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4/6/17
1
Educa&on & Training for the A/V Archive of the Future
Howard Besser h1p://besser.tsoa.nyu.edu/howard/Talks
SEAPAVAA2017-‐A/V Educ 1
Educa&on & Training for the A/V Archive of the Future-‐
• Why can’t we conHnue to teach the same way and the same content?
• In what ways do we need to do things differently?
• Examples from NYU’s MIAP Program
SEAPAVAA2017-‐A/V Educ 2
Educa&on & Training for the A/V Archive of the Future
• Our working environment is changing • Our training needs to change to match it – Increased pressure for online access – Agility in adapHng to a constantly changing environment
– The need for basic knowledge about many different areas (analog and digital technical skills, metadata, copyright, workflows, …)
– Project Mgmt – Need to collect a much more diverse set of works than those reflecHng the views of rich and famous white men
SEAPAVAA2017-A/V Educ 3
Our working environment is changing • Our Content is shi_ing from Analog to Digital
– Newly produced “films” will all be digital – RestoraHon increasingly digital – Eventually, we won’t even be able to do photochemical processes for restoraHon and
preservaHon • Throughout the world people are increasingly recognizing that our history and
culture should no longer be so heavily weighted towards well-‐to-‐do, famous, Eurocentric men
• Funders, governments, & public all want increased online access • The techniques for what we do are rapidly changing, forcing us to train for new
skills, as well as change our processes and workflows • An increase in producHons made outside the studio system
– more “at risk” than those from major producHon sources – vast number of items (eg. YouTube) means we need to find smart ways to catalog or assign
metadata • Film & TV Archives will no longer be the only insHtuHon that collects this type of
material (YouTube, Vimeo, Neilix, television archives, libraries, museums, arts organizaHons, community organizaHons, “paper” archives, …)
SEAPAVAA2017-A/V Educ 4
Our training needs to change to match this
• Technical skills – For managing born-‐digital and digiHzed works (DCDM, DCP, file
formats, compression schemes, migraHons, bit-‐flipping, digital repositories, …)
– For developing new workflows – For providing online access (web skills, social media promoHons, …)
• Diversity skills (in content and in involving communiHes in metadata development, descripHve pracHces, and delivery/access decisions)
• Agility in adapHng to a constantly changing environment • CreaHvity in finding new ways to involve users (parHcularly in
helping us deal with increased scale of cataloging) • Project Mgmt skills
SEAPAVAA2017-A/V Educ 5
The need for basic technical and administrative/policy knowledge about
many different areas ���(and understanding how they intersect)
• analog and digital technical skills • metadata • copyright • workflows • …
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21st century pracHces, approaches, and media types
• Cross-‐experHse collaboraHve work • InteracHve media • Engagement with disenfranchised communiHes
• Cellphone digital videos, Police body-‐cam videos, Periscope, YouTube, Facebook (the “amateur films” of today)-‐
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21st century pracHces, approaches, and media types
SEAPAVAA2017-‐A/V Educ 8
21st century pracHces, approaches, and media types
SEAPAVAA2017-‐A/V Educ 9
21st century important “so_” skills-‐
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CollaboraHon
• Students engage in about one dozen assignments involving collaboraHon with collecHons or individuals
• Here’s just a subset of collaboraHons on their CollecHon Mgmt assignment-‐
SEAPAVAA2017-‐A/V Educ 11 Besser-MIAP Program, 8/30/12 1
Collection Assessments ���--Personal Collections of Media Artists, Small Distributors
• Coleen Fitzgibbon Films- Spr09 • Elaine Summer Collection-
Spr09 • Cory Arcangel + BEIGE- Spr09 • Laurie Anderson –Spr08 • Sonic Youth Video- Spr08 • The Barbara Kopple My
Generation Collection- Spr09 • Bob Stein/Voyager Inc.
