unesco-mexicobesser.tsoa.nyu.edu/howard/talks/15unesco-mexico.pdf · history of conservation &...

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The complexity of preserving born-‐digital cultural heritage: What we can learn from

social movements, contemporary art conservaBon, and analog audiovisual

Howard Besser Moving Image Archiving & PreservaBon

New York University hNp://besser.tsoa.nyu.edu/howard/Talks/ hNp://www.nyu.edu/Bsch/preservaBon/

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The complexity of preserving born-‐digital cultural heritage: What we can learn from

social movements, contemporary art conserva=on, and analog audiovisual

•  General problems with born-‐digital works •  ReformaWng and Obsolescence •  We can learn from

–  The analog audiovisual world –  The contemporary art conservaBon world –  Archiving Social Media


SOME GENERAL PROBLEMS WITH BORN-‐DIGITAL CONTENT


In the analog world

•  TradiBonally, we have come to understand the work of writers and scienBsts by scholars studying their papers in Special CollecBons and Archives

•  Their correspondence and progressively different draZs of papers and creaBons reveal their changing thoughts and craZ

•  But how do we gather these in the Digital Age?


Alasdair Gray's Lanark (Glasgow U Library)


Correspondence


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Where can we find these today? •  Do people write leNers on paper? Can we see the iteraBons of

changes on manuscripts? •  Where can we find today’s equivalent of these? •  What about the process of decision-‐making in ConservaBon, or

decisions in digiBzaBon and modeling projects?

•  This will require –  new intervenBons (like changing authors’ workflow, or intervening in

email handling soZware) –  new tools (like for analyzing email) –  new approaches like digital archeology, forensics –  new standard ways of expressing things, and incenBves for creators to

use these


Stages of the problem

•  Stage #1: People write on computers instead of paper

•  Stage #2: People no longer store their digital works in places over which they have absolute control – Email services (gmail, yahoo) – Cloud storage for documents (google docs) – Social network services (FLICKR, YouTube)


Our Changing Environment


If we’re lucky:

Our Changing Environment (photos)


Our Changing Environment (email aNachments)


Our Changing Environment

•  Rise of Online Services and Social Media is changing where this content resides (and is imposing restricBons that go beyond the rightsholder)


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Core MulB-‐locaBon Problems

•  It’s difficult enough when someone’s photos and documentaBon are spread throughout their hard disk. But today some photos there, but others on their phone(s), Instagram, Flickr, Facebook, in Tweets, etc.

•  Similar problems plague email •  Most Social Network TOS policies prohibit the owner from giving their password to anyone else (even Library)


And how do we handle acquiring content aZer an important person dies?


We face even more complex problems with

•  Digital art and its audience •  ArBst websites and how the creator relates to the audience

•  Net art, InstallaBon art •  ConservaBon decision-‐making and documentaBon

•  DigiBzaBon decision-‐making and documentaBon


REFORMATTING AND OBSOLESCENCE


UNESCO-Mexico, 22/9/2015

What is Reformatting? •  A form of copying •  Usually copied onto a medium having different

physical characteristics than the original physical strata

•  Examples – Document on acidic paper onto non-acidic paper – Newspaper microfilming

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History of Conservation & Preservation Reformatting

•  In ancient times, in the library of Pamphilus at Caesaria, badly damaged papyrus manuscript pages were replaced with parchment (which was stronger)

-Saint Jerome •  The Bible was hand-copied for millenia •  1964 - US Newberry Library (Paul Banks) began 1st

US institutional preservation program •  1987 - US NEH begins funding massive microfilming

of brittle paper (mainly newspapers)

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Brittle Newspapers (Australia Battye Library)


Why do we Reformat? •  Because we cannot sustain the original object (its

physical characteristics are deteriorating too fast) •  Because continued access and handling of the

original object will rapidly decay its physical characteristics (so we create a surrogate for users and store the original in very good conditions, away from users)

•  Because viewing the work requires some kind of technology, and we can’t keep that technology working very far into the future-

