•  

  • CONCERTED ACTION ON MUSIC INFORMATION IN LIBRARIES

 WP 3: Networking and Digitization

• Deliverable 3.2

 Digital Information Including Transfer

• Project: PROLIB/HARMONICA 10453
  Commission of the European Communities
  LIBRARIES PROGRAMME

  Version   :  1 
  Date        :  June 26th, 1997, last update Dec. 20th, 1998
  Author     :  OEAW-WAD 
  Confidentiality  : public
  Status     :  final

Table of Contents:      

3.2.1  Introduction
      3.2.2  Steps in the Digitization Process
      3.2.3  Digitization of Sound
                3.2.3.1 Audio File Formats
                3.2.3.2 Audio FAQ
      3.2.4  Digitization of Images and Text Conversion
                3.2.4.1  Digital Images from Original Documents -
                            Text Conversion and SGML-Encoding
                3.2.4.2  Digitalisierung gefährdeten Bibliotheks- oder Archivguts
                3.2.4.3  Digitizing Texts and Images (Abstracts:)
                3.2.4.4  Digital Formats for Content Reproductions
                3.2.4.5  The Library of Congress, National Digital Library Program
      3.2.5  Data Compression Methods
                3.2.5.1  New! MPEG: Moving Picture Expert Group Information
                3.2.5.2  JPEG image compression FAQ
                3.2.5.3  GSM: Speech Compression
                3.2.5.4  Digital Consumer Formats
      3.2.6 Storage Devices
                3.2.6.1  Storage FAQ
                3.2.6.2  Mass Storage Development
      3.2.7  Digital Information Preservation
                3.2.7.1  The Commission on Preservation and Access and the Research Libraries Group
                3.2.7.2  Digital to Microfilm Conversion
      3.2.8  Contents, Metadata and Projects
                3.2.8.1  IFLA - DIGITAL LIBRARIES: Metadata Resources
                3.2.8.2  General SGML Applications
                3.2.8.3  McGIll Faculty of Music | Music Library of the Future -
                             A Pilot Project
                3.2.8.4  Stanford Digital Library Project -  Project List
                3.2.8.5  Multi-media Indexing and Retrieval (MIR)
                3.2.8.6  Knowledge Discovery Mine -- Data Mining and Knowledge
                3.2.8.7  University of Cincinnati Knowledge-Based Software Engineering Lab
                3.2.8.8  Metadata Summit: organized by the Research Libraries Group -
                             Mountain View, California  July 1, 1997; Meeting Report
                3.2.8.9  ERCIM: European Research Consortium for Informatics and Mathematics
                3.2.8.10 Terena: Multimedia Expertise and Project Survey
      3.2.9  Annex A: Bibliographies and Related Information
                3.2.9.1  Bibliography
                3.2.9.2  A Structured Glossary of Technical Terms
                3.2.9.3  List of Libraries Abbrevations encountered in the context of EU R&D

3.2.1 Introduction

• One of the main tasks of HARMONICA is a survey on information of existing transfer technologies and procedures, storage systems and music information management. As a result of a preliminary search, a vast collection of pointers to resources on the web, reviews, papers, bibliographies and databases have been documented. In order to provide a comprehensive survey, individual www-pages, papers, notes, FAQs etc. have been truncated to small excerpts or even to tables of contents only. Occasional comments and supplementary remarks have been added as notes. Full reference to the authors of the original publications is given. Almost all of the URLs listed in the deliverable have been visited recently. Nevertheless addresses  may have been changed in the meantime.

  Most of the contributions documented in this deliverable apply to Digital Library technology in general.  The recording, storage and handling of audio and multi-media data, so-called continuous media, request moreover special build library systems enabling the user to access large binary objects.

  This document has been written by using  Netscape Composer and is stored in html. It can be accessed via www and downloaded from here

  Further information on HARMONICA is available from  here

  Comments and suggestions are highly appreciated.
  Please reply to HARMONICA-List or to
  Acoustics Research Laboratory of the Austrian Academy of Sciences,
  Liebiggasse 5, A-1010 Vienna, Austria;
  Tel. +43-1-4277-29500 . Page maintainer: Werner A. Deutsch.
   

 Go back to table of contents: 

3.2.2  Steps in the Digitization Process

• Library of Congress, National Digital Library Program. Last updated by Carl Fleischhauer, January 1996.

  http://lcweb2.loc.gov/ammem/award/docs/stepsdig.html

  Note: The following contribution addresses general and organisational issues of the digitization process, applicable on all library media to be transferrred from analog to digital formats. The paper reflects the Library of Congress´ approach; most of the aspects under consideration equally apply for European libraries:

• I. Collection Preparation

  • Preparation I (Planning)
  •  
    • Select the collection or other body of content
    • Plan the approach.
    •  
      • Will the whole collection, a selected segment, or a cross section be digitized? Will access be provided via bibliographic records, a finding aid, or some other means? If the collection is treated in selective fashion, will the access tool also be selective or will it describe the entire collection or content body?
    • Develop the production workplan
    • Determine the division of labor, i.e, the respective roles of various Library units
  • Preparation II (Traditional LC Special Collections Processing)
  •  
    • Organize: give the collection its structure and/or arrangement
    • Preserve: perform conservation treament; reformat if needed
    • Describe: prepare catalog and/or finding aid
  • Preparation III (Special Processing for Digitization; Will Co-occur with Preparation II)
  •  
    • Apply digital naming conventions
    • Determine copyright or other restrictions
    •  
      • Record restriction 'facts' for future use
      • Develop "handling" strategy
      • Contact rights-owners
      • Seek Copyright Office advice and LC General Counsel concurrence
      • Restrict access where necessary
    • Request repository space from Information Technology Services (ITS: LC's computer center)

  II. Contracting for Digital Conversion

  • Most collections are digitized by contractors who specialize in various types of originals: unbound paper, bound paper, searchable texts, moving images, still-pictorial images, microfilmed documents, sound recordings.
  • Some collections are scanned by LC staff.
  • Procurement options when contractors are used:
  •  
    • Use previously established unit-price contracts (no lead time).
    •  
      • work with NDLP staff to coordinate flow of work
    • Make a new procurement for a special, specific type of collection (procurement-process lead time varies according to scale).
    •  
      • draft statement of work
      • evaluate offerors' proposals
      • serve as Contracting Officer's Technical Representative

  III. Digital Capture

  • Most initial capture carried out onsite at LC.
  •  
    • Contractor (or LC staff) carries out direct digital capture with scanner or digital camera, or creates an analog intermediate, e.g., by filming. Alternate approaches are used for recorded sound and moving image materials.
  • Most post-processing carried out offsite.
  •  
    • Capture plus post-processing produces multiple entities, e.g., film intermediate plus large and small size digital files; or page images and searchable texts
  • Technical considerations at capture and post-processing time
  •  
    • file naming and other processing (see Preparation III above)
    • text conversion, formats, headers, compression, and delivery media

  IV. Quality Review

  • Verify delivery of 100 percent of files
  • Inspect 10 percent of file contents
  • Ensure technical requirements have been met
  • Provide feedback to contractor
  • Review any re-work

  V. Archive

  • Store all digital files in LC repository

  VI. Assemble Material for World Wide Web (LC's "source edition")

  • Prepare HTML files to provide framework for collection
  • Create indexes (today: carried out by ITS using INQUERY software)
  • Quality review: test retrieval and verify links among digital elements
  • Connect new collection to the larger resource (today: via American Memory menus; tomorrow: via facile searching across the whole historical-collection resource)

  VII. Assist National Digital Library publishing partners when they create added-value products.

Go back to table of contents: 

3.2.3  Digitization of Sound

3.2.3.1  Audio File Formats

• Note: This section is an excerpt of audio-fmts FAQ covering sampling rates and audio file formats only. In order to access the whole content of audio-fmts FAQ please visit the URLs listet below. Audio-fmts FAQ  has been submitted by Guido van Rossum <guido@cwi.nl> to
  alt.binaries.sounds.misc,alt.binaries.sounds.d,comp.dsp,alt.answers,comp.answers,news.answers
   
  http://alpha.science.unitn.it/~oss/audiofmte.html
  http://tjev.tel.etf.hr/josip/DSP/AudioFile2.html
  http://topaz.sensor.com/staff/mg/audio/AudioFormats.part2

  Digital audio data is characterized by the following parameters, which correspond to settings of the A/D converter when the data was recorded.  Naturally, the same settings must be used to play the data.

  - number of bits per sample, e.g. 8 or 16
  - sampling rate (in samples per second), e.g. 8000 or 44100
  - number of channels (1 for mono, 2 for stereo, etc.)

  Number of bits per sample: The number of bits per sample (n) determines the (theoretical) maximum range of  the digitized audio-waveform. It is calculated by 20*log 2ⁿ. This figure is usually expressed in dB (decibel):

  bits/sample    resolution        dynamic range
    8                 256:1               48 dB
   16               65536:1               96 dB
   18              262144:1              108 dB
   20             1048576:1              120 dB
   22             4194304:1              132 dB
   24            16777216:1              144 dB
   
  Increasing the number of bits by 1 results in an increase of the dynamic range of +6 dB (i.e. 20*log 2). Reducing one bit results in a decrease of -6dB. Although high performance 20 bit analog to digital and digital to analog converters are used in recording studios for mastering with digital audio workstations, consoles and hard disk recorders, the CD-audio format requests truncation to 16 bit wordlength.

  Popular sampling rates: Some sampling rates are more popular than others, for various reasons. Some recording hardware is restricted to (approximations of) some of these rates, some playback hardware has direct support for some.  The popularity of divisors of common rates can be explained by the simplicity of clock frequency dividing circuits :-).

  Samples/s    Description

   5500        One fourth of the Mac sampling rate (rarely seen).

   7333        One third of the Mac sampling rate (rarely seen).

   8000        Exactly 8000 samples/sec is a telephony standard that
               goes together with U-LAW (and also A-LAW) encoding.
               Some systems use an slightly different rate; in
               particular, the NeXT workstation uses 8012.8210513,
               apparently the rate used by Telco CODECs.

  10000        speech data (scientific research systems)

  11000        Either 11025, a quarter of the CD sampling rate,
               or half the Mac sampling rate (perhaps the most
               popular rate on the Mac).

  16000        Used by, e.g. the G.722 compression standard,
                            also used in scientific applications and when
               transmitted over PTT lines.

  18900        CD-ROM/XA standard.

  22000        Either 22050, half the CD sampling rate, or the Mac
               rate; the latter is precisely 22254.545454545454 but
               usually misquoted as 22000.  (Historical note:
               22254.5454... was the horizontal scan rate of the
               original 128k Mac.)

  32000        Standard Long Play DAT (Digital Audio Tape) sampling rate.
               Also used in digital radio, NICAM (Nearly Instantaneous
               Compandable Audio Matrix [IBA/BREMA/BBC]) and other
               TV work, at least in the UK; also Japanese HDTV.
               Also used in scientific research.

  37800        CD-ROM/XA standard for higher quality.

  44056        This weird rate is used by professional audio
               equipment to fit an integral number of samples in a
               video frame.

  44100        The CD sampling rate.  (DAT players recording
               digitally from CD also use this rate.)

  48000        The DAT (Digital Audio Tape) sampling rate for
               semiprofessional and domestic use.

  96000        Professional record studio audio equipment sampling rate.

  Note: no audible difference between the sampling rates 44100 Hz and 48000 Hz is expected. Both provide a signal range up to 22000 Hz. A sampling rate of 96000 Hz is in use by record companies for high quality master recordings. Some applications in the acoustic research area (e.g. bioacoustics) may request sampling rates higher than 48000 kHz.

  Files samples on SoundBlaster hardware have sampling rates that are divisors of 1000000. While professional musicians (and audio engineers) disagree, most people do not have a problem if recorded sound is played at a slightly different rate, say, 1-2%. On the other hand, if recorded data is being fed into a playback device in real time (say, over a network) or stored for archival purposes, even the smallest difference in sampling rate has to be strictly avoided...
   
  Audio file formats: Historically, almost every type of machine used its own file format for audio data, but some file formats are more generally applicable, and in general it is possible to define conversions between almost any pair of file formats -- sometimes losing information, however.

  File formats are a separate issue from device characteristics.  There are two types of file formats: self-describing formats, where the device parameters and encoding are made explicit in some form of header, and "raw" formats, where the device parameters and encoding are fixed.

  Self-describing file formats generally define a family of data encodings, where a header fields indicates the particular encoding variant used.  Headerless formats define a single encoding and usually allows no variation in device parameters (except sometimes sampling rate, which can be a pain to figure out other than by listening to the sample).

