Search

Copyright of Restaurator is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In 2019, the National Archives of Korea (NAK) developed a blockchain recordkeeping platform to conduct R&D on recordkeeping approaches. This paper introduces two types of R&D studies that have been conducted thus far. The first is the use of blockchain transaction audit trail technology to ensure the authenticity of audiovisual archives, i.e., the application of blockchain to a new system. The second uses blockchain technology to verify whether the datasets of numerous information systems built by government agencies are managed without forgery or tampering, i.e., the application of blockchain to an existing system. Government work environments globally are rapidly shifting from paper records to digital. However, the traditional recordkeeping methodology has not adequately kept up with these digital changes. Despite the importance of responding to digital changes by incorporating innovative technologies such as blockchain in recordkeeping practices, it is not easy for most archives to invest funds in experiments on future technologies. Owing to the Korean government's policy of investing in digital transformation, NAK's blockchain recordkeeping platform has been developed, and several R&D tasks are underway. Hopefully, the findings of this study will be shared with archivists around the world who are focusing on the future of recordkeeping. [ABSTRACT FROM AUTHOR]

Purpose: The PICCH research project contributes to opening a dialogue between cultural heritage archives and users. Hence, the users are identified and their information needs, the search strategies they apply and the search challenges they experience are uncovered. Design/methodology/approach: A combination of questionnaires and interviews is used for collection of data. Questionnaire data were collected from users of three different audiovisual archives. Semi-structured interviews were conducted with two user groups: (1) scholars searching information for research projects and (2) archivists who perform their own scholarly work and search information on behalf of others. Findings: The questionnaire results show that the archive users mainly have an academic background. Hence, scholars and archivists constitute the target group for in-depth interviews. The interviews reveal that their information needs are multi-faceted and match the information need typology by Ingwersen. The scholars mainly apply collection-specific search strategies but have in common primarily doing keyword searching, which they typically plan in advance. The archivists do less planning owing to their knowledge of the collections. All interviewees demonstrate domain knowledge, archival intelligence and artefactual literacy in their use and mastering of the archives. The search challenges they experience can be characterised as search system complexity challenges, material challenges and metadata challenges. Originality/value: The paper provides a rare insight into the complexity of the search situation of cultural heritage archives, and the users' multi-facetted information needs and hence contributes to the dialogue between the archives and the users. [ABSTRACT FROM AUTHOR]

This paper contributes insights into scholars' information searching in audio-visual archives, more specifically in relation to postcolonial research projects. The paper introduces the concept of information needs based on the framework by Ingwersen. Further, the paper addresses the scholars' search strategies and the search challenges they experienced. Insights are obtained via in-depth interviews with six scholars. The scholars adapt collection-specific search strategies and make extensive use of keyword searching. The study demonstrates the complexity of searching archives for information and how demanding searching is with respect to requiring domain knowledge, artefactual literacy, and archival intelligence. Finally, the importance of access to the expertise of archivists is confirmed. [ABSTRACT FROM AUTHOR]

Purpose: This paper aims to attempt to provide an overview of the copyright legal framework for audiovisual resources in Europe and Greece, how Audiovisual (AV) content is currently licensed by Greek providers and how licenses or copyright exceptions enable its reuse. The motivation for this work was the development of an aggregation service for audiovisual resources in Greece, the Open AudioVisual Archives (OAVA) platform. Design/methodology/approach: Copyright licenses and exceptions in the European Union and in Greek Legislation have been thoroughly reviewed along with the reuse of content, based on the terms of Fair Use, Rights Statements and Creative Commons. Licensing issues for the most well-known aggregation services, such as Europeana, Digital Public Library of America, Trove, Digital New Zealand and the National Digital Library of India, have also been studied and considered. Audiovisual content providers in Greece have been recorded, and their licensing preferences have been analyzed. Pearson's chi-square test was applied to test the relationship between the provider's type, resources' genre and licenses used. Findings: Despite the abundance of copyright legislation in the European Union and in Greece, audiovisual content providers in Greece seem to ignore it or find it difficult to choose the right license. More than half of them choose to publish their resources on popular audiovisual platforms using the default licensing option provided. Creative Commons licenses are preferred for audiovisual content that falls into the following categories: open courses (almost exclusively) and interviews and digital collection/research projects (about half of the content). Originality/value: This paper examines audiovisual content aggregation, in the EU and Greece, from a legal point of view. To the best of the authors' knowledge, it is the first attempt to record and analyze the licensing preferences of Greek AV content providers. [ABSTRACT FROM AUTHOR]

