straup + archive   186

DSHR's Blog: The Opposite Of LOCKSS
The real importance is that no individual storage node can, if compromised, reveal any data. In the context of a crowd-sourced backup of the Internet Archive, this is important. If a node in the backup network contains data from the Archive "in the clear" the owner of the node might be in trouble if the relevant authorities considered that content undesirable. If the owner has deniability, in the sense that they can say "there is no way I can know what the data I am storing is, and no way anyone can recover usable data from my disk alone" it is much harder for the authorities to claim that the owner is doing something bad.
march 2015 by straup
On Forgetting | inkdroid
As any archivist will tell you, forgetting is an essential and unavoidable part of the archive. Forgetting is the why of an archive. Negotiating what is to be remembered and by whom is the principal concern of the archive. Ironically it seems it’s the people who deserve it the least, those in positions of power, who are often most able to exercise their right to be forgotten. Maybe putting a value lever back in the hands of the people isn’t such a bad thing. If I were Twitter I’d highlight this in the API documentation. I think we are still learning how the contours of the Web fit into the archive. I know I am.
inkdroid  archive 
november 2014 by straup
Emacs Autotetris Mode « null program
did you think I was joking when I said the future of software preservation is teaching games to play themselves /
archive  emacs  tetris  from twitter
november 2014 by straup
"The project has achieved its first major goal with the establishment of a continuous timeline from 1972 to 2014. The repository contains snapshots of V1, V3, V4, V5, V6, and V7 Research Edition, Unix/32V, all available BSD releases, the CSRG SCCS history, two releases of 386BSD, the FreeBSD 1.0 to 1.1.5 CVS history, and an import of the FreeBSD repository starting from its initial imports that led to FreeBSD 2.0."
unix  archive 
november 2014 by straup
pywb is a python implementation of web archival replay tools, sometimes also known as 'Wayback Machine'.

pywb allows high-quality replay (browsing) of archived web data stored in standardized ARC and WARC.

pywb can be used as a traditional web application or an HTTP or HTTPS proxy server.
python  archive  internetarchive  warc 
october 2014 by straup
Bill Introduced in Congress to Let You Actually Own Things, Even if They Contain Software | Electronic Frontier Foundation
Today, Representative Farenthold announced the introduction of the You Own Devices Act (YODA). If a computer program enables a device to operate, YODA would let you transfer ownership of a copy of that computer program along with the device. The law would override any agreement to the contrary (like the one-sided and abusive End-User License Agreements commonly included with such software). Also, if you have a right to receive security or bug fixes, that right passes to the person who received the device from you.
september 2014 by straup
BlockPlot is a web app where you can load Minecraft worlds and explore them in your web browser. It's not a fully featured game like Minecraft yet, but it's open source and you can add features by getting involved!

It is made by the team that created Voxel.js, the most advanced open source JavaScript technology for rendering voxel worlds in web browsers.
minecraft  javascript  archive 
september 2014 by straup
DSHR's Blog: "National Hosting" of archives
Note that the Data Retention and Investigatory Powers (DRIP) Act, recently rushed through the UK Parliament, takes the same position. It is already law; it is being challenged in the courts but the process will take years. Thus, asking where the data is stored is no longer relevant, it doesn't tell you whose laws apply to that data. If the organization with custody "has operations" in the US or the UK, US or UK courts will exert jurisdiction.