  The header of self-describing formats contains the parameters of the sampling device and sometimes other information (e.g. a human-readable description of the sound, or a copyright notice).  Most headers begin with a simple "magic word".  (Some formats do not simply define a header format, but may contain chunks of data intermingled with chunks of encoding info.)  The data encoding defines how the actual samples are stored in the file, e.g. signed or unsigned, as bytes or short integers, in little-endian or big-endian byte order, etc.  Strictly spoken, channel interleaving is also part of the encoding, although so far I have seen little variation in this area.

  Some file formats apply some kind of compression to the data, e.g. Huffman encoding, or simple silence deletion. Here's an overview of popular file formats.

  Self-describing file formats

  extension, name   origin       variable parameters (fixed; comments)

  .au or .snd       NeXT, Sun    rate, #channels, encoding, info string
  .aif(f), AIFF     Apple, SGI   rate, #channels, sample width, lots of info
  .aif(f), AIFC     Apple, SGI   same (extension of AIFF with compression)
  .iff, IFF/8SVX    Amiga        rate, #channels, instrument info (8 bits)
  .voc              Soundblaster rate (8 bits/1 ch; can use silence                              deletion)
  .wav, WAVE        Microsoft    rate, #channels, sample width, lots of info
  .sf               IRCAM        rate, #channels, encoding, info
  none, HCOM        Mac          rate (8 bits/1 ch; uses Huffman
                                       compression)
  none, MIME        Internet
  none, NIST SPHERE DARPA speech community
  .mod or .nst      Amiga

  (this list has to be updated)

  Sound formats and the Apple Macintosh

  (Thanks to Bill Houle, <Bill.Houle@SanDiegoCA.NCR.COM>)
                               SOX/DOS   MAC
  Sound Format           file ext  type  Mac program to convert to 'snd'
  ---------------------- --------  ----  -------------------------------
  Mac snd                .snd      sfil  [n/a]
  Amiga IFF/8SVX         .iff            AmigaSndConverter, BST
  Amiga SoundTracker     .mod      STrk  ModVoicer
  Audio IFF              .aiff     AIFF  SoundExtractor, Sample Editor,
                                         UUTool, BST, M5Mac
  DSP Designer                     DSPs  SoundHack
  IRCAM                  .sf       IRCM  SoundHack
  MacMix                           MSND  SoundHack
  RIFF WAVE              .wav            SoundExtractor, BST, Balthazar
  SoundBlaster           .voc            SoundExtractor, BST
  SoundDesigner/AudioMedia         Sd2f  SoundHack
  Sound[Edit|Cap|Wave]   .hcom     FSSD  SoundExtractor, SoundEdit,
                                         Wavicle, BST
  Sun uLaw/Next .snd     .au/.snd  NxTS  SoundExtractor, SoundHack,
                                         au<->snd, UUTool, BST
   

  Audio Interchange Standards

  • http://www2.echo.lu/oii/en/audio.html

    This information set on OII standards is maintained by Martin Bryan at The SGML Centre on behalf of CEC's DGXIII/E. The authors would very much welcome comments on its accuracy and completeness. Comments should be sent to:

        G. Heine
        European Commission DG XIII/E
        L-2920 Luxembourg
        Phone: +352 4301 33620
        Fax: +352 4301 33190
        E-mail: Gerhard.Heine@lux.dg13.cec.be

  Music Notation Interchange File Format (NIFF)

  • http://www.motu.com/pages/NIFF.net.html

    The NIFF (Notation Interchange File Format) was completed in the fall of 1995. This is a
    standard digital format for the representation of standard musical notation. The format is
    very flexible, allowing for simple implementations with minimal graphical information,
    or much more elaborate descriptions including all aspects of page layout, associated midi
    data, custom symbols, etc.
     

  The ZIPI Music Parameter Description Language

  • http://cnmat.CNMAT.Berkeley.EDU/ZIPI/mpdl.html

    Published in Computer Music Journal 18:4 (Winter 94)
     
    ZIPI's Music Parameter Description Language ("MPDL") is a new language for describing music. It delivers musical parameters (such as articulation, brightness, etc.) to notes or groups of notes. It includes parameters that are well understood and universally implemented, such as loudness and pitch, and supports parameters such as brightness and noise amount that should be more common in the future. A large number of parameters remain unspecified, thus assuring expandability and flexibility.

    The MPDL is just one of ZIPI's application layers; others will include MIDI, data dumps, and digital audio.

    This article does not address any of the low level networking issues associated with ZIPI. We will assume that ZIPI's lower levels deliver arbitrary-sized data packets from any device on the network to any other device on the network; this document describes how to transmit music data via those packets. This application layer could run equally well on some other lower network layer such as Ethernet or FDDI.

    ZIPI's Music Parameter Description Language was designed by Keith A. McMillen, David Wessel, and Matthew Wright.
     
     

   Go back to table of contents: 

  ---

  3.2.3.2  Audio FAQ

  •  
    • Note: The table of contents of the following AudioFAQ shows the main focus in the consumer audio environment. Nevertheless, a considerable part of the questions raised and anwers given are equally relevant for professional studio and library audio applications.
  •  
    • http://www.cs.ruu.nl/wais/html/na-dir/AudioFAQ/pro-audio-faq.html
      Subject: rec.audio.pro FAQ (v 0.9)
      All FAQs in Directory: AudioFAQ All FAQs posted in: rec.audio.pro
      Archive-name: AudioFAQ/pro-audio-faq
      Last-modified: 1996/06/25
      Version: 0.9

     TABLE OF CONTENTS FOR THE FAQ:

    • Section I - Netiquette
      Q1.1 - What is this newsgroup for?  What topics are appropriate here, and what topics are best saved for another newsgroup?
      Q1.2 - Do I have to be a "professional" to post here?
      Q1.3 - I need to ask the group for help with selecting a piece of equipment. What information should I provide in my message?

      Section II - The business of audio
      Q2.1 - How does one get started as a professional audio engineer?
      Q2.2 - Are audio schools worth the money?  Which schools are best?
      Q2.3 - What are typical rates for various professional audio services?

      Section III - Audio Interconnections
      Q3.1 - How are professional transmission lines and levels different from  consumer lines and levels?  What is -10 and +4?  What's a balanced or differential line?
      Q3.2 - What is meant by "impedance matching"?  How is it done?  Why is it necessary?
      Q3.3 - What is the difference between dBv, dBu, dBV, dBm, dB SPL, and plain old dB?  Why not just use regular voltage and power measurements?
      Q3.4 - Which is it for XLRs?  Pin 2 hot?  Or pin 3 hot?
      Q3.5 - What is phantom power?  What is T-power?
      Q3.6 - How do I interconnect balanced and unbalanced components?
      Q3.7 - What are ground loops and how do I avoid them?
      Q3.8 - What is the "Pin 1 problem" and how do I avoid it?
       
      Section IV - Analog tape recording
      Q4.1 - What does it mean to "align" a tape machine?
      Q4.2 - What is bias?  What is overbias?
      Q4.3 - What is the difference between Dolby A, B, C, S, and SR?  How do each of these systems work?
      Q4.4 - What is Dolby HX-Pro?
      Q4.5 - How does DBX compare to Dolby?
      Q4.6 - How much better are external microphone preamplifiers than those found in my portable recorder?
      Q4.7 - What is an MRL?  Where do I get one?

      Section V - Digital recording and interconnection
      Q5.1 - What is sampling?  What is a sampling rate?
      Q5.2 - What is oversampling?
      Q5.3 - What is the difference between a "1 bit" and a "multibit" converter? What is MASH?  What is Delta/Sigma?  Should I really care?
      Q5.4 - On an analog recorder, I was always taught to make sure the signal averages around 0 VU.  But on my new DAT machine, 0 is all the way at the top of the scale.  What's going on here?
      Q5.5 - Why doesn't MiniDisc or Digital Compact Cassette sound as good as DAT or CD?  After all, they're both digital.
      Q5.6 - What is S/P-DIF?  What is AES/EBU?
      Q5.7 - What is clock jitter?
      Q5.8 - How long can I run AES/EBU or S/P-DIF cables?  What kind of cable should I use?
      Q5.9 - What is SCMS?  How do I defeat it?
      Q5.10 - What is PCM-F1 format?
      Q5.11 - How do digital recorders handle selective synchronization?
      Q5.12 - How can a 44.1 kHz sampling rate be enough?
      Q5.13 - Doesn't the 44.1 kHz sampling rate make it impossible to reproduce square waves?
      Q5.14 - How can a 16-bit word-length be enough?
      Q5.15 - What's all this about 20- and 24-bit digital audio?  Aren't CDs limited to 16 bits?

      Section VI - Digital editing and mastering
      Q6.1 - What is a digital audio workstation?
      Q6.2 - How is digital editing different from analog editing?
      Q6.3 - What is mastering?
      Q6.4 - What is normalizing?
      Q4.5 - I have a fully edited DAT that sounds just like I want it to sound on the CD.  Is it okay to send it to the factory?
      Q6.6 - What is PCM-1630?  What is PMCD?
      Q6.7 - When preparing a tape for CD, how hot should the levels be?
      Q6.8 - Where can I get CDs manufactured?
      Q6.9 - How are CD error rates measured, and what do they mean?

      Section VII - Market survey.  What are my options if I want --
      Q7.1 - A portable DAT machine
      Q7.2 - A rack size DAT machine
      Q7.3 - An inexpensive stereo microphone
      Q7.4 - An inexpensive pair of microphones for stereo
      Q7.5 - A good microphone for recording vocals
      Q7.6 - A good microphone for recording [insert instrument here]
      Q7.7 - A a small mixer
      Q7.8 - A portable cassette machine
      Q7.9 - A computer sound card for my IBM PC or Mac
      Q7.10 - An eight-track digital recorder?

      Section VIII - Sound reinforcement
      Q8.1 - We have a fine church choir, but the congregation can't hear them. How do we mic the choir?
      Q8.2 - How do I 'ring out' a system?
      Q8.3 - How much power to I need for [insert venue here]?
      Q8.4 - How good is the Sabine feedback eliminator?

      Section IX - Sound restoration
      Q9.1 - How can I play old 78s?
      Q9.2 - How can I play Edison cylinders?
      Q9.3 - What are "Hill and Dale" recordings, and how do I play them back?
      Q9.4 - What exactly are NoNOISE and CEDAR?  How are they used?
      Q9.5 - How do noise suppression systems like NoNOISE and CEDAR work?
      Q9.6 - What is forensic audio?

      Section X - Recording technique, Speakers, Acoustics, Sound
      Q10.1 - What are the various stereo microphone techniques?
      Q10.2 - How do I know which technique to use in a given circumstance?
      Q10.3 - How do I soundproof a room?
      Q10.4 - What is a near-field monitor?
      Q10.5 - What are the differences between "studio monitors" and home loudspeakers?

      Section XI - Industry information
      Q11.1 - Is there a directory of industry resources?
      Q11.2 - What are the industry periodicals?
      Q11.3 - What are the industry trade organizations?
      Q11.4 - Are there any conventions or trade shows that deal specifically with professional audio?

      Section XII - Miscellaneous
      Q12.1 - How do I modify Radio Shack PZMs?
      Q12.2 - Can I produce good demos at home?
      Q12.3 - How do I remove vocals from a song?

      Section XIII - Bibliography
      Q13.1 - Fundamentals of Audio Technology
      Q13.2 - Studio recording techniques
      Q13.3 - Live recording techniques
      Q13.4 - Digital audio theory and practice
      Q13.5 - Acoustics
      Q13.6 - Practical recording guides

      Section XIV
      Q14.1 - Who wrote the FAQ
      Q14.2 - How do you spell and pronounce the FAQ maintainer's surname?