Collection Assessment- Spr10
• Art21 Archive- Spr07 Third World Newsreel- Spr05
• Willoughby Sharp Archive Collection Assessment - Spr10
• Fred Barney Taylor Collection- Spr10
• On Television Collection- Spr10
• John F Kennedy (Gartenberg Media)- Spr08
SEAPAVAA2017-A/V Educ 12
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Besser-MIAP Program, 8/30/12 1
Collection Assessments ���--Collections Housed in Arts Organizations
• Dance Theatre of Harlem Collection Assessment- Spr10
• The Kitchen- Spr08 • Robert Haller Collection
(Anthology Film Archives)- Spr07
• New Museum of Contemporary Art- Spr07
• Filmmakers Coop- Spr07
• Flaherty Film Seminar- Spr07
• Eyebeam- SarSpr07 • Frank Kuenstler Films
(Anthology Film Archives)- Spr07
• Cabinet Magazine Digital Content Archive- Spr08
• Hemispheric Institute- Spr08
SEAPAVAA2017-A/V Educ 13 Besser-MIAP Program, 8/30/12 1
Collection Assessments ���--Collections Housed in Libraries, Archives
• Maryland Historical Society- Spr09
• Mogull Brothers (Library of Congress) Collection - Spr09
• California State University, Fresno- Henry Madden Library Special Collections- Spr09
• 16mm Films at Brooklyn Public Library- Spr07
• John Watts Papers (Fales Library)- Spr07
• Richard Foreman Papers (Fales Library)- Spr07
• World Music Institute Audio/Video Archive- Spr06
• Teo Masero Collection (New York Public Library-Rodgers/Hammerstein)- Spr06
• Red Hot and Rhapsody Music Collection (Fales Library)
• American Museum of Natural History Video Collection- Spr08
• Hadassah Collection –Spr07
SEAPAVAA2017-A/V Educ 14
Working in Groups/Teaching in Groups
SEAPAVAA2017-‐A/V Educ 15
Working in Groups/Teaching in Groups
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Working in Groups/Teaching in Groups
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Working in Groups/Teaching in Groups
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Project Management-‐
SEAPAVAA2017-‐A/V Educ 19 SEAPAVAA2017-A/V Educ
Preservation Plan for a small Video Archive���(L.A.V.A. by Paula Felix-Didier, 2004)
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L.A.V.A.--Phase 1 l Risk assessment and prioritization scheme. l Improve environmental conditions: l Cataloging: consider IMAP template. l Start a new access number system. l Remove cardboard slipcovers. l Move the Masters tapes from besides the air conditioner and the
window. l Separate working space from the collection shelves l Try not to eat or drink near the tapes. l Sample tape inspection and rewinding schedule. l Dub Betacam masters. l Stock on VCRs and VHS tapes. l New items: keep track of provenance. /. have a tape and
documentation inspection routine l Make sure all tapes can be played back
21 SEAPAVAA2017-A/V Educ
L.A.V.A.--Phase 2
l Long-range preservation plan. l Natural disaster plan. l Insurance. l Climate controlled storage. l Regular tape inspection schedule. l Plan on start collecting DVDs and migrating the most valuable
VHS to DVD or other digital format. l Digitizing plan for their Betacam Masters. l Start collecting digital masters. l Paper-based documentation preservation plan.
22
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Natalia Fidelholtz 2005? The Jerry Jofen Collection
At Anthology Film Archives 23
SEAPAVAA2017-A/V Educ
Natalia Fidelholtz The Jerry Jofen Collection
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SEAPAVAA2017-A/V Educ
Jerry Jofen Collection:
Priorities • Cataloging, General: A full inventory of all film and audio elements should be
created. • Intellectual Property Rights: Anthology should draft letter of agreement, and
have it signed by Ellen Jofen. • Micro environment, Film: All elements should be housed in archival
containers as soon as possible. • Micro environment, Audio: Audio elements should be stored separately in
acid-free individual archival boxes. • Film element preparation: Leader, labeling, wind and inspection. • Further Film element recommendations:
– Cleaning – Compiling – Processing – Creating Internegatives/Negatives
• Audio element preparation: Identify and remaster any unstable or deteriorating elements to new stock ¼” reel-to-reel, and/or BWF digital file stored on server or hard-drive.