This paper explores the possible role of named entities extracted from text in subtitles in automatic indexing of TV programs. This is done by analyzing entity types, name density and name frequencies in subtitles and metadata records from different genres of TV programs. The name density in metadata records is much higher than the name density in subtitles, and named entities with high frequencies in the subtitles are more likely to be mentioned in the metadata records. Further analysis of the metadata records indicates an increase in use of named entities in metadata in accordance with the frequency the entities have in the subtitles. The most substantial difference was between a frequency of one or two, where the named entities with a frequency of two in the subtitles were twice as likely to be present in the metadata records. Personal names, geographical names and names of organizations were the most prominent entity types in both the news subtitles and news metadata, while persons, creative works and locations are the most prominent in culture programs. It is not possible to extract all the named entities in the manually created metadata records by applying named entity recognition to the subtitles for the same programs, but it is possible to find a large subset of named entities for some categories in certain genres. The results reported in this paper show that subtitles are a good source for personal names for all the genres covered in our study, and for creative works in literature programs. In total, it was possible to find 38% of the named entities in metadata records for news programs, 32% for literature programs, while 21% of the named entities in metadata records for talk shows were also present in the subtitles for the programs. [ABSTRACT FROM AUTHOR]

The aim of this paper is to present an international overview of the use of artificial intelligence in the context of media archives in broadcasters, preservation institutions and press agencies, through a comprehensive analysis of sources primarily focusing on case studies presented at international conferences and seminars, together with the results of the survey on the use of artificial intelligence conducted by FIAT/IFTA. Once the most commonly used technologies have been defined and we have identified the stages of the production workflow in which they are used, we will discuss the specific applications of these technologies in television archives, audiovisual heritage preservation organisations, press agencies and innovation projects where technology vendors and media companies collaborate. Finally, we will deal with the challenges related to the implementation of AI in media archives, the need for datasets in the development of language models, and the relevance of a sensible use of technology. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Música, Artes Visuales y Artes Escénicas is the property of Pontificia Universidad Javeriana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Unedited and raw time-based media—dailies, rushes, scratches, original or source footage, B-roll, and more—go by different names depending on the context of creation. This article examines the collecting, preservation, and access practices of raw, unedited, and auxiliary media through the lens of initial findings of a scoping review underway by the authors. Exploring the literature and incorporating post-custodial and media archeology frameworks expanded the authors' research design to embrace the potential of access, reuse, and reactivation of materials as means of remediation. This paper discusses the potential raw, unedited, and auxiliary media pose for galleries, libraries, archives, and museums, as well as broader communities, and it encourages readers to embrace relationships with raw and unedited media, reuse, and resistance by way of community and artistic intervention. [This article is an expansion of a presentation given at the International Association of Sound and Audiovisual Archives (IASA) conference, held virtually in September 2021.] [ABSTRACT FROM AUTHOR]

This paper deals with a major challenge linked to the collection of audiovisual documents within television and web archives. Looking for repeated sequences within a corpus of thousands of videos, we faced the fact that the footage we were looking for reveals itself to be reachable only as ghost data. In fact, any audiovisual sequence reused within different contexts exists conceptually as the repetition of one single visual unit, but also from the point of view of the metadata tagging its occurrences, each item is a distinct document. Like a ghost, the shot is there, scattered among different places, but the metadata cannot point us to the visual form repeated, despite its evidence to the human viewer. When facing large amounts of data, to relate a visual unit to its occurrences, data analysis techniques are needed. We describe our procedures of collection and annotation, and the solutions combining qualitative work and a computer-aided approach to face this main challenge, within the research project Crossing Borders Archives (CROBORA). [ABSTRACT FROM AUTHOR]