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And sometimes we have to reformat because of technology changes

•  We don’t have video players to play tapes made 25 years ago •  We don’t have 8-inch floppy disk drives, syquest drives, zip

drives •  We don’t have Windows 3 operating systems

•  But this is something that conservators have always dealt with…

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WHAT WE CAN LEARN FROM THE AUDIOVISUAL WORLD ABOUT REFORMATTING



Difficult Materials become obsolete relatively quickly

•  The physical carriers decay or become obsolete

•  The technology required to view the carriers changes frequently

•  The encoding formats needed to decode the content shift


Obsolete or deteriorated Physical Carriers

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Lost Tapes, Found SoundsExhibition��Harold Schellinex


Metal sound recording Disks ��Casa Rui Barbosa

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Obsolete Carrier viewing Technology?


Kodak stops making some films

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The A/V World is always reformatting, and dealing with wide variety of

formats

•  Nitrate •  Super8 •  Cinemascope •  3-D •  Cartridge •  …


Old Film Formats

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Obsolete Carriers


Old Video Formats (www.vidipax.com)

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List of old Audio Formats Format Description Years in UseWax Cylinder Records 2- or 4-minute formats, wax

or wax compound1888– 1929

Recordable Disc Records(Direct or Acetate Discs)

7”, 12”, or 16”, recorded at33 or 78 revolutions perminute (rpm). Generallyvinyl on a paper, glass ormetal base

1929– 1960s

Recording Wire Spooled wire, usually in 15-to 30- minute lengths, onedirection only

c. 1945– 1955

Open reel recording tape 1/4”– 2”, 3”– 10 1/2" reels,1 7/8– 30 inches per second(IPS) speeds

c. 1945– Present

Compact Cassette 1/8” tape in hard case, 1 7/8IPS format

1965– Present

Microcassette/Minicassette Very small 2-4 cm cassettetapes

1977– Present

Digital disk, MP3, and otherdigital recorders

Audio recorded directly indigital files to optical disksor internal hard drives

2000– Present

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SOME KEY IDEAS FROM INTERPARES, PDPTV


What I know from my prior work with other types of Digital Content •  InterPARES—If we hope to preserve electronic records, archivists need to be involved early in the life-‐cycle of that record, long before the record enters the archive

•  Preserving Digital Public Television—Pushing metadata gathering upstream into the producBon cycle-‐


Preserving Digital Public Television Workflow in Production Process-

•  Site Visits to productions •  Interview Production staff •  Diagrams of Workflow-


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For digital preservation, this shouldn’t be the only place for metadata in the preservation workflow! This is far too late in the cycle!

+


METADATA

METADATA

It also needs to be here!


Pushing Metadata Gathering Upstream: The Problem

TRADITIONALLY… •  Very little metadata required for

preservation accompanies an object to a repository.

•  Archives, libraries and other repositories must create (or re-create) most of the necessary metadata.

•  This requires many manual hours, and significant resources - both time and money.

IN THE DIGITAL WORLD… •  This doesn’t scale up. Repositories

will be unable to continue in this manner, as more metadata than ever is required.


But much of the necessary metadata has already been gathered during production

•  For each element/clip, production team usually notes source, date, place, people, and other descriptive info

•  But this is treated as internal information, and often various parts of the info are distributed among the personal notebooks of different production assistants

•  There is seldom a central location for this info, and the info is seldom turned over to the archive (which later tries to recreate much of it)


When the Archive tries to re-create this info, it is seldom successful

Producers know much more about the content of their productions than the archivists do. Archivists wanting accurate info must go back to the production staff (often years later) to start brainstoriming over the info

“Once the (television) program is finished, it is passed on to the archive or library for safe keeping. Librarians will catalog and classify the content, possibly using a proxy copy, and enter the resulting informative metadata in their database so they can retrieve it in the future. However, rarely if ever is the metadata from the rest of the process passed onto them, except, perhaps, for the title, tape number, and basic technical information about recording formats. It has to be re-created, with all the associated risk of errors and lack of accuracy--not to mention the work and time involved.”

