Abstract This research is for the purpose of designing a teaching plan on integrating the digital archives of the NPM into elementary visual arts appreciation classrooms. Coordinate art and humanities domain textbook content, and cites the teaching pedagogy of critical thinking. Respectively take " Gradation " and " Contrast " as the core concept. Actual conducts motion research two circulation teaching. The first circulation teaching take "the form", "the succession", "thetechnology", "the style" advances gradually as the unit design center of gravity, after procedure and so on back coupling, introspection,revision teaching process, finally, implements take "the space", "theideal condition", "the life", "the skill" the contrast as the unit design center of gravity second circulation curriculum. In the curriculum melts into the digital archives of the NPM,Proceeds in an orderly way guides the student to carry on arts appreciation teaching. This research take "the study list" as formative assessment, records the student to study the course. Using "The Art Appreciation Ability Test" is summative assessment. Inspect student after teaching implementation art appreciation ability whether does promote. And uses "the study feeling to ask the volume" understands the student to the digital archives of the NPM and the art appreciation study feeling. The findings in this study were as follows: ¢¹. The Art Appreciation Ability 1. Looked from formative assessment. Take the question guidance as the principle of design, may stimulate the student ponder and be dialectical. The penetration guidance type question, the increase art glossary refers for the student, can effectively promote arts appreciation integrity. 2. Looked from summative assessment. The teaching can improve student¡¦ ability of " content description ability "," formal analysis ability "," meaning interpretation ability " , " value evaluation ability " effectively. ¢º. The digital archives of the NPM 1. On first circulation resources type, most can initiate student's interest is " 3D Virtual Artworks Display System" and " The Fashionable vs. The Antiquarian Teaching disc ". " Surprise Below:Ode to the Red Cliff " and "Componentsthe" function in 3D Virtual Artworks Display System , " 360¢XView " function in The Fashionable vs. The Antiquarian Teaching disc help study effect is best. 2. On second circulation resources function, The student thought "the animation character illustrated" the study feeling is most profound. Also may arouse a higher interest, also can effectively help the study. The demonstration in the teaching, the author or the historical personage offers one's experiences as an example, is helpful to the student in the arts appreciation study. Finally,the researchers provided a motion research teaching result,limitation,and suggestions for the further research in the field of art appreciation teaching at the elementary school. Key word¡Gdigital archives,the teaching of art appreciation,the ability of visual art appreciation.

Abstract The cultural creativity industry has become a key indicator of national competitiveness; this can be seen from the cultural competition through creativity in major events such as the Olympics and the World Expo. However, culture and artistic creativity cannot be cultivated within short periods of time, and does not lead to accomplishments quickly like technological, economic, or political activities. The primary spirit of the cultural creativity industry should be in disseminating cultural elements and materials, followed by the process of creativity, and finally resulting in economic benefit. Museums are the greatest physical manifestation of cultural imagery. Museums¡¦ six major functions, which are collection, research, education, exhibition, leisure and entertainment, and exchange, indicate that they provide a high quality environment for cultural preservation. Cultural relics are the most important carriers of cultural knowledge; they represent a segment of history, and reflect contemporary customs and lifestyles. Many cultural relics contain stories in their existence, and may easily create interesting topics on an artistic foundation. Thus, museums provide a very important source for enhancing the quality and quantity of cultural meaning. Additionally, museums also provide a stage for the performance of cultural creativity products, such as exhibition-planning, exhibition design, design planning for related media, and the exhibition and sale of industrial art products. The purposes of this study are: 1) to understand the actual conditions of cultural knowledge transmission by museums, and existing correlation to the cultural creativity industry; 2) to collect the more comprehensive actions or projects in providing cultural creativity by museums, to serve as the basis of whether it is necessary to construct a cultural knowledge provisional platform, or how to construct it; and 3) to construct hypotheses on creating a platform organization for museums to provide cultural knowledge. Research subjects include the National Palace Museum (national level), the National History Museum (Ministry of Education), the National Museum of Taiwan Literature (Council for Cultural Affairs), the National Science and Technology Museums (Ministry of Education), the Broadcasting Museum (non-profit corporation). In-depth interviews and questionnaires are used for data collection. Conclusions of this study include: 1. Museums can certainly provide abundant cultural knowledge. 