Given this position, it would be prudent for a national hosting organization (NHO) to ensure not merely that the copies were on their country's soil in a system owned by their country's nationals, but also that the system was exclusively operated by their country's nationals. This would ensure that no-one subject to US jurisdiction would have administrative access to the system, and thus prevent such persons from impairing the operation of the system, for example by removing content from the system in response to an order of a US court. Such orders can be envisaged, for example, in cases where the US government classes information, even after publication, as "sensitive but unclassified", or attempts to secretly rewrite history such as court transcripts, or when copyright claims are made under the US Digital Millennium Copyright Act (DMCA).
archive  law  jurisdiction  historyboxes 
august 2014 by straup
unix V4
"A full and complete copy of Fourth Edition no longer exists."
unix  archive 
july 2014 by straup – forgetting #0f23f23b64dbaeb7f8c44e813a7a69c9
I tried to stave off the threats to my digital reputation long enough; I defended my relevance at all cost. But said cost turned into debt, and those debts are all that has been remembered
archive  highlights  from:dogeared  url:eb1849dc1be8f5f68178ab3fbd91677f  dt:year=2014  dt:month=07  dt:day=09  dt:timestamp=1404916342 
july 2014 by straup – 373662 #44ccca7b5945d1d72584f0bd75cb634d
The idea of the Internet as a place of no forgetting might be our contemporary, “secular understanding of continuation,” Meaney says, one that’s exemplified by his video project Big_Sleep. While working with computer scientists and engineers at the National Institute for Computational Sciences (NICS) at Oak Ridge National Laboratory and the University of Tennessee,  Meaney and his collaborator, Amy Szczepanski, wrote a program they called Decasia.PY that perfectly preserves digital files, keeping their encoding intact at high resolutions. The name is a reference—as well as a response—to Bill Morrison’s 2002 film Decasia , which uses found footage to document the decay of nitrate film. Decasia.PY stores digital files in an archival vault codec, which preserves their encoding at high resolutions. But, the catch is, once the files are preserved, “you can never open or view the content again.” The data will always be there, but inaccessible
archive  email  highlights  from:dogeared  url:927ca2ae6aa71eb66a44f3c7c35a42f2  dt:year=2014  dt:month=07  dt:day=05  dt:timestamp=1404603895 
july 2014 by straup – 373662 #3d460c0b7d1bfdd169f8cb4eaed0e9d6
When we hear that data lives forever on the internet, it’s hard to understand that it’s sometimes more like garbage that won’t biodegrade than it is a reconstructible fragment
archive  network  highlights  from:dogeared  url:927ca2ae6aa71eb66a44f3c7c35a42f2  dt:year=2014  dt:month=07  dt:day=05  dt:timestamp=1404603804 
july 2014 by straup
Document archive
This site is an archive of interesting documents (papers, manuals, articles, etc.)

Tired of having trouble finding some of my favorite papers and documents, I decided to organize the best publicly available documents in a library that also includes versions in multiple formats.
june 2014 by straup – the physics of stamp collecting #955d1840ef4b3aa10c84fa9d30adc4aa
Collecting is a way of tokenizing an open, unstructured domain in the form of an evolving vocabulary. It is a process that allows you to structure your understanding while you’re learning
archive  highlights  from:dogeared  url:04709ec95d06e4be1bb2aee7fc17d246  dt:year=2014  dt:month=06  dt:day=19  dt:timestamp=1403187150 
june 2014 by straup – the physics of stamp collecting #77ef4e6b110357d7a652ab1a0846f36a
After reading a couple of fat world history books in high school, I finally understood what might draw people to stamps, matchbooks and other cultural tokens: they allow you to organize your understanding of culture and history in ways that follow the contours of your own thoughts, rather than those of professional historians
history  archive  highlights  from:dogeared  url:04709ec95d06e4be1bb2aee7fc17d246  dt:year=2014  dt:month=06  dt:day=19  dt:timestamp=1403187148 
june 2014 by straup
Nostalgia’s Blurring Glow -
The oddly unambivalent affection for Kentile and other similar signs is an extension of creative class fetish for the workingman’s life, the same sensibility that has resulted in the fashion for Carhartt jackets, Esso shirts, trucker caps, factory paraphernalia and so on among recent graduates of better Eastern colleges — the ultimate symbols of denied privilege. Even as many affluent liberals supported the Bloomberg administration’s ban on tree-trunk-size containers of soda, great labors were made to maintain the prominence of Pepsi’s enormous neon billboard overlooking the East River in Queens. The first eight floors of a luxury tower in Long Island City were recessed eight feet to give the sign adequate space.