How does an image become an emblem representing an event? What is the process that allows a visual form to incarnate and reduce the complexity of an event? The paper explores the transformation of a stock shot (the lowering of the Union Jack in front of the European Commission) into a visual form representing the event of Brexit in its entirety. The image circulated widely on TV and on the Web between 2016 and 2021, as observed in the database of the research project CROBORA. We traced the genealogy of this sequence, employing diverse analytical perspectives and methods, including video detection tools. A Sherlock Holmes-style indexical investigation-as Carlo Ginzburg would say-that enabled us to study the path going from genesis to naturalization. Particularly, the circulation of the image is associated with the emotional effects it triggered. Interestingly, the sequence of the Union Jack that circulates most often in the European media is not that of the recording of a ceremony intentionally designed to decree the exit of the UK from the EU, but a generic shot realized several month before the Brexit referendum itself, thus anticipating the event and "premediating" it by waving its specter in front of the public. We show how its circulation creates an emblem by its vast mediatization through the screens. [ABSTRACT FROM AUTHOR]

This paper proposes an innovative framework to explore large audiovisual archives using Immersive Environments to place users inside a dataset and create an embodied experience. It starts by outlining the need for such a novel interface to meet the needs of archival scholars and the GLAM sector, and discusses issues in the current modes of access, mostly restrained to traditional information retrieval systems based on metadata. The paper presents the concept of "generous interfaces" as a preliminary approach to address these issues, and argues some of the key reasons why employing Immersive Visual Storytelling might benefit such frameworks. The theory of embodiment is leveraged to justify this claim, showing how a more embodied understanding of a collection can result in a stronger engagement for the public. By placing users as actors in the experience rather than mere spectators, the emergence of narrative is driven by their interactions, with benefits in terms of engagement with the public and understanding of the cultural component. The framework we propose is applied to two existing installations to analyze them in-depth and critique them, highlighting the key directions to pursue for further development. [ABSTRACT FROM AUTHOR]

In Greece, there are many audiovisual resources available on the Internet that interest scientists and the general public. Although freely available, finding such resources often becomes a challenging task, because they are hosted on scattered websites and in different types/formats. These websites usually offer limited search options; at the same time, there is no aggregation service for audiovisual resources, nor a national registry for such content. To meet this need, the Open AudioVisual Archives project was launched and the first step in its development is to create a dataset with open access audiovisual material. The current research creates such a dataset by applying specific selection criteria in terms of copyright and content, form/use and process/technical characteristics. The results reported in this paper show that libraries, archives, museums, universities, mass media organizations, governmental and non-governmental organizations are the main types of providers, but the vast majority of resources are open courses offered by universities under the "Creative Commons" license. Providers have significant differences in terms of their collection management capabilities. Most of them do not own any kind of publishing infrastructure and use commercial streaming services, such as YouTube. In terms of metadata policy, most of the providers use application profiles instead of international metadata schemas. [ABSTRACT FROM AUTHOR]

Copyright of Anales de Historia del Arte is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anuario Think EPI is the property of EPI SCP and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Between 1914 and 1919, the British administrator and anthropologist John Henry Hutton (1885-1968) made fourteen cylinder recordings documenting the songs of Naga communities in the Naga Hills District, today part of the state of Nagaland in India. Little is known about the recording circumstances, as the documentation is limited to brief recording notes he sent with the cylinders to the Pitt Rivers Museum in Oxford, which holds the collection. Hutton's publications, on the other hand, include transcriptions and translations of some of the recorded songs, but the poor sound quality makes it difficult to assign these to the published songs with certainty. This paper summarises the outcomes of a research project funded by the International Association of Sound and Audiovisual Archives between January and March 2022, which aimed to reconnect Naga communities with Hutton's recordings to elucidate the content and performance context of the recordings, and to provide digital copies of the collection with enhanced documentation to the Archives and Research Center for Ethnomusicology (Gurgaon) and the Highland Institute (Kohima). Fieldwork participants appreciated the opportunity to hear Hutton's recordings, which they considered important historical documentation of Naga traditional music. Yet, most listeners struggled to identify the recorded songs, although a few were able to name and even perform some of them. The project concluded with an exhibition at the Highland Institute that featured Hutton's recordings and more recent examples of Naga traditional music. Overall, few listeners were aware of the existence of Hutton's recordings when we conducted our fieldwork in February 2022, although the recordings have been available online on the website of the Pitt Rivers Museum since 2013. Thus, I argue that initiatives of making historical sound recordings accessible online need to be supported by actions on the ground in countries of origin, to facilitate community engagement with audio collections uploaded to the web. [ABSTRACT FROM AUTHOR]

