"The Open Archives Initiative develops and promotes interoperability standards that aim to facilitate the efficient dissemination of content. The Open Archives Initiative has its roots in an effort to enhance access to e-print archives as a means of increasing the availability of scholarly communication. Continued support of this work remains a cornerstone of the Open Archives program. The fundamental technological framework and standards that are developing to support this work are, however, independent of the both the type of content offered and the economic mechanisms surrounding that content, and promise to have much broader relevance in opening up access to a range of digital materials. As a result, the Open Archives Initiative is currently an organization and an effort explicitly in transition, and is committed to exploring and enabling this new and broader range of applications. As we gain greater knowledge of the scope of applicability of the underlying technology and standards being developed, and begin to understand the structure and culture of the various adopter communities, we expect that we will have to make continued evolutionary changes to both the mission and organization of the Open Archives Initiative.
The OAI-ORE Executive provides overall leadership to the project and holds primary responsibility for the project budget and the ultimate success of the work. Carl Lagoze - Computing and Information Science, Cornell University, Herbert Van de Sompel - Digital Library Research and Prototyping, Los Alamos National Laboratory Research Library.
Funding and Support: Support for Open Archives Initiative activities has come from the Andrew W. Mellon Foundation, the Coalition for Networked Information, the Digital Library Federation, and from the National Science Foundation (IIS-9817416 and IIS-0430906)."
(Open Archives Initiative)
"The VADS Fine Art Project aims to bring together, through a distributed digitisation model, artworks from across Higher Education Institutes (HEIs) that can serve to exemplify the history and achievement of fine art education and practice in this country since its inception in the 1850s.
In the initial stages of the project, a survey was sent out to all the Higher Education Institutions in the UK that taught fine art, in order to elicit whether or not student and staff work had been kept or documented. From this survey it was found that many colleges failed or had ceased to collect artworks due to the cost implications of purchasing, storing and insuring the works, leading to the output of many art colleges remaining undocumented.
As the Fine Art Project progressed, protocols for the digital capture, documentation and copyright clearance of work were established. These were then used to collect works from around the country to be included in the National Fine Art Education Digital Collection. However, given their inherent useable and easily applicable nature, it was thought the same protocols could be just as useful to digitally capture, document and rights-clear works within HEIs as and when they were being produced. This would make it far easier and affordable for colleges to capture and maintain collections of their present and past work, as well as offering additional benefits such as making them widely available on the Internet or for other publishing requirements."
(Ed Bremner, 1 September 2003 [last modified: 28th March 2006], Institute for Learning and Research Technology)
"The Semantic Web is about two things. It is about common formats for integration and combination of data drawn from diverse sources, where on the original Web mainly concentrated on the interchange of documents. It is also about language for recording how the data relates to real world objects. That allows a person, or a machine, to start off in one database, and then move through an unending set of databases which are connected not by wires but by being about the same thing."
Pedro Sepulveda (Royal College of Art: PhD student)
A new landscape is emerging in the urban space, a SCANSCAPE that transgresses the boundaries and protocols of public and private space due to the extensive use of surveillance apparatus and telecommunication systems in the urban realm.
In this research, architecture and electronic products are used to understand, and shape the function and aesthetic experience of inhabiting the Scanscape. It aims to look beyond the functional quality of sheltering to the social and cultural experience that they mediated.