1. Considering Open Access – Digital Preservation of arts research data: AKA Managing your “stuff” Open Repositories Conference 2015 Main Strand Dr Robin Burgess (r.burgess@gsa.ac.uk)r.burgess@gsa.ac.uk

2. Objectives Comment on the complexities of OA and RDM in the visual arts Describe the impact of OA on the visual arts Managing visual arts data for OA and RDM Support for arts institutes Potential issues and recommendations

3. Quick Reminder! – OA and RDM

5. Introduction Research data management (RDM) for open access (OA) involves maintaining, preserving and adding value to research data throughout its lifecycle OA to data and research outputs in the visual arts is complex due to the non-standard nature of visual arts research and the practiced based approaches to research adopted So how can visual artists comply with the ever-changing open access policies and funder requirements for open access, and suitably manage their “stuff”

6. Why Manage Visual Arts Data? The active management of research data reduces threats to their long-term research value and mitigates the risk of digital obsolescence Curated data in trusted digital repositories (institutional and national) may be shared among the wider UK research community, and internationally Reduces duplication of effort in research data creation, curation enhancing the long-term value of existing data by making it available for further high quality research

7. Importance of OA

8. Complexities of Visual Arts Data Data is complex and varied Non-standard Practice based Various formats Presents issues for managers Security and preservation Terminology

9. Research Data in the Visual Arts Research data means data in the form of facts, observations, images, computer program results, recordings, measurement or experiences on which a research output is based. Data may be numerical, descriptive, visual or tactile. It may be raw, cleaned or processed, and may be held in any format or media. Research data in the arts mirrors the complexity of the outputs, taking many forms including logbooks, journals, workbooks, sample libraries, sketchbooks, sets of images, video recordings, trials, prototypes, ceramic glaze recipes, found objects, and correspondence. Provenance information about the data might also be included: the how, when, where it was collected and with what. This metadata facilitates later interpretation and re-use of data

10. STUFF!

11. Impact of OA on the Visual Arts Funder requirements Output types Record keeping Existing knowledge Policies

12. Managing Visual Arts Data Valuable resource Lots to offer Resource requirements Systems – digital and archives Repositories

13. Research Projects: KAPTUR (http://www.vads.ac.uk/kaptur)http://www.vads.ac.uk/kaptur VADS4R (http://www.vads4r.vads.ac.uk)http://www.vads4r.vads.ac.uk Collaborative projects looking at RDM in the visual arts, systems and processes

14. Issues and Implications “… I am not sure what constitutes research data… What is data? I mean, I talk to you about my data as a researcher, but for the institution, what does it consider data? Would it be conference proceedings, would a performance be data even if it was not recorded, sometimes I don’t record my performances…”

15. Considerations What data (“stuff”) is being collected? How is the information being handled and stored? Why bother managing the “stuff” for open access? What support is available from ones institute?

16. Support for OA and RDM Digital Curation Centre (DCC) Australian National Data Service (ANDS) Development of policies SHERPA tools Help?!

17. Recommendations Adhere to funder and other policies Develop institutional policies Involve all support networks Review existing institutional approaches Liaise with researchers Investigate systems – new and existing Watch out for change…

18. Conclusion Open Access Enhanced visibility Policies Required process Research Data Management Supports outputs Researcher orientated Funder requirements

19. Web links: RADAR (the research repository at GSA): http://radar.gsa.ac.ukhttp://radar.gsa.ac.uk KAPTUR project: http://www.vads.ac.uk/kaptur/http://www.vads.ac.uk/kaptur/ VADS4R project: http://www.vads4r.vads.ac.ukhttp://www.vads4r.vads.ac.uk The DCC: www.dcc.ac.ukwww.dcc.ac.uk Journals: Leigh Garrett journal paper on RDM: http://kaptur.wordpress.com/2013/01/23/what-is-visual-arts-research-data-revisited/http://kaptur.wordpress.com/2013/01/23/what-is-visual-arts-research-data-revisited/ Garrett L and Therese-Gramstadt M (2012). KAPTUR: Exploring the nature of visual arts research data and its effective management. Electronic Visualisation and the Arts. VADS4R Project Details: http://www.vads4r.vads.ac.uk/p/what-is-research-data.htmlhttp://www.vads4r.vads.ac.uk/p/what-is-research-data.html Reports KAPTUR Technical Report: http://www.vads.ac.uk/kaptur/outputs/Kaptur_technical_analysis.pdfhttp://www.vads.ac.uk/kaptur/outputs/Kaptur_technical_analysis.pdf KAPTUR Environmental Report: http://www.research.ucreative.ac.uk/1054/7/Kaptur_environmental_assessment_v1_7.pdf KAPTUR final report: http://www.vads.ac.uk/kaptur/outputs/KAPTUR_final_report.pdfhttp://www.vads.ac.uk/kaptur/outputs/KAPTUR_final_report.pdf Conference Proceedings and Workshops (accessible from RADAR Burgess, Robin (2014) From Kaptur to VADS4R: Exploring Research Data in the Visual Arts. In: Open Repositories 2014, 9th June to 13th June 2014, Helsinki, Finland. (http://radar.gsa.ac.uk/3392/)http://radar.gsa.ac.uk/3392/ Books and Texts Pryor G, Jones S, and Whyte A (2013). Delivering Research Data Management Services: Fundamentals of good practice. Facet Publishing Supporting Documents

20. THANKYOU r.burgess@gsa.ac.uk www.gsa.ac.uk http://www.vads.ac.uk/kaptur/ http://www.vads4r.vads.ac.uk/p/welcome.html