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Valeria Ladd (1896-1985) was an American dancer and painter.

Early life and education
Valeria Gibson Ladd was born in 1896 in Great Falls, Montana.

Career
Best known for her work in dance, Ladd directed a group around 1919 before joining the Noyes School of Rhythm, founded by Florence Fleming Noyes. After studying under Noyes and editing texts on the technique, she would go on to establish her own group, the Valeria Ladd Dancing Players, in the 1950s.

As a visual artist, Ladd lived and worked in New York City and painting in both oils and watercolor. Her watercolors in particular had a high degree of abstraction but also featured figures and groups.

Pauline Kruetzfeldt (1890-1960) was a New York-based illustrator and painter.

Biography
Kruetzfeldt was born January 12, 1890 in Holstein, Germany, to Christian and Johanna Woelf. At the age of seven, her family moved to New York City, where she would study art at the Arts Students League. Her instructors included George Bridgman, Edward Dufner and Ben Foster. At some point, she married fellow German émigré William Kruetzfeldt, and gave birth to their son, William H. Kruetzfeldt. The family moved to rural New York, where she would live for the rest of her life. Kruetzfeldt passed away on October 29, 1960 in Ballston Spa, New York.

Career
Kruetzfeldt's work consisted primarily of flowers, trees, landscapes and animals. Her first published pen and ink drawings appeared in Ladies' Home Journal, and her paintings covered issues of American Home, Woman's Home Companion, Country Gentlemen, Hygeia, Better Homes and Gardens, American Girl, Camp Fire Girls and a catalogue for Wanamaker's, one of the first department stores in the United States. She worked freelance and as a contractor for Crowell Publishing Co. and Hearst, and her illustrations were used in greeting cards, school textbooks and by the State Conservation Department. During WWII, she created a decorative three-panel screen used as a backdrop for the armed service's religious meetings. Beyond her commercial work, Kruetzfeldt appeared in exhibitions at the National Arts Club, the Syracuse Museum of Fine Arts, the Grand Central Art Gallery, the American Water Color Society, the Institute of History and Art in Albany and the Ogonquit Art Gallery.

Her archive is kept at the Betty Boyd Dettre Library and Research Center at the National Museum of Women in the Arts.

Preservation metadata is information that supports and documents acts of preservation on digital materials. A specific type of metadata, preservation metadata works to maintain a digital object’s viability while also ensuring continued access through providing contextual information as well as details on usage and rights. It describes both the context of an item as well as its structure.

As an increasing portion of the world’s information output shifts from analog to digital form, preservation metadata is an essential component of most digital preservation strategies, including digital curation, data management, digital collections management and the preservation of digital information and information objects over the long-term. It is an integral part of the data lifecycle and helps to document a digital object’s authenticity while maintaining usability across formats.

Preservation Metadata
Metadata surrounds and describes physical, digitized, and born-digital information objects. Preservation metadata is external metadata (related to an object, and typically created after a resource has been separated from its original creator ), value-added, item-level data that stores technical details on the format, structure and uses of a digital resource, as well as the history of all actions performed on the resource, including changes and decisions regarding digitization, migration to other formats, authenticity information including technical features or custody history, and rights and responsibilities information. In addition, preservation metadata may include information on the physical condition of a resource.

Preservation metadata is dynamic and access-centered and should accomplish four goals: include details about files and instructions for use; document all updates or actions that have been performed on an object; show provenance and demonstrate current and future custody; list details on the individual(s) who are responsible for the preservation of the object and changes made to it.

Preservation metadata often includes the following information:


 * Provenance: Who has had custody/ownership of the digital object?
 * Authenticity: Is the digital object what it purports to be?
 * Preservation activity: What has been done to preserve the digital object?
 * Technical environment: What is needed to render, interact with and use the digital object?
 * Rights management: What intellectual property rights must be observed?

Methods of metadata creation include:


 * Automatic (internal)
 * Manual (often created by a specialist)
 * Created during digitization
 * User-contributed

Uses of Preservation Metadata
Digital materials require constant maintenance and migration to new formats to accommodate evolving technologies and varied user needs. In order to survive into the future, digital objects need preservation metadata that exists independently from the systems which were used to create them. Without preservation metadata, digital material will be lost. “While a print book with a broken spine can be easily re-bound, a digital object that has become corrupted or obsolete is often impossible (or prohibitively expensive) to repair”. Preservation metadata provides the vital information which will make “digital objects self-documenting across time.” Data maintenance is considered a key piece of collections maintenance by ensuring the availability of a resource over time, a concept detailed in the Reference Model for an Open Archival Information System (OAIS). OAIS is a broad conceptual model which many organizations have followed in developing new preservation metadata element sets and Archival Information Packages (AIP) (pronounced “ape”). Early projects in preservation metadata in the library community include CEDARS, NEDLIB, The National Library of Australia and the OCLC/RLG Working Group on Preservation Metadata. The ongoing work of maintaining, supporting, and coordinating future revisions to the PREMIS Data Dictionary is undertaken by the PREMIS Editorial Committee, hosted by the Library of Congress .Preservation metadata provides continuity and contributes to the validity and authenticity of a resource by providing evidence of changes, adjustments and migrations.

The importance of preservation metadata is further indicated by its required inclusion in many Data Management Plans (DMPs) which are often key pieces of applications for grants and government funding.

Considered by the National Information Standards Organization (NISO) to be a subtype of administrative metadata, preservation metadata is used to promote:


 * Interoperability
 * Digital object management
 * Preservation (often in conjunction with technical metadata)

Complications of Preservation Metadata
Concern over the poor management of digital objects notes the possibility of a “digital dark age”. Many institutions, including the Digital Curation Center (DDC) and the National Digital Stewardship Alliance (NDSA) are working to create access to digital objects while ensuring their continued viability. In the NDSA’s Version 1 of the Levels of Digital Preservation, preservation metadata is grouped under Level Four, or “Repair your metadata”, part of the macro preservation plan intended to make objects available over the long term.

The differing uses of digital resources across space, time and institutions requires that one object or set of information be accessible in a variety of formats, with the creation of new preservation metadata in each iteration. Anne Gilliland notes that these variations create the need for wider data standards that can be used within and across industries that will then result in further use and interoperability. The value of interoperability is further validated by the expense, both temporal and financial, of metadata creation.

The creation of preservation metadata by multiple users or institutions can complicate issues of ownership, access and responsibility. Depending on an institution’s mission, it may be difficult or outside the scope of responsibility to perform preservation while providing access. Further research into cross-institutional collaboration may provide greater insight into where data should be stored, and who should be managing it. Scholar Maggie Fieldhouse notes that the creation of metadata is shifting from collections managers to suppliers and publishers, while Jerome McDonough identifies the collaborative potentials of multiple partners working together to enhance metadata records around an object with preservation metadata as a key piece in cross-institutional communication. Sheila Corrall notes that the creation and management of preservation metadata represents the intersection between libraries, IT management and archival practice.

Current Developments in Preservation Metadata
Preservation metadata is a new and developing field. The OAIS Reference Model is a broad conceptual model which many organizations have followed in developing new preservation metadata element sets. Early projects in preservation metadata in the library community include CEDARS, NEDLIB, The National Library of Australia and the OCLC/RLG Working Group on Preservation Metadata. The ongoing work of maintaining, supporting, and coordinating future revisions to the PREMIS Data Dictionary is undertaken by the PREMIS Editorial Committee, hosted by the Library of Congress.