Blog

Richard Moores is Digital Collections Specialist for the Science Museum Group. He attended the NTTW8 Conference last year with support from the DPC Career Development Fund, which is funded by DPC Supporters.

It was at the Gare de L'Est in Paris, I felt an unexpected twinge of nostalgia for the era of cinema scale public information displays. I was travelling to the 8th edition of the No Time to Wait (NTTW) Conference in Karlsrühe, contemplating obsolescence - my own included, given how fast the intervening years had suddenly passed since the last visit to this station. I'd deliberately eschewed the banks of screens, and the mobile app and headed off to consult that old oracle of train truths in panoramic overview, the Departure Board, its fluttering voice like the furious wings of tiny mechanical birds taking flight. The big display was, of course, long gone.

Delaney Sweep is Digital Preservation Technician at the University of Calgary.

Last week I was delighted to attend the DPC Members Forum and Networking Event – Americas in Nashville, Tennessee. This two-day event, which was hosted by Vanderbilt University, was the first of its kind in the USA. It provided both in-person and online attendees the chance to not only connect with other digital preservation professionals from across the region but also the opportunity to discuss ideas and learn from each other.

Leontien Talboom is a technical analyst at Cambridge University Libraries and is currently leading the Future Nostalgia Project.

On the 26th of March, the Future Nostalgia project brought together two expert groups for a full day of workshops exploring the many joys - and headaches - of working with floppy disks. Whether you’ve imaged thousands of disks or just unearthed a mystery format in your archives, these sessions were about sharing knowledge, building a guide, and trying to prevent each other from reinventing the wheel.

We invited practitioners from across the digital preservation community, spanning national libraries, university archives, museums, and more. And from the start, it was clear: there’s no such thing as a ‘standard’ floppy disk experience.

In January, half-way through the two-year funding for the Registries of Good Practice project, we put together a midpoint review report for the project steering group. This group represents the funders of the work, Yale University Library (YUL) and the Digital Preservation Coalition (DPC), so the primary purpose of the report was to check the project was meeting their expectations and to give them a chance to steer the project.  The same report was also presented the DPC's Good Practice Sub-Committee, to give them a chance to provide some oversight and input.

However, we want to be as open as possible, so we planned to make a public version of this report in the hope that this will help steer our work in year 2. This did not require significant changes to the report, which is almost identical to the internal version.  However, it took a while to get around to reviewing and releasing the report due to other pressures on our time.  As such, some of the information is a little out of date, but hopefully it will still provide a useful overview of the project work so far and what we're planning for the last year (and perhaps beyond!)

James Baker is Professor of Digital Humanities at the University of Southampton. His work sits at the intersection of history, cultural heritage, and digital technologies. He leads Digital Preservation Southampton, a unit that provides flexible digital preservation solutions for organisations in all sectors.

In 2023 I was lucky enough to be awarded funding by the Arts and Humanities Research Council to do something I really enjoy but rarely have enough time for: spending time with digital preservation professionals, trying to understand what they need, and considering if and in what ways I can be of use. Of course the needs of digital preservation professionals are, as is well documented, many and various.

Jenny Mitcham is Chief Digital Preservation Officer at the Digital Preservation Coalition (DPC) and Caylin Smith is Head of Digital Preservation for Cambridge University Libraries (CUL).

The term Business as Usual (BAU) is not unique to the digital preservation community. BAU happens across sectors when projects, programmes, or other work delivered in a time-bound way become part of an organisation’s core services –or business. BAU includes activities that need to be carried out regularly with skilled members of staff, and it usually constrained by the annual or cycle-driven budgets (Roberts, 2013). 

BAU is a growing topic of interest within the digital preservation community. Earlier this year, the Digital Preservation Coalition and the Digital Preservation team at Cambridge University Libraries (CUL) ran a workshop with community members to discuss what BAU means in a digital preservation context. CUL is currently transitioning deliverables from its Digital Preservation Programme to BAU and was looking for examples of successful BAU planning or input on what should be considered. 

This post was written by Sarah Cummings, Nancy White, and Bruce Boyes and shared with the DPC by Gladys Kemboi. Originally published in RealKM Magazine.

Introduction

We are writing this article out of concern for the recent crisis facing the US Agency for International Development (USAID) and particularly the effect of the crisis on the agency’s knowledge as a global public good. In this article, we discuss the loss of USAID’s knowledge as a possible epistemicide – or destruction of knowledge systems – and what we can do as professionals in the domain of knowledge and sustainable development to mitigate this destruction by supporting our USAID colleagues and partners.

In late March 2023, I wrote a blog post offering my personal reflections on the Mental Health and Wellbeing in the Digital Preservation Community Survey that we had recently launched. If you’d asked me then how long it would be until I wrote my next post, signalling the launch of the findings report, I would have guessed about 6 months. But reality has a habit of getting in the way of best-laid plans and, as I write this now, it’s almost two years later.

I last blogged about the DPC’s Museums and Galleries Special Interest Group in January 2024. Another year of networking and collaboration has flown by and I wanted to share with you an update about what we have been up to.

Digital preservation is digital preservation regardless of the type of organization you work in, but specific sectors can have particular challenges relating to the preservation of digital content. Museums and galleries are one such sector, and as increasing numbers of organizations of this type join the DPC, we want to ensure they have a forum to share experiences and discuss topics of interest to them. The Museums and Galleries Special Interest Group has been running for two years now and is designed to do just this.

Here is a summary of our activities over the last year, as well as our plans for 2025.

On June 10^th, 2024, I started as the Head of DPC Americas. My first six months or so have mostly been about getting a firm foundation in this role and meeting people where they are. Thanks, again, to the stakeholders who spoke with me over the summer via Zoom in informational interviews (in total 18 people at 15 member institutions).