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Graham Purnell is a former photographer, web content and social media professional who began working as a Digital Preservation Assistant with the National Library of Scotland in early January 2019

The purpose of these tests: to use FFMPEG to transcode an uncompressed AVI file to FFV1, with identical ‘pixel-for-pixel’ output to the original source video, and to verify the results.

I’ve read a lot of information on the internet about the benefits of using FFV1/MKV as an archive video format/wrapper, but little empirical evidence about why it is suitable. It doesn’t help that, in the minds of many people, the word ‘compression’ is synonymous with ‘lossy’ (“if file sizes are smaller, surely some data must be missing.”) Archivists and digital preservation practitioners avoid much of the technical video information when writing, and video specialists address the subject in terms beyond the scope of many archivists. Thankfully, I have some previous video production experience and I hope I can help make some sense of it all.

Alexander Roberts is Digital Humanities Manager/Research Data Manager at Swansea University and attended iPRES2018 with support from the DPC's Leadership Programme which is generously funded by DPC Supporters

Denmark and the Danish Archives Act 1992, 1996, 2000 and 2007

With preparations for iPres2019 in Amsterdam firmly underway and the deadline for submitting contributions having just passed, I have begun reflecting on some of the themes that resonated with me from last year’s amazing meeting at iPres2018. This was my first taste of the iPres experience, and it didn’t disappoint! My particular interests lie in computer science, IT areas including a focus on the performing arts (I’m a keen musician and composer). I found all of these areas well represented with keen and informed speakers elucidating on the finer points of applying arcane techniques and wizardly approaches to solving all sorts of digital preservation conundrums.

After the launch of the 2^nd edition, one of our key goals for the Digital Preservation Handbook was for it be a dynamic resource. It would be updated regularly and keep pace with developments in the community. With this in mind I was appointed ‘Managing Editor’ after Neil Beagrie completed his sterling work developing the 2^nd Edition.

Rachel Tropea is Senior Research Archivist at the University of Melbourne and and attended PASIG2019 with support from the DPC's Leadership Programme which is generously funded by DPC Supporters

Photo sourced from El Colegio de México, A.C. Available at https://www.colmex.mx/assets/slider/slide-folleto_original_16.jpg?1508794010 [accessed 9 March 2019].

This is my first of two blog posts about PASIG2019 held at El Colegio de México (pictured above) in Mexico City. Here I focus on the history and organisation of Preservation and Archiving Special Interest Group Meeting (PASIG), and in my next post I delve into the content of some of the presentations. With the list of conferences growing seemingly exponentially, PASIG is a stand out for people working in digital preservation and archives.

Introduction

The PAWDOC collection was initiated in 1981 to support research into new office systems at the National Computing Centre in Manchester. The author continued to use the collection to manage all his documents throughout his subsequent IT career. The collection’s index contains six fields (Ref No, Title, Movement Status, Publication Date, Date Last Accessed, and Creation Date). Each of the 17,000 Index entries related to one or more of some 29,000 electronic files of a wide variety of file types stored in a Document Management System. The collection provides a unique snapshot of the development of computer use in industry, and of the impact on the day to day information load on professionals across the period of the introduction of the internet; and therefore seems worth trying to preserve.

It was around this time four years ago that I (and other members of the 4C Project) were breathing huge sighs of relief. The Project had just been awarded an ‘Excellent’ rating by the European Commission Review Panel, but perhaps more significantly the Curation Costs Exchange (CCEx) had been born!

Judith Carr is Research Data Manager at the University of Liverpool

The University of Liverpool became an associate member of the DPC in August 2018. At the time the nice people at DPC did not tell us that as a member you would be required to blog, nor that on their 2019 schedule we would be in Feb! This blog is rather like our digital preservation journey, a challenge.

We literally have only just started and none of us are experts! Nevertheless, we are trying in our small way to push digital preservation within the institution.

Connecting the Bits is one of the most important dates on the DPC calendar. It has changed over the years as the DPC has grown: initially just an extended working lunch for a small group of practitioners, it has grown to involve the whole of the Coalition’s membership. It is an opportunity for ALL members (whether Full Members or Associate Members, on the Board, Representative Council, Sub-Committee or none of those) to share their experiences with each other, identify shared challenges, and have a say in what we should do over the following 12 months.

For the last few years Connecting the Bits has been structured as an unconference.  This structure has allowed members to speak in detail and candidly about their plans.  This is important for the DPC as it allows us make sure our workplans are focussed very precisely on the needs of our members, and by extension the wider digital preservation community.

I fell into digital preservation pretty much by accident.  I am an archaeologist by training, inclining therefore to the slow lane of history.  I find a strange but productive juxtaposition between the hectic stylings of information technology and la longue durée of the archaeological record.  These themes have been for me an unexpected overture to a career in digital preservation where new technology and human history are in a sort of tension, occasionally even a sort of harmony.  But let me share an insight from this week, probably my favourite so far: there are records being created by the Nuclear Decommissioning Authority with a lifecycle of around 10,000 years. Think about that. It means the records have to survive longer than writing has existed.  At the last count there were 5086 rings on the oldest surviving tree in the world, a bristle-cone pine in the White Mountains of California. These records have a lifecycle twice that long.  What’s a few thousand years between friends?

This post is for anyone with a social media account - not just those working professionally in digital preservation - who want to keep their valuable photos and content safe. 

Some quick pointers on saving and backing-up social media photos and other content

Social media platforms – including Flickr, Facebook (& Instagram), Twitter, LinkedIn, YouTube and other Google services – are designed for sharing not archiving. When you tick ‘agree’ to their User Agreements, you license your data to the platform to use how they want (with some limitations). The platforms are then entitled to store, share, and sell your information to companies who purchase data for consumer analysis. However, they do NOT take responsibility for backing up and archiving your data. That means that if a platform introduces charges and limits access – or if it disappears all together – your photos and posts and conversations could be lost. Holding all this data is expensive for platforms – keeping those massive servers up and running is a huge expense. Therefore, they do not have an incentive to hold onto individuals’ content if they are not making money off their services.

These conditions make your social media content very vulnerable to loss.

But there are some steps social media users can take to save the content they want to keep safe.