AMIA/IASA 2010 Joint Conference
Friday - November 5
Preliminary Program
Subject to ChangeMonday.. | .Tuesday.. | .. Wednesday .. | .. Thursday .. | .. Friday .. |.. Saturday
Print the Preliminary Program [PDF]8:30am - 4:30pm
VENDOR CAFE & POSTERS
Please join us for the always informative vendor exhibits! It's a great place to meet vendors and talk to colleagues.
8:30am - 10:00am
Getting A Piece of the Pie: Grant Funding Opportuities for Moving Image and Sound Archives
Chairs: David Rowntree - University of Hawaii
Karen Cariani - WGBHSpeakers: Charles Thomas - Institute of Museum and Library Services
Helen Cullyer - The Andrew W. Mellon Foundation
Charles Kolb - National Endowment for the Humanities
Daniel Stokes - Director for State Programs,National Historical Publications & Records CommissionIn the perpetual search for finances to support your preservation, access, and archival projects it is critical to know what funding resources are available to you. Understanding which grants are best suited to your needs, how to write a good grant proposal, and how to communicate with funding agencies are all important to creating a successful proposal. From the perspective of the granting agency, Program Officers will discuss the types of grants and programs available for media collections. They will also provide insights on what makes a good proposal, discuss the review process, and share their experience working with recently funded media projects.
8:30am - 10:00am
Chair: Jean-Louis Bigourdan - Image Permanence Institute
Speakers: James Layton - East Anglian Film Archive The Archive CentreThis year the Image Permanence Institute (IPI) is celebrating its 25th anniversary. In these last 25 years, IPI has investigated the stability of a wide range of information recording media with ultimate goal of developing preservation strategies and management tools for museums, libraries and archives. An essential part of this research has been directly related to the preservation of moving images. This presentation will provide a comprehensive overview of several decades of scientific research and experience in the field. It will outline a step-by-step "field guide" for the preservation of film collections, articulating an approach that facilitates the otherwise intricate decision-making process of implementing preservation strategies customized to individual collections or institutions. Various practical options for a wide variety of real-life situations will be discussed, giving participants guidance on methodologies that will be directly applicable to the task of optimizing the longevity of film collections in their own institutions.
8:30am - 10:00am
Session of Three Papers
Paper: Impact factor, citation index and other friendly fires in humanities: can audiovisual archives be turned into assets?
Speaker: Prof. Gisa Jähnichen - Universiti Putra Malaysia
University practice demands a high level output of publications and other evidences by their researchers and lecturers. Listed categories of efficient evidences show clearly which kind of output is accepted: namely those listed in so called collections of citation indexed journals such as Thompson Reuters, ISI web of knowledge, Scopus and Springer Link. Archived items of audiovisual material including metadata and further supplementary descriptions are not to find in this scope and it seems that they won't ever be as well as journals connected to this kind of "rare disciplines". My paper will focus on ways of knowledge communication in this field and some reasons of their actual status embedded into the competitive thinking of institutionalised higher education. Which role can audiovisual archives with their collections play in this context? Finally, a vision can emerge from these findings, which should be brought into a discussion that reaches beyond archive and university walls.
Paper: Using Existing Institutional Resources for Establishing and Preserving Audio-Visual Collections
Speaker: Toby Seay - Drexel University
When Drexel University acquired the Sigma Sound Studios Collection in June 2005, an opportunity arose to establish this resource as a basis for research into archival techniques, modern music production techniques, and database management as it relates to both stereo and multi-track audio files. Drexel University is home to a pioneering Music Industry Program, an exemplary Library Science program and a leading Engineering school. From these programs, the skill-sets needed for operating an audio archive were already in place. This presentation will discuss how a higher-education institution such as this may be the best environment for preserving such collections. This presentation will also discuss how this environment both enables and hinders collaboration and convergence of practice.