- Cox, Tadic, and Mulder, Descriptive Metadata for Television (2006)


We need to find ways to push metadata access upstream

•  Digital requires even more metadata than Analog –  As the workflow becomes file-based, the need for robust and accurate

metadata will become critical. File relationships, video codecs, bit rates, and rights information must be explicit, accurate, and immediately accessible. This will require a much deeper level of metadata than is currently captured in tape-based archives.

–  We can’t continue to supply this metadata at ingest; that won’t scale •  Obtaining the necessary metadata at the end of production and

broadcast life cycle is not feasible. Metadata will need to be systematically gathered during the production lifecycle and submitted with the programs to the preservation repository.


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Examined Potential Points of Metadata Capture


Examined Potential Points for Metadata Capture •  Much of the necessary metadata for preservation is already

generated by the production unit, but discarded after their internal use. This needs to be captured throughout the workflow.

•  “Those in the production unit are the creators and have first

hand knowledge of who, what, where, when, and why the content was created.” -- Mary Ide and Leah Weisse, WGBH Archivists.

Proposed Solutions…?

•  Preservation becoming a shared responsibility between content

creators, distributors, curators, and preservationists.

•  Partnerships are needed to come to unified solutions.

•  Preservationists seek reliable metadata back upstream in the production workflow...


WorldFocus •  Nightly news program begun Oct 2008 •  We began working with Workflows six months before program

began •  Had ability to engineer metadata gathering into the creation/

production process


SOME KEY IDEAS FROM CONTEMPORARY ART CONSERVATION

UNESCO-‐Mexico, 22/9/2015 47 Besser-Media Art Conservation, 17/6/10 2

Gates Project 1992 (3D flyover)

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Besser-Media Art Conservation, 17/6/10 2

Gates Project 1992 (3D ground)


Gates Project 1992 (plan)


Gates Project 1992 (time-slices) LeWitt: Wall Drawing 340

MAC Niteroi 9/1/2015 52

Installing LeWitt


LeWitt Install Directions


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LeWitt: What do we save?

•  The installation? •  Documentation of the Installation? •  The directions for the Installation?

•  What is the goal of our documentation, preservation, conservation?


Sep Kamvar & Jonathan Harris: I want you to want me

•  Harvests data from online dating sites •  Was part of MoMA’s 2008 Design and The

Elastic Mind exhibit •  Is now out of date •  http://www.iwantyoutowantme.org/






ECI - Imagespace (early 80s)


ECI - Hole in Space (both)


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Video w/Sculptural Elements Nam Jun Paik, Un#tled (1968), MoMA


Complexity of Rich Media •  Works often have artistic nature (including video games) •  Enormous number of elements can, at times, be very important

to preserve (pacing, original artifact, elements used to construct the artifact)

•  Too complex to save every one of these aspects for every type of material

•  Importance of saving documentation


Documentation & Preservation: What are we trying to do?

•  Show the work the way people saw and interacted with it when it was first created (may be impossible; in the past, the artifact and how one interacted with it didn’t change much, so preservation and documentation were relatively straightforward)

•  Show documentation of the work and people interacting with it when it was first created

•  Reinstall/Recreate/Reinact the work

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What is the Conservator trying to do?

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Museum ConservaBon Methodology (pioneered at SFMoMA ~2000)

•  Group meeBng of all Museum stakeholders (Conservators, Curators, InstallaBon, Registrar, etc.) before the piece is acquired

•  ArBst interview before the work is acquired •  EsBmate 20-‐year ConservaBon/ReinstallaBon procedures and cost

•  Write ConservaBon/ReinstallaBon plan


MoMA Games


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MoMA-‐Eve Online


Eve Online


Eve Online


MoMA/MIAP strategizing on E-‐O


On the EVE of PreservaBon: ConservaBon strategies for the Museum of Modern Art’s acquisiBon of EVE

Online

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Eve Online ConservaBon/ReinstallaBon Plan

