开发的数字式图书馆：高等教育的四项原则【外文翻译】.doc

1、 外文翻译 原文 开发的数字式图书馆：高等教育的四项原则 Material Source: New Horizons Author: Donald Waters Developing Digital Libraries: Four Principles for Higher Education Higher education will surely be well served if it supports and maintains the development of digital libraries that contain works of lasting intellectual

2、 value, including both primary sources that open up and support new lines of scholarship in the arts and sciences and secondary sources that record and disseminate scholarly activity. But what priorities and policies should guide higher education in its approach to the development of digital librari

3、es? Officially launched in April 2001 and funded with a $5 million startup grant from the Andrew W. Mellon Foundation,ArtSTOR may offer some answers to these questions. The mission of this emerging digital library is to develop, store, provide access to, and electronically distribute collections of

4、high-quality digital images and related materials for the study of art, architecture, and other fields in the humanities. Its first research collection will be the Digital Design Collection, containing nearly 8,000 images with related documentation and representing over 80 percent of the materials i

5、n the design collection of the Museum of Modern Art (MoMA). A second major research collection will be the Mellon International Dunhuang Archive, containing highresolution digital-coverage photography and virtual-reality panoramas of the wall paintings in the worship caves at Dunhuang in western Chi

6、na, as well as digital images of paintings, drawings, manuscripts, the earliest printed books, and other objects that were originally at Dunhuang but are now located in museums and archives around the world. In addition, ArtSTOR is constructing a broader Image Gallery, comprising core collections of

7、 images and accompanying documentation for use in teaching and coursework. In the early stages of establishing ArtSTOR, four key principles have emergedprinciples that will likely be critical in the general development of digital libraries in higher education. 1. The first guiding principle for the

8、development of digital libraries in higher education is to create scholarly value by exploiting the distinctive features of the technology. Investments in electronic journals, such as the materials available from JSTOR (the digital library of scholarly journals, ) and from most major academic publis

9、hers, have proven to be clear winners because of the economies and ease of use afforded by using the technology to aggregate and search text in thousands of articles. Similar benefits are being achieved for reference works such as encyclopedias and dictionaries and, at a somewhat slower pace because

10、 of the expense required to achieve the right scale, for books and monographs. The scholarly advantages of applying digital technology to the collection and dissemination of primary sources are no less real but have proven somewhat more elusive. As they are building digital libraries, few institutio

11、ns have begun to assemble primary source collections of Web pages, e-mail correspondence, electronic manuscripts, software programs, electronic games, digital art, and other uniquely digital artifacts that would help serve as a record of modern culture for future scholars. However, many have experim

12、ented with digitizing existing collections of primary sources in order to make them more accessible. Many of these projects have digitized the material simply in the hope, often unrealized, that an audience will emerge that is willing and able to sustain the collection. Avoiding the risky “field of

13、dreams” approach requires, in part, a careful appraisal of how the technology can be exploited for primary sources to create scholarly value. For example, although most primary sources are one-of-a-kind items, many colleges and universities maintain slide libraries of reproductions of works of art.

14、These slide libraries typically contain images of the same canonical artworks taught in nearly all undergraduate curricula. ArtSTORs Image Gallery aims to create scholarly value by systematically building digital collections of images that it can deliver electronically from a central repository (or

15、a small set of replicated repositories), thereby taking advantage of the technology to avoid the substantial system-wide expense of duplication across institutions. Other ways that ArtSTOR plans to exploit technology is by using high-quality illumination and detail of the digital photography and by

16、providing tools to display these features and make possible comparison and analysis of the MoMA, Dunhuang, and other materials at a level of sophistication that could not otherwise be attained. 2. Assuming an investment in the technology is warranted, a second guiding principle for digital libraries

17、 is to create collections of coherence and integrity. Many of the early efforts to digitize primary sources have placed insufficient emphasis on intellectual integrity and coherence as criteria for selection. In some cases, digitizing projects have settled for a “greatest hits” approach, which simpl

