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• W4386291258 abstract "Preservation Kristi Bergland (bio), Enrique Caboverde (bio), Alice Carli (bio), Christina Gibson (bio), and Stephanie Sussmeier (bio) In his 2000 article on Preservation for Notes,1 John Shepherd pronounced the twentieth century the preservation century for libraries. The period saw amazing achievements in the preservation of musical materials: acid-free paper, vinyl records, polyester film, stable photocopy toner, and increasingly sophisticated library and archival organization and storage. Economic stability and expanding educational support in the mid-twentieth century ensured a wide array of repositories willing and able to safely store material. Shepherd described achievements and challenges in the preservation of musical and audiovisual materials and also commented on the chimerical nature of the new process of digitization, which offered amazing access—and therefore tempted users to conflate it with preservation, despite the fact that digital objects are extremely delicate and essentially ephemeral. The two decades since his article was published have witnessed a profound change in a defining aspect of preservation, as it was understood in the twentieth century. Whereas every type of preservation described by Shepherd is based on lengthening the longevity of objects, the twenty-first-century concept of preservation (which we continue to define broadly as actions taken to prolong the availability of cultural content)2 while not discarding object longevity, also acknowledges the importance of: 1) the arrangement of digital data and metadata in files, 2) the structures (e.g., redundancy, automated file checks, archival data formats, periodic planned migration) needed to preserve data files and their legibility independent of any specific object, and 3) the institutions (trusted repositories) tasked with maintaining those structures and that data. [End Page 22] Digitization is not preservation, but the phrase digital preservation is no longer an oxymoron. Though object longevity remains important, the bulk of this article will discuss the origins and ramifications of this sea change, including some of the most important factors in digital preservation as we move forward: rights management, sustainability, and collaboration. Until the mid-1990s, the expectation was that preservation efforts would focus on physical objects: paper and ink; recording media comprising a variety of cylinders, discs, wires, tapes, and films. The chief work of preservation was to make sure that these objects would remain usable for an extended period of time. However, finding a medium of sound recording with the required longevity proved elusive. A corner was turned when, during the 1990s, it was widely recognized that for preserving sound information, no physical format could reproduce the fine detail needed, was commercially viable for creating many individual master copies, and was also impervious to internal degradation. Confronting this fact led to the development of institutional commitments, structures and protocols for preserving not media objects, but digital information copied without data loss. This means that while for certain formats there may still be a recognized Preservation Master, for sound and video recordings stored (by necessity) on inherently fragile electronic media, there is no master object, or even format, but rather the latest iteration in a parade of ephemeral carriers that, in whatever digital format stored on whatever media, holds the string of ones and zeroes that can be decoded by whatever means to reproduce as faithfully as digitally possible the effect of the original light and sound waves that were recorded. Sturdier objects (particularly including books and scores on paper) whose cultural content can be recorded digitally can be afforded the same digital preservation protocols, taking advantage of the benefits of potential digital access while the originals continue to be preserved as physical objects. Digital preservation practices and workflows are predicated on the ability to duplicate and even alter (e.g., with integrated metadata) the file being preserved. This happens within national and international agreements regarding ownership of the work considered as intellectual property. The concept of copyright dates back well before the twentieth century and is recognized throughout most of the world, but not always and everywhere in the same way. Digitization has also materially changed approaches to copyright laws and will continue to do so as these laws struggle to keep up with the publication, dissemination, and use of cultural artifacts. Meanwhile, the ease of disseminating works digitally has led to an..." @default.
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• W4386291258 title "Preservation" @default.
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