Sigma Sound Studios was the paramount recording studio in Philadelphia from 1968 to 2003 and was instrumental in the creation of what became known as 'Philadelphia Soul'. The Collection consists of 6119 magnetic tape-based recordings in twelve different recording formats that illustrate the evolution of modern music production and the musical culture of Philadelphia. The donation of the collection to Drexel was an ingenious solution to the common problem of how to preserve significant collections when business cease operations. With changes in the music industry and recording media, the Drexel University Audio Archive serves as an institutional model for audio-visual preservation.Paper: Archival Theory, Moving Images and Audiovisuals: The Pluses and Limits of Convergences and Divergences in Archival Discourse
Speaker: Dr Lekoko Sylvester Kenosi - University Botswana
Traditional archival theory defines a record as, any information created or received by an organization in the course of a business activity, regardless of the medium. The same theory further describes archives, as either the building that houses the records and or the records themselves. However, no matter how unifying to the archival community, these definitions, have over time, betrayed and obscured the fundamental differences that one finds in the language, treatment and practices of film, audiovisual and traditional archivists. This paper intends to review and apply some selected theoretical terms of archival theory, namely, the nature and characteristics of archival documents, the Ducth Manual and the rules of arrangement, the new multi-level rules of description and the various schools of selection and destruction to moving and audiovisual archives. The intention here is to underscore areas of convergence and divergence. The result of this comparison will be the enrichment of archival theory and the extention of its knowledge base across all storage mediums.
8:30am - 10:00am
Paper: Semantic Objects and Networks in Culture and Science (Practical demonstrations & State of the Art)
Speaker: Guy Maréchal & Frank Casado - MEMNON
Most cultural and scientific assets are currently represented by "flat" data models, usually as records in a relational database with hyperlinks to media files. While some more advanced IT engines are starting to use semantic systems to "understand" data objects, the objects themselves are generally not yet described in a semantic way.
It is believed that a more effective approach to search (be it on local Web sites or through surrogate portals) or to preserve is to use semantic indexation which expresses the links between different concepts which speak of a similar "thing" (Physical person; Roles …). The assets become represented as a network of "Knowledge Information Objects" generated and represented semantically and exploitable on the semantic Web and suitable for the archiving.
The presentation will introduce simply the fundamental concepts (conceptual models, ontologies, typed relations, profiles …) and the associated standardised IT languages. Concrete demonstrations and illustrations will be made using state of the art tools and methods. The examples will cover namely the interviews, the news and the music in the Radio and Television sectors. The demonstrations will also cover the work-flow of migrating "flat" data models to "Knowledge Information Objects". The construction of Complex Objects will also be demonstrated including Audio-Video with synchronisation of the transcriptions, contextual tagging and KIO networking. When the assets are represented as KIO, they become native enabled of persistence! New ways of exploitations, enrichments, re-use and archiving appears. The use of Interoperability Wickets using KIOs will also be introduced and demonstrated.Paper: Network-centric Approach to sustainable Digital Archives
Speaker: Erik Mannens, Sam Coppens & Rik Van de Walle - Ghent University - IBBT - MMLab
The Archipel project initiates the digital long-term preservation of cross-sectoral cultural heritage in Flanders and researches the problems encountered with distributed digital long-term preservation of multimedia. To overcome all the individual risks, the data needs to be described on different levels, i.e. from bitstream level to the intellectual entity level, thereby securing all the rights and requirements of the individual cultural institutions. By providing a three-layered semantic metadata model, not only the metadata are stored, but also the semantics of the metadata are stored for the long term. The top layer (for initial exchange) is a representation of the descriptive metadata in Dublin Core, the intermediate layer (the cross-sectoral refinement) is a more detailed description of the specific sectoral standards involved (MARC, CDWA, P/Meta, EAD, Spectrum, ISAD-G), and the bottom layer (for long-term preservation purposes), is modeled via PREMIS. Sustainability is key in Flanders effort of converging their valuable Archiving, Libraries, and Museum assets into a distributed test bed where OAIS-compliant submission and dissemination modules are developed on top of the decentralized Fedora framework while being compatible with other European initiatives. This project delivered the Flemish consortium both technical, organizational, and strategic innovative insights in the archiving challenges at hand.
Paper: Six Sigma and the Lean Factory Approach for Media Ingest and Processing
Speakers: Jörg Houpert - Cube-Tec International
Rob Poretti - Cube-Tec North America LLC - Cube-Tec InternationalIn times of tight budgets the mass transfer of legacy media carriers is neither efficient enough nor does it meet the quality requirements necessary to preserve our cultural heritage. Existing tools are still not flexible enough to handle the variety of problems occurring in the transfer of legacy media carrier formats. A lot of these problems are still demanding manual handling and decision making, which includes manual pre-working, manual tasks when controlling and monitoring and finally a complex and time consuming effort for the quality control of the final outcome.
