Cadmore media player playing video Attributes of sustainability-NISO Plus
Video Player
Accessibility
Using forms mode, you can utilize keyboard shortcuts to make usability more efficient.
Space bar will play and pause the video. Pressing escape will close all displays and pressing it again will jump to the end of the player.
You can press A to open the Keyboard Shortcut Dialog which also provides an audio description of the player and all of its features.
Language
1x
Play Speed
Adjust Volume
Transcript
Search
Result Count
of
Click to jump to result
Search
Re-center
Segments
Result Count
of
Click to jump to result
Search
Name:
Attributes of sustainability-NISO Plus
Description:
Attributes of sustainability-NISO Plus
Thumbnail URL:
https://cadmoremediastorage.blob.core.windows.net/476bb6eb-b0e9-4e39-b134-04c6c42165e8/thumbnails/476bb6eb-b0e9-4e39-b134-04c6c42165e8.png?sv=2019-02-02&sr=c&sig=wNRC7%2FXu7O28lWSzZvBOcolDkRY4lvnH7T%2FLY2CyrAE%3D&st=2024-12-08T21%3A17%3A15Z&se=2024-12-09T01%3A22%3A15Z&sp=r
Duration:
T00H14M28S
Embed URL:
https://stream.cadmore.media/player/476bb6eb-b0e9-4e39-b134-04c6c42165e8
Content URL:
https://cadmoreoriginalmedia.blob.core.windows.net/476bb6eb-b0e9-4e39-b134-04c6c42165e8/Attributes of sustainability-NISO Plus.mp4?sv=2019-02-02&sr=c&sig=%2B3gT0gmIDXfTJ%2BajHap9AJbJ85h8HRLoun84k2EU16w%3D&st=2024-12-08T21%3A17%3A16Z&se=2024-12-08T23%3A22%3A16Z&sp=r
Upload Date:
2022-08-26T00:00:00.0000000
Transcript:
Language: EN.
Segment:0 .
[INTRO MUSIC]
OYA RIEGER: Hello, I'm Oya Rieger from Ithaka S+R, and appreciate this opportunity to participate in NISO Plus 2022. Libraries, museums, and archives have increasing dependency on digital platforms. It is to support the creation, discovery, and management of their content. These platforms can be not-for-profit or commercial. Examples including Preservica, MetaArchive, APTrust, Samvera.
OYA RIEGER: The long-term stewardship of digital materials depends not only on the technical resiliency of these systems, but also on the strength of their sustainability and ability to meet the needs of their clients. With funding from the Institute of Library and Museum Services, Ithaka S+R has been involved in a two year research project to examine and assess how digital preservation systems are deployed, developed, and sustained.
OYA RIEGER: The purpose of my presentation is to share with you some of the findings of this study. And after my brief synopsis, there will be a roundtable discussion, including my colleagues Carol Mandel, Roger Schonfeld, and Katherine Skinner. We will together explore some related issues. And we aim to leave ample time for your questions and comments.
OYA RIEGER: So let me first provide a context for my presentation. What do I mean by saying digital preservation and curation systems? So this is really oversimplification, just for the purposes of our project. But we have two buckets. The first category involves close institutional efforts to curate and preserve specific content type or collections, such as CLOCKSS, Internet Archive, HathiTrust, Portico.
OYA RIEGER: The second bucket is systems used by heritage organizations to support their own curation, discovery, and long-term management efforts. The study focuses on the second category. So to expand our understanding of what sustainability entails in this domain, we conducted a series of case studies that involved about 80 interviews with the leaders of preservation systems, their contributors, users, and also nonusers.
OYA RIEGER: We started with a broad examination of the landscape. Then we more closely studied these eight systems. And they represent not-for-profit and commercial solutions. Rather than looking into their technical configurations and specifications, we focused on their business approaches, because what we are trying to do is to understand what seems to work well and the challenges and risk factors.
OYA RIEGER: We relied on a qualitative case study approach. So it's definitely not our intention to offer a broad characterization of marketplace. Our intention is to share with you an empirical snapshot of the insight and perceptions, just to illustrate the market dynamics. So remember, it's only eight case studies.
OYA RIEGER: We are not generalizing. With that note, let me share some sample points. Digital preservation is a well-established concept. However, what it really means and how it is practiced vary widely among institutions. For some, reformatting legacy media, such as AV, is considered digital preservation. For some, digitizing special collections count as preservation.
OYA RIEGER: And some organizations are involved in advanced work, such as software preservation. The figure on this slide illustrates that digital preservation is an iterative process with multiple stages. It is not a discrete step. The word preservation is becoming a cliche. Many systems marketed as preservation systems usually address only some aspects of the preservation [INAUDIBLE]..
