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61-425: The digital repository audit method based on risk assessment ( DRAMBORA ) is a methodology and associated software-based toolkit developed by Digital Curation Centre (DCC) and DigitalPreservationEurope (DPE) to support the assessment of digital preservation repositories. The DRAMBORA toolkit is intended to facilitate internal audit of digital preservation repositories by providing repository administrators with

122-491: A comprehensive registry of data assets is compiled, which can then be used by the institution to improve their management of those assets. The intent of DAF is to raise awareness within an institution regarding their data management practices. Auditing data assets creates a better understanding of the digital collections owned by an institution and allows them to more efficiently organise their data, structure their data, and determine accountability for said data, all while minimising

183-422: A digital object or databases’ lifecycle and curation process. The full lifecycle actions indicate the need to create quality metadata to represent a digital object, the importance of planning how to preserve an object throughout the entirety of the curation process, the necessity of collaborating with a community in order to adapt new standards, and the essential task of adhering to any preconceived steps to manage

244-550: A dynamic and active role to embrace technology, standardized process, and scholarly communication. In addition, Archivist leader might adopt the business concept and methods to deal with their workflow such as raise funds, invest technology system, and comply with industry standards, in order to obtain more resources. Collaboration in archives and digital curation community could provide and share training, technologies, standards, and tools to help institutions on challengeable issues of digital curation. Digital Preservation Coalition (DPC),

305-553: A focus for research activity in digital curation as well as reports of practice. The Research Data Management Forum brings together practitioners from a wide range of backgrounds including government, publishers, researchers and funders, to focus on particular topics of common interest. The Data Management Roadshows aim to raise awareness amongst UK universities of the assistance that the DCC can offer with establishing or improving research data services. The Curation Lifecycle Model, developed by

366-516: A lifecycle model for data curation, a risk assessment for digital repositories, and an interview protocol to assist institutions in understanding their research data collections. The original call to establish the DCC described its function as Scientists, researchers and scholars across the UK generate increasingly vast amounts of digital data, with further investment in digitization and purchase of digital content and information. The scientific record and

427-469: A means to assess their capabilities, identify their weaknesses, and recognise their strengths. The development of the toolkit follows a concentrated period of repository pilot audits undertaken by the DCC , conducted at a diverse range of organisations including national libraries, scientific data centres and cultural and heritage data archives. The construction of a toolkit of this kind is a dynamic process and this

488-458: A national focus for research and development into digital curation issues and to promote expertise and good practice, both national and international, for the management of all research outputs in digital format. It provides information about tools developed by the DCC and others which support all parts of the digital curation lifecycle. It provides training in the use of tools and other aspects of digital curation. It provides online tools, such as

549-564: A number of the more compelling challenges required more than simple preservation of materials. The term digital curation was coined to refer to more active long-term management of digital material. The original call for bids to run the center was withdrawn in July 2003, allowing the UK's e-science programme to add funding for a 4-year research programme to complement the work on education and advocacy funded by Jisc. The revised call from July 2003 required bids by 2003-09-18 with an intention to establish

610-511: A project is initiated to preserve a collection of digital assets that have already been created and are beyond the period of their primary use. Channelization is curation of digital assets on the web, often by brands and media companies, into continuous flows of content, turning the user experience from a lean-forward interactive medium, to a lean-back passive medium. The curation of content can be done by an independent third party, that selects media from any number of on-demand outlets from across

671-490: A reference to physical repositories that store cultural heritage or natural resource collections (e.g., a curatorial repository) or a representation of varied policies and processes involved with the long-term care and management of heritage collections, digital archives, and research data (e.g, curatorial/collections management plans, curation life-cycle, and data curation). Yet curation is also associated with short-term objectives and processes of selection and interpretation for

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732-414: A single process for repository assessment. The importance of international cooperation and collaboration, and the potential dangers associated with divergence were acknowledged very early on within the DCC and DPE's work in this area. The results of the original efforts of RLG/NARA task force and the nestor working group to develop criteria for audit and certification of trustworthy digital repositories and

793-472: A subset of the broader concept of data, in the context of scientific vernacular digital curation represents a broader purview of responsibilities than data curation due to its interest in preserving and adding value to digital assets of any kind. The ever lowering cost and increasing prevalence of entirely new categories of technology has led to a quickly growing flow of new data sets. These come from well established sources such as business and government, but