25 SEAPAVAA2017-A/V Educ
Jerry Jofen Collection:
Workplan • PHASE 1
The steps to improve the storage, housing and intellectual control of the collection are:
- 1. Inspection/Rehousing & Labeling/Inventorying & Identification - 2. Drafting letter of agreement - 3. Cleaning moldy elements
• PHASE 2 The steps to be taken towards a long-term preservation plan and an access policy are:
- 4. Re-format high-risk items (particularly mag strip films, and audio elements in danger) - 5. Processing exposed film and slides
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SEAPAVAA2017-A/V Educ
Jerry Jofen Collection:
Workplan TASK WHO WHEN TIME
Order supplies for rehousing, inventorying and reshelving
Archivist Month 1 3-4 weeks
Clean storage space Intern Month 1 2 weeks Monitor temperature and relative humidity Archivist Month 1-6 On-going task Train intern/volunteer Archivist Month 1 2 weeks Inventorying Archivist/Intern Month 2-3 6 weeks Film/Tape inspection and cleaning Archivist/Intern Month 2-3 6 weeks Re-Housing, Labeling, Shelving Archivist/Intern Month 2-3 6 weeks Send out moldy elements to be cleaned Archivist Month 3 4 weeks Research Jerry Jofen�s productions Intern Month 2-6 On-going task Identify items in need of laboratory work Archivist/Intern Month 4 2 weeks Send out to laboratory Archivist Month 4-6 10 weeks Quality Control Archivist Month 4-6 8 weeks
SEAPAVAA2017-A/V Educ
Jerry Jofen Collection:
Budget
NEH Funds Cost Sharing Total
Salaries and Wages
Archivist X30% x12mo. @ $30,000 $9,000 $9,000
Intern X30% x12mo. @ $10/hr $6,240 $6,240
Fringe Benefits 34% of $30,000 $10,000 $10,000 34% of $6,240 $2,121.60 $2,121.60
Item Quantity Unit price/ pack Total
Ser vices
COLORLAB Labwork for f ilm (B/W Negat ive) TBD $.15/ft TBD
COLORLAB Labwork for f ilm (Co lor Negat ive) TBD $.13/ft TBD
COLORLAB
Release pr ints from interme diates (Co lor & B/W pos it ives) TBD $.32/ft TBD
BAVAC Labwork for aud io TBD
1/4" aud io to wave file (96k / 24b) : $165 per hour of recorded tape (In cludes a M itsu i Go ld CD copy). TBD
Supplies and Materials
Item Quantity Unit price/ pack Total
Raw 16mm negative stock TBD $150/400ft. TBD Gloves 4 $2.50/pa ir $10.00 Arch iva l Marker 10 $2.75 per unit $27.50
Acid- free labels 1 $47.60 / 42 0 labe ls $47.60
The total budget cannot be estimated, as it can only be determined once the number of items requiring re-housing and in need of preservation laboratory work is determined
Speaking in Public
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Speaking in Public
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Speaking in Public
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Speaking in Public
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Engagement with Professional AssociaHons
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Engagement with Professional AssociaHons
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Engagement with Professional AssociaHons
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Engagement with Professional AssociaHons
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Engagement with Professional AssociaHons
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Engagement with Professional AssociaHons
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Engagement with Professional AssociaHons
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Engagement with Professional AssociaHons
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Networking with other professionals (both quesHon-‐answering and collaboraHon on new projects)
AMIA Wkshp @ ALA
SEAPAVAA2017-‐A/V Educ 41
Networking with other professionals (both quesHon-‐answering and collaboraHon on new projects)
APEX Patrimonio Fílmico Colombiano
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SEAPAVAA2017-A/V Educ
Planning and carrying out public events, parHcularly those that promote A/V archiving/preservaHon (WAVHD)
43 SEAPAVAA2017-A/V Educ
Planning and carrying out public events, parHcularly those that promote A/V archiving/preservaHon (WAVHD)
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SEAPAVAA2017-A/V Educ
Planning and carrying out public events, parHcularly those that promote A/V archiving/preservaHon (HMD)
45 SEAPAVAA2017-A/V Educ
Planning and carrying out public events, parHcularly those that promote A/V archiving/preservaHon (HMD)
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SEAPAVAA2017-A/V Educ
Planning and carrying out public events, parHcularly those that promote A/V archiving/preservaHon (HMD)
47 SEAPAVAA2017-A/V Educ
