7. “SIPS, DIPS and Trips: How we will know if we've collected enough, or the right, metadata?” George Blood Audio, LP Safe Sound Archive Intellectual Access to Preservation Metadata Interest Group American Library Association June 2010

8. Definition by ALA PARS Digital Preservation: “Digital preservation combines policies, strategies and actions to ensure access to reformatted and born digital content regardless of the challenges of media failure and technological change. The goal of digital preservation is the accurate rendering of authenticated content over time.”

10. In the words of Grace Hopper.. “It's easier to ask forgiveness than it is to get permission” “A ship in a harbor is safe, but that is not what a ship is built for” “From then on, when anything went wrong with a computer, we said it had bugs in it” “You manage things; you lead people”

11. "The great thing about standards is that there are so many to choose from."

12. Standards are like toothbrushes. Everyone agrees they're desirable…

13. but nobody wants to use someone else's. Standards are like toothbrushes. Everyone agrees they're desirable…

14. Why are we collecting all this metadata? To provide for discovery To manage the files To provide provenance To provide authenticity Etc.

18. Metadata = Cataloging and Description How much is enough? Is it possible to have too much? Why do we need more than we did before? –Are we moving the goal posts? –To what extent are our neuroses about digital preservation a reflection of our failures in analog preservation? –Is more metadata less product? By doing “better” for one object are we preserving less overall? Has anyone asked the users what they need?

19. Organizing metadata “Standards” Toothbrushes

20. What is a standard? How widely adopted? If everyone is doing something... is that good enough to be a “standard”? Does a standard have to be perfect? Does one size fit all? If there’s a standard and no one uses it, what’s it matter? What are the implications if there’s a standard and it is “locally modified”? If you make your own “standard”, in what ways does this enhance or inhibit preservation and long-term access? –Aren’t we taught to avoid proprietary solutions? Why not for metadata?

21. SIPS: The State of the Art

22. Oberlin metadata

23. NYPL - LPA metadata

24. UMichigan RFI

25. SI AAA Metadata

26. SI AAA Second Project

27. Sample Rate: 96000 Bit Depth: 24 Duration: 0:42:19 INFO Name: Hess, Thomas B. "The Breakthrough of Abstract Expressionism." INFO Artist: INFO Date: 20090908 INFO Archival Location: Smithsonian Institution Libraries, Hirshhorn Museum Library INFO Copyright: Material may be protected by copyright. Restrictions may apply. BEXT Description: Hess, Thomas B. "The Breakthrough of Abstract Expressionism." Lecture at NGA, 11-4-73: 0001, File Identifier; HMSG0001A-B, Tape Identifier BEXT Originator: Hirshhorn Museum Library BEXT Originator Reference: BEXT Origination Date: 2009-09-08 BEXT Time Reference: 0 BEXT Version: 1 BEXT Coding History: A=ANALOG,M=stereo,T=Nakamichi_Dragon; 09095; TDK_C90 A=PCM,F=96000,W=24,M=stereo,T=PrismSound; ADA-8XR; A/D A=PCM,F=96000,W=24,M=dual-mono,T=MetricHalo; ULN-2; DIO A=PCM,F=96000,W=24,M=stereo,T=SoX14.1; DAE Sample Rate: 96000 Bit Depth: 24 Duration: 0:56:32 INFO Name: INFO Artist: INFO Date: INFO Archival Location: INFO Copyright: BEXT Description: Oral history interview with Tony Rosenthal, 1968 May 10-June 29.; Tony; Sevim; 1968 May 10-June 29 BEXT Originator: Smithsonian Institution BEXT Originator Reference: Archives of American Art BEXT Origination Date: 2009-09-22 BEXT Time Reference: 0 BEXT Version: 1 BEXT Coding History: A=ANALOG,M=mono,T=Revox_A700; 13652; Audiotape_1251 A=PCM,F=96000,W=24,M=mono,T=PrismSound; ADA-8XR; A/D A=PCM,F=96000,W=24,M=mono,T=MetricHalo; ULN-2; DIO A=PCM,F=96000,W=24,M=mono,T=SoX14.1; DAE SI Hirshhorn and SI AAA

28. CUL METS

29. How will any of this provide for discovery, management, provenance, etc? It all has to be done manually. It is just as much work to create software tools to read the metadata as to make it. It costs more to do the metadata work on some projects than the digitization. What will be the cost to reformat the metadata when the digital file is migrated?

30. Except MY Metadata Open Source! Open Standards!! Interoperability!!!

31. DIPs: Let’s get religion

32. A return to basics When does a record end and context begin? When does the archive end and the research begin? What is the (end) goal of metadata? What is the end (goal) of metadata?

33. Ernie Ingles “Long term preservation of information has plagued mankind since we first etched images into stone tablets. And in many ways it’s been downhill every since.” “We should think of preservation with a 500 year time horizon.”

35. Quakerism 101

38. Keep It Simple, Stupid K.I.S.S. Keep It Stupid Simple

39. Pareto’s Principle 80% of effect comes from 20% of the causes –“80% of your revenue comes from 20% of your clients” –“80% of a project can be completed with 20% of your time” –“80% of total circulation comes from 20% of the books” –“80% of knowledge can be acquired with 20% of the information”

41. Short Record Dublin Core MARC

43. 20100623 Jun. 23 2010 June 23, 2010 Etc.

44. Date field conversion, Date to number, On Mac, PC, FMP, Different Version

47. Sample Rate: 96000 Bit Depth: 24 Duration: 0:42:19 INFO Name: Hess, Thomas B. "The Breakthrough of Abstract Expressionism." INFO Artist: INFO Date: 20090908 INFO Archival Location: Smithsonian Institution Libraries, Hirshhorn Museum Library INFO Copyright: Material may be protected by copyright. Restrictions may apply. BEXT Description: Hess, Thomas B. "The Breakthrough of Abstract Expressionism." Lecture at NGA, 11-4-73: 0001, File Identifier; HMSG0001A-B, Tape Identifier BEXT Originator: Hirshhorn Museum Library BEXT Originator Reference: BEXT Origination Date: 2009-09-08 BEXT Time Reference: 0 BEXT Version: 1 BEXT Coding History: A=ANALOG,M=stereo,T=Nakamichi_Dragon; 09095; TDK_C90 A=PCM,F=96000,W=24,M=stereo,T=PrismSound; ADA-8XR; A/D A=PCM,F=96000,W=24,M=dual-mono,T=MetricHalo; ULN-2; DIO A=PCM,F=96000,W=24,M=stereo,T=SoX14.1; DAE

49. 1.Achieve consensus on a standard 2.K.I.S.S. 3.Expose more complexity only as needed

55. Layer 1: Required Layer 2: Recommended Layer 3: Optional Conformance to Standards within the model

56. How much is enough? How much is being left behind? - 80% of information is available in 20% of the data - 80% isn’t good enough If we apply Pareto to the remaining information, the Next 20% of effort yields 80% of the remaining Information. 80% of 20% is 16% First 80% plus the next 16% is 96% of total information.

57. Layer 1: Required Layer 2: Recommended Layer 3: Optional Conformance to Standards within the model Layer 1: Consensus Layer 2: Structured Variety Layer 3: Whoopie!

58. ALA Definition of Digital Preservation Layer 1: Short, clear, quick Layer 2: Most useful in most circumstances Layer 3: Everything to everybody Parallel to Definition of Digital Preservation

59. Challenge to the Group: (a la Definition of Digital Preservation) - Convene a Task Force - Develop standards for DIPs - Present version 0.9 (draft) at this Interest Group - at ALA MidWinter 2011