Internship Potential - Digitization Database Drafting

 Digitization Database Designing

The original position requirements are a bachelor's degree in history, science, arts, with experience in project management and a particular knowledge of database designs to categorize artworks with a local museum and thousands of miles of film, archival artifacts, and for access that can be recognizable to staff. 

                                                                                                                               Photo by ¶Project Atlas

Check out local listings, stay in newsletters that post regularly, and begin designing your portfolio on their requirements. This particular listing, I am personally unprepared for, but have experience in certain subjects. The main criteria I want to focus on, is the digitization archive with database design. 

Note: I recommend scanning job descriptions of any kind with your children in their becoming age (teenagers) and prepare learning skills for a career. Get excited about wanting to learn a skill, find a way as soon as possible to earn it, and maintain those skills in daily activities. You may not qualify but never turn away from the listing until you know what the job does. You can do it - change your time now and choose wisely. Keep picking out things you want to do and like to refine what you want your career to be upon graduation without losing time, energy, or gratification in work and money spent on a direction away from what you have been wanting for a very long time!

VHS, CD, and MP3 files may be known, but are you familiar with dubbing these files in a digitization format that can render quality, audio, and supply your archive a rich history virtually? The access to the equipment is desirable for any technical historian working on securing incoming artifacts, artwork, and mixed mediums of any kind. How do you restore it and how do you preserve it?

A museum can contain a set number of items that typically can be secured under claims of insurance, historical preservation protections, and local agreements between artist and museum. The space for each item may only provide a certain amount of time, in which, how would you want to keep a part of this history within the walls of the museum - if it were a seasonal gallery? 

Scanning, Photography - using angles, lighting, and delicate contact (in some cases), VHS to DVD or Mp4 file dubbing (creating duplicates) and using the departmental staff in history to archive any footnotes of the quality when in contact during and after display. I have witnessed those footnotes useful during the Antiques Roadshow, during auction pricing, they would have a package with the artifact and research the footnotes to validate any concerns or notes from their professional perspective. These are the skills you want to perform this project with to assure your staff can research and be researched using the database you design. 

Software - Digitization

At best, you will be using a Macintosh hardware system to coordinate the efforts of preserving the quality of the image. They are best known for graphic design artists, website designers, and adobe has become one of the leading software designers for these specific tasks that you can familiarize yourself now with. The quality of the image, the editing and restoration effects provide a high-quality image that most would use to preserve any piece of artwork. It is also very useful to alter, for future galleries, invitations, and permission to adjust as needed (depending on the copyright). 

To be fair, Windows database with SQL is a leading contender for general museum staff to easily navigate its portals and store what they need to find. This is typically a hierarchical system, but it doesn't always have to be. Storing that many artifacts, images, and artworks takes effort and classifying each piece may require attention to the database memory and server you choose to store these precious historical remnants. 

Note: I state these because I am familiar with it. If you would recommend a different style, I assume it would take effort to coordinate use by other staff if unfamiliar. Technical software use can be difficult to navigate if not properly maintained with time to adjust. 

The photography software is also another episode to invest in. I normally would not, because adobe is requested in online displays for quality and rendering capabilities, but for actual tangible artwork - I would want to validate its authenticity using some form of software that isn't able to duplicate or distort. Also, to protect the image as well. 

Database Design

Upon uploading, securing information, and organizing the categories of this project - how would you classify these objects and input description for search queries? 

The Business Proposal describing any rules for gallery (seasonal display, schedule, shipment), museum (location, exchange, archival rotation), distribution (sale, terms, and insurance), copyright (year, expiration, maintenance), licensing (details, origination, use), etc. would first be stated within the Project Management. This is the main criteria that anybody involved in the archival and database design will be referencing throughout the project. 

The style you use to database, offers insight in future additions that are uncategorized at the time of the original. This is very important since this will be a running catalogue from present to future. The consistency of addition and mapping will be an effective resource that should maintain memory space for hardware maintenance and operating systems. This normally isn't an issue but considering that the quality of the image and the type of artifact it is - could be an issue of the future. Plus, the security keys instilled for certain access, if necessary, can also be implemented. 