OYA RIEGER: Providers are marketing their offerings as preservation systems, regardless of actual functionality or storage configurations. Well, heritage organizations rely on a range of solutions. It's all based on their resources and [INAUDIBLE].. So it's really important to have a more nuanced understanding of what these systems exactly do. And also very critical is to understand what kind of local resources are required to leverage these tools.
OYA RIEGER: On a related matter, digital preservation involves a network of systems and people with various dependencies. So installing a system is not sufficient. No digital preservation system is truly turnkey. Digital preservation is a distributed activity, and it requires in-house expertise, sufficient staffing, and access to different technologies and systems.
OYA RIEGER: Maybe heritage organizations are committed to investing in not-for-profit systems. They want to work with like-minded individuals, contributing to public good together. However, our interviews during the study indicate that, for some heritage organizations, it is sometimes more logical to go with a commercial provider-- Although? There may not be a full value alignment.
OYA RIEGER: For instance, implementing an open source system can be quite prohibitive for an organization that does not have access to developers and devops. And it's hard to retain technical staff. One of the most concerning elements of relying on a commercial digital preservation system is the fear that it will be difficult, even impossible, to get content out of it.
OYA RIEGER: But our findings indicate that, actually, this is a concern also for both not-for-profit and commercial service providers. One of the commercial service providers interviewed said, if you can't exit from our preservation system, it is not a preservation system. The question is not whether you can get your content out or not. It is how complex it is to get it out.
OYA RIEGER: So heritage organizations strategies for both entrance and exit. If you consider the potential risk factors for a minute in this marketplace, one key challenge for not-for-profit solutions is reliance on limited capital, especially focusing on mainly operational budgets, perhaps with no or insufficient research and development funds.
OYA RIEGER: Also, given the governance structures of some of the community-based initiatives, some of them may not be able to innovate quickly enough to keep up with the needs of heritage organizations. During our interviews, we have heard several testimonies of how the IT units within a library were evolving. Many universities have started centralizing their technology units, to allow more cohesive governance.
OYA RIEGER: For instance, especially to be able to implement security policies, and also have efficient fiscal management. Obviously, this trend limits libraries ability to focus on specialized technologies and contribute to not-for-profit, especially community-based initiatives. Of course, another potential risk in the digital preservation marketplace is, or can be, increasing reliance on commercial providers.
OYA RIEGER: These providers are growing their businesses rapidly. We were not able to review their business models and financial projections, because obviously, these are not open documents. So it is difficult to objectively assess the durability and robustness of commercial systems. However, the system providers we talked with, commercial system providers we talked with, four of them included in our case studies, they seem to emphasize community building.
OYA RIEGER: They try to offer competitive pricing. That's what they are reporting to us. And they provide customized services, to ensure their success. Since the framing of digital preservation as a critical program area in the early 1990s, a considerable amount of progress has been made. So we really want to acknowledge the preservation community's dedication and hard work, and especially the options, the community-based options that we have now in the market.
OYA RIEGER: Although it's beyond the scope of the study, one thing we have observed is the growing gap between the heritage institutions with resources and those with limited expertise and staffing for preservation. As a result, a significant content is not being collected by organizations that can commit to their long-term availability and use.
OYA RIEGER: One of the conclusions of the study is that heritage organizations are underinvesting in digital conservation. And as you know, our focus was to assess the marketplace to understand sustainability factors. So now, I want to go through some of these important elements. As you can see from this diagram, sustainability is a multidimensional construct.
OYA RIEGER: It is not limited to financial viability. It has a number of attributes, such as governance models, interoperability, user communities, values, such as diversity and equity. So sustainability requires a roadmap with plans for long-term maintenance and development, as well as policies and procedures to support responsible and ethical management of resources.
OYA RIEGER: The research report I just highlighted, just a few findings. It will be published in early 2022. And the paper will be available on Ithaka S+R website. And we are really seeing these as preliminary findings. Again, I want to highlight eight case studies, qualitative study. We are not generalizing.
OYA RIEGER: So therefore, to foster a discussion of these findings and to build on them, we are starting to convene a series of forums to get feedback from various stakeholders. And then, based on these feedback received, we will be publishing logs to incorporate feedback gathered through these meetings. Now, I would like to welcome our panelists to build on some of the findings I have shared with you.
OYA RIEGER: We will organize our discussion around three things. We want to talk about, again, based on some of the findings I presented, perhaps critique or support these findings. Key challenges in selecting and implementing digital preservation and creation systems. Attributes of sustainable systems, and role of openness and community control and sustainability.
OYA RIEGER: I want to thank you for listening to my introduction. And now, it's time to welcome our panelists. Thank you. [MUSIC PLAYING]
Segment:0 .
[INTRO MUSIC]
OYA RIEGER: Hello, I'm Oya Rieger from Ithaka S+R, and appreciate this opportunity to participate in NISO Plus 2022. Libraries, museums, and archives have increasing dependency on digital platforms. It is to support the creation, discovery, and management of their content. These platforms can be not-for-profit or commercial. Examples including Preservica, MetaArchive, APTrust, Samvera.
