This is the recording of an AVPreserve webinar given on the topic of our Exactly tool by Chris Lacinak on January 19th, 2017. For organizations challenged by remotely and safely transferring born-digital material from a sender to a recipient, we invite you to join our workshop on Exactly.
In a sea of digital information, it is no longer about who owns the hardware. The physical location of the server is not what defines possession. Possession is restricted to those with the appropriate metadata (e.g., credentials, permissions), which grants them access; and, the ability to derive value is constrained to those who have metadata that will help them find and use the content.
If we know our collections at the elementary levels, we can be better equipped to care for these collections, to design preventive preservation techniques, to perform conservation treatments when necessary, and to ensure the long-term accessibility of our records in the face of continued technological obsolescence and change.
There’s been a lot of good discussion lately about the meaning of the word archive(s) and its use by those outside of the profession. Much of this discourse is focused on the relation of the issue to the profession, questioning what impact the broad (and what some might think as improper) applicatio
I worked on a large inventory project with a group of media production units in the Department of Defense a few years ago. We were at one of the storage facilities and a shipment of albums that had been on a base in Spain came in that day. As we were opening one of the couch-sized boxes to get an es
Film buffs know what this means. As in One Word. As in selling out one’s soul to live the life of a corporate middleman. As in a lifetime of creating cheap, soulless, synthetic replicas formed from deadly chemicals.
Film (and other media) buffs also ought to know what this means on a
If decay is a beautiful thing, why are we working so hard to preserve all this archival material?
A facetious statement, perhaps, but an exaggeration that underscores the fact that aesthetics guide many of the decisions we make as archivists and preservationists. We may claim it is for research,
The great thing about predicting doom and gloom is that the end times are always imminent, but never quite here. The natural state of a threat is to loom. If it actually ever happens — hey, you’re prescient! If not, well, there’s still the possibility…
The death of film has been a productive a