This poster provides the latest updates on the Digital Preservation Storage Criteria. These Criteria are intended to help with developing requirements and evaluations of preservation storage solutions, to seed discussions about preservation storage, and/or to use as digital preservation instructional material. The latest version of the Criteria, version 4, contains seventy-one criteria grouped into nine categories and mapped to nine standards.. . In this version , criteria have been s cross-referenced to international standards that are relevant to Digital Preservation Storage such as ISO 16363 and the ISO 27000 series. The next step is to update the associated usage guide developed in 2020, which covered risk management, independence, bit integrity and cost considerations. The aim of this poster is to discuss and get feedback on the proposals for additions and expansions of the topics in the associated usage guide to be used in practice and implementation.

This poster from the PREMIS Editorial Committee will update our community about the new version of the PREMIS data model. We aim to highlight the advantages of the updated version in documenting rights that are in place to allow all sorts of actions in our repositories

The poster covers the National Library’s role as custodian of Singapore’s documentary heritage, with a focus on its efforts in being a leader in the field of digitisation and advocacy of digital preservation. Advocacy efforts include organising digital preservation talks and workshops to engage the community, and deepening collaboration between practitioners with the new Singapore community of interest.

This poster describes work-in-progress and lessons learned in our move towards a robust, flexible, modern data infrastructure for the digital archive. We have implemented data transformation capability via a low-code commercial ETL tool, and service integration via an asynchronous messaging architecture. This provides powerful but ‘light touch’ interoperability across systems with different maturity, governance, technical architecture and data models. Our next iteration will introduce a centralized, machine-readable data catalogue to enable data-driven processing. The long-term vision is of a full data ecosystem (data mesh/data fabric).

This approach is highly compatible with archival concerns (intellectual control, integrity, provenance). We find that engaging with data-centric practices has brought greater consistency, efficiency and a fresh perspective on our work as a digital archive.

SQLite is a compelling choice for database preservation. What’s missing in order to make it really viable? This poster explores the advantages of SQLite, identifies standards and tooling needed to make it excel in a digital preservation context, and showcases a proof-of-concept software application that demonstrates this.

Advocating for digital preservation is not a one-time effort, it’s a continuous journey that demands time, energy, and resources from those who often have the least to spare. Recognizing this challenge, the Digital Preservation Coalition has made ‘Advocacy’ one of its five core strategic priorities, underscoring its vital role in sustaining our digital legacy.
To truly make an impact, we must communicate the value of digital preservation in ways that resonate with diverse audiences. While its importance to truth, memory, and cultural heritage is undeniable, preservation is not just about safeguarding the past. For many organizations, it’s also about managing risk, complying with legal and regulatory frameworks, protecting reputations, and ensuring business continuity. These practical drivers can be powerful catalysts for action.
Understanding why an organization chooses to invest in digital preservation is key. These motivations form the foundation for persuasive, tailored advocacy—messages that inspire action and secure long-term support. Whether in cultural heritage, academia, research, business, or law, identifying and articulating these reasons is a crucial step in every digital preservation strategy.
That’s where the Why Preserve campaign comes in. This poster will describe a global initiative which invites digital preservation practitioners to reflect on their organization’s unique motivations, share their stories, and transform those insights into compelling advocacy messages. Launching alongside World Digital Preservation Day on Thursday, 6 November, and the iPRES 2025 conference, the campaign itself will spotlight the current landscape, outline the path forward, and invite the community to unite in answering a powerful question: Why Preserve?

The poster will describe the Standard Transfer Metadata File (STMF) which is being developed at Archives New Zealand (Archives NZ). It comes in two forms: an XML schema definition (XSD) and detailed guidelines aimed at government agencies which transfer their born-digital records to Archives NZ. Archives NZ processed its first digital transfer in 2015, although they accepted urgent digital transfers before then. Since then, we have handled several transfers and learned that the variety and inconsistence in transferred metadata form and layout is a repeating issue, making the process difficult and slower both for the agencies and for the digital preservation team and transfer archivists at Archives NZ.
STMF is our answer to this, and the poster will present the standard, its structure, its metadata fields and the way we envision it helping to better facilitate born-digital transfers for agencies and Archives NZ. One of the goals of our poster will be to collect feedback from iPRES attendees on our standard proposal, as there are archives in many countries where a similar standard is already in place.