   Go back to table of contents: 

  ---

  3.2.4  Digitzation of Images and Text Conversion

  3.2.4.1  Digital Images from Original Documents - Text Conversion and SGML-Encoding

  •  
    • Note: The following 200 page volume has been published by the Library of Congress in June 1996. A lot of information, which has been gathered by the library as a result of years of experience in book scanning and related issues as well as in filenaming, directory structures, document type definitions etc., is included in 64 pages of attachments (J1-J64).
       
      http://lcweb2.loc.gov/ammem/prpsal/coverpag.html
      THE LIBRARY OF CONGRESS
      Requests Proposals For
      National Digital Library Program

      http://lcweb2.loc.gov/ammem/prpsal/toca.html
      The Library of Congress -  Requests for Proposals

      Table of Contents
       

        Section / Subject                                       Pages

    •  A  Solicitation, Offer and Award                         A1
       B  The Schedule                                        B1-B36
       C  Description/Specification/Work Statement            C1-C37
       D  Packaging and Marking                                 D1
       E  Inspection and Acceptance                           E1-E4
       F  Deliveries or Performance                           F1-F5
       G  Contract Administration Data                        G1-G3
       H  Special Contract Requirements                       H1-H3
       I  Contract Clauses                                    I1-I10
       J  Attachments                                         J1-J64
          J1  Background Information From An Investigation of
              Scanning Devices
          J2  About Research Use of Library of Congress Image
              collections
          J3  Illustration and Examples of Materials To Be Digitized
          J4  Filenames and Delivery Directories
          J5  TIFF Image File Header Information
          J6  Historical Collections - Document Type Definition
          J7  Keying Instructions
          J8  Sample Associated Files for SGML-Encoded Texts
          J9  Information To Be Included In Workflow Tracking
          J10 Book Handling Considerations
       K  Representation and Instructions                     K1-K17
       L  Instructions, Conditions, and Notices to Offerors   L1-L19
       M  Evaluation Factor for Award                         M1-M3
       

  Go back to table of contents: 

  ---

  3.2.4.2  Digitalisierung gefährdeten Bibliotheks- oder Archivguts

  •  
    • http://www.lad-bw.de/dfgdigh1.htm
  •  
    • Abschlußbericht der Arbeitsgruppe "Digitalisierung" des Unterausschusses Bestandserhaltung der Deutschen Forschungsgemeinschaft (7. Oktober 1996)

    Digitale Beiträge zu archivischen Fachfragen Nr. 1

    • Gliederung:
      1. Verfilmung oder Digitalisierung gefährdeter Bücher und Archivalien ?
      2. Anforderungen an Filmqualität und Filmorganisation im Hinblick auf die Option der
      Digitalisierung der Filme
          2.1 Filmauswahl und Filmqualität
          2.2 Aufnahmetechnik
              a) Verkleinerungsfaktor
              b) Positionierung der Vorlage
              c) Ausrichtung der Vorlage
              d) Kontrast zwischen Untergrund und Aufnahmeobjekt
          2.3 Filmorganisation und Aufnahmedokumentation
          2.4 Hinweise zur Systemauswahl
          2.5 Digitalisierung von vorhandenen Filmen, die nur teilweise den o. a. Anforderungen entsprechen.
          2.6 Abweichende Empfehlungen für Farbmikrofilme
      3. Empfehlungen zur Digitalisierung von Mikrofilmen
          3.1 Bildqualität
          3.2 Speicherform
          3.3 Format, Kompression
          3.4 Anforderungen an die Software zur Bildbetrachtung
          3.5 Anforderungen an die Hardware zur Bildbetrachtung
          3.6 Langfristige Sicherung der digitalen Konversionsform (Migration)
          3.7 Wirtschaftlichkeit
          3.8 Digitalisieren und Texterkennung (OCR)
      4. Mikrofilm und digitale Speicherformen als kompatible Medien
          4.1 Versuchsreihe zur Kompatibilität und zur Wiedergabequalität
          4.2 Vom digitalen Speicher auf Film ausgeben (Image)
          4.3 Zuerst verfilmen oder zuerst digitalisieren?
      5. Digitalisierung vom Original
          5.1 Qualitätsanforderungen
          5.2 Kriterien zur Systemauswahl
          5.3 Speicherform
          5.4 Format, Kompression
          5.5 Anforderungen an die Software zur Bildbetrachtung
          5.6 Anforderungen an die Hardware zur Bildbetrachtung
          5.7 Migration
          5.8 Wirtschaftlichkeit
          5.9 Abweichende Empfehlungen für farbige Images
      6. Kooperation und Informationstransfer
      7. Literaturhinweise
       

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  3.2.4.3  Digitizing Texts and Images (Abstracts:)

  •  
    • http://palimpsest.stanford.edu/cpa/misc/dtxtabst.html
  •  
    • A Workshop for College Librarians, sponsored by the Commission on Preservation and Access Charleston, South Carolina, April 18-20, 1996

      "Digital Image Quality: From Conversion to Presentation"
      Anne R. Kenney, Associate Director, Department of Preservation and Conservation, Cornell University.

      "Preservation in the Digital World"
      Paul Conway, Head, Preservation Department, Yale University Library

      "Lessons Learned While Digitizing 1,000,000 pages: The JSTOR Project"
      Randall Frank, Executive Director of Information Technology and Director JSTOR Project, University of Michigan

      "Selecting Digital Projects: Maximizing Value to the Community"
      Todd Kelley, Librarian for Information Technology Initiatives, Milton S.Eisenhower Library, Johns Hopkins University.

      "Electronic Texts and Images on the Internet: Standards, Training, Costs, and Uses"
      David M. Seaman, Director, Electronic Text Center, University of Virginia Library.

      "In the Interest of Access: The Role of the Commission on Preservation and Access"
      Deanna Marcum, President, Commission on Preservation and Access and President, Council on Library Resources

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  3.2.4.4  Digital Formats for Content Reproductions

  •  
    • Note: The following section on Digital Formats for Content Reproductions is an excerpt of an article from Carl Fleischhauer Technical Coordinator, National Digital Library Program, Library of Congress (August 20, 1996).
  •  
    • http://lcweb2.loc.gov/ammem/formats.html#VIII.
  •  
    • Pictorial Materials: For pictorial collections, the Library (of Congress) produces three image types: Thumbnail, a small image presented with the bibliographic record, to allow users to judge whether they wish to take the time to retrieve a higher quality image. Reference, the "fetchable" higher quality image. In current projects, only one reference image is provided; future collections may offer two (or more) at varying levels of resolution. Archive an uncompressed (or, in the future, lossless-compressed) image free of the artifacts resulting from lossy compression, provided to users for reproduction or held for future reprocessing as compression standards change. Alternative format: several organizations have used the Kodak PhotoCD (Image Pac) format in their imaging projects. Originally associated only with CD-ROM disks, this multi-resolution format may now be written to other storage media. Archives wishing to produce collections that are interoperable with those at the Library of Congress and who plan to use PhotoCD technology should either determine how direct access to those images may be provided to WWW clients or plan to reprocess the Image Pac images to produce GIF and JFIF/JPEG images for WWW access in association with the American Memory site.

      Textual Materials Reproduced as Searchable Text and Images: Searchable transcriptions can be a tremendous aid to a researcher seeking instances of particular words or phrases in a textual work. The cost of providing perfect or near-perfect transcriptions is very high, however, and, for many researchers, proper understanding of a document may depend upon seeing a facsimile (and in some cases, the original). The Library encodes its documents using Standard Generalized Markup Language (SGML). For a more detailed description, see American Memory DTD for Historical Documents.

      Searchable text: The Library's transcription requirement for contractors is 99.95 percent accuracy compared to the original (in future contracts, 99.995 will be required for some items). The texts are encoded with SGML, using the American Memory document type definition (DTD), which conforms to the international guidelines for humanities texts, the Text Encoding Initiative (TEI).

      Textual Materials Reproduced as Images: The Library has been experimenting with tonal (color and grayscale) reproduction of manuscript and older printed documents, partly after noting shortcomings in some bitonal (black and white) images produced during the American Memory pilot. Multiple versions of an image of a page may also be needed to provide a WWW browser-based means for paging through documents.

      Tonal images of manuscript and printed documents, Tonal image types: Reference is the image "fetched" from the page menu. Archive (uncompressed) (or, in the future, lossless-compressed) image free of the artifacts resulting from lossy compression, provided to users for reproduction or held for future reprocessing as compression standards change. May be provided to users as a downloadable file in the future. Archive (compressed), to demonstrate approaches for manuscript digitization is testing the production of a compressed tonal image for archiving (or highest quality display) together with a bitonal image for reference access. A steering committee argued that legibility was the highest goal and that modest compression artifacts could be tolerated for the sake of smaller file sizes. Alternate formats: PDF (Portable Document Format from Adobe Corporation). The Library has not had extensive experience with this format; archives wishing to produce collections that are interoperable with those at the Library of Congress and who plan to use PDF must be capable of helping to guide their implementation. (See also Section II.D on browser-based paging.)

      Bitonal images of manuscript and printed documents: The use of the lossless CCITT (FAX) compression for bitonal images may mean that one image may serve both reference and archiving needs. For some items, however, higher resolution may be desired for an archival copy. Projects patterned on the book-reformatting work pioneered at the Cornell University Library may fall into this category.

      The special problem of printed halftone illustrations. Printed halftones present special problems in reproduction because of interference between the spatial frequency of the halftone dot pattern and the spatial frequency applied by scanning and/or output devices. The interference "waves" caused by the intersection of the two frequencies manifest themselves as moir‚ patterns that degrade the image. Possible treatments include the following: Descreening and rescreening, removes the halftone dots and converts the image to grayscale, then rescreens it to produce a new halftone. Capture at high enough resolution to reproduce the halftone dots, requires capture resolutions at one or more multiples of the original halftone screen. Thus, for books with high-quality illustrations, the capture might be at 600 dpi or higher. Grayscale reproduction, this approach offers a reasonable onscreen rendering at moderate resolutions. Randomization of scanner "dot pattern"
       reproduces printed halftones as bitonal images to which a special diffuse dithering treatment is applied at scan time (or in post-processing a grayscale image).

      Recorded Sound: the large files required to reproduce audio have launched the computer multimedia industry on a constant search for new and better compression and playback schemes. For this reason, the digital audio formats suitable for the WWW are less stable than those for text and pictorial images; thus the audio files produced (for the WWW) today will become obsolete more quickly. When materials are remastered, the moderate fidelity of current audio formats will mean that the source material (stored on disks) or an intermediate format, e.g., DAT (digital audio tapes), must be used (again) to create files in the new format.

      Audio file types:  Downloadable files (online today) the Library plans to replace these files with the downloaded type described below by early 1997. Streaming files (c.f. Real Audio?, planned for early 1997).

      Moving-image Materials: The large files required to reproduce motion pictures and video have launched the computer multimedia industry on a constant search for new and better compression and playback schemes. For this reason, the moving-image formats suitable for the WWW are less stable than those for text and pictorial images produced today and will become obsolete more quickly. When materials are remastered, the moderate quality of current moving-image formats will mean that the source material or an intermediate format, e.g., videotape, must be used (again) to create files in the new format.

      File Headers,  the Library plans to add data to the file headers for all of its reproductions over time. For now, a preliminary implementation exists for the four types listed below. Header content will almost certainly be a part of, or interplay with, the administrative and structural metadata associated with the repository described in Digital Historical Collections: Types, Elements, and Construction. The development and implementation of headers will keep pace with the Library's overall design process for metadata. TIFF image files,  the most fully developed image header scheme applies to the archival version of pictorial image files (as distinct from text pages). The Library has been using TIFF version 5.0 but expects to begin using version 6.0 very soon. SGML text files, The American Memory DTD for historical texts includes a simplified Text Encoding Initiative (TEI) header. The header is an integral part of the SGML-encoded document. Since the Library accompanies its marked-up texts with bibliographic records or finding aids, the header contains only a handful of MARC field equivalents: title statement and statement of responsiblity (MARC field 245), copyright registration number (MARC field 017), and the Library of Congress catalog card number (LCCN), when one exists. WAVE audio files, the Library plans to use the following Resource Interchange File Format (RIFF) INFO list chunk data with its WAVE files: RealAudio files, the Library plans to use the RealAudio header.
       

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  3.2.4.5 The Library of Congress, National Digital Library Program

  •  
    • http://lcweb2.loc.gov/ammem/award/docs/select.html
  •  
    • Note: This URL provides a startingpoint entry into NDLP documentation

      Selected Topics from NDLP Internal Documentation: The discussions and descriptions listed below have been selected from internal documents used within the National Digital Library Program (NDLP), the group within the Library of Congress that is responsible for digitizing historical materials and building the American Memory collections. The documents were originally developed for other purposes, but may be of interest to applicants for the LC/Ameritech competition.

      Identifiers for Digital Resources: This paper discusses the current approach used within American Memory for identifying digital reproductions and provides a general discussion of Uniform Resource Locators (URLs) and Uniform Resource Names (URNs). Handle Server: The Library has been experimenting with using "handles," one form of URN. Planning and Workflow: Steps in the Digitization Process (January 1996). Quality Review: This set of instructions is for staff involved in checking images of text received from contractors. The section "Imaging Guidelines for the National Digital Library Program" describes quality problems that have been encountered in practice at the Library of Congress. See also:  Background Papers and Technical Information.

      Go to: Further Technical Background for LC/Ameritech National Digital Library Competition; National Digital Library Competition Home Page; American Memory Home Page; Library of Congress Home Page
       

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  3.2.5  Data Compression Methods

  •  
    • General remarks: data compression methods are widely used in digital recording and storage technology. From the libraries and archives point of view, lossy audio data compression can only be applied at the end consumers site. Most of compression methods in use introduce psychoacoustic modelling (masking effects) in order to obtain high compression ratios. A nonlinear numerical process is applied which does not allow the reconstruction of the original waveform code by decompression. Weak signal components are usually truncated or even omitted in the spectral domain because they are not preceived by the human auditory system under normal listening conditions. Nevertheless, any signalprocessing such as mixing, filtering, spectral analysis etc. is affected by lossy compression/decompression. Little or no experience is obtainable on how (many) accumulated compression and decompression processes degrade the signal quality or if and how different compression and decompression processes can be made compatible.