18、y illustrates a collection rather than making it available. In other cases, databases of art images reflect the individual strengths of the museum and other contributors rather than a mutual interest in creating a resource that is genuinely useful to scholars and teachers. There are at least two alt

19、ernatives to these approaches. First, coherence and integrity can be achieved by being comprehensive, digitizing all or nearly all of a strong existing collection, as MoMA is doing with its design collections. Alternatively, if selectivity is required, scholars who would use the resource being devel

20、oped must assist in deciding which images are to be included and how these images should be directed toward a specific pedagogic or research need. Scholarly advice has been central to the selection of materials for ArtSTORs Image Gallery. Scholars who are currently writing textbooks in the fields of

21、 Asian art and American art, for example, have been asked to identify for possible inclusion in ArtSTOR four or five times the number of images that they would normally be able to include intheir printed texts. 3. Even in cases where coherence and integrity of the collections are a prime objective,t

22、he high quality that scholars demand can be impeded by a failure to deal directly with intellectual property issues. Many digital library projects aim too low,settling for poor-quality accessin the form of thumbnails of visual materials as a way of skirting these critical issues. The legitimate righ

23、ts of conte nt owners must of course be protected, but the third guiding principle is for higher education to do so in ways that protect and foster an intellectual commons for scholarly and educational uses. The Mellon Foundations experience in developing both ArtSTOR and JSTOR suggests that several

24、 distinctions are essential for striking a productive balance between the intellectual property rights of content owners and the interests of scholarly users. Above all, commercial uses of copyrighted materials must be rigorously distinguished from noncommercial, educational uses. In the agreements

25、that ArtSTOR has made, for example, content owners retain full ownership rights for commercial and other uses while Art- STOR is granted a limited and nonexclusive license for noncommercial educational uses. Furthermore, like JSTOR, ArtSTOR will provide a well-regulated environment for such use, one

26、 in which content is available not to all comers but only to authorized users of subscribing institutions, which are subject to a strictly enforced user license. 4. The fourth guiding principle for the development of digital libraries is to be realistic about costs, especially the costs of distribut

27、ing content and sustaining ongoing operations. Building digital libraries is expensive; the costs are not just technical but, as we have seen, involve aiming the technology at scholarly goals, carefully selecting content, and managing intellectual property. There are other significant costs, includi

28、ng those of cataloging. But perhaps the most important and most overlooked costs are those associated with distribution and ongoing support. Many individuals and institutions are seeking to digitize important materials, including art and other visual materials, as primary sources for scholarship, bu

29、t with rare exceptions the projects are relatively smallscale, are isolated in data structure, and face enormous challenges in finding an appropriate means of distribution. Entry costs may be low, providing an illusion that cottage-style industry is viable over the long term, but economies of scale

30、are required to make the system-wide costs affordable. To achieve such economies for the distribution of digitized scholarly products, especially when there is little prospect of attracting commercial investment, a provider must be willing to implement a business model that includes a levy of modest

31、 user charges as well as a strategy for building a user community that not only wants but also is able to pay to help support the products through the course of rapidly changing technologies. Otherwise, the products are doomed to a Hobbesian life: nasty, brutish, and short. Achieving an economy of s

32、cale also requires an efficient means of aggregating content through cross-project and cross institutional collaboration. One of the most important considerations in crafting a standard agreement with early collaborators in ArtSTOR has been to strike the right balance between the need for aggregatio

33、n in the distribution process and the interests of the participants in preserving the distinctiveness and identity of their contributions. Weaving digital libraries into the fabric of higher education following these four basic principles will require much creativity and, of course, an unswerving co

34、mmitment to the academic mission. Institutions that have begun the task find that they are creating new kinds of laboratories for the liberal arts and sciences. Such institutions are revitalizing themselves as virtual and physical spaces in which researchers, teachers, and students can come together

