- Web person at the Imperial War Museum, just completed PhD about digital sustainability in museums (the original motivation for this blog was as my research diary). Posting occasionally, and usually museum tech stuff but prone to stray. I welcome comments if you want to take anything further. These are my opinions and should not be attributed to my employer or anyone else (unless they thought of them too). Twitter: @jottevanger
Wednesday, September 26, 2007
Panel to address economic sustainability of digital preservation
Friday, September 21, 2007
"supporting organisations in London that hold collections of moving image material. It helps researchers and the public find these collections and tries to ensure the preservation of important material made in or about our city"
That page notes that "Film and video is barely mentioned in our current collecting policy", which is also true for multimedia more widely. Stumbled over it whilst googling for any digital collecting policies from museums. Few turned up, though of course libraries do, and there are odd statements from museums about digital material, but nothing very concrete.
This despite the fact my own university offers a module on the MA course looking at "particular issues of digital collections and digital collection management". I guess the problem is partly that I'm distinguishing between a lower-case "collection" of digital assets, and acquisition and accessioning of digital material into the upper-case Collection of the museum. Where the MLA have looked at "digital collections" they mean digitised collections, quite a different thing. Well that's not quite accurate (see here) but it's a somewhat different perspective, and certainly not guidance on a digital collecting policy as such. Netful of Jewels was the same: talking about collections of digital assets in the lower-case "c" sense.
A couple of exceptions: Denver Museum of Natural History's policy
Wellcome Trust's Library's preservation policy
And of course these folks at least have a digital collection, even if I haven't found the policy: http://www.brooklynmuseum.org/research/digital-collections/brooklynbridge/
Still reading Karen Verschooren's dissertation which includes others, so I know there are some out there. Google just hasn't got them all in its brain.
Tuesday, September 18, 2007
Monday, September 10, 2007
[also on The Attic]
Museums and memorials both deal with memory (I know, the clue's in the name) and both need sustaining for this to work. Of course many museums act as memorials and sometimes it's not really clear which we're looking at.
The memorial to 9/11mentioned in 3pointDs post sounds like a case in point (I haven't seen it, still no SL account but slowly getting keener on trying it out). "Artworks" in SL are, it would appear, common enough, indeed so are museums and galleries; but something like this memorial seems to be on a level very appropriate to the question I want to ask regarding experience-level resources, and when and how we decide what will happen to them in the future. There are many other questions of a more museological bent: who can feel ownership of this? does that matter anyway? can we be confident of what we see there?
Maybe I'll sign up soon and decide for myself. If it's as powerful as it sounds I hope the memorial is durable, but the chances of that are hard to assess in these hosted virtual worlds. Empty as it may sound, my thoughts go out to those who lost loved ones that day six years ago, and indeed to those who were lost or scarred. The media is doing a good job of memorialising right now, and my mind is quite full of those terrible events; they never seem to settle down into becoming assimilated knowledge, bleached of much of their original emotion, in the way that other disasters so often seem to. The shock is still there.
Friday, September 07, 2007
The other thing that is interesting about the phenomenon of the mashup editor as a whole is that it's an example of a class of application that has totally bypassed the "packaged software" phase. Although one could well imagine, in a previous age, some software company selling a mashup generator for installation on a developer machine and private server, it's only fitting that the sort of development tool that exists purely because of web services (lower case) should itself be born and flourish on the web.
There are of course great benefits arising from letting people build their mashups online, aside from not needing to buy the software (after all, Google et al could in theory charge). There is nothing to do to deploy, there's no need to have hosting for your software etc. The advantages are plain, but since you could see similar advantages for other software it's still interesting that we have entirely skipped the installed phase. Perhaps that's yet to come? There would doubtless be advantages to that approach, too.
Thursday, September 06, 2007
Monday, September 03, 2007
- MDA's "IP manifesto for museums"
VRA's new tool, the "Digital Image Rights Computator": http://www.vraweb.org/resources/ipr/dirc/index.html
All useful stuff, though I just can't seem to keep my eyes open.