NISO FRAMEWORK-2007 A Framework of Guidance for Building Good Digital Collections《建立良好数字馆藏的指导框架(第3版)》.pdf

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1、 A Framework of Guidance for Building Good Digital Collections 3rdedition December 2007 A NISO Recommended Practice Prepared by the NISO Framework Working Group with support from the Institute of Museum and Library Services National Information Standards Organization Baltimore, Maryland About NISO R

2、ecommended Practices A NISO Recommended Practice is a recommended “best practice“ or “guideline“ for methods, materials, or practices in order to give guidance to the user. Such documents usually represent a leading edge, exceptional model, or proven industry practice. All elements of Recommended Pr

3、actices are discretionary and may be used as stated or modified by the user to meet specific needs. This recommended practice may be revised or withdrawn at any time. For current information on the status of this publication contact the NISO office or visit the NISO website (www.niso.org). Published

4、 by National Information Standards Organization (NISO) One North Charles Street, Suite 1905 Baltimore, MD 21201 www.niso.org Copyright 2007 by the National Information Standards Organization All rights reserved under International and Pan-American Copyright Conventions. For noncommercial purposes on

5、ly, this publication may be reproduced or transmitted in any form or by any means without prior permission in writing from the publisher, provided it is reproduced accurately, the source of the material is identified, and the NISO copyright status is acknowledged. All inquires regarding translations

6、 into other languages or commercial reproduction or distribution should be addressed to: NISO, One North Charles Street, Suite 1905, Baltimore, MD 21201. Printed in the United States of America ISBN (10): 1-880124-74-2 ISBN (13): 978-1-880124-74-1 A FRAMEWORK OF GUIDANCE FOR BUILDING GOOD DIGITAL CO

7、LLECTIONS Page i CONTENTS Foreword .ii Introduction 1 Collections.4 Objects .26 Metadata63 Initiatives.86 A FRAMEWORK OF GUIDANCE FOR BUILDING GOOD DIGITAL COLLECTIONS Page ii FOREWORD The 3rdedition of A Framework of Guidance for Building Good Digital Collections was produced by the National Inform

8、ation Standards Organization (NISO) Framework Working Group, with the generous support of the Institute of Museum and Library Services (IMLS). Working Group members are: Grace Agnew, Rutgers University Murtha Baca, Getty Research Institute Priscilla Caplan (Chair), Florida Center for Library Automat

9、ion Carl Fleischhauer, Library of Congress Tony Gill, Center for Jewish History Ingrid Hsieh-Yee, Catholic University Jill Koelling, Northern Arizona University Christie Stephenson, American Museum Karen A. Wetzel, NISO liaison The Working Group is grateful to the following individuals for taking ti

10、me to read the review draft and offer their very helpful and often extensive comments and suggestions. The Framework of Guidance document is improved immeasurably by their review. Stuart Dempster, Director, Strategic e-Content Alliance, JISC Jane Greenberg, Associate Professor, School of Information

11、 and Library Science, University of North Carolina-Chapel Hill Martin R. Kalfatovic, Head New Media Office, Smithsonian Institution Libraries Elizabeth OKeefe, Director of Collection Information Systems, Morgan Library and funding organizations that want to encourage the development of good digital

12、collections. The use of the word “good” in this context requires some explanation. In the early days of digitization, a collection could be considered good if it provided proof of concept or resulted in new institutional capabilitieseven if the resulting collection itself was short-lived or of minim

13、al usefulness to the organizations users. As the digital environment matured, the focus of digital collection-building efforts shifted toward the creation of useful and relevant collections that served the needs of one or more communities of users. The bar of “goodness” was raised to include levels

14、of usability, accessibility, and fitness for use appropriate to the anticipated user group(s). Digital collection development has now evolved and matured to a third stage, where simply serving useful digital collections effectively to a known constituency is not sufficient. Issues of cost/value, sus

15、tainability, and trust have emerged as critical success criteria for good digital collections. Objects, metadata, and collections must now be viewed not only within the context of the projects that created them, but as building blocks that others can reuse, repackage, repurpose, and build services u

16、pon. “Goodness” now demands interoperability, reusability, persistence, verification, documentation, and support for intellectual property rights. In edition three of this Framework we acknowledge that digital collections increasingly contain born-digital objects, as opposed to digital objects that

