A codec is a device or computer program which encodes or decodes a data stream or signal. Codec is a portmanteau of coder/decoder.
MIDI is a technical standard that describes a communications protocol, digital interface, and electrical connectors that connect a wide variety of electronic musical instruments, computers, and related audio devices for playing, editing, and recording music. The specification originates in a paper titled Universal Synthesizer Interface, published by Dave Smith and Chet Wood, then of Sequential Circuits, at the October 1981 Audio Engineering Society conference in New York City.
Streaming media is multimedia that is delivered and consumed in a continuous manner from a source, with little or no intermediate storage in network elements. Streaming refers to the delivery method of content, rather than the content itself.
Digital media means any communication media that operate with the use of any of various encoded machine-readable data formats. Digital media can be created, viewed, distributed, modified, listened to, and preserved on a digital electronics device. Digital can be defined as any data represented by a series of digits, while media refers to methods of broadcasting or communicating these information. Together, digital media refers to mediums of digitized information broadcast to us through a screen and/or a speaker. This also includes text, audio, video, and graphics that are transmitted over the internet for viewing or listening to on the internet.
Digitization is the process of converting information into a digital format. The result is the representation of an object, image, sound, document or signal obtained by generating a series of numbers that describe a discrete set of points or samples. The result is called digital representation or, more specifically, a digital image, for the object, and digital form, for the signal. In modern practice, the digitized data is in the form of binary numbers, which facilitates processing by digital computers and other operations, but, digitizing simply means the conversion of analog source material into a numerical format; the decimal or any other number system can be used instead.
Ripping is extracting all or parts of digital contents from a container. Originally, it meant to rip music out of Amiga games. Later, the term was used to extract WAV or MP3 format files from digital audio CDs, but got applied as well to extract the contents of any media, most notably DVD and Blu-ray discs.
Digital obsolescence is the risk of data loss because of inabilities to access digital assets, due to the hardware or software required for information retrieval being repeatedly replaced by newer devices and systems, resulting in increasingly incompatible formats. While the threat of an eventual "digital dark age" was initially met with little concern until the 1990s, modern digital preservation efforts in the information and archival fields have implemented protocols and strategies such as data migration and technical audits, while the salvage and emulation of antiquated hardware and software address digital obsolescence to limit the potential damage to long-term information access.
UVC-based preservation is an archival strategy for handling the preservation of digital objects. It employs the use of a Universal Virtual Computer (UVC)—a virtual machine (VM) specifically designed for archival purposes, that allows both emulation and migration to a language-neutral format like XML.
In library and archival science, digital preservation is a formal endeavor to ensure that digital information of continuing value remains accessible and usable. It involves planning, resource allocation, and application of preservation methods and technologies, and it combines policies, strategies and actions to ensure access to reformatted and "born-digital" content, regardless of the challenges of media failure and technological change. The goal of digital preservation is the accurate rendering of authenticated content over time. The Association for Library Collections and Technical Services Preservation and Reformatting Section of the American Library Association, defined digital preservation as combination of "policies, strategies and actions that ensure access to digital content over time." According to the Harrod's Librarian Glossary, digital preservation is the method of keeping digital material alive so that they remain usable as technological advances render original hardware and software specification obsolete.
The Audio Home Recording Act of 1992 (AHRA) amended the United States copyright law by adding Chapter 10, "Digital Audio Recording Devices and Media". The act enabled the release of recordable digital formats such as Sony and Philips' Digital Audio Tape without fear of contributory infringement lawsuits.
Space shifting, also known as place shifting, allows media, such as music or films, which are stored on one device, to be accessed from another place through another device. Space shifting is frequently done through computer networks, for example by viewing a television broadcast from a WiFi equipped set-top box on a WiFi equipped notebook. Other media shifting processes include time shifting, a process whereby a radio or television broadcast is recorded and played back at a different time, and format shifting where media files are converted into different formats.
A&M Records, Inc. v. Napster, Inc., 239 F.3d 1004 (2001) was a landmark intellectual property case in which the United States Court of Appeals for the Ninth Circuit affirmed the ruling of the United States District Court for the Northern District of California, holding that defendant, peer-to-peer (P2P) file-sharing service Napster, could be held liable for contributory infringement and vicarious infringement of the plaintiffs' copyrights. This was the first major case to address the application of copyright laws to peer-to-peer file sharing.