This article explores issues with archival preservation and access in the case of the audiovisual heritage of migrant communities, which defies hegemonic categories of nation, race, ethnicity, language. As such, although these communities are somewhat present in archives, they are marginalised and remain absent, silent, and dormant. Through two case studies of audiovisual representations of Turkish migrants from Dutch public archives, the article tackles possible ways to unravel such hegemonic categories, thereby reflecting the multiplicities and instabilities of migrant archival objects. It explores the pivotal role of community engagement for more inclusive archival practices that undermine its constitutive limits -- to work with archives against the archives. [ABSTRACT FROM AUTHOR]

Digital audiovisual workflows are complex. They can hinge on a breadth and depth of knowledge that is difficult to find within a single team or institution. The areas of knowledge called on can range from obscure and obsolete audiovisual carriers, to all the components in a digitization workflow chain, as well as new and evolving community resources and digital competencies for discovering errors during the quality control process. While there are many standardized audiovisual workflows, as this paper illustrates, QC work can be difficult even with a high level of training and experience; and problems, when caught, are often resource-intensive to diagnose and address. This paper details six distinct audiovisual case studies in which different digital preservation obstacles that are difficult to qualify, fully understand, and document are discussed; as well as, when possible, their solutions. They are all unique, but also unexceptional: we expect there are comparable situations, perhaps not-yet discovered or addressed in many audiovisual archives. This paper will underscore difficulties, and guide readers through some of the processes -- both formal and informal -- used to further analyze audiovisual file problems. Ultimately, in addition to helping other staff with similar problems, this paper should emphasize to administrators the special resource needs of audiovisual files and the staff responsible for them. [ABSTRACT FROM AUTHOR]

Purpose: The purpose of this paper is to identify challenges related to the management and preservation of audio-visual (AV) records and/or archives in archival institutions in Sub Saharan Africa and suggests strategies for resolving them. Design/methodology/approach: This study is qualitative in nature and used content analysis from desk top review of literature to identify the challenges and suggested solutions. Findings: Among others, the study revealed that budgetary constraints, poor environmental controls, ill-equipped staff and technological obsolescence are the major challenges hampering the efforts of archival institutions in Sub Saharan Africa to manage and preserve AV archives. Research limitations/implications: The contextual differences due to existing political set ups in archival agencies in Sub Saharan Africa may or may not be receptive to some of the strategies suggested for the improvement of managing and preserving audio visual archives. Practical implications: The paper provides practical solutions which can inform policy and practice; thus, if adopted by archival agencies, the findings can add to improvements in the management and preservation of AV records. Originality/value: The study contributes to the body of knowledge on the preservation and management of AV archives in the context of Sub Saharan Africa. [ABSTRACT FROM AUTHOR]