854-495: A wide range of international information standards, many with their basis in the risk management industry aiming to broaden ever further the perspectives that our international colleagues have already established. DRAMBORA is released under the Creative Commons Attribution – Non-Commercial – Share-Alike 2.0 License. Digital Curation Centre The Digital Curation Centre ( DCC ) was established to help solve

915-435: Is curation at source used in the context of Laboratory Information Management Systems LIMS . This refers more specifically to automatic recording of metadata or information about data at the point of capture and has been developed to apply semantic web techniques to integrate laboratory instrumentation and documentation systems. Sheer curation and curation-at-source can be contrasted with post hoc digital preservation , where

976-736: Is a data audit methodology developed by HATII at the University of Glasgow in conjunction with the Digital Curation Centre. Originally the Data Audit Framework, the Data Asset Framework is an interview protocol utilised by educational institutions to better understand their growing research data collections. With this tool, institutions can learn to manage their data more effectively. The audit allows institutions to assess their data collections, determine their state, and measure

1037-528: Is a project to define and develop such a language. The ability of the intended user community to access the repository’s holdings is of equal importance to all the preceding curatorial tasks. This must take into account not only the user community’s format and communication preferences, but also a consideration of communities that should not have access for various legal or privacy reasons. Access can be increased by providing information about open access status with open data and open source methods such as

1098-573: Is an established annual event since 2005, aiming to collaborate with individuals, organizations, and institutions facing challenges, supporting development, and exchanging ideas in the field. The International Journal of Digital Curation (IJDC) is administered by IJDC Editorial Board including the Editor-in-Chief, Digital Curation Center (DCC), and the following members. IJDC dedicate to provide scholarly platform for sharing, discussing, and improving knowledge and information of digital curation within

1159-471: Is claimed to be a "world leading centre of expertise in digital information curation" that assists higher education research institutions in such conversions. Nowadays, with the development in ICT and computer-based visualisation, curators benefit from the 3D Reconstruction methods and Digital Twin to not only represent their updated and authentic cultural heritage data sets but also assist conservation architects and

1220-436: Is not considered an archival task. Similarly, preservation is a part of archiving, as are the tasks of selection and appraisal that are not necessarily part of preservation. Data curation is another term that is often used interchangeably with digital curation, however common usage of the two terms differs. While " data " is a more all-encompassing term that can be used generally to indicate anything recorded in binary form,

1281-464: Is notably passive in nature, often limited to simply ensuring a suitable storage environment. Digital preservation requires a more proactive approach. Today’s artifacts of cultural significance are notably transient in nature and prone to obsolescence when social trends or dependent technologies change. This rapid progression of technology occasionally makes it necessary to migrate digital asset holdings from one file format to another in order to mitigate

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1342-436: Is sometimes used interchangeably with terms such as " digital preservation " and " digital archiving ." While digital preservation does focus a significant degree of energy on optimizing reusability, preservation remains a subtask to the concept of digital archiving, which is in turn a subtask of digital curation. For example, archiving is a part of curation, but so are subsequent tasks such as themed collection-building, which

1403-400: Is the second stage in this process. The DRAMBORA toolkit represents the latest development in an ongoing international effort to conceive criteria, means and methodologies for audit and certification of digital repositories. The intention throughout its development was to build upon, extend and complement existing efforts. A key requirement has been to establish a toolkit that contributes towards

1464-423: Is to establish a solid foundation for other curation activities which may not directly benefit the creators and primary users of digital assets, especially those required to ensure long-term preservation. By providing this foundation, further curation activities may be carried out by specialists at appropriate institutional and organisation levels, whilst causing the minimum of interference to others. A similar idea

1525-581: The OAI-PMH endpoints of an open archive , which are then aggregated by databases and search engines like BASE , CORE , and Unpaywall for academic papers. There are three elements for essential needs of institutions dealing with issues of digital curation: Leadership, Resources, and Collaboration. Three elements related to the role of advance-guards for librarians and archivists working with open approaches to technology, standardized process and scholarly communication. The archivist with leadership, who needs to be

1586-690: The DCC early in 2004. The range of expertise required meant that the funders expected to see collaborative, multi-centre bids. A number were shortlisted with the winning bid chosen on 2003-11-26. Led by the University of Edinburgh (involving its School of Informatics, the National e-Science Centre (NeSC), the EDINA national data centre and the AHRC Centre for the Studies in Intellectual Property and Technology Law)

