Yet curation is also associated with short-term objectives and processes of selection and interpretation for the purposes of presentation, such as for gallery exhibitions and websites, which contribute to knowledge creation.
A curator is expected to command academic mastery of the subject matter as a requisite part of appraisal and selection of assets and any subsequent adding of value to the collection through application of metadata.
[14] By comparison, archiving of analog assets is notably passive in nature, often limited to simply ensuring a suitable storage environment.
[20] Today’s artifacts of cultural significance are notably transient in nature and prone to obsolescence when social trends or dependent technologies change.
[15][8] Modern tools for program planning often underestimate the amount of human labor costs required for adequate digital curation of large collections.
As a result cost-benefit assessments often paint an inaccurate picture of both the amount of work involved and the true cost to the institution for both successful outcomes and failures.
[21] An absence of coordination across different sectors of society and industry in areas such as the standardization of semantic and ontological definitions,[22] and in forming partnerships for proper stewardship of assets has resulted in a lack of interoperability between institutions, and a partial breakdown in digital curation practice from the standpoint of the ordinary user.
Nowadays, with the development in ICT and computer-based visualisation, curators benefit from the 3D Reconstruction methods and Digital Twin to not only represent their updated and authentic cultural heritage data sets but also assist conservation architects and the other experts in further practices on the assets.
[25] For some topics, knowledge is embodied in forms that have not been conducive to print, such as how choreography of dance or of the motion of skilled workers or artisans is difficult to encode.
Three elements related to the role of advance-guards for librarians and archivists working with open approaches to technology, standardized process and scholarly communication.
In addition, Archivist leader might adopt the business concept and methods to deal with their workflow such as raise funds, invest technology system, and comply with industry standards, in order to obtain more resources.
Traditional graduate school education is not enough to meet that demand; training program for current staffs in cultural repository would be an efficient supplement for that request, such as professional workshops, and MOOCs (Massively Open Online Courses) in data curation and management.
[33] International Digital Curation Conference (IDCC) is an established annual event since 2005, aiming to collaborate with individuals, organizations, and institutions facing challenges, supporting development, and exchanging ideas in the field.
IJDC dedicate to provide scholarly platform for sharing, discussing, and improving knowledge and information of digital curation within the worldwide community.
IJDC has two types of submission under editorial guidelines, which are peer-reviewed papers and general articles base on original research, the field information, and relevant events in digital curation.
IJDC is published by the University of Edinburgh for the Digital Curation Centre in electronic form on a rolling basis two times a year.
By providing this foundation, further curation activities may be carried out by specialists at appropriate institutional and organisation levels, whilst causing the minimum of interference to others.
This refers more specifically to automatic recording of metadata or information about data at the point of capture and has been developed to apply semantic web techniques to integrate laboratory instrumentation and documentation systems.