Audio-visual records and archives constitute a fundamental heritage that satisfies multiple needs, including education, training, research and entertainment. As such, there is a need to appropriately preserve and conserve them so they can be accessed for as long as they are needed. In spite of their significant role in safeguarding cultural heritage, audio-visual records and archives, are often neglected and accorded less attention than paper-based records, especially in developing countries. Hence, there is a risk of losing information held in audio-visual form. That is why this study looked at how the National Archives of Zambia (NAZ) and the Zambia National Broadcasting Corporation (ZNBC) preserve audio-visual materials to ensure long-term accessibility of the information. The study investigated the types of audio-visual collections held, the storage equipment used, measures put in place to ensure long-term accessibility of audio-visual materials, the disaster preparedness plans in place to safeguard audiovisual archives and the major challenges encountered in the preservation of audiovisual materials. The findings of the study revealed that films (microfilm and microfiche), photographs and manuscripts, and video (video tapes) and sound recordings (compact cassette) constitute the biggest audio-visual collection preserved. The equipment used to store audio-visual materials included open shelves, specialised cabinets, electronic database for digitised materials, aisle mobiles and cupboards. The measures taken to ensure the long-term accessibility of audio-visual collection included digitisation and migration of endangered records and archives; fumigation of storage areas; conservation of damaged materials and regulation of temperatures and humidity in the storage areas. The disaster preparedness plans in place mostly covered structure insurance; protection against fire and water by way of installing fire extinguishers; smoke sensors; fire detectors and construction of purpose-built structures. The major challenges faced were financial constraints; technological obsolescence; lack of playback equipment; limited training; lack of strong back-up systems and inadequate storage facilities. [ABSTRACT FROM AUTHOR]

While traditional radio recordings are limited to individual broadcasts transmitted over a single channel, spectrum recordings capture all signals received by an antenna simultaneously, using software that allows users to navigate and play back captured channels. The Radio Spectrum Archive (RSA) has acquired and preserved recordings from the 1980s to present, which are now publicly available through an arrangement with the Internet Archive. Using the RSA as its case study, this paper provides a brief history of spectrum recording, delineates key differences between spectrum recordings and traditional radio recordings, and identifies technical, administrative, and procedural challenges impacting future preservation and access. [ABSTRACT FROM AUTHOR]

The study sought to determine the role that the National Archives of Namibia plays in the management of audio visuals in an attempt to curtail the deterioration of audiovisual archives which are kept in various organisations, some of which are unknown to the National Archives of Namibia. A qualitative method was applied in the study. The case study used the interpretive paradigm which enabled the researcher to triangulate the data collection instruments. Interviews, questionnaires and observation checklists were used to collect data. Content analysis was carried out to analyse data from interviews, document review and the observations. While Excel software provided descriptive statistics on graphs. The results indicated that AV materials were created and stored by various organisations, including the National Archives of Namibia, which oversees the management of all records. The Archives Act (Act 12 of 1992), section 4(1), gives a mandate to the National Archives of Namibia for control over records and archives of all formats in government offices, offices of local authorities and statutory institutions. Nonetheless, there are instances where AV materials are not deposited or stored in appropriate conditions. It is also apparent that different cataloguing and classification systems are used by different organisations. It is clear that most of the organisations manage AV materials in the same way as paper formats records. There is also an inadequately skilled workforce who were given a responsibility to manage AV materials. The study was limited to the Khomas region. Since there are 14 regions in Namibia, the findings cannot be generalized to other regions. Future studies should cover other regions. The results point to the need for the National Archives of Namibia to adopt an integrated approach to the management of AV records. This will require the NAN to work in cooperation with public sector institutions and empower them to preserve AV materials while, at the same time, they continue to deposit copies with the National Archives of Namibia. Unlike previous studies on management of audio visual archives in Namibia, this study included other organisations. The results give a clear picture of the role the National Archives plays in the management of audio visual records and archives. [ABSTRACT FROM AUTHOR]

Audiovisual archives play a crucial role for PSBs with regards to their function as democratic institutions. This paper discusses the importance of audiovisual archives as organic parts of PSBs and investigates structural, legal and institutional factors that impact on the state of archives using empirical evidence from four archives of PSBs in Europe. It focuses on universality as a fundamental PSB principle which it translates as availability, open and cross-border accessibility, public use and exploitation, and archives awareness. The research highlights some of the struggles and contradictions that PSBs find themselves in as a result of pressures and tensions between institutions, the market and the citizens. [ABSTRACT FROM AUTHOR]