      True code regenerating compression methods (lossless coding e.g. Huffman coding) unfortunately provide considerable less compression ratios.

  ---

  3.2.5.1 MPEG: Moving Picture Expert Group Information

  • MPEG: Moving Picture Expert Group Information Page

  http://www.vol.it/MPEG/ - this is an collection of information about the MPEG compression standard. This site is no longer updated. MPEG Information, Questions, Answers and Companies Listing.

  to probe further:

  • 1. The MPEG Web Site http://drogo.cselt.it/mpeg/   
    2. MPEG-1 ISO/IEC JTC1/SC29/WG11 N MPEG 96/ June 1996 http://drogo.cselt.it/mpeg/
    3. MPEG-2 ISO/IEC JTC1/SC29/WG11 N MPEG 96/ July 1996 http://drogo.cselt.it/mpeg/standards/mpeg-2/mpeg-2.htm, http://www.glue.umd.edu/~karir/mpeg2/index.htm  
    4. MPEG-2 http://dir.yahoo.com/Computers_and_Internet/Multimedia/Video/MPEG/MPEG_Audio_Layer_3/
    5. MPEG-4 ISO/IEC JTC1/SC29/WG11 N2459 http://drogo.cselt.it/mpeg/standards/mpeg-4/mpeg-4.htm
    http://sound.media.mit.edu/mpeg4/ Latest changes : Dec. 20 1998.
    6. MPEG-7 ISO/IEC JTC1/SC29/WG11 N2460 MPEG98 October 1998 / Atlantic City, USA
    http://drogo.cselt.it/mpeg/standards/mpeg-7/mpeg-7.htm
    http://www.cselt.stet.it/mpeg/documents/mpeg-7_ibbotson/MPeg7.htm
    Call For Proposals for MPEG-7 Technology: http://drogo.cselt.it/mpeg/public/w2469.html
    This document is a formal Call for Proposals (CfP) for technology to be used in the development of the MPEG-7 Standard. Proposals for technologies and systems tools are due on 1 February 1999 in accordance with the instructions in the MPEG-7 Proposal Preparation Document (PPD). Pre-registration is required by December 1, 1998 using the form contained in Annex B of the MPEG-7 Evaluation and Test Procedures Document.
    7. MPEG   related companies
    

  The MPEG standard

  • http://www.vol.it/MPEG/mpegfaq1.html

    1. What is MPEG ?   2. Is MPEG patented ?   3. Does it have anything to do with JPEG or MHEG?   4. How do MPEG and H.261 differ ?   5. Is H.261 the de facto teleconferencing standard ?   6.What is the reasoning behind MPEG syntax symbols ?   7. How would you explain MPEG to the data compression expert ?   8. What are the implementation requirements ?   9. How do I join MPEG ?   10. What is the evolution of standard documents ?  11. How do I get the documents ?  12. What are the important themes of MPEG ?  13. How do you tell a MPEG-1 bitstream from a MPEG-2 bistream ?   14. What is the precision of MPEG samples ?   15. What is the best compression ratio for MPEG ?   16. What about MPEG artifacts ?  17. Are there any real time MPEG encoders ?   18. What about MPEG-1 decoder chips ?   19. What about audio chips ?   20. Will there be an MPEG video tape format ?  21. Is so-and-so really MPEG compliant ?   22. What are some journals or books on related MPEG topics ?   23. Which performances should I expect from MPEG boards ?   24. Are there any MPEG FTP or WWW sites ?
     

  MPEG related Pages

  • http://www.tnt.uni-hannover.de/soft/audio/audio_links/mpeg.html
  •  
    • ISO home page     MPEG home page     MPEG Document Server (IBM)     TNT MPEG Page     MPEG Audio Layer 3     Philips MPEG audio compression technology     MPEG.ORG - MPEG Pointers and Resources     Powerweb MPEG-Archive (Phade)     MPEG Plaza - Resources, - Software, - Software (Audio)     MPEG Overview (C-Cube)     MPEG Background (Berkeley)     MPEG Primer (Optibase)
       

    Philips MPEG audio compression technology

    • http://www-eu.philips.com/sv/newtech/mpeg/

      Applications  | Components  | Instruments  | Technology |  MPEG audio software decoder for Windows 95 | How to build a MPEG  Audio-on-demand site |
       

    Real-time MPEG audio software decoder

    • http://www-eu.philips.com/sv/newtech/mpeg/mpgplay.html

      The MPEGPLAYER application is a real time decoder for MPEG audio files. This small Windows 95 application offers the following functionality:

      • Real time decoding and playback of all MPEG 1 layer 2 files (files with MP2 extension),
      • WAV file playback,
      • MPEG stream decoding facility: the ability for real-time audio playback elevating  the need to load a file first,
      • Variable bit rate decoding,
      • No limits on MPEG file size, partially downloaded files are also playable !,
      • Drag and drop capability,
      • Standard push buttons for the playback control (play, stop and pause),
      • Visualization of information about the current MPEG file.
      • Operates under Windows 95, Windows NT version 3.51 and 3.52 and 4.0 beta.
      • Possibility for OEM version

    Fraunhofer Institut für Integrierte Schaltungen

    • http://www.iis.fhg.de/amm/index.html
      AUDIO & MULTIMEDIA - MPEG Audio Layer-3
      INFORMATION: ISO MPEG Layer-3 Compression Technology
              Music Coding:
              MPEG Audio Layer 3: High-Quality Low-Bitrate Music Links via Telecommunication Networks
              MPEG Audio Layer 3: High-Quality Low-Bitrate Music in Multimedia Applications
              MPEG Audio Layer 3: Multichannel Audio Coding
              Copyright Protection (IPR: Intelectual Property Rights)
              MMP: The Multimedia Protection Protocol
      MPEG Audio Layer 3: Shareware Encoder and Decoder. Version 2.61 was released on 08.11.1996

    Audio Formats and Audio Compression Methods

    •  http://www.vol.it/MIRROR3/STATICI/emb121.rh.psu.edu/xplat.html

      A survey on: MACE.  IMA/ADPCM. MPEG. uLaw. AIFF, AIFC,  Windows Wave, MIDI music files, MOD files (and derivatives), MPEG Audio, uLaw (aka Sun Audio, au, NeXT), SoundBlaster ".VOC"
       

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  •  
    • Note: This is an excerpt from the current MPEG-7 document provided by ISO covering the background and goals of MPEG-7. In order to access the complete document visit URL:

      http://drogo.cselt.stet.it/mpeg/mpeg_7.htm

      To probe further on MPEG-7:
      Author: Ed Hartley, Rob Koenen
      Title: Report on MPEG-7 Seminar in Bristol

      http://drogo.cselt.stet.it/mpeg/bristol/mpeg-7_seminar.htm
       

      INTERNATIONAL ORGANISATION FOR STANDARDISATION
      ORGANISATION INTERNATIONALE DE NORMALISATION

    ISO/IEC JTC1/SC29/WG11

    • CODING OF MOVING PICTURES AND AUDIO
      ISO/IEC JTC1/SC29/WG11 N1678
      MPEG97/
      Bristol - April 1997

      Source: Requirements
      Status: approved

      Title: MPEG-7: Context and Objectives (v.3)

      Background

      More and more audiovisual information is available in digital form, in various places around the world. Along with the information, people appear that want to use it. Before one can use any information, however, it will have to be located first. At the same time, the increasing availability of potentially interesting material makes this search harder. Currently, solutions exist that allow searching for textual information. Many text-based search engines are available on the World Wide Web, and they are among the most visited sites - indicating they foresee a real demand. Searching information is, however, not possible for audiovisual content, as no generally recognized description of this material exists. In general, is not possible to efficiently search the web for, say, a picture of 'the Motorbike from Terminator II'. In specific cases, solutions do exist. Multimedia databases on the market today allow
      searching for pictures using characteristics like color, texture and information about the shape of objects in the picture.

      Goal of MPEG-7

      MPEG started a new work item to provide a solution to the problem described above. The new member of the MPEG family, called "Multimedia Content Description Interface" (in short 'MPEG­7'), will extend the limited search capabilities of today to include more information types. In other words: MPEG-7 will specify a standardized description of various types of multimedia information. This description shall be associated with the content itself, to allow fast and efficient searching for material that of a user's interest.

      This 'material' includes: still pictures, graphics, audio, moving video, and information about how these elements are combined in a multimedia presentation ('scenarios', composition information). Special cases of these general formats include: facial expression, personal characteristics.

      The description can be attached to any kind of multimedia material, no matter what the format of the representation is. Stored material, that has this information attached to it, can be indexed and search for. Even though the MPEG-7 description does not depend on the (coded) representation of the material, the standard in a way builds on the MPEG-4 standard, that provides the means to encode audiovisual material as a objects having certain relations in time (synchronization) and space (on the screen).

      The standardized description of the different types of information can exist at a number of semantic levels. To take the example of visual material: a lower abstraction level could be a description of e.g. shape, size, texture, color, and composition ('where in the scene can the object be found?). The highest level gives semantic information: 'This is a scene with a brown dog on the left and a blue ball that falls down on the right' - coded in an efficient form. Intermediate levels of representation may also exist. The same content could carry different kinds of descriptions, tuned to the area of application.
       

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  3.2.5.2  JPEG image compression FAQ

  • JPEG image compression FAQ, part 1/2

  •  
    • http://www.cis.ohio-state.edu/hypertext/faq/usenet/jpeg-faq/part1/faq.html
  •  
    • [1] What is JPEG?   [2] Why use JPEG?   [3] When should I use JPEG, and when should I stick with GIF?     [4] How well does JPEG compress images?  [5] What are good "quality" settings for JPEG?   [6] Where can I get JPEG software?   [7] How do I view JPEG images posted on Usenet?   [8] What is color quantization?   [9] What are some rules of thumb for converting GIF images to JPEG?   [10] Does loss accumulate with repeated compression/decompression?   [11] What is progressive JPEG?     [12] Can I make a transparent JPEG?   [13] Isn't there a lossless JPEG?   [14] Why all the argument about file formats?     [15] How do I recognize which file format I have, and what do I do about it?     [16] How does JPEG work?     [17] What about arithmetic coding?     [18] Could an FPU speed up JPEG? How about a DSP chip?     [19] Isn't there an M-JPEG standard for motion pictures?     [20] What if I need more than 8-bit precision?     [21] How can my program extract image dimensions from a JPEG file?     [22] Where can I learn about using images on the World Wide Web?     [23] Where are FAQ lists archived?

    JPEG image compression FAQ, part 2/2

    • http://www.cis.ohio-state.edu/hypertext/faq/usenet/jpeg-faq/part2/faq.html

      [1] What is covered in this FAQ?   [2] How do I retrieve these programs?   [3] X Windows     [4] Unix (without X)     [5] MS-DOS     [6] Microsoft Windows     [7] OS/2     [8] Macintosh     [9] Amiga     [10] Atari ST     [11] Acorn Archimedes     [12] NeXT     [13] Tcl/Tk     [14] Other systems     [15] Freely available source code for JPEG     [16] Which programs support progressive JPEG?     [17] Where are FAQ lists archived?

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   3.2.5.3 GSM: Speech Compression

  •  
    • Note: Some of the speech compression systems mentioned below provide reasonable sound quality when applied on music sound material digitized at low sampling rates.
       
      http://kbs.cs.tu-berlin.de/~jutta/toast.html (Jutta Degener, Technische Universitaet Berlin)
      GSM 06.10 lossy speech compression, 13 kbit/s

      GSM Applications

      NTT's "InterSpace" Virtual Environment
      Java GSM 6.10 Audio Client Framework
      Vosaic streaming audio applet
      GSM DLL for OS/2
      Internet Audio Publisher / Direct Audio Player
      GSM to WAV, the second
      GSM for the amiga
      Gir: A realtime player for Amiga OS
      Still in the works: XAnim
      SoftFone
      WebZound
      IVS
      V-Fone
      The Internet Party Line
      CyberPhone
      Speak Freely
      PCS 1.0 (?)
      xztalk, ztalk
      Microsoft NT and Windows 95 (beta)
      SoundApp for Macs
      WebbWatch for Windows
      VidCall from M R A Associates, Inc.
      Internet Global Phone
      The Internet Multicasting Service
      vat - LBNL Audio Conferencing Tool
      NVAT - Network Video Audio Tool
      Nevot 3.34 (December 22nd, 1995)
      NetPhone, DigiPhone, Digifone, e-Phone.
      WebPhone
      CU-SeeMe
      InPerson
      UnReal Audio
      PowWow
      MBONE protocols for Windows

      Other audio compression applications

      Voxware
      RealAudio
      Internet Phone
      Internet Wave
      Half-rate GSM and EFR
      Enhanced Full-Rate GSM
       

  ---

  
   

  3.2.5.4 Digital Consumer Formats

  • http://viswiz.gmd.de/MultimediaInfo/dcf.html#Data
     

    Table of Contents

    DVD	Digital Video/Versatile Disc
    ATSC	Advanced Television Systems Committee
    DVB	Digital Video Broadcast
    DAB	Digital Audio Broadcast
    DBS	Direct Broadcast Satellite
    DSS	Digital Satellite System
    DVC	Digital Video Cassette
    Video CD
    CD-DA	CD Digital Audio
    AC-3	Dolby Digital Surround
    DTS	Digital Theater System
    SDDS	Sony Dynamic Digital Sound
    Photo CD
    APS	Advanced Photo System

     

    Datacasting

      Simon Gibbs (Simon.Gibbs@gmd.de)

  ---

  3.2.6  Storage Devices

  •  
    • Note: The use of magnetic media to record and store the content of library documents provides new opportunities and challenges. But magnetic media is not as stable as paper, their lifetime will last only a few decades or even considerably less. The main advantage of digital magnetic recording for archival purposes is that copies can be made without loss of information or signal quality. A further advantage is computer controlled and fast access. Different types of storage devices can be distinguished on their special functionality: local storage, backup storage and archive storage.