Planning and carrying out public events, parHcularly those that promote A/V archiving/preservaHon (HMD)
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Engagement with larger public, parHcularly at Hmes when they really need it (N.O. 2005)
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Engagement with larger public, parHcularly at Hmes when they really need it (Sandy 2012)
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Engagement with larger public, parHcularly at Hmes when they really need it (ALA/Occupy)
SEAPAVAA2017-A/V Educ 51
Engagement with larger public, parHcularly at Hmes when they really need it (Occupy)
SEAPAVAA2017-A/V Educ 52
Engagement with larger public, parHcularly at Hmes when they really need it (Occupy)
SEAPAVAA2017-A/V Educ 53
Engagement with larger public, parHcularly at Hmes when they really need it (Occupy)
SEAPAVAA2017-A/V Educ 54
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Engagement with larger public, parHcularly at Hmes when they really need it (XFR STN)
SEAPAVAA2017-A/V Educ 55
Important 21st century “so_” skills (recap)
• CollaboraHon • Working in Groups/Teaching in Groups • Project Management • Speaking in Public • Engagement with Professional AssociaHons • Networking with other professionals (both quesHon-‐answering and collaboraHon on new projects)
• Planning and carrying out public events, parHcularly those that promote A/V archiving/preservaHon
• Engagement with larger public, parHcularly at Hmes when they really need it
SEAPAVAA2017-‐A/V Educ 56
Digital CollecHon Technical Skills
• Obvious Digital Library knowledge (OAIS/SIP/DIP, Audit CerHficaHon, File Format ValidaHon, …). But also learning applicaHons and command-‐line skills for: – CreaHng and validaHng check-‐sums – ExtracHng metadata from file headers – Managing bulk ingest, …
SEAPAVAA2017-‐A/V Educ 57
Digital PreservaHon Tools Training
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Digital PreservaHon Tools
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Checksum EducaHon
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Checksum EducaHon
SEAPAVAA2017-‐A/V Educ 61
Batch Processing Checksums
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Extract Metadata from Digital File Headers
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Extract Metadata from Digital File Headers
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Extract Metadata from Digital File Headers
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Checking if well-‐formed PDFs/XMLs were received
SEAPAVAA2017-‐A/V Educ 66
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Exercises/Tools for File IdenHficaHon
File ID Exercise1. Unzip the DROID folder using unzip droid-6.01.zip -d droid
2. Change to the droid directory
3. Launch DROID using sh droid.sh
4. Add sample files by clicking on the green Add button, then to DROID by going to home/miap/Desktop/samples, click OK
5. Click Start
6. What does it display?
7. What doesn’t it display?
8. Is file ID enough?
SEAPAVAA2017-‐A/V Educ 67 SEAPAVAA2017-A/V Educ
NYU’s MIAP:���A curriculum for studying Moving Image
Archiving & Preservation
l 2-year rigorous Masters Degree Program l Focus is on
l Theories—Why do we do something? l Methods—How do we analyze a situation? l Practices—How we perform specific functions today? l Mentoring—a combination of apprenticeship with several professionals,
good role models, and have the mentor work with the student on actual situations involving complex questions (such as Ethics)
l Learning involves both concepts and hands-on activities, with the aim that the concepts will be applicable to media that hasn’t even been invented yet
l Hands-on experience in extensive class projects and 3 required internships for each student
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Interdisciplinary; students need to – learn the context in which each of these cultural artifacts were made – know the history of changing formats – need to be scientists and technologists who understand:
• the process of color changes • how certain stocks become too brittle to provide a flat focus for copying • how magnetic particles are laid on videotape and what causes the various types
of deterioration • how different computer files link and interact, (and how certain compression
algorithms cause various types of loss) so that they can anticipate preservation problems of compressed and hyper-linked digital works
– strong organizational and classification skills so that they can manage these collections and help others find things they want in them.