1647-799: The DCC, was first published in 2007 and finalised in 2008. It is a graphic which describes the overarching digital curation process with archival and preservation processes being only portions of this overall digital curation process. The model outlines various curation actions. There are full lifecycle actions, which include description and representation information, preservation planning, community watch and participation, and curate and preserve. There are sequential actions, which include conceptualise; create or receive; appraise and select; ingest; preservation action; store; access, use, and reuse; and transform. Finally, there are occasional actions, which include dispose, reappraise, and migrate. Full lifecycle actions are reoccurring actions that pertain to each phase of

1708-574: The Data Management Planning tool, to support the creation and management of research data. Another tool developed by the DCC, the DCC Curation Lifecycle Model, provides a pictorial representation of the steps and behaviours necessary to the curation and preservation of digital objects. The DCC runs a number of regular events to support different aspects of its mission. The International Digital Curation Conference (IDCC) acts as

1769-643: The OAIS open forums for developing international standards of archival information in long-term access. The curation of digital objects is not limited to strictly born-digital assets. Many institutions have engaged in monumental efforts to digitize analog holdings in an effort to increase access to their collections. Examples of these materials are books, photographs, maps, audio recordings, and more. The process of converting printed resources into digital collections has been epitomized to some degree by librarians and related specialists. For example, The Digital Curation Centre

1830-696: The Open Preservation Foundation or novel partnerships offer collaboration opportunity to institutions facing similar challenges in digital curation issues. Information field especially in libraries, archives, and museums significantly need to bring knowledge of new technologies. Traditional graduate school education is not enough to meet that demand; training program for current staffs in cultural repository would be an efficient supplement for that request, such as professional workshops, and MOOCs (Massively Open Online Courses) in data curation and management. International Digital Curation Conference (IDCC)

1891-547: The UK Research Data Service report of 2010. 55°56′48″N 3°12′04″W  /  55.9468°N 3.2012°W  / 55.9468; -3.2012 Digital curation Much like the word archive has layered meanings and uses, the word curation is both a noun and a verb, used originally in the field of museology to represent a wide range of activities, most often associated with collection care, long-term preservation, and exhibition design. Curation can be

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1952-415: The additional suite of activities ordinarily employed by library and museum curators to add value to their collections and enable its reuse from the smaller subtask of simply preserving the data, a significantly more concise archival task. Additionally, the historical understanding of the term " curator " demands more than simple care of the collection. A curator is expected to command academic mastery of

2013-540: The advance of technology has introduced new ways of working with data. Some examples of this are international partnerships that leverage astronomical data to create "virtual observatories," and similar partnerships have also leveraged data resulting from research at the Large Hadron Collider at CERN and the database of protein structures at the Protein Data Bank . By comparison, archiving of analog assets

2074-500: The aforementioned steps, it prompts the successful curation of data and, therefore, the ability of that data to be accessed in the future and reused. DRAMBORA or the Digital Repository Audit Method Based on Risk Assessment is another development of both the DCC and DigitalPreservationEurope . This is a tool, published in 2007, which can be used by digital repositories to self-assess their own organisations and

2135-430: The changing technological landscape. Two examples of this are sheer curation and channelization. Sheer curation is an approach to digital curation where curation activities are quietly integrated into the normal work flow of those creating and managing data and other digital assets. The word sheer is used to emphasize the lightweight and virtually transparent nature of these curation activities. The term sheer curation

2196-399: The creators and primary users of those assets. Curation can best be supported by identifying existing practices of sharing, stewardship, and re-use that add value, and augmenting them in ways that both have short-term benefits, and in the longer term reduce risks to digital assets or provide new opportunities to sustain their long-term accessibility and re-use value. The aim of sheer curation

2257-461: The curation and preservation of the digital object. Sequential actions, unlike full lifecycle actions, occur in a particular order as part of a digital object’s curation lifecycle. These steps are always performed in order, though can be repeated indefinitely as long as the object’s curation continues to be a priority. Occasional actions including dispose, reappraise, and migrate represent activities undertaken only when certain criteria regarding

