Demand for professionals who can manage collections of digital heritage and data continues to climb rapidly as related job postings rose by 130% in 2022, according to an analysis by UMaine’s Digital Curation program. This is a dramatic surge compared to the 61% increase over the pandemic years between 2019 and 2021.
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A three-year analysis of jobs advertised on Twitter suggests that the pandemic increased demand for digital curation professionals, which has grown by almost two-thirds since 2019. Despite the maturity of the field–UMaine’s Digital Curation graduate program was launched in 2021–there still appears to be no consensus on what to call these positions, whose titles have ranged from the prosaic (Digital Archivist) to the esoteric (Emerging Data Practices Librarian).
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Buffing your digital credentials just got easier with UMaine’s impending approval of a fast track for its all-online Digital Curation certificate. The program will still deliver professional training in the complete workflow of collecting digital materials, from acquisition and representation to access and preservation. The new, streamlined curriculum option, however, enables students to complete the certificate in as short a time as nine months.
In the past year, the Internet has become a place where strong opinions clash. Yet there’s one priority that should matter to both sides: the health of the platform on which these debates take place.
The free and open Internet is under attack again by opponents of net neutrality. Whether your political tastes are right, left, or center, net neutrality is the closest thing to a guarantee your voice won’t be drowned out by someone else’s agenda.
In 1994 artist Douglas Davis hit upon a surefire way to write a preposterously long sentence. He and his collaborators created a page on what was then a fledgling World Wide Web through which anyone could add words and phrases onto a growing string of HTML. Two decades later, it fell to digital conservator Ben Fino-Radin to restore this landmark of Internet art. He described the process–along with his work to recover the earliest Macintosh icons and manage digital collections at the Museum of Modern Art–in a teleconference this spring with students of the University of Maine’s Digital Curation program.