Outback and Beyond is a live audio-visual performance and collaboration between myself and Rome-based sound-artist Mike Cooper. It is a live remix of films and images from the National Film and Sound Archive and the State Library of South Australia, accompanied by Mike Cooper's live soundtrack of lap-steel guitar and deconstructed Blues, and a libretto recounting the adventures and misadventures of Charles Todd, the engineer who built the Overland Telegraph from Darwin to Adelaide in the 1870s. It is a meditation on the images and myths that form Australia's national identity, and on methods of contesting the formation of that identity. In this paper, I explore the implications of the live archival remix that underpins the project; implications in terms of how the project works with archival materials in a performance context, but also in terms of the enquiry the project conducts into archival practice itself. [ABSTRACT FROM AUTHOR]

In this paper we propose to approach the camarguaise bullfighting through animal work. We will focus on the Biòu d'Or bulls career, which is the main objective of the breed, the Course, a sport based on the competition of speed and agility between humans and bulls in Camargue, in the south of France. We identified a profession of up to 12 years, where knowledge and intelligence grow in the bull's body thanks to the repeated exposure to the razateur. We have found two aesthetics of sport that have their correlation in the breeding labor, both of which are settled between strength and an active submission, which creates conditions of possibility to diminish or increase humanity and animality. The findings are based on data collected through participant observation of ten Courses in Camargue and the analysis of private audiovisual archives, and 15 semi-directed interviews with razeteurs and ranchers during 2021. [ABSTRACT FROM AUTHOR]

Audiovisual archiving education programs prepare individuals to care for film, video, and digital media collections found in cultural heritage institutions, such as libraries, archives, and museums. These programs combine traditional graduate education with significant experiential components to train students for work with moving images and sound material in archival and museum settings. Audiovisual archivist training requires a three-pronged approach that combines competencies drawn from the cognitive, affective, and psychomotor learning domains, blending conceptual, historical, and theoretical knowledge and soft skills such as communication and project management with training in hand and other sensory skills. Audiovisual education programs tend to be less explicit about requirements in expert handling and repair work (often referred to in the conservation profession as “hand skills”), sensory skills, and soft skills, however. While cognitive competencies are often stated directly through program documents such as course descriptions and syllabi, psychomotor and affective competencies tend to not be directly stated or are deprioritized in favor of development of cognitive competencies. This perceived gap establishes the need for making affective and psychomotor educational objectives more explicit in program curricula and requirements. In particular, learning objectives in the psychomotor domain have been neglected, which is problematic for a field that requires professionals to possess significant manual dexterity and sensory skills. This paper also makes the case for the design of a field-wide competency framework that accurately reflects the roles of the three learning domains and makes them equally essential for professional preparation in the audiovisual archiving profession. [ABSTRACT FROM AUTHOR]

A review of available audio-visual speech corpora and a description of a new multimodal corpus of English speech recordings is provided. The new corpus containing 31 hours of recordings was created specifically to assist audio-visual speech recognition systems (AVSR) development. The database related to the corpus includes high-resolution, high-framerate stereoscopic video streams from RGB cameras, depth imaging stream utilizing Time-of-Flight camera accompanied by audio recorded using both: a microphone array and a microphone built in a mobile computer. For the purpose of applications related to AVSR systems training, every utterance was manually labeled, resulting in label files added to the corpus repository. Owing to the inclusion of recordings made in noisy conditions the elaborated corpus can also be used for testing robustness of speech recognition systems in the presence of acoustic background noise. The process of building the corpus, including the recording, labeling and post-processing phases is described in the paper. Results achieved with the developed audio-visual automatic speech recognition (ASR) engine trained and tested with the material contained in the corpus are presented and discussed together with comparative test results employing a state-of-the-art/commercial ASR engine. In order to demonstrate the practical use of the corpus it is made available for the public use. [ABSTRACT FROM AUTHOR]

The article presents a study that used the case study of the Audio-Visual Unit of the National Archives of Zimbabwe to interrogate challenges faced in managing audio-visual archives in developing economies despite their centrality as documentary heritage. It addresses the importance of audio-visual archives such as enhancing collective societal memory, preservation of culture and provision of entertainment.