Delve into the impacts of Utaina, a multi-year collaborative digitisation project with the goal of preserving Aotearoa’s at-risk audiovisual taonga. Over the course of the project, 70,000 digitised audiovisual materials have been made available virtually by the National Library and Archives New Zealand. Many items that have been digitised are culturally significant and unavailable to researchers elsewhere. For example, most of the music research requests through Te Puna Mātauranga o Aotearoa’s Virtual Reading Room (VRR) have been Pasifika music distributed on small labels in the 1970-90s such as Samoa Daystar Records, Polynesian Records, and Vision Recording Studio. The requests are primarily made by researchers conducting family research, wanting to connect with the music of their parents or grandparents. In most cases, the VRR provides the only copy these researchers can find on the internet. Our presentation will provide insights for how digitisation has helped to preserve the content stored on the at-risk items for future generations and reduced barriers to accessing them.

One of the ongoing challenges of digital preservation practice is how to document and preserve software and hardware requirements in a digital preservation system. This poster maps out the various scenarios for how the Art Gallery of New South Wales (The Gallery) have conceptualised representing software and hardware requirements for complex time-based artworks (TBA) in our digital preservation system, Preservica.

The podcast series ‘Toksave: Culture Talks’ was launched in 2019 by PARADISEC (the Pacific And Regional Archive for Digital Sources in Endangered Cultures) as an outreach project into new collaborative research to bridging the archives, communities and researchers. It is a series of interviews with people who have cultural and personal connections held in the archive. Music and language are central to identity to Indigenous communities and return of legacy research recordings can be an emotional and exciting rediscovery of the past, contributing to the continuation of cultural practices. The value of the podcast series as a research output enables the voices of Indigenous communities to be heard. Engaging community members through podcasting also increases accessibility and findability through the reuse of archival recordings to new recordings and knowledge with historical and cultural sensibilities. The PARADISEC podcast series is an example of recognizing the importance of communities and collaboration of its interdisciplinary work in digital preservation connecting archives, communities and researchers.

The embedding of Digital Preservation technology into popular commercial content management platforms has been a goal of the digital preservation community for many years. This paper describes how this has been achieved for SharePoint Online, delivering decades of preservation best practice to users who do not even know they are using preservation. The techniques, data structures and digital preservation workflows used can be extended to many other information platforms.

JHOVE is one of the most widely used tools in digital preservation, but anyone who uses it will be familiar with the various difficulties that follow. Causes of these problems vary, ranging from not understanding the impact of validation errors to outdated training materials to a graphical user interface (GUI) considered not user-friendly. “By JHOVE! Explain Yourself!” is a Special Interest Group (SIG) hosted by the maintainer of JHOVE, the Open Preservation Foundation (OPF), and co-chaired by the authors of the poster. It brings together members of the OPF as well as interested parties within the digital preservation community who are interested in evolving JHOVE and discussing their issues with peers.
Following a Birds-of-a-Feather meeting at iPRES2024, which collected input for the SIG, this poster will present results of the first year of the working group.

In the digital age, citizens and communities often possess documents—both physical and digital—valuable to cultural heritage institutions like archives. These records can enrich historical archives and preserve future history. However, ensuring their long-term preservation and accessibility presents significant challenges. Simplifying the submission process for these documents is a key objective, aiming for seamless integration into archival workflows and systems.

The Citizen Archive Platform (CAP), developed as part of the Creative Europe Program initiative "Dialog City" by the Aschaffenburg City Archive and the Municipal Archive Graz, is a web-based tool designed to facilitate the standardized transfer of born-digital data from individuals, communities, and cultural initiatives to archvies. Users can register, upload files, and enrich them with metadata that captures the context and motivations behind their submission. The CAP offers an intuitive interface for detailed metadata entry. During the upload process, technical metadata is automatically extracted and combined with user-provided metadata, stored in a database, and converted into a structured XML format compliant with international archival standards.
The CAP adheres to the OAIS reference model, ensuring data are prepared for long-term preservation in digital repositories. It leverages METS and EAD, with integrated PREMIS elements for documenting rights, licenses, and copyright. The platform enforces adherence to file format requirements and emphasizes personal digital archiving principles to foster proper digital preservation practices.