                           Photo by ThisIsEngineering

Database Potential Project

As an artist, I want to invest in my community and the appreciation of art itself by categorizing without the ability to modify the image beyond the uploaded original by qualitative purpose of a professional photographer. This image would be categorized by a database and only applicable to the uploaded software that cannot alter this image - further increasing the virtual image itself to be secured and held in trust. I could then invest in a gallery of database security designed for the museum that would hold these archives intact for its digitization articles and be conceivable upon terms, agreements, license, and local benefits. These would gain status in a professional holding that would benefit the value of museum, artist, community, archival staff, and future investors after. 

The art of photography, the museum historian, the software communicative purposes with unified languages and machine learning all have a contribution to decreasing the value of artwork by making it readily available. Mainstream culture is uploading, posting, and distributing free images of sacred temples, sacred objects, one-of-a-kind artworks, and having it viewed from home or with the lack of emotional intelligence that arrives upon its presence. These are not content graphical images that prepare you or request your permission to excuse its fundamental aspirations of society, religion, renaissance, and appreciation of these sorts. 

This project is exactly why I am in the Software Developer Program with NWTC, my local education for Information Technology - is all I need. I just need something to gap the integration of what I want and what is already available. How do I make this happen? 

The actual software I am looking for would coincide with online currency. However, with so many firmware, hardware, and software integration to be used for unifying any operating system and its financial obligations - it is the world pot of honey at this point. But what a great start at a bank note - using artwork like this. 

                                                                            Drafting Database Design

My actual idea stems from artwork in database for display. A company is surrounded by it, creates innovation, invention, or otherwise a surplus to coordinate an effective gain monetarily and affirms the artistic inspiration to create an investment towards this bank note. These are archived and considered valid by display time within a financial company that does such a thing. This was part of contributing towards what made money valuable by people and not resourceful products that we want to consider in human value that did not degrade or enslave the idea of money as evil. The critique is contributed towards the sale or monetary gain by public to change awareness from habits. (Read that last sentence again - what does this mean? The critique is value to create people who contribute their world perspective on artwork to promote a lifestyle that caters to new goals in people, their intellect, and the sale itself.)

Art is an emotional expression that is measured by personal involvement to act. This is the first harness of intangible value that people intelligently are capable of defining. 

Conclusion

Online currency also needs a mathematical design, one that is reliable, explains everything without being encrypted and secure. Factors to consider when online currency of the future contends with personal input. The bank note of museum gallery software and the private sectors of availability provide value in keeping. Being selective with our artwork for the sole purpose of being exposed to only "these" pieces during renovation for innovation can provide an intellectualism unlike before. We need to go hungry in America every so often. It is okay to starve of art. Starve of music. Starve of our families. We do not need to go to war to understand these values in people. Consider it when you look at the next gallery available to you - the time these artists invest, usually and most times underpaid! Can you contribute your starving periods and become inspired for change? And make an impact? 

How big? 

__Mischief

Social Science - 1970's Bio

 Series VI: Minority Groups and Guidance

Indian Students and Guidance

John F. Bryde

University of South Dakota

Copyright 1971

The specific copyright for this book states that no form may be recorded or documented in electronic forms (or any form) without written permission. I will be stating a reflection piece of this monograph series. 

______________________________________________________________________________

I just want to remind everyone about Native American literature as a translation of integration. Native Americans have a value system that is not materialistic, Mr. Bryde does explain this from his perspective and reveals that it was the goal to change the character path settings for Native American in their education settings. I had researched his name and came across his obituary and how the community he worked with talked with humor, respect, and loss with his passing. It changed the way I read this book. I was more accepting to his perspective to demystify that missioner relation with their community involvement and appreciated his ability to state his educational opinion/teaching without personal victories. I felt like he knew more than stated and loved that part untold.

Being Native American in 2023, I am ashamed of the people who hound spiritual blessings to remain intact as respect. Respect is earned. The validity of being given any preferential reciprocation requires the person to undergo experiences that encounter its expertise of survival and lesson. The lesson's provided in life as reality are real, and in a man or woman, they are forgotten of footing to progress as each footing requires assistance. This handicapped mentality did not survive winters, child rearing, and fortunate tides. It has been brash to flare as the weak point of society and civility to encounter peace with the immobilization to magnify its detriment. 