Remix culture, sometimes read-write culture, is a term describing a society that allows and encourages derivative works by combining or editing existing materials to produce a new creative work or product. A remix culture would be, by default, permissive of efforts to improve upon, change, integrate, or otherwise remix the work of copyright holders. While combining elements has always been a common practice of artists of all domains throughout human history, the growth of exclusive copyright restrictions in the last several decades limits this practice more and more by the legal chilling effect. In reaction, Harvard law professor Lawrence Lessig, who considers remixing a desirable concept for human creativity, has worked since the early 2000s on a transfer of the remixing concept into the digital age. Lessig founded the Creative Commons in 2001, which released Licenses as tools to enable remix culture again, as remixing is legally prevented by the default exclusive copyright regime applied currently on intellectual property. The remix culture for cultural works is related to and inspired by the earlier Free and open-source software for software movement, which encourages the reuse and remixing of software works.
Preservation of documents, pictures, recordings, digital content, etc., is a major aspect of archival science. It is also an important consideration for people who are creating time capsules, family history, historical documents, scrapbooks and family trees. Common storage media are not permanent, and there are few reliable methods of preserving documents and pictures for the future.
The term born-digital refers to materials that originate in a digital form. This is in contrast to digital reformatting, through which analog materials become digital, as in the case of files created by scanning physical paper records. It is most often used in relation to digital libraries and the issues that go along with said organizations, such as digital preservation and intellectual property. However, as technologies have advanced and spread, the concept of being born-digital has also been discussed in relation to personal consumer-based sectors, with the rise of e-books and evolving digital music. Other terms that might be encountered as synonymous include "natively digital", "digital-first", and "digital-exclusive".
The Digital Millennium Copyright Act (DMCA) is a 1998 United States copyright law that implements two 1996 treaties of the World Intellectual Property Organization (WIPO). It criminalizes production and dissemination of technology, devices, or services intended to circumvent measures that control access to copyrighted works. It also criminalizes the act of circumventing an access control, whether or not there is actual infringement of copyright itself. In addition, the DMCA heightens the penalties for copyright infringement on the Internet. Passed on October 12, 1998, by a unanimous vote in the United States Senate and signed into law by President Bill Clinton on October 28, 1998, the DMCA amended Title 17 of the United States Code to extend the reach of copyright, while limiting the liability of the providers of online services for copyright infringement by their users.
The National Recording Preservation Plan is a strategic guide for the preservation of sound recordings in the United States. It was published in December 2012 by the Council on Library and Information Resources (CLIR) and the National Recording Preservation Board of the Library of Congress. The plan was written by a community of specialists, but is prominently credited to Brenda Nelson-Strauss, Alan Gevinson and Sam Brylawski
The conservation and restoration of time-based media art is the study and practice of conserving time-based media and its components to ensure the longevity of the works. The conservation and restoration of time-based media art is a complex undertaking within the field of conservation that includes understanding both physical and digital conservation methods of the many facets of time-based media conservation. The overall intention is based on how to monitor and detect from the possible changes made to in artwork overtime. These changes could include short, medium, and long-term effects as a result or response to the environment, exhibition-design, technicians, preferences, or technological development. The conservation and restoration of time-based media art be determined through its conservation and preservation strategies, continual education and training, and resources available from institutions and organization across the globe.
The documentation of cultural property is a critical aspect of collections care. As stewards of cultural property, museums collect and preserve not only objects but the research and documentation connected to those objects, in order to more effectively care for them. Documenting cultural heritage is a collaborative effort. Essentially, registrars, collection managers, conservators, and curators all contribute to the task of recording and preserving information regarding collections. There are two main types of documentation museums are responsible for: records generated in the registration process—accessions, loans, inventories, etc. and information regarding research on objects and their historical significance. Properly maintaining both types of documentation is vital to preserving cultural heritage.
The conservation and restoration of performance art is the process of documenting, collecting, and prolonging the life of Performance Art. Performance Art often features a live presentation initially documented by an artist, cultural institution, or host location. This genre of art can take place in a wide range of mediums, and is usually based on four core elements: Time, Space, the Performer's body, and the relationship between viewers and performer. These variables determine how it can be collected and conserved within museums or cultural institutions.