By simplifying the submission process and aligning with global standards, the CAP addresses critical gaps in preserving born-digital cultural assets. It empowers individuals to contribute to cultural heritage preservation while alleviating technical and administrative challenges for archival institutions. The platform also raises awareness of personal digital archiving, including the fragility of digital data and associated risks. Future developments will focus on expanding the CAP’s capabilities, enhancing scalability, and integrating with emerging archival technologies.

In 2024, the National Library of New Zealand and Archives New Zealand convened the Digital Preservation Policy Revision Working Group. The goal of this group, whose membership spanned both institutions, was to develop a new policy to replace the existing Joint Digital Preservation Strategy, published in 2011. This poster will present the resulting 2025 Digital Preservation Policy, outline the steps undertaken by the working group to develop the policy, and identify the work needed to operationalize the policy.
A digital preservation policy is often one of the foundational documents of a successful digital preservation programme. The proposed poster, which will include information on the process of policy development, the resulting content, and the steps needed to operationalize the policy, will be a useful case study for other institutions that are considering developing or revising their digital preservation policy documents.

We propose a human-in-the-loop method for generating preservation metadata for research dataset segments using a conversational GPT-based assistant. Through interactive prompts, the agent engages users in documenting the content, provenance, and context of individual files. The method outputs both a human-readable markdown summary and a METS v2-compliant metadata package with embedded JPCOAR2-style descriptions. By integrating metadata creation into the research workflow itself, this approach lowers the barrier to producing submission-ready information packages while preserving interpretive and contextual knowledge essential for long-term access.

Can an archivist with limited programming experience build a working metadata management application using only AI tools as technical support? As we enter an age when AI tools are ubiquitous, we will increasingly rely on these tools to expedite, optimize, and contribute to our archival and digital preservation job requirements.

The processes embedded within digital preservation workflows can mean the difference between a system that thrives and one that fails to meet user needs. Queensland State Archives (QSA) has implemented a tightly integrated suite of software systems that supports a fully digital workflow—from the transfer of digital files by government agencies through to their long-term preservation. This poster showcases how QSA’s enhancements to the ArchivesSpace and ArchivesGateway environment, in collaboration with Gaia Resources, have created a seamless, end-to-end digital preservation solution.

Launched in 2020, QSA’s archival management system was extended in 2023 to include digital preservation capabilities. The ecosystem now includes four interconnected systems: ArchivesSpace, ArchivesSearch, ArchivesGateway, and the digital preservation system. These platforms work in unison to support internal and external users, facilitating digital transfers, ingest workflows, and preservation processes.

The poster focuses on key integrations identified as most valuable by staff, developers, and agency users. It highlights features such as live transfer status updates, centralised documentation, robust error resolution, and role-based access for agencies—all of which contribute to a streamlined user experience. Public access is automatically enabled for open material, while agency users retain secure access to their own records.

Designed by archivists in collaboration with IT professionals, this system exemplifies how thoughtful integration and cross-sector partnerships can enhance transparency, efficiency, and accountability. The workflow provides a single point of truth across the archival lifecycle, ensuring operational sustainability and long-term digital preservation.

Grid Heritage collects historic equipment, film footage, photographs and documents relating to electricity transmission in New Zealand. Transpower NZ Ltd builds, maintains, and operates the high voltage electricity transmission grid. Transpower’s Disposal Schedule lists “Discharge” as an option for disposal of records of no national archival value to Grid Heritage. Historical societies, like Grid Heritage, may already be experiencing challenges with their physical records. Whilst receiving electronic records will create further challenges for them, they do have the opportunity to prepare themselves for potentially receiving digital media. This poster will open for discussion on digital preservation for a small historical society.

As Canada concludes the first decade of a post-Truth and Reconciliation Commission (TRC) society, professionals in archives and libraries have sought to respond in constructive ways by addressing the TRC’s 94 Calls to Action and particularly to those calls related to heritage work. Calls 67 and 70, for example, ask the heritage community to review policies in consultation with Indigenous partners and align values with the United Nations Declaration on the Rights of Indigenous Peoples (UNDRIP). Drawing upon the ongoing work of two professionals who are increasingly engaged in these issues at a Canadian university, the University of Victoria (UVic), this poster outlines four institutionally-specific digital preservation and access case studies that address the iPRES theme of Tūhono (Connect). Two case studies centre upon archival collections and two involve library patron research support. We will discuss our experiences mediating respectful preservation and access in our journeys as we have sought to develop Indigenous cultural acumen while also navigating institutional barriers to digital preservation and respecting data sovereignty.

