exhibition and curation? Can the answers to these questions allow a museum to take a step further, in
order to answer the questions specific to the museum's context?
26. 1. What is the mission of the repository?
2. Who is the Designated Community?
Wednesday, April 24, 13
What questions does a fine arts museum need to ask it itself in order to start to develop policies, technologies, and procedures that can be
considered trustworthy? How do the answers shape those policies, technologies, and procedures? How do they help support resource
allocation, acquisition practices, exhibition and curation? Can the answers to these questions allow a museum to take a step further, in
order to answer the questions specific to the museum's context?
27. 1. What is the mission of the repository?
2. Who is the Designated Community?
3. What is their definition of “understandable”?
Wednesday, April 24, 13
What questions does a fine arts museum need to ask it itself in order to start to develop policies, technologies, and procedures that can be
considered trustworthy? How do the answers shape those policies, technologies, and procedures? How do they help support resource
allocation, acquisition practices, exhibition and curation? Can the answers to these questions allow a museum to take a step further, in
order to answer the questions specific to the museum's context?
28. 1. What is the mission of the repository?
2. Who is the Designated Community?
3. What is their definition of “understandable”?
4. How do they need/want to access content?
Wednesday, April 24, 13
What questions does a fine arts museum need to ask it itself in order to start to develop policies, technologies, and procedures that can be
considered trustworthy? How do the answers shape those policies, technologies, and procedures? How do they help support resource
allocation, acquisition practices, exhibition and curation? Can the answers to these questions allow a museum to take a step further, in
order to answer the questions specific to the museum's context?
29. 1. What is the mission of the repository?
2. Who is the Designated Community?
3. What is their definition of “understandable”?
4. How do they need/want to access content?
5. What level of responsibility does the repository
take to meet these needs?
Wednesday, April 24, 13
What questions does a fine arts museum need to ask it itself in order to start to develop policies, technologies, and procedures that can be
considered trustworthy? How do the answers shape those policies, technologies, and procedures? How do they help support resource
allocation, acquisition practices, exhibition and curation? Can the answers to these questions allow a museum to take a step further, in
order to answer the questions specific to the museum's context?
30. 1. What is the mission of the repository?
2. Who is the Designated Community?
3. What is their definition of “understandable”?
4. How do they need/want to access content?
5. What level of responsibility does the repository
take to meet these needs?
6. What Representation Information & Content
Information is required for each work/class?
Wednesday, April 24, 13
What questions does a fine arts museum need to ask it itself in order to start to develop policies, technologies, and procedures that can be
considered trustworthy? How do the answers shape those policies, technologies, and procedures? How do they help support resource
allocation, acquisition practices, exhibition and curation? Can the answers to these questions allow a museum to take a step further, in
order to answer the questions specific to the museum's context?
31. 1. What is the mission of the repository?
2. Who is the Designated Community?
3. What is their definition of “understandable”?
4. How do they need/want to access content?
5. What level of responsibility does the repository
take to meet these needs?
6. What Representation Information & Content
Information is required for each work/class?
7. What current technologies, practices, and
additional standards can be applied to meet
these requirements?
Wednesday, April 24, 13
What questions does a fine arts museum need to ask it itself in order to start to develop policies, technologies, and procedures that can be
considered trustworthy? How do the answers shape those policies, technologies, and procedures? How do they help support resource
allocation, acquisition practices, exhibition and curation? Can the answers to these questions allow a museum to take a step further, in
order to answer the questions specific to the museum's context?
32. 1. What is the mission of the repository?
2. Who is the Designated Community?
3. What is their definition of “understandable”?
4. How do they need/want to access content?
5. What level of responsibility does the repository
take to meet these needs?
6. What Representation Information & Content
Information is required for each work/class?
7. What current technologies, practices, and
additional standards can be applied to meet
these requirements?
Wednesday, April 24, 13
Specifics
What questions does a fine arts museum need to ask it itself in order to start to develop policies, technologies, and procedures that can be
considered trustworthy? How do the answers shape those policies, technologies, and procedures? How do they help support resource
allocation, acquisition practices, exhibition and curation? Can the answers to these questions allow a museum to take a step further, in
order to answer the questions specific to the museum's context?
33. Wednesday, April 24, 13
Conclusion: just like preservation, trustworthiness of a repository is an ongoing commitment. Administrations, boards, staff, budgets, technologies, patrons, etc all change. Even the
standards for trustworthy digital repositories change (it is built into ISO 16363 to revisit 5 years from publication to see if it is still relevant). A trustworthy repository for digital media
arts, as with any other content, will be one where preservation and access of digital collections is a permeant initiative of the institution, one that monitors itself on an ongoing
schedule, is transparent about that self-monitoring and adjustment, and ascribes to the scrutinization by an external body. Does there need to be such a body that is unique to
certification of fine arts repositories? Perhaps -- CCSDS is developing ISO 16919: Requirements for bodies providing audit and certification of candidate trustworthy digital
repositories. Is there an opportunity or a need for this uniquely in the fine arts sector? Some of the research libraries have been driven by the requirement of NSF that researchers
receiving federal funding have a data management plan. Some of the certified repositories are marketing their services specifically to these customers, and the certification in these
cases really does allow those customers to TRUST the services they are submitting data to. At least, they and the granting agencies trust this enough to give them funds for their
34. Wednesday, April 24, 13
Conclusion: just like preservation, trustworthiness of a repository is an ongoing commitment. Administrations, boards, staff, budgets, technologies, patrons, etc all change. Even the
standards for trustworthy digital repositories change (it is built into ISO 16363 to revisit 5 years from publication to see if it is still relevant). A trustworthy repository for digital media
arts, as with any other content, will be one where preservation and access of digital collections is a permeant initiative of the institution, one that monitors itself on an ongoing
schedule, is transparent about that self-monitoring and adjustment, and ascribes to the scrutinization by an external body. Does there need to be such a body that is unique to
certification of fine arts repositories? Perhaps -- CCSDS is developing ISO 16919: Requirements for bodies providing audit and certification of candidate trustworthy digital
repositories. Is there an opportunity or a need for this uniquely in the fine arts sector? Some of the research libraries have been driven by the requirement of NSF that researchers
receiving federal funding have a data management plan. Some of the certified repositories are marketing their services specifically to these customers, and the certification in these
cases really does allow those customers to TRUST the services they are submitting data to. At least, they and the granting agencies trust this enough to give them funds for their