We are in need of:
- innovative analysis techniques
- more intelligent and more flexible workflow controls
- better tools for process and quality visualizationIn order to allow the re-use of best practice approaches a unification of existing process models is required. Based on the products Quadriga, Dobbin, Cube-Workflow and Calibration-Inspector new and innovative solutions are presented and discussed on the basis of customer implementations.
10:30am - 12:00pm
Chair: Kara Van Malssen - New York University
Speakers: Chris Lacinak - AudioVisual Preservation Solutions
Dirk Van Dall - Broadway Video Digital Media
Jen Mohan - MedianetAs AV archives work to digitize legacy works and increasingly acquire born-digital works, the sustainability of these rapidly growing digital collections is a new and intimidating challenge. Digital works require ongoing management if they are to survive beyond a few years, which means securing steady funding to keep servers running, to ingest content and update metadata, and to stay abreast of evolving user expectations for online access. The costs associated with these activities are not trivial. New business models for AV archives are essential for sustainable digital preservation. New workflows are needed to make preservation and access more efficient and cost effective. Panelists will discuss a number of innovative and effective sustainable funding and revenue models, which will not only help AV archives keep the lights on, but also enable us to compete and even shine in the fierce world of online video, while offering unique materials and unparalleled value.
10:30am - 12:00pm
Chair: Jennifer Sidley - Library of Congress
Speakers: Greg Wilsbacher - Moving Image Research Collections, University of South Carolina
Ken Weissman - Library of CongressThree non-profit archives will present their methods of preserving film in the digital realm and discuss how other archives can achieve the same. Attendees will learn to assess their resources and needs to decide if digital preservation is right for them. Topics covered will include staffing, budgets, data management, and the merits of outsourced or in-house scanning projects. While the Library of Congress, University of South Carolina and the Mississippi Department of Archives and History share the same goal if implementing a film-to-digital preservation program, the solution employed by each organization offer multiple strategies.
10:30am - 12:00pm
Paper: Challenges of Multimedia in Archives (Convergence or Multiplication of Formats)
Speaker: Hemand Bahadur Parihar - Indira Gandhi Rashtriiya Manav Sangrahalaya Bhopal (National Museum of Mankind)
Today is a crucial period for multimedia A/V archives as analogue A/V formats fade out and digital A/V formats are emerging worldwide. Almost every A/V Archive is has a mixture of analog and digital formats, and the management of the variety of formats can be challenging.
As technology develops, new formats are introduced. As the number increases, so do the challenges in selecting new formats. As analog formats are discontinued by manufacturers, machines and the inventory of spare parts becomes less available and access to those recordings more difficult. Archives must assess their materials, and plan to switchover to a widely acceptable universal format, maintaining the original or master quality and with a pathway to upgrade or migrate on a future format.
Paper: Best Practices Guide for establishing a Permanent Observatory for Archives and Local Televisions
Speakers: Joan Boadas Raset - Center for Image Research and Diffusion (CRDI)
Pau Saavedra Bendito - Permanent Observatory for Archives and Local Televisions - Center for Image Research and Diffusion (CRDI)The local audiovisual heritage is often at risk. Its survival is threatens, mainly due to lack of resources of the producers (mostly local televisions) and a short tradition in the conservation of these documentation in archives. To contribute to the preservation of local audiovisual heritage and to promote the stable cooperation between archives and local televisions, the Best Practices Guide for establishing a Permanent Observatory for Archives and Local Televisions was published.
This guide was done on the framework of the Permanent Observatory for Archives and Local Television (OPATL) of Catalonia (Spain) and Andorra, which started in 2008 by an initiative promoted for the Center for Image Research and Diffusion (CRDI) from the Girona City Council (Spain), Andorra National Archives (NAA), the Local Televisions Network (XTVL) and the Archivists Association of Catalonia (AAC). The idea was to go beyond the particular needs of Catalonia and Andorra, and take a more generic approach to realities that may exist elsewhere. The guide has had the co-operation of ICA (International Council on Archives) by PCOM (Program Committees) and has been translated into three languages in its full version (English, French and Spanish), and four other languages (Arabic, Hindi, Russian and Japanese) in its reduced version.
