background image
`The preserver has to take care that this digital
object is carried through time to new users, current
users. In different contexts it might be different per-
ceptions of what authenticity is, and what we want
to achieve is a certain trust in the user that this is the
digital object that was once created with this identi-
ty, because the identity is dependent on the creator.'
The Austrian National Library's Max Kaiser, poin-
ted out three different types of digital object: `When
we receive the object we have to decide what part of
it is to be preserved.Then we have to submit it to
our archives and begin recording the changes that
have to be made to it ­ migration and other things.
We have to record rights issues and then, based on
this complicated information package, we have to
decide how we can disseminate it to our users.'
Professor Duranti put it: `So, in fact, the grave re-
sponsibility for future preservation is with the creator.
The creator has to make sure the object is identifiable;
that it has metadata to ensure its integrity can be
proved; that it can be seen, with access privilege; that
sort of thing.We therefore should also look at
methods that should be used by the creator to gene-
rate the objects properly for future preservation.'
She said that the InterPARES project had created
two different sets of requirements for authenticity,
one for the creator and another for the preserver.
Other members thought perhaps three sets of
requirements were needed: `ingest', `preservation' and
`dissemination' was Nils Brübach's model.The group
discussed the role of the preserver as mediator
between the creator and user.The preserver's task
was to create records, too, it was suggested, records
such as protocols describing what had been lost or
added in the preserving process, giving authenticity
to what was left. Once these had been satisfied and
an audit trail tracking process was in place then
authenticity could be presumed.
In his summing up, Hans Hofman said the group
had agreed that authenticity was not a static thing
but had to be approached from the contextual point
of view. He added: `We did not come up with a lot
of criteria, but at least one is that an authentic object
is what it purports to be, and there are different play-
ers: the creators, the preservers and the users, and all
have their own views that influence the way we deal
with authenticity.'
DigiCULT 13
Photo: Beeld en Geluid