Transformative Effects of NDIIPP, the Case of the Henry A. Murray Archive

This article comprises reflections on the changes to the Henry A. Murray Research Archive, catalyzed by involvement with the National Digital Information Infrastructure and Preservation Program (NDIIPP) partnership, and the accompanying introduction of next generation digital library software. Founded in 1976 at Radcliffe, the Henry A. Murray Research Archive is the endowed, permanent repository for quantitative and qualitative research data at the Institute for Quantitative Social Science, in Harvard University. The Murray preserves in perpetuity all types of data of interest to the research community, including numerical, video, audio, interview notes, and other types. The center is unique among data archives in the United States in the extent of its holdings in quantitative, qualitative, and mixed quantitativequalitative research. The Murray took part in an NDIIPP-funded collaboration with four other archival partners, Data-PASS, for the purpose of the identification and acquisition of data at risk, and the joint development of best practices with respect to shared stewardship, preservation, and exchange of these data. During this time, the Dataverse Network (DVN) software was introduced, facilitating the creation of virtual archives. The combination of institutional collaboration and new technology lead the Murray to re-engineer its entire acquisition process; completely rewrite its ingest, dissemination, and other licensing agreements; and adopt a new model for ingest, discovery, access, and presentation of its collections. Through the Data-PASS project, the Murray has acquired a number of important data collections. The resulting changes within the Murray have been dramatic, including increasing its overall rate of acquisitions by fourfold; and disseminating acquisitions far more rapidly. Furthermore, the new licensing and processing procedures allow a previously undreamed of level of interoperability and collaboration with partner archives, facilitating integrated discovery and presentation services, and joint stewardship of collections.published or submitted for publicatio

Ethical Considerations in Web 2.0 Archives

In April 2010, the Internet company Twitter announced that it had granted its entire archive of “Tweets” to the Library of Congress. These Tweets are typically generated by public users, who may or may not understand or expect that their submissions will be archived by a government agency. Archives of Web 2.0 material raise new ethical considerations for archivists, who must balance interests in preserving material with privacy interests of users who generated the content. Archivists can address these concerns by requiring corporate donors to fully disclose the nature of the archive to users and by allowing users to opt-out of the archive. Archivists can also restrict access to the archive for a reasonable period of time

Moving Image Preservation and Cultural Capital

This article examines the changing landscape of moving image archiving in the wake of recent developments in online video sharing services such as YouTube and Google Video. The most crucial change to moving image archives may not be in regard to the collections themselves, but rather the social order that sustains cultural institutions in their role as the creators and sustainers of objectified cultural capital. In the future, moving image stewardship may no longer be the exclusive province of institutions such as archives and libraries, and may soon be accomplished in part through the work of other interested individuals and organizations as they contribute to and define collections. The technologies being built and tested in the current Internet environment offer a new model for the reimagined moving image archive, which foregrounds the user in the process of creating the archive and strongly encourages the appropriation of moving images for new works. This new archetype, which in theory functions on democratic principles, considers moving images???along with most other types of cultural heritage material???to be building blocks of creative acts or public speech acts. One might argue that the latter represents a new model for creating an archive; this new democratic archive documents and facilitates social discourse.published or submitted for publicatio

To Archive or Not to Archive: The Resistant Potential of Digital Poetry

This essay addresses the much discussed problem of archiving digital poetry. Digital media are labile, and several writers of digital poetry are incorporating the media’s ephemerality into their poetics. Rather than rehash arguments that have been taking place within the field of digital media and digital poetics for years, I turn to the field of contemporary art curation and preservation, a field in which curators and archivists are struggling with the very immediate concerns, ethical and otherwise, related to archiving works that are made from ephemeral media. One particular digital poem that has recently broken, has recently become unreadable, is Talan Memmott’s Lexia to Perplexia. Memmott composed the poem in 2000, and he incorporated the poem’s inevitable obsolescence into the text of the poem itself. He has since refused to “fix” or “update” the poem, because he contends that that would make it something other than what it was intended to be. Rather, he is choosing to let the poem die because that is what the poem is supposed to do. This essay concludes with a discussion of the political implications of acknowledging the ephemerality of digital media, the resistant potential of the poem when its ephemerality is embraced, and some ways in which archivists can preserve the memory of the poem without necessarily preserving the poem itself