The theory for preserving these monuments to advertising rests on the notion that we must maintain a link to the city’s lunch-pail past, almost as if there were no lunch-pail present. Certainly not every nostalgist is a supplicant to indifference, but how much more productive would it be for those in the business of memorializing to focus their energies instead on improving the lives of working-class New Yorkers today? As it happens, there are still plenty of them.
nyc  nostalgia  publicspaces  archive  lifestyleporn 
june 2014 by straup
Internet Archive Search: subject:"thisisaaronland"
all the thisisaaronland blog posts from 2006 and 2007 are now part the because lots of copies –
archive  thisisaaronland  from twitter
june 2014 by straup – 6 12 tiles #d3c14ebf2cdb2c87e3120da9b2ab820d
So, who knows someone with guanxi at Boeing? Or how to file a more usefully specific request with NASA? Or a FOIA/archives wizard to talk to? I’ll pay as much as a really fancy dinner for one-time retrieval costs, but I’m not looking to cut any kind of special deal for access. The data is taxpayer-funded and of special historical importance, and should be free. If whoever’s sitting on it now wants to play landlord with the heritage of the contemporary manufacturing process, it can wait another generation
vruba  archive  space  highlights  from:dogeared  url:1b86ed0da2e25232ee494b3779ba7cf9  dt:year=2014  dt:month=06  dt:day=10  dt:timestamp=1402420226 
june 2014 by straup
4Chan Archive - Stanford Digital Repository
The contents of this collection include: 4Chan Archive, including separate Imageboard threads a, cgl, vg ; "A Message from Jkid" that details the contents of the Archive; and a version of the Archive and threads in a Torrent File. According to the included "Message from Jkid:" "The following .rar consists of every thread collected from 4chan from my personal archives which were intergrated into the (Yotsuba Society Archives from the Start in 2011) from 2008 to August 2013. Some of these files predate the fuuka archivers that currently exist today to archive almost every thread of every board with the exception of /b/ for obvious reasons. From 2011 to August 2013 the Yotsuba Society Archives existed to preserve threads from 4chan and every other imageboard in the English chanverse, plus some threads from the Russian and Japanese chanverse. At it's peak, the Archives were the most visited part of the Yotsuba Society website, and the most popular part of the site were the direct downloads of the moot video archive." The message also includes information about the history of this collection.
museum  4chan  stanford  archive 
june 2014 by straup
Rhizome | To Bind and to Liberate: Printing Out the Internet #bfc1aea343c9638d7faaa2c5b0dd059a
When our content is printed, it has already become something different. There is a derogatory term in German for people who can't understand online content without printing it: Internetausdrucker. It's derogatory because the Internetausdruckern do not understand that printing online content fundamentally alters it.[2] It is not the content that we pay for with companies like MySocialBook and PediaPress: it is the transformation of our online activities into a different medium; it is the reassurance of the permanent.
archive  papernet  highlights  from:instapaper  dt:year=2014  dt:month=05  dt:day=02  url:732c7c4001a9d7097fdf1fdc06ecf7ff 
may 2014 by straup
Rhizome | To Bind and to Liberate: Printing Out the Internet #169d8d72cda00fb75006652e39aea4a5
But what we are most likely to remember about Goldsmith's printing project is not exactly the impossible gesture of wanting to print out the whole internet, not the monument to Swartz, not the liberation of strictly protected content, but the fact that people participated in it at all. The content that was sent reflects very much what internet users deem important, from emails to song lyrics to YouPorn, and reflects the way we use the internet—but also the stuff online that we valorize. Goldsmith may not have made everyone an artist, but he did touch the raw nerve that is our fear of losing our data.
archive  papernet  highlights  from:instapaper  dt:year=2014  dt:month=05  dt:day=02  url:732c7c4001a9d7097fdf1fdc06ecf7ff 
may 2014 by straup
The Great Works of Software — The Message — Medium #2b762069a2ae9435fe1918909a9670ee
You can see all the code that has gone into this because it is open-sourced. The code history of Emacs goes back 29 years on Github. You can skim over that code (it would take years to read it all) and see programmers coming and going, see how Emacs reacted, as a community and as a piece of software, to the incredible rate of change around it. Emacs provably represents literally decades of continual, community contemplation of a solitary question: What does it mean to create with words and symbols?
github  archive  highlights  from:instapaper  dt:year=2014  dt:month=04  dt:day=30  url:e7854a337499c39027ed4e1b814e5733 
april 2014 by straup
Alien Squad
"alien squad", aka: surveillance photos of 1930s communist and nazi groups in nyc city
nyc  surveillance  archive 
april 2014 by straup
Surveillance Photos of NYC Communists and Nazis Go Online
look, history removed from the consequence of the present...
archive  motive  surveillance  photography 
april 2014 by straup
"opinions is a small Web application that watches the Supreme Court of the United States website for new opinions, downloads the PDFs for each decision and looks for external URLs to use as seeds for web archiving. "
scotus  law  americaland  archive 
april 2014 by straup
Digital Preservation’s Place in the Future of the Digital Humanities | Trevor Owens #80fd958e84221d4036fe0eb5fa55a42c
We can’t count on benign neglect as a process of waiting to figure out what might matter in the future. The failure rate on most consumer grade digital media is much, much shorter than the failure rate on analog media. Further, when digital media fail it’s often complete, as opposed to being partially recoverable. To that end, there is a need for many to follow in the footsteps of projects like the Center for History and New Media’s September 11th Digital Archive, where a group of historians intervened and launched a site to crowdsource the collection of everything from text messages, emails, and other digital traces of the attacks for future historians to make sense of them. Learning lessons from areas like oral history collection, it is essential for historians to wade in and actively work to ensure that the digital ephemera of society will be available to historians of the future.
archive  highlights  from:instapaper  dt:year=2014  dt:month=04  dt:day=01  url:965148eeb73bccfd3c1f7748dcff8424 
april 2014 by straup
DSHR's Blog: The Half-Empty Archive #6d98c93051038a063471ab88955f871b
But monoculture is not the only problem. As I pointed out at the Preservation at Scale workshop, the economies of scale are often misleading. Typically they are an S-curve, and the steep part of the curve is at a fairly moderate scale. And the bulk of the economies end up with commercial suppliers operating well above that scale rather than with their customers. These vendors have large marketing budgets with which to mislead about the economies. Thus "the cloud" is not an answer to reducing storage costs for long-term preservation.