17、were derived through the digitization of analogue source materials. We also acknowledge that digital collection development has moved from being an ad hoc “extra” activity to a core service in many cultural heritage institutions. Digital collections must now intersect with the users own contextwithi

18、n the course, within the research process, within the leisure time activities, and within the social networks that are important to the end user. A FRAMEWORK OF GUIDANCE FOR BUILDING GOOD DIGITAL COLLECTIONS Page 2 Usersin particular the younger generations of usershave integrated digital technologi

19、es so completely into their lives that they are ready and even eager to move into a role as creators and collaborators. The rise of shared information spaces such as YouTube and Flickr; the popularity of social networking sites such as MySpace, Facebook, and LinkedIn; and the growth of the “mash-up”

20、 as the vehicle for new creativity demonstrate that good digital collection-building has become an active collaboration between the information professional and the user, resulting in collections that are reliable and authoritative, yet also compelling and useful to a wide range of users wherever th

21、ey live, work, and play. The Framework of Guidance provides criteria for goodness organized around four core types of entities: Collections (organized groups of objects) Objects (digital materials) Metadata (information about objects and collections) Initiatives (programs or projects to create and m

22、anage collections) Note that services have been deliberately excluded as out of scope. It is expected that if quality collections, objects, and metadata are created, it will be possible for any number of higher-level services to make effective use and reuse of them. For each of these four types of e

23、ntities, general principles related to quality are defined and discussed, and supporting resources providing further information are identified. These resources may be standards, guidelines, best practices, explanations, discussions, clearinghouses, or examples. How to Contribute Every effort has be

24、en made to select resources that are useful and current, and to provide helpful annotations. However, the list of resources is not exhaustive and, given the dynamic nature of the digital information environment, can be expected to change rapidly over time. With the third edition of the Framework, we

25、 open the document up for ongoing contributions from the community of librarians, archivists, curators, and other information professionals. We encourage you to contribute your own ideas and experiences, suggest resources, and evaluate those that have been suggested. Please see the Community Version

26、 on the Web at: http:/purl.fcla.edu/fcla/NISOCommunityFramework How to Use There are no absolute rules for creating good digital collections. Every digital collection-building initiative is unique, with its own users, goals, and needs. Initiatives dealing with legacy collections, for example, have d

27、ifferent constraints than projects embarking on new digitization efforts, which in turn have different constraints than projects building collections of born-digital materials. Museums, libraries, archives, and schools have different constituencies, priorities, institutional cultures, funding mechan

28、isms, and governance structures. A FRAMEWORK OF GUIDANCE FOR BUILDING GOOD DIGITAL COLLECTIONS Page 3 The key to a successful project is not to strictly and unquestioningly follow any particular path, but to plan strategically and make wise choices from an array of tools and processes to support the

29、 unique goals and needs of each collection. A number of excellent resources take a holistic view of digitization projects, covering topics ranging from selection, capture, and description to preservation and long-term access. The following are highly recommended: UKOLN, Good Practice Guide for Devel

30、opers of Cultural Heritage Web Services (2006) http:/www.ukoln.ac.uk/interop-focus/gpg/. Anne R. Kenney and Oya Y. Rieger, Moving Theory into Practice: Digital Imaging for Libraries and Archives (2000) http:/www.library.cornell.edu/preservation/tutorial/. An online tutorial of imaging basics in Engl

31、ish, French and Spanish. Northeast Document Conservation Center, Handbook for Digital Projects: A Management Tool for Preservation correcting or enhancing the data itself; and adding annotations, linkages to other materials, or other enriching information. It can involve working with the creators of

32、 the digital objects to ensure they are appropriately transferred to the custody of the curator, and appropriately described and documented. Digital Curation Centre website http:/www.dcc.ac.uk/. The U.K.s Digital Curation Center promotes digital curation by sponsoring events like workshops and confe

33、rences and collecting or commissioning publications and tools. Their website links to a wealth of information, much of it focused on active data management. The DCC is also publishing a comprehensive Curation Manual http:/www.dcc.ac.uk/resource/curation-manual/in a series of installments. More than