Case Study: Preserve and Access "The Tonight Show Starring Johnny Carson"
Speakers Bob Schumacher - Deluxe Archive Solutions
Jeff Sotzing - Carson Entertainment Group"Heeeeeeer's Johnny!" Together with Jeff Sotzing, owner of the Carson Entertainment Group which controls the licensing rights to "The Tonight Show Starring Johnny Carson", we will present a Case Study of the real-life challenges to preserve, digitize, describe and fully transcribe each spoken word spanning 30 years (or about 3,500 hours) of material. Fiscally constrained archive managers are often vexed by the costs associated with digitizing and creating comprehensive keyword metadata for their collections. Deluxe Archive Solutions and MediaRecall by Deluxe created a professional, scalable labor model and secure, web-based platform allowing archive owners to execute their preservation and access strategies at a fraction of the time and cost once anticipated in this space. Join us for a ride down memory lane with the "King of Late Night", Johnny Carson and view Carson classics while learning about the workflow, approach and metadata-as-a-service (MaaS) model for enabling access to never-before-released audio and video content.
10:30am - 12:00pm
Paper: Raising the quality bar in re-recording
Speaker: Stefano Cavaglieri & Gabriele Franzoso - Fonoteca Nazionale Svizzera
"Sound archives have to ensure that, in the replay process, the recorded signals can be retrieved to the same, or a better, fidelity standard as was possible when they were recorded...". With this citation in mind, extracted from IASA's TC-04 2nd edition reference book, the Swiss National Sound Archives recently decided to setup an R&D sub-department, with the aim of raising the quality bar - aka doing some proper analysis and investigation. Focus, on this paper, is set on turntables, by comparing one of the most used devices in our business to a better alternative; tape recorders, by comparing a standard fitted v. a refurbished machine; and high quality AD/DA converters, by doing a series of basic- up to more sophisticated tests. The results of this investigation are... expected to some people, frightening to some others, to the point where asking ourselves whether or not the whole process of re-recording, as we know it and practice, is really the way to go.
Paper: Technical and sociological approach of sound recording transfer, restoration and remastering in heritage and editorial fields.
Speakers: Jean-Marc Fontaine - Université Pierre et Marie Curie / IJLRA - Ministry of Culture & Jean- Christophe Sevin - Centre
Norbert Elias - Université Pierre et Marie Curie/IJLRA - Ministère de la CultureUnlike pictorial or architectural domains - among others, sound restorers do not enjoy the recognition they aspire to. While we consider eminent studies about works of classical art restoration, we can only regret the absence of methodological references and theoretical bases in the sound recording field. Our research consists of taking into account and studying restorers' activities in a context gathering historical, aesthetic and technological aspects. Restoration of some Caruso's recordings with the first signal digital processing tools (1976) had caused important trouble and aesthetic and deontological debates in the eighties. (Remember the polemic discussions at that time between opponents and supporters of movie colorization). Nowadays, this debate do not spark off any more reaction, and we cannot be satisfied by audio restoration and remastering operations that are not enough explained whereas the audience discovers old recordings generally through those transformations.
We are particularly interested in the restorer's activity who carries out-but with what purposes?-, technical operations generally with serious consequences, we are interested in the listener's authenticity value he attributes to such recordings, and in his perceptive appreciation of old records' different treatments. Last audio operators who worked in recording and mastering studios during analog and digital areas are gradually ceasing their activity. Consequently, we have to collect their valuable testimony without delay now that, paradoxically, analog sound interest is regaining interest.Paper: Digital Audio Interstitial Errors: Raising Awareness and Developing New Methodologies for Detection
Speaker: Chris Lacinak - AudioVisual Preservation Solutions
It is abundantly clear that a primary component of legacy audio preservation and access is digitization. Recognition of this fact has promoted en-masse digitization of legacy media. Recent years have proven to be very productive in the way of creating best practices and standards for audio preservation and digitization. However, as usual the devil is in the details and there are still some issues to resolve. One such area of concern is integrity issues which exist within the digitization process materializing in one form as "Interstitial Errors".