      Local disks attached to workstations provide real time streams of large binary objects (e.g. audio) but are limited to storage capacities of few gigabytes only. Today server-client installations in LANs range from 32 Gigabytes to 2 Terabytes storage capacity using RAID technology or equivalent. Depending on the overall network load and network bandwidth (100-155 Mbit/s), audio streams can be accessed in uncompressed formats as convenient as on local disk drives. Today backup-archive storage systems frequently use magnetic tape (cassette) technology with robot control (autochangers). The storage capacity ranges in standard configurations from few Terabytes to 30 Terabytes, large size systems provide storage capacities in the Petabyte range. Access-, backup- and archive (retrieve) queries are served in non real time only and can last up to several minutes. Usually both modes,  Batch Mode and Interactive Mode, can be started from an archive client command session.

      •  

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    3.2.6.1 Storage FAQ

    •  
      • http://alumni.caltech.edu/~rdv/comp-arch-storage/FAQ-1.html

        Table of Contents
        Editor's Note
            Disclaimer
            Original Editor's notes
            Truly Frequently Asked Questions
            Tape
                Cartridge vs Cassette
                Longitudinal
                Serpentine
                Helical Scan
                Tape Media Lifetimes (Longevity) {Brief}
                9-track {brief}
                3480/3490/3490E {brief}
                    New IBM Tape (NTP) 3590
                Magstar Coyote (IBM 3570) {Brief, New}
                QIC {brief}
                    Travan
                        TapeStor {brief,new}
                4mm {brief}
                8mm {brief}
                    Mammoth (EXB-8900) {Brief}
                    Sony SDV-300 {New}
                DLT {full}
                    DLT7000 {Brief}
                    DLT4000
                    DLT2700 (from DEC)
                    DLT2000 (from DEC (now Quantum))
                MountainGate (was Metrum) VHS {brief}
                VCR VHS
                19MM (D1 and D2) {Brief}
                ID-1
                    DATATAPE
                    Sony
                D-2
                StorageTek Helical {Brief}
                Optical
                D-6 {brief}
                D-3 {brief}
                Sony DTF {Brief}
                DATATAPE DTR-48 {Brief,New}
            Disk
                CAV, ZCAV and CLV
                Optical {Brief}
                    CD-ROM
                        DVD (Digital Versatile Disk) (Next-Generation CD) {New}
                    WORM {brief}
                        Sony {brief}
                    Erasable
                        Magneto-Optical Physics
                        Sony MiniDisc {Brief,New}
                        Magneto-optical, 5.25-inch
                        Magneto-optical ZCAV, 5.25-inch
                        HP Corsair {Brief}
                        Maxoptix T4-1300
                        Pinnacle Micro {New}
                        Asaca HSMO {Brief}
                        Other Multi-beam MO {None}
                        3.5-inch MO {Brief}
                            Sony {Brief}
                        Nikon 12-inch MO {Brief}
                        Sony 12-inch MO {Brief}
                        NEC 12-inch MO {Brief}
                    Electron-Trapping {None}
                    Dual Function {Brief}
                        Panasonic/Toray {Brief}
                        IBM {None}
                Magnetic
                    5.25-inch
                        Seagate
                    3.5-inch
                        IBM
                    Hard Disk Manufacturers {Brief}
                    Bernouli {None}
                    Floptical {Brief}
                    PC Removables {Brief}
                        SyQuest EZ135 {Brief}
                        Iomega Zip {Brief}
                        Iomega Jaz {Brief}
                        SyQuest Removable Cartridge hard Drives
                        Kalok removable cartridge hard drives
                    Mainframe {Brief}
                Other
            RAID {Full}
                RAID Levels
                RAID-6
                John O'Brien and RAID-7
                RAID Papers
                R-Squared {Brief}
                Sun {Brief}
                Clariion {Brief}
                BayDel {Brief, New}
                the RAIDbook {Brief}
                Software Striping {Brief}
                RAID Vendors
            Solid State Disk (SSD) Frequently Asked Questions (FAQ)
            Other Devices
                Holographic Storage Products {Brief,New}
                TeraStor {Brief, New}
            RAIT (Redundant Arrays of Inexpensive Tape)
                DataVast (was VastNSS)
            RAOT (Redundant Arrays of Other Things :-)

        email me at rdv@isi.edu
        Copyright 1996 Rod Van Meter

        http://alumni.caltech.edu/~rdv/comp-arch-storage/FAQ-2.html

        Table of Contents
        Standards
                ANSI X3B5 {None}
                IEEE Mass Storage System Ref Model (OSSI) {Brief, 6/1/95}
                ECMA - European Computer Manufacturers Association {None}
                System Independent Data Format (SIDF)
            I/O Related Email Lists
            Hierarchical Storage Management
                Unitree {Brief}
                    Epoch vs Unitree
                National Storage Lab {Brief}
                HIARC {New}
                Epoch (also known as StorageTek's NearNet) {Brief}
                Zetaco/NETstor {Brief}
                R-Squared Infinity IFS 2 {Brief}
                AMASS
                Tracer XFS {None}
                Metior
                NAStore {Brief}
                DMF {Brief}
                FileServ {Brief}
                Cray Research's Open Storage Manager {Brief}
                T-mass {None}
                HP OmniStorage
                Platinum NetArchive-HSM {Brief, New}
                Large Storage Configurations {Brief,New}
                Unix HSM Vendor List
                Mainframe
                PC & PC Server Oriented Packages
                    HP Optical Jukebox Storage Solution
                    Chili Pepper Software
                    Cheyenne ARCserve
                DATMAN {Brief}
                Windows NT
                Other Non-Unix HSM
                Tapes as Disks {Brief, New}
            Backup Software
                PC-Oriented Backup Packages
                Unix Packages
                    Spectra Logic Alexandria
                    ADSTAR Distributed Storage Manager
                    NetWorker
                    BudTool {Brief}
                    Workstation Solutions {Brief}
                    Amanda {Brief, New}
                    Remote Backup or Mirroring {Brief, New}
            Tape and Autochanger Management Software
                REELlibrarian
                ANT Medium Changer
                Tapes 3000 {Brief}
                Others
            Robotics (Autochangers, Jukeboxes, Stackers, Libraries)
                8mm {Brief}
                    Exabyte {Brief}
                        EXB-10h
                        EXB-210
                        EXB-220
                        EXB-440/480
                        EXB-10
                        EXB-10i
                        EXB-10e
                        EXB-120
                    ADIC {Brief, New}
                    Storage Tek (was Lago) DataWheel {Brief}
                    ACL {None}
                    Cambridge On-Line Storage {Brief}
                    Spectra Logic {Brief}
                    Qualstar {Brief}
                3480
                    StorageTek {Brief}
                    EMASS (was GRAU) {Brief}
                    3590 (Magstar,NTP) {Brief}
                4mm {Brief}
                    Cambridge On-Line storage {Brief}
                    Spectra Logic {Brief}
                    HP 4mm {Brief}
                    Storage Tek Datawheel {Brief}
                    Diverse Logistics Libra {Brief, New}
                    Qualstar {Brief, New}
                    ADIC {Brief, New}
                VHS {Brief}
                    MountainGate (was Metrum)
                Digital Linear Tape (DLT) (Quantum) {Brief}
                    TZ877 {Brief}
                    TL820 {Brief}
                    MountainGate
                    Breece Hill {Brief}
                    Odetics {Brief}
                    MediaLogic ADL
                    ADIC {Brief, New}
                D-2
                    Ampex
                    Odetics
                ID-1
                    Sony DMS, PetaSite {Brief}
                Optical Disk (MO,WORM) Libraries
                    Hitachi 448 GB optical library
                    HP MO Autochangers
                    Maxoptix MO Autochangers
                    MountainGate {Brief}
                    DISC DocuStore {Brief}
                    Kodak {Brief}
                    Sony {Brief}
                CD-ROM Jukeboxes
                    Pioneer
                    CyberTower {Brief, New}
                    NSMJukebox {Brief, New}
                    Nakamichi {Brief, New}
                    CDI Juke Box Library {Brief,New}
                    K & S M-200 {Brief, New}
                    DISC {Brief, New}
            File Systems
                NFS {Brief}
                    NFS V3
                AFS {Brief}
                DFS {Brief}
                Log based file systems
                Mainframe File Systems
                Parallel System File Systems
                Microsoft Windows NT {Brief}
                Large Unix File Systems
                Non-Unix Large File Systems
            (Device) Interfaces
                SCSI {Full}
                    Single ended vs differential
                    Asynchronous vs Synchronous Transfers
                    SCSI-I vs SCSI-II vs SCSI-III
                    Fast-Wide SCSI
                    Shared Busses / Performance {Brief}
                    Cabling/Hot Plugging {Brief}
                    Third Party Transfers/Separation of Control & Data Paths {Brief}
                IDE {Brief}
                IPI {None}
                HIPPI {Brief}
                    HIPPI-6400 {Brief}
                Ultranet {Brief}
                Ethernet {Brief}
                FDDI {None}
                Fibre Channel Standard (FCS)
                ESCONN/SBCON {Brief}
                IEEE P1394 (Serial Bus)
                Serial Storage Architecture (SSA)
                S2I: IEEE P1285 Scalable Storage Interface
                Multibus, Unibus, Mainframe Channels, and other history {None}
            Other
                Video vs Datagrade tapes {brief, 5/94}
                Compression
            Benchmarking
            Mass Storage Conferences
                    THIC Tape Head Interface Committee {Brief, New}
            MTBF (Mean Time Between Flareups, er, Failures)
            Mass Storage Reports
            Network-Attached Peripherals {Brief}
            Other References
                Print
                Web
                Newsgroups
                Research Papers
            ORIGINAL CALL FOR VOTES
            Original Author's Disclaimer and Affiliation:
            Copyright Notice
            Additional Topics to be added

        email me at rdv@isi.edu
        Copyright 1996 Rod Van Meter

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    3.2.6.2  Mass Storage Development

    •  
      • http://chuck.nas.nasa.gov/Devel.html

        Introduction

        In order to meet the needs of Teraflop computing initiatives, the Storage Systems Group is continuously involved in evaluating new hardware, incorporating standards, working with standards groups, (e.g. The DMIG working group), and developing software and systems that make use of new hardware and standards intelligently. (See the Virtual Volume Manager page for a discussion of how to use new tape technology without harming user access rates.) Some of our projects are done here at Ames, while others are cooperative efforts and grants to outside agencies and universities. Past efforts include early hardware RAID prototypes, beta evaluations of new tape technolgies and constructive input into the IEEE Mass Storage Refence Model. Some of our current work is listed below.

        Another area of emphasis is scaling down our systems, thereby making relatively inexpensive production quality mass storage available to industry. To address this mission, the storage group is currently engaged in porting our NAStore software package to workstations running NetBSD. Since NetBSD is a multi-platform version of the BSD 4.4 OS, porting NAStore to these platforms allows the user to choose from a wide range of machine architectures. This will increase the chance that the appropriate level of price/performance is available to the end user. Users can choose run NAStore on anything from a well equipped PC, to a high end DEC alpha, HP, SGI, etc...