When preserving and displaying time-based art, the file is just one part of how people experience the work in a museum. How can we best capture the technical details to ensure future displays remain authentic?

Our poster will demonstrate the complex network that takes an artist's digital file to the screen, focusing on GROUNDLOOP (2022) by Maori artist Lisa Reihana.

This single channel digital video work is presented on a state of the art 20-metre-wide x 5-metre-high LED screen. Its multi-layered audio plays through a single mono speaker, and a QR code lets the audience sync their devices to the Gallery listening app and experience the rich stereo track. During the works' commission, the artist refined the artwork’s colours onsite to explore how they are perceived in both daylight and nightlight.

The GROUNDLOOP display video is a 520 GB, 25fps, 10-bit file saved with the NotchLC codec and wrapped in a .mov container. It runs on a Disguise server, with the signal mapped by a NovaStar controller from the server to the NEC custom-built screen (256:63 aspect ratio), made up of 448 LED modules/tiles.

Complex artworks require customised documentation to understand their components, conservation and digital preservation needs, and to ensure the artist’s intent is met. GROUNDLOOP served as a case study for reassessing conservation documentation, with an emphasis on capturing specialized technical details such as network mapping, colour information, and schematics.

This poster was first presented at BDCAM 2025.

This poster illustrates the work of a recently formed digital preservation team at the National Archives of Australia to upgrade the existing internal digital format register and risk matrix that was created in 2022 to centrally track and assess digital formats across a large and distributed collection. The management of digital records across several systems and locations has been driven by the various requirements and pressures of managing a large collection of government records, that have varied storage and management requirements according to format, cultural sensitivity and classification. The main preservation system tracks and identifies formats but the current dispersion of digital records led to the decision to develop a central register to track, and risk assess digital formats across the entire digital collection.
The National Archives cannot refuse records based on format and so digital preservation staff need to engage with and manage a wide variety of formats and digital record types. While there is opportunity to influence agencies at point of transfer, especially with records that are extracted from current systems, this is not always possible so tracking and evaluating the formats in the collection is a useful tool to inform migration decisions for preservation and access. The National Archives of Australia’s Digital Preservation Policy | naa.gov.au uses the ‘performance model’ as a method to tackle the challenges inherent to this variable dispersed collection by focusing on preserving the performance of a record rather than the original format or technology. The original register was designed during a major migration of the digital collection from one preservation system into a new one. This meant the original templates for both the audit and risk register were created while the team had no access to the digital collection.
The new team have been working to adapt the design into a more objective and efficient approach that can withstand changes in organisational structure and resources over time. A strong motivator behind improving the register and risk matrix was the desire to streamline it into a short triage process for initial format evaluation so the team can then focus more time-consuming technical research in the areas of highest priority. The internal risk evaluation is being streamlined to a tool that is a simplified and tailored version of the NARA Preservation file format risk analysis and preservation plans with a focus on internal drivers around prevalence and access requirements. The digital format assessments focus on suitability to the National Archives’ functional requirements and include links to external assessments that focus on more thorough technical evaluation.
Some of the changes already implemented create stronger links between digital formats and digital record type to enable better comparison of formats from the same record type such as email, dataset or image files to support preservation requirements. There has also been a process to refine and edit the original questions and format of the internal format evaluation process to produce a more objective and clear process. The main goal was to streamline the process to produce a useful high-level assessment without excessive time required for ongoing maintenance, The updated version also has stronger links between formats and digital record types to assist with preservation planning work. The need to link file format risk evaluations to the archives’ internal requirements around essential characteristics drove the decision to map prevalence according to record type as well as format.

This short talk will summarize progress with the Alexander Turnbull Library’s projects to develop ways to archive music productions created with DAW (digital audio workstation) software. It will begin with an update on the collection created collaboratively in 2020-2022 with Luke Rowell (a.k.a. Disasteradio, Eyeliner) and how it has since been used, including for the book "Eyeliner’s BUY NOW" (Bloomsbury 33 1/3 Oceania).

