Overview of content related to 'university of london' http://live.ariadne.ac.uk/taxonomy/term/13735/all?article-type=&term=&organisation=&project=&author=carlos%20silva&issue= RSS feed with Ariadne content related to specified tag en KAPTUR the Highlights: Exploring Research Data Management in the Visual Arts http://live.ariadne.ac.uk/issue71/garrett-et-al <div class="field field-type-text field-field-teaser-article"> <div class="field-items"> <div class="field-item odd"> <p><a href="/issue71/garrett-et-al#author1">Leigh Garrett</a>, <a href="/issue71/garrett-et-al#author2">Marie-Therese Gramstadt</a>, <a href="/issue71/garrett-et-al#author3">Carlos Silva</a> and <a href="/issue71/garrett-et-al#author4">Anne Spalding</a> describe the exploration of the importance and nature of research data in the visual arts and requirements for their appropriate curation and preservation.</p> </div> </div> </div> <p>KAPTUR (2011-13) [<a href="#1">1</a>], funded by Jisc and led by the Visual Arts Data Service, was a collaborative project involving four institutional partners: the Glasgow School of Arts; Goldsmiths, University of London; University for the Creative Arts; and the University of the Arts London.&nbsp;Research data have in recent years become regarded as a valuable institutional resource and their appropriate collection, curation, publication and preservation as essential. This has been driven by a number of internal and external forces, and all UK Research Councils now require it as a condition of funding [<a href="#2">2</a>]. As a result, a network of data repositories has emerged [<a href="#3">3</a>], some funded by research councils and others by institutions themselves. However, at the outset of the project, research data management practice within the visual arts appeared to operate rather <em>ad hoc</em> with none of the specialist arts institutions within the UK having either implemented research data management policies [<a href="#4">4</a>] or established research data management systems.&nbsp; KAPTUR sought to:</p> <ul> <li>investigate the nature of visual arts research data;</li> <li>make recommendations for its effective management;</li> <li>develop a model of best practice applicable to both specialist institutions and arts departments within multidisciplinary institutions; and</li> <li>apply, test and refine the model of best practice across the four institutional partner institutions.</li> </ul> <p>This paper outlines the background and context of the project; explores the nature of visual arts research data; details the outcomes of the user and technical review; and describes the work which underwent within the partner institutions around policy formation and staff engagement.</p> <p>Led by the Visual Arts Data Service (VADS), in collaboration with the Glasgow School of Art, Goldsmiths College, University of the Arts London and University for the Creative Arts, and funded by Jisc, KAPTUR [<a href="#1">1</a>] sought to ‘...discover, create and pilot a sectoral model of best practice in the management of research data in the [visual] arts.’ [<a href="#5">5</a>].</p> <p style="text-align: center; "><img alt="logo Visual Arts Data Service (VADS)" src="http://ariadne-media.ukoln.info/grfx/img/issue71-garrett-et-al/logo-2.jpg" style="width: 600px; height: 210px;" title="logo Visual Arts Data Service (VADS)" /></p> <p>Recent years have witnessed an increasing recognition across the Higher Education sector that research data are a valuable resource and therefore its appropriate curation and preservation are essential.&nbsp; In addition, wider societal and political forces meant that research councils, teams and researchers were coming under increasing pressure to make publicly funded data freely available.&nbsp; As such the publication of research data was increasingly becoming a requirement of funding, for example the Arts and Humanities Research Council [<a href="#6">6</a>] and Medical Research Council [<a href="#7">7</a>]. Equally important was the need for increased data transparency, and to enable researchers to access existing datasets to test the validity and reliability of the data and associated research methods; to reinterpret the data; and to preserve the data for future scrutiny. In response, many universities, for example the University of Edinburgh, had established institutional research data management systems to support the deposit and preservation of research data, whilst others were in the process of piloting services, for example the University of Leicester, and establishing policies and procedures which actively support researchers to manage their data effectively, such as Canterbury Christ Church University and Northumbria University. In addition, many of the research councils themselves had established repositories, for example the UK Data Archive at the University of Essex, which curates research data in the social sciences and humanities, and the Natural Environment Research Council, which supports a network of data centres across its disciplinary areas.</p> <p>However, given the emerging landscape, at the outset of the project it was clear that very little was known about the collection, curation and usage of research data in the visual arts:&nbsp;none of the specialist arts institutions had research data management policies or infrastructure in place and evidence collected at the time indicated that practice was at best, <em>ad hoc</em>, left to individual researchers and teams with limited support or guidance. Little work had been undertaken to understand the distinctive and varied nature of research data in the visual arts, and even less to understand how these data could be collected, curated, preserved and exploited, or their potential impact assessed.</p> <p>By its very nature, research in the visual arts is highly complex and varied, often comprising a wide variety of outputs and formats which present researchers, repository managers and institutions with many discipline-specific difficulties. The methods and processes which generate this research are just as varied and complex.&nbsp; Research endeavour in the visual arts relies heavily on the physical artefact: sketchbooks, logbooks, journals, and workbooks.&nbsp; Alongside these data, a wide range of related project documentation and protocols are also created.&nbsp; While technology may offer considerable potential to support the safe storage and preservation of research and related data, and to enhance access, the highly distinctive nature of the visual arts and its research methods also present enormous technical problems with regard to formats, standards, roles and responsibilities, and policies.</p> <p></p><p><a href="http://live.ariadne.ac.uk/issue71/garrett-et-al" target="_blank">read more</a></p> issue71 feature article anne spalding carlos silva leigh garrett marie-therese gramstadt ahrc canterbury christ church university courtauld institute of art datacite dcc falmouth university glasgow school of art goldsmiths college hefce jisc northumbria university uk data archive university for the creative arts university of bath university of birmingham university of edinburgh university of essex university of leicester university of london university of the arts london vads kaptur keepit mrc scarlet archives augmented reality blog cataloguing cloud computing curation data data management data set digitisation eprints framework higher education infrastructure metadata oer open access preservation repositories research semantic web software video Mon, 01 Jul 2013 17:50:23 +0000 lisrw 2461 at http://live.ariadne.ac.uk