        WebWork: Harry Waddell
        NASA Official: John Lekashman
         

      Fifth NASA Goddard Space Flight Center Conference on Mass Storage Systems and Technologies

      • University of Maryland, University College Conference Center
        September 17 - 19, 1996
         

        http://esdis.gsfc.nasa.gov/msst/agenda-896.html

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    3.2.7  Digital Information Preservation

    •  
      • General remarks: Digital storage technology imposes new preservation and access possiblities as well as new problems and threats. The obsolence of digital hard- and software has to be encountered as well as "occasional" loss of computer files by faulty operator handling. Life cycles of computer systems and software for recording, storing and retrieving digital information range between 2 - 5 years. A computer file is much easier deleted than a book or tape thrown away. Library and archive systems have to provide fault tolerance on several levels: on the user level, the software level and on the hardware level. At the end of an archive  system life cycle "refreshing" of digital information frequenty is accompanied by a migration process. Migration is substantially more than just copying digital files from one medium to another. Migration enables the redesign of the whole archive system which usually allows the production of an exact replica of the old database as well as the reorganisation and adaptation of the database in order to meet new user and technical requirements.

    3.2.7.1  The Commission on Preservation and Access and the Research Libraries Group

    •  
      • Note: The Commission on Preservation and Access and the Research Libraries Group have created several working groups and Task Forces, among them one on Digital Archiving. The purpose of the Task Force (pub63) was to investigate the means of ensuring "continued access indefinitely into the future of records stored in digital electronic form." The Task Group was composed of individuals from industry, museums, archives and libraries, publishers, scholarly societies and government. A draft version of this report is available from http://www.rlg.org/ArchTF/. Some of CPA/CLR publications listed below are free of charge obtainable via www.
         
        http://www-cpa.stanford.edu/cpa/pubs/
    •  
      • List of Publications: CPA/CLR
        pub67 Digital Image Collections (Ester, Michael) $15.00
        pub66 Annual Report, 1995-96 Free
        pub65 Mass Deacidification (Porck, Henk) $15.00
        pub64 Preservation Challenges in a Changing Political Climate. A Report from Russia (Kislovskaya, Galina) $10.00
        pub63 Preserving Digital Information, Report of the Task Force on Archiving of Digital Information (Waters, Donald; Garrett, John) $15.00
                    http://www.rlg.org/ArchTF/
        pub62 Preservation in the Digital World (Conway, Paul) $15.00
        pub61 Digital Collections Inventory Report (McClung, Patricia A.) $20.00
                   http://www-cpa.stanford.edu/cpa/reports/mcclung/
        pub60 Preservation Activities in Canada (Turko, Karen) $10.00
        pub59 New Tools for Preservation (Reilly, James M.; Nishimura, Douglas W.; Zinn, Edward) $10.00
        pub58 Difficult Choices (George, Gerald W.) $10.00
        pub57 Digital Imaging of Papyri (Bagnall, Roger S.) $10.00
        pub56 Oversize Color Images Project, 1994-1995 (Gertz, Janet) $10.00
        pub55 Preservation Priorities in Latin America (Hazen, Dan C.) $10.00
        pub54 Magnetic Tape Storage and Handling (Bogart, John Van) $10.00
        pub53 Tutorial (Kenney, Anne R.; Chapman, Stephen) $10.00
        pub52 The European Register of Microform Masters -- Supporting International Cooperation (Schwartz, Werner) $10.00
        pub51 Preservation Activities in Bulgaria (Jordan, Sonja) $10.00
        pub50 The International Program and Its Global Mission. Introduction to Report Series $10.00
        pub48 The Commission on Preservation and Access Working Paper on the Future $5.00
        pub47 The Setup Phase of Project Open Book (Conway, Paul; Weaver, Shari) $10.00
        pub46 Isoperms - An Environmental Management Tool (Sebera, Donald) $10.00
        pub45 Intellectual Preservation (Graham, Peter S.) $10.00
        pub44 The Digital Preservation Consortium (Waters, Donald; Kenney, Anne)
        pub43 A Testbed for Advancing the Role of Digital Technologies for Library Preservation and Access (Kenney, Anne. R.; Personius, Lynne)
        pub41 Preserving The Intellectual Heritage, A Report of The Bellagio Conference held at the Rockefeller Foundation Study and Conference Center, Bellagio, Italy $10.00
        pub40 Directory of Information Sources On Scientific Research Related to the Preservation of Sound Recordings, Still And Moving Images, and Magnetic Tape (Child, Margaret) $10.00
                   http://www-cpa.stanford.edu/cpa/reports/child.html
        pub39 The Evolving National Information Network (Houweling, Douglas Van; McGill, Michael) $15.00
        pub38 Preservation Film (Jones, C. Lee)
        pub37 Opto-Electronic Storage (Weber, Hartmut) $5.00
        pub36 The Preservation of Archival Materials. Report of the Task Forces on Archival Selection pub34 The International Project, 1992 Update (Rütimann, Hans) $10.00
        pub32 A Hybrid Systems Approach to Preservation of Printed Materials (Willis, Don) $10.00
        pub29 Survey of Micropublishers (Kesse, Erich)
        pub28 Preservation of New Technology. A Report of the Technology Assessment Advisory Committee (Lesk, Michael) $5.00
        pub27 The Organizational Phase of Project Open Book (Waters, Don; Weaver, Shari) $5.00
        pub26 Joint Study in Digital Preservation (Kenney, Anne; Personius, Lynne)
                   http://www-cpa.stanford.edu/cpa/reports/joint/index.html
        pub25 Electronic Technologies and Preservation (Waters, Don) $5.00
        pub24 Preserving the Illustrated Text. Report of the Joint Task Force on Text and Image $10.00
        pub23 Preservation and Access in China (Rütimann, Hans)
        pub22 Computerization Project of the Archivo General de Indias, Seville, Spain (Rütimann, Hans; Lynn, Stuart) $10.00
        pub21 Jewelry History (Klein, Christine De Bow)
        pub20 Review and Assessment Committee Final Report
        pub18 Report on Preservation Planning Projects
        pub17 Computer Images for Research, Teaching, and Publication in Art History and Related Disciplines (Rhyne, Charles S.) Handling charge $5.00
        pub16 Working Together (Stevenson, Condict Gaye)
        pub15 Preserving the Literary Heritage. The Final Report of the Scholarly Advisory Committee on Modern Language and Literature (Miller, Hillis)
        pub14 From Microfilm to Digital Imagery. Report of the Yale University Library (Waters, Don)
        pub13 The Production and Bibliographic Control of Latin American Preservation Microforms in the United States (Hazen, Dan)
        pub12 National Conference on the Development of Statewide Preservation Programs (Morrow, Carolyn Clark)
        pub11 Copyright and Preservation (Oakley, Robert) $15.00
        pub10 Preservation and Access Technology. A Structured Glossary of Technical Terms (Lynn, Stuart) $5.00
        pub9 Preservation Education Institute Final Report (Marcum, Deanna)
        pub8 Technical Considerations in Choosing Mass Deacidification Processes (Sparks, Peter) $10.00
        pub7 Scholarly Resources in Art History $10.00
        pub6 Directory of Information Sources on Scientific Research Related to the Preservation of Books, Paper, and Adhesives $10.00
        pub5 Image Formats for Preservation and Access. A Report of the Technology Assessment Advisory Committee (Lesk, Michael)
        clr01 Public Libraries, Communities and Technology $15.00
        clr02 Communication by Engineers (King, Donald W.) $25.00
        clr03 Analytical Review of the Library of the Future (Drabenstott, Karen M.) $15.00
        clr04 Library of the Future--Bibliography $5.00
        clr05 The Future of Education for Librarianship (Woodsworth, Anne) $15.00
        comp05 Preserving Digital Information
        comp04 Newsletter
        comp49a Annual Report: 1988 - 1989
        comp49b Annual Report: 1989 - 1990
        comp49c Annual Report: 1990 - 1991
        comp49d Annual Report: 1991 - 1992
        comp49e Annual Report: 1992 - 1993
        comp49f Annual Report: 1993 - 1994
        comp49h Annual Report: 1995 - 1996 Free

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    3.2.7.2  Digital to Microfilm Conversion

    Note: Digital to Microfilm Conversion is a report of a Demonstration Project (1994-1996)
    presented by Anne R. Kenney, Principal Investigator, Cornell University Library Department of Preservation and Conservation, Ithaca, NY 14853:

        URL: http://www.library.cornell.edu/preservation/com/comfin.html
        URL: http://www.library.cornell.edu/preservation/pub.htm

    The report provides the results of an extensive study on time and costs to be allocated for digital-to-microfilm versus microfilm-to-digital conversion processes. A comparison of quality issues of different conversion approaches is included.

    From the content of the report:
     

    • FINDINGS AND RECOMMENDATIONS: QUALITY
      Quality Finding No. 1: COM meets preservation standards for quality and permanence
      Quality Finding No. 2: No resolution loss in recording onto COM
      Quality Finding No. 3: Paper Scanning superior to film scanning
      Quality Finding No. 4: Scanning COM
      Recommendation:
      Density
      Resolution
      Reduction Ratio
      Film Size
      Bibliographic Characteristics

      FINDINGS AND RECOMMENDATIONS: COST
      Cost Finding No. 1: Microfilm and Digital Imaging
      Table 1: Cornell Digital to Microfilm Conversion Processes: Time and Costs
      Table 2: Cornell Annual Equipment Costs
      Table 3: Producing Digital Images from Paper vs. Microfilm
      Table 4: Comparing Cornell’s Digital to COM Project to Yale’s Project Open Book
      Table 5: Costs Associated with the Hybrid Approach: Scan First vs Film First
      Cost Finding No. 2: In-House vs. Outsourcing
      Recommendation: COM vs. digital archiving program
      Table 6: Comparison of COM costs to digital archiving estimates

      FINDINGS AND RECOMMENDATIONS: PROCESS
      Process Finding No. 1: Film First vs. Scan First:
      Film First Approach
      Scan First Approach
      Table 7: Conversion Differences in Two Hybrid Approaches
      Process Finding No. 2: Need to Investigate Grayscale and Color Scanning
      Process Finding No. 3: Reasonableness Standard for Copyright Searching
      Recommendation: Summit Conference

      Appendices:
      COM Preparation and Quality Control
      Reel Programming
      Image Graphics and the Electron Beam Recorder
      Proposed Reasonableness Standard for Determining Copyright Status

     
     

    ---

    3.2.8  Contents, Metadata and Projects

    •  
      • Note: the amount of information on metadata generation, contents description and -retrieval has literally exploded during the last two years. The vision behind most of these challenging initiatives is a combination of the top down approach of user requirements and sophisticated user behavior with the bottom up approach of technical developments and tools. Technics which faciliate this process include knowledge models, natural language understanding, perceptive models etc. Tools such as data mining, agents and semantic search machines are already available. The multimodal man machine interface will change its present structure significantly by improving interactivity on a cognitive level. Appropriate information structures,  "intelligent" access to information and human-centered interfaces will help to solve problems like information overload, diversity of applications and services, heterogenity and compexity of usage etc. Whereas text retrieval, nontext retrieval of pictoral information as well as automatic speech recognition has been emerged to a level already close to real life applications, for context analysis of nonspeech sounds and music only a few tools based on the acoustic analysis of sound have been developed up to now.

    ---

    3.2.8.1  IFLA - DIGITAL LIBRARIES: Metadata Resources

    •  
      • http://www.nlc-bnc.ca/ifla/II/metadata.htm
    •  
      •  
        • GENERAL RESOURCES AND INDICES
    •  
      •  
        • DUBLIN CORE AND WARWICK FRAMEWORK
        •  
          •              Background Documents and Links
        • ENCODED ARCHIVAL DESCRIPTION (EAD)
        • GEOSPATIAL METADATA STANDARDS
        • GOVERNMENT INFORMATION LOCATOR SERVICE  (GILS)
        •  
          •              International GILS Initiatives
        • HANDLES (Corporation for Networking Research Initiatives)
        • IAFA/WHOIS++ TEMPLATES
        • ROADS: Resource Organisation and Discovery in Subject-based Services.
        •  
          •              Bulk File Distribution
        • MARC (MACHINE-READABLE CATALOGUE)
        • META CONTENT FORMAT (MCF)
        • PLATFORM FOR INTERNET CONTENT SELECTION (PICS)
        • RESOURCE DESCRIPTION MESSAGES (RDM)
        • SIMPLE HTML ONTOLOGY EXTENSIONS (SHOE)
        • HARVEST SUMMARY OBJECT INTERCHANGE FORMAT (SOIF)
        • TEXT ENCODING INITIATIVE (TEI) INDEPENDENT HEADERS
        • IETF UNIFORM RESOURCE IDENTIFIERS DOCUMENTS
        •  
          •              Uniform Resource Identifiers/Locators
          •              Uniform Resource Names (URNs)
          •              Uniform Resource Characteristics (URCs)
        • X3L8 PROPOSED ANSI STANDARD FOR DATA REPRESENTATION
        • SELECTED BACKGROUND DOCUMENTS
        •  
          •              Selected Bibliographic References
          •              Metadata Tools: Examples

        Further information regarding IFLA activities can be obtained by contacting IFLA Headquarters at: ifla.hq@ifla.nl Copyright © 1995-1997 International Federation of Library Associations and Institutions
         

      to probe further ..