35、 in shared enthusiasm for the academic mission of creating, collecting, and disseminating works of lasting intellectual value. 译文 开发的数字式图书馆：高等教育的四项原则 资料来源：新的天际 作者： Donald Waters 高等教育如果能够支持和维护持久的智力价值工作即数字图书馆的发展，那么未来高等教育的服务可能会发展得很好。数字图书馆的主要来源包括艺术、科学和第二手资料（记录和传播发展学术活动）等。但是，如果要想深入了解数字图书馆，首先要考虑的是优先事项和政策应

36、如何引导高等教育数字图书馆的发展。 ArtSTOR 可能会提供一些对这个问题的答案，这是一个接受 Andrew W. Mellon 基金会的五百万美元启动基金资助的项目。该项目在 2001 年 4 月正式启动。数字图书馆的使命是开发、储存、提供、获取和用电子方式收集那些可以用来学习艺术、建筑以及人类其他领域的高品质数字图像及相关材料。数字图书馆的第一个研究文库收集的是数字化设计，包含的相关文件有近 8000 幅图像，并且展示了 80%以上在现代艺术博物馆（纽约现代艺术博物馆）收集到的材料。第二个主要研究系列是梅隆国际敦煌档案，其中包含在中国西部的敦煌高分辨率数字摄影和覆盖在崇拜洞穴壁画虚拟现实

37、全景，以及油画、素描、手稿数字图像、最早的印刷 书籍。还有一些原先在敦煌，但现在在世界各地的博物馆和档案馆内的其他资料。此外， ArtSTOR 正在建设一个更加广泛的图像库，核心是收集各种图像和教学课程方面需要使用的文件。 在 ArtSTOR 建立的早期阶段，出现了四个主要的原则。这四个原则对数字图书馆在高等教育大众化的发展中有着至关重要的作用。 1.高等教育数字图书馆发展的第一个指导性原则是通过探索技术方面的绝对性特点来创造学术的价值。电子期刊的投资，比如来自 JSTOR（学术期刊的数字图书 http:/www.jstor.org）和一些学术出版社的有效资料 ，已经被证明是明显的大赢家，因为

38、它比较经济而且在上千篇文章中搜索文本的技术的非常简单易用。类似的优势在参考文献中也能体现，比如百科全书和词典。但要达到书籍和专著正确的规模，费用略为减慢了步伐。这种以应用数字化技术来搜集和传播学术的优势是真实的，而且有点令人难以捉摸。 当他们正在建设的数字图书馆的时候，很少有机构开始组装网页的来源收集。对一个记录现代文化的未来学者来说，电子邮件通信、电子稿件、软件程序、电子游戏、数码艺术、文物及其他独特的数字化资源是非常重要的。然而，目前许多人尝试用数字化，以现有的收藏品为主 要的来源，希望能够使这些变成数字资源。许多这些项目中希望可以得到数字化的材料，在实际中但很多都没有能够顺利的实现。避免

39、危险的“壮志雄心”的方针要求的一部分是这技术该如何用来探索主要来源的收集，从而对创造学术价值做出认真的评定。虽然多数主源是一些独特的项目，例如，有许多高校都保持艺术作品的复制品幻灯片库。这些幻灯片库通常包含在几乎所有的本科课程中，讲授相同的规范艺术品图像。 ArtSTOR 的图像是建立有系统建设的图像，它可以提供一个中央资料库（或复制的资料库小集）电子数位典藏的学术价值，从而利用该技术的优势，避 免了各机构大量系统的重复开支。其他的方式是利用 ArtSTOR 计划开采技术，采用高品质的照明和数字摄影细节，提供工具来显示这些功能，并在可能的复杂程度中比较和分析现代艺术博物馆，敦煌，和其他材料，否