The talk will also describe a new project working with the electronic music artist Amelia Berry to archive her award-winning album "Bananamelia!" (2022). This recent collaboration demonstrated the flexibility of the approach previously developed and how the resulting collection has been enhanced with additional documentation.

iPRES Radio started in the depths of a Southern Hemisphere winter. In September 2022, while iPRES was happening in Glasgow, those of us in the South felt like we were missing out. Even the livestream didn’t help—no one enjoys sitting up in the dead of night staring at a screen. And where was the buzz, the chatter, the friends we wanted to see and catch up with? The answer was iPRES Radio.

Purpose
This Lightning Talk will explain iPRES Radio—what it is and why it developed. Running alongside iPRES for the past three years, it addresses a gap for remote participants and those unable to attend for any number of reasons. iPRES Radio offers an online community in your time zone, enhancing the remote iPRES experience. It complements the main conference with a low-key, time zone-friendly space to connect, reflect, and catch up. Part recap, part commentary, part conversation, it bridges the hybrid gap in ways livestreams alone can’t.

What participants can expect
Participants will learn what iPRES Radio is, how and why it started, how it relates to iPRES, and how to get involved. iPRES Radio holds a unique place in the iPRES constellation and fills a gap in hybrid conference offerings that are still evolving post-COVID.
iPRES Radio is like a seed planted in the broader iPRES community: nurtured by conversation, grown through collaboration, and rooted in the belief that digital preservation is stronger together. It offers a reason to gather, a place to pause and reflect, and a more equitable way to participate—even from afar. And yes, it’s fun too.

EPUB/A formalizes a set of requirements for the creation EPUB 3 publications suitable for long-term digital preservation. It disallows the use of features that may jeopardize preservation, for example, while requiring the use of features that improve the suitability.

Where features are restricted, EPUB/A endeavours to explain why these features may jeopardize digital preservation. Similarly, it adds justification for those features that are required. The goal is not to define requirements in a vacuum but to enable stakeholders who have adopted EPUB to understand key concepts in digital preservation (e.g., why it is important and how, at a high level, it is done).

This talk will give an update on the progress towards formal ISO status for the EPUB/A specification (currently in draft and undergoing revisions in response to ISO feedback), and mention some of the key aspects of the specification.

The talk will be given by Neil Jefferies, one of the contributors to the specification.

The Digital Preservation toolkit for Community Archives launched in November 2024 as a way to support UK community groups in collecting, preserving and accessing their digital content. The DPC are now working to take the toolkit to a global audience in a way that works best with local culture, context and legislation.

The DPC are looking for toolkit supporters in a range of Countries/ regions / areas who can use the toolkit to support community groups in a way that suits each individual group. Participating organisations will be given a resource pack and support from the DPC to help them become familiar with the toolkit and promote it to groups in their area. A link to a sign up form will be included in the talk for those interested in finding out more.

This talk will describe how organisations across the world can get involved in this initiative to support community groups in the preservation of their digital content.

The Oxford Common File Layout (OCFL) specification describes an application-independent approach to the storage of digital information in a structured, transparent, and predictable manner. It is designed to promote long-term object management best practices within digital repositories.

Specifically, the benefits of the OCFL include:

Completeness, so that a repository can be rebuilt from the files it stores
Parsability, both by humans and machines, to ensure content can be understood in the absence of original software
Robustness against errors, corruption, and migration between storage technologies
Versioning, so repositories can make changes to objects allowing their history to persist
Storage diversity, to ensure content can be stored on diverse storage infrastructures including conventional filesystems and cloud object stores

This talk will give an update on progress towards the release of version 2.0, which will incorporate the following use cases:

Package per version storage
Support for physical file-level deletion
OCFL Object Forking
Application profiles
Flagging file loss/corruption
Collapsing OCFL Object versions

The talk will be presented by Neil Jefferies, one of the editors of the specification.

Captions are essential to the searchability, discoverability, and accessibility of audiovisual (AV) materials. However, creating captions is often challenging due to the resources required. With data collected from a grant-funded project, this poster describes the impact of Whisper, an open-source automated speech recognition (ASR) software, on captioning work at Emory Libraries, observing that Whisper increased capacity for captioning without entailing a reduction in staff time, due to increasing demand and the ongoing need for human review in providing accurate, high-quality captions. The project methodology and findings will be presented along with implications for digital preservation and leveraging ASR-generated captions in metadata enhancement.