The actions of the Harper government in Canada demonstrate clearly why redundancy and diversity in storage is essential, not just at the technological but also at the organizational level. Content is at considerable risk if all its copies are under the control of a single institution, particularly these days a government vulnerable to capture by a radical ideology.
archive  highlights  from:instapaper  dt:year=2014  dt:month=04  dt:day=01  url:ca10afed5af59726b05aab60614a7612 
april 2014 by straup
DSHR's Blog: The Half-Empty Archive #03a8a5c62886c9c576b4b8a59b80b049
It is becoming clear that there is much important content that is too big, too dynamic, too proprietary or too DRM-ed for ingestion into an archive to be either feasible or affordable. In these cases where we simply can't ingest it, preserving it in place may be the best we can do; creating a legal framework in which the owner of the dataset commits, for some consideration such as a tax advantage, to preserve their data and allow scholars some suitable access. Of course, since the data will be under a single institution's control it will be a lot more vulnerable than we would like, but this type of arrangement is better than nothing, and not ingesting the content is certainly a lot cheaper than the alternative.
archive  highlights  from:instapaper  dt:year=2014  dt:month=04  dt:day=01  url:ca10afed5af59726b05aab60614a7612 
april 2014 by straup
DSHR's Blog: The Half-Empty Archive #cc49c8c69db70252252180f962769ce4
Increasingly, the newly created content that needs to be ingested needs to be ingested from the Web. As we've discussed at two IIPC workshops, the Web is evolving from a set of hyper-linked documents to being a distributed programming environment, from HTML to Javascript. In order to find the links much of the collected content now needs to be executed as well as simply being parsed. This is already significantly increasing the cost of Web harvesting, both because executing the content is computationally much more expensive, and because elaborate defenses are required to protect the crawler against the possibility that the content might be malign.
archive  highlights  from:instapaper  dt:year=2014  dt:month=04  dt:day=01  url:ca10afed5af59726b05aab60614a7612 
april 2014 by straup
Douglas Coupland: The Clock Strikes 13 in the Archive World - #013dedf003044d0f93e9fb19c89b25ec
For the archivist, it means that the paper they once collected – manuscripts for novels, notepads, UN speeches and what have you – no longer exist, or never came into existence. What paper material that arrives for archiving now is more ephemeral: thank-you notes, ticket stubs, dinner-table seating plans and cocktail-napkin sketches. Manuscripts now exist almost entirely electronically, and there’s apparently not that much interest in a laser printout of a book in its early stages, or even in the final drafts where a back and forth with an editor is evident. Archivists want the first draft only, and they want it written by hand, the thinking being that with handwriting you have a true neurological record of a book’s pregnancy and birth.