Atomic Afterimage: Cold War Imagery in Contemporary Art

This is the catalogue of the exhibition "Atomic Afterimage" at Boston University Art Gallery

Experimental and Creative Approaches to Collecting and Distributing New Media Art within Regional Arts Organisations

This article is an overview of preliminary research undertaken for the creation of a framework for collecting and distributing new media art within regional art galleries in the U.K. From the 1960s, artists have experimented using computers and software as production tools to create artworks ranging from static, algorithmic drawings on paper to installations with complex, interactive and process-oriented behaviours. The art-form has evolved into multiple strands of production, presentation and distribution. But are we, as collectors, researchers, artists and enthusiasts facing an uncertain future concerning the integration of new media art into institutional cultural organisations? Recently, concerns have been raised by curators regarding the importance of learning how to collect new media art if there is to be any hope of preserving the artworks as well as their histories. Traditional collections management approaches must evolve to take into account the variable characteristics of new media artworks. As I will discuss in this article, although regarded as a barrier to collecting new media artworks, artists and curators at individual institutions have recently taken steps to tackle curatorial and collections management activities concerning the often unpredictable and unstable behaviours of new media artworks by collaboration and experimentation. This method has proved successful with some mainstream, university and municipal galleries prior to acquiring or commissioning new artworks into their collections. This paper purports that by collaboration, experimentation and the sharing of knowledge and resources, these concerns may be conquered to preserve and make new media art accessible for future generations to enjoy and not to lament over its disappearance

Code of Best Practices in Fair Use for the Visual Arts

This Code of Best Practices provides visual-arts professionals with a set of principles addressing best practices in the fair use of copyrighted materials. It describes how fair use can be invoked and implemented when using copyrighted materials in scholarship, teaching, museums, archives, and in the creation of art.The Code addresses the following five questions:Analytic Writing: When may scholars and other writers about art invoke fair use to quote, excerpt, or reproduce copyrighted works?Teaching about Art: When may teachers invoke fair use in using copyrighted works to support formal instruction in a range of settings, including online and distance teaching?Making Art: Under what circumstances may artists invoke fair use to incorporate copyrighted material into new artworks in any medium?Museum Uses: When may museums and their staffs invoke fair use in using copyrighted works -- including images and text as well as time-based and born-digital material -- when organizing exhibitions, developing educational materials (within the museum and online), publishing catalogues, and other related activities?Online Access to Archival and Special Collections: When may such institutions and their staffs invoke fair use to create digital preservation copies and/or enable digital access to copyrighted materials in their collections

On the Change in Archivability of Websites Over Time

As web technologies evolve, web archivists work to keep up so that our digital history is preserved. Recent advances in web technologies have introduced client-side executed scripts that load data without a referential identifier or that require user interaction (e.g., content loading when the page has scrolled). These advances have made automating methods for capturing web pages more difficult. Because of the evolving schemes of publishing web pages along with the progressive capability of web preservation tools, the archivability of pages on the web has varied over time. In this paper we show that the archivability of a web page can be deduced from the type of page being archived, which aligns with that page's accessibility in respect to dynamic content. We show concrete examples of when these technologies were introduced by referencing mementos of pages that have persisted through a long evolution of available technologies. Identifying these reasons for the inability of these web pages to be archived in the past in respect to accessibility serves as a guide for ensuring that content that has longevity is published using good practice methods that make it available for preservation.Comment: 12 pages, 8 figures, Theory and Practice of Digital Libraries (TPDL) 2013, Valletta, Malt