I looked at CASPAR, watched their videos and tried to sort out some
information from their extensive set of documents. But I wasn't able to
get a handle on just how they plan to create "technology-neutral"
solutions for technology-dependent projects. Earlier in the discussion
dance was mentioned as a model for creating "universal" systems of
access. But any art form which is rooted in a score or a script is
already malleable. But that's not really analogous to
technology-dependent art. A simple example. Recently the HD on my
local web development server failed and so when I re-configured it, I
moved from a 32-bit Linux system to 64 bit. Some things simply don't
work, in particular certain Open Source facilities which haven't been
kept up to date.
Jon Ippolito just wrote about a Metaserver for accessing archives across
a multiplicity of architectures. This kind of "universalizing" works
because it hides the technological particulars behind a generalized
interface. Libraries already have this kind of access; they can use any
local database system as long as its search facilities support the
Z39.50 protocol. But what CASPAR seems to be aiming at is something
else, not a met-architecture sitting on top of a multiplicity of local
architectures, but what they refer to as a 'modular' substitute for the
local systems--I think. I'd appreciate any information about just how
CASPAR plans to work their magic.
Thanks,
Myron
Caroline Langill wrote:
> Hello again,
>
> Ghislaine, CASPAR is a great organization to introduce into this discussion.
>
> At last year's DOCAM conference they gave quite an extensive presentation. What struck me about their model was the potential for its use earlier in the life of a project. It is difficult to describe here, and those of you interested should take a look at their site, but it seemed to me that artists - particularly those in collaborative practices - could use the CASPAR methodology much earlier in the process, well before the preservation stage. I spoke with one of the speakers about this possibility, about entering into a relationship with CASPAR at the production stage, which would create a network and database for collaborators to communicate through.
>
> I'm not sure if they have pursued this at all, but they were intrigued by the possibility.
>
> Caroline
>
>
>
>
>> Date: Fri, 19 Jun 2009 16:28:19 +0100
>> From: [log in to unmask]
>> Subject: Re: [NEW-MEDIA-CURATING] the myth of access
>> To: [log in to unmask]
>>
>> Dear all
>>
>> maybe these projects have been already mentioned earlier in the debate
>> but just in case it would be good to reference them as they are
>> "aiming" at dealing with preservation of knowledge, intelligence and
>> the non permanent work out there, including multimedia performance
>>
>>
>> 1. CASPAR - Cultural, Artistic and Scientific knowledge for
>> Preservation, Access and Retrieval
>>
>> http://www.casparpreserves.eu/
>>
>> " How can digital data still be used and understood in the future when
>> systems, software, and everyday knowledge continues to change? This is
>> the CASPAR challenge. CASPAR methodological and technological solution:
>> is compliant to the OAIS Reference Model - the main standard of
>> reference in digital preservation
>> is technology-neutral: the preservation environment could be
>> implemented using any kind of emerging technology
>> adopts a distributed, asynchronous, loosely coupled architecture and
>> each key component is self-contained and portable: it may be deployed
>> without dependencies on different platform and framework
>> is domain independent: it could be applied with low additional
>> effort to multiple domains/contexts.
>> preserves knowledge and intelligibility, not just the bits
>> guarantees the integrity and identity of the information preserved
>> as well as the protection of digital rights"
>>
>>
--
_____________________
Myron Turner
http://www.room535.org
http://www.mturner.org
http://net18reaching.org/cityscapes
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