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Gert's Musings.

Is Digital the best format to Preserve

Those who are creating plans for preserving their digital assets should read Jonas Palm'sThe Digital Black Hole Jonas is the head of the Department of Preservation for Sweden's National Archives where they have already done considerable conversion to digital. Interestingly, the breaking point of cost, as he describes it, is the human factor - salaries -required in monitoring digital storage. From the sense of preserving one's investment in digitizing it does seem that the preservation cost far exceed replacement costs. Especially as, replacing a corrupted digital file in five years will probably cost less and result in a better image due to technological advances. It may very well be more cost effective to rescan the objects as or if their digital image files become unusable. Of course that assumes that the object still exists.
So if we accept the fragility of the actual artifact and fragility of the digital image of it, how do we preserve the visual information of the object? Jonas is suggesting... drum roll please...microfilm. Of course we know that does last for ever either and costs to maintain, but maybe the system that we have now is better for now?
Of course, there are still the digital born material and Jonas allows as how audio-video material may be cost effective.....
What is one to do? Any ideas?

Words of Wisdom to be found online

Some of Janice Eklund's -UC Berkeley - recent posts on the VRA list serv ,very succinctly and clearly described the impacts of chosing a metadata structure. I am happy that she has given me permission to published them here also.

From Janice Eklund:

For images of cultural objects, there are many arguments for using a relational model (tables linked to other tables via intersection tables) for your cataloging tool and a flat model (rows and columns like a spreadsheet) for your presentation tool, but they all boil down to basically two concepts: complexity and consistency. 

... more

A NEW NAME / FACE IN THE DIGITAL IMAGING COMMUNITY

WHO:Natalie Solodjagin (I challenge you to pronounce it!)
WHAT:Director, Digital Imaging, Business Development
WHERE:Cinetech, Burbank & Valencia, California

Who is Natalie?

I studied art history and foreign languages in college. After completing an MA in art history, I embarked on a career as an artists’ representative (which I loved, but my pocketbook didn’t!). So I accepted a position at a motion picture laboratory in Hollywood: Consolidated Film Industries, later bought out by Technicolor. For close to a decade I worked with clients that mostly included independent filmmakers from the U.S. and abroad, guiding them through the rather complicated laboratory processes. At this time I also guest-lectured on film post production at USC, the American Film Institute, and the Los Angeles Film School. At the beginning of this year I accepted a position at Cinetech, bringing me back full circle to my first love: art and visual images. .........more

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