This is a bit fetishistic and, in 2014, not too likely to happen. The need for authorial gesture in the face of high tech is not unlike the New York art world of the early 1960s, where the abstract expressionists (with their near-religious obsession with dribbles and stroke being a manifestation of the id) were in the winter of their vanguard, while the newly emerging pop artists – with their technological, unsentimental rejection of brushstrokes and the paintiness of paint – were next in line to steal the crown.
coupland  archive  papernet  highlights  from:instapaper  dt:year=2014  dt:month=03  dt:day=10  url:9cb2f8f58135a52a26c27827eaaeaf08 
march 2014 by straup
stamen design | A Tale of Two Cities’ Maps: Dataviz is a Garden, not Architecture
We don’t always think of digital works in the same way, perhaps because their metaphor of creation more closely resembles that of a built object, like a bookcase or building. But even buildings need maintenance, and after so many years, the shelves on the bookcase may falter and need new ones. We need to be more conscious about this aspect of dynamic data visualization, at the outset.

I urge of all our clients, in particular those who are making works for the public (which is most of them), to consider plans for maintenance. Luckily a lot has changed since 2007, and now more of our clients have some kind of web or technology team to take this work on. It’s part of their operating strategy. Clients in the nonprofit and municipal centers typically do not have those kinds of resources, and if they do, they are usually limited. What’s troubling is that these are the clients typically commissioning some of the most socially relevant work, yet their funding models typically only call for the build, and nothing beyond that. Nonprofits have the advantage of being able to fundraise (which is a TON of work), whereas governmental departments must rely on strict, slow process and very limited budgets.