34、45 chapters have been commissioned so far, covering a wide range of topics from appraisal and selection to technological obsolescence. Although only a handful of chapters have been published so far, this is likely to become a definitive resource on digital curation. Philip Lord and Alison Macdonald,

35、 E-Science Curation Report (2003) http:/www.jisc.ac.uk/uploaded_documents/e-ScienceReportFinal.pdf. Details the requirements of data curation in the sciences and database-intensive social science and humanities disciplines. There are industry standard practices applicable to all mission-critical dat

36、a and are not specific to digital collections. Data center and IT staff should be aware of these good general resources: ISO/IEC 27002:2005, Information technology Security techniques Code of practice for information security management (June 2005)http:/en.wikipedia.org/wiki/ISO/IEC_27002. This Wiki

37、pedia article describes the standard and links to purchase information. Web Application Security Consortium website http:/www.webappsec.org/. The Consortium produces and releases technical information, articles, guidelines, and documentation for best practice security standards. Capture of born-digi

38、tal materials can present special challenges, particularly ephemeral materials and works with distributed authorship such as websites and emails. Many academic institutions have established institutional repositories for content generated by students, faculty, and staff, but it is difficult to convi

39、nce authors to deposit their own materials. A FRAMEWORK OF GUIDANCE FOR BUILDING GOOD DIGITAL COLLECTIONS Page 10 Creating an Institutional Repository: LEADIRS Workbook ( 2004) http:/www.dspace.org/implement/leadirs.pdf. Covers all angles of planning, policy and implementation. Written by MIT for a

40、British audience. Australian Partnership for Sustainable Repositories (APSR) website http:/www.apsr.edu.au/. APSR supports the implementation and use of institutional repositories at universities in Australia, and promotes linkages among them. While some usages equate digital preservation with archi

41、ving, preservation is more properly thought of as that subset of archiving concerned with the application of active preservation strategies to ensure an object remains usable despite hardware and software obsolescence. Preservation strategies generally involve format transformation, hardware/softwar

42、e emulation, or combinations of the two. The long-term archiving and preservation of digital materials is a difficult and expensive undertaking that requires substantial resources and serious institutional commitment. Resources are now available that continue to move the discussions forward toward b

43、est practice for preservation of digital content. Trustworthy Repositories Audit and Certification (TRAC): Criteria and Checklist (2007) http:/www.crl.edu/PDF/trac.pdf. These metrics will likely become the basis on an international standard for assessing trustworthy digital repositories. Digital Rep

44、ository Audit Method Based on Risk Assessment (DRAMBURA) website, http:/www.repositoryaudit.eu/. Toolkit and supporting tutorials are designed to help a repository do a self-audit against the TRAC criteria. PREMIS Preservation Metadata Maintenance Activity website, http:/www.loc.gov/standards/premis

45、/. Includes a Data Dictionary for preservation metadata, supporting materials and a forum for the PREMIS Implementors Group. National Library of Australia, Preserving Access to Digital Information (PADI) website http:/www.nla.gov.au/padi/. Comprehensive clearinghouse of current and historical materi

46、als related to digital preservation and curation. A FRAMEWORK OF GUIDANCE FOR BUILDING GOOD DIGITAL COLLECTIONS Page 11 COLLECTIONS PRINCIPLE 4 Collections Principle 4: A good collection is broadly available and avoids unnecessary impediments to use. This principle encompasses three attributes: avai

47、lability, usability, and accessibility. Availability means that the collection is accessible and usable upon demand by an authorized person. This implies that collections should be accessible through the Web, using technologies that are well known among the target user community. They should be “up”

48、 as close to 24/7 as possible, which has implications for system security and maintenance. Availability does not require that use of all materials be free and unrestricted; charging for use and limiting access may be appropriate and even necessary in some circumstances. But it does require an attemp

49、t to make the materials as widely available as possible within any required constraints. American Library Association, Principles for Digital Content (2007) http:/www.ala.org/ala/washoff/oitp/Principlesfinalfinal.pdf. These recently adopted principles emphasize commitment to equitable access. Usability refers to ease of use. There is often a tradeoff between functionality and general usability; the timing of the adoption of new features should be considered in light of how many potential users will be capable of using the tec