Building digital capability: Being an effective digital leader

This is a version of the Jisc ‘Six Elements of Digital Capabilities’ model, specifically to support Jisc’s members in the area of Digital Leadership. It is one example of the base model being used in a particular context and is not meant to be definitive.

Building digital capability: Example learner profile

This is a version of the Jisc ‘Six Elements of Digital Capabilities’ model, specifically for learners. It is an update on the earlier ‘7 elements of digital literacy’ model (2009) and has many continuities with this framework. This version was produced in response to feedback that the base model alone does not provide enough detail to support embedding into practice. However, it is an example of how the base model could be used to define the digital capabilities of learners and is meant to be adapted to suit specific settings.

Building digital capability: Leading and managing an effective digital organisation (team, service, department)

This is a version of the Jisc ‘Six Elements of Digital Capabilities’ model, specifically to support Jisc’s members in the area of Digital Leadership. It is one example of the base model being used in a particular context and is not meant to be definitive.

Building digital capability: Example researcher profile

This is a version of the Jisc ‘Six Elements of Digital Capabilities’ model, specifically for research students and research sta . It is an update on the earlier ‘7 elements of digital literacy’ model (2009) and has many continuities with this framework. It is one example of how the base model is being used.

Building digital capability: the six elements defined

A digital capability framework which describes the skills needed by staff in a wide range of academic, administrative and professional roles to thrive in a digital environment. This will provide a structure to help managers and individuals understand what is needed and supports the development of tools. We have produced an initial model of the framework which describes digital capability as six overlapping elements.

Building digital capability: Example teacher profile

This is a version of the Jisc ‘Six Elements of Digital Capabilities’ model, specifically for teaching sta or for academic sta in their teaching role. It is an update on the earlier ‘7 elements of digital literacy’ model (2009) and has many continuities with this framework. This version was produced in response to feedback that the base model alone does not provide enough detail to support embedding into practice. However, it is an example of how the base model could be used to define the digital capabilities of teaching sta and is meant to be adapted to suit specific settings.

Framing digital capabilities for UK HE and FE staff: Resources and references

This list does not include the actual frameworks, specifications, standards etc reviewed for the Jisc digital capabilities programme. These are secondary resources - articles, reports, research outcomes and professional reviews - which are sometimes linked to specific frameworks. They were used to help plan the frameworks review, construct the new Jisc digital capabilities framework and to write the accompanying reports. Further down you will find a list of web sites, blog posts and professional resources which provide useful additional information and materials, not necessarily evidence-based and not always drawn on directly for this project.

Digital ‘lens’ on the UK PSF: supporting the digital capabilities of teaching staff in UK HE

This resource can also be used by professional staff who are seeking accreditation via the UK PSF for relevant aspects of their role, e.g. staff who support the use of technologies for learning and/or support the development of digital literacies.

Deepening digital know-how: building digital talent

This report covers findings from a project funded by Jisc to review how the digital capabilities of teaching and professional sta are currently framed in UK HE and FE. The project also reported on the learning, technology and organisational landscape for UK HE and FE as this influences future requirements for sta digital capability.

Report on Knowledge Exchange workshop Price of keeping knowledge: financial streams for digital preservation

In contrast to cost modeling activities, the pricing of services must be simple and transparent. Calculating and thus knowing price structures, would not only help identify the level of detail required for cost modeling of individual instititutions, but also help develop a ”public” market for services as well as clarify the division of task and the modeling of funding and revenue streams for data preservation of public institutions. This workshop has built on the results from the workshop ”The Costs and Benefits of Keeping Knowledge” which took place 11 June 2012 in Copenhagen. This expert workshop aimed at: •Identifying ways for data repositories to abstract from their complicated cost structures and arrive at one transparent pricing structure which can be aligned with available and plausible funding schemes. Those repositories will probably need a stable institutional funding stream for data management and preservation. Are there any estimates for this, absolute or as percentage of overall cost? Part of the revenue will probably have to come through data management fees upon ingest. How could that be priced? Per dataset, per GB or as a percentage of research cost? Will it be necessary to charge access prices, as they contradict the open science paradigm? •What are the price components for pricing individual services, which prices are currently being paid e.g. to commercial providers? What are the description and conditions of the service(s) delivered and guaranteed? •What types of risks are inherent in these pricing schemes? •How can services and prices be defined in an all-inclusive and simple manner, so as to enable researchers to apply for specific amount when asking for funding of data-intensive projects?Please