•  “day in the universe” simultaneous video-‐recording from viewpoint of 200 players (16 hours)

•  Cooperate with Designers to adopt Singularity (test server) for ConservaBon/ReinstallaBon

•  Capture ancillary material (screen grabs, videos of interacBons, chat logs, documentaBon, …)


SOME KEY IDEAS FROM ARCHIVING SOCIAL MOVEMENTS (HTTP://ACTIVIST-‐ARCHIVISTS.ORG/)


AcBvist Archivists hNp://acBvist-‐archivists.org/

•  MIAP students and grads originally working on archiving media from the Occupy movement

•  Guidelines for recorders to make their works more easily preservable: make notes, turn on GPS, upload to service that doesn’t strip out metadata, keep raw footage, don’t compress

•  For meeBng recordings, have them read a script at start of the recording

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DocumenBng Protests

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-photo from Activists Guide to Archiving Video

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Every Image Collector has a Different Approach

•  Different file-‐naming convenBons •  Different file formats •  Different compression schemes •  Different metadata •  Stored in different arrangements/hierarchies •  Stored in different places (cellphone, personal hard disk, Instragram/Facebook, …)


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Occupy Wall Street


How Occupy material resembles what we’ll be facing in the future

•  Vast quanBty of user-‐contributed material •  No easy way to control for quality, file format, metadata –  no enforcing guidelines as with organizaBonal records –  no semi-‐consistency as in a single individual’s personal records

•  Much of the material can most easily be found on Social Networks

•  …we need to find smart ways to harvest metadata and analyze files, as well as to influence behavior of potenBal contributors


Make it easy for future contributors to create “archival-‐

friendly” works-‐

•  Low-‐hanging fruit •  Easy instrucBonal material that appeals to what they think is important


Low-‐Hanging fruit

•  Turn GPS on •  Develop strategies for automaBng a profile and uploads (our ideal App)


AcBvist Archivists Projects-‐

•  “Why Archive” postcard & video •  7 Tips to Ensure Your Video Is Usable in the Long Term

•  Study of metadata loss through uploading to services •  Best PracBces for Creators/Collectors •  “Toolkit” for Occupy archiving •  CoordinaBng discussions among various groups archiving different parts of Occupy

•  Exploring methods for obscuring idenBBes


7 Tips to Ensure Your Video Is Usable in the Long Term

•  Collect details while filming •  Keep your original raw footage, unaltered •  Make your video discoverable •  Contextualize it •  Make it verifiable •  Allow others to collect and archive •  Or archive it yourself


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Best PracBces for Content Creators

•  Security –  Hidden camera laws, parBes’ consent laws

•  Capturing Content –  Highest quality, set date and Bme-‐stamps, note locaBon

•  Offloading Content –  Raw files directly onto computer, keep material organized

•  Uploading Content –  Importance of tagging, review of diff services

•  DeposiBng with an Archive •  Copyright


Occupy Archiving Kit •  Why Archive? •  What is an “archive”? How do I create an archive? •  CreaBng archiving-‐friendly content •  How can I collect materials for the archive? •  What should I save? •  How should I organize my materials? How do I get it into the archive? •  DescripBon/Metadata •  Media Management •  Storage & PreservaBon •  Access •  ExhibiBon and PresentaBon/Outreach •  Rights and Re-‐Use


WITNESS: AcBvists’ Guide to Archiving Video, Yvonne Ng

hNp://archiveguide.witness.org/


Roles & ResponsibiliBes the Archivist vs the normal human (1 of 2)

•  Who is responsible for what part of stewardship? •  Each party likely knows more than the other about certain segments of an item’s life-‐cycle

•  Digital Archive projects tell us that Archivists should intervene in the CreaBon phase of the life-‐cycle –  InterPARES—If we hope to preserve electronic records, archivists need to be involved early in the life-‐cycle of that record, long before the record enters the archive

–  Preserving Digital Public Television—Pushing metadata gathering upstream into the producBon cycle