Eskalera Karakola (EKKA) is a feminist self-organized social center in Madrid, Spain. The project has been compiling their own archive of audiovisual materials. There are mostly two kinds of material in its shelves: first, about one hundred VHS and DVD copies of short films and feature films, and second, close to seventy miniDVs documenting meetings, demonstrations, workshops, actions, roundtables and also interviews with activists. The recordings are mostly about feminism and lesbianism themes but also about migrant activism, neighborhood movements in Lavapiés, and some international events. At this moment, some of the activists involved in the Eskalera Karakola have created a group, to decide what to do with this material. This article wants to participate in and document the debates, reflections, and discussions around this archiving process, analyzing every step of the way and all the challenges and opportunities. [ABSTRACT FROM AUTHOR]

Design: This briefing is prepared by an independent writer who adds their own impartial comments and places the articles in context. Purpose: This paper aims to review the latest management developments across the globe and pinpoint practical implications from cutting-edge research and case studies. Findings: Digital transformation through the digitization of audiovisual archives opens new doors for cultural organizations, if they are able to successfully adapt their business models. Originality: The briefing saves busy executives, strategists and researchers hours of reading time by selecting only the very best, most pertinent information and presenting it in a condensed and easy-to-digest format. [ABSTRACT FROM AUTHOR]

Copyright of El Profesional de la Información is the property of EPI SCP and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper we report on a two-stage evaluation of unsupervised labeling of audiovisual content using collateral text data sources to investigate how such an approach can provide acceptable results for given requirements with respect to archival quality, authority and service levels to external users. We conclude that with parameter settings that are optimized using a rigorous evaluation of precision and accuracy, the quality of automatic term-suggestion is sufficiently high. We furthermore provide an analysis of the term extraction after being taken into production, where we focus on performance variation with respect to term types and television programs. Having implemented the procedure in our production work-flow allows us to gradually develop the system further and to also assess the effect of the transformation from manual to automatic annotation from an end-user perspective. Additional future work will be on deploying different information sources including annotations based on multimodal video analysis such as speaker recognition and computer vision. [ABSTRACT FROM AUTHOR]

The author points out the duties of record keepers and archivist in audiovisual archives, presents their response to the current events and the preparation of audio-visual material for broadcasting, including its digitalization. His intention is also to present the reporting of TV Ljubljana about Smallpox and Cholera epidemics. The goal of the paper is to encourage archival workers to proactivity. Archival audio-visual materials from the Archives of TV Slovenia for the period between 1962 and 1974 has been digitalized and thus made available to the users and for its re-use in new broadcasts. [ABSTRACT FROM AUTHOR]

The paper presents the benefits of a collaborative approach in the domain of audiovisual archiving in two very different contexts: NCAA in India and VIAA in Flanders. Following an initial contextualisation in the respective countries, the authors share a detailed modus operandi, outlining the functionalities and traceability matrices of the implementation processes involved in the networks that they have managed to build. Especially critical are the insights and parallels between NCAA and VIAA in the domains of audiovisual digitisation, digital preservation and access. Concluding with a look to the future, the authors hope to put forward the idea that a well-defined collaborative approach has the potential of functioning as a possible solution to the needs and aspirations of all stakeholders - content providers, digitisation agencies, archival network and a wide range of potential users. [ABSTRACT FROM AUTHOR]

Controlled vocabularies play a crucial role in indexing and retrieving content in audiovisual archives. The integration of SKOS and ontologies can enhance search processes and metadata generation. This work demonstrates how to integrate SKOS within the ARCA system, used by RTVE for audiovisual management. The proposal focuses on adapting the relational schema structure of ARCA to unify the thesauri using the SKOS model. The process involves identifying concepts, labels, semantic relationships, and collections to create a single controlled vocabulary from the different thesauri, represented through a relational database schema. The results of the unified thesauri and the mapping of vocabulary concepts to Wikidata items are shown to reinforce integration in the realm of Linked Data. [ABSTRACT FROM AUTHOR]

Translation gaps—words that cannot be easily translated into another language—present communication problems that can be addressed by novel theoretical endeavors. This essay suggests utilizing them as analytical entry points to explicate broader international issues, drawing on theoretical frameworks rooted in communication to explore problematics involving other academic disciplines. In particular, this study focuses on the term “cool” and its international diffusion and untranslatability, analyzing its roots and ramifications. Its roots are situated in the production and global distribution of audiovisual artifacts originating in the Anglosphere and its ramifications within discourses of soft power of English-speaking nations, contributing to a global zeitgeist in which the semantic point of reference is the English language, including the sought-after dimension of cool. [ABSTRACT FROM AUTHOR]

The article offers information on the preservation of audio visual archives in Ghana. It mentions digitization serves as an effective tool for preservation of audio visual collections. It also mentions creation of preservation masters and access copies for AV digitized files while ensuring the quality and integrity of the files created. It also mentions strategies adopted for preserving AV collections.

