Educating a New Cadre of Experts Specializing in Digital Collections and Digital Curation: Experiential Learning in Digital Library Curriculum

Integration of experiential learning into the library and information science (LIS) courses has been a theme in LIS education, but the topic deserves renewed attention with an increasing demand for professionals in the digital library field and in light of the new initiative announced by the Library of Congress (LC) and the Institution of Museum and Library Services (IMLS) for national residency program in digital curation. The balance between theory and practice in digital library curricula, the challenges of incorporating practical projects into LIS coursework, and the current practice of teaching with hands on activities represent the primary areas of this panel discussion.

Digital Curation Program of the Digital Public Library of America (DPLA)

The Digital Public Library of America (DPLA) is a digital library that strives to serve the public through digital collections accumulated from a wide variety of partners. Our chosen topic for the DPLA exhibit project is Perspectives on the Vietnam War. The Vietnam War remains a controversial topic of national interest, making it a topic of depth and of many perspectives. Our goals with this exhibit were to gather different perspectives of the war through personal stories, the media, presidential administrations of the war, military personnel, and the general public, including famous figures. We strove to demonstrate the variety of perspectives on the Vietnam War through a variation of digital objects and content that will be engaging for users: both black and white and color photos, videos, and audio files. Furthermore, we wanted to ensure that our digital materials are of high quality, properly documented, and easy to search and find thus all of our objects are from DPLA and are from usable original sources. This poster will describe our processes for organizational, object selection, building our exhibit, attainment of our goals, and detailed steps of our overall operation. The poster will also include details about the minor issues and bumps that occurred while reaching our final product as well as the team members’ perspectives on the project as a whole including: problems, words to for the wise, and triumphs.

SNIIC: a plataforma digital de cultura brasileira sob a perspectiva das convergências entre o Design e a Ciência da Informação

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

SNIIC: a plataforma digital de cultura brasileira sob a perspectiva das convergências entre o Design e a Ciência da Informação

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Straightforward data management at QUT

QUT Library Research Support has simplified and streamlined the process of research data management planning, storage, discovery and reuse through collaboration and the use of integrated and tailored online tools, and a simplification of the metadata schema. This poster presents the integrated data management services a QUT, including QUT’s Data Management Planning Tool, Research Data Finder, Spatial Data Finder and Software Finder, and information on the simplified Registry Interchange Format – Collections and Services (RIF-CS) Schema. The QUT Data Management Planning (DMP) Tool was built using the Digital Curation Centre’s DMP Online Tool and modified to QUT’s needs and policies. The tool allows researchers and Higher Degree Research students to plan how to handle research data throughout the active phase of their research. The plan is promoted as a ‘live’ document’ and researchers are encouraged to update it as required. The information entered into the plan can be made private or shared with supervisors, project members and external examiners. A plan is mandatory when requesting storage space on the QUT Research Data Storage Service. QUT’s Research Data Finder is integrated with QUT’s Academic Profiles and the Data Management Planning Tool to create a seamless data management process. This process aims to encourage the creation of high quality rich records which facilitate discovery and reuse of quality data. The Registry Interchange Format – Collections and Services (RIF-CS) Schema that is used in the QUT Research Data Finder was simplified to “RIF-CS lite” to reflect mandatory and optional metadata requirements. RIF-CS lite removed schema fields that were underused or extra to the needs of the users and system. This has reduced the amount of metadata fields required from users and made integration of systems a far more simple process where field content is easily shared across services making the process of collecting metadata as transparent as possible.

Citation and peer review of data: moving towards formal data publication

This paper discusses many of the issues associated with formally publishing data in academia, focusing primarily on the structures that need to be put in place for peer review and formal citation of datasets. Data publication is becoming increasingly important to the scientific community, as it will provide a mechanism for those who create data to receive academic credit for their work and will allow the conclusions arising from an analysis to be more readily verifiable, thus promoting transparency in the scientific process. Peer review of data will also provide a mechanism for ensuring the quality of datasets, and we provide suggestions on the types of activities one expects to see in the peer review of data. A simple taxonomy of data publication methodologies is presented and evaluated, and the paper concludes with a discussion of dataset granularity, transience and semantics, along with a recommended human-readable citation syntax.