      IFLA

      Digital Libraries Resources, Research and Projects

      IFLA; General

      IFLA Administration

      IFLA Conferences and Proceedings

      IFLA Core Programmes

      IFLA Divisions / Sections / Roundtables

      IFLA Electronic Collections and Services

      IFLA Journal: Table of Contents

      IFLA Publications

      IFLANET Administration

      
      International Federation of Library Associations
       

      Metadata

      A Metadata Architecture for Multi-System Interoperation

      D-Lib Working Groups, Metadata

      Metadata Coalition: for metadata interchange

      
      Metadata Resources
      The Dublin Core Metadata Element Set Home Page

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    3.2.8.2  General SGML Applications

    •  
      • Note: this site provides an excellent survey (and lots of important links) on:

        HyTime: ISO 10744 Hypermedia/Time-based Structuring Language, SMDL - Standard Music Description Language, ISO/IEC DIS 10743:1995, SGML Initiative in Health Care (HL7 Health Level-7 and SGML), Metafile for Interactive Documents (MID), Standard Hypermedia/Multimedia Scripting Language (SMSL), Digital Libraries (Initiative) and SGML, SGML and Metadata, Hyper-G Text Format (HTF), Association of American Publishers (AAP), ISO 12083 DTDs, IBMIDDoc: IBM Information Development document type, IEEE Standards Department, Davenport Group: DocBook DTD, ICADD: International Committee on Accessible Document Design, CAPS (Communication and Access to Information for Persons with Special Needs) and HARMONY (Horizontal Action for the Harmonisation of Accessible Structured Documents), ELVIS - Elektronisches Literaturverzeichnis - Informatik für Sehgeschädigte, NITF (News Industry Text Format) [Formerly UTF - Universal Text Format] - SGML for the News Distribution Industry, Canadian Strategic Software Consortium (CSSC): SGML and SQL, Electronic PROTEIN SCIENCE, MIME-SGML (Multipurpose Internet Mail Extensions), EWS-MAJOUR, OCLC SGML Projects, SGML and Chemistry: The OCLC CORE Project (Chemistry Online Retrieval Experiment) and other Initiatives, Chemical Markup Language (CML), SGML and Chemistry - Other Links, SGML and Physics: The American Physical Society, American Astronomical Society, and The American Institute of Physics, GMD-IPSI SGML Projects, Multiagency Electronic [Pharmaceutical] Regulatory Submission (MERS) Project, The Data Documentation Initiative, Joint Electronic Document Interchange (JEDI), Earth Interactions: An Electronic Journal in SGML, Topic Navigation Maps, Information Mapping and SGML, Channel Definition Format, CDF (Based on XML), Open Financial Exchange (Based on XML/SGML), Meta Content Framework (MCF) - An XML Application, The Corpus Legis Project, Centre de recherche en droit public (CRDP), Royal Melbourne Institute of Technology (RMIT) - SIM SGML Database Technology, EUROMATH Project, Mathematical Markup Language (XML), SSML: A Speech Synthesis Markup Language, EuropeMMM, OpenTag Initiative, SELA Journals Project (Scholars Press - Emory Library Linked Academy), Common Desktop Environment (CDE) Help System.

        This document http://www.sil.org/sgml/gen-apps.html is part of the SGML Web Page. Support for development and maintenance of the SGML Web Page is provided in part by SoftQuad, Inc. and by the Summer Institute of Linguistics, to whom gratitude is acknowledged.
        Copyright (c) Robin Cover 1994-97. Last modified June 28, 1997.
         

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    3.2.8.3  McGIll Faculty of Music | Music Library of the Future - A Pilot Project

    •  
      • http://www.music.mcgill.ca/newHome/mlfProject/html/mlfProposal.html
      • Introduction: The Music Library of the Future (MLF) is a pilot project investigating the implementation of a virtual music library publicly accessible over the internet. The project is based on technologies which have been developed for the World Wide Web (3W) - a loose collection of computer servers and clients scattered all over the globe.

        Standards: The project has acquired a large in-house library of standards and specifications documentation. The MLF research group is committed to the development of new presentation and browsing tools but realizes that all such tools must comply with current and projected standards for internet communications. Of particular interest to us is HyTime, a time-based derivative of SGML.

        Music/Audio Player Software: An new audio player is being developed. This player looks like the Apple Audio CD Player in that the CD player design has been retained. However, it differs significantly from other players in that i) it will play any form of audio ii) it will be General MIDI Files - a form of Standard MIDI File which is known to many commercial synthesizers iii) it will play MPEG (QuickTime) movies iv) it includes a piano keyboard for playing downloaded musical instrument samples. Most important, a common representation for "markers" has been included. Points of interest (segments) can addressed with simple text descriptors. Initially these are provided by the server along with the audio/music data files then they can be altered by the end-user to customize playback access.

        Using the "hot maps" feature of Mosaic, x-y positions on the musical score (or graphic score representation) will include links to the audio/midi markers such that "clicking" on a linked spot such as the start of a movement or phrase will automatically play the corresponding audio or midi segment.

        InfoMus: To show the richness and variety of musical information the project begun collecting the following materials:
            scans of final scores
            scans of work sketches
            scans of associated materials (paintings, cover photos, etc)
            graphic analyses of musical materials
            audio recordings
            recorded interview (audio)
            video segments of performances and rehearsals
            biographical texts

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    3.2.8.4  Stanford Digital Library Project -  Project List

    Stanford Digital Library Project - Working Paper List:

  •  
    • http://www-diglib.stanford.edu/diglib/WP/WPTitles.html
  •  
    • The papers are subject to revision, but may be tracked through their working paper numbers. Some of the working papers are for internal use only, and access to their full text requires a password.

  • The Stanford University Center for Computer Research in Music and Acoustics (CCRMA)

  •  
    • http://ccrma-www.stanford.edu/
  •  
    • is a multi-disciplinary facility where composers and researchers work together using computer-based technology both as an artistic medium and as a research tool.

      Contents: The Industrial Affiliates Program, Courses and Workshops, Personal Home Pages, Software, The Catgut Musical Acoustics Research Library, collection of resources in musical acoustics research CCARH, The Center for Computer Assisted Research in the Humanities, development of data resources for applications in music research and allied areas of humanities study, Electronic Music neighbors on the Web, useful links to other web servers in the computer and electroacoustic music field.

      CCRMA, Department of Music, Stanford University, Stanford, CA 94305-8180 United States Phone: 1-(415)723-4971 FAX: 1-(415)723-8468 Email: info@ccrma.stanford.edu Comments? Suggestions? send email to webmaster@ccrma.stanford.edu ©1996/1997 CCRMA, Stanford University. All Rights Reserved. Created and mantained by Fernando Lopez-Lezcano, nando@ccrma.stanford.edu

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  3.2.8.5 Multi-media Indexing and Retrieval (MIR)

  •  
    • http://hobart.cs.umass.edu/~mmedia/
  •  
    • Center for Intelligent Information Retrieval S/IUCRC Center located in the Computer Science Department's Center for Real-Time and Intelligent Complex Computing Systems (CRICCS) at the University of Massachusetts, Amherst.
       
      Multi-media Indexing and Retrieval is a group within CIIR that concentrates on
        1.techniques for locating and indexing text in images and scanned documents.
        2.techniques for directly indexing and retrieving images by content.
      Current work includes:
        1.Extracting Text from images: A project to extract text from images.
        2.Word Spotting: A project to index handwritten archives by matching on word images.
        3.Image Retrieval by Appearance: A project to retrieve images from a database based on their visual
          similarity to a query image.
        4.Image Retrieval by Color: A project to retrieve advertisements from a database based on their color similarity to a query.

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  3.2.8.6  Knowledge Discovery Mine -- Data Mining and Knowledge

  •  
    • http://www.kdnuggets.com/
  •  
    • See What is new? (last update June 7, 1997). Knowledge Discovery Nuggets , a free electronic newsletter on Data Mining and Knowledge Discovery research and applications.
      S*I*FTWARE: a guide to commercial and public-domain tools for data mining and knowledge discovery.
      Other Websites, Companies, and Research projects related to Data Mining and Knowledge Discovery.
      Data Mining and Knowledge Discovery journal (free sample issue).
      Recent Reference materials, including Advances in Knowledge Discovery and Data Mining book
      Meetings, relevant to Data Mining and Knowledge Discovery, including KDD-97 conference.
      DATASETS for testing data mining methods.

      Maintained by Gregory Piatetsky-Shapiro and Michael Beddows. Disclaimer: all opinions expressed here are those of their writers but not necessarily of their employers or of KD Nuggets. Discovery Resources at www.kdnuggets.com   Please email relevant additions, changes, and comments to gps@kdnuggets.com

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  3.2.8.7 University of Cincinnati Knowledge-Based Software Engineering Lab,

  •  
    • http://www.ece.uc.edu/~jpenix/kbse/lab_homepage.html
  •  
    • the main focus of the research is  the application and automation of formal methods for software and hardware system design, and automated synthesis from formal specifications.

      Projects: [VSPEC ][ REBOUND ][ Gravity ][ lsl2html ] [ LSLParser ]Publications, KBSE-Related, Calls for Papers, KBSE Related Links; John Penix (jpenix@ececs.uc.edu)

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  •  
    • to probe further...

  NSF/DARPA/NASA Digital Libraries Initiative Projects

  •  
    • http://www.cise.nsf.gov/iris/DLHome.html
  •  
    • Six research projects developing new technologies for digital libraries -- storehouses of information available through the Internet -- have been funded through a joint initiative of the National Science Foundation (NSF), the Department of Defense Advanced Research Projects Agency (DARPA), and the National Aeronautics and Space Administration (NASA).

      The projects' focus is to dramatically advance the means to collect, store, and organize information in digital forms, and make it available for searching, retrieval, and processing via communication networks -- all in user-friendly ways.

      A common strategy in all of these projects is to emphasize research partnerships. We view building partnerships between researchers, applications developers and users as essential to achieving success in generating new knowledge, promoting innovative thinking, and accelerating the technology transfer process.

      The initiative will both capitalize on advancements made to date as well as promote research to further develop the tools and technologies needed to make vast amounts of useful information available to large numbers of people with diverse information needs.

      The National Synchronization Page for the Digital Libraries Initiative.

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  3.2.8.8  Metadata Summit

  •  
    • http://www.rlg.org/meta9707.html#extension
       
  •  
    • Organized by the Research Libraries Group, Mountain View, California July 1, 1997
      Meeting Report by Willy Cromwell-Kessler and Ricky Erway  Research Libraries Group

   

  •  
    • Contents: User Needs, Central Role of the Dublin Core Elements, Characteristics of Web Accessible Non-HTML Based Information, Extension of Dublin Core for Non-HTML Based Information, Mapping between Metadata systems (Crosswalks), Standards Maintenance and Oversight, Conclusions.
       
       

  ---

  •  
    •  

  3.2.8.9  ERCIM: European Research Consortium for Informatics and Mathematics

   

  •  
    • http://www-ercim.inria.fr/activity/workgroup.html

      Note: the first conference of the European Series of Conferences on Digital Libraries (ECDL) has been held in Pisa, 1-3 September 1997.

      ECDL '98 will be held in Heraklion, Crete, Greece, 19-23 September 1998.

      ERCIM Working Groups

              Computer Graphics Working Group
              Constraints
              Control and Systems Theory

            Database Research Group: http://www.cclrc.ac.uk/EDRG/index.html
            Digital Library Initiative:     http://www.area.pi.cnr.it/ErcimDL/

    •         Electronic Commerce
              Environmental Modelling
              Formal Methods for Industrial Critical Applications
              Parallel Processing Network
        User Interfaces for All:         http://www.ics.forth.gr/ICS_home/UI4ALL/ui4all.html
        W4G - World Wide Web Working Group: http://www.cwi.nl/ERCIM/W4G/

      The purpose of an ERCIM working group is to build and maintain a network of ERCIM researchers in a particular scientific field. The working groups are open to anybody affiliated with an ERCIM institute. Their main activities are the organization of workshops and the preparation of common project proposals. The workshops organized by the working groups are open to any researcher in the specific scientific field. The working groups are also the focus of internal mobility within ERCIM.
       

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  3.2.8.10  Terena: MULTIMEDIA EXPERTISE AND PROJECTS SURVEY

                 Technical Report by Ransford Johnson October 1996

  •  
    • http://www.terena.nl/projects/meps/

      This is a TERENA (Trans-European Research and Education Network Association) Technical Report (TTR) of a survey carried out to establish sources of Multimedia Expertise and Multimedia Projects.