2318-1258: The dangers of hardware and software obsolescence which would render the asset unusable. Modern tools for program planning often underestimate the amount of human labor costs required for adequate digital curation of large collections. As a result cost-benefit assessments often paint an inaccurate picture of both the amount of work involved and the true cost to the institution for both successful outcomes and failures. The concept of cost in business field would be more obvious. Varieties of business systems are running for daily operations. For example, human resources systems deal with recruitment and payroll, communication systems manage internal and external email, and administration systems handle finance, marketing, and other aspects. However, business systems in institutions are not designed for long-term information preservation initially. In some instances, business systems are revised to become Digital Curation systems for preserving transaction information due to cost consideration. The example of business systems are Enterprise Content Management (ECM) applications, which are used by designated group people such as business executives, customers for information management that support key processes organizationally. In

2379-414: The digital curation process: data creators, data archivists, and data reusers. The model highlights the importance of data creation, such as metadata, in successful, sustainable curation practices. This is relevant to data creators. Data archivists will find the model beneficial as an outline of the necessary processes to guarantee the thoroughness of their curation actions. Finally, because the model outlines

2440-415: The documentary heritage created in digital form are at risk from obsolescence , from the fragility of digital media , and from lack of the basics of good practice, such as adequate documentation for the data. Working with other practitioners, the DCC supports UK institutions who store, manage and preserve these data to help ensure their enhancement and their continuing long-term use. The DCC also provides

2501-513: The extensive challenges of digital preservation and digital curation and to lead research, development, advice, and support services for higher education institutions in the United Kingdom . Throughout its history the DCC has been an active organisation in the realm of digital preservation. In partnership with other institutions, the DCC has created and developed tools for tackling issues in digital preservation and curation. Such tools include

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2562-451: The funeral of Princess Alice and his place was taken by Lord Sutherland of Houndwood. The first Acting Director was Peter Burnhill, head of EDINA. He was succeeded by Chris Rusbridge from 2005-02-21 who served until 2010-04-19, when he was succeeded by Kevin Ashley. The original Associate Directors were David Giaretta STFC , Liz Lyon University of Bath , and Seamus Ross HATII . Following

2623-413: The hypothesis that good data and digital asset management at the point of creation and primary use is also good practice in preparation for sharing, publication and/or long-term preservation of these assets. Therefore, sheer curation attempts to identify and promote tools and good practices in local data and digital asset management in specific domains, where those tools and practices add immediate value to

2684-506: The initial 3-year grant, Jisc funded two further phases of work at the DCC commencing in 2007 and 2010. The latter continued until March 2013. Research funding from the e-science core program did not continue after the core program itself was wound up. The DCC has continued research and development activities funded by a wide range of grants from other sources. In 2011, the DCC received additional funding from HEFCE's Universities Modernisation Fund (UMF) to implement salient recommendations from

2745-420: The long run, to transfer digital content from ECM applications to Digital Curation (DC) applications would be a trend in large organizations domestically or internationally. The improvement of maturity models of ECM and DC may add value to information that request cost deduction and extensive use for further modification. An absence of coordination across different sectors of society and industry in areas such as

2806-435: The object’s lifecycle are met. For example, when an object is appraised (a sequential action that always occurs in the lifecycle of a digital object’s curation) if it adheres to or, more aptly, doesn’t adhere to certain institutional curation policies, it can be disposed of or reappraised—both of which are occasional actions in the lifecycle. The DCC Curation Lifecycle Model is especially relevant to three key participants in

2867-578: The other experts in further practices on the assets. For some topics, knowledge is embodied in forms that have not been conducive to print, such as how choreography of dance or of the motion of skilled workers or artisans is difficult to encode. New digital approaches such as 3D holograms and other computer-programmed expressions are developing. For mathematics, it seems possible for a new common language to be developed that would express mathematical ideas in ways that can be digitally stored, linked, and made accessible. The Global Digital Mathematics Library

2928-452: The potential loss of assets in the future and increasing accessibility. The goal of the Data Asset Framework is to create a standard for the management of a library’s research data that can then be utilised industry-wide. Jisc took a decision to establish the Digital Curation Centre some time in 2002, having funded a number of projects in the field of digital preservation. Jisc's then digital preservation focus, Neil Beagrie, recognised that

2989-522: The preservation activities undertaken therein. It was developed in the aspiration of working toward a standardised certification of all digital repositories. The DRAMBORA methodology acts as a checklist to ensure that a particular institution adheres to a set of standards. The self-assessment undertaken using the DRAMBORA methodology is intended to determine weaknesses within a digital repository that could affect its credibility. The Data Asset Framework or DAF