2. Digital archives of museums can certainly be converted to added value for cultural knowledge, and in turn, convert to creative and design knowledge. 3. Digital archives and activity processes and records formed through museum functions are preserved within museums, but are not all open to the public. 4. In order to convert museum digital archives and activity processes and records into externally visible cultural knowledge with creative usage value, it is necessary to use systematic design to stimulate the internal knowledge of museums. In turn, the external and internal knowledge interactive cycle can produce added value in cultural knowledge functions. 5. Since there are great differences among museums in terms of their resources, most museums are unable to convert internal cultural knowledge resources into design knowledge with value added to knowledge. Thus, in order to allow creative personnel to broadly utilize cultural knowledge within various museums, it is necessary to create a feasible platform organization to integrate all cultural knowledge resources within museums. This study suggests that a cultural knowledge platform institution based on museums should be constructed, and the institution should have the following characteristics: 1. A standing and independent organization with long-term and stable funding for operation, with significant public confidence, and can assuredly obtain all knowledge resources of museums. It is possible to collect information hubs of cultural knowledge from various museums, and systematically construct cultural knowledge databases. This organization is not affiliated to any museum and does not exist within government administrative organizations. 2. A friendly and convenient museum knowledge database. Its data should include data in existing domestic museum digital archives, as well as data not provided by museums in the exhibition-planning process. The database should also comprehensively collect creative works derived from museums in various countries, such as exhibitions, films, industrial artworks, operas and music, multimedia, gaming software, museums and urban tourism, apparel, special culture and foods, among others, in order to construct the largest museum knowledge platform database. All databases need to have a powerful base of professional consultants to guide usage, and to have convenient search facilities. 3. A professionally trained and powerful group of creative consultants who can research and develop various projects for converting cultural knowledge into creativity. 4. Multimedia rooms and conference rooms with sufficient cultural atmosphere and seating to allow cultural workers to congregate, comfortable environment for them to discuss their creative ideas. 5. To have several exhibition spaces for standing exhibitions and special exhibitions, to create experimental exhibition rooms that allow museums to serve as a source for creative knowledge, allowing cultural creators to have a concrete place to exchange their ideas. 6. Various stable and continued theme events, including different themes for different cultural creative groups, so they can have events to elicit cultural creativity. An official website could provide various types of up-to-date cultural knowledge, corporate matching information, cultural creation competitions, and information on observations. Unlike most museum websites, this website would be primarily focused on interaction and learning. 7. The platform organization should not belong to any single museum or be directly under the organization of Council for Cultural Affairs, in order to avoid jurisdictional problems. 8. There should be an ability to arrange exhibitions, and the main points of cultural knowledge application should be evinced in the exhibitions. There should be clear instruction on understanding and applications of cultural knowledge of museums by various industries. 9. Location of the platform organization should be easy to reach, within the most popular commercial leisure area (such as department stores), so that more people and cultural creative workers can conveniently reach it. The organization should contain a creative and attractive gift shop and food court area, and the creative products should be related to museums. 