OYA RIEGER: The long-term stewardship of digital materials depends not only on the technical resiliency of these systems, but also on the strength of their sustainability and ability to meet the needs of their clients. With funding from the Institute of Library and Museum Services, Ithaka S+R has been involved in a two year research project to examine and assess how digital preservation systems are deployed, developed, and sustained.
OYA RIEGER: The purpose of my presentation is to share with you some of the findings of this study. And after my brief synopsis, there will be a roundtable discussion, including my colleagues Carol Mandel, Roger Schonfeld, and Katherine Skinner. We will together explore some related issues. And we aim to leave ample time for your questions and comments.
OYA RIEGER: So let me first provide a context for my presentation. What do I mean by saying digital preservation and curation systems? So this is really oversimplification, just for the purposes of our project. But we have two buckets. The first category involves close institutional efforts to curate and preserve specific content type or collections, such as CLOCKSS, Internet Archive, HathiTrust, Portico.
OYA RIEGER: The second bucket is systems used by heritage organizations to support their own curation, discovery, and long-term management efforts. The study focuses on the second category. So to expand our understanding of what sustainability entails in this domain, we conducted a series of case studies that involved about 80 interviews with the leaders of preservation systems, their contributors, users, and also nonusers.
OYA RIEGER: We started with a broad examination of the landscape. Then we more closely studied these eight systems. And they represent not-for-profit and commercial solutions. Rather than looking into their technical configurations and specifications, we focused on their business approaches, because what we are trying to do is to understand what seems to work well and the challenges and risk factors.
OYA RIEGER: We relied on a qualitative case study approach. So it's definitely not our intention to offer a broad characterization of marketplace. Our intention is to share with you an empirical snapshot of the insight and perceptions, just to illustrate the market dynamics. So remember, it's only eight case studies.
OYA RIEGER: We are not generalizing. With that note, let me share some sample points. Digital preservation is a well-established concept. However, what it really means and how it is practiced vary widely among institutions. For some, reformatting legacy media, such as AV, is considered digital preservation. For some, digitizing special collections count as preservation.
OYA RIEGER: And some organizations are involved in advanced work, such as software preservation. The figure on this slide illustrates that digital preservation is an iterative process with multiple stages. It is not a discrete step. The word preservation is becoming a cliche. Many systems marketed as preservation systems usually address only some aspects of the preservation [INAUDIBLE]..
OYA RIEGER: Providers are marketing their offerings as preservation systems, regardless of actual functionality or storage configurations. Well, heritage organizations rely on a range of solutions. It's all based on their resources and [INAUDIBLE].. So it's really important to have a more nuanced understanding of what these systems exactly do. And also very critical is to understand what kind of local resources are required to leverage these tools.
OYA RIEGER: On a related matter, digital preservation involves a network of systems and people with various dependencies. So installing a system is not sufficient. No digital preservation system is truly turnkey. Digital preservation is a distributed activity, and it requires in-house expertise, sufficient staffing, and access to different technologies and systems.
OYA RIEGER: Maybe heritage organizations are committed to investing in not-for-profit systems. They want to work with like-minded individuals, contributing to public good together. However, our interviews during the study indicate that, for some heritage organizations, it is sometimes more logical to go with a commercial provider-- Although? There may not be a full value alignment.
OYA RIEGER: For instance, implementing an open source system can be quite prohibitive for an organization that does not have access to developers and devops. And it's hard to retain technical staff. One of the most concerning elements of relying on a commercial digital preservation system is the fear that it will be difficult, even impossible, to get content out of it.
OYA RIEGER: But our findings indicate that, actually, this is a concern also for both not-for-profit and commercial service providers. One of the commercial service providers interviewed said, if you can't exit from our preservation system, it is not a preservation system. The question is not whether you can get your content out or not. It is how complex it is to get it out.
OYA RIEGER: So heritage organizations strategies for both entrance and exit. If you consider the potential risk factors for a minute in this marketplace, one key challenge for not-for-profit solutions is reliance on limited capital, especially focusing on mainly operational budgets, perhaps with no or insufficient research and development funds.
OYA RIEGER: Also, given the governance structures of some of the community-based initiatives, some of them may not be able to innovate quickly enough to keep up with the needs of heritage organizations. During our interviews, we have heard several testimonies of how the IT units within a library were evolving. Many universities have started centralizing their technology units, to allow more cohesive governance.
OYA RIEGER: For instance, especially to be able to implement security policies, and also have efficient fiscal management. Obviously, this trend limits libraries ability to focus on specialized technologies and contribute to not-for-profit, especially community-based initiatives. Of course, another potential risk in the digital preservation marketplace is, or can be, increasing reliance on commercial providers.
