The Digital Preservation Coalition has published JPEG 2000—A Practical Digital Preservation Standard?.

Here's an excerpt from the "Executive Summary":

With JPEG 2000, an application can access and decode only as much of the compressed image as needed to perform the task at hand. This means a viewer, for example, can open a gigapixel image almost instantly by retrieving and decompressing a low resolution, display-sized image from the JPEG 2000 codestream.

JPEG 2000 also improves a user’s ability to interact with an image. The zoom, pan, and rotate operations that users increasingly expect in networked image systems are performed dynamically by accessing and decompressing just those parts of the JPEG 2000 codestream containing the compressed image data for the region of interest. The JPEG 2000 data can be either converted to JPEG and delivered for viewing with a standard image browser or delivered to a native JPEG 2000 viewer using the JPIP client-server protocol, developed to support the JPEG 2000 feature set.

Using a single JPEG 2000 master to satisfy user requests for dynamic viewing reduces storage costs and management overhead by eliminating the need to maintain multiple derivatives in a repository.

Beyond image access and distribution, JPEG 2000 is being used increasingly as a repository and archival image format. What is remarkable is that many repositories are storing “visually lossless” JPEG 2000 files: the compression is lossy and irreversible but the artefacts are not noticeable and do not interfere with the performance of applications. Compared to uncompressed TIFF, visually lossless JPEG 2000 compression can reduce the amount of storage by an order of magnitude or more.

In a digital video from the Google Tech Talks series, Moshe Pritsker, Editor-in-Chief of JoVE (Journal of Visualized Experiments), discusses that video-based journal.

Here's an excerpt from the abstract:

Contrasting the rapid advancement of scientific research itself, scientific communication still heavily relies on traditional print journals. Print journals however, lack the necessary characteristics to allow enable an effective transfer of knowledge, which is significantly impeding scientific progress. Addressing this problem, the Journal of Visualized Experiments (JoVE, www.jove.com) implemented a novel, video-based approach to scientific publishing, based on visualization of experimental studies. Created with the participation of scientists from leading research institutions (e.g. Harvard, MIT, and Princeton), JoVE provides solutions to the "bottleneck" of the contemporary biological research: transparency and reproducibility of biological experiments. JoVE has so far released 9 monthly issues that include over 150 video-protocols on experimental approaches in developmental biology, neuroscience, microbiology and other fields.

SONY BMG has moved beyond experimenting with non-DRM-protected music tracks and indicated that its entire catalog will be available as MP3s from Amazon by the end of the month. SONY BMG is the last of the "big four" music labels to offer MP3s via Amazon (the others are the EMI Group, the Universal Music Group, and the Warner Music Group). Napster has also announced that it will offer MP3s for sale this spring (its subscription service will still use DRM). It would appear that the DRM era for digital music is coming to a close.

Meanwhile, rumors continue to circulate that the RIAA is endangered due to a potential withdrawal of funding from the EMI Group.

The decline of digital music DRM does not mean that the labels have given up the fight to stem the tide of illegal downloads. MP3s from Sony and Universal include "anonymous" watermarks that allow them to be traced as they move through the Internet to provide infringement data for music labels and to potentially allow filtering by ISPs.

Nor does the decline of digital music DRM mean that Hollywood will quickly follow, avoiding the mistakes of the music industry.

Read more about it at "DRM Is Dead, but Watermarks Rise from Its Ashes," "Napster to Sell DRM-Free Downloads," "Sony Joins Other Labels on Amazon MP3 Store," and "Under Pressure from EMI, RIAA Could Disappear."

TASI (Technical Advisory Service for Images) has published descriptions of information management software resulting from a vendor survey (e.g., see the Greenstone description). TASI notes: "The information has been provided by the system developer/vendor in answer to TASI's survey, but has not been independently verified."

TASI recommends that readers consult Systems for Managing Image Collections and Choosing a System for Managing your Image Collection as background for evaluating the survey responses.

American University's Center for Social Media has released Recut, Reframe, Recycle: Quoting Copyrighted Material in User-Generated Video, which examines fair use issues in user-created digital videos. See the announcement for links to videos used in the report.

Here's an excerpt from the "Next Steps" section:

The effervescence of this moment at the dawn of participatory media should not be mistaken for triviality. The practices of today’s online creators are harbingers of a far more interactive media era. Today’s makers—feckless, impudent, brash, and extravagant as they often are—in fact are the pioneers of an emerging media economy and society. Recognition of the importance of fair use, within the copyright law toolkit for cultural creation, is both prudent and forward-looking for those concerned with maintaining an open society.

Thanks to a million dollar grant from the Macarthur Foundation, version 1.0 of Sophie, software that allows non-programmers to easily create multimedia documents, will be released in February 2008. Sophie runs on Mac, Windows and Linux operating systems. An alpha version and several demo books created with Sophie are available.

Here's an excerpt the project's home page:

Originally conceived as a standalone multimedia authoring tool, Sophie is now integrated into the Web 2.0 network in some very powerful ways:

• Sophie documents can be uploaded to a server and then streamed over the net
• It's possible to embed remote audio, video and graphic text files in the pages of Sophie documents meaning that the actual document that needs to be distributed might be only a few hundred kilobytes even if the book itself is comprised of hundreds of megabytes or even a few gigabytes.
• Sophie now has the ability to browse OKI (open knowledge initiative) repositories from within Sophie itself and then to embed objects from those repositories.
• We now have live dynamic text fields (similar to the Institute's CommentPress experiments on the web) such that a comment written in the margin is displayed immediately in every other copy of that book—anywhere in the world.

