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added note on best practice for number of copies to keep #1

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2 changes: 1 addition & 1 deletion readme.md
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Expand Up @@ -30,7 +30,7 @@ This text is written to outline what artists may choose to do on the subject in

- Consider using versioning systems, like Git. These allow your software projects to be traceable incrementally and they are a great repository for fundamental information on how a project evolves. Of course code can and should have comments to help follow the code, but Git gives conservators a more global view. In my studio we are only now starting to use Git but I really wish we had started earlier. Versioning is important also in schematics, prototypes and manuals. In fact the whole idea of Versioning can be applied to the artwork itself as suggested in the next section.

- Your software is your “score”, the fundamental instructions that create your work, so back it up! At my studio we have a less than stellar system, which is basically a central repository of files in a drive which gets mirrored to an identical drive that is offsite. I also run Apple’s time machine in my laptop to two drives: one at the studio and one at home. I do recommend a cloud-based solution as it can scale up, is (almost) always available and is cost-effective; however, you do need to feel comfortable that a corporation has your data (they always do anyhow) and that you can continue paying monthly fees, which is a big if. Some Museums are starting to have dedicated servers to hold all of their software collections, in the future all Museums will have to have this kind of data repository and conservation will be very linked to IT. If you keep your own server with all your data this may eventually also be co-located at a place for archives such as a particularly forward-looking library.
- Your software is your “score”, the fundamental instructions that create your work, so back it up! At my studio we have a less than stellar system, which is basically a central repository of files in a drive which gets mirrored to an identical drive that is offsite. I also run Apple’s time machine in my laptop to two drives: one at the studio and one at home. I do recommend a cloud-based solution as it can scale up, is (almost) always available and is cost-effective; however, you do need to feel comfortable that a corporation has your data (they always do anyhow) and that you can continue paying monthly fees, which is a big if. Some Museums are starting to have dedicated servers to hold all of their software collections, in the future all Museums will have to have this kind of data repository and conservation will be very linked to IT. If you keep your own server with all your data this may eventually also be co-located at a place for archives such as a particularly forward-looking library. Generally speaking the best practice is to have three copies of all data, each stored in a different geographic location. Ideally these geographic locations should be far enough apart that they are not susceptible to the same types of natural disaster (i.e. could not all be wiped out by the same hurricane).

- As you work, say on a complex installation with hardware, software, manufactured and found components, prepare a “Bill of materials” (BoM), which is basically a list of all components of a piece. List each separate component, writing its brand and model, its function, the URL for information, and a small picture.

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