Opening up climate research: A linked data approach to publishing data provenance

Traditionally, the formal scientific output in most fields of natural science has been limited to peer- reviewed academic journal publications, with less attention paid to the chain of intermediate data results and their associated metadata, including provenance. In effect, this has constrained the representation and verification of the data provenance to the confines of the related publications. Detailed knowledge of a dataset’s provenance is essential to establish the pedigree of the data for its effective re-use, and to avoid redundant re-enactment of the experiment or computation involved. It is increasingly important for open-access data to determine their authenticity and quality, especially considering the growing volumes of datasets appearing in the public domain. To address these issues, we present an approach that combines the Digital Object Identifier (DOI) – a widely adopted citation technique – with existing, widely adopted climate science data standards to formally publish detailed provenance of a climate research dataset as an associated scientific workflow. This is integrated with linked-data compliant data re-use standards (e.g. OAI-ORE) to enable a seamless link between a publication and the complete trail of lineage of the corresponding dataset, including the dataset itself.

MOLES3: implementing an ISO standards driven data catalogue

ISO19156 Observations and Measurements (O&M) provides a standardised framework for organising information about the collection of information about the environment. Here we describe the implementation of a specialisation of O&M for environmental data, the Metadata Objects for Linking Environmental Sciences (MOLES3). MOLES3 provides support for organising information about data, and for user navigation around data holdings. The implementation described here, “CEDA-MOLES”, also supports data management functions for the Centre for Environmental Data Archival, CEDA. The previous iteration of MOLES (MOLES2) saw active use over five years, being replaced by CEDA-MOLES in late 2014. During that period important lessons were learnt both about the information needed, as well as how to design and maintain the necessary information systems. In this paper we review the problems encountered in MOLES2; how and why CEDA-MOLES was developed and engineered; the migration of information holdings from MOLES2 to CEDA-MOLES; and, finally, provide an early assessment of MOLES3 (as implemented in CEDA-MOLES) and its limitations. Key drivers for the MOLES3 development included the necessity for improved data provenance, for further structured information to support ISO19115 discovery metadata export (for EU INSPIRE compliance), and to provide appropriate fixed landing pages for Digital Object Identifiers (DOIs) in the presence of evolving datasets. Key lessons learned included the importance of minimising information structure in free text fields, and the necessity to support as much agility in the information infrastructure as possible without compromising on maintainability both by those using the systems internally and externally (e.g. citing in to the information infrastructure), and those responsible for the systems themselves. The migration itself needed to ensure continuity of service and traceability of archived assets.

Requirements for Provenance on the Web

From where did this tweet originate? Was this quote from the New York Times modified? Daily, we rely on data from the Web but often it is difficult or impossible to determine where it came from or how it was produced. This lack of provenance is particularly evident when people and systems deal with Web information or with any environment where information comes from sources of varying quality. Provenance is not captured pervasively in information systems. There are major technical, social, and economic impediments that stand in the way of using provenance effectively. This paper synthesizes requirements for provenance on the Web for a number of dimensions focusing on three key aspects of provenance: the content of provenance, the management of provenance records, and the uses of provenance information. To illustrate these requirements, we use three synthesized scenarios that encompass provenance problems faced by Web users today.

Tutkimusaineistot biteiksi ja kiertoon – Digitaalisen kuratoinnin soveltaminen tutkimuksessa

