The small things. The real things. These are the things that allow you to get from what an organization needs, to how to actually make it work. This means knowing which compromises are worth making because it will be the difference between failure and success. It means knowing how to mitigate risk where you cannot negate it. It means coming up with unique solutions for unique organizations.
One has to assume that a major distrust of the shift to digital reformatting and preservation is the feeling that we’re merely redoing work that will need to be redone again when the next format comes along. This may be especially galling to those who fairly recently reformatted video or film to so
I’ve been nibbling around the edges of this topic for a while — and reviewing my thoughts with other people to see if they all taste the hints of vanilla, cassis, leather, and grass — but now I’ve gone off and written a white paper about More Product, Less Process and audiovisual collections: What
It’s very easy to make a collection hidden. Much too easy. If you can ingest a collection, you can hide it. In fact, that’s probably what you do. We don’t even have to delve into backlogs (I mean yes, we must, but here, conceptually, we needn’t just now); being hidden is the default status of an acq
Metadata is an integral component of digital preservation and an essential part of a digital object. Files without appropriate metadata lack the basic means required for computing systems and humans to understand, interpret, or manage them. Effectively, there is no preservation or meaningful access
I’m sure I’ve written about this before, but I’m a strong believer that online access to cultural materials is an excellent thing and I wholly support it. What we often don’t consider is that the way we can support these efforts further is to utilize them.
Despite the sometimes rustiness or lower energy of the performers, the music is undeniably good and the audience energy is always buzzing from that. However, the program and Schaefer’s follow up blog post (linked above) touch on two wider cultural issues: Why does the audience for a revived musical genre form when and in the makeup it does, and do we really need to preserve every little bit of cultural production?