– administrative skills to manage these large preservation repositories (whether they be film, video, digital, or others).
– understand that preservation does not exist in a vacuum, and that they may have to become activists to prevent outside political forces from inadvertently trampling on our ability to preserve
69 SEAPAVAA2017-A/V Educ
Competencies • Handling film, video, new media, and understanding how these
artifacts are made • Collections assessment, risk assessment • Selection & appraisal • Collection management (labeling, storage, cataloging) • Repair and transfer • Navigating through different institutional cultures • Programming and exhibition • Budgeting, justifying projects, and grant-writing • Donor relations and intellectual property • Research & access • Scholarship • Historical Research
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SEAPAVAA2017-A/V Educ
Ethics • Readings touching on ethics and values in both our domain
(Philosophy of A/V Archiving) and related domains (Museum world--Enola Gay)
• Examination of daily occurances for ethical and value-based responses (news articles, “wardrobe malfunctions”, Lucas’ “restoration” of THX, sound “restoration”)
• Extensive discussions on contemporary incidents, and the role that the professional community should play in these – Screensound Australia – BFI – BBC
71 SEAPAVAA2017-A/V Educ
Where do our students go to work? ���Conventional Film Archives
• Academy of Motion Picture Arts and Sciences (Print Trafficker)
• Anthology Film Archives (Archival Consultant) (Digital Archivist)
• Cineteca Nacional de Mexico (Archivo Memoria Coordinator)
• Moving Image Archive, Indiana University Libraries (Film Archivist)
• Museo del Cine, Buenos Aires, (Director)
• National Film Archive, Philippines (Director)
• Northeast Historic Film (Technical Services Director)
• Pacific Film Archive, UC-Berkeley (Film and Video Collection Assistant) ���
But also other types of institutions…
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Where do our students go to work? Libraries
• Columbia University Libraries (Digitization and Preservation Project Manager)
• Harvard University Library (National Digital Stewardship Resident)
• John Hopkins University (Media Preservation Specialist)
• Northeastern University Libraries (Digital Production Coordinator)
• Northwestern University Library (Moving Image and Sound Specialist)
• New York University Libraries (Head, Media Preservation)
• New York Public Library (Media Preservation Coordinator)
• University of Baltimore, Langsdale Library (Audiovisual Archivist)
• UCLA Library (Digital Archivist) • University of Kansas Libraries
(Audio Visual Preservation Specialist)
• University of Virginia Library (Audiovisual Conservator)
• Washington University Libraries (Film and Media Catalog and Preservation Archivist)
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Where do our students go to work? Museums
• American Museum of Natural History (Public Programs Associate)
• Denver Art Museum (Assistant Conservator)
• Exploratorium (Coordinator, Cinema Arts Program)
• Guggenheim Museum (Computer Based Art Fellow)
• Hirshhorn Museum (Time Based Media Archival Specialist)
• Los Angeles County Museum of Art (Time Based Media Technician)
• Museum of Modern Art (Collection Specialist)
• Museum of the Moving Image (Registrar)
• National Aquarium (Visual Media Archivist)
• National Museum of African American History and Culture (Media Conservator)
• Smithsonian American Art Museum (Media Conservator)
• Smithsonian Institution (Digital Video Specialist)
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Where do our students go to work? ���Non-Profit Broadcast Organizations
• Democracy Now! (Digital Archivist)
• Pacifica Radio Archive (AACIP Cataloger)
• PBS (Project Archivist & Preservationist)
• WNYC Radio (Archives Manager)
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Where do our students go to work? ���Other Non-Profit & Government Organizations • American Folklife Center (Digital
Assets Manager) • Appalshop (Archivist) • Bay Area Video Coalition
(Preservation Technician) • Brooklyn Academy of Music
(National Digital Stewardship Resident)
• Carnegie Hall (Digital Asset Manager)
• Human Rights Watch (Sr. Manager of Archives & Digital Systems)
• WITNESS (Senior Archivist)