40、则将无法实现。 2第二个指导原则是假设在技术方面的投资是必要的，那么数字图书馆具有创建集合的一致性和完整性。早期努力的许多数字化的主要资源在知识的完整性和连贯性方面的评选标准的强调还不够。在某些情况下，数字化项目相继落户的办法，它只是说明了 一个集合，而不是使其可以使用。在其他情况下，艺术图像数据库反映了博物馆和其他捐助，而不是在创造一种资源，这种资源是真正有用的学者和教师共同关心的。对这些方法至少有两个选择。首先，通过理解和数字化所有或几乎所有现有的强大集合，则连贯性和完整性就可以实现，因为它的设计是现代艺术博物馆藏需要做的事情。另外，如果需要选择性，则需要使用开发的资源的学者必须帮助决定应

41、该包括哪些图像，以及这些图像应该沿着一个怎样特定的教学或研究需要。学术的意见已经成为 ArtSTOR 图像廊的材料选择的中心。目前正在写亚洲和美国艺术领域的教 科书，比如，我们已要求识别 ArtSTOR 四五次可能在文本中列入的图像的数量。 3. 即使在有些情况下集合的一致性和完整性是首要目标，学者们高质量的要求也有可能成为处理知识产权问题直接阻碍。许多数字图书馆项目的目标设置的太低，用一种低质量的方式（一种视觉材料缩略图的形式）作为一种绕过这些关键问题的方法。内容所有者的合法权益当然必须需要得到保护，但第三个指导原则是高等教育所采取的方式，保护并促进学术和教育用途的一个知识分子的百科全书等。

42、梅隆基金会在发展中的 ArtSTOR 和 JSTOR 的经验表明，几个本质的区别是两 者的内容所有者的知识产权权利和学术用户的利益之间平衡生产力的重要性 .。总的来说，受版权保护的材料的商业用途必须严格区分非商业和教育用途。 ArtSTOR 所作的协议中，比如，内容拥有者要保留商业和其他用途的全部所有权，而 ArtSTOR 的授予是有限的并且不允许非商业的教育使用。此外，像JSTOR 的 ArtSTOR 将提供一个这样的内容：可以使用，但并不是对所有商家而是只向订阅机构的授权者，一个严格执行的用户才有许可授权管理良好的环境。 4. 数字图书馆的发展第四指导原则是对实现的参加费用，尤其是传播内容

43、和维持日常运 营成本。建立数字图书馆非常昂贵，费用不只是技术，但正如我们所看到的，包括针对学术目标的技术、精心选择内容、以及管理知识产权。还有其他一些重要的费用，包括那些编目。但是，也许最重要，最易被忽视的成本是指分销和持续不断的支持。许多私人和机构正在寻求数字化的重要材料，包括艺术和其他视觉材料，作为奖学金的主要来源，但除了极少的例外项目其他都是些比较小的规模和孤立的数据结构以及在寻找合适的分布方式中面临着巨大的挑战。进入的成本可能较低，因此给了我们提供了一个错觉，以为家庭作坊式工业是长期可行的，但规模经济的要求使全系 统的成本无法负担。为了配等经济体系实现经济的数字化学术产品，尤其当吸引商

44、业投资的机会不大的时候，供应商必须愿意实现一种业务模式，其中包括一个适度的使用费征收，以及建设一个用户策略社区，不仅需要而且要有能力支付，以帮助、支持，在技术的快速变化过程中的所产的产品。否则，该产品是会成为这样一种产品：肮脏，野蛮，短暂。实现规模经济还需要一个聚合，通过跨项目和跨机构合作的内容建立有效的手段。在制作一个早期合作者 ArtSTOR 标准协议中考虑的最重要的因素之一是罢工，在分配过程和维护他们的贡献显着性和身份的参与者利益的需 要之间取得适当的平衡。 建设高校数字图书馆的以上四个基本原则，将需要大量的创造力，当然，也需要一个坚定的承诺，即学术使命。该机构的任务已经开始发现，他们正在建立实验室一种新的文科和理科。这些机构正在为民族复兴的虚拟和物理空间中，研究人员，教师，学生正聚集在一起把创造、收集和传播知识的持久价值的作品为学术使命，分享各自的热情。