Pro gradu -tutkielma käsittelee digitaalisen kuratoinnin soveltamista tutkimuksessa ja erityisesti historiantutkimuksessa. Digitaalinen kuratointi voidaan ymmärtää digitaalisten aineistojen ylläpidoksi, säilyttämiseksi ja niiden arvon lisäämiseksi uudelleenkäytön kautta. Tutkimuksessa tarkastellaan alan historiaa, nykyisyyttä ja tulevaisuutta Suomessa ja kansainvälisesti. Keskiössä ovat digitaalisen kuratoinnin elinkaarimallin toiminta ja alan ammattilaisten näkemykset tulevaisuuden haasteista. Tutkielma palvelee historiantutkijoiden lisäksi laajemmin ihmistieteitä digitaalisissa tutkimusympäristöissä. Digitaalisten aineistojen lisääntyessä niiden käyttöön liittyy useita ongelmia. Tutkielmassa analysoidaan Digital Curation Centren (DCC) kehittämää digitaalisen kuratoinnin elinkaarimallia, joka jakautuu seitsemään toimintavaiheeseen. Näiden vaiheiden kautta on tarkoitus varmistaa, että digitaaliset aineistot ovat löydettävissä, luettavissa ja käytettävissä tutkimusta varten nyt ja tulevaisuudessa. Keskeisinä lähteinä on käytetty DCC:n verkkoarkistoa ja tutkija Ross Harveyn julkaisemaa teosta Digital Curation – a how-to-do-it manual (2010). Empiiristä osuutta työssä edustaa digitaalisen kuratoinnin tutkijoiden ja ammattilaisten haastattelut, jotka tehtiin alkuvuodesta 2016. Tutkielman teoreettisessa osuudessa on hyödynnetty hermeneuttista analyysia ja empiirisessä puolessa sovellettu osin tulevaisuuden tutkimuksessa käytettävää delfoi-menetelmää. Keskeinen tutkimustulos on, että digitaalinen kuratointi soveltuu tutkimukseen ja aineistojen käyttöön yleisenä ohjeistuksena. Historiantutkimuksen näkökulmasta elinkarimalli seuraa monissa kohdin tutkimuksen kulkua ja on näin sovellettavissa tieteenalaan helposti. Haastatteluosuudesta nousee esille, että digitaalisten aineistojen kuratointi on vielä monissa maissa alkutekijöissään. Haasteita tulevaisuudessa ovat resurssien kaventuminen ja teknisen osaamisen heikko taso. Digitaalinen kuratointi nähdään myös avainroolissa datatieteen yleistyessä yhteiskunnassa ja tieteellisen tutkimuksen parissa. Näin digitaalisen kuratoinnin tutkimusta voi laajentaa tulevaisuudessa eri analyysimenetelmien hyödyntämiseen eri tieteenalojen näkökulmista.

It’s my site, and I’ll do what I want: Performing female identity through digital identity curation in online spaces

This chapter is based on a qualitative case study that researched the perceptions of nine male and female pre-service English teachers’ in regards to their preparedness to mentor positive digital conduct in Social network sites (SNS). These sites enable individuals to perform public representations of identity, consumed by virtual audiences, with various degrees of perceived privacy. The chapter frames what we call “identity curation” through three theoretical lenses; of performativity, customisation and critical literacy. This chapter discusses one of the themes that emerged from the research, which is the way in which “normalised” and naturalised representations of femineity on SNS were judged more harshly than masculine representations.

2006 International digital art awards : Beijing film academy galleries, China

The field was the curation of new media within large-scale exhibition practice for Chinese audiences. The context was improved understandings of the intertwining cultures and concerns of Chinese and Western contemporary practitioners. The research uncovered a range of connective and dialogical concerns around cultural displacement and re-identification, germane to the chosen group of media artists. The methodology was principally practice-led. The research brought together 31 practitioners from Asian, European and Australasian cultures within a major highly visible Chinese exhibition context. By identifying and promoting a distinct commonality within difference amongst the diverse practitioners the exhibition successfully activated a global dialogue that incorporated environmental and cultural identity agendas within a major Chinese educational and public context - thereby promulgating cross-cultural understanding, despite the often oppressive shadowing of domestic political processes. The project was developed under the international aegis of IDA Projects (established since 1999) and was substantially supported by the Fine Art Department of the Beijing Film Academy, QUT Precincts and Platform China Art Institute. It built upon IDA’s 2005 inaugural new media exhibition at the ‘Today Art’ Museum in Beijing – now recognised as one of the leading art spaces in China. Numerous peer-reviewed grants won included the Australian Embassy in China and the Australia China Council. Through subsequent invitations from external curators the work then traveled in a range of reconfigured formats to other major venues including the Block Gallery at QUT, Brisbane and ZAIM Artspace, Yokohama Japan. A major catalogue with authoritative essays was also printed.