If you are one of these bodies and you want to make socially relevant work, then we urge you too to think about how these works will live beyond the build and to come up with a plan (or at least funding model) for how it can be maintained. If not, all that work and money and time is going into something which is sadly, inevitably doomed. It’s not enough to visualize data, or to make it public: as data visualization moves from a flashy experimental genre to one that the public relies on, we need to come up with solutions that let them grow and change over time—to take the time to water and prune, just like we do our gardens.
crimespotting  archive  stamen 
march 2014 by straup
Malware - Federal Business Opportunities: Opportunities
The Federal Bureau of Investigation (FBI) has a requirement for malware. Please see attached combined synopsis/solicitation for complete details.
fbi  archive 
february 2014 by straup
Netflix and Google Books Are Blurring the Line Between Past and Present | Underwire | #d165f124730d7c2191d950b7c49f6ab6
This omnipresence of the past has weird effects on contemporary culture. Take any genre of music, from death metal to R&B to chillwave, and the cloud directs you not just to similar artists in the present but to deep wells of influence from the past. Yes, people still like new things. But the past gets as much preference as the present—Mozart, for example, has more than 100,000 followers on Spotify. In a history glut, the idea of fashionability in music erodes, because new songs sit on the same shelf as songs recorded five, 25, and 55 years ago, all of them waiting to be discovered. In this eternal present, everything can be made contemporary.
archive  network  ftrain  highlights  from:instapaper  dt:year=2014  dt:month=02  dt:day=05  url:1f5346d1cbf01f6c5975a069b2c310e7 
february 2014 by straup
Netflix and Google Books Are Blurring the Line Between Past and Present | Underwire | #19baf5c9334f6692c78a1259c814b7d8
Much as we marvel at Babylonian clay tablets listing measures of grain, future generations will find just as much meaning in our log files as they will in the media we consume. Sure, Frank Sinatra sang a bunch of songs; sure, Jennifer Lawrence was a big star in 2014. But the log files tell you who listened, and when, and where they were on the planet. It’s these massive digital archives—and the records that show how we used them—that will be the defining historical objects of our era.
archive  network  ftrain  highlights  from:instapaper  dt:year=2014  dt:month=02  dt:day=05  url:1f5346d1cbf01f6c5975a069b2c310e7 
february 2014 by straup
Netflix and Google Books Are Blurring the Line Between Past and Present | Underwire | #ae0c0d30d495e5d1f8b5b7113b4f6ccb
Suddenly we find ourselves living in an online realm where the old is just as easy to consume as the new. We’re approaching an odd sort of asymptote, as our past gets closer and closer to the present and the line separating our now from our then dissolves.
archive  network  ftrain  highlights  from:instapaper  dt:year=2014  dt:month=02  dt:day=05  url:1f5346d1cbf01f6c5975a069b2c310e7 
february 2014 by straup
Free Sgt. Star: Army Ignores FOIA Request for Artificial Intelligence Records | Electronic Frontier Foundation
Last year, we filed a request with the Army to see if we could obtain him, or elements of him, through the Freedom of Information Act. More than 75 calendar days have passed and the Army still hasn’t responded, not even to say they’re withholding the records.
eff  archive  museum 
february 2014 by straup
New documents: NSA provided 2-3 daily “tips” to FBI for at least 3 years #d0a0045c1dfbd01adfd5f3f0ac5e4b8b
Thus, since the earliest days of the FISC-authorized collection of call-detail records by the NSA, the NSA has, on a daily basis, accessed the BR metadata for purposes of comparing thousands of non-RAS approved telephone identifiers on its alert list against the BR metadata in order to identify any matches. Such access was prohibited by the governing minimization procedures under each of the relevant Court orders, as the government concedes in its submission.

