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Audiovisual preservation

Archives Congress 2012 Towards Multi-Ethnic Archiving in the Postmodern Era 17-18 November 2012 Ateneo de Davao University Roxas Avenue, Davao City. Audiovisual preservation. From the Point of View of Selected Philippine Academic Libraries. Christine M. Abrigo

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Audiovisual preservation

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  1. Archives Congress 2012 Towards Multi-Ethnic Archiving in the Postmodern Era 17-18 November 2012 Ateneo de Davao University Roxas Avenue, Davao City Audiovisual preservation From the Point of View of Selected Philippine Academic Libraries Christine M. Abrigo De La Salle University Library Manila, Philippines

  2. Some concepts to start off… Audiovisual heritage Audiovisual archives Audiovisual archiving Audiovisual preservation

  3. Audiovisual heritage Products of : • Entertainment industry • Electronic mass media • Radio • Television

  4. Audiovisual archives • an organization or department of an organization • focused on collecting, managing, preserving and providing access to a collection of audiovisual media and the audiovisual heritage, applying archival principles

  5. Types of AV Archive • Academic • in universities; research/educational materials; maybe small/specialized • Specialized or thematic • concentrate on a particular format, subject-matter or locality, or relate to specific cultural groups • Production • Film companies, broadcasting companies and record companies maintain archives for use and exploitation by the parent company

  6. Audiovisual archiving • a custodial profession • a small and young profession • originated in a variety of institutional environments

  7. Who may be the boss? • Librarian • Archivist • Conservator • Curator • AV archivist • Not librarians, like archivists

  8. Audio-visualpreservationis the totality of things necessary to ensure the permanent accessibility, with minimum loss of quality, of the visual or sonic content or other essential attributes of the work concerned.(Edmondson, 2002)

  9. Preserving the here and now • Safeguarding the information, not the carrier per se • Protection of the intangible heritage • Storage is a simple act of preservation that prolongs the collection’s lifeline • Preservation policy – a good backbone for media libraries

  10. AV Preservation in the Philippines The Philippines has an enduring history of film and television industry Libraries collect and preserve AV materials in magnetic format for the longest time Preservation copies are made using the same media

  11. AV Preservation Practices of Selected Academic Media Libraries The Study

  12. A bit of an overview… • Abrigo, C.M. and V.M. Abrigo. 2010. Audio-visual preservation: a perpetual dilemma among selected Philippine academic libraries. • Presented at the JTS 2010: Digital Challenges and Digital Opportunities in Audiovisual Archiving, 02-05 May 2010, Oslo, Norway

  13. The international gathering for all specialists of the audio-visual, cinema and sound heritage • Happens every 3 years • A FIAF Congress joint event Organized by:

  14. Participation was made possible by:

  15. The Study in gist • Focused on three (3) academic media libraries • Preservation dilemma: media obsolescence • Two (2)-year-old data • conducted in March 2010

  16. Universities under study

  17. Media Libraries in Universities • Maintain media resource centers to complement their print collection • Curricular support is the primary thrust

  18. Media center (library) vs. Film/AV archive

  19. Subjects of the study

  20. AV collection make up [1/2] Coverage -- • local and foreign documentaries with socio-cultural and political contexts • humanities • language studies • general interest • feature films • music of various genre (i.e., pop, folk, ethnic, oral history, et al.)

  21. AV collection make up [2/2]

  22. On Preservation ISSUE SOLUTION

  23. On Obsolescence [1/2] • Obsolescence is felt whenever video and sound recordings on tape is being played • Playback machines and magnetic tapes are rapidly disappearing in the Philippine market

  24. On Obsolescence [2/2] • Refreshing became the common preservation practice • Ensures continuity and sustainability of the information contained in carriers • Migration later became the strategy • Triggered by playback machines going out of the market

  25. AV Preservation Practices 2 years later...

  26. Cultural heritage could now be captured by anyone at anytime with ease.

  27. Cultural heritage is now more flexible to share and modify.

  28. Cultural heritage is now a digital heritage. "Our digital heritage – only a few decades old – is already endangered.” (Findlay, 2002) ENDANGERED!!!

  29. Current realities • Life cycle of audiovisual materials has turned around technologically • AV delivery has become more content-driven • Access is crucial Academic media centers in the Philippines are also braving the same waters of digital AV preservation.