Roles & ResponsibiliBes the Archivist vs the normal human (2 of 2)

•  But Archivists are oZen ineffecBve at making rules or guidelines that tell individuals what to do

•  They might be more effecBve if they spoke the language of content creators, and appealed to their value systems


Communicate well with your future Contributors-‐

•  Learn to speak their language •  Help them to realize the importance of archiving


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“Why Archive” video


“Why Archive” postcard •  ACCOUNTABILITY. Archives collect evidence that can hold those in power

accountable. •  SELF-‐DETERMINATION. We define our own movement. We need to

create and maintain our own historical record. •  SHARE. Archives are a point of entry to our movement’s rich record. We

can use them to ensure transparency, generate discussion, and enable direct acBon.

•  EDUCATE. Today’s videos, flyers, web-‐pages, and signs are material for tomorrow’s skill-‐shares, classes, and mobilizaBons.

•  CONTINUITY. Just as past movements inspire us, new acBvists will learn from the experiences we document.

•  R E C O R D & C O L L E C T what’s happening around you. •  P R E S E R V E the record.


Why Archive Postcard


Develop Coopera=ve Rela=onships

•  Get involved in their acBviBes •  Develop partnering relaBonships


But maybe even this is too intrusive?

•  Involvement in the creaBon phase of a record’s life-‐cycle does affect the nature of a record

•  Might this violate Archival principles?


parBcipated in Self-‐help acBviBes: Skill-‐shares for Occupiers


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Self-‐help acBviBes:

OWS Archive Share Day used variety of tools



Downloaded FLICKR image



Downloaded EXIF metadata



Other Archive Share-‐Day and Hackathon acBviBes

•  Re-‐mixing of older footage •  CreaBng a visual Bmeline •  Mining material for data (eg. number of co-‐locaBons of an officer’s name with “pepper spray”)


Another CooperaBve RelaBonship


Archiving Composer Websites hNp://www.nyu.edu/about/news-‐publicaBons/news/2015/03/27/nyu-‐libraries-‐to-‐team-‐with-‐internet-‐archive-‐to-‐preserve-‐high-‐

quality-‐musical-‐content-‐on-‐the-‐web.html

•  Collect, preserve, & make available Websites of Composers

•  $480,000 grant from Mellon to NYU Library/MIAP/Internet Archive

•  Dealing with the issue that contemporary composer websites go up and down (and also incorporate relaBonship-‐building btwn composer and fans)

•  Addressing the problems of collecBng streaming media-‐

Besser-‐Archiving Digital Ephemeral 4/6/2014 102

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Archiving Composer Websites

Besser-‐Archiving Digital Ephemeral 4/6/2014 103

•  Develop good and ongoing relaBonships btwn Libraries and Composers

•  Develop Trust –  for developing collecBons, and conBnuing to add to them –  for Policy reasons

•  Allowing for stream capture from different types of architecture –  YouTube –  Flash –  Soundcloud –  Livestream

Find smart ways to deal with Scale-‐


Tamiment YouTube collecBng •  plug-‐in for FireFox (downloadhelper.net) •  As of April, ca. 250 items, policy: large events •  Fair Use: 2012 ARL Code of Best PracBces

–  “transformaBve” collecBng with context •  Tamiment has been selecBvely browsing through YouTube Occupy videos, trying to choose which ones to keep, then cataloging them with –  Title, Creator, CreaBon Date, Upload Date, DescripBon, URL, Youtube Username, License, Format, Codec, Source Media, On Internet Archive, CC License type


Tamiment YouTube Cataloging


But this won’t scale!


March 24, 2012 YouTube stats (just 6 months aZer start of movement)

•  “#Occupy” 169,000 •  “Occupy Wall Street” 98,400 •  “Occupy Protest” 70,500 •  “Occupy Movement” 54,800 •  “#OWS” 50,300 •  “Occupy Oakland” 13,400 •  “ZucoW Park” 6,690


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AlternaBve approach to YouTube SelecBon process

•  Develop categories of important YouTube videos – Celebrity visits, Internal workings (library, kitchen, media), ConfrontaBons with police, Labor, Housing, etc.