3050-478: The purposes of presentation, such as for gallery exhibitions and websites, which contribute to knowledge creation. It has also been applied to interaction with social media including compiling digital images, web links, and movie files. The term curation entered the legal framework through federal historic preservation laws, starting with the National Historic Preservation Act of 1966, and

3111-474: The standardization of semantic and ontological definitions, and in forming partnerships for proper stewardship of assets has resulted in a lack of interoperability between institutions, and a partial breakdown in digital curation practice from the standpoint of the ordinary user. The example of coordination is Open Archival Information System (OAIS). OAIS Reference Model allows professionals and many other organizations and individuals to contribute efforts to

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3172-467: The subject matter as a requisite part of appraisal and selection of assets and any subsequent adding of value to the collection through application of metadata. There are five commonly accepted principles that govern the occupation of digital curation: The Digital Curation Center offers the following step-by-step life cycle procedures for putting the above principles into practice: Sequential Actions: Occasional Actions: The term "digital curation"

3233-433: The term "data curation" is most common in scientific parlance and usually refers to accumulating and managing information relative to the process of research. Data-driven research of education request the role of information professional gradually develop tradition of digital service to data curation particularly at the management of digital research data. So, while documents and other discrete digital assets are technically

3294-633: The toolkit. It is anticipated that self-audit based on DRAMBORA can be facilitated if undertaken in association with one or both of the check-lists, and vice versa. The risk -based approach assists efforts to match a repository against these lists of requirements. Only with a clear view of an organisation's business context and its implicit risks can an auditor effectively use these requirements. The toolkit contextualises these lists so they can be more effectively applied. In addition to these resources, we have also sought to incorporate and adapt ideas and concepts from an additional, diverse range of sources, including

3355-435: The trend is also driven by new styles of sensors becoming embedded in more areas of modern life. This is particularly true of consumers, whose production of digital assets is no longer relegated strictly to work. Consumers now create wider ranges of digital assets, including videos, photos, location data, purchases, and fitness tracking data, just to name a few, and share them in wider ranges of social platforms. Additionally,

3416-542: The winning consortium also included HATII at the University of Glasgow , UKOLN at the University of Bath , and the Science and Technology Facilities Council (STFC). The DCC began operations early in 2004, with a formal launch on 5 November of that year at Edinburgh's e-science institute. Although it was intended that the centre would be inaugurated by the Duke of Edinburgh, then the university's Chancellor, he instead had to attend

3477-580: The work that was led by the Center for Research Libraries ( CRL ) were foremost within the considerations throughout the development of the DRAMBORA toolkit, and in the DCC-led pilot audits that preceded it. The DCC/DPE working group has engaged with representatives of other groups to agree upon a set of principles, representing the fundamental, objective baseline criteria for preservation repositories, and these and their underlying concepts, are profoundly important within

3538-665: The worldwide community. IJDC has two types of submission under editorial guidelines, which are peer-reviewed papers and general articles base on original research, the field information, and relevant events in digital curation. IJDC is published by the University of Edinburgh for the Digital Curation Centre in electronic form on a rolling basis two times a year. The open access to the public supports knowledge exchangeable in digital curation worldwide. Many approaches to digital curation exist and have evolved over time in response to

3599-424: The worth of the data through the assessment of "five core questions: 1.     What data assets currently exist? 2.     Where are these assets located? 3.     How have these been managed to date? 4.     Which of these assets need to be maintained in the long term? 5.     Do current data management practices place these assets at risk?" By performing this audit,

3660-662: Was coined by Alistair Miles in the ImageStore project, and the UK Digital Curation Centre 's SCARP project. The approach depends on curators having close contact or 'immersion' in data creators' working practices. An example is the case study of a neuroimaging research group by Whyte et al., which explored ways of building its digital curation capacity around the apprenticeship style of learning of neuroimaging researchers, through which they share access to datasets and re-use experimental procedures. Sheer curation depends on

3721-410: Was further defined and coded into federal regulations through 36 CFR Part 79:  Curation of Federally-owned and Administered Archaeological Collections. Curation has since permeated into an array of disciplines but remains closely tied to heritage and information management. The term "digital curation" was first used in the e-science and biological science fields as a means of differentiating

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