10. The organization should be able to invite international creative workers (and groups) by successfully selecting those who create works relating to museum-related issues for exchange and to make lectures. 11. The platform organization can provide creators with supplemental knowledge in exhibition technology, manufacturing and production, and financial management. 12. A membership system for domestic people, cultural creative workers, and corporations, but foreigners should be able to view exhibits once by using their passports. Tourism promotions can quickly transmit information about Taiwanese museums and to rapidly promote creative works in museums. Here, it is possible to refer to a successful example in the Thailand Creative and Design Center in Bangkok. 13. Different associations can be established within the platform organization, in order to promote further exchange of knowledge and experiences. Keyword: museum, cultural creativity industry, cultural knowledge, digital archives

本研究旨在探討我國數位典藏館員專業能力，以深度訪談法了解數位典藏計畫、數位典藏工作範圍、功能、角色與能力之看訪，並了解數位典藏館員在數位典藏工作上所遭遇的困難與教育需求。本研究之研究目的為：(1)探討數位典藏的意涵、功能與數位典藏計畫；(2)探討數位典藏館員角色、工作範圍與專業能力；建構數位典藏館員專業能力清單，包括：館員工作範圍、能力領域與能力指標。 本研究透過內容分析與深度訪談探討我國圖書館數位典藏館員專業能力，透過內容分析建構十領域36項指標，以作為意見調查之基礎，經過深度訪談與意見調查，獲得以下幾點結論：(1)定義數位典藏係將有保存價值之實體或非實體資料，透過數位化技術予以保存以提供服務與應用。其範圍涵蓋技術、內容、服務及社群四方面，主要目的在於確保所有數位資料的可用性、持久性、及智慧整合，其具有文化典藏、學術研究、教育與學習、以及加值應用等價值；(2)數位典藏的功能以典藏、加值應用、教學最受受訪者認同；(3)受訪機構大部分仍持續進行的數位典藏；(4)數位典藏館員角色以數位典藏推廣者、文化保存者、資訊服務提供者最受受訪者認同；(5)數位典藏工作部分以委外工作人員、聘請計畫助理與工讀生等方式進行進行；(6)數位典藏館員意見調查修正數位典藏館員專業能力清單提出十領域39項能力指標；(7)數位典藏館員對於能力領域劃分較無太大更動，能力指標以metadata基礎編目能力、溝通協調能力、了解數位典藏理論基礎、具備法律相關知識、對典藏品主題背景應具備了解能力、具備文物保存的基礎知識最受認同；(8)數位典藏館員能力指標依據數位典藏館員類型不同而有所差異；(9)數位典藏館員的困難大多來自於經費、人力與授權；(10)數位典藏館員的教育需求對於透過定期教育訓練培養、和透過工作坊、研討會論壇培養、與經驗的傳承，最受認同。 針對所獲得之結論，本研究提出下列幾點建議：(1)本研究建構之數位典藏館員專業能力清單建議應用在圖書館數位典藏工作能力參考與教育訓練；(2)數位典藏館員加強資訊與數位技術領域方面能力的基礎知識；(3)數位典藏館員遭遇經費與人力困難，希望圖書館能有不同管道獲取經費；(4)數位典藏工作相關教育單位應經常定期開設數位典藏相關教育課程。 / The topic of this study is to examine Digital Archives Librarian’s Competencies in Taiwan. The main purposes of the study are as follows: (1) To investigate the meaning, function of Digital Archives and Digital Archives Program; (2) to examine the role, scope of work and competence of Digital Archives Librarian; (3) Construct Digital Archives Librarians’ elements of proficiency competence, including: scope of work, range of capacity and capability indicators. The conclusion of this study is summarized as follows: (1) Digital Archives is the entities preserves valuable information, and is maintained through the technology of digitalization to provide services and applications. Its’ ranging from the aspects of technology, content, services and the community, the main purpose is to ensure the availability, persistence, and intelligent integration of all digital data, which has cultural the value of reservation, academic research, education and learning, and reservation value-added applications. (2) Digital Archives featuring to collection, value-added applications and teaching are accepted by the most of the respondents archiving. (3) The majority of respondents are still archiving Digital Archives. (4) The roles of the Digital Archives Librarian as reservation, culture preserver and information service provider are agreed by most of the respondents promoter. (5)Preserver and part of the work of Digital Archives to commission contracted sustainability staff, hire project assistants and students part-timers and other ways to attain carry on. (6) Digital Archives Librarian’s opinions amended digital Archives librarian’s list of 10 fields of professional competence of the proposed capacity of 39 indicators. (7) Digital Archives Librarian does not respect the areas of capacity divided much changes, capacity indicators for metadata-based cataloging capabilities, communication skills, understanding of digital Archives theoretical foundation, with legal knowledge, for collection of product themes should have the capacity to understand, with a heritage preservation foundation knowledge of the most recognized.(8) Capacity index digital Archives librarians vary according to their type. (9) Most Digital Archives Librarian’s difficulty came from the funds, manpower and authorization. (10) Digital Archives Librarian’s educational needs of the most recognized are education and training for the periodic training, and through workshops, seminars, forums culture, heritage and experience. Four conclusions are made after studying all the data: (1) Listing Digital Archives Librarian’s capabilities advice can be applied to the library’s digital Archives’ work and as work reference with education and training. (2)Digital Archives Librarian strengthen basic information and knowledge in the field of digital technical capabilities. (3) Digital Archives Librarian encounter difficulties in funding and manpower, hoping to have a different library to obtain funding for the pipeline. (4) Digital Archives’ related educational institutions should regularly open Digital Archives related educational programs.