This paper deals with a major challenge linked to the collection of audiovisual documents within television and web archives. Looking for repeated sequences within a corpus of thousands of videos, we faced the fact that the footage we were looking for reveals itself to be reachable only as ghost data. In fact, any audiovisual sequence reused within different contexts exists conceptually as the repetition of one single visual unit, but from the point of view of the metadata tagging its occurrences, each item is a distinct document. Like a ghost, the shot is there, scattered among different places, but the metadata cannot point us to the visual form repeated, despite its evidence to the human viewer. When facing large amounts of data, to relate a visual unit to its occurrences, data analysis techniques are needed. We describe our procedures of collection and annotation, and the solutions combining qualitive work and a computer-aided approach to face this main challenge, within the research project Crossing Borders Archives (CROBORA).

Copyright of Zer: Journal of Communication Studies / Revista de Estudios de Comunicacion / Komunikazio Ikasketen Aldizkaria is the property of Universidad del Pais Vasco and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Huge video archives consisting of news programs, dramas, movies, and Web videos (e.g., YouTube) are available in our daily life. In all these videos, human is usually one of the most important subjects. Using state-of-the-art techniques, we can efficiently detect and track faces in the videos. In order to organize large-scale face tracks, containing sequences of (detected) consecutive faces in the videos, we propose an efficient method to retrieve human face tracks using bag-of-faces sparse representation (BoF-SR). Using the proposed method, a face track is encoded as a single BoF-SR, therefore allowing an efficient indexing method to handle large-scale data. To further consider the possible variations in face tracks, we generalize our method to find multiple SRs, in an unsupervised manner, to represent a bag of faces and balance the tradeoff between performance and retrieval time. The experimental results on two real-world (million-scale) data sets confirm that the proposed methods achieve significant performance gains compared with different state-of-the-art methods. [ABSTRACT FROM PUBLISHER]

Cinema studies scholarship has recently turned its attention to the ‘utilitarian film’; the industrial, training and ‘data-film’; Rick Prelinger’s ‘vernacular archive’. An Australian study mapping this territory has been initiated. Australia’s largest repository of audio-visual records is the National Archives of Australia (NAA), where a variety of collections derived from Commonwealth agencies (CAs) are housed and preserved. Diminishing resources allocated by governments to collecting institutions in Australia compound the degree of difficulty faced by moving image archives at a time when an exponential growth in digital acquisitions, crisis around the preservation of video-originated archives and citizen’s needs and expectations of access to records, including moving image archives, increases. This article offers an overview of the NAA’s Audio-visual Preservation projects and collections. [ABSTRACT FROM PUBLISHER]

Dubbed 'a forgotten trailblazer' of Australian filmmaking, Lilias Fraser was also the mother of cinematographer, Jane Castle, who spent more than a decade piecing together When the Camera Stopped Rolling (2021), a multifaceted documentary that draws on a rich archive of photographs, home movies and film footage shot by three generations of the Fraser-Castle family. Describing her love-hate relationship with the film, Castle says, 'The final form was found through the making, rather than having a plan and applying a plan. I didn't know what it was about until it was finished.' In its final form, When the Camera Stopped Rolling disrupts audience expectations of a hagiographic or elegiac narrative celebrating the lifetime achievements of Lilias Fraser. Ultimately, When the Camera Stopped Rolling is Jane Castle's story: an exquisite work of autofiction and self-extraction from the Fraser-Castle family and its audio-visual archives. [ABSTRACT FROM AUTHOR]

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