• Library of Congress (Digital Projects Coordinator)
• ONE National Gay and Lesbian Archive (Archivist)
• Roundabout Theatre Company Archives (Project Archivist)
• Standby Program (Preservation Coordinator)
• StoryCorps Oral History (Historias Archive Coordinator)
• United Nations (Audiovisual Archivist)
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Where do our students go to work? Avant-Garde/Experimental Collections
• Kramlich Collection (Conservation Associate)
• The Kitchen (Archivist) • Canyon Cinema (Archivist) • Electronic Arts Intermix
(Media Collection Manager) • Sonic Youth (Archivist) • Vito Acconci Studio
(Archivist)
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Where do our students go to work? Private Sector
• AVPreserve (Partner and Senior Consultant)
• CNN News Archive (Archivist)
• Collector Systems, LLC (Registrar)
• Medianet (Account Manager)
• Premier Retail Networks (Archivist)
• Riot Games (Archivist) • Second Run Media
Preservation (Associate Director)
• Towers Productions, Inc. (Chief Creative Officer)
• Ugen Media (Business Development)
• US Tennis Association (Archivist)���
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Where do our students go to work? Personal Archivist
• Parkwood Entertainment (Archive Director)
• Gloria Steinem's Office (Archival Assistant)
• Todo Mundo [David Byrne Archive)] (Audiovisual Archivist)
79
Important Pedagogy-‐
• Most projects and coursework are “useful” – either help a CollecHon move forward, or contribute useful informaHon to the field
• Project-‐based learning
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Engagement with Real situations l Work on real problems facing real collections
l Copyright, collection assessments, preservation projects, … l APEX, Community Archiving (like the CAW on Sat with the
CineVision colllctn at IBON working with UP-LIS)
81 SEAPAVAA2017-A/V Educ
Project-Based Learning l Students complete well over a dozen intensive projects l Almost all projects involve doing real work with real
collections, the results of which will be used by those collections' managers
l Most projects involve research, planning, and executing phases
l Vast majority of projects are group projects (group-sourcing instead of crowd-sourcing)
l All projects involve developing time-lines, division of labor
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Project-Based Learning:���Where does the Learning come from?
l All projects have a variety of constrains (time, money, or other resources) and students must make trade-offs btwn the ideal and what can be accomplished within the constraints
l Most projects have plans that are both reviewed by collection managers and critiqued by instructors l Reviews often happen iteratively throughout the project l Projects, methods, challenges are formally presented to
fellow students (so students learn from each others' projects)
l Much of learning in group projects comes from peers (Wisdom of the group--group-sourcing instead of crowd-sourcing)
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Examples of 2 classes/topics
l Students take an entire course on © and another on Collection Management in their first year, then those skills and concepts are integrated into the curriculum and projects for a variety of subsequent courses
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Copyright Class Syllabus
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Copyright Audit l Sign non-‐disclosure agreement l Go through boxes of records related to a parHcular television episode from the past, including correspondence, le1ers of agreement, licenses, union contracts, etc. for all parts of the episode (original footage, clips, sounds, music, narrators, talent, etc.)
l What might prevent re-‐showing the episode on TV, DVD, internet, etc. and what are the risk levels for each impediment
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Collection Management 2011 Assignments
l Short paper (4-5 pages) (10%). Compare collection and acquisition, appraisal, and retention policies at two archives. How can an organization’s mission impact its policies? date: February 14.
l Fales collection assessment (20%). Draft due: 3/3/2011. Final due: 3/28/2011.
l Individual collection assessment (30%). Draft due: 4/4/2011. Final due: 4/27/2011.
