The challenge that many archival repositories face is assimilating digital preservation activities into everyday workflows. In my past positions, preservation of digital assets was an afterthought—if thought about at all. As a consultant, I’ve found that planning for long-term digital preservation is still unclear in most digital initiatives. Awareness about digital preservation is growing, though work and education are still needed.
As you develop your knowledge management strategy, it’s important to get user input in order to determine which needs to address. Conduct surveys to identify challenges and needs, identify opportunities, and request suggestions.
No matter how much you loved your library system when you first got it, given that the role of librarians keeps widening in scope (as more and more people realise the value of their librarians), and given the speed of technology developments, there comes a point when changing your ILS/LMS can be worth the effort.
A clear understanding of the scope is the basis on which successful archival projects are built. Without it, archivists will struggle to deliver a project well.
There are many ways to nurture an organizational knowledge-sharing culture, including embracing “Working Out Loud”. Bryce Williams defines Working Out Loud (WOL) as Observable Work (creating, modifying, and storing your work in places where others can see it, follow it, and contribute to it in process) + Narrating Your Work (writing about what you are doing in an open way for those interested to find and follow).
“Out of Sight” should not mean “Out of Mind.” The worst happens when we least expect it. While it’s great that library items are stored in safe locations, it’s essential that these facilities be included in security, risk management, and disaster response plans.
Your organization’s IT department is a key functional partner. You will need to work with them to plan and implement technology projects. Here are detailed suggestions for how to best do this.
During the Civil Rights era of the 1960s and 1970s a cultural and legislative transformation occurred that began the effort to protect minorities and persons with disabilities against discrimination, and advocate for their equal right to participate in all aspects of life. There is still much to be done in both the United States and Canada, and the museum world is not exempt from this work.
Archivists can use several elicitation techniques to gather requirements for their projects. These methods, ranging from document analysis to in-depth interviews, provide ideas for needed projects.
On September 2, 2018 the Museu Nacional (Brazil’s National Museum) experienced a terrible fire that led to an estimated loss of more than 20 million specimens and artifacts – approximately 90% of its collection.
Requirements for archival projects are different from goals and objectives. Requirements specify what the deliverables of the completed project must be. Requirements define the final product, service, or result. These are statements of quantitative criteria, each of which provides a measure of one or more of the project’s critical success factors. You can visualize the requirements when you consider the current condition of an organization and then examine its future state once the project is completed.
As museums have evolved, so have their exhibits. We’ve seen displays go from wax model recreations of Neanderthals, miniaturized versions of places, touch and play set ups to interactive digital panels, integrated multi-media, and even augmented reality (AR) and virtual reality (VR) set ups that enhance the exhibit experience.