  30. Preserving the intangible and setting it free • Focus of academic media centers: enabling massive access to AV content • Preservation work must take off • Academic media librarian: as custodian and as preservationist • AV preservation program is essential • Preservation‐on‐demandbecomes the smart solution to preserve AV content

  31. Revisiting ADMU, DLSU and UPD in 2012

  32. Rizal Library • Analog to digital transfer (preservation practice) began in 2010 • Preservation on demand • First priority – video recordings • Second priority – sound recordings

  33. DLSU Library • Analog to digital transfer is the preservation practice • Preservation on demand • First priority – video recordings • Second priority – sound recordings

  34. UP Diliman Library • Analog to digital transfer is the preservation practice • Preservation on demand • First priority – video recordings • Second priority – sound recordings

  35. AV collections transferred to digital files to preserve content and make content accessible

  36. Their new AV preservation direction • Preservation strategy is heading towards digital media preservation • Towards mobility of AV content

  37. Conclusion

  38. In JTS 2010...

  39. In SEAPAVAA 2012...

  40. Quoting Mr. Richard Wright...

  41. Quoting Mr. Richard Wright...

  42. Quoting Mr. Richard Wright...

  43. As for ADMU, DLSU and UPD... • Receptive to the needs of their users • Aware of the current developments in AV arena • Regard access to AV content

  44. Thank you. christine.abrigo@dlsu.edu.ph 18 November 2012 Archives Congress 2012 Davao City

  45. References Edmondson, R. (2004). Audiovisual archiving: philosophy and principles. Retrieved March 26, 2011 from http://www.ifap.ru/library/book104.pdf Edmondson, R. (2002, March). SEAPAVAA manual for AV archives: an outline prepared for UNESCO. Retrieved August 1, 2009, from the South East Asia and Pacific Audio-Visual Archives Association: http://www.pia.gov.ph/seapavaa/downloadables/SEAPAVAAMANUALoutline.doc Feather, J. (2004). Introduction: principle and policies. In Feather, J. (Ed.), Managing preservation for libraries and archives: current practice and future developments (pp. 1-25). England: Ashgate Publishing Limited. Martin, J. (2005). The dawn of tape: transmission device as preservation medium. The Moving Image, 5.1, 45-66. Retrieved July 29, 2009, from Project MUSE database. Puplick, C. (2009). Is our audio-visual heritage at risk and how can we work together to resolve these problems? Bandung, Indonesia: 13th South East Asia and Pacific Audio-Visual Archives Association (SEAPAVAA) Conference. Retrieved August 1, 2009, from the South East Asia and Pacific Audio-Visual Archives Association: http://www.pia.gov.ph/seapavaa/papers/2009/s5-puplick.pdf Roads, C. (1981). Audio visual archiving in the context of South-East Asia: report prepared for the government of the republic of the Philippines by the United Nations Educational, Scientific and Cultural Organization (UNESCO). Retrieved August 1, 2009, from http://unesdoc.unesco.org/images/0004/000470/047053eo.pdf Rothenberg, J. (1999, January). Avoiding technological quicksand: finding a viable technical foundation for digital preservation. Council on Library and Information Resources. Retrieved July 31, 2009, from http://www.clir.org/pubs/reports/rothenberg/contents.html Schüller, D. (2004). Sound recordings: problems of preservation. In Feather, J. (Ed.), Managing preservation for libraries and archives: current practice and future developments (pp. 113-131). England: Ashgate Publishing Limited. Smith, A. (1998, May/June). Preservation in the future tense. Council on Library and Information Resources, 3. Retrieved July 31, 2009, from http://www.clir.org/pubs/issues/issues03.html#preserve Van Malssen, K. (2008). Joint Technical Symposium 2007: audiovisual heritage and the digital universe, University of Toronto, June 28–30, 2007. The Moving Image, 8 (2), 78-86. Retrieved July 29, 2009, from Project MUSE database. Webb, C. (2004). The malleability of fire: preserving digital information. In Feather, J. (Ed.), Managing preservation for libraries and archives: current practice and future developments (pp. 27-52). England: Ashgate Publishing Limited. Image sources: http://www.high-techproductions.com/ColorBars2.gif http://www.remit.co.uk/UserFiles/Image/E_D_Calendar_Logo/worlddaycul_diver.jpg http://www.cepro.com/images/uploads/videoformats_icons.jpg http://cache.gizmodo.com/assets/images/4/2011/11/medium_b3c3a30a40fbbcc3539468079548d400.jpg http://video48.blogspot.com/2012/03/post-war-tagalog-movies-105-ulilang.html

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