l Funding request (20%). (1) One-page summary “pitch” (due 5/9/2011) (2) Powerpoint presentation in class (last 2 weeks of semester)
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Situated within a series of different exisHng TradiHons and Disciplines
• cinema studies • museum studies • archival studies • library and informaHon science • engineering, • cultural studies • art history
• Even though Program is housed within Cinema Studies Dept
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RhizomaHc CollecHons Emphasized
• Orphan/neglected works, newsreels, home movies, found footage, arHsHc works, community works, … (everything but mainstream commercial works)
• CollecHng organizaHons with less resources (community organizaHons, organizaHons in poorer countries, collecHves, …)
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Orphans Film Symposium
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Media Types (both analog & digital)
• Film • Video • Personal digital collecHons • complex media (installaHons, interacHve, web-‐based, games, …)
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Personal Digital Archiving 2015 h1p://personaldigitalarchiving.com/
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Involvement in the latest research iniHaHves
• Disaster Preparedness and Recovery (2005-‐) • Preserving complex works of art for museum seqngs
(2005-‐2015) • Preserving Born-‐Digital Public Television (2005-‐2010) • Pushing metadata gathering upstream into the producHon
process (2007-‐) • Issues in preserving large corpora of crowd-‐sourced
cellphone videos from Social Movements (2011-‐2016) • Preserving and sharing raw scienHfic video Data (2012-‐) • Copyright Guidelines for VHS Video At Risk (2012) • Outsourcing reformaqng for VHS Video At Risk (2013) • Archiving streaming media from Websites (2016-‐2018)
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© Activities NYU has worked on • Current study of commercially distributed VHS tapes, their
uniqueness, and preservation reformatting guidelines • Studies of international laws that inhibit moving image
preservation – InterPARES study of laws inhibiting digital preservation – IFLA survey of mandatory registration of moving image material
• Study of massive underlying rights inhibitions within a single public television program (as much as 350/hr)
• Lucas Hilderbrand (now UCI), Inherent Vice: Bootleg Histories of Videotape & Copyright
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NYU Mellon Video At Risk Grant:���
Video replacement issues • Expands on the previous grant findings that
many VHS tapes were rare and difficult to replace
• examine routine maintenance, preservation, and © issues in circulating video collections-
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Video At Risk 2012
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NYU Mellon Video At Risk Grant:���
Examine routine maintenance, preservation, and © issues in circulating video collections
• Research “scarcity” of videos originally purchased by libraries in commercial market (examine OCLC records)
• Research “replaceability” of videos (test several procedures for determining out-of-printness)
• Develop checklist procedures for determining whether replacement copy can be legally obtained (Orphan Works type procedure), and explore legal justification for digitizing without prior permission
• Develop a model procedure to follow and identify trade-offs in preservation reformatting of library videos into digital (quality, file format, CODECs, QC, line 21, …)
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SEAPAVAA2017-A/V Educ
Research:���
Preserving Digital Public Television • Preserve a broad set of elements (including ancillary
material) • Life-‐cycle mgmt (add metadata as soon as a clip comes
in) • Establish a community of stakeholders, working together
for preservaHon (staHons, university, librarians, journalists, historians, producers, scholars, …)
• Build an OAIS Server • Explore appropriate file formats, wrappers, METS
extensions • Develop sustainable business model
99
Infant Action Lab Research Data
Besser-‐Screening The Future-‐Data 100 SEAPAVAA2017-A/V Educ 100
Infant Action Lab Research Data
Besser-‐Screening The Future-‐Data 101 SEAPAVAA2017-A/V Educ 101
Archiving Composer Websites 2016-‐
SEAPAVAA2017-‐A/V Educ 102
4/6/17
18
Educa&on & Training for the A/V Archive of the Future (1/2)
• Project-‐based learning • Exercises should be real-‐life and useful to some external
collecHon or individual • CollaboraHon • Working in Groups/Teaching in Groups • Project Management • Speaking in Public • Engagement with Professional AssociaHons • Networking with other professionals • Planning and carrying out public events, parHcularly those
that promote A/V archiving/preservaHon • Engagement with the larger public
SEAPAVAA2017-‐A/V Educ 103
Educa&on & Training for the A/V Archive of the Future (1/2)
• Content needs to reflect much more diversity (in media, format, who created it, …)
• Archivists/Curators are not the sole authoriHes; need to work cooperaHvely with reflected communiHes to describe and provide access to those collecHons
• Need to move away from hierarchical nodes of authority to more networked situaHon with grassroots parHcipaHon (rhizomaHc & weeds)
h1p://besser.tsoa.nyu.edu/howard/Talks/
SEAPAVAA2017-‐A/V Educ 104
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