Akin Collection : curation of a collaboration between Indigenous artists and fashion designers to create a retail-ready luxury fashion label

The Akin collection is the outcome of a project to lead, guide and curate a luxury, retail-ready fashion collection from a collaboration between five emerging fashion designers and five established Indigenous artists. Research background There is a history of Indigenous artists in Australia being treated unethically; by misappropriation and misrepresentation of their work, inequity of payment for their creativity and little acknowledgement of their cultural contribution to collaborative fashion product sold globally. This has created an atmosphere of bad press for fashion, as well as a fear for emerging designers to include/collaborate with Indigenous artists for textile prints. This fear has been so intense that many emerging Australian designers are now seeking collaboration with other countries’ Indigenous communities, thus missing out on a rich cultural and diverse aesthetic that could brand a truly unique Australian label in the international marketplace. The fashion brands that have collaborated with Indigenous Australian artists have traditionally been a ONE designer label incorporating Indigenous prints, for collections that have little acknowledgement of the artist’s contribution and strong branding for the label and/or fashion designer. This collection seeks to create an equitable and profitable fashion collection under one brand where all artists and designers receive equal payment, equal promotion/credibility, as well as equal royalties for any garments ordered by retailers. Research question Is it possible to curate an ethical, luxury, retail-ready, international fashion brand with a collaboration of five (5) emerging designers and five (5) Indigenous artists? Research contribution In the fashion industry, existing collaborations for Australian Indigenous artists have been with ONE fashion designer or one existing fashion label. This is the first fashion collection created under one brand name with equal credibility and profits for both artists and designers. The process involved presenting workshops ranging from understanding the logistics and timing of the fashion supply chain, costing of garments, the process of ‘ranging’ fashion product for a collection and creating repeat prints from a specific artwork, ready for digital printing. A workshop was also facilitated so both designer and artist could work together to create (and co-own) unique t shirt prints. Lawyers were consulted and ethical contracts were drawn up to cover all participants in this innovative collaboration. While the collaboration of artist and designer was important, the collection required curation of all elements so that the final collection came together as a professional and cohesive, quality, retail- ready product. This could only be created by experienced practitioners. Research significance The Akin Collection is the first Australian fashion brand to be created as a collaboration between five equally recognised Indigenous artists and five emerging fashion designers. It has familiarized the Indigenous artists to the logistics and culture of the fashion industry and the emerging fashion designers have been familiarized to the logistics and culture of how to collaborate with the unique Indigenous artwork that exists in Australia. After only three months, this culminated in a fashion parade showcasing the Akin collection to over 400 members of the public, government, media and retail. Feedback has been strong from the media and the industry, and a lookbook and photoshoot has been organised to promote and sell the collection both nationally and internationally. These concepts plus the curation outlined, has created a successful, luxury, quality collection ready for the international runways. This project has devised an ethical template for other Indigenous artists and emerging designers to create fashion collections that offer a unique aesthetic that could position and brand Australian fashion in the international marketplace. Key Words Indigenous artists, emerging fashion designers, Australian fashion design, ethical fashion, luxury Australian brand

The remediation of the personal photograph and the politics of self-representation in digital storytelling

Over the past couple of decades, the cultural field formerly known as ‘domestic’, and later ‘personal’ photography has been remediated and transformed as part of the social web, with its convergence of personal expression, interpersonal communication, and online social networks (most recently via platforms like Flickr, Facebook and Twitter). Meanwhile, the Digital Storytelling movement (involving the workshop-based production of short autobiographical videos) from its beginnings in the mid 1990s relied heavily on the narrative power of the personal photograph, often sourced from family albums, and later from online archives. This paper addresses the new issues arising for the politics of self-representation and personal photography in the era of social media, focusing particularly on the consequences of online image-sharing. It discusses in detail the practices of selection, curation, manipulation and editing of personal photographic images among a group of activist-oriented queer digital storytellers who have in common a stated desire to share their personal stories in pursuit of social change, and whose stories often aim to address both intimate and antagonistic publics.