      The aim of this survey is to provide information in recent developments in two key areas of Distributed Multimedia Research:

        1.Multimedia Expertise

          This aspect relates to organisations offering skills in the fields of multimedia publishing and/or     distributed multimedia. The information in this report is classified under the following headings:

              Multimedia collaborative applications
              Multimedia distribution
              Multimedia creation
              Multimedia system development
              Multimedia networking development

        2.Multimedia Research Projects

          This subsection of the survey concentrated on large collaborative projects relating to networked multimedia applications. This report presents the projects in terms of different countries.

      1.2. Scope

      The questionnaire for this report was formulated with restrictions on expected responses. This was to reduce the document to a manageable size.

      In general, since this document is an update on existing document, it was expected that the list of publications would only contain those published after June 1993. In particular, the Multimedia Research Projects section requested projects whose budget are larger than 100,000 ECU. It does not cover 'multimedia networking infrastructure' projects which lack a substancial applications component. Projects had to be either underway already, or must have finished after June 1993.

      1.3. Data Acquisition

      A questionnaire was prepared and distributed widely on the Internet, to various newsgroups and mailing lists. The response was most encouraging, with over 100 responses.

      The questionnaires with instructions on how to complete the request for information are included in the appendices of this report.

      1.4. Request for Comments

      This report, commissioned by TERENA and produced by Ransford Johnson, will be widely publicised and would be updated on receipt of comments, suggestions and further contributions. All such information should be sent to

      Dr Ransford Johnson <r.b.johnson@bristol.ac.uk>

       

  ---

  3.2.9  Bibliographies and Related Information

  •  
    • http://info.lib.uh.edu/sepb/sepb.htm

  3.2.9.1  Bibliography

  •  
    • Bailey, Charles W., Jr. Scholarly Electronic Publishing Bibliography. Houston: University of Houston Libraries, 1996-97.
       
      Table of Contents

      1 Economic Issues (Last update: 4/11/97)
      2 Electronic Books and Texts
          2.1 Case Studies and History (Last update: 3/19/97)
          2.2 General Works (Last update: 4/11/97)
          2.3 Library Issues (Last update: 12/17/96)
          2.4 Related Electronic Resources (Last update: 4/11/97)
      3 Electronic Serials
          3.1 Case Studies and History (Last update: 5/16/97)
          3.2 Critiques (Last update: 4/11/97)
          3.3 Electronic Distribution of Printed Journals (Last update: 4/11/97)
          3.4 General Works (Last update: 5/16/97)
          3.5 Library Issues (Last update: 2/19/97)
          3.6 Related Electronic Resources (Last update: 2/19/97)
          3.7 Research (Last update: 3/19/97)
      4 General Works (Last update: 5/16/97)
          4.1 Related Electronic Resources (Last update: 5/16/97)
      5 Legal Issues
          5.1 Intellectual Property Rights (Last update: 5/16/97)
          5.2 Other Legal Issues (Last update: 5/16/97)
          5.3 Related Electronic Resources (Last update: 5/16/97)
      6 Library Issues
          6.1 Cataloging, Classification, and Metadata (Last update: 2/19/97)
          6.2 Digital Libraries (Last update: 5/16/97)
          6.3 General Works (Last update: 10/25/96)
          6.4 Information Conversion, Integrity, and Preservation (Last update: 4/11/97)
          6.5 Related Electronic Resources (Last update: 5/16/97)
      7 New Publishing Models (Last update: 5/16/97)
      8 Publisher Issues (Last update: 4/11/97)
          8.1 Electronic Commerce/Copyright Systems (Last update: 5/16/97)
          8.2 Related Electronic Resources (Last update: 11/15/96)
      Appendix A. Related Bibliographies by the Same Author
      Appendix B. About the Author

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  •  
    • Note: The table of contents of the Glossary of Technical Terms is structured as follows:
       

                     [Table of Contents]
                ------------------- -------------------
               |                   |                   |
               |                   |                   |
              THE                 THE                 THE
        ORIGINAL DOCUMENT  SELECTION PROCESS    PRESERVED COPY
               |                                       |
               |                                       |
         1.1 Medium                           3.1 Preservation Technology
         1.2 Format                           3.2 Capture Technology
         1.3 Periodicity                      3.3 Storage Technology
         1.4 Properties                       3.4 Access Technology
         1.5 Condition                        3.5 Distribution Technology
         1.6 Content                          3.6 Presentation Technology

    • Preservation and Access Technology
      The Relationship Between Digital and Other
      Media Conversion Processes:

  3.2.9.2   A Structured Glossary of Technical Terms

  •  
    • by M. Stuart Lynn
      and The Technology Assessment Advisory Committee
      to the Commission on Preservation and Access
      August 1990
      http://palimpsest.stanford.edu/cpa/reports/lynn/
       
      Table of Contents

      Committee Preface
      Acknowledgements
      Foreword
      Introduction
      The Impact of Digital Technologies
      Scope of the Glossary
      Structure of the Glossary
      1. The Original Document
      1.1. Document Medium
      1.1.1. Paper
      1.1.2. Microform
      1.1.3. Video
      1.1.4. Film
      1.1.5. Audio
      1.1.6. Digital Electronic
      1.1.6.1 Magnetic Disk
      1.1.6.2 Magnetic Tape
      1.1.6.3 Optical Disk
      1.1.6.4 Optical Tape
      1.1.6.5 Magneto-Optical Disk
      1.1.7. Multi-Media
      1.2. Document Format
      1.2.1. Manuscript
      1.2.2. Book
      1.2.3. Pamphlet
      1.2.4. Newspaper
      1.2.5. Printed Sheet
      1.2.6. Periodical
      1.2.7. Cartographic Materials
      1.2.8. Music
      1.2.9. Graphic Materials
      1.2 9.1 Art Original
      1.2 9.2 Filmstrip
      1.2 9.3 Photograph
      1.2 9.4 Picture
      1.2 9.5 Technical Drawing
      1.2.9.6 Miscellaneous
      1.2.10 Data File
      1.2.10.1 Table
      1.3. Document Periodicity
      1.3.1. Monograph
      1.3.2. Serial
      1.4. Document Properties
      1.4.1. Tone
      1.4.1.1 Monotone
      1.4.1.1.1 Two-Tone
      1.4.1.1.2 Greyscale
      1.4.1.2 Highlight Color
      1.4.1.3 Two color
      1.4.1.4 Full Color
      1.4.2. Object Type
      1.4.2.1 Text Objects
      1.4.2.2 Data Objects
      1.4.2.2.3 Table
      1.4.2.3 Graphic Objects
      1.4.2.3.1 Line Art
      1.4.2.3.1.1 Graphs
      1.4.2.3.2 Halftone
      1.4.2.3.3 Discrete Tone
      1.4.2.3.4 Continuous Tone
      1.5. Document Condition
      1.5.1. Archival
      1.5.2. Non-Archival
      1.5.3. Acidic
      1.5.4. Brittle
      1.5.5. Other
      1.6. Document Content
      1.6.1. Intellectual Content
      1.6.2. Copyright
      1.6.3. Structure
      1.6.3.1 Abstract (see 3.4.1.2)
      1.6.3.2 Title Page
      1.6.3.3 Table of Contents (see 3.4.4.1.3)
      1.6.3.4 List of Figures, Tables, Maps or Other Illustrations
      1.6.3.5 Preface (see 3.4.1.5)
      1.6.3.6 Introduction (see 3.4.1.6)
      1.6.3.7 Body
      1.6.3.8 Index (see 3.4.1.7)
      1.6.3.9 Other
      2.The Selection Process
      2.1. By Title
      2.2. By Category
      2.3 By Bibliography
      2.4. By Use
      2.5. By Condition
      2.6. By Scholarly Advisory Committee
      2.7. By Conspectus
      3. The Preserved Copy
      3.1. Preservation and Media Conversion Technologies
      3.1.1. Conservation Treatment
      3.1.2. Paper Deacidification and Strengthening
      3.1.3. Photocopying
      3.1.4. Microform Recording
      3.1.5. Electronic Digitization
      3.1.5.1 Image Document
      3.1.5.2 Text Document
      3.1.5.2.1 Unformatted Text
      3.1.5.2.2 Formatted Text
      3.1.5.3 Compound Document
      3.1.6. Rekeying of Text
      3.1.6.1 Unformatted Text
      3.1.6 2 Formatted Text
      3.1.7. Reprinting or Republication
      3.2. Capture Technology
      3.2.1. Photocopier
      3.2.2. Microform Recorder
      3.2.3. Digital Image Scanner
      3.2.4. Optical Character Recognition Scanner
      3.2.5. Internal Character Recognition
      3.2.6. Intelligent Character Recognition
      3.2.7. Page Recognition
      3.2.8. Rekeying of Text
      3.2.9. Enhancement
      3.3. Storage Technology
      3.3.1. Storage Medium
      3.3.1.1 Paper (see 1.1.1)
      3.3.1.2 Microform (see 1.1.2)
      3.3.1.3 Video (see 1.1.3)
      3.3.1.4 Film (see 1.1.4)
      3.3.1.5 Audio (see 1.1.5)
      3.3.1.6 Digital Electronic
      3.3.1.6.1 Magnetic Disk
      3.3.1.6.2 Magnetic Tape
      3.3.1.6.3 Optical Disk
      3.3.1.6.4 Optical Tape
      3.3.1.6.5 Magneto-Optical Disk
      3.3.2. Compression
      3.3.2.1 Uncompressed
      3.3 2.2 Reversibly Compressed
      3 3.2.2.1 CCITT Group Compression
      3.3.2.2.2 Reversible Textual Compression
      3.3.2.2.3 Page Description Language Compression (PDL)
      3.3.2.2.4 Other Compression Standards or Algorithms
      3.3.2.3 Irreversibly Compressed
      3.3.2.3.1 Irreversible Textual Compression
      3.3.3. Storage Format
      3.3.4. Encoding Method
      3.3.4.1 No Encoding
      3.3.4.2 Textual Encoding
      3.3.4.3 Markup Language Encoding
      3.3 4.4 Page Description Language Encoding
      3.3.5. Useful Life
      3.4. Access Methodology or Technology
      3.4.1. Indexed Access
      3.4.1.1 Via Catalog
      3.4.1.2 Via Abstract
      3.4.1.3 Via Table of Contents
      3.4.1.4 Via List of Figures, Tables, Maps or Other Illustrations
      3.4.1.1 Via Preface
      3.4.1.6 Via Introduction
      3.4.1.7 Via Index
      3.4.1.8 Via Citation
      3.4.2. Full (or Partial) Document Access
      3.4.2.1 Via Inverted Text File Index
      3.4.3. Compound Document Access
      3.5. Distribution Technology
      3.5.1. Distribution Medium
      3.5.1.1 Paper (see 1.1.1)
      3.5.1.2 Microform (see 1.1.2)
      3.5.1.3 Video (see 1.1.3)
      3.5.1.4 Film (see 1.1.4)
      3.5.1.5 Audio (see 1.1.5)
      3.5.1.6 Digital Electronic (see 1.1.6)
      3.5.2. Messenger Services
      3.5.3. FAX
      3.5.4. Print-on-Demand
      3.5.5. Data Networks
      3.5.5.1 Local Area Network
      3.5.5.2 Wide Area Network.
      3.5.5.3 National Network
      3.5.6. Voice Networks
      3.5.7. Cable Networks
      3.6. Presentation Technology
      3.6.1. Presentation Medium
      3.6.1.1 Paper (see 1.1.1)
      3.6.1.2 Microform (see 1.1.2)
      3.6.1.3 Video (see 1.1.3)
      3.6.1.4 Film (see 1.1.4)
      3.6.1.5 Audio (see 1.1.5)
      3.6.1.6 Digital Electronic (see 1.1.6)
      3.6.2. Presentation or Viewing Device
      3.6.2.1 Paper Document
      3.6.2.2 Microform Reader
      3.6.2.3 Video Projector (Television Set)
      3.6.2.4 Film, Slide, or Other Projectors
      3.6.2.5 Audio Devices
      3.6.2.6 Computer Workstation
      3.6.2.6.1 Display Monitor
      3.6.2.6.2 Local Printer
      3.6.2.6.3 Remote Printer
      3.6.2.6.4 Other Local Media Output Device
      3.6.2.7 Multi-Media Workstation
      4. Sources of Information
      Notes
       

      Published by
      The Commission on Preservation and Access
      1400 16th Street, NW, Suite 740
      Washington, DC 20036-2217
      August, 1990

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  3.2.9.3 List of Libraries Abbreviations

  •  

    • encountered in the context of EU R&D

      Note: this frequently updated list of abbrevations provides more than 1000 entries with links to EU R&D projects.

      http://www2.echo.lu/libraries/en/acronym.html
       

      The list is maintained by DG XIII-E-4 Telematics for Libraries - Ian M. Pigott
         

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