Archaeological conservation is the process by which conservators prevent deterioration of archaeological remains and provide insight into the nature of recovered material. This thesis examines the effect of digital technology upon the ethics of the conservation profession and upon the attitude of the lay-public towards archaeology. The ethical issues raised by the use of digital technology are discussed, particularly the ways in which these issues differ from those raised by traditional conservation methods. Technological advancements, particularly those occurring in the 20th century, changed the way artifacts are conserved and studied. Conservation arose out of a craft-restoration tradition and evolved into a profession which, in addition to necessary artistic and aesthetic considerations, uses a demonstrable scientific method in order to preserve artifacts. The creation of guidelines for practice and various codes of ethics is the turning point in this evolution, marking the point after which conservation became a scientific profession. Advances in computer technology have permitted the widespread use of devices such as 3-D scanners, digital CT scanners, and digital cameras in the conservation of archaeological artifacts. All of these pieces of equipment produced digital files which must be stored. Currently, the pace of technological change renders most data inaccessible within ten years, and data conservation problems such as storage, access, and file format have not been adequately addressed by the professional conservation community. There is a distinct lack of formal ethical guidelines concerning these issues; this thesis concludes that there is an extreme need for measured consideration before digital methods are used in archaeological conservation. The creation of high-fidelity replicas presents a problem for the museum audience. The public connects with artifacts on an emotional level which is altered when a replica is displayed instead of an original. Digital reconstructions abound in popular culture, heavily influencing public opinion, and often resulting in widespread misperception of the information which can be extracted from archaeological evidence. As a result, conservators of the future must be cautious when creating digital artifacts, and must be meticulously careful to make the nature of digital reconstruction clear to the audience, in order to avoid spreading misinformation.

With the vigorous development of digital content, many countries have been enthusiastically planning on it in order to gain the munificent margin and immense output value from this new industry. In Taiwan, the Executive Yuan of the Republic of China has approved the plan of ¡§Challenge 2008 ¢wCouncil for Economic Planning and Development¡¨ on the date of May 31st, 2002. Digital Content is one of the main industries to be developed in the ¡§Two-Trillion, Two Star¡¨ project of the ¡§Challenge 2008¡¨ plan. The ¡§Digital Content Institute¡¨ is also in the plan to cultivate digital content professionals in the areas of information, multimedia, arts and etc. Digital Publishing and Archives (digital publishing, digital archives, digital databases) are the core industries of digital content. The digital publishing and archives industry in Taiwan is in the presence of development, from OEMs by projects in the past to the present multi-dimension developments like multi-media creation, national and international magazines and journals authorization, digital archives value-added and productions. Therefore; it will be a very important mile stone for the digital publishing and archives industry development in the next decay in Taiwan. This research adopted case study methodology, and the cases are the three most popular digital publishing and archives companies in Taiwan -- Lee and Lee Communications (digital archives), Airiti Inc.( digital databases), and Bright Ideas Design Co.( multimedia publishing). This research is to study the core elements of start-up businesses, and review their start-up histories, enterprise operations and strategies, enterprise focuses and the core values of enterprises by the references of national and international research documents and industry information analysis. The impacts and key elements of the start-ups by entrepreneurship and management styles are also observed in this study. The information collected and the interview content is compared with the documentation records, and the search result is concluded at the end. The conclusions of this study for the entrepreneurs in this industry are listed as follow: 1. The market scale is too small and narrow. Therefore, aggressively expanding international market is necessary. 2. Due to training difficulty for professional designers, employing professionals from overseas for short term could be considered. 3. Marketing is equivalent to profit. Marketing ability should be enhanced, and promote products to client sides. 4. To solve the problem of bad management efficiency, changing management styles and studying can both improve. 5. Valuing copyright. Creating brand is the path for operating businesses in long term.

