Give yourself the gift of digital permanence by applying for a DPOE grant to pay for digital preservation training this spring.
Students who've applied it to my online DIG 550 class https://DigitalCuration.UMaine.edu say it's easy and paid for the course.
---
https://www.dpoe.network/training-opportunities-by-subject
#Grant #Archives #Collections #Data #DigitalCuration #DigitalPreservation #GLAM #Libraries #Museums #Digipres #OnlineLearning
November is digital heritage month; in case you need help with your collection, UMaine's all-online graduate certificate has been called "a national standard for the study of digital curation." You can register now for my spring course in preservation or apply for the full certificate at https://DigitalCuration.UMaine.edu
#Archives #Collections #Data #DigitalCuration #DigitalPreservation #GLAM #Libraries #Museums #Digipres #Emulation #Migration
Generative AI is slowly transforming digital curation, so we've integrated lessons on its technology, ethics, and techniques into our online graduate certificate at https://DigitalCuration.UMaine.edu.
Here's a related job as a Critical Artificial Intelligence Librarian at Dartmouth, working alongside our faculty member @novomancy
https://www.linkedin.com/jobs/view/4307076786
ICYMI, registration is open for the 20th International Digital Curation Conference (IDCC26), which will take place in beautiful Zagreb, Croatia (16-18 February 2026).
The main conference theme is: AI, austerity, and authoritarianism: contemporary challenges in digital curation. Get booking here! π
https://dcc.ac.uk/events/idcc26 #IDCC26 #DigitalCuration #data #OpenData #ResearchData
Feel like your collection website could be better but don't know the necessary tools? A few seats left in UMaine's online course in Digital Collections and Exhibitions starting 3 Sep, which teaches the fundamentals of getting your records in a database and putting them online https://DigitalCuration.UMaine.edu
#Archives #Collections #Data #DigitalCuration #Digitization #Museums #OnlineLearning
#Archives #Collections #DigitalCuration #Digitization #GLAM #Museums #OnlineLearning #PHP #MySQL #Database
AI is flooding libraries with generated content just as budgets and staff are at their most precarious. This Thursday at 10am EDT my ASIS&T webinar asks if we need to ban it, label it, absorb itβor rethink the library itself.
https://www.asist.org/meetings-events/webinars/whoevenwrotethis
#Libraries #Archives #Collections #DigitalCuration #DigitalHumanities #GLAM #AIethics #GenAI
π£ We are hiring! The Faculty of Information at the University of Toronto is hiring a Professor at the Assistant or Associate rank in the area of Digital Curation and Cultural Heritage, with an anticipated start date of July 1, 2026 (or shortly thereafter). The closing date is Sept. 8, 2025.
#digitalCuration #digitalPreservation #digitalSustainability #tt @academicjobs
Need to put your collection in a database and get it online? This fall UMaine's offering Digital Collections and Exhibitions (DIG 540) online with Craig Dietrich.
https://DigitalCuration.UMaine.edu
#Archives #Collections #Data #DigitalCuration #DigitalHumanities #GLAM #Libraries #Museums
This article reflects on the translation of gallery space into a virtually immersive experience in an era of remote access. Curators and scholars such as Mary Nooter Roberts, Susan Vogel, Carol Duncan, Tony Bennet, Stephen Greenblatt, Judith Mastai, and Barbara Kirshenblatt-Gimblett have discussed the myriad of ways in which the experience of culturally significant objects and sites in person has been critical to the study of art and its history. Focusing on theories of curation and display, I utilize practice-based examples from six virtual reality (VR) exhibitions produced in three different institutional contexts: the International Journal of Digital Art Historyβs online gallery, the European Cultural Centerβs Performance Art program, and the Digital Humanities program at the University of California, Los Angeles. By documenting and analyzing the extended reality (XR) methods employed and the methodological approaches to the digital curatorial work, I address some of the challenges and opportunities of presenting objects in virtual space, offering comparisons to those faced when building physical exhibitions. I also consider how digital modalities provide a distinctly different paradigm for epistemologies of art and culture that offer greater contextualized understandings and can reshape exhibition documentation and the teaching of curatorial practice and museum studies.
Jon Ippolito
George Macgregor
Sarah Scully π©πΌβπ»βοΈπβΈοΈ π³οΈβπ
Christoph Becker
Harald Klinke