December 12, 2019 Journal article Open Access

Hans Dieter Huber

DCAT Export

<?xml version='1.0' encoding='utf-8'?>
<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:adms="http://www.w3.org/ns/adms#" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dct="http://purl.org/dc/terms/" xmlns:dctype="http://purl.org/dc/dcmitype/" xmlns:dcat="http://www.w3.org/ns/dcat#" xmlns:duv="http://www.w3.org/ns/duv#" xmlns:foaf="http://xmlns.com/foaf/0.1/" xmlns:frapo="http://purl.org/cerif/frapo/" xmlns:geo="http://www.w3.org/2003/01/geo/wgs84_pos#" xmlns:gsp="http://www.opengis.net/ont/geosparql#" xmlns:locn="http://www.w3.org/ns/locn#" xmlns:org="http://www.w3.org/ns/org#" xmlns:owl="http://www.w3.org/2002/07/owl#" xmlns:prov="http://www.w3.org/ns/prov#" xmlns:rdfs="http://www.w3.org/2000/01/rdf-schema#" xmlns:schema="http://schema.org/" xmlns:skos="http://www.w3.org/2004/02/skos/core#" xmlns:vcard="http://www.w3.org/2006/vcard/ns#" xmlns:wdrs="http://www.w3.org/2007/05/powder-s#">
  <rdf:Description rdf:about="https://doi.org/10.5281/zenodo.4161715">
    <dct:identifier rdf:datatype="http://www.w3.org/2001/XMLSchema#anyURI">https://doi.org/10.5281/zenodo.4161715</dct:identifier>
    <foaf:page rdf:resource="https://doi.org/10.5281/zenodo.4161715"/>
    <dct:creator>
      <rdf:Description>
        <rdf:type rdf:resource="http://xmlns.com/foaf/0.1/Agent"/>
        <foaf:name>Hans Dieter Huber</foaf:name>
        <org:memberOf>
          <foaf:Organization>
            <foaf:name>State Academy of Fine Arts Stuttgart</foaf:name>
          </foaf:Organization>
        </org:memberOf>
      </rdf:Description>
    </dct:creator>
    <dct:title>The What, the Why and the How of Media Preservation</dct:title>
    <dct:publisher>
      <foaf:Agent>
        <foaf:name>Zenodo</foaf:name>
      </foaf:Agent>
    </dct:publisher>
    <dct:issued rdf:datatype="http://www.w3.org/2001/XMLSchema#gYear">2019</dct:issued>
    <dcat:keyword>Media</dcat:keyword>
    <dcat:keyword>Preservation</dcat:keyword>
    <dcat:keyword>Cultural Heritage</dcat:keyword>
    <dcat:keyword>Digital</dcat:keyword>
    <dct:issued rdf:datatype="http://www.w3.org/2001/XMLSchema#date">2019-12-12</dct:issued>
    <dct:language rdf:resource="http://publications.europa.eu/resource/authority/language/ENG"/>
    <owl:sameAs rdf:resource="https://zenodo.org/record/4161715"/>
    <adms:identifier>
      <adms:Identifier>
        <skos:notation rdf:datatype="http://www.w3.org/2001/XMLSchema#anyURI">https://zenodo.org/record/4161715</skos:notation>
        <adms:schemeAgency>url</adms:schemeAgency>
      </adms:Identifier>
    </adms:identifier>
    <dct:source rdf:resource="https://artstyle.international"/>
    <dct:source rdf:resource="http://issn.org/resource/ISSN/2596-1810"/>
    <dct:source rdf:resource="https://artstyle.international/issue-4/"/>
    <dct:isVersionOf rdf:resource="https://doi.org/10.5281/zenodo.4161714"/>
    <owl:versionInfo>Journal Article</owl:versionInfo>
    <dct:description>&lt;p&gt;&lt;a href="https://artstyle.international/"&gt;Art Style | Art &amp;amp; Culture International Magazine&lt;/a&gt;&lt;/p&gt; &lt;p&gt;Abstract&lt;/p&gt; &lt;p&gt;On the one hand, there are general cultural and theoretical considerations, on the other hand, specific problems that need to be solved. There is still a big gap between the two areas. The general considerations concern questions of how we should deal with our digital cultural heritage. What should be preserved for posterity? Why should the things selected be preserved? What strategies, practices or models have evolved over the last decade in media preservation? Special questions arise with concrete problems. They are always media- and case-specific. Basically, a distinction must be made between the digitization of analog media such as photographs, films, audio tapes or videos and the preservation of digitally born media. The translation of analogue media into digital objects is in a more comfortable situation, as there is still the analog &amp;quot;original&amp;quot;, which can be played back under good conditions. More complicated is the case with digital born media. Their preservation and conservation requires more complex approaches.&lt;/p&gt;</dct:description>
    <dct:description>Art Style, Art &amp;amp; Culture International Magazine is an open-access, biannual, and peer-reviewed online magazine that aims to bundle cultural diversity. All values of cultures are shown in their varieties of art. Beyond the importance of the medium, form, and context in which art takes its characteristics, art is considered the significance of socio-cultural, historical, and market influence.</dct:description>
    <dct:accessRights rdf:resource="http://publications.europa.eu/resource/authority/access-right/PUBLIC"/>
    <dct:accessRights>
      <dct:RightsStatement rdf:about="info:eu-repo/semantics/openAccess">
        <rdfs:label>Open Access</rdfs:label>
      </dct:RightsStatement>
    </dct:accessRights>
    <dct:license rdf:resource="https://creativecommons.org/licenses/by-nc-sa/4.0/legalcode"/>
    <dcat:distribution>
      <dcat:Distribution>
        <dcat:accessURL rdf:resource="https://doi.org/10.5281/zenodo.4161715"/>
        <dcat:byteSize>2863979</dcat:byteSize>
        <dcat:downloadURL rdf:resource="https://zenodo.org/record/4161715/files/Pages from Art Style Magazine |  Volume 4 |  Issue 4 | December 2019-1.pdf"/>
        <dcat:mediaType>application/pdf</dcat:mediaType>
      </dcat:Distribution>
    </dcat:distribution>
  </rdf:Description>
</rdf:RDF>