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.)

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]

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]

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]

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]

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]

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]

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.)

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]

Copyright of Artnodes is the property of Universitat Oberta de Catalunya 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.)

With the development of music and video, music and video management has been in a relatively backward state. This study uses the logistic regression algorithm based on sigmoid functions to analyze and process the music audio-visual library of a music software and establishes the logistic regression dynamic model, which provides a scientific research method for this complex system. The LPC characteristic coefficient is extracted, and then the logistic regression model of music audio-visual archives resources is established. After completing the model, this study obtains the logistic regression model through a series of experiments, which effectively optimizes the management of music audio-visual archives. The specific experimental conclusions are as follows: through genre classification and emotion classification, users can search more music audio-visual archives resources. The comparison shows that the recommendation effect after filtering by the logistic regression model is better than that of the nonstandard collaborative filtering recommendation system. Finally, after practical applications, it is concluded that the model based on the logistic regression algorithm has made a good optimization conclusion for the resource management of music audio-visual archives. [ABSTRACT FROM AUTHOR]

This article explores how conceptions of time are visualised and "storied" in the collaborative photography and video project Hemelliggaam or the Attempt to Be Here Now by Cape Town-based artists Tommaso Fiscaletti and Nic Grobler. Hemelliggaam is a digital audiovisual archive of photography and video installations "exploring the existential aspects of the human–environment– astronomy relationship" (). Through analysing a selection of photographs and videos, my investigation attempts to unravel the human–environment–astronomy relationship as it plays out in various narratives in the virtual archive. Combining representations of astronomic sites, such as the Square Kilometre Array (SKA) project in Carnarvon, with fragments of Afrikaans author Jan Rabie's mid-century sci-fi novels, the archive seeks to visualise the multifaceted complexity of human engagements with time. I argue that Hemelliggaam, as an audiovisual archive that contextualises time through geology, astronomy, mythology, and science fiction, should be recognised as a project visualising the overlapping of different timescales. The article contextualises Hemelliggaam in contemporary discourses of the Anthropocene, specifically Dipesh Chakrabarty's idea that a critical framing of the topic needs to recognise the differences between human- historical time and geological-planetary time. By examining the "storying" of overlapped timescales, I suggest that an interdisciplinary approach acknowledging the contributions of both the sciences and the humanities to meaning-making is increasingly relevant to our age of planetary crisis. [ABSTRACT FROM AUTHOR]

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.)

With Internet users constantly participating in online interactions, a wide range of novel usages have emerged, some of which involve multi-word expressions. The use of multi-word expressions in online discourses (e.g. their syntagmatic patterns and communicative functions) has not been fully explored. Therefore, this study sets out to investigate the Chinese word string bù shuō le 'not talk anymore', which occurs much more frequently in online discussion boards than in other written or spoken modes. In the corpus-based analysis, multiple contexts in which bù shuō le indicates a reluctance to further elaborate are identified. The most common context is that the writer recounts a face-threatening experience and uses bù shuō le to bring the post to the conclusion, express a casual attitude toward that experience, and exert a humorous effect. This study contributes additional evidence that demonstrates how multi-word expressions fulfill textual, expressive, and interpersonal functions in online discourses. [ABSTRACT FROM AUTHOR]

Based on audio-visual and written archives of the Romanian Television (RTV) and on documentinterviews with TV producers, this article analyzes the Program in German, broadcast by this public institution for the German "cohabiting nationality" between 1969 and 1985, in the context of the communist regime's minority and cultural policies of that time. Scrutinizing the principal sections of the considered Program, the author observes that this one was massively used as an instrument of the communist propaganda, as a tool for elite manipulation and cultural reproduction. The RTV Program conceived for the German "cohabiting nationality" had, in fact, as main subject the economy and the so-called "communist great achievements," because it was in fact used as a tribune for praising the regime, the Communist Party and Nicolae Ceauşescu. It serves also as a tool within the process of building the Romanian "socialist nation" -- a new "imagined community," denuded of references to the multiethnic past and exclusively based upon the common ground of ideology. Consequently, references to Germanness became an object of ideologization and censorship. [ABSTRACT FROM AUTHOR]

This research pursues bringing to light the modern landscape of administering audio-visual archives at the National Archives of Zimbabwe (NAZ) and getting it on the journey towards digital preservation. The Victorian era paved the way to analogue technological evolution in the audio-visual archiving fraternity. A technological breakthrough initiated by a Frenchman, Louis Daguerre, led to the invention of a photographic image on a silver-coated copper plate medium in 1839. Again, in 1927, the outstanding Thomas Alva Edison positively documented audio on a rotating tin foil cylinder carrier. The form of documented memories in many African archives is mostly in conventional formats. Nonetheless, in the contemporary past, NAZ combined audio-visual archives and television archives that were raised up by the United Kingdom, which was the colonial supremacy during the period of 1890 to 1979. The British administration established the Colonial Film Unit at the commencement of the Second World War, in 1939, as part of political creativity focused on colonies. The NAZ audio-visual unit was born in 1988 under the library section to assist the information desires of the establishment, through the creation, purchase, organisation, preservation, and dissemination of audio-visual archives. The researcher used a qualitative case study methodology with an interpretivist perspective where the main focus of the research was on the NAZ's Harare head office. Interviews, document analysis and observations were used as the major data collecting tools. The results showed that the institution houses audio-visual materials and is still struggling to preserve all the formats digitally. Lastly, the study recommends the adoption of digital preservation mechanisms to facilitate the proper care and access of these precious non-conventional records as declared by UNESCO. [ABSTRACT FROM AUTHOR]

Copyright of ESSACHESS is the property of ESSACHESS 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.)