In this thesis I have chosen to study the use of crowdsourcing in Swedish archival institutions as well as the influence this methodic platform has on the work of modern archivists. This also raises the question whether the nature of the platform is in any way influenced by the attitude working professionals might have towards crowdsourcing as a legitimed working method. This investigation is based on case studies and interviews with archivists from select Swedish institutions and also the methodology of two now ongoing crowdsourcing projects. The theoretical framework on which this composition is based comes from the work of Gregory Asmolov and his work on crowdsourcing platforms and their functionality as tools of governing. Cultural-Historical Activity Theory (CHAT) is applied to analyze how the method of crowdsourcing is utilised by archival institutions and influenced by their daily routine in conjunction with Governmentality as the chosen way of studying how these platforms might control their users. From the results of the performed case studies, two discourses emerged based on the view on quality concerning gathered information amongst the involved subjects. The first of these discourses places it´s trust and faith in users themselves where validity is of a lesser concern than the actual availability of information through the concept of ”wisdom of the crowds”. Discourse number two represents an alternate perspective where quality of information is of the outmost importance and requires the supervision of professionals upon the work of common users. Through the course of this study I have come to find that the use of crowdsourcing in Swedish archival institutions is mainly controlled by the archivist in charge´s attitude towards this specific working method and in a larger context also formed by the basic archival discourse, legal questions and financial matters of the last century. This is a two years master’s thesis in Archive, Library and Museum studies.

For over forty years, archivists and records managers have developed and advocated numerous theories and methodologies for the preservation of authentic and reliable organizational digital records. Many different tools, standards, and guidelines have been created to enhance and safeguard the content and context of digital records across multiple migrations. In addition, several archives have been able to create and sustain full-scale digital preservation programs. However, in spite of these successes, most archives and records management programs are not yet capable of preserving digital records indefinitely. Long-term archival digital preservation advocacy is defined as efforts undertaken by archivists and records managers to convince others, inside and outside their professions, to support the concepts, methodologies, and resources necessary to implement long-term digital preservation. Advocacy as a political- and policy-focused activity to convince a targeted audience to act is distinguished from archival “public programming” that is centered around outreach, publicity, exhibitions, and reference services. Advocacy for long-term digital preservation has not been widely successful, as evidenced by the relative small number of fully supported and fully functional archival digital preservation programs. As a result, the potential for a “dark age” characterized over the long term by a dearth of surviving, readable, and contextualized digital records is very real. This thesis explores why advocacy efforts have created only limited success, as well as what might be done to improve this situation. It rethinks long-term digital preservation as an issue of advocacy and will, as well as one of technology, strategy, or theory. Chapter One opens the thesis with a brief discussion of computers and digital records, placing advocacy efforts within a historical and technological context. Chapter Two presents an intellectual history of long-term digital records preservation advocacy literature and practice, demonstrating how advocacy “messages” have been formulated, disseminated, and “sold.” It also illustrates the multitude of informational resources and technological “solutions” that are now available to assist archivists and records managers in undertaking long-term digital preservation activities. Chapter Three tests the resonance of advocacy efforts through a series of surveys which I conducted with archivists and records managers from a variety of government, corporate, educational, and other institutions, as well as follow-up interviews with Manitoba-based records professionals. Survey questions were developed based on my examination of long-term digital preservation advocacy literature in Chapter Two, while interview questions were based on the responses of survey participants. Chapter Four concludes the thesis with a series of recommendations on improving long-term digital preservation advocacy. It argues for archivists and records managers to increase their personal commitment to long-term digital preservation, which includes having the will to embrace change and get started. Records professionals must also produce more practical internal guidance to assist archivists and records managers in undertaking preservation activities. In addition, the development and delivery of external advocacy “messages” must be improved, so that advocacy arguments better resonate with those responsible for funding organizational records management and archival preservation programs for digital records.