The government’s submission suggests that its non-compliance with the Court’s orders resulted from a belief by some personnel within the NSA that some of the Court’s restrictions on access to the BR metadata applied only to “archived data,” i.e., data residing within certain databases at the NSA. That interpretation of the Court’s Orders strains credulity. It is difficult to imagine why the Court would intend the applicability of the RAS requirements—a critical component of the procedures proposed by the government and adopted by the Court—to turn on whether or not the data being access has been “archived” by the NSA in a particular database at the time of the access. Indeed, to the extent that the NSA makes the decision about where to store incoming BR metadata and when the archiving occurs, such an illogical interpretation of this Court’s Orders renders compliance with the RAS requirement merely optional.
nsa  surveillance  archive  motive  highlights  from:instapaper  dt:year=2014  dt:month=01  dt:day=23  url:5127247e0595688832f4bd22fad53b42 
january 2014 by straup
Glitch in the Afterlife - Boing Boing
"That measure of freedom is important to us because when you come down to it, as a species, culture is all we’ve got. The more of it we make, the better. The freer the materials the easier it is for people to make new things. Glitch was not a significant cultural milestone in its own right, but we hope that it has an outsize impact in its ability to foster the creation of more art and the expression of more creativity."
aa:post=objects  aa:ima=link  aa:year=2014  glitch  archive  play  museums-and-the-network  ohyeahthat  butterfield 
december 2013 by straup
Minimum Viable Ur, modestly rebuilding Glitch an update of sorts.
RT @revdancatt: Blogpost: “Minimum Viable Ur, modestly rebuilding Glitch an update of sorts.” in which I dump my brain about @MVURXI
glitch  revdancatt  archive 
december 2013 by straup
'Oh, you wanted us to preserve that?!' Statements of Preservation Intent for the National Library of Australia's Digital Collections #ca005f058e119d253d364ec224de1801
This approach accepts that users and values will almost certainly change over time. However, it assumes that useful action is more likely to arise from making the best estimates we can for the foreseeable future than it is from refusing to make any decisions about priority uses and values.
motive  archive  highlights  from:instapaper  dt:year=2013  dt:month=12  dt:day=04  url:194d935322bdb945a936d9826ce5c529 
december 2013 by straup
'Oh, you wanted us to preserve that?!' Statements of Preservation Intent for the National Library of Australia's Digital Collections #fc9fa5ea454eba41a27f054d2df2ecff
That's not quite the same as saying 'we don't know what we are doing'. We are looking for practical approaches that appear most likely to work, while recognising we are unlikely to foresee and forestall every problem. We are experienced experimenters familiar with operating speculatively.
motive  designfiction  archive  museums-and-the-network  ohyeahthat  highlights  from:instapaper  dt:year=2013  dt:month=12  dt:day=04  url:194d935322bdb945a936d9826ce5c529 
december 2013 by straup The Long and Short Paths for Frontier on Mavericks #6e5ad0f78df02d24c4c658f1fe6125a4
You can’t compile it on Xcode 5. Which means you really need a machine running OS X 10.6 and Xcode 3.x with the 10.5 SDK. That’s the only way you can build and debug, so you can understand how it’s supposed to work.
archive  code  historyboxes  motive  highlights  from:instapaper  dt:year=2013  dt:month=11  dt:day=19  url:b3de2b9d47bbd5ff97dfca3de41277dc 
november 2013 by straup
And Remember, this Is for Posterity - Learning - Source: An OpenNews project #ed03efdb0fa5c82f331db9be30ef4e66
Matt’s article highlights a key point: as developers, we are often only thinking to the next milestone and slightly beyond. Definitely not into the next year. Or 20 years from now. That’s also true of traditional narrative journalists. The good ones are often only writing for their next deadline. And yet, their work is perfectly designed for posterity. English changes but at a far slower rate than programming languages. Paper will crumble eventually, but any pile of Zip Disks lurking in old desk drawers testifies that print is more durable than many digital formats.
archive  papernet  highlights  from:instapaper  dt:year=2013  dt:month=11  dt:day=15  url:8df8d6ab966277d16df8a73caf0276e0 
november 2013 by straup
Kill All Your Darlings - Learning - Source: An OpenNews project #c7c3a8dd9656a1722d8fda8a8ce8bb74
The business answer here is turn it off. Shut it down. Back up the truck. Stop wasting money on it.

But news people know there’s value in longevity. A good project becomes a resource, or a monument to a moment in our history. And you can’t be the first draft of history if you delete the draft.
archive  historyboxes  highlights  from:instapaper  dt:year=2013  dt:month=11  dt:day=15  url:bb9d74ee41cd8f2f1fc7ce9f903f12a5 
november 2013 by straup
▶ Honeypots and Archive Realism - YouTube
"every time I say that flickr is doing fine I hear @textfiles roaring with laughter" –
aaronland  archive  flickr  parallel-flickr  loc 
october 2013 by straup
Paddles ON! - Cool Hunting
"CH also spoke with curator Lindsay Howard about how she set the criteria for choosing the works in this auction. "I had been thinking about MoMA's acquisition of 14 video games and how Cooper Hewitt recently became the first museum to acquire code as a living object. The idea of 'What will stand the test of time?' intrigued me, since technology often goes hand-in-hand with obsolescence," she says."
planetary  cooperhewitt  archive 
october 2013 by straup
Designing for Archives, FOWD 2013 – Allen Tan is…writing
Now, I think we’ve been riding on this white horse of simplicity for a while now and we tend to bias automatic = good! and user input = too much effort = bad! But, remember Flickr? Flickr was the master of getting users to explicitly provide information. It was one of the sites that made the concept of tags famous, but they gave users many other tools to organize their photos. They gave users sets – sets are you think of as a regular photo album, they hold a group of photos. They gave users collections—collections group sets and other collections together. They gave users galleries—and the only rule with galleries is that you can only have 18 photos in a gallery, and the photos have to be from other users, they couldn’t be your own photos. Because the idea was for you to go curate and distill Flickr, this great mass of photos, into something that shows a specific perspective or framing.

