A run-down of digital preservation technologies for very, very long-term storage …in space.
My back-up strategy is similar to Brendan’s (using Super Duper and Backblaze):
In backup parlance there’s a thing called 3-2-1. That is, you should three copies of your files — two locally on different devices and one off site.
But I only do my local back-ups once a week (eek!)—I should do better.
A deceptively simple but thoroughly addictive little in-browser puzzle game.
(It would be neat if this were turned into an offline-first progressive web app; it’s already keeping everything locally.)
A terrific piece by Maria Bustillos on digital preservation and the power of archives, backed up with frightening real-world examples.
Because history is a fight we’re having every day. We’re battling to make the truth first by living it, and then by recording and sharing it, and finally, crucially, by preserving it. Without an archive, there is no history.
Here’s an interesting insight on how WebKit is going to handle the cleanup of unused service workers and caches:
Service worker and Cache API stored information will grow as a user is browsing content. To keep only the stored information that is useful to the user, WebKit will remove unused service worker registrations after a period of a few weeks. Caches that do not get opened after a few weeks will also be removed.
Off-site backups of humanity’s knowledge and culture, stored in different media (including pyramidal crystals) placed in near-Earth orbit, the moon, and Mars.
We are developing specialized next-generation devices that we call Archs™ (pronounced “Arks”), which are designed to hold and transmit large amounts of data over long periods of time in extreme environments, including outer space and on the surfaces of other planetary bodies.
Our goal is to collect and curate important data sets and to install them on Archs™ that will be delivered to as many locations as possible for safekeeping.
To increase the chances that Archs™ will be found in the future, we aim for durability and massive redundancy across a broad diversity of locations and materials – a strategy that nature itself has successfully employed.
A step-by-step guide to implementing drag’n’drop, and image previews with the Filereader API. No libraries or frameworks were harmed in the making of this article.
Here’s the flow that eBay use for the font-loading. They’ve decided that on the very first page view, seeing a system font is an acceptable trade-off. I think that makes sense for their situation.
Interestingly, they set a flag for subsequent visits using
localStorage rather than a cookie. I wonder why that is? For me, the ability to read cookies on the server as well as the client make them quite handy for situations like this.
You can use
navigator.storage.estimate() to get a (vague) idea of how much space is available on a device for your service worker caches.
How the IETF redefined the process of creating standards.
To some visionary pioneers, such as Ted Nelson, who had been developing a purist hypertext paradigm called Xanadu for decades, the browser represented an undesirably messy direction for the evolution of the Internet. To pragmatists, the browser represented important software evolving as it should: in a pluralistic way, embodying many contending ideas, through what the Internet Engineering Task Force (IETF) calls “rough consensus and running code.”
There are three parts to digital preservation: format, medium, and licensing. Film and television archives are struggling with all three.
Codecs—the software used to compress and decompress digital video files—keep changing, as do the hardware and software for playback.
As each new generation of LTO comes to market, an older generation of LTO becomes obsolete. LTO manufacturers guarantee at most two generations of backward compatibility. What that means for film archivists with perhaps tens of thousands of LTO tapes on hand is that every few years they must invest millions of dollars in the latest format of tapes and drives and then migrate all the data on their older tapes—or risk losing access to the information altogether.
Studios didn’t see any revenue potential in their past work. They made money by selling movie tickets; absent the kind of follow-on markets that exist today, long-term archiving didn’t make sense economically.
It adds up to a potential cultural disaster:
If technology companies don’t come through with a long-term solution, it’s possible that humanity could lose a generation’s worth of filmmaking, or more.
A documentary by Matt Parker (brother of Andy) that follows in the footsteps of people like Andrew Blum, James Bridle, and Ingrid Burrington, going in search of the physical locations of the internet, and talking to the people who maintain it. Steven Pemberton makes an appearance in the first and last of five episodes:
- What is the Cloud vs What Existed Before?
- Working out the Internet: it’s a volume game
- The Submarine Cable Network
- How Much Data Is There?
The music makes it feel quite sinister.
An even thornier problem than the Clock of the Long Now.
Like cuneiform crossed with the Long Now Foundation’s Rosetta Project.
He will laser-print a microscopic font onto 1-mm-thick ceramic sheets, encased in wafer-thin layers of glass. One 20 cm piece of this microfilm can store 5 million characters; whole libraries of information—readable with a 10x-magnifying lens—could be slotted next to each other and hardly take up any space.
This philosophy doesn’t apply to every website out there, but it sure as hell applies to a lot of them.
It’s still many years away from being a viable storage option, but here’s the latest on using DNA to back up our collective data.
Magnetic tape may survive a few decades, and DVDs even longer, but they are by no means immortal. Data stored in DNA, provided it’s kept cold and dry, could last for thousands of years.
Another dive into the archives of the www-talk mailing list. This time there are some gems about the origins of the
input element, triggered by the old