Compassion in measures that endure priority over self is unreal. Even by modern standards. Survivalism is not compassionate to lost time with historical figures that can provide wise connections, but what variety was there to offer? The sociological plot expelled a few characters from being encountered at the sight of conversation with other men. These men defined a partnership that we learn about as a dominant review to relish as true. 

The untold stories, the forgotten stories, the encounter of women and their women folk in past time and modern time. The children of each encounter throughout time. The changed moralities and diversification to mainstream society have endured countless characters that reformed before they could exist. 

That began to exist as one. 

The ideals that exist, the characters of lesson, the mythic political beliefs that organize this world as one - can change. 

Right now, emotion as detrimental figures of historical trauma are magnified to enhance respect of its survival. Of progress. Of imitation. This will change and change again. There is a new 'oneness' to exist, as relation can see fit for its environment. 

I am ashamed because this has been forgotten and capsized for another type of people to conceive one world that we have blindly walked into by forgetting to explain truth in a circle is only for those that can fit in the circle. These external privileges provide us a world to step out of, but what they needed - was to be dependent upon first! They lost these privileges for being short-sighted and incompetent to relate time of encountering new ways into lesson through story by embracing a survival (and not counter-intuition and transformative education and commerce and relations after encounter). We boasted first. That firsthand of help was eager to forget the world of its priorities if all we can do is be of assistance that we know - you're a human being, at the same time, in the same place, in the same world - you know how to live. You know how to survive it. We are talking, here, and now (seasonal offerings are shorthanded in the wake of new religious freedom and embarking upon expansion to affixed eyes of capitalist and kingdoms in their name instead. They know how to survive already and we didn't want to make dependent neighbors.).

I am much too young to encounter these dilemmas while my elders remain apart from this type of character. It is teaching me beyond the modern world what was learned much before contact. These are not easily encountered, and, in its presence, I encounter historical records and recognize the error. 

The relationships between these documented interviews, references, resource of knowledge have to be remembered as Q&A. These are not full depictions of how the actual Native Americans were. There is so much more, but if you cannot see it for what it is, you may rely heavily on these prints as decipherable knowledge that you read right past your calling as if it were you who were doing the Q&A and mightily believe word for word. 

This is part of identity loss, when those who speak good of you, blind your will to read your calling. You would rather hear those around you speak of heroism from your presence. These are small pushes of that instilled survival aspect that belittles so much more qualitative reasoning as to who we are. 

I enjoy having this in my collection and I cannot wait to teach my younger generations by instilling further yet, more values that can consistently inherit these beliefs as partially stated. Until then, I conversate with modern America and enjoy our talks. The work done thus far, from what I have read, is amazing. Great insight. In tune with their self, their language, and their respect. I admire their work and understand the barriers, the time, the self-collection in work, the poise of expertise to perform in future scrutiny. It is well stated for the topic of defining the Indian student, throughout time. 

Religion, Native American, and American value systems. The new solution with inter-tribal (multiple types of Native American ancestry/nations) knowledge and future impacts of gained knowledge in the absence of one community is Tsha Tewahsana (Its In The Middle). A religious movement started with the Great American Eclipse (August 21, 2017 to April 8, 2024). 

One in place is heard when they describe relation from history. What they do not describe is one in the future. Upon encountering this new person, they failed me in my time, by not answering the question for me - but for them. 

Note: This cannot be reiterated due to the copyright within this text. The "one" factor arrives from relation to all things as we see in sustenance and creation as best as we can describe in communication. Everything arrives from one as kinship explains, in those beliefs. 

What I refer to, are the diverse kinds of people not from these lands and into blended societies of the world. We are different, even if we may appear the same humankind, and so, this is the reference I depict in those teachings and direction of our elders. They do not speak for the future, they speak of their history, apart from the world. 

Below are websites to coordinate that release and responsibility to have an inter-tribal, blended societal role to fulfill with the citizens that we have now. 

www.tshatewahsana.org

I got your answer in each direction but let's focus on only one - In the Middle, for future value transitions to incorporate the intangible and internet guided toolsets with our unique approach to solution, let alone, survival. How we really survive is continuously adapting to our environment and improving with our available tools (however it is available). 

__Mischief