Every system is vulnerable to this type of error regardless of its cost. And no matter how small the error, it is not an acceptable occurrence in a preservation transfer. The nature of digital interstitial errors makes them very difficult to identify using currently available tools, and the truth is that they are often overlooked. In short, the community needs better tools to identify and respond to errors such as these.
Chris Lacinak is involved in parallel projects within the Federal Agencies Digitization Guidelines Initiative and the Audio Engineering Society on the development of new standards and tools for performance testing of digital audio systems. As part of this work and tool-set he is proposing a comparative analysis tool which departs from existing error detection tools and is particularly well suited for identifying errors such as these. Chris will present an overview of a white paper on this topic, providing explanation and images as well as details behind the proposed methodologies for detection.
12:00pm - 2:00pm Ticket required.
Please join us to honor the 2010 AMIA Awards honorees as well as the recipients of the AMIA Scholarship and Fellowship awards. You must be registered with AMIA and have a ticket to attend.
2:00pm - 3:00pm Separate Registration Fee Required
Speaker: Cornelia Emerson - Arts/Collections/Education
This workshop will explore ways to fund moving image collections and projects. The first part reviews conventional funding sources, and the second employs brainstorming to discover unconventional ones. The third segment focuses on the fine art of targeting-matching each project to the best (and most likely) funding sources. Analysis of grant guidelines is critical to determine eligibility, but reading between the lines can help predict a project's likelihood of success. In the last 45 minutes, a small group writing exercise will show how to turn proposal instructions into a working outline, and then start assembling a first draft. This hands-on workshop is intended to demystify the grant-writing process. The aim is to build participants' confidence in their ability to approach an often-intimidating assignment-on their own if necessary, but ideally with archival colleagues and/or institutional development officers or consultants.2:00pm - 3:00pm
Chair: Karan Sheldon - Northeast Historic Film
Speakers: Martin Johnson - NYU
Katrina Dixon - Northeast Historic FilmState archives, historical societies, universities and colleges, and regional history collections often have local films made by itinerant filmmakers in their collections. When we identify, classify and make accessible these films we make decisions that affect how the public understands them. In this session, Martin Johnson, a doctoral candidate in Cinema Studies at New York University, and Katrina Dixon, Northeast Historic Film media cataloger, will show itinerant film examples and discuss access strategies.
2:00pm - 3:00pm
Paper: Sound and Vision: teaching a mixed specialism online to non-specialists
Chair: David Lee - Wessex Film and Sound Archive
I will look at the provision of education and training concerning film, sound and oral history in non-specialist archives, via an online distance learning course aimed at 'traditional' archivists, and the challenges involved. The University of Dundee offers the Sound and Vision module as part of its Mlitt and MSc (ARM) UK and International courses, as well as for the Certificate of Family & Local History, and the Continuing Professional Development of archivists working with mixed collections. The courses are accredited by the Society of Archivists UK.
Since 2008 when the course began, students from a variety of backgrounds and nations have learnt about: the historical development of film and sound recordings, the specialist archives which collect and preserve them, archival issues surrounding collection, appraisal, cataloguing, access and copyright, the preservation of these complex media, including physical characteristics, handling, conservation and restoration, copying and management of digital storage systems, disaster planning and recovery.
A separate unit on oral history looks at its origins, development and ethical issues, as well as managing projects, volunteers, equipment, recording techniques, transcribing, and conducting safe and successful interviews (one of the practical assignments is to record an interview). The presentation will look at the relevance of this course in non-specialist archives, how it is organised and taught online through a mixture of text, videos, weblinks, diagrams, carefully selected reading, Discussion Board, tasks and marked assignments, and what it aims to achieve in the workplace.
Paper: Convergence Hits the Classroom: How the Future of Audiovisual Archiving Will Shape Professional Training, and Vice Versa
Speaker: Aaron Bittel - UCLA Ethnomusicology Archive
As the structures and functions - and even our very conception - of archives, libraries and museums are in the midst of transformation, what will be the shape of professional training for those tasked with managing the ever-growing audiovisual collections? Or more precisely, what could and should it be, and how do we get there? This presentation explores the current state of education and training opportunities in the field and places it in the context of two convergences: the institutional and functional convergence of archives, libraries, and museums; and the convergence of collections and formats that are, currently, often treated separately (audio, video, and film). It then raises questions about what these new directions imply for the way we design and implement professional training and suggests some possible approaches.