Report on Knowledge Exchange workshop Cost models for keeping knowledge: economic models for digital preservation

Organised by Knowledge Exchange & the Nordbib programme 11 June 2012, 8:30-12:30, Copenhagen Adjacent to the Nordbib conference 'Structural frameworks for open, digital research' Participants in break out discussion during the workshop on cost modelsThe Knowledge Exchange and the Nordbib programme organised a workshop on cost models for the preservation and management of digital collections. The rapid growth of the digital information which a wide range of institutions must preserve emphasizes the need for robust cost modelling. Such models should enable these institutions to assess both what resources are needed to sustain their digital preservation activities and allow comparisons of different preservation solutions in order to select the most cost-efficient alternative. In order to justify the costs institutions also need to describe the expected benefits of preserving digital information. This workshop provided an overview of existing models and demonstrated the functionality of some of the current cost tools. It considered the specific economic challenges with regard to the preservation of research data and addressed the benefits of investing in the preservation of digital information. Finally, the workshop discussed international collaboration on cost models. The aim of the workshop was to facilitate understanding of the economies of data preservation and to discuss the value of developing an international benchmarking model for the costs and benefits of digital preservation. The workshop took place in the Danish Agency for Culture and was planned directly prior to the Nordbib conference 'Structural frameworks for open, digital research'

Cine Digital y sus Contenedores. Herramientas de Software libre basadas en las Especificaciones DCI

El Cine Digital es aquel que utiliza la tecnología digital para grabar, distribuir y proyectar películas. En los años 90, el cine comenzó un proceso de transición, del soporte fílmico a la tecnología digital. Pero el salto definitivo se dio con las grandes superproducciones de principios del 2000. Con este cambio de era y debido a la rápida difusión del digital y la proliferación de formatos se creo el DCI (Digital Cinema Initiative), para cambiar el modo en que las personas consumen cine. Trabajando junto con los miembros del comité SMPTE (Organización americana encargada de crear los estándares de la industria audiovisual formada por ingenieros, técnicos y fabricantes) publicó un sistema de especificaciones que han adoptado las mayores productoras estadounidenses. Mediante este acuerdo, aseguraban la calidad técnica de las producciones, la compatibilidad entre sistemas y como no, su hegemonía particular. Entre las especificaciones técnicas que suscribieron que son la base actual del DCI figuran la resolución de fotograma, el espacio de color, la compresión de imagen, la encriptación y el método de empaquetado de archivos. Y hoy en día son un estándar en la masterización, distribución y en la proyección final en las salas de cine. Una de las grandes esperanzas que hay puestas en la tecnología digital es la democratización en el mundo del cine y la supuesta abolición de las barreras económicas a la hora de realizar películas, dado lo barato que puede resultar la grabación digital y la posibilidad de pasar el material a video y editarlo en un ordenador domestico. Independientemente de los sistemas de edición que se utilicen, el formato de archivo o incluso el códec usado, los servidores de cine digital solo aceptan un tipo de archivo llamado DCP (Digital Cinema Package). Hay que aclarar que el DCP es abierto, documentado y que esta basado en los estándares SMPTE. Por lo tanto, existen en el mercado actual herramientas de software libre que permiten crear un DCP válido según las normas del DCI y compatible con los actuales servidores de cine digital. El propósito de este proyecto principalmente es documentar desde un punto de vista técnico la creación de un archivo DCP y analizar las diferentes herramientas existentes en el mercado para poder realizarlo: tanto las de uso comercial, como las de software libre. Como base se partirá de las aplicaciones creadas por la empresa alemana Fraunhofer (EasyDCP Creator, Player) - es el software utilizado en el estudio REC - y de otras herramientas más rudimentarias y escritas en C++ como (asdcplib) de Cinecert.