The New York Public Library has made its collection of 600,000 digital images available for use by Kaltura users. Kaltura is a free, online collaborative video production site.

Here's an excerpt from the press release:

The New York Public Library and Kaltura, Inc., a pioneer in Collaborative Media, announced today that the organizations have joined forces to further enhance online rich-media collaboration. The New York Public Library's treasure trove of 600,000 digital images can now be incorporated easily into Kaltura's group video projects. The library's digital collection includes a wide range of rare and unique images drawn from its research collections. These range from Civil War photographs and illuminated Medieval manuscripts to historic views of New York City, Yiddish theatre placards and 19th Century restaurant menus. Users can search, preview and add these library images directly from the Kaltura web site (To try it, go to http://www.kaltura.com, click 'start a kaltura').

"Kaltura is a good fit for The New York Public Library as we work to take advantage of the latest technologies and approaches to make our collection freely and widely accessible," said Joshua M. Greenberg, Director of Digital Strategy and Scholarship at The New York Public Library. "We are excited to enable the use of our extensive Digital Gallery of historical images in Kaltura's cutting-edge and innovative application. Working with Kaltura was a natural step in enabling the creative use of these rich materials in the broader online world."

Kaltura enables groups of users to collaborate in the creation of videos and slideshows, similar to the way in which Wiki platforms allow users to collaborate with text. When creating a Kaltura video, users can upload their own videos, photos, audio and animation, can import their previously uploaded material from MySpace, Photobucket or YouTube, or they can access and import rich-media from various public-domain and CreativeCommons sources such as Flickr, CCMixter, Jamendo, and now The New York Public Library. Kaltura aims to team with additional databases and digital resource partners in order to both provide users with the widest array of rich-media, and to provide its resource partners with access to Kaltura's Global Network of users, content, and services that allows unprecedented collaboration around rich-media creation, remixing and distribution.

"We strive to provide users with the most comprehensive, enjoyable and user-friendly experience possible when creating their collaborative Kalturas in a fun, safe, and legal environment; The New York Public Library database is a huge addition to resources that we offer, both in terms of its size and the great value that it brings," said Ron Yekutiel, Chairman and CEO of Kaltura.

"Kaltura was built around the principles of openness and sharing with the mission to enhance collaboration and to lower the barriers of participation—it is through partners with a similar vision, like The New York Public Library, that we can achieve our goal of delivering the world's first open platform for peer production of rich media, with the broadest access to rich-media materials, resources and databases," Yekutiel added. "We are truly honored by this collaboration."

The Wikimedia Commons, which started in September 2004, now contains over two million media files, and it is adding files at a rate of over 100,000 files per month. Works in Wikimedia Commons the are in the public domain or under a Creative Commons license (Attribution or Attribution-Share Alike) or a GNU Free Documentation License.

Annual reports tend to be dull, but not the new one by the British Library, which has spare Web page text complemented by PDFs, an MP3 summary, and Flash movie commentary by library users.

The Storage Networking Industry Association has released the 100 Year Archive Requirements Survey. Access requires registration.

Here's an excerpt from the "Survey Highlights":

• 80% of respondents declared they have information they must keep over 50 years and 68% of respondents said they must keep it over 100 years. . . .
• Long-term generally means greater than 10 to 15 years—the period beyond which multiple migrations take place and information is at risk. . .
• Database information (structured data) was considered to be most at risk of loss. . .
• Over 40% of respondents are keeping e-Mail records over 10 years. . . .
• Physical migration is a big problem. Only 30% declared they were doing it correctly at 3-5 year intervals. . . .
• 60% of respondents say they are ‘highly dissatisfied’ that they will be able to read their retained information in 50 years. . .
• Help is needed—current practices are too manual, too prone to error, too costly and lack adequate coordination across the organization. . . .

If you have ever purchased or rented a video from the Google Video Store, it will cease to function on August 15, 2007. That's because the Google Video Store is being shut down and along with it Google 's associated DRM system.

Customers will get credits in Google Checkout for what they spent on Google Video Store products, but not cash refunds, meaning that they must buy merchandise available via that service to recoup their losses. Of course, this does not compensate purchasers for the inconvenience of having to replace their videos (assuming that they can).

This fiasco underlines a key problem with DRM: it doesn't just restrict access, it restricts access using proprietary technologies, and, with few exceptions, those technologies cannot be legally circumvented under U.S. law.

Source: Fisher, Ken. "Google Selleth Then Taketh Away, Proving the Need for DRM Circumvention." Ars Technica, 12 August 2007.

The Technical Advisory Service for Images (TASI) has issued new documentation dealing with digital image issues:

• "Challenges of Describing Images"
• "Controlling Your Language—Links to Metadata Vocabularies"
• "Getting Practical with Metadata"
• "Metadata Overview"
• "Metadata Standards and Interoperability"
• "Putting Things in Order: Links to Metadata Schemas and Related Standards"

TASI has also created new guides to assist users in identifying appropriate materials:

• Overview of TASI Materials for Digitisation Project Staff
• Overview of TASI Materials for Those Using Digital Images in Teaching and Research