Did users use these? They did! They didn’t mind the effort, they created them and shared them around and commented on them. These tools acted as handles for people’s photos. Flickr let you share any of those units publicly or privately. This was so flexible and powerful. So I could keep my photo stream completely private, and just for myself, and then I could create a set of photos of museums and the High Line that I took while visiting New York and I could share that set with my art class, and then I could create a collection that contained the High Line photos and maybe add some photos of the Cooper archive and share that to my design friends. It encouraged users to revisit their existing body of work over and over again, to think about it, and derive new meaning from it by letting them manipulate it.
archive  flickr  museums-and-the-network  ohyeahthat  handles  tealtan 
october 2013 by straup
Perma: Scoping and Addressing the Problem of Link and Reference Rot in Legal Citations by Jonathan Zittrain, Kendra Albert, Lawrence Lessig :: SSRN
We document a serious problem of reference rot: more than 70% of the URLs within the Harvard Law Review and other journals, and 50% of the URLs found within U.S. Supreme Court opinions do not link to the originally cited information.

Given that, we propose a solution for authors and editors of new scholarship that involves libraries undertaking the distributed, long-term preservation of link contents.
archive  network  law  permalinks 
september 2013 by straup
It Takes a Village to Save a Hard Drive
RT @benfinoradin: It Takes a Village to Save a Hard Drive
archive  from iphone
september 2013 by straup
Surface to Air: Artists are Stars. Albums are Planets. Tracks are Moons.
"Furthermore, source code must be preserved, because it can only be built for a specific period of time. It may depend on libraries that are no longer maintained by their authors. The hardware platform and operating system for which it was designed may be obsolete. As Sebastian Chan and Aaron Cope wrote in the Cooper-Hewitt curatorial statement, "Software and hardware are separate but inescapable companions that exact a sometimes profound and warping, and sometimes destructive, influence on one another." And companies don't last forever. (Bloom, creators of Planetary, closed in November 2012.)

I hope the Cooper Hewitt continues to acquire significant code for this collection. For consideration, I submit Rob Pike's landmark graphics system for the Blit terminal, circa 1983. If you are reading this piece on a computer screen with multiple, overlapping, active windows, you have Mt. Pike to thank. If you are reading this on a mobile device, you should appreciate the need to preserve the generation of interactive techniques that enabled it."
cooperhewitt  planetary  archive 
september 2013 by straup
To Preserve Digital Design, The Smithsonian Begins Collecting Apps | Co.Design | business + design
"Planetary might be a modest start, but collecting digital works of design is the future of museums. It's no longer enough to pack our time arks full of big dumb objects and launch them blindly into the future. You can't preserve a digital object without preserving the technology and processes that created it. Maybe that's the curatorship we should have been trying to practice all along."
planetary  cooperhewitt  museum  archive 
september 2013 by straup
When is a museum website like a sofa? | Tate #49acb06911483e10e34f291978edc1d4
By speaking of a ‘single database’ I don’t mean that we necessarily set our hearts on a fully unified IT system behind the scenes. Our art and archive collections are managed by different departments in the museum and the primary cataloguing data for these collections reside in completely separate source databases. Projects that undertake to merge multiple source databases can defeat even the hardiest of project managers. Our task for this project is merely to mask these institutional divisions from our online visitors, so that what they experience is a single pool of information where digital records for around 150,000 artworks and archive items can not only coexist but speak a common language.
museum  archive  database  tate  highlights  from:instapaper  dt:year=2013  dt:month=09  dt:day=06  url:1b59ddb89d6920aca0d89d8f9cc09fa7 
september 2013 by straup
When is a museum website like a sofa? | Tate #d8b1b6ba5e85d53c031f08fc32c65b41
A collection database without decent metadata is about as useful as a bookshop whose entire stock is shelved in order of ISBN number. Normally, we rely on books being arranged by subject matter or author to get a handle on what’s available. But a digital collection has the advantage of allowing users to pick between rival shelving systems.
museum  archive  tate  highlights  from:instapaper  dt:year=2013  dt:month=09  dt:day=06  url:1b59ddb89d6920aca0d89d8f9cc09fa7 
september 2013 by straup
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