•  Have Occupiers fill in an online form lisBng the 5 most important videos in each category


Advantages of YouTube CollaboraBve Filtering SelecBon Process

•  Scalable and manageable •  Consistent with Occupy ideas of inclusiveness and of managing own story

•  Tamiment can sBll choose to be selecBve in collecBng only a porBon of what is voted in, but the total set for review is a manageable scale


For Coopera=ve Projects, allow for instruc=ons not being followed-‐

•  Create metadata redundancies


AA CollaboraBon with Tamiment on CollecBng OWS Content-‐

•  Think Tank meeBng recordings


CollecBng – Think Tank



•  Daily, 2 hours •  Audio capture hardware provided by NYU library (Zoom-‐H2n)

•  Bi-‐weekly digital file transfers


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Think Tank metadata redundancies •  Guidelines sBpulate that person holding recording device will check to see that Bme and date stamp are correct before beginning recording (mostly didn’t happen)

•  Guidelines sBpulate that a script be read verbaBm at the beginning of the recording, with date, Bme, proposed subject, etc. (and would eventually allow voice-‐recogniBon soZware to create appropriate metadata). Script also stated that all parBcipants agreed to CreaBve Commons licensing of the recording

•  Guidelines requested that date/Bme be embedded in the applied file-‐name


Think Tank Guidelines




CollecBng – Think Tank ==============================================================/content/prod/process/rstar/bin/rs-xfer/bin/rs-xfer-validate.sh v0.0current time: 2011-11-29T23:15:02-0500==============================================================validating /content/prod/rstar/xfer/CRUCIAL_001_4A1FDAE0-06C0-462F-963C-7D66E75584DA testing that 'bag-info.txt' file exists testing that manifest is not empty executing /usr/local/bin/bag verifyvalidResult is true. PASSED bag validation==============================================================end of script: /content/prod/process/rstar/bin/rs-xfer/bin/rs-xfer-validate.shcurrent time: 2011-11-29T23:16:55-0500============================================================================================================================/content/prod/process/rstar/bin/rs-xfer/bin/rs-xfer-validate.sh v0.0current time: 2011-11-29T23:16:55-0500==============================================================validating /content/prod/rstar/xfer/CRUCIAL_002_24DB148F-1B15-4ED2-93DF-AF8D63DF05F6 testing that 'bag-info.txt' file exists testing that manifest is not empty executing /usr/local/bin/bag verifyvalidResult is true. PASSED bag validation==============================================================end of script: /content/prod/process/rstar/bin/rs-xfer/bin/rs-xfer-validate.shcurrent time: 2011-11-29T23:19:24-0500==============================================================


Handle Privacy & Security responsibly-‐


“In an effort to

to develop methodology and an approach and will redact the email addresses or other personally idenBfiable informaBon from broad public presentaBon.” For more see library.ucla.edu/service/scl/rights-‐toolkit

UCLA Deed of Gift template


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PromoBng ObscuraCam

•  “ObscuraCam is a visual privacy app for photo and video, that gives you the power to beNer protect the idenBty of those captures in your photos, before you post them online”

•  Developed by Guardian Project in conjuncBon w/Human Rights group WITNESS-‐


ObscuraCam


PressSecure for CiBzen Journalism


PressSecure for CiBzen Journalism Isolates Metadata from Media


PressSecure for CiBzen Journalism But sBll provides wide access to Content


Other Ac=vist Archivist Discoveries-‐

•  Common services delete important metadata


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Study of metadata loss through uploading to services


CreaBve Commons Guidance •  CreaBve Commons lets you mix-‐and-‐match four different

condiBons: –  ANribuBon: You let others copy, re-‐use and distribute your video, but they

must credit you. –  Share-‐Alike: You let others copy, re-‐use and distribute your video, only if they

do the same with the work they create. –  Non-‐Commercial: You let others copy, re-‐use and distribute your video for

non-‐commercial purposes only. –  No DerivaBve Works: You let others copy and distribute your video, but not to

create new works using it. •  You can use these condiBons in different combinaBons to share your work

in a controlled way. CreaBve Commons licenses are legal tools that depend on pre-‐exisBng copyright laws. Having a CreaBve Commons license on your work may give you legal recourse, but it may not actually prevent people from downloading and re-‐using your video illegally.