Given the current discourse about the future of libraries - particularly the assertion that subject specialization is obsolete - who will be managing, preserving, and making accessible audiovisual collections? Reflecting both this uncertainty about the future and current realities in the field, audiovisual archiving is considered here as a bundle of functions that may or may not be connected to institutions recognized as "audiovisual archives." In the context of converging fields, having a good understanding of who is likely to be responsible for which functions is essential to developing training opportunities. After all, how do we go about building the profession if we're not sure what the shape of the profession will be?
2:00pm - 3:00pm
Speaker: David Giovannoni - First Sounds
The First Sounds initiative rewrote history in 2008 when it played back one of mankind's first recordings of its own voice, made in Paris in 1860 - 17 years before Edison's invention of the phonograph. Because humanity's first sound recordings were made in Europe and retrieved by Americans, it is especially fitting that First Sounds' founder, David Giovannoni, address the joint IASA and AMIA conference to recount his team's quest and report their most recent findings.
3:00pm - 4:00pm
Poster: Turning Archives into Assets
Speaker: Catherine Belmont & Doreen Ernesta - Seychelles Broadcasting Corperation
Poster: TV Speaks: Curating Oral Histories Online
Speaker: Jennifer Matz, Gary J. Rutkowski & Karen Herman - Archive of American Television
Poster: The User and the Archivist, How Kenya National Archives is Making the Convergence
Speaker: Francis Mwangi - Kenya National Archives and Documentation Service
Poster: Developing and Managing Digital Collections: All You Need to Know
Speaker: Sharif Khandaker, Canadian Museum for Human Rights
Poster: Laying Claims to Africa's Migrated Archives: Problems and Prospects
Speakers: Emmanuel Yeboah, Dr. Ruth Abankwah & Dineo Ramatlhakwana - BA ISAGO University
Poster: Digitized Musical Instrument Sample Libraries - A Valid Archival Resource?
Speaker: Martin Perkins & Dr Simon Hall - Birmingham Conservatoire, Birmingham City University
Poster: History at Risk: A Survey to Determine the Size and Status of Local TV Videotape Archives
Speaker: Rick DeBruhl - University of Missouri4:00pm - 5:30pm
Chair: Cornelia Emerson - Arts/Collections/Education
Speakers: Robert Heiber - Chace Audio by Deluxe; The Rick Chace Foundation
Donna Ross - Library of Congress, National Audio-Visual Conservation Center
Alan Stark - Film Techology Company, Inc., AMIA
Lance Watsky - UCLA Moving Image Archive Studies Program, Media Preservation ConsultantThe Great Recession may have ended. But many nonprofit leaders believe the development paradigm has changed-because the effects of recession on foundations and government agencies will linger for many years. Instead, creative collaboration and partnerships are the order of the day. AMIA's history of drawing members from corporate, government and nonprofit sectors of the moving image community is instructive, because the field has long embraced funding collaborations. This panel brings together moving image funders and fundraisers to discuss their aims and experiences in sharing resources to complete ambitious archival goals. Examples range from collection development; to analog and digital preservation; to access, education and public outreach.
4:00pm - 5:30pm
Paper: Electronic collection: preservation plan and long term access
Speaker: Xaver Sené - French National Library / Bibliothèque nationale de France (BnF)
This presentation will focus on Telemeta, the web audio (and video) archiving program developped for the CREM, introducing useful and secure methods to backup, index, transcode, analyse and publish digitalized audio file with its metadata. This online resource delivers easy and controled access to documented sounds from the collections of vinyls, magnetic tapes or audio CDs over a strong database, in accordance with open standards. It includes documentation, indexing and search capabilities (with GEO Navigator for audio geolocalization), and main features such as dynamical audioplayer, workflows, DublinCore compatibility, OAI-PMH data provider.