OYA RIEGER: These providers are growing their businesses rapidly. We were not able to review their business models and financial projections, because obviously, these are not open documents. So it is difficult to objectively assess the durability and robustness of commercial systems. However, the system providers we talked with, commercial system providers we talked with, four of them included in our case studies, they seem to emphasize community building.
OYA RIEGER: They try to offer competitive pricing. That's what they are reporting to us. And they provide customized services, to ensure their success. Since the framing of digital preservation as a critical program area in the early 1990s, a considerable amount of progress has been made. So we really want to acknowledge the preservation community's dedication and hard work, and especially the options, the community-based options that we have now in the market.
OYA RIEGER: Although it's beyond the scope of the study, one thing we have observed is the growing gap between the heritage institutions with resources and those with limited expertise and staffing for preservation. As a result, a significant content is not being collected by organizations that can commit to their long-term availability and use.
OYA RIEGER: One of the conclusions of the study is that heritage organizations are underinvesting in digital conservation. And as you know, our focus was to assess the marketplace to understand sustainability factors. So now, I want to go through some of these important elements. As you can see from this diagram, sustainability is a multidimensional construct.
OYA RIEGER: It is not limited to financial viability. It has a number of attributes, such as governance models, interoperability, user communities, values, such as diversity and equity. So sustainability requires a roadmap with plans for long-term maintenance and development, as well as policies and procedures to support responsible and ethical management of resources.
OYA RIEGER: The research report I just highlighted, just a few findings. It will be published in early 2022. And the paper will be available on Ithaka S+R website. And we are really seeing these as preliminary findings. Again, I want to highlight eight case studies, qualitative study. We are not generalizing.
OYA RIEGER: So therefore, to foster a discussion of these findings and to build on them, we are starting to convene a series of forums to get feedback from various stakeholders. And then, based on these feedback received, we will be publishing logs to incorporate feedback gathered through these meetings. Now, I would like to welcome our panelists to build on some of the findings I have shared with you.
OYA RIEGER: We will organize our discussion around three things. We want to talk about, again, based on some of the findings I presented, perhaps critique or support these findings. Key challenges in selecting and implementing digital preservation and creation systems. Attributes of sustainable systems, and role of openness and community control and sustainability.
OYA RIEGER: I want to thank you for listening to my introduction. And now, it's time to welcome our panelists. Thank you. [MUSIC PLAYING]
Form Title Download
Video
Transcript
Form Title Bookmark
Entire Media
Segment(s)
Custom Clip
Start At:
End At:
Form Title Share
Entire Media
Segment(s)
Custom Clip
Start At:
End At:
Form Title Accessibility and Keyboard Shortcuts
The cadmore media player is a professional video and audio player experience designed to deliver media as well as relevant transcript, segmentation, and metadata. On the screen is a traditional html video player with buttons such as play, pause, forward, captioning, language and play speed selection and more. Adjacent to the video player are generally tabs, one of which shows a scrolling transcript of the video and the other shows any segmentation of the media, sometimes referred to as chapters. At the top of the video is a menu bar containing an Explore button and Tools button. The Explore button allows you to dig deeper into the video by opening up an explore dialog which contains tabs for a visual navigation of the video using thumbnails, an about tab which contains rich metadata about the media, a segments tab which contains further information about the video, and a related tab which contains links to other media related to this media. The tools button opens a menu with options for sharing the media on social media, creating bookmarking links, creating embed codes for your website, generating citations, and more.
Keyboard Shortcuts
Keyboard shortcuts only work while you are in forms mode. By entering forms mode, you will be able to quickly access portions of the media player with single key commands.
Spacebar: Play/Pause Toggle
I: Info Menu,
O: Tools Menu
T: Transcript Tab,
S: Segments Tab
F: Forward 15,
R: Rewind 15
L: Languages,
P: Playspeed
M: Mute Toggle,
V: Volume Bar
N: Video Only Toggle,
B: Full Screen Toggle
C: Captions Toggle
Escape: Closes dialogs and menus / Exits Player
Z: Next Transcript Chapter
X: Previous Transcript Chapter
Q: Next Transcript Paragraph
W: Previous Transcript Paragraph
Entire Media
Segment(s)
Custom Clip
Start At:
End At:
Embed Size
-
You Size - Responsive
-
We Size - Responsive
-
Picture Overlay Popup
-
400 x 225
-
512 x 288
-
400 x 700
-
768 x 1024
-
1024 x 512
-
1280 x 608
Form Title Cite
No citation provided.
Info
Segments
Related
Thumbnails
Exit Clip Mode
You have requested to see a portion of the video outside of the clip.
Click OK to switch to the full video or click if you would like to stay inside the clip. You can always go back to the clip with Tools and Clip Mode