Marking CreaBve Commons licenses •  There are a few ways to mark your video with a CreaBve Commons

license. One way is to include a CreaBve Commons “bumper” or text card in your video. CreaBve Commons has created some with graphics that you can download from their website. This method is useful if your video is going to be shared offline (e.g. on DVD, live screenings), as the license informaBon is aNached to the video itself.

•  Another way to mark your video with a CreaBve Commons license is to publish your video on pla|orms that are CreaBve Commons-‐enabled, such as YouTube, Vimeo, or Internet Archive. These pla|orms allow you to easily select a license during the upload process. This method is useful because the license is machine-‐readable. A search engine, for example, can detect the license.


Social Networks starBng to police their “Terms of Use”


YouTube User Agreement

•  5B “You shall not download any Content unless you see a ‘download’ or similar link displayed by YouTube on the Service for that Content.”


But even 1916 Public Domain material on CreaBve Commons YouTube Channel

don’t have “download” buNon


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YouTube sees CreaBve Commons as only for Re-‐Mix, not archiving


But using YouTube’s video editor to view and “Re-‐Mix” exact copies

is probably legal


Some key ideas from AcBvist Archivists hNp://acBvist-‐archivists.org/

•  Guidelines for recorders to make their works more easily preservable: make notes, turn on GPS, upload to service that doesn’t strip out metadata, keep raw footage, don’t compress

•  For meeBng recordings, have them read a script at start of the recording


Tips on Outreach to CommuniBes

•  Build trust •  Speak in their language (not ConservaBon-‐speak)

•  IdenBfy ways you can meet needs they already perceive

•  Approach projects as collaboraBon whenever possible

•  Don’t only focus on content and metadata, but also rights that can be an impediment to preservaBon


Ideas we can borrow •  Obsolesence will conBnue (parBcularly with file formats) so we

need to commit to regular Refreshing with either MigraBon or EmulaBon (so we need Managed Environments)

•  Conservators/PreservaBonists need to work with Creators early in the creaBon cycle to make sure that formats and metadata will be preservable. CollaboraBve RelaBonships are key. –  ArBst Interviews to idenBfy arBst intenBons –  Build relaBonships and trust with Creators by speaking their language –  Find ways to automate the collecBon of metadata –  Create easy-‐to-‐use instrucBons for Creators to make their works more

preservable •  Be prepared to deal with vast numbers of works and of

components of work (many different files) that may reside in very many locaBons, and find smart ways to deal with issues of Scale

UNESCO-‐Mexico, 22/9/2015 137 UNESCO-Mexico, 22/9/2015

Paradigms Shifts needed Old New

Physical preservation

atmospheric cntrl ongoing mgmt

What to save? artifact idea + ancillary material & documentation

Cataloging Individual work in hand

FRBR

Later access Artifact & documentation

Restaging, ancillary material & documentation

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Bigger quesBon

•  What do we save? •  If we save the “good” or “precious” items, that won’t leave historians with a very robust picture of today

•  If we try to save everything, isn’t that overkill? It’s obsessive (and even feBshisBc) to save so much. Decades ago libraries gave up a “just in case” approach to collecBng. As Rick Prelinger has pointed out, maybe we’re trying “to save the fabric of life itself”?

UNESCO-‐Mexico, 22/9/2015 139 UNESCO-‐Mexico, 22/9/2015

•  hNp://besser.tsoa.nyu.edu/howard/Talks •  hNp://acBvist-‐archivists.org/

The complexity of preserving born-‐digital cultural heritage

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