Paper: Digitisation of Highly Degraded Acetate Tapes - A Treatment Report
Speakers Nadja Wallaszkovits - Phonogrammarchiv, Austrian Academy of Sciences
Dr. Peter Liepert - Austrian Research Institute for Chemistry and Technology -
Phonogrammarchiv, Austrian Academy of SciencesThe paper describes the sucessful recovery of highly degraded historical analogue magnetic audio tapes on cellulose acetate base material. Based on the authors experiences on historic collections suffering from degradation due to long time storage under irregular climatic conditions, a series of extremely damaged and therefore unplayable cellulose acetate tapes has been chemically treated. As the first results showed promising success, the method was further empirically tested and chemically verified. The paper discusses the analyses of the chemical composition of these specific tapes and describes a possible method to replastify the tapes individually, so that a playable condition can be reached in most cases. The tapes have meanwhile been successfully digitised.
Paper: Using a Video Labeling Game in Audiovisual Archives
Speakers: Johan Oomen - Lotte Belice Baltussen
Sander Limonard - Netherlands Instituut voor Beeld en GeluidWe present results from a large scale pilot with a Video Labeling Game that uses the concept of crowdsourcing to improve access to video archives. In this pilot project, different aspects of both institutional and user involvement in the abovementioned 'shared information space' are explored. The pilot was initiated by the Netherlands Institute for Sound and Vision (largest audiovisual archive in the Netherlands), the VU University Amsterdam and KRO Broadcasting. In the spirit of 'games with a purpose', the Waisda? Video Labeling game was developed. It invites users to tag what they see and hear and receive points for a tag if it matches a tag that their opponent has typed in. See fig. 2. and 3. Below. The underlying assumption is that tags are probably valid if there's mutual agreement. Waisda? uses links with popular television programme websites, Twitter, and social networks to secure the people. Since May 2009, the game was played by hundreds of people and within 7 months, over 350k tags have been added to over 600 items from the archive.
An in-depth (qualitative and quantitative) evaluation of the pilot was carried out, investigating:
1.The motivations for people to play the game and how the 'gameplay' can be enhanced
2.Usability of the tags for future retrieval and how these contributions can be added to the institutional catalogue
3.Which programmes are best suited to be placed in such an environment
4.How to generate a constant stream of players
The pilot provided proof that crowdsourcing video annotation in a serious, social game setting is beneficial for heritage organization, and which success factors should be taken into account.4:00pm - 5:30pm
Chair: Linda Tadic - Audiovisual Archive Network
Speakers: Daniel Teruggi - L'Institut national de l'audiovisuel
Matthew White - American ArchiveArchives are increasingly providing online access to their collections through aggregated sites. These sites can take two forms: the "portal" approach, where online content is indexed and referenced by a dedicated site, leading the user to the original sites; and the "managed aggregator" approach, where content from different collections are presented in a common access resource, sharing a technological platform. Both approaches optimize online access and improve collections' visibility. Other than providing simple online access, can these approaches enhance the research process? Or can they inadvertently limit access, if researchers do not search further than what is available online, which is often a small portion of an archives' holdings? This panel will discuss developments in providing aggregated and federated online access to audiovisual content, referring to projects that are national, regional, and global in scope.
4:00pm - 5:30pm
Chair: David Rice - AudioVisual Preservation Solutions
Speakers: Hannah Frost - Stanford University
Kate Murray - National Archives and Records AdministrationThe significance of technical metadata is commonly recognized throughout the AMIA and IASA communities. However, a majority of the discussion to date has focused on which fields to capture. This session takes the next step and examines various uses of, and tools for working with technical metadata. The first presentation will be given by Dave Rice on an open-source faceted technical metadata aggregator tool lovingly named FATMAP. The second presentation will be given by Hannah Frost on JHOVE 2.0 and its implementation into archival workflows. The final presentation will be given by Kate Murray on use-cases for technical metadata developed within the Federal Agencies Guidelines Initiative Technical Metadata Working Group.
7:30pm - 10:00pm
Archival Screening Night is the traditional centrepiece of AMIA's annual conference. It is a unique snapshot new preservation work, footage from recent discoveries and curatorial discoveries. Submissions are drawn from for-profit and non-profit institutions, and individual members and we work with host venues to support the full range of film and electronic formats submitted.
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