The FCoP cohort consists of 6 Software Preservation and Emulation Project Teams. 

Each Project Team includes a Project Lead that serves as the point of contact for FCoP Project Staff and fellow FCoP Cohort members. The Project Lead is expected to participate in all FCoP project activities such as the in-person kickoff meeting, monthly project calls, and public presentations. In addition to the Project Lead, each Project Team includes at least two additional staff that share responsibility for existing born-digital content, digital curation infrastructure, access tools and systems, workflows and/or organizational policies. Read below to learn more about each FCoP Project Team including roles represented, project goals and outcomes.

University of Virginia

Emulation in the Archives

From left to right: Mike Durbin (Manager of Digital Content Management & Dissemination), Lauren Work (Project Lead, Digital Preservation Librarian) & Jeremy Bartczak (Metadata Librarian)

The ​Emulation in the Archives ​project will document and openly share reproducible technical and administrative workflows that result from the processing, preservation, emulation and access to software and digital materials in the Peter Sheeran papers. Though final documentation will focus on successful, adaptable workflows, the project team will also thoroughly publicly document the parallel failures, roadblocks, and resourcing realities that will serve to inform successful approaches within the preservation community at large in the future. The project will also build on, test, and document the application of developing software preservation standards, such as metadata crosswalks and legal frameworks, and function as an empirical example for software preservation needs in cultural heritage communities.

Guggenheim Museum

Developing Metadata for Software-based Art (DMSA)

From left to right: Jonathan Farbowitz (Fellow in the Conservation of Computer-Based Art) & Joanna Phillips (Project Lead, Senior Conservator of Time-Based Media)

In “Developing Metadata for Software-based Art” the project team plans to explore several questions related to metadata and description of software-based artworks, including: What information about an artwork must be collected to support its future exhibition? When, how, and in what form should this information be collected? And what specific role will this information play in future access, whether through emulation/virtualization or alternative strategies? Unlike typical archival objects, access to software-based artworks typically occurs through gallery presentation of the artwork or—in the case of the museum’s three web artworks—online. Because of their status as artworks, software-based pieces are not only expected to reproduce a functional experience, but also an aesthetic experience true to the artist’s original intent (maintaining properties deemed significant such as duration, colors, screen resolution, and speed of movement). Conservation staff must also ensure that they are capturing the information resources necessary to understand these specifications in future and ideally reproduce the work to these specifications. In order to limit a potentially massive scope, the team will select representative artworks to investigate.

Georgia Tech​

Expanding Access Through Emulation: retroTECH Online​
georgia tech team

From left to right: Wendy Hagenmaier (Project Lead, Digital Collections Archivist), Amanda Pellerin (Access Archivist), Bing Wang (on laptop, Assistant Dean), Jody Thompson (Head of Archives and Special Collections) & Susan Wells Parham (Research Services Librarian)

In support of Georgia Tech’s dedication to innovation in entrepreneurship, learning, research, and improving the human condition, and of the Library’s commitment to catalyzing discovery, the mission of retroTECH is to engage the campus community in creating the future by exploring and preserving our technological pasts. As part of its efforts to reimagine the 21st- century research library, the Georgia Tech Library seeks to provide an online presence that is as innovative as its physical spaces. The overarching goal of this project would be to create a proof-of-concept for retroTECH’s contribution to the Library’s online presence — retroTECH Online — an online emulation environment through which authenticated Georgia Tech users (as well as possibly researchers and visitors who create accounts) can utilize emulated software from retroTECH’s collections for teaching and learning, explore the stories surrounding that software, and foster a virtual retroTECH community.

University of Arizona​

Through Use and Emulation: Increasing Institutional Knowledge of Software Preservation with Computer Game Archiving​

From left to right: Judd Ruggill (Associate Professor, Head of Public/Applied Humanities), Monique Lassere (Project Lead, Digital Preservation Librarian), Ken McAllister  (Professor, Associate Dean for Research and Program Innovation) & Fernando Rios (Research Data Management Specialist)

The goals of Through Use and Emulation: Increasing Institutional Knowledge of Software Preservation with Computer Game Archiving are two-fold: (1) to bring together relevant and interested stakeholders at the University of Arizona to illuminate challenges around software preservation activities related to the LGIRA, and (2) to foster discussion that results in translating the LGIRA’s approach of “preservation through use” into digital workflows involving emulation. These workflows, along with lessons learned, will then be shared with the FCoP cohort and the broader software preservation community in furtherance of the Software Preservation Network’s vision of “Preserving software through community engagement, infrastructure support, and knowledge generation.”

Living Computers: Museum + Labs​

Emulation in the Middle Ages: Mainframes and Minicomputers​

From left to right: Dorian Bowen (Media Archivist), Stephen Jones (Engineer), Cynde Moya (Project Lead, Collections Manager) & Josh Dersch (Senior Vintage Software Engineer)

LCM+L’s project will expand the software preservation discussion into the Middle Ages of computing. One of our institutional goals is preserving and sharing our digital heritage. This project is a pilot, and will be expanded to other emulations of vintage operating systems and software. In order support emulation in the Middle Ages of Computing, LCM+L will expand current metadata workflows to include best practices for automated EaaS functionality, and test compatability of EaaS with internally-produced emulators: ContrAlto Alto emulator, DPS-8/M MULTICS emulator, simlac Imlac PDS-1 emulator, and the upcoming Xerox Star emulator. The LCM+L project team will produce web pages, quick start guides, and other documentation to help users explore emulations of these operating systems and related software. This project will contribute to the FCoP cohort and the software preservation community at-large through careful documentation of challenges, findings, outcomes, and recommendations.

University of Illinois​

Preserving Musical Notation and Composition Software

From left to right: Seth Robbins (Repository Manager), Tracy Popp (Project Lead, Digital Preservation Coordinator), Kyle Rimkus (Preservation Librarian) & Karl Germeck (Visiting Assistant Professor)

Our interest in the Fostering a Community of Practice: Software Preservation in Libraries and Archives (FCoP) project is to improve access to contents recovered from born-digital media. Specifically, we are interested in preserving, improving discovery of and providing access to files created by contemporary music composers. These collections are stewarded by the Sousa Archives and Center for American Music. The focus of this project is preserving and accessing born-digital files of three contemporary composers collections acquired by the Sousa archives (Michael Manion, Peter Michalove, and Scott Wyatt). The creation dates within the collections span from 1992 – 2012, representing a significant expanse of time in terms of technological development and software versions. These software titles are often proprietary and may have limited backward compatibility functionality. We are particularly interested in further investigation and development of an emulated/virtual environments where these titles can run in as close to a native environment as possible. We are also interested in scaling this environment to meet the needs of future collections of composers’ born-digital content.