Born Digital Week 2016

Libraries across Australia and New Zealand have launched an inaugural digital preservation week (8-12 August) to mark 25 years of life on the web.

http://www.nsla.org.au/news/born-digital-2016-promoting-digital-preservation-and-25-years-life-web

Germaine Greer's archive: digging up digital treasure from floppy disks

Kate Stanton | The Guardian | 5 August 2016

Archivists trying to preserve material stored in obsolete formats face a mighty challenge in retrieving decades of work by the Australian writer and feminist.

http://www.theguardian.com/books/2016/aug/05/germaine-greer-archive-digital-treasure-floppy-disks

Accessing born-digital content

Gareth Kay | National Library of Australia | 9 August 2016

A look at the challenges of born-digital content in the National Library's collection.

http://www.nla.gov.au/blogs/preservation/2016/08/09/accessing-born-digital-content

Digital Preservation for the Arts, Social Sciences and Humanities - benefits for everyone

from: http://www.dcc.ac.uk/blog/digital-preservation-arts-social-sciences-and-humanities-benefits-everyone

Laura Molloy

I had the pleasure of delivering a paper at the first Digital Preservation for the Arts, Social Sciences and Humanities (DPASSH) conference in Dublin at the end of June. This was hosted by the team at DRI, Digital Repository of Ireland, at the same time as exciting changes for them – indeed, one of the notable events of the conference was the official opening of the DRI complete with a representative of the Irish government in attendance.

This focus on something new is of course in the context of a greater overall focus on things old – or at least historical. The theme of the conference was ‘Shaping our Legacy: Safeguarding the Social and Cultural Record’ – a useful way to draw together thoughts about the impact of our curation decisions today on the shape of tomorrow’s digital collections. Whether these are collections of art, museum holdings or research datasets, their form and extent will potentially influence thought and decision-making for generations to come. 

Whilst much DCC activity engages with research practice from across many disciplines, one area that I find particularly interesting is research practice where the term ‘research data’ is one that researchers are not necessarily comfortable with. It is important to remember that many scholars in the arts and humanities are indeed very confident and comfortable with the term ‘research data’ and apply it happily in their own practice. But not all scholars feel this way, and many of those in my experience happen to emerge from the arts and humanities areas. So how do we engage with these audiences?

- See more at: http://www.dcc.ac.uk/blog/digital-preservation-arts-social-sciences-and-humanities-benefits-everyone#sthash.mfuNcujX.dpuf

I Review 6 Digital Preservation Models So You Don’t Have To

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By Jefferson / 2014/04/26 / Blog, Paper / 2 Comments

“Archive (concept)” icon from The Noun Project. Part of Cultural Heritage Iconathon icon set. Public domain. When digging through the ol’ desktop/hard-drive/thumb-drives/external-drives /google-drive/dropbox/evernote/oh-god-please-help-me recently I came across the notes  (filename: “levels_notes.doc” — good grief)  I had taken when Andrea Goethals, Trevor Owens, Meg Phillips and I were  working on the paper, The NDSA Levels of Digital Preservation: An Explanation and Uses. As the paper’s abstract says: This paper presents the Levels, explains the context of the project’s development within the NDSA, describes the rationale behind each of the guidelines and why they were prioritized the way they were, suggests how the guidelines may be used, and compares and contrasts the Levels to other ways of assessing stages of digital preservation. Other assessment models include Nancy McGovern and Anne Kenney’s “The Five Organizational Stages of Digital Preservation,” Charles Dollar and Lori Ashley’s “Digital Preservation Capability Maturity Model,” and OCLC Research’s 2012 report, “You’ve Got to Walk Before You Can Run: First Steps for Managing Born-Digital Content Received on Physical Media. More info: http://www.jeffersonbailey.com/i-review-6-digital-preservation-models-so-you-dont-have-to/

The Open Preservation Foundation (OPF) and the PDF Association (PDFA) have signed an agreement to formally recognise their on-going collaborative partnership.

The Open Preservation Foundation (OPF) and the PDF Association (PDFA) have signed an agreement to formally recognise their on-going collaborative partnership.

Signed by Olaf Drümmer, Chairman of the PDFA and Ed Fay, Executive Director of the OPF, the agreement aims to enhance the effectiveness of their respective activities by sharing access to one another’s interest groups, working groups and planning documentation.

‘We have worked closely with the PDF Association over the past year,’ explains Ed Fay. ‘Olaf Drümmer was the keynote speaker at our event last year ‘Preserving PDF: identify, validate, repair’, and we’re collaborating with them again on a project right now,’ he said.

‘The PDFA and OPF have complementary areas of expertise in a variety of areas, and have already developed a successful working relationship’ commented Duff Johnson, PDF Association Executive Director. The Agreement reflects our commitment to continue our collaboration,’ said Johnson.

About the PDFA
Founded in 2006 as the PDF/A Competence Center, the PDF Association exists to promote the adoption and implementation of International Standards for PDF technology. Website: http://www.pdfa.org/

About OPF
The Open Preservation Foundation sustains technology and knowledge for the long-term management of digital cultural heritage, in all its forms. We provide our members with reliable solutions to the challenges of digital preservation through technology stewardship, knowledge exchange, and advocacy and alliances.