For over forty years, archivists and records managers have developed and advocated numerous theories and methodologies for the preservation of authentic and reliable organizational digital records. Many different tools, standards, and guidelines have been created to enhance and safeguard the content and context of digital records across multiple migrations. In addition, several archives have been able to create and sustain full-scale digital preservation programs. However, in spite of these successes, most archives and records management programs are not yet capable of preserving digital records indefinitely. Long-term archival digital preservation advocacy is defined as efforts undertaken by archivists and records managers to convince others, inside and outside their professions, to support the concepts, methodologies, and resources necessary to implement long-term digital preservation. Advocacy as a political- and policy-focused activity to convince a targeted audience to act is distinguished from archival “public programming” that is centered around outreach, publicity, exhibitions, and reference services. Advocacy for long-term digital preservation has not been widely successful, as evidenced by the relative small number of fully supported and fully functional archival digital preservation programs. As a result, the potential for a “dark age” characterized over the long term by a dearth of surviving, readable, and contextualized digital records is very real. This thesis explores why advocacy efforts have created only limited success, as well as what might be done to improve this situation. It rethinks long-term digital preservation as an issue of advocacy and will, as well as one of technology, strategy, or theory. Chapter One opens the thesis with a brief discussion of computers and digital records, placing advocacy efforts within a historical and technological context. Chapter Two presents an intellectual history of long-term digital records preservation advocacy literature and practice, demonstrating how advocacy “messages” have been formulated, disseminated, and “sold.” It also illustrates the multitude of informational resources and technological “solutions” that are now available to assist archivists and records managers in undertaking long-term digital preservation activities. Chapter Three tests the resonance of advocacy efforts through a series of surveys which I conducted with archivists and records managers from a variety of government, corporate, educational, and other institutions, as well as follow-up interviews with Manitoba-based records professionals. Survey questions were developed based on my examination of long-term digital preservation advocacy literature in Chapter Two, while interview questions were based on the responses of survey participants. Chapter Four concludes the thesis with a series of recommendations on improving long-term digital preservation advocacy. It argues for archivists and records managers to increase their personal commitment to long-term digital preservation, which includes having the will to embrace change and get started. Records professionals must also produce more practical internal guidance to assist archivists and records managers in undertaking preservation activities. In addition, the development and delivery of external advocacy “messages” must be improved, so that advocacy arguments better resonate with those responsible for funding organizational records management and archival preservation programs for digital records.

This study examines the efficacy of the Canadian Memory Fund to advantage the use of digital archives for the purposes of developing historical consciousness in Canadian students and life-long learners. The perceived significance of digital archives to this end is reflected in the launch of the Department of Canadian Heritage’s (PCH) Canadian Culture Online Program (CCOP) in 2000. Employing a qualitative research design, this study examines how PCH defined the challenges to Canadians’ historical memory, and conceived of a technological solution to this inherently cultural and educational challenge. Using a case study, the strategies deployed by the CBC and Radio-Canada digital archives units, funded recipients of the CMF, to achieve the intended goals of the CCOP, and whether the resulting websites meet the technical criteria for the study of historical consciousness, are examined.

With the rise in popularity of ancestral research many people have had to search for some records abroad and are therefore reliant on access to archives in more than one country. One of the countries heavily reliant on archives abroad is Australia, a multicultural country that received many British settlers from 1788. The purpose of this master thesis is to understand the importance of accessing this archival information between Australia and England and how the international gaps between countries can make ancestral research difficult. The theoretical starting point for this study is Saar’s (2017) three genealogical dimensions which I will use to analyse the responses gained from the relevant actors within the field such as archivists and librarians, when trying to find out what can be done by them to help understand and bridge the gaps in ancestral research between countries. All data has been collected through online interviews with both Australian archivists and some selected libraries that have archival holdings. The results of the study show that Australians studying family history rely on access to England’s records because their pasts are otherwise incomplete without them. Not only this but there is a need to understand their own story in Australia’s complicated history. The study also shows that ancestral research needs both archivists, genealogists, librarians, and other history sleuths who can find and connect the information.